The Ming Dynasty was founded because of the demise of the Yuan Dynasty. Because the Yuan Dynasty was not too long, many painters in the late period moved to the Ming Dynasty, so the paintings in the early Ming Dynasty were basically a continuation of the Yuan Dynasty, and these painters in previous dynasties were also recruited as officials, such as Wang Meng, Wang Bi, Wang Meng, Wang Bi. But these painters don't like the Ming Dynasty. Although the Yuan Dynasty was ruled by foreigners, its policies were very broad, especially for literati, and it was relatively free. Although the literati were dissatisfied with the alien rule and hoped to restore the Han rule, they were brutally suppressed and persecuted by the Han people, and were not as free as they were when the Yuan people ruled. Because Zhu Yuanzhang was an uneducated peasant, he later became emperor himself, defeated several other peasant armies and destroyed the Yuan Dynasty. When Zhu Yuanzhang was fighting for the world, he used the banner of opposing Yuan and restoring Song Dynasty. At that time, he paid attention to uniting with intellectuals, and intellectuals were willing to help him. He changed after the fall of the world. He killed many heroes and intellectuals, and almost all the painters left by the Yuan Dynasty were killed by him. Wang Meng and Ni Zan were not spared. Other painters include,,, Chen, Zhou Di, Wang Xing,, Yang Ji, Fang Xiaoru, etc. Almost all the painters of Ming Dynasty and those left over from Yuan Dynasty were killed by Zhu Jia.
On the other hand, after the Yuan Dynasty in the Ming Dynasty, there was a strong political hostility towards the Yuan Dynasty, which became more and more obvious with the consolidation of the regime in the early Ming Dynasty. In addition, Yuan people's interest-oriented painting style was not conducive to the centralization and autocracy of Ming rulers objectively, and its painting style was quickly stifled and replaced by the institutional painting style of Southern Song Dynasty. Zhu Yuanzhang was a peasant under the banner of opposing Yuan Dynasty and restoring Song Dynasty. He doesn't appreciate the gloomy and cold painting style of literati, but he likes the vigorous and vigorous painting style. In the Southern Song Dynasty, he wrote an inscription for Song Li to express his gratitude. Zhu Yuanzhang inherited the banner of Han orthodoxy and seized power. It is also inevitable that he will turn to advocate the restoration of the quadrangle style in the Southern Song Dynasty. Furthermore, the most fundamental reason is that the vigorous style of the Southern Song Dynasty is suitable for the needs of the Ming Dynasty. The painter who was not killed had to try his best to show his kindness. Therefore, from the beginning of court painters, the courtyard style of the Southern Song Dynasty gradually rose.
The deepest and thickest painting style in the Southern Song Dynasty was in Hangzhou, Zhejiang, the then capital. In the Yuan Dynasty, although it was no longer the capital, its economy and culture were still very developed. Therefore, although the Southern Song Dynasty died, the painting style represented by Liu, Na, Ma and Xia was not fade away. Even in the Yuan Dynasty, many painters inherited the courtyard style of the Southern Song Dynasty, such as Sun Junze, Chang Fa, Yan Hui, Bird and others. The short time of Yuan Dynasty and the rulers' low requirements for painting activities made this tradition still prevail in Zhejiang. However, because it is not in line with the current painting style of the Yuan Dynasty, it has never become the mainstream of painting. After the Yuan and Ming Dynasties, thanks to the appreciation of the rulers, a large number of Zhejiang painters were able to enter the court, and the legacy of the Southern Song Dynasty grew in the suitable soil of the Ming Dynasty court.
