Chapter 25 Chapter 9 Qing Dynasty Painting (AD 1644-1911)

In the painting circle of the early Qing Dynasty, there were two different painting styles of "imitating the ancient" and "innovating".An innovative group of painters opposed Chen Chen Xiangyin, emphasized that they were not bound by the established laws of the ancients, and advocated another way.The most representative painters are Hongren, Kun [kun Kun] Can, Zhu Da [da Da] and Shi Tao, known as the "Four Painting Monks". Hongren (1610-1664 A.D.) was originally surnamed Jiang, first name was Tao, and his character was Liuqi. He was born in She (sheshe) County, Anhui Province.After the fall of the Ming Dynasty, he once went to Yujian, the king of Tang who proclaimed himself emperor in Fujian with the hope of restoring his country.Afterwards, he traveled all over the world, climbed Huangshan several times, visited West Lake, Wuhu, Xuancheng, and went to Lushan Mountain in his later years. He spent almost his whole life in famous mountains and rivers.The misty mountains and waters not only cultivated his sentiment, but also made his sharp and concise painting style.

Hongren began to learn painting after he became a monk, and was deeply influenced by Ni Yunlin and Huang Gongwang.But he is a painter with innovative spirit. Learning tradition does not simply imitate one stroke at a time, but to use the past for the present, and create new ideas from the experience of nature.There was once a poem: "I dare to say that the world is my teacher, and there are thousands of valleys and cliffs alone. Dreaming of Fuchun is good, and there is no section of the fence." Hongren's landscape paintings are fresh and elegant, with simple and elegant brush and ink changes, It shows the stalwart of mountains and rivers and the business of trees.The scenery of Mount Huangshan is the most and the most distinctive.In his "Picture of Pines and Stones in Mount Huangshan" (198.7 cm high, 81 cm wide, now in the Shanghai Museum), there are towering peaks and ancient pines hanging upside down, vividly showing the majesty and majesty of Mount Huangshan.The painting uses subtle ink and elegant coloring, which makes people feel as if they are on the scene. In the solemn silence, there is a sense of strength and sadness.At that time, Jiangnan people judged elegance and vulgarity by the presence or absence of Hongren's paintings, just like the predecessors valued Ni Yunlin's works.It can be seen that Hongren's landscape painting has created and established his own style.In the history of art, he is honored as the pioneer of "Xin'an School of Painting".His works also include "Huangshan Tiandu Peak Map" and "Huangshan Real Scenery Book".

Kun Can (1612-1692 A.D.) was born in Wuling (now Changde, Hunan) with the common surname Liu, style name Jieqiu, nickname Shixi, Shidaoren, etc. At the age of 20, he shaved his hair and became a monk, traveling all over the world.After the Qing soldiers went south, they once avoided living in the mountains and went through hardships and dangers.After middle age, he lived in Youqi Temple in Niushou Zutang Mountain, Nanjing, where he practiced Zen deeply and studied calligraphy and painting intensively.Landscape painting is the best.Most of them are taken from Dharma King Meng and Wu Zhen, but they can be combined with their own observation and feelings of nature, and they can be modified to have a new look.Such as "Green and Soaring Sky", "Cangshan Mountain with Mao", "High Mountains and Long Rivers", "Silent Dwelling in Streams and Mountains", etc., the brushwork is vigorous, the ink is calm, the color is exquisite, the composition is rigorous, and it is strange in ordinary times. Quite honest and deep.

Zhu Da (1626-1705 A.D.) was named Zhonggui and named Pengzu. Because of his big ears, his parents gave him the nickname Dazi, so he was also named Zhu Da. He was born in Nanchang, Jiangxi, and was the 17th son of Ming Taizu Zhu Yuanzhang. The ninth grandson of Zhu Quan.After the fall of the Ming Dynasty, he became a monk and had many monk names, such as Xuege, Geshan, and Bada Shanren.After middle age, he joined the Quanzhen Sect as a Taoist priest, and was also known as Zhu Daolang, Liangyue, and Poyun Qiaozhe.Both Zhu Da's father and grandfather were good at calligraphy and painting, and he was very interested in poetry, calligraphy, painting and printing since he was a child. At the age of 19, the Ming Dynasty fell, and the Qing government tried everything possible to hunt down and kill the Zhu family in the Ming Dynasty. This son of the royal family lived in Tibet and suffered a lot.He was also greatly stimulated mentally. He once pretended to be deaf and dumb, and pretended to be crazy.Later, he took refuge in temples and Taoist temples near Nanchang, and lived a life of being a monk, a Taoist priest, and a Confucian literati.Turn your anger into poetry and painting.Until the age of 79, he ended his miserable life in Beilan Temple.

