1. Shen Zhou's dramatic life
Shen Zhou, whose real name is Qinan, was later named Baishi Weng, and studied painting under Fayuan. His grandfather Shen Cheng is a good friend of Wang Meng. He is good at poetry, and his works are mostly landscapes. Father Shen Heng and uncle Shen Zhen are both good at poetry and landscape, and they are famous local painters in Suzhou. Their paintings are similar to those of Wang Meng. Shen Zhou was taught by his parents when he was a child. He studied Du Qiong and took Chen Kuan as his teacher. Shen Zhou is very clever and has made rapid progress under the guidance of Chen Kuan. While studying literature and painting hard, Shen Zhou also did some business. He used to be a grain worker for his father. Around the age of 30, Shen Zhou's poetry title has been greatly improved, and he was recommended as "the father of virtue" by Suzhou county magistrate. But he "decided to live in seclusion" and lived a leisurely and secluded life. Some people went to his residence to ask for poems and paintings, and Shen Zhou met their demands one by one, so he made many friends, including court officials and ordinary people.
Shen Zhou, a middle-aged man, is open-minded, which can be seen from many of his middle-aged works, such as "The High Map of Lushan Mountain" at the age of 4 1 (collected by the National Palace Museum in Taipei). In the picture, the mountains are stacked, the stone patterns are complicated, the vegetation is lush, the clouds are flying, and the plank road is high. Just like a dignified, elegant and simple Shen Zhou, Shen Zhou visited the great rivers and mountains of the motherland in his middle age and drew many travel notes. His paintings emphasize subjective feelings, and the same scene often presents different artistic conception because of different moods, from which we can see his simplicity, truth, goodness and beauty. Through the description of Zhitian and its surrounding scenery, his Pastoral Map of Zhi expresses the theme of the hero's serving people with virtue and giving Ganoderma lucidum. This anthropomorphic method is widely used by all scholars in Wumen. Shen Zhou's realistic landscapes have formed a variety of expression techniques, which have played a connecting role in the development of literati painting in expressing the mind, expressing emotions and blending scenes.
Shen Zhou, 60-83 years old, is in the late stage. He "fell in love with Taoist Mei", and learned the varied brushwork, which made the rough brushwork landscape more vigorous and dignified. His brushwork combines the north and the south in one furnace, conveying the mountains and valleys of the Song Dynasty with the pen and ink of the Yuan Dynasty, and creating a new model. For example, the 68-year-old "Imitation of Big Idiot Landscape Painting" is repeatedly outlined with thick and thin lines, and the painting method is mainly hemp and lotus leaves; Tu Tu in Cangzhou was written at the age of 70 and was copied by Zhenwu, Huang, Wang Meng and Ni Zan from beginning to end. This artistic character of learning from others is worth learning from. This modest and prudent academic style finally made him complete, and his paintings in his later years also reached a state of perfection.
2. Wen Zhiming, who lacks talent, tried every time, but worked hard and gained more and more fame.
Wen Zhiming, his name is Wall and No. Hengshan is the backbone of the "Wu School". Because I was stimulated as a teenager, I failed to take the provincial exam many times. When he was 30, his father died. He refused to accept material help from others, made a large number of literati eunuchs, and shared poems and paintings and enjoyed calligraphy and painting. At the age of 40, his teacher, Shen Zhou, died, weeping bitterly with poems, and inscribed poems and tomb names, showing his high skill in painting and calligraphy. However, he participated in the imperial examinations many times, but failed to give up his hobby. He lived a quiet and carefree life for more than 30 years in middle and old age. He only liked reading and painting until he died at the age of 90. Finally, he became an all-rounder in poetry, literature and painting. This is another profound example.