The formation of Zhejiang School also has internal motivation, that is, the change of social situation and the initial lifting of the ban in the ideological field. After the founding of the Ming Dynasty, after the initial establishment and consolidation of political power, the society entered a period of stagnation, and the rulers of the Ming Dynasty lacked the initiative of the founding emperor in the early Ming Dynasty. Coupled with the development of productive forces, the economy is gradually prosperous and the society is relatively stable. At this time, talented people came forth in large numbers and the painting world was active, which provided objective conditions for the development of culture and art. Even the emperor was good at poetry, painting and calligraphy. In the history of painting, there are famous Xuanzong Zhu Zhanji, Xianzong Zhu Jianshen and Xiaozong Zhu Min. The relaxation of politics will inevitably lead to the opening of the ideological field. In the early Ming Dynasty, in order to strengthen the autocratic rule, the rulers vigorously promoted Zhu Cheng Neo-Confucianism as the foundation of the country. In the year of the founding of the People's Republic of China, Zhu's theory was advocated and scholars were ordered not to read the Five Classics and Four Books. Zhu Yuanzhang also carried out the imperial examination system of selecting scholars by stereotyped writing, with four books and five classics as the main ones. The four books should be subject to Zhu Zhu's annotations, and the form is limited to stereotyped writing. Even the number of words is strictly regulated: four books and one meaning, more than 200 words, five classics and one meaning, and more than 300 words. During the reign of the Ming Dynasty, Hu Guang, the special envoy, compiled The Complete Collection of Sexual Principles and The Complete Collection of Four Books and Five Classics, which were published as required books for scholars and distributed all over the world. Anything that does not conform to Zhu Cheng's Neo-Confucianism is regarded as heresy and rejected. Therefore, in the early Ming Dynasty, Zhu Cheng's Neo-Confucianism dominated the ideological field.
In the early Ming Dynasty, the rule was very strict, and the Neo-Confucianists did not have many original opinions except repeating the nature, destiny, reason and qi of Song Confucianism, which was naturally not conducive to the development of Neo-Confucianism. Zhu Cheng's Neo-Confucianism gradually became rigid in the early Ming Dynasty and lost its vitality for development. By the middle of the Ming Dynasty, Zhu Cheng's Neo-Confucianism had not adapted to the social environment at that time, and naturally declined, followed by the study of mind.
It was Wang Shouren who established a huge theoretical system of the theory of mind and nature in the Ming Dynasty, which made it the mainstream of philosophy in the middle of the Ming Dynasty, so Wang Xue was an ideal study object for later generations. Analyzing his theory, we can see a spirit of freedom and liberation everywhere, opposing stereotyped Neo-Confucianism everywhere, and breaking the old academic pattern in the early Ming Dynasty. This liberal tendency is more obvious in his view that mind is reason and everything is one. He doesn't even regard Confucius' right and wrong as right and wrong, but only believes in his own heart. Arbitrariness, self-assertion, sages and role models, and the format of truth have all been ignored.
The development of economy, the stability of society, the gradual relaxation of politics and the initial liberation of ideas have made it possible for art to be diversified. After brewing in the early Ming Dynasty, in the early middle of the Ming Dynasty, painters who entered Ceng Shan or aimed at the legacy of the Southern Song Dynasty gradually gathered among the people, and their painting style kept a certain distance from that of college painters in the early Ming Dynasty, giving them more creative freedom. Because most of these people came from Zhejiang, they were called Zhejiang School, among which Dai Jin was the leading figure, which created a precedent of taking the region as the school in the history of painting. As far as the human body is concerned, from the early Ming Dynasty, Zhejiang School began to rise and gradually occupied the mainstream position in the Ming Dynasty painting circle. Until the middle of Ming dynasty, this painting school was still very powerful. Wu Pai emerged only after the middle period, and its power at that time could not be compared with that of Zhejiang School, which was suppressed by Wu Pai in the middle and late period.
According to the development process of Zhejiang School, it can be roughly divided into two stages: the first stage is the glory of Zhejiang School after its rise, which can be described as beautiful scenery and high-quality products, and at the same time laid its important position in the history of painting; The second stage is the continuation of the red pole. At this time, Wu Pai's influence gradually increased. Although the leader of Zhejiang School is very strong, it has already set out in Xishan, and in a sense, it has also produced many negative effects. In the later period, it can be said that bad habits spread, which led to the rise of literati painters and the attack of them; In the third stage, the armed forces of Zhejiang Central School tried to change the bad habits of Zhejiang School. Although there are many deviations in painting and interest, it finally gives people the feeling of reflection with the same light, and finally saves some face for Zhejiang School.
The first stage is represented by Dai Jin and Wei Wu. Dai Jin was born in Jianjiang, Hangzhou, and once lived in Beijing. His painting skills were deeply influenced by the tradition of the Southern Song Dynasty and the court painting of the Ming Dynasty. Although it is in the same strain as the court painters, the painting style is self-contained. Because Dai Jin stayed in the imperial court for a short time, his main activities were in the folk, which objectively caused him not to be as strict as a court painter and could only learn from his predecessors. It is precisely because the environment of the times allowed him to learn from others that he became an outstanding painter, and painting was once called a masterpiece. His painting style in turn influenced the development of painting inside and outside the court, and many people inherited him, thus forming the climate of Zhejiang School.
