During the Ming Dynasty (1368- 1644) in China, art was in a special stage of learning from the ancients and colliding with innovation. Ink freehand brushwork has developed rapidly, and the splash-ink freehand brushwork represented by Xu Wei is very popular. Many famous artists have appeared, and their skills are constantly updated. With his unique talent, Xu Wei became the most accomplished master of freehand brushwork at that time.
Xu Wei was born wild and uninhibited, but he made great achievements in painting, calligraphy, poetry and drama. His freehand ink-and-wash flower-and-bird paintings are bold and unrestrained, informal, concise, with more ink and less splash, less color, distinct layers, and the reality and reality are vivid. He also integrated vigorous brushwork into his paintings, which brought out the best in each other and gave people rich imagination.
Between similarity and dissimilarity
Xu Wei's ink-splashing freehand brushwork of flowers and birds is unique. His flower-and-bird paintings are not influenced by different schools, and they are bold and creative. His freehand brushwork, whether flowers or flowers and birds, is a painting, and everything is between similarity and dissimilarity. For the flowers and trees of the four seasons in the works, the painter uses various forms of pen and ink such as hook, dot, splash and orchid to depict graceful peony, beautiful crape myrtle, sparse bamboo, aloof frost chrysanthemum and beautiful cold plum charm, stretching nine feet and five feet respectively. His ink grapes, with strings of fruits hanging upside down, are fresh and tender and vivid. The lush leaves are made of large pieces of ink and wash, and the style is sparse and elegant, which represents the style of Xu Wei's freehand flowers. Mo Yun, with his rich trajectory and various strokes with different shades, strokes, sizes, dryness and wetness, has the improvisation and non-repetition of stimulating strokes and urgent books, which shows the strongest abstract expressionism in China's paintings. This is not a general description of the object, but an artistic process, which makes it contain some internal temperament and spirit, and then makes the viewer feel immersive. The pumpkins and chrysanthemums in Xu Wei's paintings, in one go, drive away ink like a cloud, with great momentum, and at the same time control the ink properly, with great changes in weight, light and shade, density and dryness. In the ink method, there are both randomly infiltrated ink halos and properly controlled shades. Although Xu Wei claimed to be a "play brush", he vividly conveyed the different nature and charm of flowers and fruits with freehand brushwork. Only a small part of its picture of the phoenix tree is painted in ink, which is reminiscent of the towering phoenix tree. As Weng Fanggang said: "The paper is only one foot, and the tree is only a hundred feet. Why are you wearing this green forest? " . I'm afraid I'll be so arrogant that I'll be booed by wine songs in the middle of the night With his delicate brushwork, Xu Wei created an open aesthetic world for the appreciator between similarity and dissimilarity.
There are pictures in the book, and there are books in the picture.
Xu Wei is a calligrapher. In painting, he integrated his calligraphy skills and brushwork into his paintings, which made people feel that his splash-ink freehand brushwork was simply a kind of bold and vigorous calligraphy. As Zhang Dai said: "Today's Ivy paintings are bizarre, full of vigor and charm, and have the same effect as their calligraphy." People used to call rubbings poems, including paintings, rubbings and poems in paintings. I mean ivy league books, which contain paintings, ivy league paintings and books in them. "(Tao An Meng Wei) In his" Ink Grape Map ",the shade of ink shows the texture of leaves, the font structure and line spacing of poems are irregular, and they stretch freely in the air like vines, and calligraphy and painting are integrated. Xu Wei's calligraphy attainments are very high, and the ups and downs of brushwork have contributed to the ingenious changes in painting art, such as painting Mo Lian and grapes, which is unrestrained and difficult to achieve without a deep calligraphy foundation. Xu Wei once made a picture of plum blossom and banana leaves, put plum blossom and banana together, and wrote on the picture: "Banana with plum blossom, this is Wang Wei's painting", which shows the relationship between Xu Wei and Wang Wei in some compositions. Of course, Wang Wei's Picture of Banana in the Snow highlights a Zen machine, that is, the cold snow and the ethereal banana constitute the religious details of the picture, while Xu Wei's combination of such pictures highlights a kind of subject liberation that transcends time and space. Xu Wei's calligraphy and painting methods are extremely skillful and profound, and his inscriptions are like splashing ink and freehand brushwork, which is bold and vivid; His splash-ink freehand brushwork, which combines the brushwork of pen and ink, is full of fun.
