"The Biography of the Painter" ~ 259th
<h1 class="pgc-h-arrow-right" data-track="2" > Shao Mi, as the nine friends in the painting, died in middle age, and his body was very miserable and strangling! </h1>
Text/Lu Xiuhui
Shao Mi (1597-1643), the character monk Mi, later named after the character, was called Gua Domain, Fentuo Resident. A native of Changzhou (present-day Suzhou, Jiangsu).
Since the opening of Shen Zhou, the Wu school has become the most powerful painting school, Wen Zhengming, Tang Yin, and Qiu Ying, who have inherited the excellent traditions since the Song and Yuan dynasties in art, and formed their own unique styles, creating a new generation of styles, especially the efforts of Wen Zhengming. Wen Zhengming's greatest contribution to the Wu School was to replace the academy and the Zhejiang School and occupy the main position of the painting world, which lasted for more than 150 years, forming a huge market for calligraphy and painting, and injecting a powerful weapon into the subsequent development of the Wu School, money, and economic activities in Wumen.
Shen Zhou, because of his family's origins and influenced by Du Qiong and other predecessors, mainly inherited the mantle of the literati of the Yuan Dynasty, and was known for his concise and thick thick, vigorous and strong thick strokes. Wen Zhengming learned from Shen Zhou and absorbed the painting methods of Zhao Mengfu and Wang Meng, and was known for his meticulous craftsmanship and quiet and elegant fine strokes. The two of them mainly developed the literati painting tradition of the Yuan Dynasty, paying attention to the expression of brush and ink, emphasizing emotional color and light artistic conception, and pursuing a plain and natural, idyllic and peaceful style, and their painting style laid the tone of Wumen sect. Tang Yin was a down-and-out literati, the same as Wen Zhengming, a student of Shen Zhou, but also studied under Zhou Chen; his main teachers of landscape painting inherited Li Tang and Liu Songnian, and appropriately integrated the literati painting techniques, forming a very strong and delicate brushwork, ink color and blending, rigorous and clean style of artistic characteristics. Qiu Ying was born as a craftsman, first learned Zhou Chen, and then carefully copied the famous relics of the past, especially focusing on Liu Songnian and Zhao Boju, and was good at making delicate and beautiful green landscapes and gongbi characters. Tang and Qiu both started from the painting of the Southern Song Dynasty courtyard, and chased the famous artists of the Northern Song Dynasty, attached importance to the theme and structure, paid attention to the sense of reality, accurate shape, rigorous pen and ink, soft and elegant style, and their art was appreciated by both elegant and customary.
During the years of Wanli and Chongzhen, the Wu faction was subdivided into the Huating faction represented by Gu Zhengyi and Mo Tinghan; the Yunjian faction with shen Shichong, Chen Jiru, and others; the Susong faction with Zhao Zuo, Jiang Xia, and others as the forces; and the Songjiang faction headed by Dong Qichang, and the Songjiang faction had three branches: the "Susong faction" headed by Zhao Zuo and the "Yunjian faction" represented by Shen Shichong, both of which originated from Song Xu. Zhao Zuo and Song Maojin were the same teacher Song Xu, and Shen Shichong was also the teacher of Mao Jin and Zhao Zuo. Represented by Gu Zhengyi, it is called the "Huating Sect". They were all from Songjiang Province (present-day Songjiang, Shanghai, known as Huating in ancient times), and their styles influenced each other and they were independent.
Wu Meicun once painted the Nine Friends Song for the famous painters of the Wu School in the late Ming Dynasty. The "Nine Friends in the Painting" are Dong Qichang, Wang Shimin, Wang Jian, Li Liufang, Yang Wenxiao, Cheng Jiaxuan, Zhang Xuezeng, Bian Wenyu, and Shao Mi. Since Wang Shimin and Wang Jian, the Loudong sect was divided from the Yunjian sect. The main difference between these branches of painting schools is that Dong Yuan, Ju Ran, Huang Gongwang, Ni Zhan and other previous generations of painters have their own preferences, so they are different in the use of pen and ink, and they are distinguished from each other into different schools, which specifically explains the emphasis on formal factors such as pen and ink in that period. Wu Weiye has a poem "Nine Friends poems in the painting", poem Yun:
Huating Shangshu tianren flow, ink flowers five colors of wind and clouds floating.
The supreme smiles at the gold cast, and the remnants of the cream remain the chicken forest to ask.
Too often the magic traces and silver hooks, the suburbs of Le hugged the high tang qiu.
