Text/He Gaoren

Laozi said, "Five colors make people blind and five tones make people deaf." .

Zhuangzi said, "Five colors are confused." .

Zhang Yanyuan said: "The richness of vegetation is not rare; Cloud flying snow, not waiting for lead powder white; The mountains don't wait for the sky, and the phoenix doesn't wait for the five colors. It is a five-color ink, meaning proud, meaning five colors, so the image is good! "

Shen Zongqian said: "Since the shape is taken with a pen, the color should be taken with ink, so the color of the painting is not the saying that lead is blue, but it can be between light and dark!"

From ancient times to the present, China people in China believed in metaphysics, and a group of frustrated, passive, poor or cynical literati advocated such gray psychological emotions as "scribbling, writing in the chest", "ink is the most important" and "ink is divided into five colors". They are tired of subjective consciousness and ignore colorful natural colors, which is hard to return to. Therefore, they belittle, ignore and reject the aesthetic function of natural colors in concept. In modern times, there are some so-called "pseudo-literati" artists. While enjoying high-grade material life, they also learn from the poor literati of ancient times and groan without illness. When China's landscape painting became an independent branch, the earliest existing painting in the world was You Chuntu by Zhan Ziqian in Sui Dynasty, which was the first ancient landscape painting written in ochre silk. This painting is sketched with ink, and then filled with stone, bluestone and green.

Then Li Sixun's "Fan Jiang Bao Ge Tu" in the Tang Dynasty; Wangchuan Villa by Wang Wei in Tang Dynasty; Wang Ximeng's "A Thousand Miles of Rivers and Mountains" in the Northern Song Dynasty; Zhao Mengfu's Drinking Horses in Autumn Suburbs; Wang Ximeng's application of stone, bluestone and green to the extreme should be regarded as the founder of landscape color in China.

Although ink painting was advocated in Yuan Dynasty, there were still a few painters who imitated ancient turquoise, such as Xiao Turquoise in Hunting Man and the Migration Map of Gezhichuan by Wang Meng, who dyed trees with ochre, stone, pearl and sand.

In the Ming Dynasty, there was Lv Wang's Huashan Atlas; Shen Zhou's Stopping in the Snow; Most of Tang Yin's Shi Mingtu carefully applied small turquoise; Wen Zhiming is an expert in using colors, such as his Huxi Caotang, Lanting Xiuqi, Taoyuan, Jianghe and Camellia Club. , are painted with small turquoise ochre, color and ink do not interfere with each other, quite accurate; Chou Ying's Taocun Caotang Map, Taoyuan Wonderland Map and Riverside Scene at Qingming Festival are not inferior to Wen Zhiming in color. As an era advocating "ink painting is the best", there are many brave painters. Xu Jun's "Zhong Kui Marries a Girl" is warm in color, which shows the whole warm atmosphere incisively and vividly. Dong Qichang is a master of landscape painting in southern China, but he has also made many attempts in the color of landscape painting, such as Eight Scenes in Autumn and Visiting Ancient Paintings in Fengjing. However, the representative work with special color should be Zhou Jintang, which is thick in color but does not interfere with ink color, with orderly levels, between large and small turquoise, and is still avant-garde and novel today. At the end of the Ming Dynasty, Lan Ying painted a painting "Baiyun Mangrove" in the name of color, but most of them used stone green to dye rocks, pearl sand to dye leaves, ochre to dye the foot of the mountain, and white powder to dye clouds, which appeared pink and tender in the case of less ink. Chen Laolian is good at figures of flowers and birds. Landscape "One of Miscellaneous Paintings Atlas" is mainly composed of ochre and shallow drops, and the flowers are light green.

Since the Qing Dynasty, the "Four Kings", "Four Monks" and "Eight Eccentrics in Yangzhou" have almost no color for landscapes. Only Gao Cen's "Green Landscape Map" and Meng Lan's "One of Antique Landscape Books". Yuanjiang Guanchao, Lishan Summer Resort, and Sanshan on the sea; Yao Yuan's boundary paintings, such as "Penglai Wonderland Map" and "Hanjiang Scenic Spot Map", should be regarded as scales and horns in terms of the use of color in landscape painting in Qing Dynasty.

Throughout the past dynasties, landscape colors were mostly painted with stones, bluestones, ochre and pearl sand, taking the color of Wang Ximeng's "A Thousand Miles of Mountains and Rivers" as an example, but Chen Xiangyin never got out of the mold. It is also caused by the philosophical thought that historical literati bound their eyes, hands and feet.

