Dai Benxiao (1621-1691), a native of Hezhou (present-day Hexian County, Anhui Province). Zi Wu Xu, the number of the former Xiuzi, lifelong non-Shi, with cloth clothes to live in seclusion in Ying Ashan, so the name of The Eagle Ashan Qiao, alias Huangshui Lake Fisherman, Taihua Stone House Sorcerer, etc., Qing Dynasty painters.
Sex is happy to travel, and is friendly with painters and poets such as Wanjiang, Gong Xian, and Shi Tao. He is good at painting landscapes, advocating learning from the ancients and not sticking to the ancients' methods, emphasizing the need to "take heaven and earth as the true foundation" and "I use my method". Most of his works are small scenes in volumes, and the style of the Yuan Dynasty Ni Zhan, Wang Meng, Huang Gongwang, etc. has made new ideas. Good use of dry brush and scorched ink, sparse composition, artistic conception is far away and dry, close to the physique of the Yuan people (Shi Tao's early landscape paintings were influenced by him). Most of the mountain stones in his pen are rubbed with dry brush and burnt ink to make a decent appearance, and rarely use lines to outline the mountain stone structure, and there is less moss. In the composition of the layout, it belongs to the emptiness and height of the Yiyuan people's artistic conception, but it does not specifically imitate the yuanren pen and ink. He attaches great importance to the "nature of teaching the law", so the mountains and rivers in his pen are varied, but the artistic conception of the picture is clear and the meaning is high.
<h1>Album of the Twelve Views of Dai Ben Xiao Hua Yue</h1>
<h1>Dai Ben Xiao (Qing) Landscape Album</h1>
Metropolitan Museum of Art
Whether it is to dry paint "fans"
Or paint "Cang" with withering
They are all projections of the painter's shadow
If there is no source of "heart shadow"
It is really the "dryness" of the painting realm
[Qing] Dai Benxiao Du Fu's poetic intention 21.8× 16.4cm ink on paper
Collection of the Palace Museum
Knowledge: Night Feast Zuozhuang.
Seal: Eagle A (White) Dai (Zhu)
The old Hongying is not too dry,
Sweep away the clouds and mountains are indifferent.
Turning the laughter upside down,
The most distinct are the most obscure.
[Qing] Dai Benxiao presented a picture of the green mountains and waters (8 kai three) 19× 13.1cm ink on paper
Collection of Shanghai Museum
Knowledge: My friends in heaven and earth are always heartless. The ice and snow are fragrant, and the leaves are green. A piece of He Yan Rock, serving the cold years. The rest of your life. Seal: The Rest of Life (Zhu)
First, the Song and Yuan dynasties withered pen tradition
Dry pen, also known as dry pen, thirst pen, scorch pen, the so-called dry, dry, thirsty, scorched are to describe the pen has little water content. Although this title contains the meaning of using a pen, it is actually a method of transporting ink. "Lin Quan Gao Zhi Painting Tips" has a record: "How is the use of ink? The answer was: "Use burnt ink, use sumo, use anti-ink, use emo, and so on, and so on." Later, Tang Dai's "Painting Incidents" said: "Among the ink colors, it is divided into six colors." What is Six Colors? Black, white, dry, wet, thick, light is also. Hua Lin said in the "Secret of the Southern Sect", "Ink has five colors: black thick, wet and dry", and said that "Fu dry ink is fixed according to one color". In summary, it can be seen that the ink is thick (scorched) and light, and then the "dry" is classified as one color, and the ink color of the dry pen is "dry".
Although the appearance of the dry pen is mostly seen in the Yuan, Dai Xi in the Qing Dynasty has the saying that "thirst begins from Yingqiu" and calls it "like gold".
However, this theory is biased, although Li Cheng "cherishes ink like gold", he is not "thirsty" (dry pen), but partial to light ink. Therefore, it is still inconclusive who the dry pen begins with.
