Gao Zhan, the ancestor of the Northern Qi Dynasty, was his favorite minister. During the Northern Qi Dynasty (56 1 ~ 565), he served as a general in Zhige and a regular servant outside Yuan Dynasty. He is good at drawing noble figures, palaces, chariots and horses, and his horses are particularly vivid and lifelike. It is said that the horse he painted on the wall even caused the audience to scream when he heard Marceau's grass at night. Sometimes called "painting saints". Sai-jo of the Northern Qi Dynasty asked him to serve in the imperial court, and he was not allowed to paint with outsiders unless there was an imperial edict, so he became a special imperial painter. The characters he painted are plump and round, which is different from Gu Kaizhi's "graceful and smooth". His painting style has influenced the Tang Dynasty and has a historical position of connecting the past with the future. Yang Zihua is also considered as a master of peony. Su Shi once sighed in the face of peony: "Danqing wants to write the color of the city, and there is no Yang Zihua in the world."

Yang Zihua painted many murals in Chang 'an and other places, but today they all disappeared. Only a scroll of Painting School of Northern Qi Dynasty handed down by Song Lin (now in Boston Museum) is the only scroll painting of Yang that we can see today.

The proofreading book of the Northern Song Dynasty is 29.3 cm long and 122.7 cm wide. This picture depicts the scene in which 65,438+065,438+0 people, including Wen Xuandi Levin, Fan Xun and scribe Gao Qian, were responsible for publishing the History of the Five Classics of China and Tibet in 556. According to the inscription in the Song Dynasty, this painting was originally made by Yang Zihua, and it was colored with ink and rolled horizontally. At the beginning of the scroll, a teenager stood sideways, reading a scripture. A scholar is sitting in a chair writing, and two attendants are holding paper inkstones; One person holds the scroll, and two waitresses are behind him. In the middle of the sofa, two people are writing, and a waiter turns to talk to the violinist. There are two waitresses behind the couch, and there are three waitresses standing beside the couch with some harps and pots in their hands. At the end of the scroll, there are two horses, one holding a whip, two holding horses, and one holding a horse like a westerner.

The characters in the characteristic paintings are very vivid. This picture is circulated with a pen, and the details are subtle. Simple and beautiful color design. The characteristics of the characters in the painting are different from those of Gu and Zhang, and the faces of the characters are all oval-shaped, which is consistent with the unearthed Loubengong. Because he is good at

There are murals in the School Book Map, so some people speculate that the Lou Benggou unearthed in 1979 is his handwriting. In the Tang Dynasty, Yan commented on his paintings: "Self-likeness, joy, simplicity, beauty, no reduction, no transcendence, and gorgeous only son!" The sai-jo of Beiqi School's calligraphy and painting was a general of Zhige at that time, riding a horse outside and serving as a constant waiter. Try to draw a horse on the barrier, and listen to the hooves at night, like grass. Dragon is in the element, Yunrong. The ancestors attached great importance to it, so that they lived in the forest and the world honored them as "painting saints". You can't draw with outsiders unless you have a letter. Sometimes, the prince is good at chess and savvy, which is called two unique skills. Yan said, "Being like a human being is wonderful, simple and beautiful, indispensable, and his only son is gorgeous?" There are golden statues welcoming the French, pictures of gardens in Qi, Guangxi and Qi, screens of palace figures, hundreds of plays in the middle and pictures of fierce lions, which have been handed down from generation to generation. His paintings include the official statue of Hu Lujin in the Sui Dynasty, a photo of a noble family in the Northern Qi Dynasty, a trip by Yi Wei, a screen of figures in the palace, and a picture of a hundred lions in Nakano. Recorded in the history of Zhenguan public and private paintings. His murals can be found in Xuansi Temple in Ye Zhongbei and yongfu temple in Chang 'an.

Praise Yuan Zhen's poem "Three Paintings"

Huayang is far from the exhibition, so why is he here today? Still wearing ancient costumes, but the feeling has changed. I miss you once, but I miss you for a thousand years. When a child is a guest, he will become painful and sad. Hao's wrist was covered with red tea, while Jin Wei's arm was pale. An old friend's heart is broken, and a child's teeth are happy from a bird. In those days, I cherished your visit, and the image of Agupaidan and I was still vague, and the lead was thin. It seems that for the ancients, there was no repetition of the battlements of the past. The son also looked at the sick body, and the color was empty and lonely. Upset the hearts of the people and lack public opinion. I really can't appreciate the painting, and it's really similar to appreciate the painting. Dan Qing is good at everything, and he is all thumbs in his work. Looking for the essence of this illusion, you are the son of Hanako.

