Bohu Tang

Dynasty: Ming dynasty

Brief introduction of Tang Bohu

Tang Yin (yín)( 1470—1523), a native of Hangzhou, was named Liu Ruju, the owner of the Peach Blossom Temple, Tang Sheng of the State of Lu and a monk. Famous painters and poets in Ming Dynasty. According to legend, he was born in Chenghua, Ming Xianzong, in the sixth year of Yinri, hence the name Yin.

Tang Yin was cynical, brilliant and famous for his poems. He, Zhu Yunming, Wen Zhiming and Xu Zhenqing are also called "Four Talents in Wuzhong" (that is, "Four Talents in Jiangnan" as the folks say), and the painting name is even more famous. He, Shen Zhou, Wen Zhiming and Chou Ying are also called "Four Bachelor's Degree in Wumen", also known as "Ming Sijia".

The Life of the Characters in Tang Bohu's Works

Tang Yin was born on the fourth day of February in the sixth year of Chenghua in Ming Dynasty (1470 March 2006) and died on the second day of December in the second year of Jiajing (15240/kloc-0 July 2006). Born in a merchant family, his father Tang Guangde and his mother Qiu. I was smart since I was a child, and my family suffered a change in my twenties. His parents, wife and sister died one after another, and his family came down. At the suggestion of his good friend Zhu Zhishan, he devoted himself to his studies. At the age of 29, she took the Yingtianfu public examination and won the first prize of "Xie Yuan". At the age of 30, I went to Beijing to catch the exam, but I was punished as an official forever for cheating in the examination room. From then on, I decided to make progress and make a living by selling paintings. In nine years (15 14), I went to Nanchang for half a year at the invitation of Ning Wang Zhu. Later, I found out what Wang Ning was up to, so I pretended to be crazy and even ran naked in the street before running away. Life was hard in his later years and he died at the age of 54. The last poem he wrote before his death expressed his deep-rooted complex feelings of nostalgia for the world and resentment and world-weariness: "Being born in the dead is over, why not die in hell?" . Dead people are almost the same as dead people. You should only wander in a foreign land. "

He is good at landscapes, figures, flowers and birds. His landscape paintings were studied by Chen Zhou in his early years, and then by Li Tang and Liu Songnian. He painted mountains and painted mountains with an axe, which was majestic and steep, but his pen was fine, his layout was sparse and his style was elegant. Figure paintings are mostly ladies and historical stories, inheriting the tradition of the Tang Dynasty, with clear lines, gorgeous and elegant colors, beautiful posture and accurate modeling; He is also a freehand brushwork figure, and his pen is concise and interesting. His flower-and-bird paintings are freehand and elegant. In addition to painting, Tang Yin also engaged in calligraphy, learning from Zhao Mengfu, and his calligraphy style was fantastic and handsome. There are: donkey riding, mountain road songs, scenery and tea, Wang Shugong prostitutes, Li Duanduanju, waterfront lotus, autumn wind fans, Bai Meitu, drowning, cross-strait scenery and so on.

Tang Yin is also very accomplished in literature. Gong's poems have been written for many years, and his paintings and sentimental works express his wild and uninhibited mind and indifference to the world. Slang and slang are used in poetry, which is easy to understand and simple in meaning. He is the author of the Collection of Six Confucian Interpretations, and the Complete Works of Six Confucian Interpretations was compiled in Qing Dynasty.

After being demoted, he traveled to famous mountains and rivers, then built a room in Taohuawu and devoted himself to painting. Life is wild, and Zhu Yunming, Wen Zhiming and Xu Zhenqing are also called "four gifted scholars in Wuzhong". When the collection of calligraphy and painting became rich, Wen Zhiming presented poems as follows: "Your home is in Gao Qiao Bridge in Xuankan Market District. How to cover up the sound of the city and fill in ancient and modern books? There are four or five volumes left and three or two pots right. " Read a book every night, learning from the book of cinnabar. Every time you read a volume, write about landscapes, people, birds' songs, bamboo and wood, or write poems, or record the month and day. There are "Mengmo Pavilion" and "Xuepu Hall" in the museum, most of which were collected in the Song and Yuan Dynasties. Such as Cheng Zhu's twenty volumes of Zhuangzi, a masterpiece of the Northern Song Dynasty; "Chen San Tong Zai" was carved in the Southern Song Dynasty. Yuan Shu's History as a Mirror is the best one in the Song Dynasty. Books, calligraphy and painting collections are marked with the words "Xie Yuan Tang Seal", "Tang Bohu Seal", "Mengmo Pavilion", "Xuepu Pavilion Rare Book", "Tangjushi Seal" and "Mengmo Pavilion Six Like Vultures". He not only has a large collection of books, calligraphy and painting, but also has many personal inscriptions in his ancient books, such as Tai Su Tang Yinzi's Book of Fear of Learning, Jinchang Tang Yinzi's Reading while Drunk, Tang Ziwei's Book of Dream Moting, and Wu Jun Tang Yin Taohua Temple's Book of Dream Moting.

