The origin of Chinese painting is 1500 years earlier than that of paper painting

Recently, the paintings and calligraphy paintings with the pipa as the carrier have attracted people's attention when they toured the country. Many people marvel at the beauty of the paintings.

In fact, paintings are the origin of Chinese paintings. They are 1,500 years older than the 1500-year-old paper-based paintings. They have only been obliterated for a long time. To date, more than half of the history of Chinese painting has been painted.

帛 painting refers to paintings drawn on plain silk fabrics such as silk, silk, silk, silk, and silk. From the Shang Dynasty tombs from 3100 to 3700, it was discovered that there were surviving painted figures.

"Hetang Impression, Xiaoyue Heyun"

In early civilizations, silkworms and jade wares were important material media for the shamans who transported the gods. Silkworms have a life course of “resurrection”, and silkworms that are not dying are woven and painted with images of gods. It became an important sacrifice and tombs. In the Qin and Han dynasties, the content of the paintings was no longer confined to the spirits, but was closely integrated with the social life of the people at that time and became an independent art variety.

The painting techniques and diagrams of the paintings are mainly divided into two aspects. One is the black-and-white ink-and-wash system, such as the "character dragon and phoenix figures" and "character yulong map" during the Warring States Period; the second is the color system based on the color blocks. For example, in the Western Han Dynasty, the tomb of Mawangdui No. 1 and the tomb of No. 3 were painted in T-shaped paintings, "Taiyi will map", "Guided Map" and "Car and Horse Map".

In the Jin Dynasty burial tombs, the first paper painting “Tomb Masters Life Map” was unearthed. In the previous 1500 years, the paintings were always dominated by paintings. That is to say, more than half of the history of Chinese painting has been to date. Belong to paintings. Even in the 800 years of the Song Dynasty, the 帛 paintings represented by the 绢 绢 paintings were still the mainstream, and the famous paintings in the Song and Yuan dynasties that survive until now are mostly 绢.

When people started painting on paper, they also used the techniques, schemas, and program requirements of paintings. After more than a thousand years of development, paper paintings have gradually formed ink-and-ink performance systems unique to Xuan paper. At this point, the paper painting has finally become an independent painting species, even after the Song and Yuan Dynasties, it became more and more prosperous, and the paintings that are known for their re-colors became increasingly declining. As a result, people in the world produced a false impression that Chinese paintings were equivalent to paper paintings. The expressiveness of Chinese painting is not as good as that of Western painting.

In the previous national art exhibitions, no paintings were exhibited, and the paintings in the world gradually faded and disappeared.

Stacked images, vaguely processed, vividly illustrated

How to make distant paintings live in the moment, Mu Yilin used more than 30 years to sign.

Mu Yilin was born in Shanghai in 1944. He graduated from Shanghai Meizuan in 1966 and won numerous awards for his work. Since 1983, he has given up his achievements on paper paintings. He has spent more than 30 years burying his head in the study of paintings and paintings, excavating and using the special features of the magpies, and creating his own modern art of painting.

"Tai Da Nian" is one of Mu Yilin's masterpieces. The splendid pink tone on the face painting is rare in Chinese paintings and has the tension of oil painting, but it clearly shows the convergence of traditional Chinese painting.

The various images on the screen are hidden, and the angle of appreciation is slightly different. The screen generates many flow changes. When the painting was displayed at the National Art Museum of China, some viewers tried to increase the amplitude and speed of moving left and right. Nearby people also gathered together, followed by shaking their bodies and discussed: “This color will change,” “There is only a big The Lanterns, "Hey, the artillery fire blasted," "Where? How can I not see?"

Sticking to the door gods, cutting window grilles, hanging lanterns, shooting gongs, and dancing lions... Layers of images, faintly dealt with, Mu Yilin sketched clear lively.

Unlike rice paper, wolfberry has a natural light perception, and different counts of silk fabrics also have different appearances and refractions of pigments. When the ancients created silk materials, they had a number of unique methods: if they were colored, they did not cover the texture of the silk itself; they could draw on both the front and the back, staggering the graphic representation. Zhou Wei's "The Lady of the Flower" is the same: the color of each lady's clothes is integrated with the silk texture; the lady's face looks very white, but in reality it is different from the white of the skull itself, because it is on the back side. color. Mu Yilin excavated these long-lost ancient painting techniques of the ancients, and at the same time studied innovative techniques, and expressed the spirit of “writing and ink is the time” in terms of subject matter and color.

For more than 30 years, there is no art exhibition and no competition

In 1979, Mu Yilin, who was in his early 30s, won the first prize for the Shanghai Fine Art Exhibition with his famous Chinese painting artist Lu Xiaohao for his paper ink “Tyre Season,” and Chen Yifei won the second prize.

With such fame, Mu Yilin turned to study paintings after four years. For more than 30 years, he has not opened exhibitions or participated in competitions.

Obsession is due to an accident.

In 1983, in order to participate in the National Art Exhibition, Mu Yilin created a "Rain in Love", but felt that the infiltration was over, and after the extension of the picture was too bright, they decided to repaint. To this end, he cast a layer of paint on the painting in order to “copy” it. Who knows, the feeling of misty and misty came out at once.

Since then fell in love with paintings.

His work has gone through three stages. The first stage was from 1983 to 1992. In the past ten years, Mu Yilin carefully savored the characteristics of various silk fabrics, carefully tried to figure out, repeated trials, and twisted paintings were countless. The main works during this period include "In the Rain," "The Family Teacher," "Jiu Zhai Yun Qi," and "Life and Life."

The second stage, from 1993 to 1996, was a turning point in Mu Yilin's painting creation. Or accidental. When taking the bus, he accidentally discovered that the scarves between the women's necks, due to their different thicknesses and layers, continue to stack and refract in the sun. This inspired him, he began to study the different colors of silk yarn in the density between the density changes; also tried to use the silk dye and paint mix. During this period, he also mastered the technique of using different colors and stylings to carry out stacking creations on both the front and the back of the embarrassment. The second phase of the exploration was marked by the successful completion of the "Come for the Lantern Festival."

The third stage was from 1996 to the present. Mu Yilin’s artistic style is already mature and clear. However, he continues to try to break through. He has combined many kinds of expression techniques such as figurative, abstract, and imagery, and has successively created “Yuan Zhen Impressions” and “Hetang Impressions”. , "The End of the World" and "World Are Poetry" and other series. Among these works are fine brushwork, freehand brushwork, and no bones, and no repetition of their own.