[Qing] Dai Benxiao Presents The Green Mountains and Waters (8 kai si) 19× 13.1cm color on paper
Knowledge: The mountain is depressed and the spring is swallowed and blue. There are ghosts here, and Xiao Sao's head is white. Ann was too ruthless, stubborn as wood. Seal: Eagle A (White)
The Song people heavy ink, dry pen is not excited, and at this time the so-called "dry" refers to the use of "jiao ink", Guo Xiyan "with thick ink, jiao ink want to take its limit, non-thick and jiao is pine prismatic angle can not be, and then with green ink overlapping, that is, the ink color is clear, often like fog dew out of the dew." Later, Huang Gongwang said: "It is the most difficult to use ink for painting, but first use light ink to accumulate to a considerable place, and then use burnt ink and thick ink to distinguish the distance and distance, so there are many moist places on raw paper..." Guo and Huang both mentioned the method of "accumulating ink", although there is a difference in order, but they all said that the dry pen burnt ink outlines the object, distinguishing the difference between far and near, you can be like "fog dew out" and show the appearance of "moisturizing". It can be seen that the accumulation of green ink and light ink mentioned by Guo Xi and Huang Gongwang is full of moisture in the pen, while the use of burnt ink is a dry pen, so that the combination of dry and wet can be clear. Qin Zu Yongyun of the Qing Dynasty "the big idiot old man has a pine script, but he can only use a dry pen", and in the Yuan Si family, it is Ni Zhan who concentrates on the appearance of the dry pen of the Yuan Dynasty. Qing Ren Qian Du commented that "Yunlin (Ni Zhan) cherishes ink like gold, the cover is light and loose with a pen, the dry edge is more, the pen is less, and the ear is rendered with a rub." Fu rendering can save the barren, raw clouds and smoke, and the pedantic man is far away from the law in an instant! He refused to use a wet pen to re-ink the ear. In addition, Dong Qichang called Yunlin painting "must use a side pen, some light and some heavy, not to use a round pen, its best point is the brushwork shows the ear." Looking at the ruins of Ni Zhan today, it can also be seen that his paintings are good at drying pens and dry edges, and he likes to use side brushes, and the painted mountain stones seem to be lined with light ink accumulation points, which has a sense of mottledness. Coupled with the fact that the scene created is quite simple, the simple scene, the light ink, and the "grass and grass pen", these three constitute the realm of Ni Zhanxiao's sparse and hidden realm, and the ancient and innocent style.
[Qing] Dai Ben Xiao Twelve Views of Mount Hua (one of the 12 kai) 21.2× 16.7cm color on paper
Style: Baiyun Peak outside the green cliff side, rub your ears to taste the sun and moon. Not the immortals have a narrow road ahead, and they rode the dragon's back early to get autumn lotuses. I love Wang Yao Diao nature, the ancient blue sky outside the Three Peaks Peak. A drum between the five-tongued bamboo spring, without opening up a good sleep. Seal: The Rest of Life (Zhu)
The four families of the Yuan Dynasty all used the method of dry pens, and the children's book industry said that "Huang Gongwang used light ink to base, gradually used thick dry ink, and the picture was rich; Wang Meng often used dry pens to rub, and used thirsty ink to dot moss, rhyme to the sky; Ni Yunlin used more dry pens, dry and moist; Wu Zhonggui also had dry pens, Song Xiu was super zijiu" (10). It can be seen that Ni Zhan's pen is closer to the dry and thirsty pen, and is the leader of the four dry pens. And his paintings are mainly light ink, the ink is not obvious, more penmanship. More importantly, the desolate and desolate environment created by Ni Yunlin with the pen of "if it is light and sparse" (Dong Qichang's words) is more admired by Ming and Qing painters.
