Urgently seek the environmental composition and environmental aesthetic characteristics of landscape painting! ! ! According to the specific works! ! !
The art of landscape painting is closely related to the theory of Feng Shui. In the long-term historical development, traditional landscape painting theory, poetics theory, literary theory and geomantic theory have influenced each other, borrowed from each other and merged with each other, enriching the aesthetic thought of landscape painting and playing a positive role in its development. No matter in the origin of philosophical thoughts, or in the selection and construction of the ideal environmental landscape value standard and the pattern of landscape composition, the concept and form of landscape composition in landscape painting have a lot of amazing consistency with Feng Shui theory, which is worthy of in-depth exploration and research. This paper attempts to compare and discuss the ideal pattern of landscape painting scenery composition with the concept and method of how to choose ideal environment in landscape theory.
First, look for the dragon and vein in the painting and Long Mai.
China's geomantic theory originated in Qin and Han Dynasties, and initially formed a complete theoretical system through Wei, Jin, Southern and Northern Dynasties, and matured in Tang and Song Dynasties. In the long process of historical development, two schools have been formed: situational school and principled school.
"Situation School", also known as "Form Method", "Luan Tou" and "Three in One", is a way to achieve harmony and unity between heaven and earth in spatial image. "Li Qizong", also known as Sanyuan and Li Fa, is a method to explore the harmony and unity of heaven, earth and people in time series. Such as Yin and Yang, Five Elements, Ganzhi Zodiac, Four Seasons and Five Sides, Eight Diagrams and Nine Winds, Sanfu and so on. Situation school (shape method) is mainly used for site selection and type selection, while principle school (principle method) is mostly used to determine the indoor and outdoor orientation pattern. The situation school pays attention to the identification methods such as finding dragons, checking sand, watching water, acupoints and orientation. Situational method's five elements are dragon, sand, water, cave and direction, that is, seeking dragon, examining sand, seeing water, cave and direction. Look at feng shui in form and make sense in form. Some of these methods and principles, especially the aesthetic essence embodied in them, have something in common with the methods and principles of landscape painting selection and composition. In the history of landscape painting in China, it was Guo of the Northern Song Dynasty who applied the methods and principles of geomantic omen theory to landscape painting in large quantities earlier. Then, painters of past dynasties often comment on the images of geomantic omen. Explaining the theory of landscape painting with geomantic omen has become a prominent phenomenon in Qing Dynasty. For example, "Sasakawa Map" in Qing Dynasty and "Rain Window Over the Wall Map" by Wang devoted considerable space to the theory of Feng Shui landscape painting. Among them, "Long Mai's Painting Theory" has a direct connection with "seeking dragons and grasping veins" in Feng Shui.
"Long Mai" is a mountain range, and "looking for dragons and taking the pulse" is a method to investigate the situation of mountains and rivers, the situation and trend of origin and development from a macro perspective, visualize the topographical features of natural landscapes, be famous for their shapes, and pay attention to the collocation of dragons, caves, sand and water. Just as Guan's geography refers to Mongolia, he said, "Mountains refer to dragons, which is like the rise of the situation." "The shape of Yufushan is true by the dragons." "China Feng Shui divides the China area into two major water systems, the Yangtze River and the Yellow River, and divides the China mountain system into three major dry dragons: the south, the north and the middle. Dragons are divided into yin dragons and yang dragons. If the mountain rotates clockwise from the starting point, it is Yang Long. The mountains rotate counterclockwise like a Yin dragon. Dragons are divided into dragon and dragon. Long Mai's trunk and branches, when the trunk and branches are in the same direction, are called shunlong, and vice versa. ..... Dragons are divided into three types according to their area, namely Shan Ye Dragon, Pinggang Dragon and Flat Dragon. " According to the geographical and geological characteristics and location of China, the Luantou method of China Feng Shui divides the mountain trend into five potentials: 1. Normal potential; 2. Transverse potential; 3. Go against the trend; 4. Take advantage of the trend; 5. Back to the potential, the ups and downs and shapes of mountains can be summarized into nine states. 