Tang Yin was originally from Jinchang, so in his calligraphy and painting, he often wrote the word "Jinchang Tang Yin". In the Northern Song Dynasty, the Tang family moved south and began to do business in Nanjing and Suzhou. Tang Yin was born in an ordinary family in Wuchili, Wuxian County, Suzhou. Tang Yin had three wives in his life. /kloc-married Xu Tingrui's second daughter Xu at the age of 0/9, but died around the age of 24. Later, I may marry another room, but I left because of cheating in the examination room. After marrying Shen Shi or nine niang, Tang Bohu was gifted at an early age. He is familiar with the four books and five classics and is proficient in historical records. 65-year-old, 438+06, the top scholar, sensational Suzhou city. At the age of 29, he went to Nanjing to take the provincial examination and won the first place in Xieyuan. Just when he was full of ambition, he went to Beijing for the exam the next year, but he was unlucky because he was involved in the fraud case in the examination room.

Details of "Examination Case": Cheng and Li Dongyang are examiners for the Beijing Examination. Both of them are well-read, and the questions are so obscure that many candidates can't answer them. There are only two papers, which are not only properly answered, but also elegantly worded, which makes Cheng blurt out with joy: "These two papers belong to Tang Yin." This sentence was heard by the people present and dispersed. In addition, because Xu and Tang's actions in Beijing were remarkable, they immediately became famous all over the city after three exams, and it was widely rumored that "Jiangyin rich man paid bribes to get the test questions in advance". When giving lectures to Huachang, he hurriedly impeached the examiner Cheng. Jing and Tang Yin. Ming Xiaozong ordered Cheng not to read the questions, and the recorded papers were reviewed by Li Dongyang, a university student, together with other examiners. As a result, Xu and Tang Dou were not admitted. Although the theory of the topic is false, public opinion is still very noisy. In order to calm public opinion, the Ming court tried with Jin Yiwei and found no evidence. Finally, when he went to Beijing to meet Cheng, he gave him a gift. Tang Yin also used a gold coin to beg for documents from Cheng and sent them to the main girder library of the provincial capital, so that both of them were deprived of their official positions and became county officials. Cheng was therefore dismissed from office and returned to China. Warwick was also demoted for playing with unreal things. A large prison in the imperial examination hall was locked up, and each prison had 50 boards. After the incident, all three defendants refused to accept it, and Cheng died of gangrene after returning to China. Tang Yin is ashamed of not being an official. When he came home, the husband and wife turned against each other and were negative and decadent. He built a "Taohuawu" to entertain himself.

On the axis of "Tang Yin Meng Qing Tu", Ming and Tang Yin painted Xu Jing Jia Wucheng, read behind closed doors and wrote "Ben Gan Ji" to show their ambition. When Emperor Xiaozong died in 1505, Xu Jing looked forward to the new emperor's pardon and hoped to return to the imperial examination career. The following year, Mu Sima Qian went to Beijing to inquire for information in the name of Qi, Lu, Yan and Zhao Zhuang. However, due to the frustration of the examination hall, the physical condition is getting worse every day, and the journey is tiring. Arrived in Beijing, fell ill in yongfu temple, died in the capital city in the year of Taizu in Zhengding (AD 1507), and was buried in Shashan, Jiangyin. Five thirtieth. There are many records and different accounts about this case. In fact, this is the result of the internal struggle of the ruling class. "Biography of Emperor Chengzu of Ming Dynasty" said: "Or the prison of sensitive politics, Fu Han wants to seize its position, so that it can be played and the secret can't be clear." But there is no doubt that this matter is extremely serious for Tang Yin. From then on, Tang Yin decided to pursue a career. After returning home, he was addicted to wine, traveled to famous mountains and rivers, and determined to be a companion of poetry, painting and calligraphy all his life.