In addition, some tomb murals also reflect Yang Zihua's painting style, and even some murals are considered by scholars to be made by Yang Zihua himself. Among them, the most famous ones are the travel map in the murals of Lou Rui's tomb in the Northern Qi Dynasty in Guo Wang Village, the southern suburb of Taiyuan City, Shanxi Province, and the travel map in the murals of Tang Lishou's tomb in Sanyuan County, Shaanxi Province. They lived in similar times, with similar painting styles, the same content and similar forms, similar to the works of one person (Yang Zihua), or works with the relationship between teachers and students, at least because of the influence of paintings in the Northern Qi Dynasty on the early Tang Dynasty.

Lou Rui, a noble family of Xianbei, a consort of the Northern Qi Dynasty, served as a military commander for 40 years (53 1-570) and was crowned king of Dongan County in South Qingzhou. The Biography of Lou Rui in the Northern Qi Dynasty called it "greedy for official position", "greedy for convergence", "committed to breaking the law" and "obsessed with wealth, which is despised by today's theory". Because of insatiable greed, he was dismissed from office, but he was quickly promoted and promoted step by step. Later, he was named general and Fu was in charge of the whole army. He is also an influential historical figure. He became an important official who always led the emperor's machine by being a teacher.

Political stability, economic development and reburial prevailed in the Northern Qi Dynasty. Lou Rui's position is high, and the level of tomb construction is also high. The tomb is more than 26 meters long and all painted with murals. So far, most of these works can be clearly identified and well preserved. Travel maps were drawn on the east and west walls of the tomb, and the whole map was formed in the form of group paintings. The scene is grand and magnificent, which is an important part of describing the experience of the tomb owner before his death. In the tourist map, the middle layer of the Western Wall is relatively complete. The marching saddle is complete, galloping, with its head held high and its tail lifted, and its shape is excellent. There are many changes in the horse's head, either looking down, looking up, or squatting, all showing that kind of strong and powerful expression. This is in sharp contrast with the serious knight, which makes the more active the player is, the quieter it is. Thus showing a strong artistic effect. From the running action of the pommel horse, it seems that you can hear the sound of hooves and see the dust. Knights wear black hats, black boots, red or white round neck tight sleeves, swords around their waists and bows in their hands. It is a representative mural masterpiece of the Northern Qi Dynasty, with intense expression and flying momentum. Li Shou (577-630), also known as Shentong, was the younger brother of Tang Gaozu Li Yuan. At the end of Sui Dynasty, he rose up in Huxian County and awarded Dr. Guanglu. In the first year of Wude, he worshipped general Wei and made Yongkang king. Later renamed Huai 'an Wang. General Li Shouhe Sui was defeated in several wars and retired according to the old saying. Later, I was trapped by Dou Jiande. After breaking Jiande, follow Taizong to break rebel Liu Heita? The official title has changed repeatedly. "Biography of Wang An's prodigy in the Old Tang Dynasty": "When Jiande was defeated, he was awarded the post of Shang Shu of Hebei Daoxing to shoot the left servant, and since Taizong defeated Liu Heita, he moved to General Wuwei. "Zhenguan four years, give me a gift, I am quiet. The murals in Li Shou's tomb are large in scale and fully reflect the society in the early Tang Dynasty. On the two walls of the 40-meter-long pyramid-shaped mound, rich social life and superb painting art level are reflected. The author created a rare mural in the early Tang Dynasty with his skillful skills and deep understanding of life. The content and theme of murals include all aspects of society. From war to song and dance; From hunting to farming and grazing; From etiquette to male and female attendants, as well as chores, all directly or indirectly show the reality of social life in the early Tang Dynasty. The most prominent mural is the military array diagram representing the life story of the tomb owner. This is the product of the times, and it is also the part with the highest artistic attainments. At the turn of Sui and Tang Dynasties, wars were frequent, the strong bullied the weak, and mass violence overwhelmed the weak. There are flags on both sides of the grave. From the atmosphere of the neighing of war horses, you can imagine the killing scene with swords and shadows and blood spattering on the spot; The momentum of the soldiers can be imagined as a tragic scene of millions of corpses lying everywhere and bleeding. History tells us that this general made great contributions to the establishment of the Tang Dynasty. He fought side by side with the peasant army, with the Sui generals, galloped Qinchuan, fought in the Central Plains, and fought in the north and south of the Yellow River, with fruitful results. The official residence is General Zuo Wuwei. Therefore, the two walls of the tomb highlight his military talents before his death and the battle scenes of his distinguished life. This is the most prominent content in the murals of Li Shou's tomb. Lou Rui and Li Shou were both contemporary generals and important officials of the imperial court, and both enjoyed great honor after their death. The construction of the mausoleum and the painting of the murals in the tomb are excellent, especially those with huge military travel maps. This is a true portrayal of the tomb owner's military career before his death. The tourist maps of these two tombs are very similar, from composition to character modeling; From pommel horse expression to props in painting; From color to lines, it looks like it was made by one person. This is rare in murals in different regions and times. These two large tourist maps are very similar in content and drawing. Comparing the details in the drawings, we can find many similarities. The shape of pommel horse is strong, the pommel horse is complete and the style is consistent, and the loose mane is exactly the same as the flowing ponytail. The horse's chest and buttocks are full and full, exactly the same. The details are also very detailed and clear. The nostrils, teeth and tongue of a horse are very lifelike, and the difference between a mare and a pony is obvious. The faces of the characters are all rectangular faces with similar facial features. Knight's clothing, are round neck tight sleeve robes, black boots. The only difference is that the knight in the travel map of Lou Rui's tomb wears a hat and holds a bow back in his hand. The knight in Li Shou's tomb, wearing a hoe and holding a banner on all sides. This is in line with the changes of the times and the use of military styles, equipment and symbols. The horse's manner and sketching skills are similar. The center pen is round, solid, natural and elegant, with perfect texture and shape. All the colors are black, red, white, yellow and ochre. The colors are used alternately, set off each other, and are unified and harmonious. Another common feature of the travel maps of the two mausoleums is also remarkable. The pommel horse in the front row climbed over the wall, but only the knight appeared in the back row. There was no pommel horse, only the horse in the front row replaced it. This way of expression is twice the result with half the effort, without any sense of loss, and it also enhances the overall sense of the picture. If these two travel notes are combined together, it is difficult to tell whether it is Lou Rui's travel notes of grave robbery or Li Shou's travel notes of grave robbery. This common ground is not a coincidence, but can be inferred from at least three factors. First, by one person; Second, the faithful inheritance of the author's disciples; Thirdly, due to the profound influence of Northern Qi painting on later generations, painters in the early Tang Dynasty deliberately studied its techniques and rules. Otherwise, it is difficult to achieve such unification.