Zhen Zai wants to sue the poor carving search, and the unclothed plate can forget the worries.
Whoever is his horseman Wang Lianzhou, the divine posture of the jade tree three mountains,
Swing everything in vientiane smoke.
Zun Yi peeled off the Shang Zhou and triumphantly exchanged it for a thousand gold coats.
Tanyuan wrote about the previous cultivation of The Danqing, and the rest of danqing pursued the camp hill.
In his lifetime, there are two boats of calligraphy and painting, and the lake and mountain resorts are flooded.
Aaron Bei held two spears and Phi Tu Chibi Si Cao Liu.
Drunken ink Hengjiang Lou, garlic mountain moon fell in the air.
Gu Su was too guarded by the monks, and asked about things without giving a second look.
The vibrating pen suddenly fluttered, and the paper was ten gods.
Songyuan poetry is clearly praised, and Mozhuang paints himself to return to tianyou.
A plough of yellow sea singing spring doves, flute upside down riding black oxen.
The flower niches are huge and thick, and the small spots are out of the forest pond.
In his later years, his pen power ling Cangzhou, and the banner crane hair light prince.
The wind and currents have been exhausted, and the pedantic habits of life are especially popular,
Servants snored wives and widows.
Thin as a yellow crane idle like a gull, smoke driving ink stained He Zengxiu.
Shao Mi, who is good at poetry and painting, is one of the "Nine Friends in Paintings" with Dong Qichang as the core, and is an authentic Wumenzhong. Shao Mipingsu likes to collect antiques, and his name is "Yitang", which was once approved by Wen Zhengming's great-grandson Wen Zhenmeng and Wen Zhenmeng's nephew Yao Ximeng. Shao Mi has a soothing personality and a cleanliness fetish, which is disliked by his family. Shao Mi suffered from thirst-quenching syndrome in middle age, which is a syndrome characterized by polydipsia, polyuria, polyphagia and weight loss, fatigue, and sweet urine, and the main features are high blood sugar and urine sugar.
Shao Mi still checked the book to heal himself, but it didn't seem to have any effect. The ancients did not know that thirst quenching disease should be tempered diet, blindly treating the table with expression, and as a result, it must be more and more harmful, and at the age of 47, he died. After Shao Mi's death, his family underwent tremendous changes, his eldest son Shao Yu drowned while crossing the river, his younger son Shao Guan was a cripple, his brother died, pessimistic and disappointed, and he actually became a monk, Shao Mi's branch, and since then it has been completely defeated. After Shao Mi's death, he stopped the coffin for ten years and no one helped him to bury him, and only ten years later did he ask Wu Weiye to write an epitaph, "It has been more than twenty years since he died in poverty." "Monk Ya died for ten years and then buried, buried for another ten years and then Umemura Shinoya." Please also can't tell the ins and outs of Shao Mi, so that the epitaph is also vaguely written, leaving many public cases. Weng Fanggang has a poem:
The ruins of the Gua Domain are now Jingguan, and accidentally fell in the Eastern Wu Dynasty.
It has been ten years since the inscription was written by the Taoist people.
Haunting the elders, who is the fang yang king Xu?
The Lingwei Stone Chamber is secretly passed down, and the elders talk about themselves and the landscape.
Erri Eastern Wu feels the old, and Xiao Is empty of foreign Views.
Shen Meng really thought, Jiuxia Cave Had been circling.
Xiaosheng sunset realm has changed repeatedly, and the new palace inscription of Liangchang is engraved?
The mountain pass suddenly released the front stream boat, pointing out that the past had come to find the original.
The white clouds turned into green smoke. Still in the air.
Oh Huayang, living in seclusion for a thousand years.
Meaning blowing a crane, back to non-verbal interpretation.
Autumn hall rain gap is also what, still feel the bamboo pine waves noisy.
Each has its own disposition, and it is self-contained to sit in the monks and meditate.
Ten years later, Fang Demei Murashi,
Poor Melon's life is not complete,
It is better to still write the Zhenbai Mountain Article.