Zhu Da's painting art is unique and vigorous, which is unique and outstanding in the painting circle of the early Qing Dynasty.For example, when I was 68 years old, I painted "Quail Picture" in "Anwan Album". I drew two quails perched under a boulder, one curled up and stared into the distance, and the other seemed to have found a small quail in the crevice of the stone. The worm was raising one foot to pounce on it and peck at it.The cold wind shook their feathers.In this season of heavy frost and thick autumn, everything is bleak, only the wild chrysanthemums beside the rocks are still blooming proudly.A quail is a chicken-like bird with a bald tail and speckled brown plumage, like a poor man in patched clothes.The ancients described ragged clothes as "clothes hanging like quails". In addition, quails have no fixed residence and the males are very aggressive. Therefore, Zhu Da often painted quails as a metaphor for himself, expressing his grief and indignation about the ruin of his country and family.In this painting, the painter particularly deliberately portrayed the expression of the quail, exaggerated the eyes of the quail consciously, the eye circles were drawn very large, and the black and round eyeballs were on the upper corners of the eye frames, which made people feel that despite the cold People, but they still look up to the sky, look at people with blank eyes, cold and lonely.He likes to use the moniker title of "Bada Shanren", deliberately connecting the two characters "Bada" together, like a cursive "cry" character, and a cursive "laugh" character; "The two characters are written together as "zhi", which looks like "crying" or "laughing".This is also a form of expression of loneliness and anger.This picture is not colored, it is all painted in ink, the brush and ink are vigorous and smooth, the brushwork is concise and precise, it seems to be careless, but the charm is profound.Zheng Banqiao once described the works of Bada Shanren with the poem "painting thousands of pieces horizontally and vertically, there are not many ink spots but many tears", which can be seen from this picture.Zhu Da's works have been widely circulated, and there are albums such as "Bada Shanren Painting Collection" and "Bada Shanren Painting and Calligraphy Collection".

Shi Tao (1642-1707 A.D.), originally surnamed Zhu and named Ruoji, was born in Guangxi and was a descendant of the royal family of the Ming Dynasty.When Ming died, he was only two years old.In order to avoid persecution by the rulers of the Qing Dynasty, he became a monk when he was very young. His legal name was Yuanji and his name was Shitao.There are many aliases, including Qingxiang Chenren, Bitter Melon Monk, Dadizi and so on.As a descendant of the Ming clan, living under the rule of the Qing Dynasty, he was full of contradictions in his heart.On the one hand, he has the hatred of ruining the country, on the other hand, he lacks a clear memory of life in the Ming Dynasty after all.After growing up, the rule of the Qing Dynasty has become increasingly consolidated, and the "thought of restoring the country" is nothing more than a dream.He admired the wisdom of Emperor Kangxi very much. He once wrote poems and painted paintings during Kangxi's southern tour, and went to Nanjing and Yangzhou twice to pick him up.He also stayed in Beijing for three years, and then left. He climbed mountains and waded, traveled all over the world, and enjoyed the famous mountains and rivers of the motherland.In his later years, he settled in Yangzhou and devoted himself to painting creation.Until his death at the age of 66.In terms of artistic creation, Shi Tao is talented and proficient in landscapes, figures, and flowers; he is omnipotent with thick and fine brushes, and has various styles.Some are gloomy and bold, while others are elegant and elegant.Throughout his life, Shi Tao opposed the imitation of the ancients, vehemently denounced the imitation of the ancients, and resoundingly put forward revolutionary propositions such as "search all the strange peaks to make drafts", "pen and ink should follow the times", "I use my own methods" and other revolutionary ideas.It had a positive impact on the development of Chinese painting in later generations.

