"The Biography of the Painter" ~ 309th
<h1 class="pgc-h-arrow-right" data-track="2" > Wang Yuanqi believes that the magic of painting is not raw or unfamiliar. Not in the ancient law, not in my hands, not in getting rid of habits</h1>
Text/Lu Xiuhui
Wang Yuanqi (1642–1715), courtesy name Maojing, was a native of Taicang, Suzhou Province, Jiangnan Province (present-day Taicang, Jiangsu).
Wang Yuanqi's grandfather Wang Shimin, a painter in the late Ming and early Qing dynasties, the grandson of the university scholar Wang Xijue, the son of Wang Heng, the editor of Hanlin, and the first generation of the "Four Kings". Wang Shimin advocates imitation of the ancient, pen and ink subtle, cangrun and loose, thick and clear, and less variation in composition. His paintings had a great influence in the Qing Dynasty, and Wang Yi, Wu Li, and his grandson Wang Yuanqi were all personally taught by him. Wang Shimin founded the "Lou Dong School" of landscape painting, together with Wang Jian, Wang Yi, and Wang Yuanqi, and was called the Four Kings, plus Yun Shouping and Wu Li, who were collectively known as the "Six Families of the Qing Dynasty". When Wang Shimin was young, his grandfather asked Dong Qichang to guide him in learning calligraphy and painting. Under the guidance of Dong Qichang, he began to start from the imitation of the ancients, deeply studied the traditional painting method, and deliberately copied the Huang Gongwang landscape.
Wang Yuanqi's father Wang Yu (王揆), the second son of Wang Shimin (王時敏), the twelfth year of Shunzhi (1655), on the day of the selection of the museum, a certain xiang wanted to recommend Wang Yu to be the first, and Wen Qi sang that the word "揆" was similar to the sound of "Kui", and the Shunzhi Emperor asked: "Is it the negative heart of Wang Kuiye?" "The Miscellaneous Drama of the Gai Song Dynasty official has "Wang Kui Three Townships Title", and the Jiayou Zhuangyuan Wang Kui is responsible for the prostitute Gui Yingshi in Laizhou, Shandong, which has been deeply rooted in the hearts of the people, so Shunzhi has this question. A certain phase stopped silently and did not dare to recommend it again. Kangxi recommended Hongbo not. Gong Shi, together with Huang and Jian, is called "Lou Dong Ten Sons". His works include the Collected Works of Zhi Yu (智廛集) and the 46 volumes of the Seven Famous Poetry Notes of Kisuke (畿助七名家诗钞).
Wang Yuanqi liked to paint when he was a child, once, he painted a small landscape painting, pasted on the wall, grandfather Wang Shimin saw it, very surprised, thought it was his own painting, learned that it was from the hands of his grandson, overjoyed, think he has superhuman painting ability, Wang Shimin sincerely praised: "Is the child's industry will come out of my right also." Since then, Wang Shimin has been more deliberately guiding Wang Yuanqi. Wang Yuanqi has such a teacher around, which can not only solve his questions and answer questions, but also give him detailed instructions from techniques to painting theory, which is of great help to his growth in painting. Wang Yuanqi was personally taught by his grandfather Wang Shimin, inherited the pulse of Dong Qichang, and after ascending the throne, he concentrated on painting and was extremely favored by the Kangxi Emperor, which had a great influence on his landscape pattern, and among the "Four Kings", Wang Yuanqi was the youngest, but the highest achievement.