Second, the Ming and Qing dynasties withered pen fashion
In the middle of the Ming Dynasty, the Zhejiang school and the Wumen school of painting were quite influential, the Zhejiang school took the Southern Song Dynasty horse and Xia yiyi, Wumen followed Dong and Ju zhifeng, and also learned the methods of Zhao Mengfu and the Yuan Sijia. The Ming Dynasty painters pursued the ancients and imitated the ancients, and also created some creations, and the method of dry brushes did not develop at this time. In the middle and late Ming Dynasty, the rise of Dong Qichang's painting style further promoted the ancient style of the painting world, and was particularly respected by Ni and Huang in the Yuan Dynasty. The prevalence of ni and huang's winds led to the development of the method of dry pens during this period. Zhang Gengzeng Yun: "The ancients painted landscapes with wet brushes, so the clouds and waters haloed ink chapters." Flourishing in the Tang Dynasty, until the Song Dynasty, until the Yuan Dynasty, the four families began to use dry pens... To the Ming Dong Zong Bo and Ni Huang two families of the law, pure dry ink with a dry pen, this meaning in the later years of the occasional rate should be, not its specialty... Shifu was relieved, so he competed for the exquisite quality of Yilin. Although Zhang Geng disagreed with Dong Qichang's saying that he was good at drying up his pen, it can be seen from it that the people of the world are competing to learn dong Qichang's paintings because of the style of dry brushes. This can be regarded as one of the reasons why the late Ming Dynasty painting world took dry brushes as a fashion.
At the time of the Ming and Qing dynasties, the painting schools were intricate and different, and the dry brush wind was reflected in them. The scholar Li Ming once made statistics on the painters who were good at "thirsty pen sketching" during the Ming and Qing dynasties, including Wang Shimin, Zou Zhilin, Xu Fang, Cheng Yi, Yun Benchu, Dai Benxiao, Wu Li and 37 others. Fu Shen also made similar statistics, listing 27 people such as Dong Qichang, Cheng Jiaxuan, Chen Hongshou, Hongren, Cheng Xiao, Dai Benxiao, etc., these painters were mainly concentrated in the Jiangnan region, mainly Jinling, Songjiang, and Xin'an, which were also the areas where the painters of the late Ming Dynasty were concentrated. It can be speculated that the reason for the popularity of the dry pen fashion is not only to inherit the previous Yuanren tradition, but also to influence Dong Qichang. Judging from the range of activities of the thirsty pen painter, the relic consciousness may also be another reason for his choice of dry brush painting.
[Qing] Dai Ben Xiao Twelve Views of Mount Hua (12 kai bis) 21.2× 16.7cm color on paper
Seal: Honjo (White)
Although painting with dry brushes has gradually become fashionable at the end of the Ming Dynasty and the beginning of the Qing Dynasty, the painters who concentrate on the meaning of dry brushes are Tui Cheng Yi and Dai Ben Xiao. Cheng's pen is scorched and thick, and Wang Haolu calls his dry pen "moist with spring, dry and cracked autumn wind". The dry pen of Dai Benxiao is mainly simple and light, which is closer to the "dry" of Yuan Ji Ni Zhan, and it also discusses the method of "dry pen" and the wind of "dry light".
Third, Dai Benxiao's "dry pen" artistic conception probe
Dai Benxiao (1621-1693), ziwu Xu, Ying Ashan Qiao, Anhui and Zhou people. His father, Dai Zhong (1602-1646), was an anti-Qing dynasty man, and later became a monk due to the failure of the anti-Qing resistance, remembering the pain of the fall of the country on yi dynasty, and died of hunger strike. Dai Ben Xiao inherited his father's legacy, did not live his life, sold literature for a living, traveled to the mountains and forests, and wrote "Former Life Poetry Manuscript" (佚) and "Rest of life Poetry Draft". Wang Shichen's "Chibei Occasional Talk" records: "Eagle Ashan Qiao, Xiuning people (mistaken, should be Hezhou people), old than cloth clothes." The poems and paintings are superb. ”
Regarding the record of Dai Benxiao's good pen, it can now be seen in Qin Zuyong's "Tongyin On Painting": "Dai Wu Xu Ben Xiao, the landscape is good at dry pens, deep in the smell of yuan people ... The Eagle Atapha is dull and has a rhyme. And classify it as an escape. Zhang Geng said that Dai Benxiao "wrote the Yuanren Law with a dry pen in the landscape". Yang Da's "Records of Calligraphy and Paintings Seen by Chi Hongxuan" also has "Shanshui Fayuan people are good at drying pens... Dry Pen High Expanse" and other discourses. At present, most of Dai Benxiao's works are painted after the age of 40, and his dry brush works are concentrated in the later period.
