In the 17th year of Wanli (1589), he was selected as Jishi Shu because of his excellent writing style. He went to imperial academy for further study and worked there. Tian Yiyi, a bachelor of the Hanlin Academy, died, asked for leave to protect the coffin and sent the teacher back to Datian County, Fujian Province. Zhu Changluo, the eldest son of the emperor, used to be a lecturer. Soon, he returned to Songjiang due to illness. The dual status of Beijing official and painter makes his social status very different. Later, he served as the deputy envoy of Huguang and Fujian successively, and was once appointed as the official position of Henan's participation in politics.
A year later, he was ordered to edit and recuperate. "I have eaten at home for more than 20 years." At that time, it coincided with the "national struggle" that lasted for more than ten years in the history of the Ming Dynasty, during which the famous "Demon Book Case" and "Prince Chu Prison" also occurred. The parties in the imperial court fought endlessly for the appointment of a prince, and the situation was complicated.
Dong Qichang resigned as an excuse to go home for illness, until the first year of Taichang (1620), when Guangzong succeeded to the throne, Dong returned to the imperial court as the emperor, granted Taichang the right to take charge of state affairs, and made a record. However, Guangzong died a month after he took office. Xi Zong, the successor, was the Apocalypse Dynasty, and Wei Zhongxian and the emperor's wet nurse, Hakka, were in charge of state affairs. In the fifth year of the Apocalypse (1625), Dong Qichang was appointed as the Shangshu of the Nanjing Ritual Department, and resigned and retired one year later, "staying at home for eight years".
In the fifth year of Chongzhen (1632), Wei Zhongxian died and the political situation became clear. At the age of 77, Dong Qichang became an official for the third time, "starting as an old official and taking charge of Zhan's affairs". In the second year, Wen Renren expelled Zhou Yanru from the cabinet, and with the encouragement of the remnants of Wei Zhongxian, he started a party struggle to exclude Lin Dong. In the seventh year of Chongzhen (1634), Dong Qichang requested to retire from his hometown.
From the age of thirty-five, I went to my official career and returned to my hometown at the age of eighty. I retired for eighteen years and twenty-seven years. Compared with Lu Ji, a sage in Songjiang, his hometown, who praised "a scholar dies for his bosom friend", Dong Qichang applied his political wisdom of preserving his sanity to the extreme. He entered the elite class with the imperial examination, made friends with Lindong School and Public Security School and appreciated each other, becoming an anti-Lindong side. His posthumous title "Wen Min" came from Ruan Dacheng.
In addition to studying classics and history, Dong Qichang also studied calligraphy and painting skills with colleagues and friends, commenting on the past and the present. He learned from the paintings of Jin, Tang, Song and Yuan dynasties, followed them with his heart and hands, sometimes forgot to eat or sleep, made great progress in his studies, and became famous in Beijing. Dong Qichang has built Laizhonglou, Baodingzhai, Xi Hong Hall, Painting Zen Room and Xiangguang Room in his hometown. , with toothpicks and yu fu, left picture and right history, put yourself in it to write a book and explore the art of ancient and modern calligraphy and painting. He spared no effort to collect calligraphy books of famous artists such as Wang Xizhi, Wang Xianzhi, Xie An, Huan Wen, Evonne and Mi Fei, and published "Xi Hong Tang Fa Tie" in the 31st year of Wanli (1603). During his sick leave in Songjiang, he was in his forties. He is well-informed, integrates all kinds of people, lives in Linquan and is familiar with people's hearts. He has created many famous landscape paintings depicting the scenery in the south of the Yangtze River, such as A Tour of Ancient Paintings in Fengjing, Lin Chunhe Society, Warm Vegetables in Drift Lane, Divine Pagoda, Eight Scenes of West Lake, Rounding the Bend of the River and so on.
