<h1 class="pgc-h-arrow-right" > Old Home Fengxi Jiading Liuxiang - Li Liufang's Life Path and His Painting Art Original Wu Junhang Humanistic Time and Space </h1>
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Qian Qianyi, the illusory contemplation of Li Liufang's poetry and painting art, commented on Li Liufang in the "Collection of Poetry of the Dynasty and the Collection of Ding", "Good temperament and good landscape, especially in the West Lake." Poetry and wine pen and ink, dripping and waving. Mountain monks, with soft words, holding silk to beg, xin ran in response. ...... Ju Heng Yu Yu: Jingshe Light Boat, Qingchuan Jingji, watching Meng Yang (Cheng Jiaxuan) chanting poetry and painting, this is the first happy thing in my life. Yu Xiaoyi: I have two fast, and I look at my brother and Meng Yang'er at the same time. His poetry, calligraphy and paintings can be so admired by Qian Qianyi, a literary figure at that time, which shows his artistic talent and achievements. During the Apocalypse (1621-1627), the castration party was monopolized, and the government was extremely dark, and Li Liufang "thought that he had received the favor of the country in the world, and although he withdrew, he did not forget the national mercy." Ugly and yin friends, eunuchs are rampant, often in the middle of the night screen camp, sighing and weeping. "In the second year of the Apocalypse, Li Liufang was 47 years old, composing "Changlin Wind Sketch Scroll", and the title was absolutely in the painting: To hang the crown of the Shenwu Gate, first look for the water bamboo Weinan Village. But he cut the old Lan Sword and bought the Scalper To Teach his descendants. The inscription after the poem reads: "壬戌春日南還, hugging the door behind closed doors." Occasionally, this picture is quite a long forest and abundant grass. I felt it, and Wrote this poem. Li Liufang also remembered. (6) The reclusive and secluded thoughts of the Taoist Lao Zhuang are precisely the portrayal of his world-weary mentality during this period. Only in the quiet and beautiful landscape, in the silent communication with nature, can his inner pain and trauma be soothed. After he visited Suzhou Tiger Hill, he composed a "Little Memoirs of Youhu Qiu": Tiger Hill, the Mid-Autumn Festival tourist Yousheng, the soldiers and women fell to the city, sang and laughed, filled the mountains and boiling forests, and kept going all night. Thus the hill was turned into a winery, and the filth was hateful. On the tenth day of the first month, he went to the county and visited Tiger Hill overnight. The moon is very beautiful, tourists are still rare, and the wind pavilion and moon pavilion are embellished with one or two pairs of red and pink songs, and they are not evil. However, in the end, it is not as quiet as the mountains and empty people, and they will go alone to meet the heart. Taste the autumn night with the weak students sitting on the fishing moon rock, dark, no contact, when smelling the wind, and the Buddha lamp looming forest poles. In the middle of spring this year, with The Boundless and the Nephew and the Visiting Zhonghe, there was no one in the middle of the night and the moon, and they sat on the stone platform and stopped drinking. I will not talk about it again, but I will treat it with a quiet mind, and I feel that I want to go with the scenery. In his life, he had only passed the Tiger Hill twice, and saw the true color ear of the Tiger Hill. Friend Xu Shengyuan Shiyun: "Unique years of cold and good, it is better to swim in the middle of the night." "True knowledge. (7) Li Liufang described "turning the hills into wine farms" as "obscene and hateful". He highly admires the lonely beauty of "the mountains are empty and the people are quiet, and the lonely heart is meeting the heart", and the artistic conception is poignant and quiet, which is the natural projection of his enlightened path and quiet ethereal state of mind, revealing a profound Zhuang Zen thought, which is similar to the sexual spiritualism advocated by the "public security faction" in the late Ming Dynasty, and also stems from his own Buddhist thought. As he wrote in the poem "Beizi in the Haoliang Dao will return to the endless south": "After thirty years of falling into the mountains, it is better to teach people to laugh than to teach pity." A cavity of hot blood is still spilled, and half a piece of cold felt also has a fate. The poor and the poor are known as the bones of the bones, and