Historically, the use of color in China landscape painting has always been a forbidden area, and few people have made achievements in the use of color in China landscape painting. Many masters engaged in landscape painting are discouraged and dare not cross the line. Who is the first person who dares to eat crabs and who is the first traditional rebel!

Mr. Lu Xun said that there was no road on the ground, but more people walked and there was a road! (Note: The time division in this article is not based on history or literary history, nor is it based on art history. Ancient articles began in Sui Dynasty when landscape became an independent discipline, and ended in Qing Dynasty. From 19 1 1 year to 1949 in modern times; That is, most of the living and active Chinese landscape painters)

In the application of color in modern China landscape painting, for every artist engaged in traditional landscape painting, since ink painting has been divided into five colors, the application of color is purely redundant; Only advocate the elegance of "ink painting is the most important" and refuse to belittle the vulgarity of color. Therefore, it is better to paint a landscape with more than one thing, and there is no need to ask for it after all the hardships. I just try to use color in many of my works, occasionally. But in modern times, with the progress of the times, there are still many people who explore and pursue the colors of landscape painting. Tracing back to history, Huang Shanshou's Reading Pictures in Kuanglu is only green, but it also shows the temptation of color to landscape painters in his creation. Although Qi Baishi's "Luo Fu Mi Sentence Map" only uses ochre to paint the ground, flowers and mountains, and uses white powder to paint pear flowers, he can directly use color as ink in painting. I think he is the first person in ancient and modern times, and Qi Baishi is not a master. Although Huang pioneered "five strokes and seven inks", he also tried color. For example, the landscape of "Colorful Landscape" is painted flat with thin azurite, but some places are still stained with ink, which is dirty and greasy. Li Ruiqing, Zhao Yunhe, Hua Yao, Chen Shiceng, Chen Banding, Wang Kun, Wu Zhi, Jincheng, etc. Most of them belong to shallow categories; Gao in Lingnan has always been regarded as the pioneer of western learning spreading to the east. Although the color is elegant, it is clearly distinguished from the traditional landscape color. The color of Lai Yu by Li Gemin is very harmonious, like the painting style of Song Dynasty. Xiao Qianzhong's Into the Deep Cloud is thick in color, with clear layers and no interference between color and ink. He should be the first person to boldly use the red dot tree in the work "Tongjiang Red in September". Zhu Qizhan's "Unemployment" dyed rice fields with gamboge and used a group of green trees. The color contrast is harmonious, but it lacks ink and appears pink. Hu's "Autumn Clouds on Lijiang River" also made a common fault of powder gas.

Wu Hufan is a leading figure of early landscape painting in mainland China, and has made great achievements in the application of modern landscape painting colors. He is five years older than Zhang Daqian. Judging from his representative works "Five Old Peaks in the Southeast of Lushan Mountain" and "Overlooking the Castle Peak and White House", they all think that he is the pioneer of Zhang Daqian's splashing rate. But Zhang Daqian's map of Huashan Sea of Clouds is written as 1936. In this way, Zhang Daqian was 22 years earlier than Wu Hufan's Five Old Peaks in the Southeast of Lushan Mountain (written in 1958). Interestingly, Zhang Daqian's splash-painted paintings have really taken shape. For example, mature masterpieces such as Spring Water Returning to the Boat are all written by 1979. Some people say that after Zhang Daqian met Picasso in 1956, he changed his painting style and began to paint colorful landscapes. According to other data, Zhang Daqian's splash-ink landscape should be the Yushan Xiaojing at the earliest. This picture was made in August of 196 1 year, and it should be regarded as a painting in the trial stage. Other famous ink-splashing landscapes, such as Smoke on the Pine Peak, Floating Orchid in Lin You and New Orchid after Rain, were all made by 1969 or 1967. And Wu Hufan's "Castle Peak Overlooking the White House" was written in 1960, which has the potential to splash color. It seems that Wu Hufan splashed color earlier than Zhang Daqian, but almost at the same time it was around the 1960s. But later, he didn't put down painting like Zhang Daqian and produced many works, so Zhang Daqian splashed color over Wu Hufan. Wu Hufan and Zhang Daqian's splash of color did not go beyond the traditional green category. If we interpret it with traditional colors, we can learn from the classification of calligraphy to distinguish its style. If Wang Ximeng's "A Thousand Miles of Rivers and Mountains" is a regular script, Wu Hufan's "Overlooking the Castle Peak and Libailou" should be a running script; Zhang Daqian's mature splash-ink landscape belongs to weeds or weeds.

