Discuss the Poetic of TangYin's 'Autumn Breeze and Fine Silk Fan'

摘要

Tang Yin has a poem of "Autumn Breeze and Fine Silk Fan", it has always been understood by the academics that the author just used a literary quotation to express his own worry and sorrow of unrecognized talent. The literary quotation is the round silk fan has no use in autumn and discarded into the comers by people. However, they havn"t comprehends the subtleties of the poem. Combined by Tang Yin"s poem in painting and his life experiences and his other works of poetry and painting, we can realize the image of Tang Yin"s round silk fan does not just stay in this level. Tang Yin also takes this image to express his realm of mind. Although he suffered the inconstancy of human relationships and felled the underappreciated, but precisely because of these experiences, he achieved to a deeper realms of a carefree type without a single worry and without comparing anything. Tang Yin"s figure painting "Autumn Breeze and Fine Silk Fan", now Collected in Shanghai Museum. In the picture, a lady who executed a fan stands still, with a desolated expression, forlornly, with the lake behind sparse bamboo stone embellishment. This technological painting is used Chinese traditional painting medium of ink and written on absorbent paper, coexisted with slightly freehand. In the painting, a beautiful lady stands with her clothing lines ups and setback. The layout of this picture is nutshell and sprawl out in zigzag manner. The painting uses the edges to point out the ladies hair, the light ink hook the ladies pine, and leaving a large blank in the lower right corner, echoed of the darker ink stone lake, show a picture of the ink hearted continuity and potential flow, making the whole picture showing the ink shades continuity and flow. The upper and the left of the screen is relative emptiness, the poem in the left is a long line down and add the emptiness, so that the entire picture has a sense of balance. However, it might strike one as interested that the place which the lady stand in this painting is the degree of slope, the slope is over thirty, the lady's body is slightly side and standing against the slope. In fact, this is an extremely uncomfortable position and has a significant instability. In this case, the painter treated the train of the lady's dress which swept in the ground as a rise in L-shaped. This stable L-shape makes the painting characters can fight with the oncoming autumn flow, not only to increase the stability of the characters, but also continuation of the ink painting S-type trend. Even so, the uncomfortable posture of the beautiful lady in painting, the imbalance of the screen still can"t be completely hidden. Looking at the ancient traditional Chinese paintings of beautiful women, if they just pivot around the characters and not emphasize the plot, the painter basically have no background or just embellished by a few bamboo stems in the lake stone corner. However, all of them focus on the stability of the screen and the balance of the character; hardly make the beautiful ladies in a shaky foothold situation. For example, Zhang Xuan and Zhou Fang"s Paintings of "Beautiful Women" in Tang dynasty, Zhou Lang"s "Du Qiu figure" in Yuan dynasty, Ren Xiong"s landscape painting "Yao Gong Qiu Fan figure" and Fei Danxu"s "The round silk fan on autumn figure" in Qing dynasty, including Tang Yin's another painting "Mencius Shu Palace Prostitutes Figure". These paintings have no background or the background is interior courtyard and the ground is flat, the characters are relatively stable.