[Qing] Dai Ben Xiao Twelve Views of Mount Hua (12 kai three) 21.2× 16.7cm color on paper
Shanghai Museum collection: Imperial Seat Three Pulp Poured Jade Pot, Canglong White Phoenix Dancing Cloud Qu. Asked why the three blue birds, the hairy woman picked the ancient husband. Eagle A mountain tree.
Seal: Eagle A (White)
1. From "Hongmeng" and "Taikoo" to "Distant" and "High"
On the seventh page of Dai Benxiao's "Huayue Complete Atlas", there is a self-title:
Wang Diao Shan GaiGu Wang Yao Diao natural hidden immortal place, tasted the drum five tongues and sang harmony, so far people have not been able to open the road. Visit its remains, jude an ancient heaven and earth also. Yu taste said that the famous mountain was gradually opened up, and the heavens and the earth did not want it, and the sea of dust was gushing, and the ancient world was extreme. There is still a piece to return the hongmao, can't it be? Will you want to exhaust the dust net, why? The fifth frame of the "Landscape Album" he painted also has the title:
Frost Ying collected ink, and Hongmeng suddenly flowed. The heavens lead a hammer, and the white clouds wash the blue. Can the world escape, occasional reverie chat with the nostalgic, or do you know that there is such a situation?
[Qing] Dai Benxiao Huangshan Tu (one of 12 kai) 21.5× 17cm ink on paper
Collection of Guangdong Provincial Museum
Style: Double.
Seal: Ying Ah (White) Ben Xiao (Zhu)
There is also Dai Ying'a's "Huangshan Atlas", which is five:
...... Cang Dengyun did not dare to help, and looked around at nothingness. A scoop can be thrown everywhere to the old, and the stems and grasses move to the mountains is also foolish. The wood flower smiles cold, and the stone calamus water rapids are green. If you want to save Taikoo Xuan's agricultural intentions, lazy to put the pool into the drawing.
[Qing] Dai Benxiao Huangshan Tu (12 kai si) 21.5× 17cm ink on paper
Description: White Dragon Pond.
Huangshan Atlas Part VI:
Looking at Tiandu Peak. Pu men xi kai shan tasted the two gods and dogs with them. Where dogs go, people can board. To this day, it is rare to see, the sky left this piece to return to the ancient, can not be expected, it is waiting for evil? The "Huayue Quan Album" and "Landscape Album" are not visible today, the "Huangshan Atlas" has survived, and Dai Benxiao frequently mentions the words "Taigu" and "Hongmeng" in the title of the painting. What is the connection between it and Dai's "method of dry pen"?
"Taikoo" means ancient, ancient, when the heavens and the earth are not civilized. "Hongmeng" is the same as "Hongmeng", which is derived from "Zhuangzi Zaiyu", which originally means "Yuan Qi", and later refers to the chaotic state before the formation of the universe. The Taiping Imperial Records Volume I records: "Huainanzi ... It is also said that 'when there is no heaven and earth, only the invisible, the shadowy, the vast and obscure, the curtain Min Min, the hong mao cave, the unknown door'. ”
In a nutshell, "Taikoo" and "Hongmeng" both refer to the fact that when there was no flood of heaven and earth, everything in the universe did not differentiate, showing a state of chaos and obscurity. Dai Benxiao painted the scene and wrote a poem, which is intended to pursue the realm of "Taigu" and "Hongmeng". How did the chaos and fog of the universe go to his expense?
