Taoist art
Plastic arts with preaching Taoist teachings and immortal thoughts as the main content. Including daily worship and gods, story paintings, portraits or sculptures of immortals, as well as patterns and reliefs on seaweed ornaments and utensils in the Palace Museum.
Statues come in various forms. The Taoist Scripture of King XuanLingbao of Taishang Cave says that the sculpture "no matter what it is, gold, silver, pearls, jade, embroidered paintings, clay sculptures, niche stone carvings, bone carvings and paper paintings", as long as "the difference between one thought and another, the size follows the strength, is solemn and simple, and each has its own time". But there is a formula for the specific production. According to the Taoist teaching "No Privacy in the Three Caves of Lingxuan Lingbao Cave", statues must be "in accordance with the scriptures" and "well-dressed, and must be like the law". Tianzun's "Nine Colors or Five Colors Clouds and Mountains" and so on, "Pure purple, painters can't be green". Real people "must not be scattered, long ears, one-horned and must wear crowns such as Lotus, Yun Fei and yuanshi county". The left and right reasons are "or stick to the classics and keep it simple, and pay attention to fragrant flowers. You must not let go of your hands and feet and your clothes are askew."
Early Taoist statues or portraits were influenced by Buddhist art, and Wang Chun's theory of three religions was quoted in Shi Falin's "On Distinguishing Righteousness" in Tang Dynasty: "Modern Taoists learn from statues because they have no way to live and want people to believe them. Pseudonym Tianzun, left and right two real people. " Emperor Taizong rebuilt Huayang view in Maoshan for Wang Jian's Taiping view. His inner hall shaped the Buddha statues in the early Yuan Dynasty, both in the shape of two real people. However, his image is China-like, his creative thinking is deeply influenced by Taoist philosophy and doctrine, and his techniques directly inherit the techniques of Chinese bronzes, Han portrait bricks and ancient figure painting, which has obvious Taoist artistic style.
The existing Taoist stone carvings include the giant stone carvings of Mr. Qingyuan Mountain in the northern suburbs of Quanzhou, the painted sculptures in Jinci, and the Longshan Grottoes in the Yuan Dynasty. Among them, the statue of the old gentleman in Quanzhou stone carving has a loose back, modest posture, straight eyes, kind eyes, big ears, his left hand leaning on his knees and his right hand leaning on it. The whole body lines are vigorous and powerful, which can be summarized by washing. The stone statue is 5. 1 m high, carved from a whole natural boulder, and it is a magnificent treasure in Taoist sculpture art. Notre Dame de Jinci in Taiyuan was founded in Tiansheng in the Northern Song Dynasty (1023 ~ 1032). There are 43 colored sculptures of the Virgin Mary, eunuchs, female officials and maids, which are based on the life images of the queen, courtiers and maids. Their faces, postures and feelings are close to the prototype of secular life (see color pictures). Longshan Grottoes, about 20 kilometers southwest of Taiyuan. The grottoes were built six years ago (1295) and are carved with stone statues of Sanqing,,, Xuanzhenzi, Piyunzi and Beiqizhen. The main builder was Song Piyun, one of the eighteen travelers who traveled westward with Qiu Chuji. He also added five caves to the Longshan Grottoes, making them "magnificent halls and pavilions as splendid as the top of the mountain".
Portraits of immortals have been handed down for generations. It not only uses the traditional painting skills of China, but also tries to embody Taoist teachings. With the aim of "painting with meaning", the methods of "writing God with form" and "writing shape with god" are adopted. In his creation, he not only mobilized a variety of artistic means such as "water" and "style", but also reflected the various requirements of Taoism for painting and sculpture. In the 29th year of Kaiyuan in Tang Dynasty (74 1), he painted the image of Emperor Xuanyuan (who ascended the throne as an old gentleman), accompanied by five images of Gaozu, Taizong, Gaozong, Zhongzong and Zongrui. Painter Wu Daozi has five emperors, five senses, stars and so on. Among them, the statue of Emperor Xuanyuan painted in the Taiqing Palace in Lu Yi, Henan Province, is a silk book, that is, it is painted on a single silk book, not mounted, hung on a shelf when it is enshrined, and then engraved in the mysterious temple in Suzhou, which has been passed down from generation to generation.