Liu Haisu should really apply western colors to landscape painting, such as Wonders of Huangshan Mountain and Splashing Water on the Red Stalagmite of Huangshan Mountain. These are his representative works. Qian Songyan's "Red Rock" and "Autumn Colors of the Great Wall" have gradually tended to be realistic or exaggerated, and he injected new color elements with traditional brush and ink. Lin Fengmian's landscape should be landscape, abandoning the traditional landscape pen and ink and language elements. He just borrowed the tools and materials of oriental Chinese painting, adopted the western expression techniques, and applied them to his works in full accordance with the color elements of western painting. Although it has become a "four unlike", it has made the rigid and quiet China traditional Chinese painting community feel refreshed as if it had been injected with a dose of cardiotonic. Just because of Lin Fengmian's pioneering work, it ushered in a spring of color application in China landscape painting and an era of diversified artistic forms. So there are Li Keran's ten thousand borders, the charm of the emerald green ridge, Xie's West Lake after the spring, Lu's new clothes of mountains and rivers, Wang Qinghuai's seaside, Liu Zhiyong's fir peak temple, Li Xiongcai's sailing out of the gorge, Yingyeping's Zhoushan Taohuawu and Guan Shanyue's Emei heavy food, Pu Songchuang's Zunyi, Bai Xueshi's beautiful Lijiang River, Wei Zixi's Qutang Cuise and Zhu Danian.

In the innovative application of color in China's landscape paintings, Wu Hufan, Zhang Daqian, Lin Fengmian, Liu Haisu, Li Keran, Guan Shanyue and Song Wenzhi have made remarkable achievements. They set an example, initiated the application of color in China landscape painting, and launched a revolution with far-reaching historical significance and positive practical significance in the field of painting art in China (this paper only focuses on the color application of China landscape painting in past dynasties. Because of the narrow coverage, it is difficult to define contemporary and modern. Only according to the age of modern artists, the authors are unique in color application. )

This country has been completely open since the 1980s. With the economic tide of reform and opening up, the art world has also set off the "85" trend of thought. Western artistic views have also influenced China's Chinese painting circle. Although there are a group of "conservatives" who are "more defensive than defensive", the slogan of "keeping pace with the times" has gone beyond our ears, breaking through tradition, opposing tradition, creating individuality, serving the west and integrating China and the West. Unscrupulous use of rock color, bark gravel, washing powder, salt, sawdust, straw rope, etc. to make texture, spray gun foot rubbing, shelf holder, etc., is unprecedented. I don't know what the painting is. On the contrary, the old artists who denounced it as "conservative" and "clinging to the shortcomings" became an alternative, which is a trick of nature. After a period of noise, I calmed down and thought about it. I thought it was something left by my ancestors, so a movement to return to tradition, explore and carry forward tradition began again.

