Xia Chang (1388- 1470) is the height of Wang Long (1362- 14 16), who is known as the "pioneer" of bamboo painting, and is famous for ink bamboo. During the Yongle period, Jinshi was promoted to Taichang Temple, so later generations called it Xiachang Taichang and Xiayunqing. He inherited the tradition of Yuan people, mastered it on the basis of learning from Xiao, and formed his own dull and free and easy style. His ink bamboo is extremely rich in theme and content, especially in the performance of bamboo dancing in the wind and rain. History calls its bamboo "smoky and rainy, straight and dense, graceful and graceful, covering experts." 4. We can see its clue from its "Strange Stone and Breeze Map" (96.80 in the Cultural Relics Collection of the Chinese University of Hong Kong, hereinafter referred to as CUHK). This painting shows bamboo swaying under the breeze. The author's distinct brush and ink level and vigorous brushwork are the excellent structures of his similar works. Wei Tianqi, Qu Jian (making a promise), Zhang Yi, Zhang Xu, Wu Yi, Wang Yi, Yang Tingduan, Zhu Duan, He Qiaofu, Qiao Chang, Feng Qizhen and her husband Yu Ying. Among them, the Rain Map of Xiangjiang River (Guangdong Provincial Museum B5007, hereinafter referred to as "Bamboo") by Feng Qizhen (1553- 1642 still exists) in the late Ming Dynasty still belongs to Mozi, which can be innovated while inheriting the Xia family.
Bian Wenjin, a native of Fujian, was awarded Wuying Hall in the early period from Yongle to Xuande, and he was a representative of flowers and birds in the early Ming Dynasty. His painting history says that his flowers and fruit feathers are "beautiful and vivid, and his work is unparalleled". He inherited the tradition of meticulous brushwork in Song Painting Academy, with delicate brushwork and bright colors. His painting "Xue Mei Shuang He Tu" (Job B5588) is neat and delicate, the double cranes are painted with white powder, the dried plum flowers are meticulous and precise, and the brushwork is chic. Bian is famous for painting flowers and birds, especially cranes. His sons Chu Fang, Chu Shan and Chu Xiang, his nephew Yu Cunsheng and his son-in-law Zhang Kexin all passed on his family history.
Miao Fu, a contemporary of Bian, is a masterpiece dedicated to the imperial court, which has been lacking in history. Judging from his handed down paintings, he once worked in Zhiyi Town, Wuyingtang, and was good at painting fish. A picture of fish and algae in the Palace Museum in Beijing bears the seals of "Written by Miao Fu in Fusu County, Jinyi Town, Wuying Hall", "Liang Zuo" and "Going to Guangqing", indicating that he is from Jiangsu, and "Liang Zuo" may be his other name or number. He painted fish and algae, mostly describing the huge koi fish swimming among algae in deep water, with various small fish as the lining. Koi fish jumped, held his head high, or went downstream ... Everyone did their best. "Fish and Algae Map" (Job B674) describes the scene of koi fish playing in the water, and the brushwork is still flowers and birds in the Song Dynasty, with exquisite workmanship and rich colors. The biggest difference between Miao Fu and other court painters lies in his innovation in subject matter. What is rare is that he can be ingenious, bringing fish and algae that few people paid attention to at that time into the picture, and vividly reappearing koi fish's various performances in the water. Although his biography is unknown, the various "fish and algae pictures" he painted left a strong impression on the court paintings in the Ming Dynasty.
In the early Ming Dynasty, there was another painter worth mentioning, that is, Chen Xianzhang, who was famous for painting plums. Chen Lu was born in Huiji, Zhejiang, where he is outstanding and good at writing poems. Critics compare his plum paintings with those of Wang Qian (Mu Zhi), a curling Taoist at the same time, and say that "although the two schools have different styles and meanings, the writing power of the Charter is greater than modesty". The Meaning of Pushing Peng Chun (Job B4067) is a masterpiece among his works handed down from generation to generation. Written entirely in ink, it inherited the tradition of Mo Mei in Yuan Dynasty, such as Wang Mian and Zou Fulei. The painted prunes and branches are vigorous and tall, full of ancient meanings, while plum blossoms have different modes, as Yang Dianbang said in his poem: "Flowers fly late and are full of southern branches and northern branches. It seems that Luofu people are dreaming, and a pair of jade feathers are coming. " This picture has been collected by Zhou You and Xu Shichang. It has been recited by celebrities all over the world. It's a rare artistic structure.
During this period, painters who inherited the ink and wash tradition of Yuan Dynasty, such as Wang Bi and Yao Shou, court painters such as Zhou Wenjing, Shang, Ni Duan and Sun Long, and Zhejiang painters such as Dai Jin, were also good at flowers and birds.