Draw like a man.
Xu Wei always leads a dissolute life and is not interested in power. When anyone in the present world wants to paint and needs Xu Wei's money shortage, if someone wants to paint, they can get it in an instant. If he is not short of money in his bag, it's hard to draw a picture no matter how much you give him-it's really temperament. Xu Wei's loneliness can really be summarized by his own poem "Poetry on the Ink Grapes":
I became an elderly man for half my life, and my self-study roared in the evening breeze.
The pearls at the bottom of the pen have nowhere to sell, but they are thrown into wild vines.
Xu Wei's life was bumpy, and his old age was miserable and inseparable. He put his grief and resentment into the pen and created one famous ink painting after another that shocked the world. The ink bamboo in his works is light in branches and thick in leaves, and his brushwork is careless. The bamboo branches are vigorous and powerful, and the bamboo leaves hang down emotionally. Although it is a bamboo branch, it is noble and refreshing. This is a brilliant portrayal of the painter's noble character and peerless independent personality. His splash-ink peony is not limited to the rich and elegant characteristics of peony, but is colorful. But he often paints with ink and wash, deliberately changing its nature. Its purpose is to endow peony with elegant and refined style and charm. The so-called "national color is not decorated, rouge is empty and charming."
Zhu Da's and Zhu Da's paintings are highly respected in the East, especially in Japan, and have aroused great repercussions in the world painting circles, such as: peacock bamboo and stone pictures, solitary bird pictures, sleeping duck pictures, cat and stone mixed flowers pictures, as well as birds, antithetical flowers, fish and ducks, lotus fish music, mixed flowers, bird bath in willow, lotus and geese, fish swimming in big stones, double eagles, ancient beauty, and fish swimming in the lotus pond drama. In terms of calligraphy, there are Preface to Lanting, Four Screens of Linjiang, famous calligraphy posts, cursive poems and other scrolls, all of which are treasured by museums and courtyards at home and abroad. There are few novels, poems and literary works in Badashanren's paintings and calligraphy, which are no longer visible.
In recent years, some works of Badashanren were auctioned in the art investment market;
Geshan Miscellany was auctioned by Xiling Publishing House in 2008, with a transaction price of 23.52 million yuan. Style and Features "Flowers on the River"
Badashan people take painting as the center, and also have high attainments in calligraphy, poetry postscript and seal cutting. In painting, he is famous for his freehand brushwork in ink and wash, and he is good at splashing ink, especially flower-and-bird painting, which is beautiful in the world.
In his creation, he is natural, concise, magnificent and novel, creating a broad and vertical style. In the past 300 years, all the great freehand brushwork schools have been influenced by him to some extent. In the Qing Dynasty, Zhang Geng commented that his paintings had reached the realm of "being clumsy in the countryside and neglecting painting". He advocates "economy" in painting. Sometimes he only draws a bird or a stone on a big piece of paper and only draws a few strokes, and his expression is perfect. His calligraphy style is vigorous and fluent. Seal cutting is simple and unique.
In the process of forming his own style, Zhu Da inherited the fine traditions of the previous generation and found his own way. His flower-and-bird paintings lived in Xu Xi for five dynasties, and Zhu Lanmo, a literati painter in Song Dynasty, was also influenced by the techniques of Lin Liang, Lv Ji and Lu Zhi in Ming Dynasty, especially advocating the extensive painting style of the Qingteng Bai Yang. His landscape paintings reached as far away as the Southern Dynasties, and he studied under Dong, Ju, Mi Fei, Ni, Huang and Dong Qichang. In calligraphy, he studied Shi Guwen intensively, and since the Han, Wei, Jin and Tang Dynasties, he deliberately wrote down various calligraphy posts, especially Wang Xizhi.