The concept of immortals prevailed in murals in Qin and Han dynasties, and immortals and fragrant clothes were often found in the works of fine arts of palaces and tombs decorated with seaweed and silk paintings. The mural of the Han Tomb in Yingchengzi, Jinxian County, Liaoning Province, has a cloud on the upper left, one of which is covered with feathers. On the upper right is Yi Long, with his head held high. In the center of the painting, there is a sword-holding man wearing three mountain crowns and a white-haired old man. He talks with the tomb owner like a fairy. Black Fairy's swords, feathers, beards, clouds and other images are simple and lofty, and the lines are simple and casual, which is the first sound of Taoist murals.
During the Tang and Song Dynasties, Taoist murals were quite common. The Legend of Taishan God, a huge mural existing in Tang Tian Hall of Daimiao Temple in Taishan Mountain, takes the life of the royal court as a model and depicts the scene of the return of the Taishan God Dongyue the Great. The scene is huge, the characters are numerous, vivid and lifelike, and the landscape characters set each other off in interest, which has a strong tendency of artistic secularization. Although painters in the Ming and Qing Dynasties re-painted, craftsmen made heavy marks. In the Yuan Dynasty, there was a "General House of Various Artisans" in the court, which was in charge of all kinds of artisans who built temples. Liu Yuan, a color sculptor, is in charge of the Brahma Promotion Department, and famous national painters have also added the title of "Awaiting Imperial edict". Taoism Quanzhen religion was once very popular in the early Yuan Dynasty. The Taoist mural in Yongle Palace in Shanxi Province is a masterpiece in the history of China's fine arts, which combines the tradition of Taoist painting in Tang and Song Dynasties. Yongle Palace mural is 90.68 meters long and 4.26 meters high, and there are 286 large and small statues actually painted. The murals in the Sanqing Hall follow the style of The Fights of Immortals in Yuan Dynasty, and form a well-organized sacrificial ceremony centering on Sanqing, expressing the meaning of "Sanqing is like Beichen, living in its place and surrounded by gods". The whole painting is divided into several groups, including Lei Shi, Liu Que in Nandou, the Big Dipper, the Eight Diagrams God, the Zodiac God, the Twenty-eight Stars and the Thirty-two Celestial Emperors. There are more than a dozen jade girls around every emperor and virgin. Clouds and mist are lingering, magnificent and magnificent, which shows the superb composition ability of Taoist painters in Yuan Dynasty. The lines are round and smooth, the colors are harmonious, quiet and solemn. There are 52 murals in Chunyang Temple and 42 stories in Qizhen Temple, which describe the birth, enlightenment and immortality of Wang Zhongyang, the founder of Quanzhen, and the stories of Ma Danyang, Sun Buer and Qiu Chuji. These murals combine landscapes, flowers and birds, pommel horses, boundary paintings and figures to show the plot of the figures. The murals of Yongle Palace were collectively painted by folk painters in Yuan Dynasty, who were the most creative folk artists in the painting history of China in the14th century. Since the Yuan Dynasty, Taoist murals have been handed down all over the world, but most of them were imitated by Chen Xiangyin, and there are no very good works.
Literati Taoist paintings
Taoist paintings with the theme of Taoist stories and immortal thoughts are enduring, and painters come forth in large numbers. Gu Kaizhi, a painter in the Jin Dynasty, advocated Laozi and Zhuangzi and painted Taoist paintings with dragons as the theme. There is a saying that Laozi still loves dragons. Later, Yunlong became one of the characteristics of Taoist paintings. According to the records of Zhenguan's public and private paintings, Gu Kaizhi also painted Liu Xian's Portrait and Three-Day Female Portrait. He is also the author of Painting Yuntai Mountain, which describes the content and conception of his Taoist story painting. On the picture, Dan Cliff is steep and tall, and the color is red and purple, which shows that it is the realm of immortals. Zhang Tianshi's face is thin and floating like a fairy. He tried his apprentice seven times in Danya. His disciple Wang Changmu sat and answered, and Zhao Sheng was refreshed. The other two disciples were upset and sweaty.