In the autumn of forty-three years (16 15), Dong Qichang resigned at home in his early sixties, and his two sons, Dong Zu, often took people to rob Lu Ying, the daughter of the tenant. Soon, Dong Qichang used it to bribe storyteller Qian Er to rap this fabricated story, and the rumor quickly fermented. After Dong Qichang knew it, he asked Fan Chang for accountability, but Fan Chang refused to admit it. He also ran to the Chenghuang Temple to call names and defend himself. Perhaps the God of Town God effectively punished Fan Chang. Perhaps it is Fan Chang's own guilt and fear. Soon Fan Chang died of sudden illness. Fan's mother thought it was forced by Dong Jia anyway, so she took her daughter-in-law Gong Shi and her grandson Dong Shi and other maids to Dong Jia Jia to cry. Dong Jia certainly has a point. You have committed your own crime and vowed to anger the God of the Town God. What am I going to do? You fought back against the Fan family's invasion of the house. Fan's son was humiliated and risked his life to sue Dong's family to the government on the grounds of "stripping the yin".
It was the spring of the forty-fourth year of Wanli in the Ming Dynasty (16 16), and the East Mansion was surrounded by incited scholars. The two sides fought and the scene was chaotic. In the end, hundreds of pavilions and pavilions carved with beams and painted buildings in Dongfu were set on fire. /kloc-On 0/9, villagers burned Dong Qichang's bookstore in Bailongtan, and sank the plaque of Dong Qichang's calligraphy "Pearl Pavilion" into the river, which was later called "copying Dong Huan" by the people.
Dong Qichang took refuge in Suzhou, Zhenjiang, Danyang and Xing Wu, and it was not until six months later that the incident subsided.
Officials also revealed that in the first year of Taichang (1620), Zongshen died and Zhu Changluo ascended the throne as Guangzong. Guangzong acceded to the throne, and Dong Qichang was appointed as Taichang Shao Qing, in charge of national commerce. During this period, he was ordered to write a Record of Zongshen. In the fifth year of the Apocalypse (1625), Dong was appointed as the minister of Nanjing Ritual Department and retired in.
Chongzhen five years (1632). After Chongzhen succeeded to the throne, he made great efforts to govern. Two years (1629), Wei Zhongxian died, and the political situation became clear. Dong Qichang was seventy-seven years old when he became an official in charge of Zhan's affairs. In six years (1633), Zhou Yanru of North Korea was pushed out of the cabinet by Wenti Ren. Encouraged by the remnants of Wei Zhongxian, Wen Style Ren started a party struggle, excluding Lin Dong. In the seventh year (1634), Dong Qichang sought an official position.
On September 28th (1636 10 October 26th), Dong Qichang died in Songjiang apartment at the age of eighty-two. He was buried in Dongshi Tomb in Yuyang Bay, Wuxian (now Jiangsu). In the first year of Shunzhi in Qing Dynasty (1644), the regime of Nanming Axe King named Dong Qichang as "Wen Min" like Zhao Mengfu, and later called him "Dong Wenmin".
Overview of artistic achievements Dong Qichang is called "Zhang Xing Mi Dong" in calligraphy, that is, he is juxtaposed with Linyi Xing Dong, Zhang Jin Jiang Ruitu and Xu Tianmi; There is a saying in the painting that the south is east and the north is rice. Mo Shilong and Chen Jiru advocated the theory of "North-South School", that is, the landscape paintings of "courtyard style" and "literati painting" were divided into two schools. There are countless paintings and calligraphy works created by Dong Qichang in his life, among which the paintings and poems of recent people are an important part. "Reading thousands of books" as he said in "Essays on Painting a Zen Room" means that one must learn from tradition and the ancients if he wants to become an artist. At the age of 65,438+07, he wrote Yan Zhenqing's Many Pagodas when he began to learn calligraphy. At the age of 22, he studied painting with Huang, and later with other painting schools. This practice of learning from the ancients lasted for 80 years and accompanied him all his life. He widely absorbed the strengths of the Tang, Song and Yuan dynasties and learned from others, which made his paintings and calligraphy achieve artistic achievements beyond the ancients.
Painting Dong Qichang emphasized learning from the ancients, but opposed pure mechanical imitation. With the increase of experience and the maturity of his thoughts, he inherited the techniques of his predecessors, and did not rely on the "efforts" of others, but selectively chose and integrated his own thoughts. He believes that without his own creativity, it is difficult to express the spirit of the ancients, so it is necessary to reproduce the "Fengshen" of the ancients with his own prototype. With a deep understanding of the gains and losses of ancient painting and calligraphy techniques, he absorbed the methods of many schools, changed at will, and reached a unique realm.