The unique political and humanistic environment in the early Qing Dynasty gave birth to splendid culture. There are orthodox painting schools supported by Wang Shimin, Wang Song, Wang Jian and Wang as the mainstream, and anti-unification painting schools with the adherents of Shi Tao, Jian Jiang and Kun Can as the mainstream. Flower and bird painting and landscape painting are on an equal footing, and * * * has become the mainstream of painting.
Cloud is the important town of flower-and-bird painting in this period.
Yun (1633- 1690) is good at boneless flowers and is a beginner in landscape. Later, because I saw Wang Shigu's paintings, my talent was not outstanding, so I changed to painting flowers and birds. He inherited Xu Chongsi's boneless tradition and created a fresh painting style with bright colors and simple brushwork. The history of painting called him "vivid without brushwork, vivid in shades and shades", 26 "concise and accurate, colorful and interesting", so that at that time, "no matter Jiangnan or Jiangbei, every family is an uncle" 27, and he was a follower for a while. The Chrysanthemum Painting (Job B2205) written in 1686 is a sketch painting, which can also capture its spirit, bright colors and vivid fragrance, and represents the mature style.
At that time, as many as 100 painters were influenced by it. The most important of them are Fan Tingzhen, Zou, nephew Zhang and great-granddaughter Yun Bing. Among them, Ma Yuanyu (1669- 1722) was personally taught by Yunnan Tian, and he also studied under Jiang Tingxi, and his painting art improved day by day. Wang Shigu called it the pinnacle, and critics said it was like an elephant. The Grape Map written by Lao Jian Zhou in 1694(B2) was a sketch, with both form and spirit, which was called a masterpiece. The latter is vigorous, unrestrained, elegant in color and unique in the south and the sky. Ma Quan, my daughter, has her own way, and she is called "double unique" with Yunbing, who is famous for being boneless. Painted on 1750, Flower-and-Bird Fish (Job B20 1) and Lotus Kingfisher (CUHK 99.322) respectively represent the painting styles in different periods. The former is neat, elegant and light in color; The latter has no strokes and bright colors.
At the same time as Yun and later Jiang Tingxi and Zou Yigui were also outstanding flower painters.
Wu Wang (1632- 1690) and Yun are both famous for being good at painting. It is said that there are many famous works of Song and Yuan dynasties in their family, which gives them the opportunity and ability to absorb nutrients from the masterpieces of their predecessors and integrate them into their own paintings. On the one hand, he inherited the yellow tradition of sketching, on the other hand, taking Zhou Zhiming and Lu Zhi in Ming Dynasty as examples, he said that his paintings are "vivid in spirit, beautiful in style, fine and delicate in quality" and can be "well planted, with five roots and five ginseng, and exquisite in color" .28. The Peony Butterfly Picture (Job B 186 1) written in 1677 is the representative of his style. The peony in this painting is drawn with a fine pen, and the pen and ink are elegant and vivid. His artists include Zhou Li and Zhang Hua.
Jiang Tingxi (1669- 1732) was deeply influenced by Changzhou School in his early years, and studied under Chen Daofu and Xu Wei in his later years, with simple brushwork. Most of his early works were talented artists, but in his later years he won by freehand brushwork in ink and wash. Liang Zhangju said that he "used the escape pen to sketch, and the escape pen was odd or positive, or rate, or work, or color, or faint ink, and made it at will, which made the pen precious" 29. He is an official of a college student. He is famous for his paintings. There are many ghostwriters and fakes, and all the scrolls and axes are fakes. Ma Yuanyu and his son and his favorite pupil Pan Shi often catch knives for him. It is said that Pan Shi is the ghostwriter of most people who are very good at coloring in the world. The lotus leaf painted in "Ruilian Map" (Job B223) written in 1723 is simple and elegant, combining fine brushwork with plain and self-sufficient. His artists include Jiang Pu, Ma Yi, Su, Qian Yuanchang and Zou Yuandou.
The "Four Kings" who are good at traditional landscapes occasionally have flowers, such as Wang Shimin (1592- 1680), the head of the "Four Kings", and Wu Ruitu (Job B832) written by 16 1. Jin Yang (1644- 1728) from Wang Shigu (65438+B233- 1720) is good at flowers and birds. Cooperation with Bo Huang 1692. The oriole writes about the plum finch, which is pale and simple. In addition, and also known as the "four kings" are also good at painting bamboo and stone. His paintings are taken from Zhenwu, and his brushwork is vigorous and powerful. The Guangdong Provincial Museum also collected his bamboo stones.
, Shi Tao, Hong Ren, Xiao, etc. He is a famous painter of Ye Yi School in Qing Dynasty, mainly represented by adherents of Ming Dynasty. They use pen and ink to express or dispel the depression in their hearts.
