Chinese Generations of Military Strategists Scroll

Author: Li Junqi
Publisher:
Publish Date: 2001-12-01
Features: It is easy to paint ghosts and monsters, followed by dogs and horses, and the most challenging is to depict human figures. Among human figures, long scrolls are especially difficult to handle. This is not just because of the need to capture the essence of the subject, but also because of the difficulty in differentiating facial expressions and postures to distinguish each individual. This is the first challenge. Traditional Chinese painting techniques are rich in landscapes but weak in figure painting. In modern times, this has led to the criticism of "" (a thousand faces look alike). Even if one manages to avoid this, there is still room for improvement, but when it comes to depicting hundreds or thousands of figures, it becomes difficult to express oneself fully. This is the second challenge. Chinese painting traditionally emphasizes composition within a limited space. If one thinks appropriately within the frame, a superior work can convey the grandeur of a hundred or a thousand miles. However, long scrolls have a wide and expansive format, with figures spaced apart. While landscapes can conceal flaws, the simplicity of figures makes it hard to hide imperfections. If one lacks talent, the work may either become cluttered or sluggish. This is the third challenge. With these three challenges, fewer people are willing to attempt it. Although there are precedents like Gu Kaizhi's "Luo Shen Fu Tu" (Luo Shen Scroll), Wu Daozi's "Sending the Son of Heaven," and Sun Wei's "Highly Cultivated," and later works like Wu Zongyuan's "Chao Yuan Xian Fu" (Meeting of the Immortals), there have been few outstanding works since the Song and Yuan dynasties, except for occasional exceptions. As for "Qingming on the River" and "Suzhou Prosperity," while their formats are grander than the above, they belong to the genre of folk customs, not the direct tradition of figure painting.
Mr. Li Junqi, with great determination, has created a monumental work titled "Illustrated Scroll of Generals and Warriors Through the Ages," following his earlier "Illustrated Scroll of Poets Through the Ages." This scroll is 188 meters long and 1.68 meters high, depicting 399 famous generals and warriors from the Yellow Emperor to the late Qing Dynasty. Accompanying them are over a thousand horses, chariots, and carriages, as well as countless weapons and banners. The meticulous portrayal of these figures creates a magnificent spectacle. There are three particular merits to this work:
First, the author delves deeply into history and literature, skillfully selecting and organizing the figures by dynasty, highlighting the main figures and their supporting roles. This scroll compiles the history of military figures across centuries, showcasing the nation's prestige and spirit. This is the first merit.
Second, the author blends Eastern and Western techniques, forging a unique path. He meticulously renders even the finest details of facial features, avoiding stereotypes, and strives to capture the essence of each figure. Additionally, all accompanying elements, whether weapons, armor, or clothing, are rooted in historical accuracy, without unnecessary embellishments. When viewed, even those unfamiliar with the details are struck by the grandeur, and upon learning the historical context, they realize that the composition—whether of the main figures or the background—handles perspective, depth, and movement with precision. Each section has its own focal point, and each dynasty has its own atmosphere. Though depicting figures, the work achieves a sense of depth. When examined closely, the scenes of the time come alive, and when viewed as a whole, the scroll appears as a continuous mountain range, with each section seamlessly connected. This is called "dynamic momentum" and "masterful control," the second merit.
Lastly, the author's deep understanding of composition ensures that every element is carefully placed, with balance and rhythm. The interplay of light and shadow, the arrangement of figures and scenery, and the transitions between sections are all executed with great care, creating a harmonious whole. This is the third merit.