Dong Qichang's landscape paintings generally have two faces, one is ink painting or pale crimson painting, and the works with this face are more common; The other is turquoise, and it is rare to come out without bones. He attaches great importance to the traditional techniques of imitating the ancients, and his subject matter has not changed much, but he has unique attainments in the use of pen and ink. His paintings often imitate the paintings of famous artists in Song and Yuan Dynasties and are advertised in inscriptions. Although he talks about imitating the past everywhere, he is not ignorant of the past, but can get rid of the old mold and form his own style. On the basis of learning from ancient masters, he integrated his painting characteristics into his paintings, rubbing and pointing, so his mountains and rivers are trees and stones. In the second year of the Apocalypse, at the age of 67, he copied The Journey to the West, Fan Kuan in the Northern Song Dynasty, and adopted the comprehensive painting techniques of green color setting, ink painting and pale crimson, which fully demonstrated his exquisite figure modeling, unique landscape style and the charm of natural inheritance of painting art. His painting style was famous at that time and he became the leader of "Hua Tingpai".
Dong Qichang pays special attention to the skill of using ink. Ink painting is good at splashing ink and cherishing ink. Shade, dry and wet are naturally harmonious, and there is not much pen and ink, but the artistic conception is far-reaching and the charm is endless. You don't have to show off your strangeness, but you are full of gas and fill the paper room. Dong Qichang's colorful landscapes, or using Yang Sheng's boneless method, use colored pens instead of ink pens to complete lines, outlines, hooks, twists and rubs, which are extremely beautiful without being portrayed; Or imitate the pale crimson method of yellow, add the turquoise method of, which is unique, distinct, elegant and fresh, and full of vitality.
Dong Qichang's paintings emphasize freehand brushwork, which makes the beautiful landscape look a little stretched. However, he is also good at calligraphy and poetry. Every time he finished painting landscapes, he wrote poems with lines like silkworms and shining like lightning. Poems, books and paintings in the whole picture set each other off and become interesting, harmonious and lyrical. Dong Shi's creation has thus become a model for literati painting to pursue artistic conception.
For example, the whole painting "Mountain Scenery" is just a dry vision, and the pen and ink are simple, but full of charm and strength. The front of the picture is a corner of the slope, decorated with several bare stones. There are three old trees at the foot of the slope, standing in a patchwork way. In the middle is a tree with leaves, which is briefly outlined, but its branches and leaves can already be seen; Next to the two leaves, give full play to the role of splashing ink, the left straight curve, the right horizontal proud shore, alternating shades, full of vitality. The upper part of the picture is painted with faint ink, and the distant mountains cross, leaving only the outline hidden in the sky, but the mountains are blank, as if smoky and magnificent. The author dyed a few scattered leaves in the distant landscape with thick ink, which were far and near, rich in layers and filled with smoke. There is a small slope on the left, on which several straight trees are drawn with horizontal ink. In the middle of Wang Yang, there is a flood, but there is no pen and ink, but the boundless momentum of the lake is vividly on the paper. This painting is 225 cm long and 75 cm wide. With such a large vertical axis, only a few trees and distant mountains are arranged, so you can grasp the whole picture with distant peaks, wide waters and green trees. This is the result of Dong Qichang's clever use of "Wang Qia splashed ink, Li Cheng cherished ink, and the two factions merged into one painting". The whole picture seems sparse, but there is nothing that can't be taken care of. The pen is fresh and vigorous, subtle and beautiful. It is purely moist, eye-catching, and has the moving momentum of ink and wash. If you didn't master the skill of "painting in space", you wouldn't have such a brilliant layout. Some people think that this is Dong Qichang's inspiration from the book structure of "broad-minded, quick-witted and impenetrable", which makes sense. The whole vertical shaft is not painted, but it looks beautiful and has the potential of thousands of miles, giving people a feeling of being far and quiet.
