Poetic travel | "Empty Pavilion" appreciation

"Shaming" said: "Pavilion, stop also, also people stop set also." During the journey, the pause is the best state to enjoy the scenery, but it is often ignored. As a result, the pavilion has become the best viewing point for reading the beauty of the mountains and forests, and scholars of all ages love to sit in the pavilion to see all things and enjoy the solitude. Wang Xizhi in "Orchid Pavilion" "look up to the universe, look down to the prosperity of categories"; Ouyang Xiu was intoxicated by the magnificent scenery of "Drunkard Pavilion"; Su Dongpo poetry cloud: "Only this pavilion has nothing, sit and view all the scenery of heaven."

The habit of painting empty pavilions in landscape painting began in the Yuan Dynasty, especially Ni Zan's landscape as a representative, to convey the silent, ethereal, eternal picture feeling, its picture has "no one under the pavilion, sunset fading autumn shadow" poetic mood. In Chen Jun's splash-ink painting, an empty pavilion is placed in the center of the picture, with thick splash-ink mountains near and soft and elegant ink clouds in the distance tightly surrounding it. Obviously, the artist regards the empty pavilion as the "painting eye" and is committed to highlighting the appeal of the empty pavilion. The empty pavilion becomes the intersection point and the place of the mountain spirit in the picture. The tone of the landscape picture with black and white and a little light red, as well as the three-stage composition form of traditional landscape painting, can easily guide the viewer to combine the more abstract splash-ink image with the mountain scenery in real life. In other words, the empty picture emotion of the traditional empty pavilion, the function of the use of quiet feelings, the indifferent mood of sitting and watching everything, and the cosmic consciousness of the Chinese people are all reflected in this picture.

The author longs for the ancient people's empty pavilion mountain life, and pursues the empathy of a pure land in the noisy and fast contemporary life, which is the unique mark of The Times of this painting. The rich texture effect molded by splash-ink blends with the traditional landscape form, completing the current aesthetic vision and the traditional landscape spirit. When viewing this painting, the viewer can imagine himself as the master sitting in the pavilion, or as a pedestrian exploring the ghost, wandering in it, running freely and feeling the relaxation of the soul for a moment.