1 .Huilong; 2. Longteng; 3. Dragon descending; 4. Give birth to dragons; 5. Dragonfly; 6. Wolong; 7. Hidden Dragon; 8. going abroad; 9. chinchilla. Dragons also have a saying of eight squares and twelve squares, so as to determine the dragon of misfortune and happiness. Geelong should be a mountain (Long Mai) with light, fat, round, sharp, beautiful, majestic, heavy shape and spirit, rolling mountains like pearls, full of vitality, green leaves, lush foliage and colorful weather. Fierce dragons are mountains without potential, broken rocks, skewed and bloated, weak, with thin branches and thin feet, and no trees. Looking for dragons is the observation and choice of mountains. Where there are mountains, there is gas, so looking for dragons is actually the pursuit of "gas" and looking for areas that can "be angry and angry". Looking for a dragon is to choose a long and rushing mountain range, if it is a real dragon. Specifically, it is summarized as follows: to find dragons, we must distinguish the five potentials and five dragons, distinguish the general trend, determine the yin and yang, and seek good fortune and bad luck before we can choose a specific location. "
In the composition of landscape painting, Wang's exposition in Rain Window in Qing Dynasty has the greatest influence. "Long Mai is the imposing manner in the painting, oblique and positive, muddy and broken, intermittent and continuous, looming, meaning body also. Opening and closing from high to low, the guest and the host are natural, sometimes gathered, sometimes swaying, the peaks and turns, and the clouds and water merge and come out from here. The ups and downs are from near to far, clear to the back, sometimes towering and sometimes flat, and it is said to be useful to take care of the foothills. If you don't distinguish between high and low, you will know that there is Long Mai, and you will be arrested and lost. Knowing that there are ups and downs in opening and closing, not Long Mai, means that Guzi has lost his mother. Therefore, if you twist Long Mai hard, you will get sick; If you turn on and off the plug, you will get sick; If you fluctuate, you will get sick. However, there is opening and closing in full width, opening and closing in split, ups and downs in full width and ups and downs in split. It is especially wonderful to make up for its shortcomings and make it more than enough, so that the dragon's tendency is muddy and broken, looming, intermittent, and lively and splashing in it, which is the real painting. If we can understand it from now on, small pieces will accumulate into big pieces. There are people who are not wonderful. " Wang Jiang's ups and downs correspond to the momentum and opening and closing in the picture, pointing out that it is related to the overall momentum and internal vitality of the picture, the overall composition of the picture (large block) and the partial composition of the partition (small block), so that the oblique, muddy, intermittent and looming factors in the landscape are unified in the overall momentum of the picture, becoming a lively "true painting" and a vibrant "wonderful scene". This is exactly the same as the method of "expressing the truth of floating mountains by dragons" in Feng Shui. It is only here that the utilitarian factors such as the advantages and disadvantages of pursuing dragons with geomantic omen are abandoned, and the composition of landscape paintings is mainly used as the basis for interpretation. Wang also used "Long Mai Theory" to comment on the previous generation of painters. "The ancients lived in the south and in the north, and each family had its own Long Mai. There are ups and downs in opening and closing. What matters is the taste. You have to think it over. For example, Dong Ju is always in a muddle. It is hard to imagine that all four pieces of Yuan Dynasty furniture are private. Mountain firewood wrapped around Long Mai. Gui Zhong wrote it in a straight pen. Each has its own points and points. It is necessary to discuss its collocation. ……"。
It can be seen that Wang learned useful nutrients from the theory of Feng Shui, enriched, visualized and comprehended the painting theories such as position management and opening and closing rules in landscape painting.
The scene theory in Feng Shui is also closely related to the image taking of landscape painting, that is, Long Mai's painting theory. For example, ancient books on Feng Shui theory, Guan Shi's geography refers to ancient books buried by Meng and Guo Pu, and there are some wonderful expositions on the situation theory in Feng Shui:
"The distance is the potential, the proximity is the shape, the potential is the big one, and the shape is the small one."
"The situation is rough and the shape is good."
"The potential can be seen from a distance, and the shape must be close."
"From a distance, the situation is slightly true; Close to recognizing the shape, although Yobo. "
"The product of the trend of form, the worship of the trend of form."
"The accumulation is still full of gas, and the accumulation is also shaped."
"Great potential, small potential".
"Form is in potential, and potential is in form."