In the 13th year of Hongzhi in Ming Dynasty (1500), Tang Yin left Suzhou and arrived in Zhenjiang by boat. From Zhenjiang to Yangzhou, he visited places of interest such as Slender West Lake and Pingshan Hall. Then take a boat along the river and cross Wuhu and Jiujiang to Lushan Mountain. The magnificent scenery of Lushan Mountain left a deep impression on Tang Yin. This was fully reflected in his later paintings. He returned to Huangzhou by boat and saw the remains of Battle of Red Cliffs. Tang Yin's Red Cliff Map was drawn on this basis. Later, he went south to Hunan, boarded Yueyang Tower and visited Dongting Lake. And climb Mount Hengshan in Nanyue south. Re-entering Fujian, roaming the famous mountains of Wuyi and Jiulihu in Xianyou County. Tang Yin transferred from Fujian to Zhejiang, visited Yandang Mountain and Tiantai Mountain, crossed the sea to Putuo, and then returned to Anhui, Huangshan and Jiuhua Mountain along Fuchun River and Xin 'anjiang River. At this point, Tang Yin had spent all his money and had to return to Suzhou. Tang Yin's trip to Wan Li Road lasted more than nine months, and he traveled all over the famous mountains and rivers, adding a lot of materials for his later paintings.

Back in Suzhou, my family was poor, and my wife made a scene and finally left him. He lives in a small building on the street corner of Qufang Wu, entertaining himself, getting along with painters and selling paintings for a living. He wrote in a poem: "No alchemy, no meditation, no ploughing for merchants." In my spare time, I write a painting of Danqing for sale, not to make it in the world.

"Looking at Spring and Listening to the Wind" volume, Ming, Tang Yin committed iniquity. "To show indifference to fame and fortune, specializing in free reading and selling paintings. At the same time, he also wrote in the mouth of the New Year's Eve: "The rice, oil, salt, sauce, vinegar and tea are generally in other people's homes. There is nothing wrong with the cold weather on New Year's Eve. See plum blossoms in Zhu Shi Temple. "To express his poverty. When Tang Yin was thirty-six, he chose Taohuawu in the north of the city, built an elegant and leisurely home, and lived a crazy life. Taohuawu was originally a bamboo slip villa in Zhangzhuang, Song Dynasty, which has gone through many vicissitudes of life and is now in ruins. But the scenery here is pleasant and the environment is quiet. A clear stream winds by, with several wild peaches and withered willows, and a hilly slope, which is quite interesting in Shan Ye. The following year, Tang Yin built the Taohuawu Villa with the money from selling paintings. Although there are only a few huts, elegant plaques are hung under the eaves, such as Xuepu Hall, Mengmo Pavilion and Butterfly Zhai. Tang Yin loved peach blossoms all his life. The villa was named "Peach Blossom Temple", and he named himself "Lord of Peach Blossom Temple" and wrote "Song of Peach Blossom Temple": "Peach Blossom Temple is in Taohuawu, and Peach Blossom Fairy is under it. Peach Fairy cultivates peach trees, picks them and drinks them. When you wake up, you just sit in front of the flowers, and when you are drunk, you come to sleep under the flowers. Half drunk and half awake day after day, flowers bloom year after year. I would rather die of old age than bow before horses and chariots; Cars and horses are rich and interesting, and hops are poor. If wealth is better than poverty, one is in the ground and the other is in the sky; If wealth is compared to horses and chariots, he will have to drive away my leisure. Others laugh that I am too crazy, and I laugh that others can't see through it; There is no tomb of the five tombs, no flowers, no wine and no hoeing. "In spring, the flowers in the garden bloom like brocade. He invited Shen Zhou, Zhu Yunming, Wen Zhiming and others to drink and write poems here, drawing pictures and leaving with joy. " It tastes like a day, and when guests come, they will drink together. Don't ask, I fell asleep when I was drunk. "("Zhu Yunming Tang Ziwei Epitaph ") Tang Yin at this time, at leisure and detached.

"Zi Shu Ci" volume, Ming, Tang Yinshu Ming Zheng Dejiu (15 14), was recruited to Nanchang by Wang Ning, the imperial clan of the Ming Dynasty, and later found himself caught in a political conspiracy in Wang Ning, so he pretended to be crazy and sold silly, escaped by luck and returned to his hometown. Later, Wang Ning rebelled against the imperial court and was put down. Tang Yin was lucky enough to avoid being killed, but he also caused a lot of trouble. From then on, he thought. The seal of the Autonomous Party is "Escape from Zen Immortal".

After returning from Nanchang, I was sick all the year round and couldn't paint often. Besides, I can't keep a house, so my life is very difficult. I even often borrow money from my friends Zhu Zhishan and Wen Zhiming. In the meantime, the famous calligrapher Wang Chong often came to help and married Tang Yin's only daughter as his wife, which became the happiest thing for Tang Yin in his later years.

