Yang Zihua

Yang Zihua

Yang Zihua, a painter of the Northern Qi Dynasty, is good at painting figures, palaces, chariots and horses. He was once a general of Zhige and a regular official.

brief introduction

He was a love Minister of Gao Zhan, the emperor of the Northern Qi Dynasty. He was a general of Zhige and a member of the court from 561 to 565. He is good at painting noble figures, palaces, chariots and horses. The horses he painted are especially vivid. It is said that the horses he painted on the wall even cause the illusion of the audience to hear horses whistling at night. It is sometimes called "saint of painting". The emperor Shizu of the Northern Qi Dynasty made him serve in the court. He could not paint with outsiders unless he had an imperial edict. He became a special Royal painter. The figures he painted are plump and mellow, which is different from Gu Kaizhi's "elegant and elegant". His painting style influenced the Tang Dynasty and has a historical position of connecting the past and the future. Yang Zihua is also considered to be the master of peony. Su Shi once sighed: "if Danqing wants to write about the beauty of the city, there is no Yang Zihua in the world today."

works

Yang Zihua painted a lot of murals in Chang'an and other places, but today they have disappeared. There is only one scroll of Yang's calligraphy (now in the Museum of Boston, USA) handed down to song Lin.

The Song Dynasty copy of the picture of proofreading books in the Northern Qi Dynasty, 29.3 cm in length and 122.7 cm in width, depicts the scene of the history of the five classics published by the state in 556 by the emperor Gao Yang and the literati Gao Ganhe. According to the inscriptions and postscripts of the Song Dynasty, it was originally written by Yang Zihua. It was painted in ink and wash, with horizontal scroll and scroll head. A young man stood on his side and read the Scriptures. A scholar wrote on his chair and served two people to carry paper and inkstone. One man held the scroll and served two women behind him. In the middle, two people write on the couch. One envoy turns to talk with the fiddler. There are two maids at the back of the couch, and three maids at the side of the couch, each holding a table, a piano and a pot. Roll tail painting two horses, one arched whip, two people lead the horse, one lead the horse like the people of the western regions.

characteristic

The faces of the figures in the painting are very vivid. In this picture, the pen is used to flow, and the description of details is subtle. It's easy to set colors and standard beauty. The features of the figures in the painting are different from those of Gu, Zhang and others. The faces of the figures are in the shape of goose eggs, which is consistent with the unearthed tomb wall paintings of Lou Rui. Because he is good at painting murals, some people speculate that the murals unearthed from lourui's tomb in the Northern Qi Dynasty in 1979 are his handwriting. Yan Liben of Tang Dynasty commented on his paintings and said, "since he was like a human being, the melody has been wonderful, simple and beautiful. More can't be reduced, less can't be surpassed, and only Zihua is the best." Collation of calligraphy in the Northern Qi Dynasty

Shizu was a general of Zhige at that time. Taste the painting of the horse on the barrier, and listen to the sound of the hooves at night. Tu Long Yu Su, Shu Juan and Yi Yun Qi Rong Ji. Shizu heavy, so that the forest, the world known as the "Saint painting.". It is not allowed to draw with outsiders unless there is an imperial edict. Sometimes, some princes are good at playing chess and communicating with gods, so they are called "two Jue". Yan Liben said: "since the image of human beings, the melody has been wonderful, simple and beautiful, more can not be reduced, less can not be compared, only Zihua?" There are the golden statues of Hu LV, the pictures of Qi Gui Qi's traveling in the garden, the screen of the characters in the palace, the hundred operas in Fu Zhong, and the pictures of lion Meng. The paintings include the official works of the Sui Dynasty, such as the golden statue of dendru, the painting of the noble and noble Qi in the Northern Qi Dynasty, the travel of Yiwei, the screen of the characters in the palace, and the painting of the lions in the middle of the Ye Dynasty. It is recorded in the history of Zhenguan public and private painting. There are his murals in beixuan temple and Yongfu temple.

Praise poetry

Three paintings of Yang Zihua by Yuan Zhen (Tang Dynasty)

Yang's paintings are far away from the exhibition, but he's here now. It's still an old make-up, but the season is changing. Once I read your mind, I will think for thousands of years. When will the son be a guest, and when will an be able to endure hardship. White wrist roll sleeves, brocade arm Cange. The old man's heart is broken, and the young teeth are happy with the birds. At that time, I cherished your visit and sent my legacy to Danyi. Bone like or vaguely, lead has been scarce. It seems that for the ancient people, there is no city in the past. The son also sees the sick body, the color is empty all lonely. The heart of the world is turned upside down, and there is no justice. If you really appreciate a painting, you can't. Each of them has its own merits, so it's not enough to rely on their poor work. Seek the essence in vain, ha ha, son Hua.

Research on related works

In addition, some tomb murals also reflect Yang Zihua's painting style, and even some murals are considered by scholars to be Yang Zihua's own work. One of the more famous is the travel map in the murals of lourui Tomb of Northern Qi Dynasty in wangguo village, southern suburb of Taiyuan City, Shanxi Province, and the travel map in the murals of Lishou Tomb of Tang Dynasty in Sanyuan County, Shaanxi Province. They are similar in age, painting style, content and form. They are similar to those works by one person (Yang Zihua), or works with the relationship of apprenticeship. At least they are also the result of the influence of the Northern Qi painting on the early Tang Dynasty.