Shi Tao painted many paintings in his life.His "Dry Rain and Pine Trees" (102.6 cm high, 41.3 cm wide, now in the Shanghai Museum) is a fine-brush landscape painting.In late autumn, when the drizzle breaks for the first time, waterfalls hang high, and mountain streams flow like streams.The turbulent stream, passing through valleys and crossing small bridges, gradually becomes gentle, and when it is nearby, it is swaying slightly and is as clear as a mirror.Some of the autumn trees on the cliffs on the slopes have lost their leaves, and some are dotted with red leaves. Only the twisted ancient pine and the mangosteen beside the bridge stand proudly, washed by the light rain, and look more green.In the distance, in the vast clouds and mist, the mountain peaks that are dyed red by the sunset after the rain appear and disappear, ethereal and high.In order to express this clear state, the painter adopts fine and elegant lines to outline the rocks, rarely chapped, using light ink, and then applying light ocher and flower blue, which looks bright and moist, and appropriately expresses the beauty of the autumn mountains after the rain. A bright, beautiful, ethereal and tranquil charm.Compared with the painter's bold and unrestrained other works, this style is more reserved and elegant.Shi Tao's most famous works include "Qingxiang Calligraphy and Painting Draft", "Splashed Ink Landscape Volume", "Landscape Voiceless", "Huiquan Night Floating", "Huaiyang Autumn", "Huashan Scenery", "Jinling Nostalgic Poetry Album" Wait.In addition, Shi Tao also has a great theoretical work "Quotes on Paintings of Bitter Gourd and Monk" which has been handed down to the world.

At the end of the Ming Dynasty and the beginning of the Qing Dynasty, many painters lived in Nanjing. Zhang Geng of the Qing Dynasty wrote "Records of Paintings of the National Dynasty" and included Gong Xian, Fan Qi, Gao Cen, Zou Zhe (zhe Zhe), Wu Hong, Ye Xin, Hu The eight people, Zao Zao and Xie Sun, are collectively known as the "Eight Schools of Jinling".The one with the highest achievement is Gong Xian, who is regarded as the head of the "Eight Schools of Jinling". Gong Xian (1618-1689 A.D.) had a character of Banqian, Yeyi, and his name was Chai Zhangren.Born in Kunshan, Jiangsu.When he was young, his family was poor, and he lived in Nanjing when he was young, and participated in the "rehabilitation" activities.After the Qing soldiers captured Nanjing, he devoted himself to the anti-Qing struggle, wandering around, after several twists and turns, and finally settled in Qingliang Mountain, Nanjing, writing poems and painting.In terms of painting creation, he strongly opposes simply imitating the ancients, and advocates the good fortune of the master and creating his own style.In order to express the vastness and lushness of the mountains and forests in the south of the Yangtze River, he boldly explored the ink technique and achieved great success.His brushwork is strong, the ink is flexible, the composition is peculiar, and the momentum is majestic.It is unique in the painting circle in the early Qing Dynasty.

Gong Xian is very familiar with the mountains, forests, slopes and rocks near Nanjing, and often goes in and out of them to observe and experience them carefully.He found that in order to express the wet and heavy characteristics of the mountains and rivers in the south of the Yangtze River, it is necessary to change the popular brushwork of sparse and smooth.He absorbed the ink-accumulating method of the Song people, whether he painted trees or rocks, he used dry brush and dry ink to paint layer by layer, and separated the dark side and bright side, vividly expressing the feeling of thick mountains and rocks and lush trees.Although he seldom uses splashed ink, his paintings have the effect of splashed ink dripping, moist and profound.For example, "Summer Mountain Passing the Rain" depicts the scenery of mountains and forests after the summer rain.At the foot of the mountain, there are undulating rocks and dense forests.The branches and leaves are lush and gloomy.In the distance, there are many mountains and ridges, dignified and thick, only the mist in the forest and the smoke and clouds echoing in the mountains, making the picture a combination of virtual and real, with layers of profoundness.Among the thick and deep, there is a ray of sunset passing through, illuminating the branches of the trees, and setting off the darker and greener green hills after the rain.The mountains, rocks and trees are dripping wet, as if they have just been washed by rain, and the ground is dark like twilight.Looking at this picture, it seems that there is a moist and fresh air rushing towards the face, which is refreshing.