Sleeping duck map
Generally speaking, Zhu Da's painting art is characterized by expressing feelings with form and taking spirit with form; The pen and ink are simple and light, and the pen is bold and unrestrained; Sparse layout and empty artistic conception; Full of energy and momentum. His form and skills are the best expression of his true feelings. The brushwork is unrestrained, does not constitute a law, vigorous and beautiful, leisurely, and the composition is incomplete but complete. His "one flower, one bird" lies not in quantity and size, but in the position and momentum in the layout. And whether it is used in a timely, surprising and ingenious way. This is his "win-win" method. If the layout of the painting is flawed, sometimes books and clouds are used to fill its meaning. Badashan people can write poems and have exquisite calligraphy, so even if he doesn't have many paintings, with his poems, the artistic conception is enough, and his paintings make people feel small and numerous, which is the artistic ingenuity.
Most of his landscape paintings are ink and wash, and the patriarchal clan system is Dong Qichang, with Huang, Ni Zan and Dong Qichang painting landscapes. However, there is no elegant, peaceful, clean and elegant style. Instead, he was lonely and desolate, revealing a strong and simple atmosphere in the desolate realm, reflecting his lonely and angry mood and determined character. His ink is different from Dong Qichang's, Dong Qichang's light ink can moisten Ming Jie, and Badashanren's dry grinding can moisten Ming Jie. Therefore, the paintings are all "unrestrained". Badashan people are different from others, and they are all "moist". Badashan people are different from others. A painter's artistic expression can be different from that of his predecessors, but it also lags behind others. His flower-and-bird paintings are particularly outstanding and have the most personality. Most of his paintings are lyrical, expressing meaning by symbolic means, personalizing the image and pinning feelings. In the confrontation between innovation and conservatism in the early Qing Dynasty, Badashan people played a prominent role in the "painting four monks" of the reformists. [Edit this paragraph] Achievements affect the "Heron Stone Map"
There is a poem on the Eighth National Congress, which says, "No more ink and more tears, the mountains and rivers are still old mountains and old waters. In troubled times, coconut trees stay fragrant and Lin Wen is good. " In the first sentence, "more ink and less tears", Confucius told the truth and most succinctly stated the artistic characteristics of his paintings and his thoughts and feelings. Only by following this clue can we truly understand and appreciate this painter's great works of art.
There is pain in strangeness and obscurity.
Because of his special life experience and background of the times, his paintings can't be shown directly like other painters, but through his obscure poems and strange deformation paintings. For example, his paintings of fish and birds are only a few strokes, either stretching or tightening, which is specious. Especially those eyes, sometimes oval, are not the eyes of fish and birds we see in our lives. In life, the eyes of fish and birds are round and don't move in the middle of the eyeball. Eight fish and eight birds can turn their eyes and sometimes roll their eyes and stare at people. The rocks he painted are not like those painted by ordinary painters. They are dirty and round, big and small, and top-heavy. He can put them anywhere he wants, whether they are stable or not. The tree he painted is old and dry, with only a few branches and leaves. Tens of thousands of trees in the forest can't pick out such a tree. The scenery, mountains and bare trees he painted are staggering and desolate. If there is such a place, I don't think anyone will settle here.
Besides, his poems, signatures and seals are all very strange. For example, he called himself "Badashanren", many people have explained it, and scholars still have different opinions. He has a seal engraved with a seal. Some people say that it is composed of the words "Badashanren", while others are cautious and call it "Clog Seal" because it is shaped like a clog. As for the poems he painted, many sentences are even more puzzling.