If the travel maps of these two tombs were drawn by one person, then according to the passage of time, the ages of the people who drew these two maps must be different. The Beiqi regime lasted only 28 years. Lou Rui ended his military career in 570 AD at the end of the Northern Qi Dynasty, while Li Shou ended in 630 AD. Therefore, it is only 60 years from the end of the Northern Qi Dynasty to the early Tang Dynasty, because the tomb of Li Shou in the early Tang Dynasty was not built after Li Shou's death. If the murals of Lou Rui's tomb were painted according to the author's twenties, then the paintings of Li Shou's tomb should be less than 70 years old. More than 20 years old is the heyday of talent, but also full of energy. Therefore, the tourist map in Lou Rui's tomb is more vivid, dynamic and detailed. The 60-year-old is the mature period of art, so the map of Li Shou's tomb is naturally more calm and dignified.

To sum up, it can be speculated that the travel maps of these two tombs may have been made by one person. However, it does not rule out the possibility of teacher-student love and future generations inheriting its techniques and deliberately imitating them. No matter what kind of factors, travel maps tell us intuitively that the painting style and artistic attainments of the Northern Qi Dynasty were directly introduced into the Sui and Tang Dynasties and developed on this basis. Although the Northern Qi Dynasty was short-lived, its painting achievements were remarkable. There are as many as 10 famous painters such as You, Cao and Zhan Ziqian, and they also have advantages among northern painters. Among them, those who are good at drawing pommel horses should also be the first to promote Yang Zihua. According to the records of famous paintings in past dynasties, there were 10 painters in Northern Qi, and only 1 painter in Northern Zhou. Yang Zihua, a painter in the Northern Qi Dynasty, "the world is honored as a painter". Yan Lide and Yan Yan, painters in the early Tang Dynasty, once studied under Yang Zihua, a painter from the Northern Qi Dynasty. Zhan ziqian and others. Yan Zeng praised: "Since it is like a human being, it is wonderful, simple and beautiful, and it cannot be reduced or surpassed. Its only son is gorgeous." This shows that Northern Qi painting, especially Yang Zihua's techniques, had a great influence on Sui and Tang Dynasties.