For example, in his later years, he wrote "The Snow in Guanshan". The mountains are endless. The mountains on the right overlap and have a heavy momentum. There are many valleys in the middle, cliffs stand tall, villages, jungles, flowing springs and mountain roads are scattered, mixed but not chaotic; In the winding river, although there are dry rocks and valleys, there is no feeling of blockage. There are clouds on the left, soaked in trees and stones, and the roads and mountains are heavy, hidden and obscure, and far-reaching. In the picture, the thirsty pen is used to hook the rocks of the peaks and peaks. The rubbings are extremely accurate and flexible, and the lines flow away briskly, with appropriate density. The concave and convex light and shadow of the mountains and hills are completed by layers of horizontal giant moss and light ink, which is exquisite and impeccable. The artistic conception is simple and profound, full of the poetry of "there are no birds in a hundred mountains and no footprints in a thousand paths". The whole picture is old and clumsy with a pen, with a strong sense of bone, fresh pen and ink, not sweet or vulgar. Draw a cold distant landscape with a sparse pen. A few lines of postscript at the end of the volume make the book beautiful and vigorous, which makes it look bookish, lively and natural, and has its own style. Just as China contemporary painter Nanshan Leshan commented on the artistic characteristics of Dong Qichang, Dong Xiangguang (Dong Qichang) is knowledgeable, so he can put pen to paper with clear ink, wash the mountains, be quiet and profound, and have no dirt.
Calligraphy Dong Qichang's calligraphy absorbed the essence of ancient calligraphy, but did not deliberately imitate it. Dong Qichang's calligraphy works have the beauty of "Yan Gu Zhao Zi".
Dong Qichang's calligraphy achievement is also very high. Dong's calligraphy attainments are the highest in cursive script, and he is also quite conceited about his regular script, especially small script. Although Dong Qichang was in the era when Zhao Meng and Wen Zhiming's calligraphy prevailed, his calligraphy was not blindly influenced by these two calligraphy masters. His calligraphy combines the calligraphy styles of Jin, Tang, Song and Yuan, and forms its own system. His calligraphy style is elegant and ethereal, elegant and self-sufficient. The brush strokes are elegant and plain. Use a pen accurately, always keep a positive face, and rarely use a pen that is depressed and dull; In terms of composition, word for word, line for line, branch layout, density symmetry, and strive to catch up with the ancient law. Ink is also very particular, dry and wet, wonderful. Calligraphy in Dong Qichang can be said to be a masterpiece of ancient methods, and the "six styles" and "eight styles" were all refined by him. At that time, it was "famous abroad, lacking in size, spreading among the people, and competing for beauty." (Biography of Wen Yuan in Ming Dynasty). Until the middle of Qing Dynasty, Kangxi and Qianlong took Dong Shu as the patriarchal clan system, and admired and favored him. They even copied Dong's books themselves, often listed on the right side of the seat, and read them in the morning and evening. Kangxi once wrote a long postscript praising his ink: "Hua Ting Dong Qichang's calligraphy is very different. Its elegance and roundness are popular between Chu and Mo, which is beyond the reach of many scholars. Every time you are not careful, you will be unique, such as a breeze blowing and Wei Yun winding, which is quite natural. Taste its structural fonts, all from the Jin people. Gai spent most of his life in Ge Tie, in Lanting, winning teaching, and he was able to move his wrist, but his pen rotation seemed clumsy. ..... Yan Zhenqing, Su Shi and Mi Fei are all good at eliciting their talents with grandeur and preciseness, but they are all Jin people. Zhao Meng is the second king of scales. Its prosperity and origin are integrated, so it is necessary to copy the ideas of various schools, and the spirit of beauty and embellishment is unique. Cursive scripts are also arranged vertically and horizontally, which I appreciate very much. Its use of ink is wonderful, and the shade is unique. I copied the most, and every time I said that Tian Zi had excellent skills, it was not easy. " It is said that Kangxi also wrote "Shu Dong" by himself, which made Shu Donghong popular for a while, and there was a craze for Manchu people to learn from Shu Dong. For a time, the pursuit of fame and fortune almost always took Shu Dong as a shortcut to official career. On the occasion of Kangxi and Yongzheng, his calligraphy had a far-reaching influence, which was unmatched by other calligraphers.
Dong Qichang didn't leave a book monograph, but his experiences and opinions in practice and research can be found in a large number of inscriptions and postscript. Dong Qichang has a famous saying: "Jin people's books take rhyme, Tang people's books take method, and Song people's books take meaning." This is the first time in history that calligraphy theorists defined the aesthetic orientation of calligraphy in Jin and Tang Dynasties with three concepts: rhyme, method and meaning. These viewpoints have played a good role in explaining and guiding people to understand and learn classical calligraphy. Dong Qichang was diligent in painting and calligraphy all his life and enjoyed a long life. Therefore, many works have been handed down, including Pipa Xing by Bai Juyi, Poems of Haicheng, Imperial edict of III, Poems in cursive script, Postscript of Jiang Yan's Piles, Poems Before and After Nikuanzan's Red Cliff, and so on.