In the second year of Jiajing in Ming Dynasty (1523), at the age of 54, his physical condition was even worse. This autumn, at the invitation of his friends, he went to the Wangs' home in Dongshan. However, when he saw Su Dongpo's original work, there were two sentences: "A hundred years is strong and a half, and there will be no more pain in the future", which just touched Tang Yin's mood. He was sad for a while, and fell ill after leaving home, and soon ended his miserable life. After his death, he was buried in Taohuawu North. Jiajing moved to Hengtang Town, Wang Jiacun in 26 years. After his death, his relatives and friends Wang Chong, Zhu Yunming, Wen Zhiming and others raised funds for the funeral. Zhu Yunming wrote an epitaph of more than a thousand words, which was written by Wang Chong and engraved on a stone tablet. Later generations' account of Tang Yin's life.

Most of Ping's deeds are derived from this epitaph. Tang Yin's political career was bumpy and his old age was bleak, so that his poems were almost scattered behind him. During the Wanli period of the Ming Dynasty, the poems and people admired by Changshu booksellers spared no expense to collect and sort out poems and songs for him. Fu Zi read nearly 100 poems lost by Tang Yin before his death, which made Tang Yin have the first complete collection of poems handed down from generation to generation, and Luoyang paper was expensive for a while. Later, Jin Mao, a famous publishing bibliophile in Jiangnan and a bookseller in Changshu, also highly praised Tang Yin's talent. When cataloging Chronicle of Poems in Ming Dynasty and Wen Yuan in Ancient and Modern Times, he collected Tang Yin's poems and anecdotes in particular, enriching and perfecting the contents of Tang Bohu's poems and accumulating vivid cultural materials for future generations.

Jin Mao later independently undertook the task of rebuilding Tang Yin's tomb. According to Suzhou government records, Shen Jia, Chongzhen, March 16th,

Yin Mingtang's Apricot Blossom House

Jin Mao and scholars from the same county traveled to Wang Jiacun, Hengtang and Gusu. When they saw that the tomb of Tang Yin, a talented man, was barren with thorns and cattle and sheep were exiled to the cemetery, they suddenly felt pity. He inquired in nearby Fu Tian, only to know that after Tang Yin's death, there was only one grandniece and widow among the heirs, who was trapped in the city because of financial difficulties, so that Tang Yin lacked four-time sacrifices. Jin Mao lamented sadly: "This is the sin of being a friend. People who have read Bo Hu's articles for thousands of years are all his friends. Why bother? " Therefore, Jin Mao generously donated money, rebuilt the tomb seal, set up a stone tablet, and built three ancestral temples next to the tomb. Lei Qijian, a local official in Suzhou, wrote an inscription "Rebuilding the Tomb of Xie Yuan in Tang Dynasty", saying "Those who wish to leave the stone behind forever."

Tang Bohu's Painting Achievements

draw

Tang Yin's early paintings include "Attacking Li Tang Far" and "Making Friends in China". In his early years, he worshipped Shen Zhou, the founder of Wu School. Shen Zhou and Zhou Chen were both famous painters in Suzhou at that time. Shen took Yuan painting as his ancestor, and Zhou took the Southern Song Dynasty college painting as his teacher. These are two schools in Paintings of Ming Dynasty. Although Tang Yin learns from Zhou Chen, he has the reputation of winning the blue. Tang Yin, who is also his strong point, has made great progress at one time, even surpassing his teacher Zhou Chen, and gained great fame by combining the brushwork of Yuan people with the style of Southern Song Dynasty. Tang Yin painted the most landscape paintings and achieved the greatest success. Tang Yin's footprints are all over the famous mountains and rivers, and his chest is full of valleys in Qian Shan, which makes his poems and paintings have an uninhibited spirit that Wu Shi people don't have, and turns them into natural and unrestrained. Most of his landscape paintings show majestic and steep mountains and rivers, pavilions and small bridges, beautiful mountains and rivers all the time, and some describe pavilions, gardens and the leisure life of literati. Landscape figure painting is magnificent, slightly beautiful and unique, with rich and diverse themes. Because Tang Yin seldom marks the year on his paintings and his painting style changes irregularly, it is difficult to infer the time when he painted, and it is also difficult to divide the changing process of his painting style by time. After Zhou Chen, Tang Yinshi lived mainly in the Southern Song Dynasty, but sometimes his paintings were similar to those of Shen and Wen, such as the Southern Tour. This was given to Tang Yin by pianist Yang when he left Suzhou at the age of 36. Tang Yin is good at freehand brushwork of flowers and birds. He is lively and free-spirited, full of interest and full of realism. Legend has it that the Raven Array written by Tang Yin hangs at home. One day, thousands of crows circled on the roof as if they were fighting fiercely, which was amazing. The representative work of Tang Yin's flower-and-bird painting is a picture of withered chaff. Its composition adopts the method of folding branches, and the branches of dead trees bend from the lower right and extend upward, with bright colors, painted with dry pen and thick ink, old and straight. Draw a myna perched on a branch singing loudly by ink accumulation method, and the branch seems to move with the festival, thus showing the harmonious beauty of life rhythm in nature. Bare pen leaves, one or two thin vines, a few wild bamboos, and the old leaves on the dead trees are painted together, which adds a quiet and fresh breath after the rain. In the upper right corner, the poem reads: "The mountains are boundless and the birds are singing in the spring rain." Poetry and painting set each other off, combining the expression of the object with the artist's interest, which embodies extraordinary thoughts. This painting is a small freehand brushwork and handy all the way. It uses calligraphy instead of writing, with strong brushwork, beautiful shape, concise brushwork, elegant brushwork and graceful image. This shows Tang Yin's outstanding achievements in exploring freehand brushwork techniques and opening up a new realm of flower-and-bird painting.