the merits and fame are combined to make the talents virtuous. The color of the far male lotus is still the same, and it is assured that the head is quiet. "The perceptual activity in the void is both perceptual and super-perceptual, similar to zen buddhism's non-insistent image, one-thought epiphany. He wrote in the article "Tiger Hill": "Tiger Hill is suitable for the moon, suitable for snow, suitable for rain, suitable for smoke, suitable for spring dawn, suitable for summer, suitable for autumn cool, suitable for falling wood, suitable for sunset, and it is not suitable for tourists to be mixed." Gai is unfortunately close to the city, and tourists come with a stink, not to know the fun of climbing. In August this year, Meng Yang passed through Wumen, and Yu Yuzhou went to it. There will be no moon on the night of the Mid-Autumn Festival, and on the evening of the sixteenth day, I will travel with the tiger hill, and the filth will not be approached, and I will cover my nose and go away. Today, meng Yang painted this, and unconsciously released the true color of the mountain forest. Ding Wei September 6, Qingxi Road in the middle of the question. He traveled to Tiger Hill, pursuing the true zen pleasure of making up with Tiger Hill on the level of "Tao", and achieving the Zhuang Zen realm of "heaven and earth are born with me, and all things are one with me". He admired Xu Shengyuan's poem "Prefer to swim in the middle of the night", and expressed his preference for the quiet and ethereal mood of Chinese landscape poetry. Most of Li Liufang's inscriptions and poems exude a humble aesthetic ideal. For example, "Poem on the Fan Face of Plum Blossoms Under the Title Moon": When the moon is on the west moraine mountain, the lake wave writes plum blossom branches upside down. Leisurely and independently at dusk, I remember the dark incense and shadow poems. (8) The inscription after the poem reads: "In the spring of the self-unitary unitary, I watched the flowers for ten days in the West Moraine Mountain." It has returned to the West Lake, although the peach and plum are not there, and the smoke and jade bones are still in the dream. As in the upper body, he repaired the waterfront with the brothers on the lake, carried wine to the crane pavilion, and hung the remains of the virgins on the lonely mountain. The tour of plum blossoms seems to be in the heart, because Meng Yang painted this and inscribed it. Flowing. It can be seen that Li Liufang's independent evening appreciation of plum blossoms is the same as the idea of "partial night half tour" in Tiger Hill, and things and I are shrouded in an ethereal and quiet beauty. Li Liufang likes to appreciate plums, write plums, and love the high and pure character of plum blossoms. Like Lin Kui in the Song Dynasty, he was scattered with a plum blossom-like lonely and proud temperament. In the sixth year of the Apocalypse (1626), Pan Ruzhen, the governor of Zhejiang, initiated the construction of a shrine for Wei Zhongxian at the West Lake, and then some shameless officials across the country followed suit. Some of the readers had to go to Wei Zhongxian's ancestral shrine to worship. Li Liufang greatly despised these incorruptible and disgraced little people, and he said with an iron backbone: "Worship is a temporary matter; not worshiping is a matter of eternity!" In the seventh year of the Apocalypse (1627), he wrote in the "Book of Inscribed Landscapes": "Yu was sick and felt current events, and he stopped the bus for a long time." In October, Ding Di sent the planner to Wumen, and he heard that he had the will to destroy the temple, and all of them had their hands. Although Yu was old and idle, he was fortunate to be too commoner. In the boat, the ears and eyes are clear, and the pen and ink are fast and suitable. Suitable for a few frames of the Song notes, the pen is dyed, and I don't feel it. Because of this re-remembering, I thought it was a good story of the year. Li Liufang, a cautious Taoist. "All reflect Li Liufang's awe-inspiring and upright character." 