Artistic influence Dong Qichang is one of the most influential calligraphers in the history of China calligraphy. His calligraphy style and calligraphy theory had a certain influence on later generations. Hundreds of years after Zhao Meng's charming and mature "Song Xue Ti" dominated the book world, Dong Qichang found a new way to stand on his own feet with his elegant style, won a temporary * * *, and produced a "single work, competing with others for treasure", which is very important in the history of China fine arts. The theory of "North-South School" put forward by him for China's traditional literati painting had a great influence on later generations and became the main guiding ideology of literati painting creation in the past 300 years.
Although the classification of landscape painting in Dong Qichang's On the Southern and Northern Dynasties provided a philosophical concept for later generations to analyze painting, he advocated that literati painting should be based on Zen, and emphasized the painter's moral cultivation and ideological realm, which had a negative impact on the development of Chinese painting. However, the theory of "southern and northern sects" has also contributed to the sectarian dispute in painting, which has obvious negative effects.
Famous Ming painters Lan Ying, Wang Jian and Yuan Shu took him as their teacher, and Lan Ying's masterpieces such as White Clouds and Mangroves were collected by the Palace Museum. Yuan Shu's Ten Stones in Pingquan is collected in Guangdong Museum, and boating in Songxi is auctioned in Beijing Guardian on September 13.
Dong Qichang, the master, created a large number of paintings and calligraphy works in his life, many of which have been handed down to this day. Existing works include Rock House Map, Eight Scenes in Autumn, Zhou Jintang Map, Pipa Trip by Bai Juyi, Imperial edict of the Third World, Poem Collection in cursive script, Jiang Tu and Postscript in Smoke Waves, etc. His works include Essays on Painting Zen Rooms.
Among them, the collections that have been identified as authentic works are in the Forbidden City, Shanghai Museum, Jilin Provincial Museum and Nanjing Museum. The Palace Museum has the largest collection of Dong Qichang's works, among which the most famous paintings are: High Axis, written at the age of 63, is a masterpiece for middle-aged and elderly people; The book Snow Roller in Guanshan, written by 8 1 year-old, is the hard work of the old people. According to the title at the end of the book, this book is adapted from the original picture of Guan Tong's Guan Shanxue Roller. The famous calligraphy works hidden in the Forbidden City are: Yuefu, written at the age of 47, is a meticulous work in the early years, with beautiful strokes and beautiful; Painting Monument, written by Mr. Dongfang at the age of fifty, is a representative masterpiece of regular script in the Middle Ages, which imitates Yan Zhenqing's regular script. The Big Life in the Third World, written by 765,438+0 years old, is written in regular script and imitated by Yan Zhenqing, with correct structure and strict statutes; The Story of Yueyang Tower, written at the age of 54, is a big play imitated by Yan Zhenqing and Li (that is, Li Yong). The stroke center is straight down and the turning point is smooth, which embodies the face of middle-aged running script. The Story of Luma Lake represents his running script works in his later years. Guan Hai City, written at the age of 69, was written by Yuan Keli with the title of Mijia Law in the same year. Very elegant, it has become a masterpiece handed down from generation to generation in Penglai Pavilion.
The representative works collected by Shanghai Museum are: landscape painting "Three Trees in Jianggan" and "Eight Scenes in Autumn" (Dong Qichang's masterpiece in his life, and a large album has been exported overseas); Beijing cultural relics store has calligraphy work "Jinsha Iron"; There is a picture of Yuan Shulin Cave in Tianjin Museum, which was created by Yuan Keli in his later years in the same year (April, 2065438 19 was broadcast in the National Treasure Archives column of CCTV). Nanjing Museum has a calligraphy work "Songjiang Mansion Letters Patent"; Anhui Provincial Museum has 6 travel albums of Dong Qichang/KLOC-0, which were originally collected by Henan family, and Jilin Provincial Museum has a famous landscape painting "Day Map".
Character evaluation of Painting History and Painting Essentials: Dong Qichang's mountains and rivers are full of trees and stones, flowing clouds and flowing water, full of lofty sentiments, but in the elegant pen, romance is the first.