Wen Zhiming is easy-going, but he grew up in a city dominated by citizens. Although I went out several times, I stayed in Suzhou for the longest time, so I became a citizen. In his thoughts, there is no strong political factor, neither the detachment of the Six Dynasties nor the grandeur of the Tang Dynasty. There is neither the intense and unrestrained people in the Southern Song Dynasty nor the depressed and relaxed people in the Yuan Dynasty. In his thoughts, most of them are influenced by Confucian doctrine of the mean. I think this is the motivation for him to never give up and persevere in the face of difficulties and failures. He is a scholar with less resentment and less anger.
3. Tang Yin, the first romantic talent in the south of the Yangtze River with distinct personality, was content with Danqing's self-entertainment.
Tang Yin, formerly known as Bohu, was later renamed as Wei Zi. Smart since childhood, study hard, and learn from Zhou Chen. His life is quite tortuous. He studied for fame in his early years. Later, he was imprisoned because of the "bribery" case and was demoted to a small official in Zhejiang. From then on, Tang Yin began his painting study and buying career. Because of his early talent and profound traditional skills, his painting skills have made rapid progress and gained a great reputation. He was content with Danqing's life style of entertaining himself, and his thoughts tended to be illusory in his later years. He was 54 years old.
Tang Yin has a distinctive personality, which can be reflected in many of his paintings. For example, Sleeping in the Shade of Tung depicts a noble scholar who closes his eyes and takes a nap under a buttonwood tree. This painting is a portrayal of his own situation, showing his indifference to fame and wealth and his boredom of doing nothing. He indulged in debauchery and traveled all over the south of the Yangtze River to win, so as to vent his frustration and depression, and to send his feelings to calligraphy and painting. His paintings have a wide range of materials, forms and techniques. Before the age of 30, he mainly inherited the tradition of Yuan Sijia and painted rhymes with many literati. 30-37 years old is Tang Yin's middle age. Learning from Zhou Chen, its "courtyard style" has a profound influence. At the same time, it also learned from the Song and Yuan Dynasties and formed a style different from that of Zhou Chen. However, his lines are thin and beautiful, the scenery is simple, the ink color is light, he is full of vigor, clean and graceful, and he also shows himself in his pursuit, such as Pei Tai Real Scene. From 38 to 54 years old, in his later years, Tang Yin's painting style gradually broke away from Zhou Chen, forming a natural meticulous landscape style. For example, Yi Antu reveals the elegant and elegant painting style of literati paintings, as the scholars have commented: "Tsinghua and Bohu participated in Songxue, which is similar to the Northern Song Dynasty, but their painting methods are indeed the essence of the Southern Song Dynasty." In short, in painting, Tang Bohu deepened the theme of literati painting, promoted the all-round development of landscapes, figures, ladies, flowers and birds, and strengthened the self-expression consciousness of literati painting. Compared with Shen and Wen, he expresses his feelings more directly, has a stronger personality, and uses more methods of metaphor, allegory, allegory and self-situation.
4. Chou Ying comes from humble background, works hard and has a unique style of painting.
Chou Ying, the real father, is the tenth continent. At the age of 55, she became a great teacher with Tang Yin and Zhou Chen. Chou Ying's artistic creativity and outstanding contribution are mainly reflected in learning from Gu Zhuo, creating a refined and elegant figure painting style and reviving the brilliance of green landscape painting. Chou Ying is a very diligent painter. Although he had no background, his character was appreciated by Zhou Chen. Under the guidance of Zhou Chen, he practiced his basic skills hard. We can clearly see Zhou Chen's influence on him from the interesting ink figure paintings he left behind, which show the characteristics of literati painting. For example, the picture "Stop the piano and listen to Ruan Tu" (⑦) is painted on the screen. By a quiet stream, one person stops the piano and listens to another person playing Ruan. There are huge stones and a long stream, and several big curved trees cover the sky, which is both in form and spirit.