Yang Supplement, a native of Jiangxi, inscribed in Shao Mi's paintings: "To the classmates who are not tied up with the monks, the monks are made to make pen and ink for painting, and the works are strong, and they have tried to sell them repeatedly, so they send love chants, specialize in calligraphy and painting, and become famous." To give for dot dyeing is also smoked in the year of smoking ears. The monk is only two years old, and he has been dead for ten years. This volume is written by Shi Zhongxing, and Zhongxing Wu middle-aged Yuya. Ambition Dun Yi shan poetry, last year also passed away, the exhibition volume low back to the sense of survival. To be decaying and sick, the world is not good, good friends are gone, and I am with whom. Pen and ink trail is also rare, beautiful and elegant like the second son? Ling Yi is a Meng-style changjun, Shi De Jimei, this volume has returned to it, and it is another gratifying thing. Because of the number of questions, it is recognized. 癸巳 (1653) April 16, Yang supplemented. Fang Xia inscribed the poem:
In the painting, the landscape dreams of the body,
Suddenly, the spring terrace is ten springs again.
The situation is Mao Gong altarside guest,
This autumn also re-emerged as a Chen Ren.
Shao Mi had a lofty feeling, and at that time he was very famous in poetry and painting, and he was out of the crowd. Later, Shao Mi traveled to Nanjing and Beijing, experienced the victory of jiangshan, made friends with painting, and became a famous artist. After his death, his ink, even if it is only the remnants of the mountains, has also become the object of people's "scramble to buy", "its immortals are in a situation, this volume is not attributable to the sons of the good friends, if the grandson is obtained, the sage of the entanglement makes the treasure of Yi, and the monk has the knowledge to dance under the ground." Zhang Yaoxing's posthumous autumn water map, Shi Yun:
And the autumn water of a boat moved,
Since blowing on the empty River Jade Flute.
See who wrote before the good times,
Moon Traces are like Shao Monk Mi.
Weng Fanggang has in his hand the original manuscript of Shao Mi's "Shanshui Scroll" obtained from "Hanlin Xiaoping Zou Jun", which is also the only volume of Shao Mi's true handwriting in his collection, which depicts the landscape and water in a victorious shape, super elegant and strange, and can be called a masterpiece. Weng Fanggang had one, two, three, and even nine questions in his life. Weng Fanggang toured Jiangxi, and did not forget to carry it with him, climbing Lushan Mountain, and writing long articles at night. And the collection of poems includes all the poems on the volume. It can be seen that Weng's love for this volume is precious. The original copy of Shao Mi's "Haiyue AnTu" was a collection of Lu Gong in Suzhou, which made Weng Fanggang very fond of it, so he had to entrust Luo To hire a copy. Weng Fanggang's inscription poem says:
"Zhenbai looks for different mountains and thinks differently, why does the Yitang get the ring,
It seems to smell the northern Gujiang River is wide, and there is a yuanzhang and an acre palace in the chest.
The wind and shadow fell half the river, and the wet clouds crossed the birds to double,
Who with a million greens to open the Creek Pavilion, smoke and rain in the middle of the bamboo trees.
Shao Migong poetry, good at painting, but also good at calligraphy, he is good at painting landscapes, can also paint daffodil orchid bamboo, his landscape to the Yuan people as the object of the teacher, slightly reference to the Song people pen meaning, pen and ink sparse and simple and elegant. Famous for a while, there are "Drawing on the Masses", "Yunshan Pingyuan Map", "Yihe Sending Book Map" and so on. Cursive writing is influenced by Mi Fu and Mi Youren, and the calligraphy is written by Chung Chung.
Shao Mi's "Yihe Sending Book Diagram", vertical axis, color on paper, 87.3 in length and 51 cm in width. Collection of the Palace Museum. This picture is based on the poetic conception of "but strangely living in the mountains is shallow, and someone sent a book to a crane", depicting the scene of a friend sending a book crane by boat. Near the picture, there are high pine trees between the slopes and stones, and the pavilions are standing tall. The three coats on the platform, accompanied by waiters, talked. A boat full of books and a white crane anchored on the shore, pointing out the theme of "the crane sending books". The lake in front of the boat is open and vast, and the level is like a mirror. On the other side of the cloud mountain, far away from the sky.
Lu Xiuhui has a poem "For Shao Mi Monk", Shi Yun:
Tired as a calligrapher,
Painstaking jiangnan dust.
The sound of the rain is too wet,
Ye Piao thought about chen.
Pen and ink sparse smell,
Tang Song XiuYi atmosphere.
In the picture of the melon domain,
A different kind of landscape man.
The end of the world is full of jade,
There are sentient beings who are idle.
Frost point river sideburns,
Eliminate the disease and self-medicate poverty.
Sigh light boat road,
Has entered the forest under the spring.
Wind and his fate,
Dream Soul Smile True.
Tears flow like feathers,
The predecessor of Yi Mourning.