Gong Xian's Style Of Painting And Aesthetic Analysis Of "Shanshui Scrolls To Changweng"

Historians and Scholars,who sweep down irresistibly from a commanding height,according to the characteristics of Gong Xian's painting style in different periods,it is often called "White Gong" and "Black Gong".There are also scholars who use "ashes" in "black"and "white" for transition.Most of the people in the world praise "Black Gong" and neglect"White Gong" and neglect "Gray Gong".Most of them regard "endless pictures of rivers and mountains" which he spent three years in his old age as a model work of"Black Gong" style.It is true that Gong Xian's ink-covered landscape painting has its own unique features.The theory of "White Gong" and "Black Gong" also has its high generality and intuition.However,to appreciate Gong Xian's landscape paintings,we should not only stay on the representation of "Black Gong" but only "Black" is the theory.In the history of painting,there are praises of "strong but not greasy" and "deep and profound".There are also voices of "old charcoal in deep mountains" and "lack of charm".The reason is that the viewer just pays attention to the black coming from Gong Xian's works,but fails to really care about his gray and elegant pen and ink in his later years and his imaginary and pure creation.If the muddy black color is regarded as the ultimate goal and commanding point of Gong Xian's landscape painting,we will not really understand the charm of his landscape painting.The author believes that the appreciation of Gong Xian's paintings can not be confined by the old knowledge of "Black Gong".The viewer should cross the "black" fence and break away from the "black net" and swim freely in the gloomy,smoky,silent and empty wonderland,and realize its gray and graceful charm,so that the viewer can keep his mind and body in harmony.According to the brush and ink characteristics of Gong Xian's landscape paintings in different periods,the author thinks that Gong Xian's landscape paintings have gone through three main periods:the early simplified "white sketch" period,the dark "fine brushwork"period in the middle and late period and the gray and elegant "freehand brushwork" period in his later years.Giving Changweng Scroll of Mountains and Rivers is the author's masterpiece in his late years in 1679.After the breakdown of his country and the death of his family,and the sadness of his life,he lived in the cool mountains of Nanjing after his brush-and-ink techniques had reached the realm of pure fire.When he was quiet and empty,calm and vigorous,his brush and ink flowed freely,which was the natural overflow of his making a living by writing cultivation for decades.As he says in Chai Zhang Painting Talk,"Chai Zhang's ink gas such as alchemy,ink gas live,Dan into".The works is vigorous but not crazy,the ink is moist but not diffuse,the hills are heavy and strong without obstruction,and the breath is thick but not delicate.Looking at it,it's frank and unrestrained,and it's completely green and moist.Visiting it the mountains are winding and the winding paths are quiet.Living in it,the forest is quiet and the mist is dense...It presents the viewer with the interest of gray elegance and the tranquil and graceful world.This volume is like a lingering and melancholy lyric poem touching the world,more like a soft Sonata improvised to wash away the heart.Giving Changweng Scroll of Mountains and Rivers stands out in the history of Chinese landscape painting.It has profound implications and bright lights,which is the peak of Gong Xian's painting.This paper reviews Gong Xian's life situation and artistic performance,puts forward the author's opinions on the painting style of the three different periods,and analyses the morpheme structure of Giving Changweng Scrolls of Mountains and Rivers to explore its aesthetic value.