Tang Yin's ink-and-wash flower-and-bird paintings are mainly ink-and-wash, while Mo Yun is lively and interesting. Its famous "Rain Bamboo Map" takes two groups of thick leaves as the main branches, followed by light leaves, and then echoes with several leaves, all of which are washed down and the rain hits bamboo leaves. Tang Yin's calligraphy originated from the fusion of Zhao Mengfu, and its style is rich, smart and elegant, which is covered by the name of the painting. His masterpiece "Poems of Falling Flowers". Tang Yin is good at painting landscapes, figures, ladies, flowers and birds, especially famous for landscapes and ladies. Tang Yin's landscape paintings were imitated by Shen Zhou in his early years, but rarely handed down from generation to generation. Existing works include Yellow Bamboo Map in Dongting, Zhenshoutang and Bamboo Map on Bamboo by Tang Yin at the age of 2/kloc-0. Middle-aged landscape painting is dominated by patriarchal clan system, while Zhou Chen's landscape painting was taught by Liu Songnian in the Southern Song Dynasty, so Tang Yin's painting can be traced back to the institutional painting school represented by Liu Songnian in the Southern Song Dynasty. Under the influence of his teacher Chen Zhou, he learned the rigorous and vigorous style of Song people. At the same time, he also participated in Xia Gui's composition and pen and ink skills, extensively dabbled in the strengths of Li Cheng, Fan Kuan, Guo He and Huang Meng in the Northern Song Dynasty, and gradually formed his own style. The layout of the picture is rigorous and orderly, the shape is real and vivid, the mountains are majestic, the rocks are steep, the axe is chopped, the brushwork is vigorous, and the pen and ink are dripping. Representative works include Wang Chong's Out of the Mountain, Pei Tai Real Scene, Walking Spring Bridge, and Travel Map of Guanshan, etc. By the end of his life, his painting style had broken away from Zhou Chen's style and became independent. At this time, there are many meticulous landscapes, and his works include Wind of Mountain Road, Companion of Spring Mountain, Lonely Man in Sunset, Story of Xizhou, Lonely Man at the Seats, etc. Judging from the style of these paintings, the composition of the painting style is concise and clear, and the pen is more careful, just like you Simiao, slim but not weak, powerful and rhythmic, with the beauty of combining rigidity with softness. There are many ways to cut rocks, such as short cutting, long cutting, straight cutting, reverse cutting, square folding, round turning and so on. Trees, houses, streams and other scenery, interspersed with orderly, dense but not smothering, miscellaneous but not chaotic, full of rhythm and aesthetic ethereal beauty of literati painting. The ink is dripping and rich in shades. Tang Yin's landscape painting has made such great artistic achievements. On the one hand, it is because he can break the stereotype. No matter the northern painting school, the Jiangnan painting school, the courtyard landscape painting in the Southern Song Dynasty and the Yuan Dynasty, and famous painters such as Shen Zhou and Zhou Chen, he studied hard, learned from others' strengths, innovated and created, and finally formed his own painting style. On the other hand, the most important thing is that he has personal observation and real feelings about natural landscapes, and draws nutrition from inexhaustible real landscapes, thus playing an important nourishing role in his landscape painting creation. His works are magnificent, precise, delicate and profound, surpassing some contemporary painters. Tang Yin's paintings of ladies and figures, in general, have not crossed the fence of figure paintings in the Southern Song Dynasty, especially his meticulous figure paintings, which are heavy in color, bright in eyes and white in teeth, red in face and pink in cheeks ... are still the legacy of Nanzhu Painting Academy. His figure paintings can be roughly divided into two types. One is fine lines, beautiful colors and high weather, which originated from institutional paintings in the Southern Song Dynasty. For example, in the picture of prostitutes in Wang Shu Palace, the painter dyed the face of a maid-in-waiting with traditional meticulous techniques and the "three white methods", which highlighted the strong application of maid-in-waiting. The lines of clothes are drawn with fine and smooth iron lines, and the clothes are painted with rich colors, which makes the front edge gorgeous. Vividly depicts the famous prostitutes scrambling to dress up, competing for beauty and coquettish incomparable, worthy of being a masterpiece in the picture of Tang Yin ladies. The other one was born out of the courtyard of the Southern Song Dynasty, with smooth pen and ink and undulating lines. Representative works include Autumn Fan Map and Li Duanduantu, and the painting style has changed from beautiful to simple and elegant. The painter combined the description of Li Xing's flowing water with the description of Yan Hui's overlapping reeds in the Song Dynasty, which made the picture full of rhythm. Tang Yin's figure painting has profound realistic skill, accurate image and unique charm. It is said that his figure painting is "Qian Shunju, (Du Jin) is a layman".