[Qing] Dai Benxiao Huangshan Tu (12 kai bis) 21.5× 17cm ink on paper
Key: Yang Gan.
Seal: Shou Yan (Zhu) Wu Xuan (Zhu) Dai (Zhu)
Take Dai's surviving "Huangshan Atlas" as an example, this album was composed during his second trip to Huangshan in 1675 (when he was 55 years old), there are twelve frames, the pictures depicted in the huangshan mountains, such as: Tiandu Peak, Wenshu Monastery, Bailongtan, Lotus Peak, etc., in this series as a viewing route. Each album is accompanied by self-titled poems that record the scenery in the mountains and have expressions. In the twelve frames of the "Huangshan Atlas", except for the two paintings of "Yanggan Road Middle" and "Peach Blossom Rock", the other ten paintings have no point scene figures. In this album, Dai Benxiao mostly outlines the shape of the mountain with a dry pen, expresses the texture of the mountain stone, yin and yang to the back with a dry pen, and uses a thirsty pen to light ink on the paper to show that the clouds in the mountains are pervasive. Among them, the four frames of "Houhai", "Wenshu Monastery", "Tiandu Peak" and "Lian Dantai" are representatives of their dry pens.
[Qing] Dai Benxiao Huangshan Tu (12 Kai-eleven) 21.5×17cm ink on paper
Style: Houhai ShixinFeng.
"Houhai" depicts the scenery of the sea of clouds, in which the peaks of the mountains are towering, the smoke clouds are swirling, and the welcome pines grow between the mountains and stones. The contours of the mountain are painted with dry brushes, rubbed with objects before and after, and the clouds and mist are dipped in light ink with dry brushes, and painted in a wavy shape, like a tumbling. At the junction of clouds and mountains, dry wipe transitions, and mountain pine trees are pointed out with scorched ink. This frame is painted because of the sea of clouds, so there is a lot of white space. The mountain painted by the dry pen is densely knotted and stands vertically. Because the pen edge dried up, the outline of the mountain had a feeling of discontinuity, thus showing the sharp appearance after weathering. Dai Benxiao asked himself: "In this, Mo Dao has no military spirit, and when he sees Xuan Youwu committing a crime." "The painter is in the back sea of the Huangshan Mountains, as if passing through the ancients, and there is the military spirit of Xuan You in the mountain.
[Qing] Dai Benxiao Huangshan Tu (12 kai of nine) 21.5×17cm ink on paper
Knowledge: Alchemy.
Seal: Dai (Zhu) Dai (Zhu)
Although the painting of "Lian Dantai" is different from the steep mountain peak in the "Houhai" picture, depicting another relatively thick mountain form of Huangshan Mountain, the method of dry brush used is basically the same as that of "Houhai", but it uses more rubbing to express the volume of mountain stones, so that the mountain shape not only appears thick but also has a feeling of dripping in the clouds. The painter dots moss with thick ink, and the nearby Qisong is also painted with heavy ink. In the painting, the distant mountains are dry brushs and light ink, blurring their shapes with rubbing, showing the meaning of vastness.
[Qing] Dai Benxiao Huangshan Tu (12 kai of seven) 21.5×17cm ink on paper
Knowledge: Wenshu Monastery.
