Liang Kai
Liang Kai
Liang Kai was born in 1150. His father Liang Duan, grandfather Liang Yangzu and great grandfather Liang Zimei were all ministers of the Song Dynasty. Dongping Xucheng (today's Dongping, Shandong Province) is a painter of the Southern Song Dynasty. After going south, he lived in Qiantang (now Hangzhou, Zhejiang). He was a famous calligrapher in China and Japan. He once served as an imperial painter in the Painting Academy of ningzong in the Southern Song Dynasty. He is a very special painter, good at painting landscapes, Buddhism, ghosts and gods, learning from Jia shigu, and outstanding. He is fond of drinking, and his behavior after drinking does not conform to the etiquette. He is called "Liang Feng (crazy) Zi".
Liang Kai's handed down works include the painting of the sixth patriarch cutting bamboo, the painting of Li Bai's chanting, the painting of Pomo immortal, and the painting of stories of eight eminent monks, among which Pomo immortal is the most famous.
Personal profile
Liang Kai served as the imperial painter of the Academy of painting in ningzong of the Southern Song Dynasty. He was the most senior court painter. The emperor had specially given the gold belt, which was the highest honor of the Academy of painting. However, Liang Kai refused to accept it. He hung the gold belt in the Academy and left it floating away. He didn't want to be subject to others.
Liang Kai was a native of Dongping in the Southern Song Dynasty. During the Jiatai period of ningzong (1201-1204 AD), he served as an imperial edict for the Academy of painting. Later, because he hated the rules and regulations of the Academy, he left the Academy with gold hanging on the wall. Indulgence in life, known as "crazy Liang.". His teacher Jia shigu (Jia is famous for learning from Wu Daozi) is far more than his teacher. According to the statistics of peiwenzhai calligraphy and painting manual, Shiqu Baoji and Southern Song Dynasty painting record compiled by Li E in Qing Dynasty, Liang Kai left no less than dozens of works, but only about 10 of them can be seen today, and most of them are not in China. According to the subject matter of Liang Kai's works, most of them show Buddhism, ghosts, gods and ancient hermits, such as Youjun Shufan, Xizhi guane, Huangting Jing huane, Yuanming statue, Kukui statue, Hanshan Shide, shenchan picture, tianletu, Zhuangsheng Mengdie, suwu Muyang, Confucius dreamt of Zhougong, Lianpeng disguise, Taiyi three palace battle array, etc.
Character of calligraphy and painting
Liang Kai belongs to the rough school. He does not stick to the rules, and is dissolute. He once served as a painter in ningzong of the Southern Song Dynasty. According to the custom of the painting academy at that time, professional painters often had to draw according to the emperor's "imperial edict". When Liang Kai worked in the painting academy, he had to cooperate with the requirements of the painting academy, and he could not show boldness and freedom in painting. This is a very painful thing for a painter who has endless desire to create. Rigid painting can not be freely played.
But Liang Kai's free and easy and frank personality, all according to their own feelings, no one seems to be able to limit him.
artistic characteristics
Liang Kai once served as an imperial edict for the Academy of painting. It is said that when people in the Academy saw Liang Kai's works at that time, they did not fail to admire him. It can be seen that Liang Kai had a high reputation in the Painting Academy of the Southern Song Dynasty. Liang Kai inherited the achievements of his predecessors and used them flexibly. He deeply observed the spiritual characteristics of the characters, expressed the sound and smile of the characters with simple ink, accurately grasped the essential characteristics of things with simple ink, and fully conveyed the feelings of the painter, so as to push freehand brushwork to a new height and make people's eyes and ears fresh. Wang Jinyu, a critic, commented that Liang Kai of Song Dynasty and Xu Wei of Ming Dynasty respectively opened the precedent of freehand figure painting and flower and bird painting.
Liang Kai was a Zen painter, belonging to the rough school. He is not a monk, but he is good at Zen painting. Zen began in about 5200 ad, and became the climate in the Tang Dynasty. Huineng, the eminent monk of Tang Dynasty, is the sixth patriarch of Zen and the founder of Nanzong. The theory of Southern Zen emphasizes that the Buddha is in the heart of the people, drinking water and carrying firewood can understand the Tao. All religious rituals have no value. People can communicate with "absolute spirit" or "truth" in a state of super knowledge without chanting scriptures. This is a natural and profound Abstract experience.
"Liuzu cutting bamboo" shows that Huineng "has nothing to do with things, so it can be equal to things; no wisdom to wisdom, so it can be transported to wisdom". Liang Kai's "six ancestors cutting bamboo" is one of the works after one year, and the writing is very rough. The brush can see the shape, the path of the brush rises and falls, the road twists and turns, and the game of lighting; the desire for a tree is a tree, and the desire for a stone is a stone. Liang Kai seems to have been involved in painting, but it's not painting.
His figure paintings are simple, general and vivid. These three can be reflected in his pen. There are a lot of dangerous strokes in the painting, thick and thin, urgent and light, and changeable; the gold knife is used to make ink bamboo, and the mountains and rocks are swept out in large quantities. There is an idea running through the painting, which is deep and far away, so it can calm the movement of the brush and ink. Reading Liang Kai's paintings is actually an experience of brush and ink, a state of mind and Zen. The Japanese attach great importance to this painting, which is related to their cultural psychology of participating in Buddhism and attaching importance to Zen. Of course, it is also related to the artistic value and historical and cultural value of this painting.