Ming History: Nature is harmonious and relaxed, Zen is normal, Xiao is idle and breathless, and he is silent all day long. People's Mi Fei, Zhao Meng Cloud. At the same time, there are also Linyi penalty Dong, Shun Tianmi and Ruitu who have excellent titles. At that time, they were called Punishment, Zhang, Mi and Dong, also known as He Beimi. However, if you have three people, you can't catch them.
Biography of Wen Yuan in Ming Dynasty: ① Famous abroad, short in length, spread among the people, trying to buy treasures. (2) At the same time, Linyi Xingtong, Shuntianmi Wanzhong and Zhang Jinjiang Ruitu have good titles. At that time, people called it "Xing" Dong, but the three of them failed to catch up with its prosperity.
Poems on Books (Wang Wenzhi): A Masterpiece of Calligraphers.
During the Zhou Dynasty, people in the Ming Dynasty had six bodies and eight laws. He was invincible, surpassing the Soviet Union and entering Mifu, but his style was in high spirits.
Qing Wengtong: Dong Gong's book is like a goddess spreading flowers, a dragon playing in the sea, and its final inscription is also a miracle.
Bao, a scholar in Qing Dynasty, said that he was afraid to write.
Guang Yi Zhou Shuang Tan (Kang Youwei): Although Xiang Guang (Dong Qichang) enjoys a high reputation, he is as cold and frugal as a Taoist who has stopped food. If a general is completely annihilated, a skyscraper and a discolored flag, he will not dare to go down the mountain.
He Sanwei, a book critic in the late Ming Dynasty, was naive and solemn in structure. There are often people who can't finish writing books, full of things, flying between their wrists and fingers. This book writer is the best.
Postscript Dong Qichang Ink (Emperor Kangxi Michelle Ye): ① The calligraphy of Huating Dong Qichang is very different in nature and posture. Its elegance and roundness are popular in the ink room, which is beyond the reach of many scholars. Every time you are not careful, you will be unique. For example, in Wei Yun, the breeze is very natural. (2) The structural fonts all originated from Jin people, and the wrist-lifting method can be obtained. The transshipment place is ancient, clumsy, magnificent and steep, and cursive scripts are arranged vertically and horizontally.
Dong is a controversial official in Jichang, and he is very shrewd in personnel. He made three advances and three retreats in his official career and made rapid progress. "Chen Li is on the list, but if it doesn't work, stop." At the age of 35, he embarked on his career and retired at the age of 80. He was also an official for 45 years. Generally speaking, he retired from 18 for 27 years, which not only created an image of humility and transcendence in the official class, but also increased his secular power.
Dong Qichang was born in Songjiang, but his family was poor when he was young. /kloc-at the age of 0/7, he passed the imperial examination and became a scholar with the support of others. It was not until the age of 35 (1589) that he was admitted to Jinshi, and was awarded the editor of Jishi Shu and imperial academy, the eldest son of the emperor (later Zhu Changluo, Ming Taizu). But a year later, he was ordered to edit and rest, "eating at home for more than 20 years." At that time, it coincided with the "national struggle" that lasted for more than ten years in the history of the Ming Dynasty, during which the famous "Demon Book Case" and "Prince Chu Prison" also occurred. The parties in the imperial court fought endlessly for the appointment of a prince, and the situation was complicated. It was not until Guangzong ascended the throne that Dong Cai returned to the imperial court as an emperor, granted Taichang, took charge of children's affairs throughout the country, and edited his records. However, Guangzong died a month after he took office. His successor Xi Zong was the Apocalypse Dynasty, and Wei Zhongxian and the emperor's wet nurse Hakka were in charge of state affairs. In the fifth year of the Apocalypse, Dong Qichang was appointed as the minister of Nanjing Ritual Department, and retired for eight years after one year. In the fifth year of Chongzhen, Wei Zhongxian died and the political situation was clear. At the age of 77, Dong Qichang became an official for the third time. The following year, Wen Style Ren pushed Zhou Yanru out of the cabinet, and at the instigation of the remnants of Wei Zhongxian, he launched a party struggle to exclude Lin Dong. In the seventh year of Chongzhen, Dong Qichang requested to retire from his hometown.