However, the Eighth National Congress clearly told us: "When the world is in turmoil, coconut trees will be left for Lin Wen to ponder." He also said, "People can understand pictures when they want to see them." He really wants people to understand the meaning of his paintings. Therefore, many scholars have found many real news from his paintings and words after careful study. For example, he has a calligraphy style, which has long been called turtle-shaped calligraphy style, because it is particularly shaped like a turtle. Later, I learned that it was originally composed of the words "March 19", which happened to be the day when the last emperor of the Ming Dynasty, Chongzhen, committed suicide, marking the demise of the Ming Dynasty. Then this painting also means to commemorate the national mourning.
Lotus fish music map
In the twenty-first year of Kangxi, he painted an ancient beauty, in which the trunk is hollow, the roots are bare, and a few bare coconut branches are dotted with flowers, like weather-beaten lightning survivors. There are three poems engraved on it. The first one reads: "Divide plum blossom and Wu Daochang, and have a blind date. In the north and south of Shan Zhinan, the old fish sweeps the dust. " "Plum Blossom Taoist" refers to Zhenwu, a painter in Yuan Dynasty, who calls himself "Plum Blossom Taoist". The words in the box were obviously deliberately dug out by collectors at that time or later to avoid the disaster of the literary inquisition. It is not difficult to guess that the word is either "Hu" or "Lu". Manchu in the Qing Dynasty was the founder of the Central Plains, and these two words were the most taboo. To sweep away the "Chen Hu" in "the south of Nanshan and the north of Beishan", Badashan people have clearly expressed their thoughts of anti-Qing and restoration. The second poem wrote: "It is not a day to get the money back. No land becomes thin and fat. In plum blossom painting, the thinking is simple. How can a monk choose Wei? " There are two allusions in this poem. First of all, Zheng Sixiao, a painter who died in the early Yuan Dynasty, lived in seclusion in the martial arts after the demise of the Southern Song Dynasty. Asked why, he replied, "Don't you know that the land was robbed?" Second, the adherents of Yin, Boyi and Shu Qi, were ashamed not to eat after Zhou destroyed Yin, and lived in seclusion in shouyangshan, picking Wei and eating until they starved to death. It turns out that Gu Mei's eight paintings are all exposed, and they don't draw sloping soil. They imitate Zheng Sixiao's intention of painting orchids, suggesting that the land was plundered by the Qing Dynasty. As a descendant of the imperial clan of the Ming Dynasty, he became a monk and, like Boyi and Shu Qi Cai Weishou Yangshan, refused to submit to the new dynasty. The country was ruined and there was no hope of rejuvenating the country, which forced him to "tear a thousand points."
Eight Poems on Paintings is the key to his painting, but they are obscure and puzzling, and many scholars have made great efforts to explain them. For example, in Jiazi Flower and Bird Book (now in Princeton University Museum) written in the 23rd year of Kangxi, the seventh page depicts a myna standing on a dead branch, and the poem reads: "The kingfisher calls my brother, and my brother has changed. Starling can speak three languages, and few partridges fly south. " After textual research and classic interpretation, Professor Tsung i Jao of the Chinese University of Hong Kong summed up the meaning of this poem: "This poem and this painting are a mockery of the death of' Guo' (pointing out), and it is rare for a loyal minister to cherish the south as a partridge." In other words, the works of the Eighth National Congress sometimes refer to some specific things besides the general emotional expression of national destruction and death. Gua Yue Tu is also a meaningful work. After the poem was inscribed, he recorded "I have painted it on the night of August 15th". Facing the full moon in the sky and eating moon cakes with every family in the world, his heart was touched, so what is his "income"? The poem on the painting reads: "Look at the side of the cake, when the full moon is on the watermelon. Each refers to moon cakes, and the year is ripe. " Some people say that the custom of eating moon cakes comes from the folk story that the anti-Qing rebels sent the signal of uprising, saying that the Eighth National Congress is looking forward to this day. However, when will it be the year of the donkey? "The year of the donkey is the month of the horse" is a common saying, which means there is no fixed time in the distance. If this is the case, then the hearts of the Eighth National Congress will be more than just the pain of national destruction.