Appreciative Remarks
The painting of immortal splashing ink
[name of painting] the painting of immortal splashing ink
[category] famous figure paintings
[author] Liang Kai
Song Dynasty
The painting is now in the Palace Museum, Taipei
[appreciation]
From Liang Kai's painting of the immortal splashing ink, we can see that it is only a few strokes in a hurry, but it can draw the appearance of the intoxicated and lovely characters; the features are tangled, the robes are wide, the sleeves are big, and the belly is exposed, which is extremely funny. The head and left shoulder are rendered with wet pen, which can clearly show the weight and speed of the brush. This painting vividly captures the dynamic expression of the characters, but does not care about too many details. This free and unrestrained painting method is called "freehand brushwork" or "splash ink" in later Chinese painting. This type of painting attaches great importance to observation, a few strokes need to grasp the charm of people, such as the "immortal" belt, only four strokes, but the shape of the stomach and the flying feeling of the belt when walking are incisively and vividly displayed.
In the painting, the whole immortal is almost splashed in ink and wash, which shows the immortal's drunken posture, but the simple strokes fully express the immortal's elegant temperament. The simple strokes fully express the elegant temperament of the immortal. The painting method of informal similarity shows the unrestrained creativity of the painter and opens up a new realm for the development of traditional figure painting. The whole painting, in less than ten strokes, interprets a maverick and smiling immortal almost perfectly. His painting is completed in an instant, but it is the result of a lifetime of painting skills. Liang Kai's artistic creation is the most real self.
In order to express "splashing ink", Liang Kai especially used "paper" to draw, which is really different from the habit of using "silk" in most of the Song Dynasty! Liang Kai was a rebellious painter with his own ideas. At that time, he might not be understood, but later he greatly influenced the new development of Chinese painting.
Li Bai's Poems
Painting name: Li Bai's Poems
[category]: calligraphy and painting
The Southern Song Dynasty
[cultural relic origin]: originally collected in Yuanmingyuan
[appreciation]:
With only a few strokes, this painting depicts a free and easy image of poetic immortal. Liang Kai was a wild man, often drinking and enjoying himself. He was called "Liang Fengzi". His brushwork is a kind of freehand brushwork with broad brushwork and thick and light ink. The painting of Li Bai's singing reflects this bold style of painting. His brushwork is simple and unconstrained, which is expressed purely by line drawing. However, the poet's relaxed and uninhibited personality, as well as the posture of singing while walking, are vividly depicted, which is amazing. "The painting of Li Bai's Poems" abandons all the background and outlines Li Bai's elegant and natural expression with a few strokes. The less is better than the more. It has far-reaching implications and is thought-provoking. Later generations call it "the reduced strokes".
Cloth bag monk
[name of painting]: picture of the cloth bag monk
[category]: calligraphy and painting
The Southern Song Dynasty
Present situation of Cultural Relics: collection of Xiangxue art in Japan
[appreciation]:
This painting depicts the bust of the Budai monk. The composition is concise and powerful, and the pen is concise and extensive. The robe of Budai monk is the most prominent. There are only a few strokes, and the look is vivid. It is as powerful as a mountain stone painting, without losing the softness and randomness of the robe. If you don't look at the upper part of the monk's body, the composition seems to be a strong mountain, steady and broad. When drawing the monk's round head and large body, you turn to the meticulous and fluent brushwork to draw his eyebrows, eyes, lips and teeth with a charming smile. His indifferent and smiling manner is incisively and vividly expressed. Although he has a playful attitude, he shows his generosity, kindness and sadness On the other hand, Liang Kai's compassion is a reflection of his attitude towards life.
Double crows in autumn willows
Silk, set color, vertical 24.7 cm, horizontal 25.7 cm. Collected by Beijing Palace Museum. The picture shows a weeping willow on the withered branch swaying with the wind, two crows flying around the tree, and a full moon without light. The composition of the picture is clean and sparse, and the artistic conception is profound. With only a few strokes, the autumn dusk is vividly and concisely painted. His paintings of landscapes, figures, flowers and birds have made great achievements and have a great influence on later generations. This painting is a rare art treasure, the whole picture does not have a rigid line, is composed of arc lines, full of flow. The composition of the picture soars into the air, leaving no ground or sky. The top of the tree and flying crows occupy the whole picture, which is novel and unique, giving people a sense of foresight. It can be seen that this is a rare art treasure. At the bottom right of the picture, the character "Liang Kai" is used, and there is a poem written by Emperor Gaozong of the Qing Dynasty.
A picture of Tuan fan
He is a very special painter, good at painting landscapes, Buddhism, ghosts and gods, learning from Jia shigu, and outstanding. He is fond of drinking, and his behavior after drinking does not conform to the etiquette. He is called "Liang Feng (crazy) Zi". Liang Kai's handed down works include the painting of the sixth patriarch cutting bamboo, the painting of Li Bai's singing and the painting of Pomo immortal, among which Pomo immortal is the most famous.
Collection of works
Liang Kai's paintings in the Southern Song Dynasty became Japan's national treasure
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Chinese PinYin : Liang Kai
Liang Kai