3. Li Liufang's Understanding of the Ancients and the Nature of The Teacher's Law Li Liufang has formed her own aesthetic ideals and mature style in her long-term artistic exploration. Self-proclaimed: "Yu painting has no teacher, and does not like to copy the ancients." Such a book is imitated by Jing, Guan, Dong, Ju, Ermi, and Liang Zhao, but it is impossible to seek it. Those who learn from the ancients are not seeking to be similar to it. Zijiu Zhonggui learned Dong Ju, Yuanzhen learned Jingguan, Yan Jing learned two meters, but also became Yuanzhen, Zijiu, Zhonggui, and Yanjing. Why copy the ancients today! Yu could not paint, knowing that it was to the effect of it. In fact, Li Liufang is not without a teacher, nor does he absolutely abandon learning from the ancients. Qian Qianyi said that he "painted in and out of the Yuanren, especially Wu Zhonggui." "It shows that he has made a deep copying of the paintings of the Yuanren." However, his copying is to take the "living learning" of the gods, take the essence of the predecessors, learn from the traditions of the ancients and turn them into their own flesh and blood, change other methods for my own use, innovate the old, and create a unique style, which is his original intention. The Qing Dynasty Xin'an poet and painter Cheng Tinglu once commented on Li Liufang's paintings, believing that the reason why he could "cultivate the outside world" was inseparable from his years of "two peaks and three Zhus, ups and downs and lakes and mountains". Li Liufang not only learned from the strengths of the ancients, but also paid more attention to the teaching method of nature Li Liufang has come to Hangzhou West Lake many times to sketch, and took the painting manuscript to the artist Cheng Jiaxuan to appreciate. He also returned to his hometown of Huizhou many times, often absorbing the natural aura of mountains and rivers between Huangshan and Baiyue. Chen Lengshan's "Records of Paintings of Yuji Shanfang" contains a number of paintings by Chang Yuba himself, one of which is cloudy: "In September, Jia Yin, sweeping the tomb of Xin'an, passing through Wumen, Bei Jidi was unstained in the apartment, holding a book of sustenance, granting: 'When encountering the good places of Xin'an landscape, as a number of strokes, return to show, can be used as a lying tour.' 'Parting ways. From Yuhang from Land to Fenggan, all the way to the mountains and mangroves, covering the twists and turns. Either kuang or ao, both in the middle of the painting. Return to Tunxi, down the stream, clear stream to the bottom, strange peaks and strange rocks, in the wrong stream, two rocks bundled, upper limit cloud day, the so-called boat if poor, sudden and endless. The victory of the new Anjiang in the past, the beginning of the present, every time they want to write, they dare not patrol. It is said to be unseemly, but it is only a smile. However, this volume is still in the afterglow, and every time it is opened, it is like thinking of Xin'an Landscape. When B goes north, he goes back and forth. The dust of the Beijing master is covered in the sky, the pen is frozen to death, and the painting intention cannot be developed. Chengchen fell to the south, lived idly in the long summer, si li pen and ink, and obtained this book, then the New An landscape of the time, and the son of the son of the fu dynasty. Because he made a pen at random to relieve the heat of annoyance, it took several days to fill the book, and he still wanted to write an inscription, and he knew this period of karma, Zou Zhongxi took it away at first sight, and he could not fix it. Good paintings such as Zhongxi, they are given away, not enough to regret. However, when this volume was not painted, it had already walked xin'an, two thousand miles back and forth, eight thousand miles of beijing division, the pleasure of the middle tour, the wind and dust of the cars and horses, the feeling of the cool charcoal of the oranges, all the history of the shadow here, must not hesitate. Because of the title, Ding Wei may 24. (9) ("Tanyuan Collection" Volume 11 "Inscription Album") Forty-three years after Wanli, Li Liufang was 40 years old, and after visiting the picturesque and beautiful scenery of his hometown of Xin'anjiang, he created a series of poetry, calligraphy and painting works. It is precisely because Li Liufang always takes creation as a teacher, so he can make new ideas and obtain the soul and vitality of natural landscapes. He said: "The ancients painted snow, made light ink as tree stones, and filled the water and the sky with powder, which is strange." Yu Yi, this and the ink filler, all seek its shape similar to the ear. In the next stroke, there is a glimpse to cover the low one, and it is true snow. "The charm of his works comes from the nature of the teaching method. (To be continued)
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