One of the "Wenshu Monasteries" is a close-up view, in which the house is surrounded by mountains and stones. Dai Benxiao used a dry brush to wipe a large area of the mountain in the painting, while the mountain on the left side of the picture did not distinguish between far and near. The mountain stones in this painting are outlined by dry brushes, which highlight the rough feeling. Dai Benxiao once painted two paintings of Huangshan Mountain with the title of "Wenshu Monastery". In addition to one frame in the Huangshan Atlas, the other depicts a panorama of Manjushri Peak, also painted with dry brushstrokes, while the mountain stones are square and the contours are relatively clear, which is closer to the style of the New An painter Xiangjiang. Compared with the "Wenshu Monastery" in the album, it is more majestic and less vast. Among the contemporaries, Mei Qing also painted the "Huangshan Atlas", which also included a frame of "Wenshu Monastery". He depicts The Manjushri in the smoke clouds with a wet pen in light colors, and unlike Dai Benxiao, Mei Qing takes a distant view, and the surrounding mountain shape is strange, which is wet with a pen, more moss, and a wet pen to smudge the clouds, which shows the atmosphere of the immortal path. In Shi Tao's painting "Wenshu Monastery", the stacked peaks are represented by a variety of wrinkles, and the mountains are colored with ochre stones, showing the trend of "flowing stones running", which echoes with the zen houses in the foreground, which is quite business. In contrast, the ancient meaning of the dry pen in Dai's "Wenshu Monastery" album can be seen.
[Qing] Dai Benxiao Huangshan Tu (12 kai six) 21.5×17cm ink on paper
Key: Tiandu Peak.
Seal: Ziyigu (Zhu) Dai (Zhu)
In the "Huangshan Atlas", the most obvious meaning of the dry pen is "Tiandu Peak". This figure takes the part of Tiandu Peak, the core of the picture is the main peak that stands, the relationship between the front and back of the mountain is not obvious, and there is a looming path on the left side, which seems to lead to the depths of the mountain forest. Wanjiang, who had a relationship with Dai Benxiao, also expressed "Tiandu Peak" in the "True Scenery of Huangshan Mountain". The Tiandu Peak of the Gradual River takes the whole picture, and the mountain shape is square, with a sense of stacking. Unlike Dai Benxiao, although the gradual river is drier with a pen, its prominent performance is the sense of volume of the edges and corners of the mountain stone, so it can be seen that its pen strength is clear and the line is clear. The dry brush used by Dai Benxiao in "Tiandu Peak" is more wanton, the ink color in the painting is very small, and the mountain stone structure is almost blurry, but the rigidity of the scorched ink can be seen. It is worth mentioning that the painter's brush is no longer like the "Houhai" painting with thick ink, but is drawn with a dry brush, and the pen speed is fast. The picture filled with boulders seems to isolate the viewer from the picture, and the Tiandu Peak, which is "rainy and ethereal", is left alone in the cold smoke.
[Qing] Dai Benxiao Huangshan Tu (12 kai of five) 21.5×17cm ink on paper
Key: Zhu Shamin.
Seal: Ben Xiao (Zhu) Dai (Zhu)
It can be seen that Dai Benxiao used the method of dry pen to chase the realm of "Taikoo" and "Hongmeng". Its penmanship is either hooked or scrubbed, with a simple pen, the outline is choppy, and the appearance is blurry and rough. Because the dry pen contains very little water in the pen, when painting, the line pen gradually stagnates, and it is impossible to smudge, so there is no sense of happiness. This method focuses on the friction of the pen and paper, which is suitable for depicting roughly weathered mountains. In Dai Benxiao's paintings, this friction is transformed into a dry to light brush, as he said, "the brushwork can be real, the complex can be virtual, and this is also the principle of heaven and earth nature", "Ku Ying makes a lot of noise, talks about seeing the mountain quiet", it is precisely because of the "virtual reality" of the dry pen that it shows a kind of cosmic unfinished "Yin", this "Yin" is different from the dripping of ink and ink, but the mysterious and isolation sense produced by chaos and primitiveness in the ancient period is expressed.