Wang Jian once said to Wang Shimin, "The two of us should let the two of us go to the ground." Wang Shimin replied, "The first promoter of the Four Families of the Yuan Dynasty, Jiu (Huang Gongwang), the only one who has obtained his god is Dong Sibai (Qichang), and I dare not let go of his form. Wang Jian was deeply impressed. Wang Yi was famous for his qingli pen, and Wang Yuanqi was surprised by his high quality. Wang Yuanqi once had a painting theory that said: "There are habitual and evil schools in the paintings of the late Ming Dynasty, with the Zhejiang school as the most. In the Wumen clouds, everyone is like Wen Shen, the patriarch is like Dong, and the forgery is confused, and it is a fraud to spread false rumors. Guangling Baixia, its vices are no different from the Zhejiang school. Those who have the ambition to write and ink must abstain from it. ”
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the demise of the last feudal dynasty ruled by the Han rulers was a foregone conclusion and irreparable. The destruction of Han culture by the rulers of the Qing Dynasty is conceivable, and the Manchu Qing dynasty lagged far behind the Central Plains Han culture in terms of economy, culture and living habits. The rulers realized this problem, and how to solve it became the focus, and the rulers of the Qing Dynasty first locked their eyes on the literati and inkers, hoping that they would serve the rulers. The rulers of the Qing Dynasty must first set up a group of literati representatives who can be used by them, take the Confucian "Zhengda Weather" as the source, and in art, respect Dong Qichang's theory of north-south painting, and Wang Shimin, as the authentic descendant of Dong Qichang, has been valued by the Qing court, and the "four kings" style has naturally become the focus, and the historical status as an "orthodox school" has been established. Wang Yuanqi believes that "today's people do not know the theory of painting, but they take the shape, and those who have a fat pen and thick ink are said to be thick; those who have thin and light ink are said to be high and easy; those who are bright and tender are called bright and beautiful." And it is not known. In short, the position of the ancients is tight and the pen and ink are loose, and the position of the present people is slack and the pen and ink knot. Pay attention to this, then sweet and evil, do not go and go away. ”
Wang Shimin is a Shunmin, he did not enter the Shi, and he is one of the few Shunmin in the Jiangnan Shi clan. When it came to his son, Wang Shimin encouraged them to become a scholar, and his son Wang Tuan even became a scholar of Wenyuange University. By the time of his grandson Wang Yuanqi, he seemed to be the favorite of the Qing Lord's generation and was promoted to the chief painter of the official family. It is also reasonable to have become a scholar from generation to generation, in addition to the fact that the context is not weak, the political shrewdness has to be impressive. Politically, their attitude was consistent with that of the Qing rulers, and they were naturally trusted and affirmed by the Qing rulers. Economically, it controls culture and industrializes it, and urban capitalism in Jiangnan plays another role. The prosperity of commerce has promoted the progress of art, and the merchants who have developed the economy have given strong cultural support in the economy and promoted the formation of art genres. Therefore, Wang Yuanqi said: "Ancient writers met each other legally, and if they had no intention of saying anything, they would have a gentleman's temperament. If a scholar has already entered the world, and strives to advance day by day, he will be in the ink between the lines, and he will not be able to do what people can do, and he will not be able to be a little self-sufficient. ”
Wang Yuanqi was a scholar in the ninth year of the Kangxi Dynasty (1670), and his internship unit was very good, and he was in charge of the government. The basis for being an official is the same examiner as the Shuntianxiang Examination, and a large part of the examination subjects of the Shuntianxiang Examination are the children of the Beijing officials. He was actually lacking as Zhi County, which was directly subordinate to Ren County of Shunde Province (present-day Ren County, Xingtai City, Hebei Province), huanjing Zhi County, and Yang as a confidant, which shows that the Qing court cultivated him carefully. Ren County when the Nine Rivers flowed downstream, often affected by floods, for a long time, the good fields became dirty, when he was in office, every time jiazi yi ugly autumn rains continuously, the water potential was steep, the embankment was exhausted, and the fields and lais became a huge dip. Wang Yuanqi wrote to ask for the treatment of the Huaiyang flood, and forever exempted from the water and barren fields to give more than 3,000 gold, "The people are trapped in suyu, build embankments to waterproof the constitution, build bridges to open waterways, kill thieves to reassure the people's lives, Ming Qijie to show ceremonies, and send warehouses to save the people, and it is difficult to enumerate the traces." ”
Wang Yuanqi later changed to a position in Hanlin, tired of officials and young sinong, and made paintings to enshrine the inner court, which was deeply relied upon by Kangxi. When Wang Yuanqi was in the South Study, the Kangxi Emperor often went to see him paint or discuss with him, and Kangxi personally inscribed the sentence "The picture is left for posterity to see" on one of his paintings. Wang Yuanqi carved this sentence into a seal in order to commemorate the emperor's kindness to him. A guest asked Wang Yuanqi and asked him to comment on the painters of the four seas, and cited a number of famous artists to ask about it. Asked how Wang Yi's paintings were, Wang Yuanqi replied: "Wang Yi's paintings are too familiar, and if they are familiar, they are vulgar. Repeating how Cha Shibiao was, Wang Yuanqi replied: "Cha Sheng is too sheng, and sheng is Yu Ye." Wang Yuanqi said: "The beauty of painting is that gai is not raw and unfamiliar." He said in his self-titled "Akiyama Qingshuangtu" volume: "Not in the ancient law, not in my hands, and not outside the ancient law and my hands." The pen end of the vajra pestle, in the exhaustion of habits. Looking at this language and seeing his paintings, the faithful are sincere, and his pattern is exactly like this.