The founder and leader of "Zhejiang School" is Dai Jin (1388- 1462), whose ancestral home is in Zhejiang. The word Jinwen Hao Jing. When he was young, his paintings became famous. He was called to court when he preached virtue, but he was jealous and rejected by Xie Huan and others. Later, he stayed in Beijing for many years and returned to his hometown of Hangzhou to sell paintings for a living in his later years. Although Dai Jin was once enshrined in the imperial court, his main creation was done in the folk, and his influence was also in the folk. Therefore, later generations called the painting school he represented "Zhejiang School". Dai Jin has an extraordinary talent for painting. His landscapes, figures, flowers and birds are omnipotent and meticulous. His landscape paintings were mainly studied by Liu Songnian, Xia Gui and others in the Southern Song Dynasty, and accepted the methods of Guo and Yuan in the Northern Song Dynasty. In particular, his early works are more prominent, such as his early "Heaven Cave". This painting is Dai Jin's early work. First of all, from the composition point of view, the classic diagonal composition drawn by the Southern Song Academy is adopted. The pine tree in the lower right corner and the mountain peak in the upper left corner form a diagonal line, and smoke and a rugged path lead to the upper right corner of the picture, alternating with reality, showing infinite depth in a limited space. In terms of pen and ink, chopping rocks with axes and dyeing them with ink rhyme highlight the yin and yang of rocks and reflect their rich and hard texture. This is a typical performance of the Southern Song Dynasty college painting. Pine trees are tall and straight, with vigorous branches, mostly scattered branches. This is Liu Songnian's method. Characters are just sketched, then colored and lifelike.
In the middle and late period, the landscape was more bold and heroic, and gradually merged with various schools of pen and ink to form its own unique style. Scenery of Spring Mountain (now in Shanghai Museum) is his masterpiece in his mature period. The composition of the picture is diagonal, and the description and foil of the scene are more exaggerated and simple. There are only two pine trees at close range, and only a few strokes have been written. There are two peaks in the distance, and the valley in the middle is smoky, and you can see the houses in the distance. This played down the background and brought back the theme-the servant crawling on crutches. Although the task is very small, several descriptions are fascinating by combining reality with the corresponding background of reality. This is a typical quadrangle style in the Southern Song Dynasty, but it contains endless charm. It is not as rigorous as early works, and it begins to show signs of freehand brushwork.
In his later years, there were many landscapes, such as Travel in Guanshan, Poems on Xitang and Xun Mei in the Snow, which were representative works of various schools. Taking the Travel Map of Guanshan as an example, we can get a panoramic view of the landscape of the Northern Song Dynasty from the perspective of composition and mountain situation. The main method is similar to chopping with a small axe, but it is not; Close-up of pine trees, definitely like Liu Songnian; Fine moss spots are also from Yuan people's pen and ink; His pen is also omnipotent: dry and wet, winger and center show their abilities ... amazing!
Dai Jin's achievements in figure painting are also remarkable. His figure painting also has obvious Southern Song style, but it is divided into two ways: dark and light. Narrow roads mainly appear in Liu Songnian and can be traced back to Li and Wu Daozi. Most of them are vigorous and neat iron wire paintings, orchid paintings and his own nail biting tail paintings. The bumpy road comes from Kai Liang's stick figure method, with thick and dripping lines and abrupt and powerful turning points. The representative of Narrow Road is The Statue of Six Fathers in Dharma World, which arranges the six ancestors of Zen among turquoise trees. As can be seen from the picture, the description of rocks and trees in the background also has the style of Southern Song Dynasty, and the dead tree in the picture is a typical "crab claw branch", which is also the representative of his narrow figure painting. Rough roads, such as Night Tour in Zhong Kui, are also short-sighted, but they are obviously different from the Statue of Six Fathers, mainly because their pens are rougher and make people look relaxed, and the bold image of Zhong Kui looks extremely tall and strong. In sharp contrast, the school rules are relatively light, and the contrast between them forms a strong visual impact, which is also a Zhejiang school.