"Take advantage of the trend."
"The potential is fundamental and shaped like Ruiying; Hua Yinggu is rooted in the distance. "
"Form with potential, invisible and potential, and the potential is abrupt; The sky is shaped, the shape is awkward, and it looks like a ring from a distance, which is clever and shows its potential. "
"Those who are in full swing are also prosperous."
Geomantic situation theory regards "shape" as an individual, local and detailed factor, and potential as a group and whole factor, which clearly reveals the dialectical relationship between them and is complementary and interdependent. It is similar to landscape painting in that it is far from its potential and close to its essence, making it broad and subtle, and the relationship between overall composition and local composition is very similar. Although the geomantic situation theory focuses on the visual perception and internal laws in the spatial composition of the architectural landscape, such as yin and yang, competition, size, distance, clutch, master and slave, reality, movement, local composition and overall composition, it is related to the laws of unity of opposites in the spatial image composition of landscape paintings, such as potential and quality, distance and proximity, big and small, whole and local, outline and detail. Traditional landscape painting and geomantic theory interact, permeate and nourish each other, which is one of the unique cultural phenomena in China. Therefore, the above discussion of Feng Shui can be studied as a theory of landscape painting.
Second, the concept of water and landscape sand inspection in painting
Tea sand, the "sand" in Feng Shui theory refers to the health mountain accompanied by the main dragon (the main mountain), and the dragon refers to the mountain surrounded by layers around the cave site. "Qingnangjiao Jing" says: "The dragon is the monarch's way and the sand is the minister's way. The monarch must go up and the minister must go down; Bow down, walk without grumpiness, exhibit strangely, and have auspicious signs on the columns; Far away is the city, far away is the country, and recently there have been several cases. The eight winds keep it, and the water mouth is closed. " "Buried Wings" says: "Guarding the cave in the area can prevent the wind from blowing, embrace all beings, force or restrain them, and be unyielding, such as the winding of green dragons, the bending of white tigers, the hanging blue sky and the dancing of rosefinch."
Influenced by the theory of five elements, the rational style in Feng Shui can be divided into five types according to the image characteristics of mountain peaks: gold, wood, water, fire and earth. It is considered that gas field is the best when these five mountain shapes are available in natural environment. There is also the influence of the nine palaces of Luo Shu, which divides mountains into nine types to determine the pros and cons of bad luck. The sand inspection method in geomantic omen is an ideal landscape environment and image with organic connection of gas accumulation and mutual echo.
As early as the Northern Song Dynasty, Guo had discussed the composition and layout of landscape painting, which was similar to the sand-checking method in Feng Shui: "The mountain is the master, so it is distributed in Qiulin and is the ancestor of the distance." Its image is that if the great monarch is in the sun, he will run to the court and has no tendency to give up. ""Mountains and rivers listen to mountains first, which is called the main peak. The main peak is determined, and the second is near, far, small and big. It is called the main peak because it is dominated by its environment, such as up and down the monarch and his subjects. "
In the Qing Dynasty, Da Zhongguang also advocated that landscape painting should be "divided into five elements to distinguish styles, share the same peak and potential, and be familiar with geography" and said: "The imperial city in the clouds is surrounded by dragons and tigers, and the spring trees are in the rain, and the halls are magnificent in scale. Immortal Brahma, assisting its dragon sand; The cottage Maotang is suitable for its feng shui. " "The main mountain is low and the main mountain is far away. Mountain arch, the main mountain begins to respect. The thickness of the ancestral peaks is like the crisscross of peaks. ..... Close to the mound, we have the feeling of mutual respect and care. The distant mountains are low and high, and there is an alien image of the subject and object. " The above-mentioned painting theory is very similar to the landscape image of "67 Landscape Structure Map of Geomantic Auspicious Land" in the attached drawings, showing a landscape pattern in which the host and guest mountains are distinct and the mountains arch over the main peak.