There are not many flower-and-bird paintings handed down from ancient times in Tang Yin, and the existing works include Meme Map, Zhu Feng Map, Spring Scenery of Famous Prostitutes, Lotus in Water and Apricot Flowers. The painting style is far from the ink painting in Song and Yuan Dynasties, and it has been refined with Shen Zhou's innovation. For example, in "Mo Mei Tu", Tang Yin painted a plum blossom with ink, and the plum blossom dried with strokes is boneless, with elegant and free brushwork, which is quite textured. And "Partridge in Spring" is a casual ink painting, which is more lively and free than Shen Zhou, and it is not as rough and bold as Lin Liang and Lv Ji, and it has its own fresh and lively interest.

Tang Yin is not only a famous painter, but also a poet. According to incomplete statistics, he wrote about 600 poems. His poetic style is gorgeous, popular and fluent, lyrical and impromptu, and he wins with talent. The content of poetry and prose mostly exposes social contradictions, expresses injustice and has strong ideological content. Tang Yin's contribution to traditional painting can be roughly summarized as three points: First, he integrated the North-South School and carried forward the tradition of painting with words. In the early Northern Song Dynasty, due to the different geographical conditions and styles, Chinese painting was divided into two factions: North and South. The northern painting school represented by Li Cheng, Guan Tong and Fan Kuan has profound painting style, solid stone body, fantastic painting style and magnificent momentum; The Southern School of Painting, with Dong Yuan and Ju Ran as its masters, has a soft and gentle style, elegant and smart pen and ink, moist ink and a strong sense of distance. However, they all have their own weaknesses, such as the exposure of the northern painting school, the lack of meaning, the lack of charm and a sense of distance. Southern painting school lacks strength, solemnity and charm. Tang Yin's achievement is to break the stereotype. From the aspects of brushwork, momentum, brushwork and color setting, he integrated the different origins of the North and South schools and absorbed the advantages of Yuan painting. Finally, it formed a unique style with rigorous structure, peculiar style, elegant brushwork, dripping ink and ethereal artistic conception. His paintings not only have the profound skill of Song painting, but also have the bookish spirit of literati painting, which has made great contributions to the rise of Wu Pai and the promotion of literati painting tradition. Second, the organic combination of poetry and calligraphy. Tang Yin is not only a famous painter, but also has profound attainments in poetry and calligraphy.

The combination has also made new contributions. The combination methods are as follows: First, the style of calligraphy and painting is consistent and harmonious, and the interest of calligraphy is very similar to that of painting, because both emphasize the reproduction of individuality and true feelings. Tang Yin's calligraphy originated from Zhao Mengfu and Li Beihai. His brushwork is elegant and meticulous, and his style is dignified and natural, similar to the "courtyard-style" landscape painting style, but he is also clean and elegant in composition. The second is to apply calligraphy to painting, which is more obvious in Tang Yin's handed down paintings. In addition, the harmony between poetry and four is another feature of Tang Yin's painting. For example, Tang Yin's poems are bold and unconstrained, and there are worries in the play; His paintings are the same as poems, such as seeing profundity in poems and thinking in plays. Third, the close combination of poetry and painting. Poetry and emotion in Tang Yin's paintings are closely related to the theme and artistic conception of the paintings, thus clarifying or enriching the connotation of the pictures. The blue ink on the back of the work vividly expresses poetry through the creation of symbol, implication, personification and artistic conception. This perfect combination of poetry and painting is also a major feature of Tang Yin's painting.