Wei Wu (1459- 1508) was a famous painter in Ming dynasty. The word Weng, the word Shi Ying, and the word filial piety. Jiangxia (now Wuhan, Hubei) lives in Jinling. The painting academy is waiting for a letter. Filial piety awarded 100 Royal Guards and a seal of "painting champion". He was adopted by Qian Xin's family as a child, accompanied his son to study, and had the opportunity to steal pen and ink. After 20 years in Jinling, the name of calligraphy and painting gradually rose, and the painting method was similar to Dai Jin. The landscape is fine, the writing style is strong, and the painting is the longest. He is on par with Du Jin, Shen Zhou and Guo Yi. Pen is bold and unrestrained, and ink splashes like clouds when painting. The onlookers were horrified, the details were tortuous, and the organization was clear, and everyone was amazed. , Zhang Lu,,, Song,, Wang Yi, etc. They are called "Jiangxia School". The representative works are: The Picture of Picking Zhi, Legend of Immortals, The Picture of Immortals, The Picture of Fishing Boat in Xishan Mountain, The Picture of People, The Picture of Immortals, etc.
Lan Ying (1585- 1664) was an outstanding painter in Ming Dynasty. Word,No. Butterfly,No. Stone Tuo, Wan Zhuan, West Lake Yan Min. Also known as Dong Guo Lao Nong, he is among the "Chengqu Maotang". Qiantang (now Hangzhou, Zhejiang) people. He is one of the representative painters in the later period of Zhejiang School. Good at painting, good at landscape, flowers and birds, plum and bamboo, especially famous for landscape. Its scenery is in the Song and Yuan Dynasties, and it can be a family of its own. Shen Zhou, a painter, set out to copy the Tang, Song and Yuan Dynasties, especially Huang. In his later years, his brushwork was vigorous and his weather was grim. Some people asked him to put Wen Zhiming and Shen Zhou in the same important position.
Lan Ying took painting as her career all her life, and once roamed the north and south, enjoying the scenic spots and broadening her horizons, thus constantly enriching her creative content. His disciples, Liu Du, Feng, and others directly inherited the mantle of the Lan family. At the same time, and later in the late Ming Dynasty, famous painters such as Chen Hongshou and Eight Jinling Artists were also influenced by him.
Lan Ying is good at landscapes, flowers and Shi Lan, and studied under famous artists in Song and Yuan Dynasties. Influenced by Huang in his early years, his works are simple and elegant. Han Chang said in the sequel to the painting treasure: "Painting was awakened from Huang Zijiu (that is, Huang)." Middle-aged self-reliance, peep at Jin, Tang and Song Dynasties, copy the brushwork of various schools in the Yuan Dynasty, learn from others' strengths, and make us different. Not only Guo, Ma and Xia, but also He Yunshan are also under study. Love yellow paintings. Shen Zhou, a contemporary predecessor, was also enthusiastic about his paintings. Coupled with roaming north and south, the vision is broad, so it is strange and beautiful. His painting style has evolved from many aspects. In his later years, his works became more and more energetic. There are many styles of painting, some works are subtle and elegant, and some works are green and reset in color, with delicate strokes and rich colors, and the older they get, the more they work. In his later years, his brushwork was vigorous, much like that of Shen Zhou. He also made figures, flowers and birds, and orchids, all of which were samadhi of the ancients. Although he tried his best to pursue the ancient law, he was able to achieve mastery through a comprehensive study, which had a great influence on later paintings in the late Ming and early Qing dynasties.
Judging from the pen and ink of these three people, the painting style of "Zhejiang School" continued the rich atmosphere of the Southern Song Dynasty and became more heroic. The pen and ink pieces had the temperament of chopping with knives and axes. To sum up, its style is characterized by "the sound of paper is sonorous and the end of the pen contains the sound of an axe". But to be fair, although they made the Southern Song Dynasty college sports painting more vivid and colorful, abandoned strict restrictions and created a fresh and heroic style, it is precisely because of this that their creation became more and more rough and gradually lost the interest of Chinese painting, which is really regrettable. But on the whole, the "Zhejiang School" painters opened a new road for the development of Chinese painting in their time, and their artistic essence attracted worldwide attention, which was enough to last forever.