In the Qing Dynasty, Buyantu said in "Questions and Answers on Painting Heart": "In a painting, the mountains and rivers of the main peak are like grandparents and grandchildren. The main mountain, that is, the ancestral mountain, should be solemn and affectionate, and the mountain should be inherited respectfully, not relying on the mountain. Don't be partial to others, like a grandson, be happy and go public. The grandparents and grandchildren are similar in appearance but different in blood, and the blood runs through the body. " Rao Ziran in the Yuan Dynasty, Shen Hao in the Ming Dynasty, Tang Dai, Tang Yifen, Gao Bing and many others in the Qing Dynasty all made similar statements. These discussions about the relationship between subject and group, whole and local scenery composition in landscape painting layout, such as size, grade, distance, primary and secondary, up and down, look around and so on. , is the principle that landscape painters consciously abide by, and obviously draws lessons from the sand inspection method in Feng Shui theory. In the landscape paintings handed down from ancient times, we can see that Guo's "Early Spring Map", Wang Ximeng's "Thousand Miles of Rivers and Mountains Map" and "Wanhe Map" all attach great importance to the management of the subject and object position of mountain peaks, and the images of mutual hug and mutual care. Their visual effects and psychological feelings are consistent with the main principles of sand checking in Feng Shui theory.
Viewing water, in the theory of geomantic omen, refers to water source and water flow, including rivers, lakes, seas, waterfalls and springs. Water also represents wealth. Observing water refers to investigating the form and quality of surface and underground water sources and flows. Water is considered as "the blood of the earth, the air outside the cave, the flesh and blood of the mountain, the fur is the stone, the soil and the vegetation, all of which are connected by blood." "Funeral Book" said: "The method of Feng Shui, water is the best, followed by Tibetan wind." The role of the nozzle represents the entry and exit of financial resources. Therefore, Shuikou is particularly important in geomantic observation, and it is required to observe Shuikou before entering the mountain, which is related to the gain and loss of wealth. "The mountain is rich, and the water is rich". Mountains can't live without water, and landscapes can't live without water. If there is no water, the gas will disperse. Water can "carry qi and accept qi" and nourish everything. Water has many functions, so let's leave it alone. This paper focuses on the aesthetic function of water landscape. According to the theory of geomantic omen, it is important to look at the water around the mountain and bend around it, so that people with feelings can be beautiful and auspicious, and those who go straight into the torrent can be evil. The ideal landscape form of water: life and music. Live for the busy business, enjoy the twists and turns of nature, and have the beauty of changing manners. There is a lot of discussion about this in landscape painting. In the Southern and Northern Dynasties, Xiao Yi's Song of Mountains and Rivers said: "Trees, stones, clouds and water are invisible ... Spring is full of joy, and fog breaks mountains."
Guo said in Lin Gao Quanzhi: "There are creatures in the water, and their shape is deep and quiet. Want to be smooth, want to Wang Yang, want to be round, want to be fat, want to spray, want to blaster, want to have more springs, want to flow far away, want to plunge into a waterfall, want to splash on the ground, want to fish for fun. If you want lush vegetation, if you want charming smoke, if you want to shine on the valley, this water also has life. " "Mountains take water as blood, vegetation as hair, and smoke clouds as illusion, so they are aquatic, long with vegetation and beautiful with smoke clouds." Shen Zongqian said in "A Brief Study of Dreamers' Paintings", "A waterfall of a thousand miles must come from a cliff, like a gorge, but it is only a tortuous advection, and there is no reason to hang a hundred feet high." Where the two peaks are opposite, the top of the mountain is high, but the foot of the mountain meets and gathers into a spring, which is also winding and flat. Could it be that the feet on the back foot are high and the feet on the front foot are low, running straight down? ..... The pen for drawing water must be popular, and it is a living spring instead of stagnant water. "
During the Ming and Qing Dynasties, Qi Zhi specifically talked about "Shuikou" in "On Painting". He discussed from the perspective of painting theory and landscape painting aesthetics: "A water outlet in a landscape is essential, and it needs to flow out of the canyon, which has a swirling trend and is living water. ..... Where there is a nozzle, there must be a source. The source is hidden above thousands of feet, hidden in crevices, or thousands of feet is unknown. This is the painter's mind and the principle of heaven and earth. "
Landscape painters of past dynasties have also taken "protecting the field with one water will surround the green" (Wang Anshi), "I am in the north and I am in the south, and spring water is flooding" (Du Fu) and "Qingjiang is a song to embrace the village" (Du Fu) as their painting themes.