In the case of non-Dong Qichang citizens copying Dong Huan, people in ancient and modern times have raised objections to Dong Qichang: "I didn't expect Dong, who is famous for his appreciation of calligraphy and painting, to be a tutor in the forest, so famous!" "I think white calligraphy and painting are feasible, but doing evil is so unique and elegant?" Of course, some people doubt the authenticity of "copying Dong Huan by the people" and say that Dong Qichang is tired of fame. Shi Ming, an official editor in the early Qing Dynasty, said that the cause of the incident was that Dong Qichang was not selfish and offended some powerful people, who instigated him. Scholars who wrote the history of the Ming Dynasty in the early Qing Dynasty believed that "supervising Hu Guang to study politics without favoritism was criticized by influential scholars, and hundreds of scholars clamored for it and ruined his official position." (Ming History) This shows that Dong Qichang was resented by another privileged family. Finally, the minions of this privileged family burned Dong Qichang's house together with the incited people.
Some people may suspect that people who wrote Ming History may try to put in a good word for Dong Qichang, because Dong Qichang is so famous. The History of Ming Dynasty, which lasted for 94 years, was formally presented to the emperor by historians in the second year of Shunzhi (1645) and the fourth year of Qianlong (1739). It has been 60 years since the eighteenth year of Kangxi (1679) officially organized the preparation of the team and submitted the manuscript. It is only a few decades since the Qing Dynasty compiled history. If there are elderly witnesses present, it may not be difficult to obtain evidence for verification. Wang and He are two outstanding contributors to the revision of history in the Ming Dynasty. They are both talents who managed Shi Liang, inherited the mantle of Huang Zongxi and paid attention to historical facts. During the Kanggan period, the political atmosphere was particularly tense and the literary inquisition was particularly cruel. Someone will be beheaded at any time because of the literary inquisition. At this time, experts don't need to go to extremes and make political mistakes for a former Dong Qichang. In addition, Dong Qichang was also the target of attack by the rulers of the Qing Dynasty during the literary inquisition. His remarks about "the slave leader is easy to kill, and the resentment of Liao country is soaring" made the Qing emperor furious. He personally wrote four volumes of tens of thousands of words "Xiehuan Yuan Gonghang" for Yuan Keli, which was banned because of many so-called "contempt for Manchu sentences". Because, Mao and others were longer than the military affairs of the founding of the country in the late Ming Dynasty, they became the objects that the Qing government needed to deliberately avoid. It is unlikely that the Qing Dynasty whitewashed Dong Qichang for the sake of beauty, so the evaluation of Dong Qichang in the Ming Dynasty was faithful to historical facts.
Dong Qichang's highest position is the history of Nanjing Ritual Department. After Emperor Yongle moved to Beijing, it was different to be a minister of rites in Nanjing, the capital, and it was different from being a minister of rites in Beijing. Dong Qichang is not a very powerful official. It is untenable to prove that Dong Qichang is so powerful. The power of his superficial position can't reach the ability of fishing officials and people, Zhen and Wei Zhongxian. It is an exaggeration to say that Dong Qichang is "as dangerous as Qilu, as rich as Yuan Zai and as extravagant as Dong Zhuo".
Historical Records records the life of Dong Qichang in Ming Dynasty.
Tales of People is good at identifying Gu Shuhua and writing calligraphy. He has profound attainments in calligraphy. Because he likes calligraphy, he has a strong desire to collect books. Therefore, there are a lot of books, and there is a "Xuanshangzhai" at home, which stores French posts, famous paintings and ancient books. There is a bibliography of Xuanshangzhai, but there is no author and collector's surname. Some people suspect that someone else wrote it. In the Book Collection of Teachers College, A Qing Zhang Heng thinks that Dong Qichang's Letter from Home is more credible.