Zhu Da (1626- 1705), a native of Badashan, painted anthropomorphic flowers, birds, insects and fish, which has always been regarded as the main feature of personality. The eyes of fish and birds painted are whiter than black, which is considered as contempt and dissatisfaction with reality. He inherited the tradition of "green vine and white sun", and put more thoughts and feelings into his paintings, showing his negative concern for reality and understanding of life. His paintings are the embodiment of his will to live. 1689' s sleeping duck diagram (job B44) and willow-thinning insect diagram (job B2704) are both typical styles. The former is concise in composition and fluent in pen and ink, which is a masterpiece in its prime; The latter is light in brushwork and dripping with ink. Both pictures are attachments, no hugs.
Yuanji (1642- 1707), who claimed to be a bitter gourd monk, was originally an imperial clan, surnamed Zhu and named Ruoji. After becoming a monk, he changed his name to Yuanji, the word Shi Tao, and was good at painting Zhu Lan. His painting history called it "bold and unrestrained brushwork, not limited to conventions" 30. The picture of Zhu Mo (job B 1603) is characterized by random brushwork. Zhang Daqian said in the postscript that he painted bamboo with anger, "if in Ma Jun". Zheng Banqiao's evaluation of his bamboo paintings is "fortunately, in the field, he is a little undisciplined and keeps the rules inside" 3 1, which can be used as the best example; "Flower and Fruit Atlas" (CUHK 96.68) is painted in light colors except ink, so it is full of energy and lofty with a pen.
Hong Ren (161065438-1664), who is also known as the "four schools of Haiyang" with Cha Shibiao, Sun Yi and Wang Zhirui, is an important representative of the "Xin 'an Painting School". He is famous for painting Huangshan Mountain, and he can "get the true temperament of Huangshan Mountain". His plum and bamboo paintings are also unique. Written in 1663, "Zhu Mei Shi Tu" and "Mei Tu Hua" (Job B3646), the fan is simple and elegant, the composition is concise, the artistic conception is far-reaching, and its rhyme is like a picturesque landscape, coming from Ni Yunlin, which is nothing new.
Xiao (1596- 1688), a native of Wuhu, Anhui Province, has a similar painting style to that of Xin 'an School and is as famous as Sun Yi, one of the "Four Schools of Haiyang". He paints landscapes and figures with fine, hard and fast brushwork and quaint colors. Flowers are the rest, but they show superb skills and charm. The Plum Blossom Narcissus (Job B94) painted on 1668 is short and concise, similar to Hong Ren.
In addition, Jin (1602- 1675), who is famous for painting plum blossoms, has also made outstanding achievements in flower-and-bird painting. Zheng Chang, a close friend, said that his flowers are "only between flowers, not elegant, dense and attractive, and famous all over the world". The Plum Blossom Atlas (Job B2544) can represent his style. The picture album is light in pen and ink, concise in brushwork, vigorous in brushwork and profound in meaning. Wang Shizhen once wrote his painting "Mei", in which there is a phrase "painting to the best of one's mind", which also refers to its artistic conception.
During this period, Lingnan area became an important political and cultural center in the south. The spread of the Nanming regime, the continuation of the anti-Qing struggle, and the migration of a large number of adherents to the south made this area, which was originally secluded in the Cape, active and its culture flourished unprecedentedly. The adherents represented by Wu Ruilong and the Lingnan School of Painting represented by Depth, Cheng Diao and Dashan brought vitality to the originally underdeveloped Lingnan School of Painting and set off the climax of Guangdong School of Painting. Painters who are famous for painting flowers and birds include Hua Lan of Yang Changwen, Peony of Wu Ruilong, Eagle of Zhang Mu, and Miscellaneous Flowers of Cheng Jiu, all of whom win by virtue of goodness. Among them, Zhang Mu (1607- 1683) is famous for drawing horses, and he is also good at drawing eagles. Eagle paintings are mostly freehand brushwork in ink and wash. The cover is taken from Lin Liang, with ivy and poplar as brushwork, and the image is vivid. The eagle with independent dead branches painted in Goshawk Map (99.604, CUHK) is dull, sophisticated and vigorous. Although it is not Zhang's masterpiece, its shape and spirit still exist.
Flower-and-bird painting in the early Qing Dynasty had a great influence on later generations, including Yangzhou painting school in the middle period, Shanghai painting school and Juhua school in the later period. Zheng Chang's "General History of China Painting" advocates that Kun Can and Dao Ji's works are isolated, lofty and strange, unlike Nantian, and they are also outstanding for later generations, reflecting the influence of the "Wild Yi School"; Friends divided the flower-and-bird painting in Qing Dynasty into two schools: Yun School represented by Yunnan Tian and Jiang School represented by Jiang Tingxi. Both factions have their own descendants, which influenced later generations, and most of the flower paintings in later generations came from these two factions. Although Chen's words are inevitably biased, they reflect the epoch-making significance of these two schools of flower-and-bird painting.