In landscape painting, water is described as "alive", "curved" and "alive". Only when there is a source can there be living water, and it can last for a long time, meander and change, which not only shows the vitality of natural water as the blood of mountains, but also shows people's implicit and euphemistic life consciousness and aesthetic taste. In the theory of geomantic omen, water is the source of wealth, and the idea of judging good or bad luck by the shape of water is hidden in the subconscious of China people, showing the beauty of water in form and expression.
Third, acupoint and eye painting.
The "cave" in Feng Shui theory is the concrete foundation of ideal residence and cemetery. The concept of "acupoint" comes from the analogy of traditional Chinese medicine to human venous acupoints. It is considered that landscape vein and human vein are heterogeneous and isomorphic, and have the same law. This is obviously a reflection of China's view of nature. It may be related to the myth and legend that Pangu turned into a mountain after his death. In order to breathe, acupoints need to communicate with Long Mai (mountain range). "Dongtian, mountains and rivers intersect, Yin and Yang condense, and the place of love is also in the clock." In other words, the intersection of Yin and Yang is the most ideal acupoint. "Because Feng Shui is deeply influenced by the theory of qi, it is believed that' everything is made of qi, yin and yang are coitus, and everything breeds. Therefore, feng shui pays special attention to finding the place where yin and yang meet. "Youth Capsule Proud" says:' Women are yin, men are yang, and two qi are also. And those who talk to men and women are just. Couples have boys and girls, and sexual intercourse is good for children. This world is also a great opportunity for metaplasia. ..... (Integration of Ancient and Modern Books, Volume 656)
The theory of geomantic omen is based on the human body, which is similar to the acupoints of the human body in traditional Chinese medicine to compare the acupoints of geomantic omen. "Among the three acupoints (head, navel and yin) classified by Feng Shui according to the human body, the' Xiaju acupoint' in scrotum area is the most important, because this acupoint is the root of life and the real gas storage area. Some people say:' those who are endowed with bodies have nine tricks; Qian Shan is full of water. ..... Fetus refers to acupoints, which is a woman's conception. ..... Fushan Jiexue is a fetus, the qi of pulse-cutting is a rest, the accumulated qi is a pregnancy, and the vivid qi is a fertility, which is still pregnant for a woman. (Qing Zheng Yuan Fu, Volume II)
From the top to the abdomen, you can't show the wind without making mastoid points. There are two points under the crotch, male and female. This is the foundation of life, and several points are correct. "Five years of Tongzhi in Qing Dynasty, Mr. Shen Xinzhou studied in Liu Pu (Volume II" Cave in Heaven ").
According to the principle of pregnancy emphasized by geomantic omen, geomantic omen takes the earth as the position, takes the human body as the paradigm, and the prototype of geomantic omen acupoints is based on the feminine yin symbolizing the root of life. "
The above article points out that the acupoints in Feng Shui theory, that is, the best place to choose the Yang Zhai base where people live and the Yin Zhai base of the deceased, take the natural landscape environment as the paradigm of human body structure, compare the parts of human body and male and female genitals, and take "female yin" as the origin. Its ideological roots come from the worship of female genitalia by primitive people in matriarchal society in China. Indeed, in primitive society, fertility belief is a cultural phenomenon of all nationalities in the world. Humans realize that human production is more basic than material production, and the value-added population is the most important thing for human survival and development. In matriarchal society, women are the center of production, life and fertility, which determines the important position of women. Nu Wa, the goddess in China mythology, is the god of fertility. She created human beings and mended the heavens and the earth. She is an idolatry produced by matriarchal society, and as the ancestor of human beings, it has universal symbolic significance. Some scholars have pointed out that totem worship in matriarchal clan society is a symbol of female genitalia. Male genital worship originated in the late matriarchal clan society. Form a climax in the patriarchal society. Earth worship is the development and evolution of Yin worship. "When a woman gives birth to offspring, she naturally gives birth to everything. Primitive people began to equate the earth with their mothers. The' Xuanzang Gate' mentioned in Laozi is considered to be the huge female genitalia in the universe and the foundation of creation of all things in the world. "
Therefore, in the theory of geomantic omen, acupuncture points compare natural landscape images with human bodies, and regard the geographical environment similar to the position and morphological characteristics of vulva as a good point of geomantic omen, so there is a reasonable explanation of cultural causes. It seems far-fetched to directly analyze the landscape painting schema with the symbolic image of female yin in Feng Shui. However, we can indeed find some quite similar structural features in many landscape paintings.