Born in Suiyang (now Suixian County, Henan Province in the Ming Dynasty), he was seven years younger than Dong Qichang, a native of Songjiang, but Dong Qichang always called Qian "the younger brother". Their hometowns are thousands of miles apart, but they are classmates and became bosom friends in the same year. Wang Yijia quoted "Qiu Guang, Dream and Yuan Keli on the same topic" in China People's Atlas: There was an old Confucian scholar (Dong Qichang) in Suizhou (which should be Huating), who tried many times and was very depressed. One night, I suddenly dreamed that God came to tell him, "You must wait for Yuan Keli to take the exam with you, so that you can hope to be on the list." . He felt very strange when he woke up, so he went to various schools one by one and finally found Yuan Keli. Knowing that Yuan Keli's family was poor, he personally took Yuan Keli home to study. When Yuan Keli was in her twenties, they took the exam together. As a result, both of them got the list after obtaining the results of provincial and final exams. "
Huang Daozhou, a famous scholar in Ming Dynasty, recorded the same thing in his Biography of Yuan Huan Gong. Dong Qichang wrote in the preface to Yuan Boying's Poems: "Yu and Boying (the son of Yuan Shuzi Boying) are under Mr. Lan's door, respecting the public and respecting the young Sima (that is)
In today's stone carving of Yuan Keli's Poems on Haicheng in the shelter of Penglai Pavilion, Shandong Province, the words "Sui Yang Yuan Keli Title, Yun Jian Dong Qichang Book" remain in the pen of their cooperation at the peak of their career. Dong praised the words in the postscript, such as "the famous works are magnificent" and "Mijia calligraphy written by my brother". The world calls this work a combination of beads and walls, and it has been valued at home and abroad so far.
In the winter of the sixth year of Chongzhen (1633), Yuan Keli died of illness in Suizhou. At the age of 8 1, Dong Qichang wrote Yuan Huan Gong Xing Festival for his old friend with tragic feelings: "Alas! At the doorstep of Mr. Yang Lan and Mr. Lu Zongbo (Lu Shusheng), I remembered its prosperity and unity. ..... although the horizon is broad, it is always difficult to integrate. Be friends with the wind, as bright as day, and those who know the public should be more prosperous. " Behavior is divided into four volumes: Yuan, Heng, Li and Zhen. As the saying goes: "In June of the eighth year of Chongzhen in the Ming Dynasty, Dr. Guanglu, the Prince of Taibao, was in charge of Zhan's official business, and specially authorized Zhishi Chiyi to go back to his brother Huating Dong Qichang and write books in the neighborhood." After the death of Dong Qichang, Yuan Shu had four famous paintings of Siyuantang that he loved most in his life. The 16 Album of Dong Qichang and Ji You, still in the Anhui Provincial Museum, is an early work of Dong Qichang, which is rare in the world. It is also an old relic of the Yuan family, a history of Suiyang, and each painting is stamped with the chapter of "Fu Yuan" (Zhong Sun, Yuan Keli, whose real name is Fu Yuan)
Their careers are equally bumpy and difficult, with ups and downs. Wanli of the Ming Dynasty was banished to China, and later it was all the old ministers and sages enabled by Emperor Taichang. During the apocalypse of Wei Zhongxian, both of them were excluded and persecuted by the eunuch party. Dong Qichang is "deeply self-directed, please tell" ("Ming History"), and Yuan Keli is "when Cui Wei was in power, he had nothing to hide and made it clear. If there is, it is from Sima Festival to Yuan Gong. " (Huang Daozhou's Biography of Jiehuan and Yuan Gong).
Future generations commemorate the tomb of Dong Qichang.
The tomb of Dong Qichang, a famous painter in Ming Dynasty, is located in Yuyang Mountain, Xukou Town, Suzhou, at the entrance of Taihu Bridge. There is a stone tablet written by Wuxian People's Government on March 25th, 1986/kloc-0 in front of it, which is engraved with "Wuxian Cultural Relics Protection Unit: Dong Qichang Tomb". There is a brief introduction engraved on the tablet: the tomb is in Yuyang, Xukou Township, and there are two places: one is in Yangjiachang, the tomb has been destroyed, and the cemetery is mulberry garden; In addition, in Yuyangshan Wharf, the regulations are relatively large, and there are stone components such as turtles, lions, horses, Weng Zhong and monuments. The tomb is very small and humble, with a pile of stones and some decaying grass. The tombstone is engraved with the inscription "Wenmin Cemetery in Mingdong", which reads: Wu Dongdong will not build a tomb, and Wu Yinpei will learn to worship books later.
stamp
"Selected Works of Dong Qichang" commemorative stamp, issued on 20 10.
old and prestigious family
Zuibaichi, the former residence of Dong Qichang, is located in Renmin South Road, Songjiang District, Shanghai. Built in 1644, the place where Dong Qichang, a painter of the Ming Dynasty, recited scriptures, and was also frequented by celebrities and bachelors.