China people have such a view that there are countless white sands in the Yangtze River, but they can be seen in a piece of dust; The sea is vast, but you can see it at a glance; The mountains are towering and continuous, and a punch stone is roughly known; What's more, the leaves fall, knowing the power of autumn; Full moon, knowing the universe; A small flower sings the mystery of the world in a low voice; A bamboo leaf swaying, revealing thousands of news. The so-called one flower, one world and one grass a day.

This is an important issue in China's philosophy, as well as in China's aesthetics and art, which embodies the wisdom of China people to see the big from the small. It is one of the most attractive concepts representing the oriental aesthetic tradition.

The Southern Song Dynasty Xia Gui's "Xishan Qingyuan Map" Part

In the history of painting in China, there are two sayings, namely, "a dime of a horse" and "Xia Banbian", which refer to two painters in the Southern Song Dynasty, namely Ma Yuan and Xia Gui, who both made unique contributions. Their art has a profound understanding of "seeing the big from the small".

Mayijiao

Ma Yuan's Travel Map in Southern Song Dynasty

The color of silk ink is191.8cm long and104.5cm wide.

Part of the "Walking Map"

Ma Yuan's landscape painting is very different from panoramic landscape painting. A few more corners in his painting make the scenery less. He simplified the speed with a pen. "Gegu Yaolun" said that he: "Or steep peaks are straight, and there is no top; You can't see your feet on the cliff; Or the nearby mountains are towering and the distant mountains are low; Or sail alone for the moon and sit alone. " In short, everything has been dealt with simply.

Ma Yuan's Moon Map in Southern Song Dynasty

Silk is light-colored, with a length of 149.7 cm and a width of 78.2 cm.

Collected by the National Palace Museum in Taipei

For example, in his "Two Egrets on a Snowy Beach", snow-capped mountains are painted in the distance and streams are painted nearby. The ice ridges are vivid, and the old trees on the shore are uneven. Several egrets are resting leisurely, curled up and afraid of the cold, showing the usual desolate and cold environment of Chinese painting. This painting reflects the simplicity and rigidity of Ma Yuan's painting. Mountains and rivers are all in the mist. Take a branch from the tree, a corner from the stone and a bend from the stream. Simplicity reveals the purpose of openness, less scenery and more meaning, and small things have long rhyme. From the corner to the vastness, from the finite to the infinite, it embodies the wisdom of seeing the big from the small.

Ma Yuan's "Snow Beach Double Heron Map" in Southern Song Dynasty

Silk books are lighter in color, 60 cm long and 38 cm wide.

His famous water map is also very beautiful. Each of these water maps only draws a few waves, but they are nominated as "The Yangtze River is full of sky", "Clouds make the sea" and "The Yellow River goes upstream". A few waves will show the vastness of the Yangtze River, the Bohai Sea and the Yellow River, and they are just "a sea", "Ganges sand" and "a spoonful of water has songs".

Li Rihua commented on Ma Yuan's "Water Atlas" cloud: "The twelve waters of Ma Gong have their own characteristics, so the spoons are divided into spoons, and the days of lakes, seas and streams are there." Li Rihua has this view: "Everything has its shape without potential, its potential without rhyme, and its rhyme without sex." The requirements are the highest. On the Acquisition of Ma Yuan's Paintings. Especially, the light and shadow treatment in Echo of Autumn Water really conveys the subtlety of the world.

The water map has twelve sections. Except for the first paragraph, which has no title because it is incomplete, the other titles are: Dongting breeze, overlapping waves, shallow cold pond, boundless Yangtze River, Yellow River countercurrent, autumn water echo, sea of clouds, lake light, cloud-Shu Lang volume, sun bathing in the morning sun, and thin wave drifting.

Southern Song Dynasty? Ma Shui Yuan Atlas? Local? Waves and golden wind

In the Southern Song Dynasty, the water map of Ma Yuan has a fine wind at two points.

Local three-layer wave superposition of Ma Yuan water map in Southern Song Dynasty

Southern Song Dynasty? Ma Yuan? Water scroll? Partial four? The cold pond is clear and shallow.

Southern Song Dynasty? Ma Yuan? Water scroll? Partial five? The Yangtze river stretches as far as the eye can see

Southern Song Dynasty? Ma Yuan? Water scroll? Partial six? Countercurrent of the Yellow River

Southern Song Dynasty? Ma Yuan? Water scroll? Partial seven? Autumn water echo

Southern Song Dynasty? Ma Yuan? Water scroll? A part of Yakumo gave birth to the sea.

Southern Song Dynasty? Ma Yuan? Water scroll? Partial nine? The lake is full of sunshine.

Southern Song Dynasty? Ma Yuan? Water scroll? Local ten? Shu Yun Langjuan

Southern Song Dynasty? Ma Yuan? Water scroll? Local eleven? Xiaorihongshan

Southern Song Dynasty? Ma Yuan? Water scroll? Local twelve? Ripple drift

Xia Banbian

Xia Gui's small scenery is also very distinctive. His main paintings are the scenery of water towns, water and smoke, which have a unique flavor. He painted ordinary scenery, such as smoke village, fisherman, cloud tree, fog forest and so on. And he is the best. He put the normal mind of the Zen family in his paintings and expressed his understanding of the world in vivid language.

Southern Song Dynasty? Xia GUI? Smoke-shrouded forest house map

Silk ink is 25 cm long and 26. 1 cm wide.

Collection of Beijing Palace Museum

For example, "Smoky Forest Scenery" is a typical composition method in Xia Banbian. A corner of the mountain, several branches and a line are exposed on the house. Everything is hidden and vague. Xia Gui first studied landscape painting with Li Tang, and later was influenced by Ma Yuan. A corner horse painting and his semi-landscape composition have opened up a new realm of China's landscape painting. "On Ge Guyao" commented on his paintings: "Xia Gui's landscape, layout and painting method are the same as Ma Yuan's, but his meaning is still Gu Zhuo, and he likes to use bald pen. There is a pen between the leaves, and the castle is self-confident, strange and charming. "

The Southern Song Dynasty Xia Gui's "Western Mountain Qingyuan Map" Part I

Xia Gui's Map of Western Hills in Southern Song Dynasty, Part II

Xia Gui's "Western Mountain Qingyuan Map" in the Southern Song Dynasty Part III

The fourth part of Xia Gui's "Xishan Qingyuan Map" in the Southern Song Dynasty

The Fifth Part of Xia Gui's "Xishan Qingyuan Map" in the Southern Song Dynasty

The expressions of Ma and Xia are not only their personal hobbies, but in fact, their expressions are universal in the history of China painting. Mr. Shen Maishi, a researcher of contemporary Chinese painting, said: "The characteristic of Chinese painting is' seeing the big from the small'. This technique has gradually developed and matured since the Sui and Tang Dynasties, and reached the magical realm in the Northern Song Dynasty. " "Seeing the big from the small" is one of the important characteristics of Chinese painting. Chinese painting has Qian Shan mangoku, but more is to pursue a broad realm in the tiny and exquisite landscape. The image is implicit and the charm is long.