For example, in the overall layout of landscape painting (taking the panoramic vertical axis schema as an example), the houses, buildings, palaces or waterfalls, bridges, pavilions and figures between the middle scene and the main peak of the close scene are usually under two mountains and one water. If the image of the picture is compared to the image of a person, "eye painting" is in the range from navel to human reproductive organs. For example, Fan Kuan's "Lin Qiu Waterfall" (biography) is like a sitting human figure. Waterfalls, small bridges and grass pavilions are not far up, down, left and right, while the position of the far door on the upper right is at the midpoint according to the position of the head, umbilical eye, upper, middle and lower points of the vulva in geomantic omen. There are also similarities in schema structure between Ju Ran's Tween in Autumn Mountain, Guan Tong's Picture Axis of Mountain Stream Waiting for Crossing and Li Cheng's Picture Axis of Qingluan Small Temple. This structural feature of Guo's Early Spring Map is more obvious. However, Xu Daoning's Map of Guan Shanxue is more typical, and the humanoid features of snow-capped mountains are more distinct. In the deep valley where the two mountains meet, a group of houses are looming and surrounded by surrounding trees. According to geomantic omen, the "lower gathering point" in scrotum area is the area where wind gathers qi, and it is the point of vital root, the "nest" and the "right point". Although we still can't find any notes about the composition of scenery in the theory of landscape painting, and we can't find the symbolic image of female yin in Feng Shui, there are not a few handed down works with the above characteristics in landscape painting, especially in the panoramic landscape painting of the Five Dynasties and the Song Dynasty. This situation is not accidental, it is the reproductive belief of primitive ancestors, and it is also the concept of worship of mother earth contained in Feng Shui theory. The collective unconsciousness of the people left in China through historical accumulation exerts a subtle influence and domination on the painter's creation, which makes the painter consciously or unconsciously adopt this schema structure in the landscape composition of landscape painting. This is the psychological schema and symbol form of the painter's subjective life consciousness, and it has also become one of the ideal landscapes of landscape painting.
Four. Ideal landscape and geomantic images
Guo said in "Lin Zhi": "It is said that the landscape is feasible, promising, tourable and livable, all of which are wonderful; But the feasibility is not as good as living and traveling. " Guo here regards livable and tourable landscape as the standard and aesthetic pursuit of the ideal landscape mode of landscape painting. He added, "What is the purpose of a gentleman loving his husband's landscape? Yuan Qiu nourishes elements, which are always there; Chunshi is proud, it will always be happy; Fishing firewood seclusion is often suitable; Apes and cranes can fly. They often kiss each other. The hubbub is often rejected by human feelings; Yanyun is a fairy, people often hope but can't see it ... However, Lin Quan's ambition and Yanyun's companion are all dreams and have no eyes and ears. Today, I have a good hand. Don't go to dinner, sit in the valley of poor springs; Apes sing birds, in the ear; The mountains and rivers are dazzling. Although this is not satisfactory, it is really my heart. The reason why your husband painted the scenery of this world is also the original intention. " Here, Guo regards the landscape composition that can "please people and win my heart" as a necessary condition for creating the ideal landscape of landscape painting, and regards the gentleman's longing for the beauty of nymphs as a livable and tourable environment created by landscape painters in the Five Dynasties and the Song Dynasty.
Living and traveling, first of all, is a regulation and explanation of landscape painting, and reality is a material space that meets people's actual needs. "Living", as people's living environment and place, is to choose a place to live, that is, to choose a good combination of natural environment and architecture, such as topography, hydrogeology, gathering wind and gas, and holding the sun negatively. "Can swim", the composition of landscape painting should make people feel beautiful and charming. In the recumbent tour, people's sightseeing desire can be stimulated and satisfied, thus achieving "boarding, wading, stopping and being safe". (Gong Xianyu) Of course, its scenery composition should conform to the rationality and ingenious layout of the sightseeing function.