When Wu Changshuo was a teenager, influenced by his father, he loved writing books and printing. His regular script began to be strict, followed by Dean Zhong; Li Shu studied China stone carvings; The study of seal script was initially influenced by Deng, Zhao and others, and later it was integrated in the writing of Shigu. Sha Menghai's comment: Mr. Wu tried his best to avoid the state of "stubborn" and "grasping the heart and gnawing teeth", and confused the three styles of Zhong Ding pottery characters, so he was much better than Zhao Gaoming. Wu Changshuo's running script was greatly influenced by Huang Tingjian and Wang Duo's brushwork, while Huang Daozhou's brushwork was greatly influenced by Beibei's brushwork, seal and pen.
His seal cutting began with the "Zhejiang School" and later specialized in Chinese and Indian, and was influenced by Deng, Zhao and others. Become a grandmaster. His paintings are ups and downs, good at blank spaces or diagonal lines, and have a strong sense of volume in composition. His seal script has a strong personality, and the characters in the seal script are full of brushwork, and the knife melts into the pen. Therefore, his seal cutting often shows the characteristics of male and charming, clumsy and simple, ugly and beautiful, ancient and present, changing and positive. In the aspect of seal cutting, Wu Changshuo took Ding Yi from the top and Qin and Han Dynasties from the bottom, and creatively combined Song Qian's and Wu Fu's cutting with obtuse carving knives. Therefore, his seal cutting works can see vitality in beauty, magnolia officinalis in fluency, and often inadvertently see skill.
▲ Printmaking works
Wu Changshuo, who used clever colors to carve lion buttons in the old pit of Shoushan, did things in the world, and studied through the ages, and learned good things, such as HeiQingtian, January Andongling, Huzhou Anji County, Taishan Residual Stone Building, Mei Dongsheng gardener, longer bamboo cave, Storm Book, Chihiro Bamboo Studio and so on, was best at freehand brushwork flowers in his painting career, which was greatly influenced by Xu Wei and Badashan people. Because of its profound knowledge of calligraphy and seal cutting, it integrates calligraphy and seal cutting, knife cutting, composition and posture into painting, forming a unique painting style full of golden stone flavor. He himself said, "The strength of my life is that I can draw by writing." He often writes Mei Lan with a brush and grapes with weeds. The flowers and trees and flower stones we made are bold in brushwork, transparent in paper back, unrestrained in vertical and horizontal directions, magnificent in layout, almost sketchy in composition, preferring to adopt the pattern of "zhi" and "female", or oblique, combining reality with reality, with prominent themes. I like Zhao's colors. I like to use rich and contrasting colors, especially western red, strong and bright colors. Ren Bonian, a famous painter at that time, marveled at Wu Changshuo's painting with Shi Guwen's seal cutting, and predicted that he would become the mainstay of painting. Wu Changshuo painted Cao Zhuan Shu in calligraphy; The lines are extremely deep. Although from the perspective of object painting, the texture of its lines does not seem to be rich and practical, it is precisely because of abandoning the fetters of form that Wu Changshuo's paintings entered the temple of "meaning", thus forming a "freehand brushwork" expression that influenced modern China painting circles.