Tang Yin's contribution to painting and calligraphy is also manifested in other aspects, such as deepening the theme of literati painting, promoting the all-round development of landscapes, figures, ladies and flowers and birds, and strengthening the self-expression consciousness of literati painting, which has a far-reaching impact on later generations.

works

Flower and bird painting

Seal cutting of Biography of Qiuci

The seal of "White Tiger" is the seal he carved for himself. The seal is full of profound meaning and is criticized by people. Tang Yin is a famous painter, and Chou-heung has spread all over the world. Supposedly, he really should be a playboy who only drinks for fun. However, the opposite is true. He was poor all his life and was repeatedly hit by the imperial examination hall. After his death, even his burial ground was submerged. The character is as evil as hatred, and there is no bad habit of asking for flowers. In a word, he is by no means an evil scholar who always plays tricks on people on the stage, but an honest man who is poor, destitute and has a sense of justice.

Tang Yin was cynical and disheartened. Seeing that there are many ghosts and disasters in the world, however, he is a scholar, ignorant of the world, and has repeatedly lost and fought in political struggles. He can only fight indomitable through his weapon-art. Tang Yin's word "white tiger" originally came from the ancient meaning of cutting its name "Yin", but Tang Yin changed the word to "white tiger" and made his own seal of "white tiger" to show his resistance. The classic "White Tiger" came from Lu Wenjian and was sealed in the Tang Dynasty. There is a saying in the book that "ghosts are afraid of tigers and cypresses", and the meaning of "white tiger" is naturally to make quotations dare not make trouble to express their frankness and backbone. This is just as Ding Jing said in On India in Qing Dynasty. "Six such as lay the most crazy, two words have been" white tiger "chapter. I want to see Wang Liang (every shadow) covering the sky, and the disease talks about iron liver and intestines. "

According to legend, Tang Yin's self-carved seals include "The First Scholar in the South of the Yangtze River", "A Hundred Years of Blindness, a stroke in the world" and "Tang Jushi".

achievement

Tang Yin, one of the four great painters of Wu Pai in Ming Dynasty, contributed great cultural wealth to later generations in his bumpy life. His paintings have a wide range of themes, natural brushwork, unique style and appeal to both refined and popular tastes, which are deeply appreciated and favored by people with lofty ideals and even ordinary people.

Tang Bohu's Calligraphy Achievements

Tang Yin's calligraphy is not as famous as painting and poetry, but his talent is also extremely high. His book style is inseparable from Zhao Mengfu's shadow, so Wang Shizhen commented in Yizhou Mountain Man's Draft: "It is weak for Bohu to enter Xing Wu Temple." As a matter of fact, Tang Yin's calligraphy, like painting, pays attention to hundred schools of thought, and each has its own merits, but it will not last forever, and it has not yet reached the realm of "being old when people meet". According to the documentary records and existing works, he has made extensive research on Zhao Mengfu, Li Yong, Yan Zhenqing, Mi Fei and so on, with different emphases in different periods, forming a constantly changing stage view. Generally speaking, his book style changes can be divided into four periods. The first period was before he was 30 years old. He lives in his hometown of Suzhou and makes friends with his peers, which is deeply influenced by Wen. Therefore, their calligraphy and painting are very close. When Tang Yin was in his twenties, Huang Xiaojing's Atlas (collected by Shanghai Museum) was very similar to Wen's meticulous brushwork. Calligraphy also started in Zhao Mengfu, and they are all beautiful and beautiful, with beautiful strokes. Tang Yin's Master of Tibetan Painting is very similar to Wen Zhiming's. The second period is from 30 to 36. Tang Yin's imperial examination hall was ruined and his wife divorced, so he had no choice but to make a living by poetry and painting. At that time, he pursued the Tang Dynasty in calligraphy and made every effort to standardize it. Youzong Yan Zhenqing's regular script is dignified, round and fleshy, with a long knot, strong and dense, fine stippling and absorbing official script, ending with a horizontal pen like a "silkworm head". The third stage is 37 to 45 years old. Tang Yin was in his prime, living in Taohua Temple, a paradise, and devoted himself to the free creation of poetry, calligraphy and painting, enjoying himself and reaching the peak of his creation. At that time, calligraphy returned to Zhao Mengfu, catching up with Li Yong in Tang Dynasty, and formed its own mature style. It takes the handsome and charming Zhao Ti as the prototype, uses beautiful pen and ink circulation, and incorporates Li Yong's oblique posture, bold brushwork and vivid layout, making him vigorous and agile in beauty. There are many works of this style, such as Seven-character Rhythm Axis by Zheng Deyuannian (1506) at the age of 37 (collected by the National Palace Museum in Taipei), Song Sheng Axis on Mountain Road at the age of 30 (collected by the National Palace Museum in Taipei), and Sanjue Hangshu (collected by Ding Nianxian), all of which are from Zhao Mengfu and Li Yong. The fourth period, who died between 46 and 54 years old, belonged to Tang Yin's later years. Since the age of forty-five, he pretended to be crazy and fled back from Wang Jiang in Xining. He further saw through the world, his thoughts were more depressed, his behavior was more decadent, his calligraphy was more vivid, and he absorbed Mi Fei's style of seeking meaning and borrowing power. He is quick and powerful with his pen, calm and happy, bold and straightforward, and pursues strength, speed and charm. At the same time, the brushwork of various schools is integrated, which makes the structure and pen full of changes and reaches a free and elegant realm. Representative works include "The First Topic of Xizhou Dialect" (collected by the National Palace Museum in Taipei) and "The First Topic of Looking at Spring and Listening to the Wind" (collected by Nanjing Museum).