Lou Rui, a famous family in Xianbei, was a relative of the Northern Qi Dynasty. He served in the army for 40 years (531-570). "Biography of Lou Rui in the book of the Northern Qi Dynasty" said that he was "greedy and indulgent at his post", "accumulating money without weariness", "specializing in illegal activities" and "indulging in wealth and lust, which was despicable for the theory of time". Because of greed, he was once removed from office, but soon he was promoted. Later, he was given the command of the whole army by the grand general and the grand Sima. As an influential historical figure, Taifu and Taishi were also important officials in charge of the imperial court. In the Northern Qi Dynasty, politics was relatively stable, economy developed, and the custom of thick burial prevailed. Lou Rui's status is high, and the construction level of his tomb is also high. The total length of the tomb passage and chamber is more than 26 meters, all of which are painted with murals. Most of these works are clear and well preserved. The travel map is drawn on the East and west walls of the tomb road. It forms the whole picture in the form of a group of paintings. The scene is grand and magnificent. It is an important part of describing the tomb owner's life experience. In the travel map, the middle layer of the west wall is relatively complete. On the way, the saddles are all ready. They are in a galloping shape, head high and tail high. The horse's head changes a lot, or looks down, or looks up, or looks aside, showing that kind of fat, vigorous and vigorous look. This is in sharp contrast to the serious knight, which makes the more active he is, the more static he is. So as to show a strong artistic effect. From the movement of the pommel horse running, it seems that you can hear the clatter of the horse's hooves and see the dust. The Knights wear black helmets, black boots, red or white round necked robes with tight sleeves, swords on their waists and bow backs in their hands. It is a representative mural masterpiece of the Northern Qi Dynasty. Li shou (577-630), whose character is Shentong, is the younger brother of Li Yuan, Emperor Gaozu of Tang Dynasty. At the end of the Sui Dynasty, Hu County was set up to be a military officer. In the first year of Wude, he paid homage to youxuwei general and became king Yongkang. Later, he was renamed King Huai'an. Li Shou and Yu Wenhua, the general of Sui Dynasty, failed in several battles and retired to Xu MaoGong. Later, they were trapped by Dou Jiande. After the breakup of Jiande, he followed the rebellion army of Taizong, Liu heikai, and moved to other places. In the old book of the Tang Dynasty, the biography of Huai'an King's supernatural power: "when he was defeated in Jiande, he was re granted the title of Zuo pushe, the taishangshu of Daoxing in Hebei Province. He broke Liu heikai from Taizong and moved to Zuo Wuwei general." Zhenguan four years Hong, gift Sikong, posthumous Jing. The murals of Li Shou's tomb are of great scale, which fully reflect the society of the early Tang Dynasty. The two walls of the 40 meter tomb road reflect the rich social life and superb painting art level. The author's skilful skills, combined with a deep understanding of life, created a rare mural masterpiece in the early Tang Dynasty. The contents and themes of murals include all aspects of society. From war to song and dance in Shengping, from hunting to farming and herding, from guard of honor to male and female attendants, as well as domestic chores, it directly or indirectly shows the reality of social life in the early Tang Dynasty. The most prominent figure in the mural is the military array which represents the life story of the tomb owner. This is the product of the times and the highest artistic attainments. At the turn of the Sui and Tang Dynasties, wars were frequent, with the strong dominating the weak, with the masses oppressing the few, and the military revolution continued. Banners stand on both sides of the passage. From the roaring atmosphere of war horses, we can imagine the scene of sword light, sword shadow and bloodbath; from the momentum of the iron cavalry, we can imagine the solemn and stirring scene of lying corpses and sculling blood. History tells us that this general made great contributions to the founding of the Tang Dynasty. He fought with the peasant army, fought with the general of Sui Dynasty, galloped in Qinchuan, fought in the Central Plains, fought in the north and south of the Yellow River, and achieved a lot. Therefore, the two walls of the tomb mainly exaggerate the military power of his life and the battle scene of his glorious life. This is the most prominent content in the murals of Li Shou's tomb. Lou Rui and Li Shou are both contemporary generals and important officials of the imperial court, and they also enjoy special honors after their death. The construction of the tomb and the drawing of the murals inside the tomb are all excellent, especially the huge army travel map. This is a true portrayal of the tomb owner's military career. The two tombs are very similar, from the composition to the figure modeling; from the pommel horse posture to the props in the painting; from the color to the line, they all seem to come from one person's hands. This is rare in murals of different regions and times. These two large-scale travel maps are very similar in content and drawing. Comparing the details in the figure, we can find many similarities. Pommel horse's modelling is fat and vigorous, the pommel is complete, the style is the same, the loose mane, the fluttering horsetail, is the same. The horse's front chest and back buttocks are plump and plump, completely similar. The details are also very careful and clear. The nostrils, teeth and tongue of horses are very lifelike, and the distinction between horse and pony is also obvious. The facial features of the characters are similar. Knights wear round necked, tight sleeve robes and black boots. The only difference is that the knights in Lou Rui's tomb are wearing helmets and holding bow backs. The knight in Li Shou's tomb wears Fu head and holds four gold flags. With the change of the times, the use of military style, equipment and logo has changed. The horse's air and sketching techniques are similar to each other. The pen used by the center is mellow, vigorous, natural and elegant. The texture and shape of the pen are perfect. The colors are black, red, white, yellow and ochre. Various colors are used to set off each other, unified and harmonious.

The other common point of the travel map of the two tombs is also very obvious. The pommel horse in the front row leaps on the wall, and only the knight appears in the back row, but there is no saddle

Chinese PinYin : Yang Zi Hua