Lou Rui and Li Shou are both ministers of imperial history, and the authors of murals in tombs are by no means idle. This must be done by court painters. Therefore, the drawing of pommel horse and characters in the painting is extraordinary. Describe the horse's demeanor and momentum to life. It can be compared with the horse in the picture of the masterpiece Luo Shen Fu handed down from ancient times and the horse in the white picture. Although the Northern Qi Dynasty was short-lived, paintings, especially murals, played an important role in the history of art, and Yang Zihua, a painter in the Northern Qi Dynasty, still took "pommel horse figures as the winner". From the Northern Qi Dynasty to the early Tang Dynasty, and even later generations, he was praised endlessly, and the world called him a "sage in painting". Lou Rui has a prominent position, and his tomb murals were by no means made by ordinary painters at that time. It is speculated that the author may be Yang Zihua. It can be inferred that the travel map in the murals of Li Shou's tomb may have been inherited by Yang Zihua or his disciples, or it may have been handed down by later generations. "Yang Zihua, sai-jo (Gao Zhan), then the general straight off w ride often waits. Try to draw a horse on the wall and listen to night cries and long sounds, such as water plants; Tu Longzi Su, Shu Juan needs to gather together. Ancestors attached great importance to it, making it a forbidden place, and the world honored it as a painting saint. You can't paint with outsiders unless you have a letter. " Therefore, it is inevitable that Lou Rui, a prominent official of the dynasty, will be drawn after being awarded the imperial edict. According to the History of Zhenguan Public and Private Paintings in the Tang Dynasty, there are murals painted by Yang Zihua in Yedu Beixuan Temple and Chang 'an yongfu temple. It can be seen that Yang Zihua's handwriting still exists in the Tang Dynasty. Therefore, there is evidence that Yang Zihua still has works after the age of 60. It is not difficult to understand the relationship between Travel Notes of Li Shou's Tomb, Travel Notes of Lou Rui's Tomb and Yang Zihua. Furthermore, Yang Zihua entered the early Sui and Tang Dynasties, which was the twilight of his life, while Yan brothers were born in the Sui Dynasty, studied under them, and admired his paintings. It can be inferred that the map of Li Shou's tomb may also be made by Yan. Because the influence of paintings in the Northern Qi Dynasty extended to later generations, many pommel horse images in tombs in the Tang Dynasty can be traced back to paintings in the Northern Qi Dynasty, especially pommel horse figures in Lou Rui's tomb. Murals of the Northern Qi Tomb in China. Lou Rui's tomb is located in Guo Wang Village, Jinci, Taiyuan City, Shanxi Province, and was excavated at 1980 ~ 1982. The tomb is a brick single-chamber tomb, which consists of four parts: earth seal, pyramid-shaped mound, tunnel and tomb. The owner of the tomb is Xianbei, the son of the wife of Gao Huan, the ancestor of the Northern Qi Dynasty, and the eldest brother of Queen Mother Lou. He was buried in the first year of Wuping (570).

Mural 7 1, with a total area of 200.55 square meters. The content is divided into: ① Tomb gate, patio, tunnel and the lower floor of the tomb wall, depicting the luxurious life scene of the tomb owner before his death. (2) The tunnel, the entrance to the tomb and the pillar in the tomb show the illusory realm of his immortality after his death. The mural is divided into several small sections, with two riders in front of each section and a group portrait of 1 behind. Each section echoes each other, forming a magnificent picture of human life, ancient myths and legends, Confucianism and Taoism with a long scroll composition, which is realistic and full of life flavor (see color map [Lou Rui's tomb mural "Journey Map" (Beiqi), Taiyuan, Shanxi &; amp#93; )。 Murals inherit Gu Kaizhi's artistic tradition of "expressing the spirit with form", and follow the simple and rough style of Han and Wei murals, with refined lines and emphasis on expressing the spirit and dynamics of the characters. The halo dyeing method is quite skillful. It is dyed with light blush, which highlights the stereoscopic effect of concave and convex light and shade, and has a three-dimensional sense and a sense of space. In addition, the mural also incorporates foreign artistic elements, which enriches the expression techniques of traditional Chinese painting and highlights the characteristics of single-line outline and heavy color filling of Chinese painting. At the same time, it continued the expression procedure of heaven, earth and earth popular in tomb murals and silk paintings in Han Dynasty, and its layout and content were influenced by the prevailing temple murals at that time, including Buddhist ideological factors in the late Southern and Northern Dynasties.

Lou Rui's exquisite mural skills and many things involved are important examples to measure the development level of painting in the Northern Qi Dynasty and to study the music, clothing, court and funeral etiquette system in the Northern Qi Dynasty. It is also an outstanding representative of the mural art of the Central Plains in the Northern Dynasties. According to historical records, the painting achievements of the Northern Qi Dynasty were quite high, and famous artists came forth in large numbers, which once influenced the Sui Dynasty and the early Tang Dynasty. Judging from the aristocratic status of Lou Rui's family, murals should come from court painters who are familiar with the life of northern military horses. Therefore, some researchers speculate that it may belong to the court painter Yang Zihua at that time.