Chou Ying's painting theme pays attention to the vividness, interest and rationality of the story, and is full of human feelings. For example, the Tribute Map is 580 cm long, and there are 1 1 tribute teams, with as many as 200 characters, which are staggered and densely arranged. There are many of his figure paintings, including Chunxiao in Han Palace, which shows the life of the court, and Summer Scenery in Banana Shade, which reflects the life of the literati. Under the social conditions of the growth of commercial economy and the rise and fall of literati painting at that time, his works showed a two-way evolution to popularization and literati, which made his works contain multiple aesthetic interests. Qiu Ying's profound skill and unique style have a great influence on later generations.
To sum up, the outstanding artistic achievements of Ming thinkers are admired by future generations. The author summarizes and analyzes their growth environment, learning experience, psychological characteristics, social interaction and other aspects, and it is not difficult to find the common ground of their personality charm and the differences in personality formation.
The greatest characteristics of Badashan people are pen and ink and composition. The lines are simple, the composition is unconventional, and they are good at directly speaking their minds by symbolic means. Badashan people's flower-and-bird paintings are deeply influenced by Lin Liang, Chen Chun, Xu Wei and others, with special emphasis on sentimental things, so their personality is extremely distinct. As a survivor of the former royal family, he lingered in this world. The special and embarrassing identity made him disheartened and even escaped into an empty door several times. He stayed indoors, isolated from the outside world, and painting became his spiritual sustenance. He and Shi Tao are bosom friends and often start painting for each other. His painting "Badashanren" is often written in series, like crying and laughing, expressing his rebellious spirit.
The development of fine arts in Qing dynasty;
Landscape painting is the spiritual habitat of ancient literati. It is the expression of the painter's spirit and emotional sustenance, with the feelings of avoiding the world and jumping high. China's landscape paintings maintained a high artistic level in the Tang, Song and Yuan Dynasties. For example, Dong Yuan of the Song Dynasty (who entered the Song Dynasty in the Five Dynasties), (Dong Yuan's disciple had a period of entanglement with the Northern Song Dynasty), Li Cheng, Fan Kuan, and later Guo and Mi Fei. They are all masters of art in later generations and occupy an important position in the history of world art. However, landscape painting declined in the Ming Dynasty. Dai Jin and Wu Wei, among the "Four Masters of Wu Men", both regressed in the level of artistic pursuit. Wearing the retro school in the Southern Song Dynasty is not so much a yearning for classical art as a cover-up of one's own lack of artistic innovation. Xu Beihong, a master of modern painting, even thinks that China's landscape paintings after the Ming Dynasty are "eight-legged landscapes". Painters blindly pursue retro, and both the pen and the pen should seek the source, emphasizing that "painting is not as good as ancient, and it is difficult to be called top grade", but they don't know that the biggest feature of art is its characteristics of the times. A famous saying of Shi Tao in Qing Dynasty: "Pen and ink should follow the times" is deafening! It's a pity that his new style landscape painting has not been recognized by mainstream art.
Most of Xu Beihong's prejudice against landscape painting comes from this. He believes: "Dong Qichang is the representative of eight landscapes, and China's paintings have been unknown for 300 years." So much so that he said such extreme words: "All the arts in China are in recession, and there are no suspicious people." . As a master of art in the late Ming Dynasty, Dong Qichang made great achievements. Calligraphy and painting had a far-reaching influence on the Qing Dynasty. He inherited the painting style of Dong Qichang, the four kings of Wang Shimin, Wang Yi, Wang Jian and Wang, represented by disciple Wang Shimin. The Four Kings went further to Dong Qichang's retro art, especially Huang and Huang's landscape were innovative to the Song Dynasty, and his landscape was clear. Huang's landscapes are all his true feelings for nature, and they flow with feelings. The landscapes of the four heavenly kings are completely technical repetitions, without any personal actual feelings, so that pen and ink are the source, and pen and ink have temperament, and finally become the "eight-legged landscape" in Xu Beihong's eyes, which cannot be said to be the sorrow of China's art!
Xu Beihong's subversive argument pointing to traditional literati landscape painting has brought innovative spirit to Chen Xiangyin's antique painting, until it affects the artistic creation orientation of modern landscape painters.