Tang Bohu's Literary Achievements

Poetic style

Tang Yin's poetic style is quite special. It is said that he studied the Selected Works of Zhaoming hard in his early years, so his early works were neat and beautiful, close to the atmosphere of the Six Dynasties. The poem written after the case was disclosed describes one's own situation, which is sincere and natural, fluent and natural. Although the words are not very refined, you can feel Tang Yin's talent at his fingertips.

His poetry collections include Song of Patience, Wu Shangguan's Letter, Song of the Four Seasons in the South of the Yangtze River, Song of the Peach Blossom Temple, Song of the New Year Festival, Leisure Love Song and so on.

Tang Yin's poems are true and simple, informal, widely spoken and fresh in artistic conception, often full of pride and injustice to life and society.

Besides poetry, Tang Yin also tried to compose music, mostly in the form of folk songs. Because of his profound literary and artistic accomplishment in many aspects, rough experience, extensive knowledge and profound understanding of life and society, his works appeal to both refined and popular tastes and are well known.

Poetry works

Cut plums

Red moss steps and green branches, Du Yu's voice, Du Yu's voice sad! Make love for a long time and then separate, Cai Feng flies alone and Cai Feng lives alone.

When is the lovesickness after parting? It's hard to know in the future, and it's hard to expect in the future. Why do you have this feeling of lovesickness? A love story, a love poem.

Rain hits pear blossoms and closes the door, leaving youth alone! Who can talk about pleasure? Flowers are charming, and the moon is charming.

Worried about gathering eyebrows to the end of the day, crying thousands, crying thousands; See the sky at dawn and the clouds at dusk. When I walk, I miss you; Even when I am sitting, I miss you.

Drunk poems

Under the peach tree, the waves are full, and the reed mat bed is laid first, not to mention copper coins.

Three glasses of turbid white wine, a few words. When you go home, smile with her.

grey/white hair

Tang Yin's Poems

Tang Yin's Poems

The Qing dynasty stirred the mirror, and the Fuehrer had brilliance.

Feeling sad, the rain suddenly turned into sadness.

Worry exceeds solidity, but Wei Rong worries.

Young people don't doubt the sky, and fame will be strong.

In the cool breeze, the night comes out and the bright moon wears the sky.

A gentleman values words and deeds and strives for selfishness.

The last pen

What's wrong with the dead having their virginity and dying in hell? Dead people are almost the same as dead people. You should only wander in a foreign land.

The lonely picture of sunset

Draw a bead curtain in the misty water, and the sunset is lonely and traceless. I want to see Wang Nanhai for thousands of years, so I can borrow a gust of wind from the Dragon King.

Changmen is this thing.

The paradise on earth is Wuzhong, where there are changmen and good people. Cui Sleeve is 3,000 yuan upstairs and downstairs, and millions of dollars are in the west and east.

Even in Wugeng, He Jia never said anything, and the words from four distant places are always different. If a painter paints, it is difficult for him to paint.

Sigh the world

Sitting on a yellow flower, I woke up and remembered that I was drunk. Is cinnabar a thousand-year-old medicine? The ointment on the temple is difficult to remove during the day.

The inscription behind him is selfish, and the puppet in front of him is dominated by him. A dream of a floating life must be broken.

One of "sighing the world"

Don't force wealth and splendor. If you can't force wealth and splendor, it will become a shame. Shen You