There are two basic principles in Feng Shui theory to choose a good living environment. One is the choice of site, that is, the pursuit of a comfortable and satisfactory landform condition that can be obtained physically and psychologically; Second, the orientation, location, height, entrance and exit of the living room, the arrangement and treatment of road water supply and drainage can meet people's production and living needs and psychological needs of avoiding disasters. A series of ancient settlements, contemporary dwellings and their environments (including architectural combination, spatial layout and natural ecology) described by Wang Ximeng in the Northern Song Dynasty in "A Thousand Miles of Rivers and Mountains" all conform to the geomantic theory of "mountains as the skeleton, water as the blood", organically combine with natural landscape scenery, and conform to the values of relying on mountains and rivers, embracing the sun with negative yin, sitting in the north facing south, gathering wind and gas, adapting to nature and blending into nature. It vividly reflects the deep psychological structure of the ancients in the aspects of village site selection, layout, morphological distribution, regional characteristics, landscape image, artistic conception, and the combination of human landscape and natural landscape.
Guo is a pioneer in introducing Feng Shui theory into landscape painting. He clearly advocated that "painting also has a phase method, and Li Cheng's descendants are prosperous, and the foothills are thick and wide, and the upper show is wide, and there is a phase afterwards."
Although he is superstitious about the painting method of landscape painting (that is, the method of geomantic omen) to the extent that it can be extended to later generations, which is ridiculous, he still has many pioneering ideas when discussing landscape composition with some valuable expositions in geomantic omen theory. For example, "the shop is built by a stream and does not need to be washed with water." Look at the stream, it is harmful to be close to the water, but not to rush with it, or to rush with it without water. The village depends on the ground instead of the mountain, and farms on the ground. They don't rely on mountains to farm, or rely on mountains to farm. There must be a place to farm between mountains. " Guo explicitly draws lessons from the relevant discussions in Feng Shui theory to explain the rationality of the use function of the material space formed by landscape painting, so as to construct a livable and tourable painting environment.
In "Ancient Villages-Harmonious Space where People Gather", Liu thinks that the location and layout of ancient dwellings and ancient villages are mostly close to mountains and rivers, which are suitable for farming. "People want to live in rivers" is influenced by China's early view of organic nature of the earth, which holds that the earth is an organic whole, man is a part of nature, and man must be integrated with nature and live and benefit together with nature. Therefore, in the construction of human settlements, the first consideration is to be close to nature, to' take mountains and rivers as blood, vegetation as hair, and smoke as spirit', and to build a vibrant and energetic settlement space system. "
In ancient landscape paintings, we can see many works that meet this value standard. From the perspective of painting themes, there are pictures of villages, Shan Jutu, small snow in fishing villages, water towns, seclusion and grange. Many landscape paintings include villages, houses, small bridges and flowing water, temple buildings, green mountains and green waters, bamboo planting in Maolin and so on. Dong Qichang, Gao Bing, Tang Dai, Wang and others all expounded the theory of landscape painting with the theory of geomantic omen. "Landscape painting not only pursues the charm of the dragon in the mountain, but also pursues the integrity of the mountain with the back, the face and the mountain in the environmental structure, and pursues the elegance of lush trees, flowing streams and quiet winding paths."
Compared with the environmental image of Feng Shui, scenic spots in landscape painting pay more attention to spiritual needs. The realm of being able to swim and live also satisfies the ambition of Lin Quan, a scholar-bureaucrat, to get rid of the quiet realm of hubbub and lock-in with smoke and clouds. You can live and swim in the embrace of natural mountains and rivers, return to simplicity, die and swim freely. Vagrancy can be understood as fugue and physical vagrancy. Fugue is a state of spiritual freedom that transcends secular ethics and gets rid of utilitarian purposes, so spirit can enter infinite time and space. My eyes are comfortable. My brain is broken. In this free state, you can learn from nature, change your thinking, measure subtly, appreciate the scenery in natural mountains and rivers, and make the mountains and rivers vivid in your mind. Only in this way can you find that "the scenery is unexpected", that is, "you can think about the smoky white road, the plain, the secluded people, the mountains and the rocks." Create an ideal human landscape composition paradigm-a habitat for living and traveling.