The meaning and symbolism of the Fuchun Mountain Residence Picture

The moral and symbol of the picture of living in Fuchun Mountain is: living in Fuchun Mountain is not just a painting, but a philosophy and an attitude towards life. It allows the creator to combine the accumulated experience of 90 years of subjugation. The pain turned into something else, getting rid of the pain of alien rule, returning to the mountains and rivers, and becoming a simple self again.

"Fuchun" is an ink painting created by Huang, a painter of the Yuan Dynasty, in 1350. It is one of the top ten famous paintings handed down from generation to generation in China. Huang's painting was painted by his younger brother. It changed hands several times, and the first two sections were created because of "burning books and entrapping Confucian scholars". Fuchun Mountain Residence is located on the bank of the Fuchun River in Zhejiang. The ink used in the picture is light and elegant, the landscape layout is appropriate, and the ink color is a mixture of dry and wet, which is full of changes.

The Fuchun Mountain Dwelling Picture is known as the "Orchid Pavilion in the Painting" and is a national treasure-level cultural relic. It turned out to be drawn on six pieces of paper, and the six pieces of paper were framed to form a long scroll of about 700 centimeters.

The overall style of "Dwelling in the Fuchun Mountains"

The hooks and cracks of the rocks in "Dwelling in the Fuchun Mountains" are made with strokes, twists and turns, as if they were made by nature. The long robe is made of hemp, withered and wet, and he has profound skills, free and easy and quite aura. The ink used in the whole picture is light and elegant. Only the rocks are covered with a layer of almost transparent ink, and a slightly darker ink is used to dye the sand stains and wave shadows of the distant mountains and riverside. The thick ink is used to dot the moss and leaves, which is eye-catching and natural.

The whole picture is full of beautiful forests and lush vegetation. It is full of the poetry of a hermit leisurely wandering in the forest and springs, and exudes a strong atmosphere of Jiangnan literati. The quiet and scattered special appearance of Yuan paintings and another transformation of Chinese landscape painting were completed here, and the lyricism of Yuan paintings is also fully seen in this volume.