Dai's discussion of dry pens is reflected in many manifestations in his poems, such as "dyed into dryness, or fear of laughter and madness", "the essence is dull, and the dry wood is the most distinct". It is worth mentioning that Dai Benxiao's "Elephant Outer Intention Picture" made by Dai Benxiao at the age of 71 has a large inscription at the end of the volume:
The Six Mages were ancient, and the ancient masters were created. Creation is about the hand, pen and ink are everywhere. Although the families will become one, they will also be regarded as their academic talents. Get rid of the habit of incorruptibility and fiber, take the meaning beyond words, the present people are better than the ancients, the gaitian and the earth will be in the minds of the people, the change is infinite, and the gentleman looks at the Tao here. Yu Shu did not dare to have preconceptions at the beginning of the painting, and let it go. Qu Zi traveled far away to the so-called one-breath god, doing nothing first, rather than enough and creating phase table Liye? It is a roll of dry Ying quickly sweeping, the maple maple has a sound, and it is uncertain how to do it.
This passage summarizes Dai Benxiao's mature artistic outlook in his later years, and the text talks about the six laws and the issue of creation, and further points out the importance of the nature of the teaching method. He took nature as the basis of painting and sought the meaning of the image. At the end of the text, the division is also expressed as "dry Ying Quick Sweep, Maple Maple Has Sound", which shows that Dai Benxiao believes that with the "dry pen" master creation, in the painting can not only express the principle of natural change, but also eventually reach the supreme realm of "one air hole god".
[Qing] Dai Benxiao Huangshan Tu (12 kai of eight) 21.5× 17cm ink on paper
Key: Lotus Peak.
Seal: Painting Pulp (White) Dai (Zhu)
In addition, dai Benxiao wrote the 12 pages of the "Landscape Album" in the last year of his life (1693, at the age of 73), of which the fourth page has an inscription:
The old Lai Hongying is not too dry, and the cloud mountain is indifferent.
The laughter is upside down, and the most distinct place is the most blurry.
This poem is a summary of his method of dry brush, in which he not only writes about the ease of painting with dry brushes, but also points out the aesthetic style of the distant realms painted, and at the same time criticizes the drawbacks of wet pen dripping and causing unclear objects. Now it seems that this "Landscape Album" is a mature work of Dai Benxiao's use of dry brushes in his later years, and the outline of the mountain he depicts, although it maintains the intermittent brushwork of the "Huangshan Atlas", the lines are more changed. The houses and figures in the painting are also outlined with dry brush and light ink, but they are not blurred, and the sparse forests between the mountains are thick and light, and the trees, dots and the mountains and rivers that are illusioned constitute a profound artistic conception. At this time, Dai Benxiao's dry pen appearance was different from before, and in the scenery of mountain residence he painted with a pen without any dew, the mountains and rivers were changing, rather than being as stagnant as in the realm of "Taigu" and "Hongmeng". As depicted in the third frame of the "Landscape Album": several houses loom in the dense forest of the mountains, and the nearby firewood door is half open, and a person walks to the bridge. In the painting, people, bridges, firewood, houses, and mountain stones are all painted in dry brush and light ink, and the two trees in the vicinity are shown in thick ink. The painting is painted as a hermitage in the mountains and forests, and the person in the painting is Dai Benxiao, who "wanders in the mountains" to this gate, and the inscription is clouded: "Come and go alone with the clouds, and loom the mountains are constantly green." The clear depiction of the dot scenes (houses, figures) in the painting makes the landscape no longer an isolated world, but a feasible, swimmable and habitable world. Many pages of Dai Benxiao's "Landscape Album" depict houses in the mountains, and there are many scenes of characters: the characters in the paintings either swim in the mountains, or talk in the houses, or fish by the river, or watch the scenery in the boat, with different forms and interesting. Moreover, the composition in this album is mostly flat and far away, to show that the situation is far away. Dai Benxiao's group of works already has the high-spirited atmosphere in Ni Zhan's paintings, which is also in line with his self-titled "I want to inhabit the heart and return to the far away" in "100,000 Figures of imitation cloud forest". This is precisely because the painter's heart is weak and far-reaching, so it can "dry the pen and be high".