Above, we also briefly talked about the development after the "Zhejiang School", and here we will introduce it in detail. According to the history of painting, his descendants are: his son Dai Quan, his husband Wang, Xia Solstice, Zhong and Xia Kui. They were only able to inherit Dai Jin's style and failed to make a breakthrough, so there were not many works handed down from generation to generation and their influence was not great. As for Wei Wu and Zhang Lu, there are even more people in this vein. After Wu and Zhang, there were Wang Zhao, Zheng Wenlin, Wang Jingji, Wang Maoyu, Diao Rui, Ma Ji, Ma Yunkui and others. Among them, Song Jiang and Wang Zhao have great influence and made remarkable achievements, but they have not improved on the basis of Zhang Wu, and they are still following the old path. Many works tend to be vulgar, so they were gradually replaced by Wu Pai, who flourished in the middle and late Ming Dynasty, and became the last trend in painting. There is an incisive exposition on the rise and fall of Xie's "Zhejiang School": "... this style (Zhejiang School) was regarded as a model by the author at that time, but the atmosphere was open and flowed into the realm of madness, forming a modest and formulaic style, which was the last stream of the Southern Song Dynasty painting school." (The article "Xie Tan on the Types and Schools of Art" published by Henan Fine Arts Publishing House)
The origin of "Zhejiang School" painting and the Southern Song Dynasty academy painting makes some of their works often regarded as the works of Ma Xia in the Southern Song Dynasty in later generations. For example, Wash Soldiers was once mistaken for Li's work, and there are many similar works. In fact, the works of "Zhejiang School" are quite different from the courtyard paintings of the Southern Song Dynasty. From the pen and ink point of view, the courtyard paintings in the Southern Song Dynasty should be neat and rigorous, with sincere meaning, while the works of "Zhejiang School" should be simple and rude, without the temperament of court painting. On the other hand, the materials used are quite different. Silk in the Song Dynasty was fine and meticulous, while Zhejiang silk in the Ming Dynasty was much thicker and thinner. The works of "Zhejiang School" were copied in later generations, but most of them were copied by Dai, Wu and Zhang. The folk imitation is inferior, the brushwork is crude, the characterization is dull, and especially the ability to control the brushwork is far from enough. Similar to the imitation of the descendants of "Zhejiang School". Although the style and appearance are similar, the nuances of the pen are difficult to be realistic. For example, Dai Jin's imitation of "The Map of Guan Shanxue" is very similar in painting, but it has little sharpness when looking closely at the pen and ink. It has no implicit meaning of Dai Jin, and it is also suspected of affectation. On the whole.
At present, the works of "Zhejiang School" in the early Ming Dynasty are rarely seen in the market. In recent years, there are more than a dozen books on the market, including nearly 20 by Wu Wei, 20 by Zhang Lu, 4 by Wang Zhao, and more miscellaneous, most of which are not original works. Therefore, as a collection investment, we should be cautious. Judging from the current transaction price, it is not too high. One is that the works are handed down from generation to generation, and the market recognition is not enough. In the future, with the deepening of people's understanding of "Zhejiang School" painting, there will be great potential. This is a group of painters worthy of attention.
The Historical Position of Dai Jin and Zhejiang School The Ming Dynasty was a period of rapid change in China feudal society. The landscape paintings in the early Ming Dynasty still have remnants of the Yuan Dynasty. In Yuan Sijia, such as Huang, Wang Meng, Ni Zan and others still exist in the Ming Dynasty, and their charm is widely spread all over the world. At that time, Xu Youwen, Ma Wan, Elvis Presley, Zhao Yuan and other works. All are pure Yuan Feng (these people or writers). The rulers of the Yuan Dynasty paid little attention to painting activities. As long as the painter develops freely, he can directly express himself, express himself and convey a cold and silent atmosphere. Therefore, Yuan painting emphasizes interest and the shortage rate of literati hermits, which is the painting style that literati like. In the Ming Dynasty, the system of painting academy was restored, and painters had a foothold, so non-professional icon painting declined and professional academy painting revived. After the silence of the Yuan Dynasty, the style of courtyard painting in the Southern Song Dynasty resurfaced in the court of the Ming Dynasty, among which political reasons were a factor that could not be ignored.
