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At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the master of art served as the fifth painting monk of the early Qing Dynasty besides the "four monks" known as Shi Tao, Zhu Yun, Hongren and Shi Mao. The Paper has learned that on August 25, the Shanxi Museum will hold the "One Thousand Miles - As an Exhibition of Calligraphy and Painting Art". The exhibition selects more than 150 works of the Yunnan Provincial Museum, and introduces the life and festival of the person in four units, the study of painting, the Zen in painting and the art of calligraphy, and presents to the world the poetry, books and paintings of the late Ming and early Qing dynasties.
"Thousand Peaks Cold Color Atlas" on paper, 22.9 cm in length and 34.5 cm in width
"Thousand Peaks Cold Color Atlas" on paper, 22.9 cm in length and 34.5 cm in width
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, drastic changes were stirred up, and the times gave birth to thinkers such as Gu Yanwu, Huang Zongxi, and Wang Fuzhi, and also gave birth to artistic giants such as the "Four Kings" and "Four Monks". In the Fangwai art circle outside the "Four Monks", there is also such an artist, whose achievements are so high and widely involved that he is not under the "Four Monks", as some scholars have commented, "otherworldly, seems to be better." He is responsible.
Responsible (1593-1673) name Puhe, also known as Tonghe, word responsibility. A native of Jinning, Yunnan. Commonly known as Tang, the name Tai, the word Dalai. His ancestors were originally from Chun'an, Zhejiang (which can also be regarded as some connection with Chun'an), and in the early Ming Dynasty, they came from Rong to Dian and lived in Jinning. After the Qing soldiers entered the customs, the old man who lived in Li Wu was ordained and visited all the famous houses in Wuyue. Born to propagate the Dharma, live in the Stone Bell Temple of Jizu Mountain. Zeng xueshi calligraphy and painting under Dong Qichang's door, and has the reputation of "three absolutes" of poetry, books and paintings. For people to save integrity, let loose traces, so the painting is flowing and strange.
When he was young, he went to Beijing to take the exam, went to Taixue to study, and traveled to various places. The magnificence of the mountains and rivers of the motherland stimulated his patriotic enthusiasm; the corruption of the officialdom deepened his dissatisfaction with the Ming Dynasty; the search for teachers and friends opened his eyes; and with his own efforts, great progress was made in poetry, books, and paintings. Seeing the demise of the Ming Dynasty, he felt that there was no way to serve the country, so he went to Jizu Mountain to cut his hair and became a monk, and put the patriotic pride of "taking on the great responsibility of the world" in poetry and painting.
As a representative of the local culture of Yunnan and the responsibility of the Ming remnants, both artistic creation and painting theory present the complexity of Chinese aesthetics. Among the many relict monks, he has shown his high artistic achievements in poetry, books and paintings. He carries his inner cry into his art, while his paintings highlight a profound and penetrating Zen mood and interpret the spirit in his chest.
As a literati painter, he took on the role of venting his inner pain and loneliness with the brush in his hand; as a relic, he injected the wheel imprint of history and the sense of devotion and loss of the old dynasty into his creation; as a monk, the transcendent artistic conception made his artistic creation reach a thorough understanding.
As a Zen master, he studied art with Dong Qichang and was a loyal disciple of Dong Qichang. His poems are numerous and extensive, mostly reflecting his patriotic feelings and indomitable character. The landscape law Ni Zhan, the style of absurdity and indulgence, a mountain and a water, a grass and a tree, all express the deep feelings for the motherland. Calligraphy Dong Qichang changed, and after writing more grass, its momentum was thin and clear, and it was bold and practiced, and there was a trend of a thousand miles. Shi Tao praised: "Being an old man has a great sense of liberation." ”
Fu Shan, who is well known to shanxi people, is also a famous artist of calligraphy and painting in the late Ming and early Qing dynasties, and there are also similarities in artistic views.
According to the Shanxi Museum, in 2019, the Shanxi Museum launched the "Hundred Generations Of Bidding - Dong Qichang Calligraphy and Painting Art Exhibition", and at the end of this year, the Shanxi Museum will launch "Fu Shan's Life and Scholarship". The holding of this exhibition of calligraphy and painting is conducive to the audience to continue their ideas, broaden their horizons, and understand the influence of Dong Qichang's calligraphy and painting art. At the same time, after the introduction, we try to present a complete panoramic art history for the audience. This exhibition will uphold their consistent philosophy and pursuit.
A Scroll of Ten Thousand Miles on paper, 25.3 cm in length and 165.5 cm in width
The title of this exhibition is taken from the work "A Volume of Ten Thousand Miles". Yunnan and Shanxi, thousands of miles away, this time as a calligraphy and painting work to the north, just like Dharma a reed crossing the river, "a thousand miles".
Although he was in the Zen room, he was still concerned about the safety of the people and the country, so he had the feeling of "who knows Dong Fox in the painting", the vision of "Taiping Has an Elephant Map", and also the "The end of the world cannot be asked, and the tall building is high all day long." Who knows to embrace, by the fence a piece of autumn " the sadness.
Taiping Elephant Map (Partial) on paper, 116 cm in length and 55.6 cm in width
His landscape paintings have a unique personality, and his grotesque compositions and pen and ink elevate everything natural to a world in which all hues are empty. Through landscape painting to liberate from the sad and depressed knot, the soul and nature are integrated, which is a portrayal of a unique mental image.
"One of the Books of Landscape and Water" on paper, 27.2 cm in length and 14.8 cm in width
In the practice of painting, he pursues ni Zhan's desolate cold and light, and the smoke and clouds of rice, and loves the composition of "Pingyuan XiaoShu". The painting mood and aesthetic tendency of "emptiness", "lightness" and "quietness" that he pursues communicate Zen with painting are natural.
Scrolls on paper, 125.4 cm in length and 52.2 cm in width
The calligraphy works he is responsible for have both the unbridled indulgence of the sharp edge and the natural charm of the idyllic and ethereal, which is suitable for movement and otherworldliness. His calligraphy brushstrokes are dignified and subtle, self-contained, and his calligraphy and painting are one, full of Zen rhyme.
The exhibition runs until 22 November.
Ink and pencil on paper for "Imitation Yuanren Landscape Map", 104.3cm×55cm, Collection of Yunnan Provincial Museum (Data Map)
Responsible for "Tree Leaf Dead Picture Scroll" (partial) Ink and pencil on paper×545cm Collection of Sichuan Museum (data map)
50.8cm×33.2cm Collection of Sichuan Museum (data map)
Exhibition posters
Exhibition Title: "A Thousand Miles - As an Exhibition of Calligraphy and Painting Art"
Exhibition time: August 25 - November 22
Exhibition venue: Shanxi Provincial Museum
(This article is synthesized from the public number of Shanxi Museum, "Qiandao Lake Calligraphy and Painting", etc.)
Editor-in-Charge: Ruoxi Chen
Proofreader: Ding Xiao