In the forty-fourth year of the Kangxi Dynasty (1705), Wang Yuanqi was promoted to a bachelor's degree, transferred to a bachelor's degree, and went straight to the South Study. Feng Zhi, together with Sun Yueyi and Song Junye, compiled the "Pei Wen Zhai Calligraphy and Painting Notation", and served as the editor of the Pei Wen Zhai Calligraphy and Painting Spectrum. "Pei Wen Zhai Calligraphy and Painting Notation" is a large-scale Chinese calligraphy and painting book, this book quotes a total of 1844 kinds of ancient books, and all of them indicate the source, which is convenient for investigation, which is of great significance to the study of the history of Chinese painting. The editing of this book lasted four years from the forty-fourth year of the Kangxi Dynasty to the completion of the compilation of the forty-seventh year of the Kangxi Dynasty, and Kangxi himself wrote the preface to the book. At the time of the book, Wang Yuanqi was 67 years old. At the age of 70, Wang Yuanqi was also ordered to preside over the drawing of the "Ten Thousand Lives Ceremony" to celebrate the birthday of the Kangxi Emperor. In the fifty-fourth year of the Kangxi Dynasty, Wang Yuanqi died of illness in Beijing at the age of 74.
Wang Yuanqi inherited the learning of Dong Qichang and Wang Shimin, favored by the supreme ruler of the Qing Dynasty, wantonly exerted his power on landscapes, led the group, influenced future generations, formed the Loudong School, and became the backbone of the Orthodox School in the three hundred years of the Qing Dynasty. In later generations, most of the Loudong school of painting was blindly imitating the ancient, the pen and ink were weak, the pattern was mediocre, the same, and there was no fresh atmosphere. Wang Yuanqi is good at painting landscapes, inheriting family law, learning the four families of the Yuan, taking Huang Gongwang as the sect, likes to use dry pen to burn ink, layer by layer, calm with the pen, claiming that the pen has a vajra pestle. The Loudong School of painting was formed, which was painted in the Qing Dynasty for three hundred years and became the backbone of the orthodox school. Wang Yuanqi's paintings include "Rain Window Brush" and "Lutai Inscription Painting Draft". He is good at making poetry, and has 3 volumes of "The Collection of Painting Buildings".
Wang Yuanqi's painting style, middle-aged Xiurun, and his later years were canghun; "Shen Xiong tested the right, the vitality was dripping, and the words of the pen end of the vajra pestle were not vain." Wang Yuanqi advocated that good painting should be between not being raw and unfamiliar, self-made, not bound by ancient laws, ripe is not sweet, raw is not astringent, light and thick, solid and clear, and the atmosphere of the book is full of paper and ink. Throughout Wang Yuanqi's life's painting style, he followed his grandfather Wang Shimin in his early years, landscape painting directly originated from his grandfather and had a stronger appearance, a more mellow smell of pen and ink, committed to imitation of the ancient, rich in forms, but lacking the breath of life and real feelings. Early works such as "Imitation of Zi Jiushan Landscape Map" are works of the author when he was thirty years old, imitating Huang Gongwang's brushwork and becoming fascinating. The picture pen and ink are simple and light, and the style is ancient.
Wang Yuanqi's middle-aged works, derived from the ancients, pen and ink are beautiful, represented by "Fuchun Mountain Map", the picture is cloudy mountains and beautiful waters, with pens elegant and elegant, and the colors are light and round. Later, under the guidance of Wang Jian, at the age of sixty, painting can be "mature and reborn", such as the "Nanshan Jicui Tu" composed at the age of seventy, the pen and ink and color realm are exquisite. Its pen is sharp and illusory, true and meaningful, and the jerky is skillful. Its use of color is mottled, which is the ultimate use and fusion of light and turquoise techniques. In the picture, you can see the overlapping of pens and pens, and the places where the hue is immersed, completely informal and straightforward and natural and interesting.
Lu Xiuhui has a poem "Song for Wang Yuan Qilutai", Shiyun:
The context of the text gushed out, and only then did people enter the Cloud Palace.
In the generations of the Wang family, the art of discourse is not empty.
Try to write ying Kyushu, painted as a ghost worker.
Xiyun recalls the new an, and the hills and ravines are old.
The mountain monk first returned to the bird, and the white-headed He Qiufeng.
The pen is in the west, and the poem is strong in rhyme.
Clear sky wide avenue, I am bitter and exquisite.
After ripening, it is raw as appropriate, light and thick.
On the simple and ancient show, the heart is ancient.
The ink is mellow and rounded.
Hold on to the bull's ears, and let the painting method be exhausted.
Lu Xiuhui works