Dai Jin painted with his father in the imperial court and was greatly influenced by the imperial court. At the same time, his family lived in Hangzhou, Zhejiang, and accepted more traditions of the Southern Song Dynasty. This made him a great painter with outstanding achievements, which further influenced court painting. He returned to Hangzhou from the palace and made a living by selling paintings. After his death, his paintings were called "unique art" and had a great influence for a while. According to the standpoint of painting theory in the late Ming Dynasty, the so-called "Zhejiang School" refers to the painting school headed by Zhejiang painter Dai Jin. At that time, people called it "Zhejiang School" to distinguish it from "Wu Pai" painting.
As a leader of Zhejiang School, Dai Jin was widely respected by people before and after his death. Looking through Dai Jin's poems by contemporary literati, we will find that Dai Jin in people's eyes is not only excellent in painting, but also elegant in style, without any vulgarity of painters. Dai Jin seems to have a different temperament from Wei Wu, Zhang Lu and those Zhejiang painters who were called "crazy and evil".
Dai Jin is famous for his paintings, and his surviving works are usually simple autographs and never write poems, which may be related to his low cultural literacy. Therefore, although he won the respect of Yang Tuqi, Xia Chang and Wang Zhi, he was still an excellent professional painter in the eyes of later literati. About 80 years after Dai Jin's death, Shen Lu said in "Essays on the Spring Breeze Hall": "The painters of this dynasty took Qiantang Dai as the first." Compared with later Lan Ying, Dai has a higher evaluation. He wrote: "After Mr. Wang's death, dozens of people became famous for their paintings. For example, Li's landscape in Zhou Chen, the harmonious feathers, the figures of Du Jin and Wu Wei, the statue of Shangguan Boda, the bamboo stones in summer and the flowers and trees in Gaonan Mountain all have their own merits. If Mr. Wang is beautiful and good, who cares? If you sincerely paint a sage, you will get a piece of paper today, such as an arch. What will happen after you go? " Lang Ying's statement is of course full of aesthetic feeling, but it also shows Dai Jin's lofty position in his mind. If Shen Lu and Lang Ying only put him in such a specific era in the early Ming Dynasty and compared him with his academic painting peers, then Li Kaixian's "Painting Crystal in the Middle Foot" is trying to find Dai Jin's position in the history of painting. He believes that Dai Jin's painting style was formed by compromising and digesting the paintings of the Song Dynasty. Its origin is not limited to Ma Yuan, Xia Gui and Li Tang of the northern painting school, but can even be traced back to Fan Kuan, Mi Fei, Guan Tong, Zhao Liqian and Liu Songnian in the Yuan Dynasty, as well as Gaofangshan, Zhao Mengfu, Sheng Zhaozi and Huang Wangyao.
As far as the "theory of southern and northern sects" is concerned, the above-mentioned painters span the south and the north; As far as the identity of these painters is concerned, there are professional painters and literati painters. Li Kaixian is not the only one who made such an evaluation of Dai Jin. Sun Chengze, Li Rihua and Han Ang, the author of "Continued Treasures" in Qing Dynasty, all held roughly the same opinion.
However, after the mid-Ming Dynasty, with the rise of Wu Pai, the balance of confrontation between Zhejiang School and Wu Pai gradually tilted, and literati painters showed a bad tendency to evaluate their works by their identity and status. Literati painting is highly respected, while Zhejiang School is increasingly excluded, and its status has plummeted. Dai Jin, regarded as the originator of Zhejiang School, was also demoted as "humble" because of his background as a professional painter, and his works were also criticized. It can be said that the denigration and attack on Zhejiang school is caused by the door view of the school. Needless to say, Zhejiang painters are mostly professional painters, not literati. It is naturally insufficient if the literati are rich in literary accomplishment and pay more attention to the inscription and postscript of poetry and calligraphy, but they must not obliterate the advantages of Zhejiang painting. It is very necessary to give this school an objective and fair evaluation in the history of art.
In a word, Zhejiang painting inherits the fine tradition of Song painting, pays attention to the life meaning of the theme, pays attention to the overall structure, and has a heroic style. Moreover, Zhejiang painters are good at landscapes and figures and have a wide range of painting themes. Some of them have close ties with the people, and many painters come directly from folk painters. Zhejiang painting has been labeled as "low style" for hundreds of years, which is related to the fact that Zhejiang descendants only pay attention to form and poor brushwork, but on the other hand, it also reflects the prejudice and complex historical influence of literati painters. As a great master, Dai Jin, the pioneer of Zhejiang School, played a bridge role in the history of art.