During the Tang Dynasty, Wu Daozi was good at Buddhism and painting. Zhang (874 ~ 879) is a painter of Changdao Temple in Qingchengshan, Sichuan. In his Historical Records, Zhang once painted a picture of Lao Zi crossing quicksand, an original picture of the Five Dynasties, a picture of nine emperors, a five-star picture, a star picture of the old man, a portrait of twenty-four real people and a portrait of Mr. Taiwu. The former owner of Shu asked him to paint five mountains, four shames, twelve streams, mountains, streams and marshes, tree gods and Yue shames on the Zhenjun Hall. On the birthday of Lord Shu, Zhang painted twelve immortals, which was highly appreciated. Where there is fasting, it is open to worship. According to Illustrated Materials, there were more than 250 famous painters in the Five Dynasties, including Taoist painter 1 13.
Taoist painting in Song Dynasty absorbed the techniques of landscape flowers and birds and enriched the expressive force of Taoist painting. Wu Zongyuan, a painter, was the first 3,000 painters to be called to paint Song Zhenzong Zhaoqing Yuying Palace. At the age of 65,438+07, he painted the wall of Laozi Temple in Beimangshan, which was quite excellent. His handed down Taoist painting "The Battle of the Immortals in Yuan Dynasty" was originally mural powder, 6 meters long and 0.48 meters high. It depicts the scene where the Antarctic Emperor and Donghua Emperor lead immortal officials, attendants and pay homage to Emperor Xuanyuan. * * * There are 87 immortal figures, including male immortal 1 1, God 8, and the rest are fairies with offerings, immortals and musical instruments. It is painted that the guardian god will hold the sword to clear the way, and a pawn and the god will be behind the house. In "Two Days", the emperor is slightly taller than other immortals, and its handling method is similar to that in Yan's "The Map of Emperors in Past Dynasties". On or beside the head of the immortals, there is a long title box painted with ink lines, which is marked with the honorifics of the immortals, such as "Donghua the Great" and "Fusang the Great". The whole picture has clear priorities and orderly levels. The line-drawing characters have different expressions, smooth lines and a sense of rhythm of line-drawing art..
Scholars in Song and Yuan Dynasties advocated scrolls, album pages and fans in their paintings, or combined Taoist themes with landscapes, flowers and birds to pursue a "quiet" realm and form a detached, indifferent and elegant artistic style. Some painters in the Yuan Dynasty, such as Huang, Ma Zhen and Fang, were themselves Taoist priests. Zhang Wo's "Nine Songs" and "The Portrait of Taiyi" depict Taiyi's real person holding a wish and riding a lotus leaf, stretching the elegant "fairy wind". The representative work of Yan Hui, a painter in Yuan Dynasty, is The Portrait of Li Xian. He painted Tie Guai Li, one of the Eight Immortals. He sat on a stone with a serious expression and delicate brushwork. The figures and landscapes were integrated, which showed the painter's free and easy interest. The Ming Dynasty painter Wu Wei's "North Sea Reality" is about a Master Roshi riding leisurely across the sea, swaggering and unrestrained. The Portrait of Zhang Tianshi by Jin Nong, a painter of Yangzhou School in Qing Dynasty, expressed the painter's extraordinary feelings with Gu Zhuo's interest in pen and ink. Contemporary painter Zhang Daqian lived in Qingcheng Mountain in Sichuan for a long time in his early years. His paintings of the heavenly queen, Magu, Chen Tuan, Chunyang and Zhang Ling are all carved on the mountain, and they still exist today.
After the Song and Yuan Dynasties, Taoism lost the support of the imperial court, and literati Taoist paintings gradually declined and were combined with folk art. Since then, folk painters all over the country have widely engaged in murals, prints, New Year pictures and land and water paintings used in Taoist fasting activities. Folk wood carvings, embroidery and paper handicrafts are widely used as utensils or furnishings for Taoist fasting ceremonies. Decorative patterns such as Eight Immortals, Kirin and Evergreen, which are widely circulated among the people, are also widely used in Taoist temples. Carved door gods, kitchen gods, Guandi and God of Wealth are especially popular with people.