But there is a group of people who can treat the so-called "trend" rationally and objectively; Concentrate on swimming in your own inner world, in the gap between tradition and innovation, watch the bottom line and color exploration of Chinese painting pen and ink, and open your own world. Such as Juyongguan in Yan Di and Xu Shuzhi's enjoyment of nature; Fang Jizhong's Three Scenes and Yaming's Cloud Map of the Xiajiang River. While controlling the pen and ink, they all use the color properly. Yang Qiyu is a representative figure in the use of colors in China's landscape paintings. If his "Surrounding the Castle Peak" still belongs to the traditional green category, then his "Smoke in the Canyon" has made a new interpretation on the use of color. The official cloth "Cui Gu Yan Yun" is blue and cool, dyed with two green spots, and a fresh air comes to my face; Zhou Shaohua's "Soul of the Yellow River" depicts the water potential in ochre khaki, which is stormy and breathtaking! Lin Yutang's "There is no Wind on the Coast" and "Dreams Drift in Spring" are elegant in color and full of books. Liu is a pioneer of successful color innovation. His Pearl Concerto and The Ring series all have his unique color concept. Zhang Ping's "Suddenly Reporting the Tiger Hidden in the Sky" shows the fireworks in the sky and expands the expressive force of Chinese painting on light things; Zhang Bu's Autumn in South Henan and Autumn in Shennongjia are just right. The colors used in "Tianchi Lake in Changbai Mountain" and "Ancient Camel Bell" on Mars are refreshing. The moonlight reflected in Li's Ten-Li Waterfall and Night Tour is unprecedented. Pang Taisong's "Morning Light" and other colors and the originality of "Seeing the Pen Cloud" lead the contemporary trend; Tong's "Lin Shuo" is a new classic of landscape color; Hua Tuo's A New Autumn in Qinling Mountains made a breakthrough on the basis of green. Mineral stone bluestone green should be used with caution, and active plant pigment should be used instead. The work is transparent and vivid. Ye Wei's Precious Mountains and Precious Water is innovative in color, but Blue Waves in the South of the Yangtze River is suspected of imitating the taste of Song Wenzhi. Jia Youfu's Heart Tide has a strong contrast between Yin and Yang and is magnificent. Liu Maoshan's Jiangnan water town, with harmonious colors, looks like the west without losing the bottom line; Weibao Wang's "The People Won" has the color of Lingnan School. Liu Yiyuan's colors and techniques, such as "dancing with the clouds" and "being open-minded", have inspired new opportunities and reflections on landscape painting. Zhu Songfa's "Su Yue Lai Hometown" is a new attempt to draw a moonlit night in a shallow way, with a harmonious atmosphere. Jun Fang's "several degrees of autumn coolness" and "Yunshan" both come from the traditional green color, but they sum up an explanation of the color in the minds of the ancients. Han Xiao is a landscape painter who came back from Europe. He invented various color techniques such as bumping powder, accumulating color and flooding color, which made the picture flexible and colorful. Song Yulin is a landscape painting artist with high understanding. He can avoid his father Gong's style and find another way. His Scenery of Mountains and Rivers is colored as small turquoise, which is elegant, simple, elegant and simple without losing the flavor of the times. Liu Mu's Pear Tree Ditch and Wheat Field in the Mountain belong to the category of composition in terms of color and composition. They use color blocks to express objects, which are very decorative and highlight artistic personality and style. Wang Yong is an all-rounder in painting and calligraphy. Judging from his "Green Mountains and Green Waters" and "Xi Shan Yu Ji", although only stones, bluestones and ochre are used in color, his grasp of color and hue is very rational, and the ink color is very harmonious and elegant! Chen's "The First Harvest of Summer Rain" and "Clouds Flowing in the Mountains" are both bright blue-red, and the clouds are not left blank, but white powder is applied. He is an artist with courage in the process of innovation. Zhang Jun's "The Residence of Longshan" subjectively uses color, giving the audience a strong visual impact. Dong Jining's "The Fountain of Life" is a work with a blend of color and ink, which draws a great beauty realm with a lot of brushstrokes. Bi Liang's works "My Land of Desire" and "The Dream of Jiangnan" implant the ancient green landscape into the modern landscape like a bonsai; The color application of Ceng Xianguo's "Mountains rise high" is still in the traditional small green; Sun Benchang's use of landscape colors, whether married women in Heyuan or immigrants from great rivers, not only has a breakthrough in connecting the past and the future, but also sets a good example for connecting the past and the future. The color composition of Lin Rongsheng, whether it is "the wind is clear and green" or "the clear shadow in April", gives people the feeling of a cottage breeze, and a fresh breath comes to my face. Qi's meticulous gold medals "Wu Yue Huan Xiu Tu" and "Li Jing Tu" are big green and heavy colors. The painting is colored with stone, bluestone, green, red, mud and gold powder, and the old tune and new song have a unique flavor. Xu Yun's Green Scenery of Spring Mountain and The Journey to the West are mainly composed of stone, bluestone and green, which is worthy of inheriting the tradition. Lu Yushun is a thoughtful artist, whether it is his "view of clouds and water" or

In contemporary times, there are also a group of outstanding artists overseas who are engaged in the creation of China's landscape painting colors, such as "Why are you a hundred miles away?" ",Zheng, and" Houbei People ".

In the application of color in China landscape painting, a number of new people have emerged, such as Zhou Zunsheng in the northeast; He went all the way to paint Xinjiang, bringing red and purple to the extreme; Feng of Tangshan vividly shows the subtle changes of mountains and rivers with strong colors; Shi Yunxiang in Sichuan vividly shows the scenery of Bashan, Shushui and Aba in Tibetan areas of western Sichuan in the form of colored ink. In the 1990s, there was a wind that imitated Shi Yunxiang's colorful ink landscape. Ceng Xiaohu, a native of Hunan, was born in Sichuan, studied in Guangmei and taught at Hunan Normal University. His realistic landscapes are unique in the whole country in terms of personality style and color application, and are little known because they don't seek Wen Da.

In a word, the application of color in China landscape painting is unprecedented in the contemporary era. Artists are consciously making various attempts, or respecting nature, or inheriting tradition, or drawing lessons from the people, and have made indelible achievements in various fields. There may be many people who have made outstanding achievements in the research and application of colors in China's landscape paintings in China or overseas, but they have not been included in this paper. It is inevitable that there will be regrets if you hang a thousand leaks and stick to the coffin legacy, but history will remember it.