The theme of Wu Changshuo's painting is mainly flowers, and he learned painting late. He can only draw people after 40. In the early stage, he studied under Ren Yi, then under Zhao's painting method, and learned from Xu Wei, Yang Zhou Eight Eccentrics and other painting methods, which benefited a lot. He loves plum blossom very much, and often paints with plum blossom, using the brushwork of writing big seal script and cursive script. He has both ink plum and red plum, and the water and color of red plum paintings are just right. It is red and purple, with smooth pen and ink and full of interest. There was once a poem "Bitter railway people know each other", which used plum blossoms to express one's cynical mood. I also like making orchids. In order to highlight the clean and lonely character of orchids, I like to paint with thick ink or light ink and seal script brushwork, which is strong and powerful. Draw bamboo poles lightly with light ink, and draw leaves with thick ink, with varied density, or with pine, plum, stone and so on. Become a "double clear" or "three friends" to express their feelings. Chrysanthemum is also the subject he often paints. He painted chrysanthemums with rocks, or inserted tall ancient bottles to match the situation of chrysanthemums. Chrysanthemums are mostly yellow, or black chrysanthemums and red chrysanthemums. Mo Ju painted with Jiao Mo, and the chrysanthemum leaves splashed a lot, with different shades and distinct layers. In his later years, he painted more peonies, blooming brilliantly, bright carmine, containing more water, and then compared with the dense branches and leaves, it was full of vitality. Lotus, daffodils, conifers and cypresses are also often painted themes. Bamboo shoots, vegetables, gourds, pumpkins, peaches, loquats, pomegranates and other fruits and vegetables are also painted one by one, full of life. The works are vigorous and powerful with color and ink, and the really interesting poems and free and easy calligraphy inscribed on the paintings, with simple seals, make the poetry and painting seal into one furnace, which has a great influence on modern flower-and-bird painting (see the color picture "Photo courtesy of Qing Dynasty" (Qing Dynasty)).
▲ Painting works
Tianzhu Flower, Wisteria Map, Mo Hetu, Apricot Flower Map, Twelve Screen Flowers, Plum Blossoms, Four Screen Flowers, Peony, Shi Lan Map, Turquoise Map, Flower, Wisteria Map, Miscellaneous Album (one of them). Two red plum pictures, roses, reeds and oranges, autumn pictures, the results of three thousand years, people, the results of three thousand years, Zhi Tao, immortal longevity, Shi Mei, Dianthus, Songmeitu, years of cold, peaches and fruits. [Edit this paragraph] Wu Changshuo's calligraphy career started with regular script. In the Tang Dynasty (AD 6 18- AD 907), he began to study Yan, Li Shu, Han Dynasty stone carvings, seal script and the running script of Wu Changshuo, Huang Tingjian and Wang Duo. There are many people who study Wu Changshuo seal cutting today. From 1898, Kawai, a Japanese seal engraver, asked Wu Changshuo for advice and introduced him to the Japanese seal engraving world, which had a great influence.
In Wu Changshuo's calligraphy creation, seal script and cursive script are undoubtedly the mainstay, but Wu Changshuo's research on official script has a long history. When he was young, he studied Han steles, such as Zhang Qianbei, Songshan stone carvings and Zhanggongfang stele. At the same time, he was influenced by Deng,, and others. His brushwork is similar to that of Yang Jianshan. When he was thirty-five, he wrote an official script. The official script written by Wu Changshuo in his later years became longer and took a vertical trend. For example, this painting "Feng Jue says longevity, elegantly sings blowing sheng" is rich and full, and from some lines, there are traces of seal script. It can be said that at this time, Wu Changshuo has already integrated seal script and official script, forming its own unique features.
Wu Changshuo's regular script can be seen everywhere in the Han Dynasty, such as The Stone Inscription of Songshan Mountain, Zhang Qianbei, Song Mountain and Ode to Shimen. After middle age, I read many original and rubbings of stone carvings, and chose Shi Guwen as the main copying object. For decades, after repeated study, I don't want to be satisfied with imitating my disciples and seeking form. I participated in Qin Quan's inscription, the carved stone of Langyatai and the carved stone of Taishan, so my Shi Guwen is concise, vigorous, novel and unique. Books after the age of 60 are particularly refined, mature and refined, and both rigid and flexible. I like to write couplets in the collection of Shigu characters. In his later years, he used seal script as a cursive script, which was vigorous and bold.
▲ Calligraphy works
Near Shi Guwen.
In 2008, Christie's auctioned "Beautiful Scenery Beautiful Flowers and Birds" with a transaction price of 34.26 million yuan.
"Lu Shi Tu" was auctioned in Bandung, Beijing in 2008, with a transaction price of 33 million.
Bottle Chrysanthemum Map, in 2008, was auctioned by China Guardian, with a transaction price of 3,654,380+0,360 yuan (excluding commission).