[Qing] Dai Benxiao Huangshan Tu (12 kaiser 3) 21.5× 17cm ink on paper
Description: Peach Blossom Rock.
From this we can see that the landscape artistic conception painted by Dai Benxiao's dry pen has gradually changed from the realm of "Hongmeng" and "Taigu" in the middle age period to the artistic conception of "light and distant" and "high". Its dry brush has gradually changed from a rough blur to a light clarity, which does not refer to visual clarity, but to gradually peel away the chaos of the universe and have a sense of clarity with a light breeze. However, whether it is "Hongmeng", "Taikoo", or "Faint And far" or "Gao Kuang", what flows out of Dai Ben's filial piety is always a vast melancholy, where does this melancholy come from? Some people may also question that wet pens can also paint melancholy, from "Taikoo", "Hongmeng" to "Faint Yuan" and "Gao Kuang", why is it only expressed with dry brushes?
[Qing] Dai Benxiao Huangshan Tu (12 kai of ten) 21.5× 17cm ink on paper
Key: Cloud Valley.
Seal: Wu Xu (Zhu) Dai (Zhu)
2. The aesthetic shadow of the dry pen
In the preface to the Afterlife Poetry Manuscript, Dai Benxiao writes:
In the past twenty years, there has been no one involved in his life, or he has been poorly paid, or a servant in the village, selling literature for a living, and slaughtering in the city. The day of life, the year of death, the fear of not knowing where it comes from... Drift away, go to their hometown... The four brothers lost two of them in twenty years, but Yu and Zhong's brother did not have any life. Now there is no way to resume learning the Tao in the four directions, and the footprints have spread all over the world. Yu Ze chased after the chicken and frightened the bird, eating according to the people, Gu Ying pitied the life, and remembered the nostalgia, why should he ask himself? Death to death.
From its self-prologue, it can be seen that Dai Ben's filial piety was desolate, wandering in the world, living a difficult life, and depressed. He once had a poem: "Gu Zhen frequently has been a long time in agricultural hardship, and the military is reviving this day and the country is mourning." With the change of dynasties, the flames of war, and the martyrdom of his father Dai Zhong on hunger strike, Dai Benxiao could not let go of the pain of the destruction of the country. He is the eldest son, who must bear the livelihood of the family, can neither run to resist the Qing, nor can he be born as a monk, but can only helplessly accept the reality of yidai and survive in the cracks of hardship and bitterness. These painful realizations are reflected in The Filial Piety poems of Dai Ben:
The good time is no longer coming, and it is too far away. Everything is infinite, Kyushu is like this. Worries are often tragic, and the cultivation of ambition is in the void. May the double yellow crane be transformed and go to the former residence.
Jiang Ru tears are cold and deep, and Shi Huangsong has been determined for a hundred years. As soon as the short tree came to kiss the cane, Qin Huai still hated the old cage smoke.
Where can I mourn when I look around in the wilderness? Whoops, the immortal mountain drives the calves back.
The anointing is exhausted, and the natural disasters are difficult for people to support.
[Qing] Dai Benxiao Huangshan Tu (12 kai of twelve) 21.5× 17cm ink on paper
Key: Yanghu.
These poems are full of bitterness in Dai Ben's filial piety, he lives in a chaotic world, has a nostalgia for the past, and is powerless. Because of the pain of the skin, Dai Benxiao began to wander in the mountains and rivers after the family was settled, in order to express the depression in his chest. He visited Jinling, visited Huangshan twice, climbed Taihua three times, viewed Mount Taishan, and later went to Yanzhao. During his travels, Dai Benxiao also became acquainted with many remnants, such as Mao Xiang, Wanjiang, Cheng Yi, Shi Tao, Fu Shan, Mei Qing, Kong Shangren, Gong Xian, etc. They have become confidants because of similar experiences and common feelings of inner loneliness.
While traveling to famous mountains and making friends with relict painters, Dai Benxiao's painting style and artistic outlook were all influenced. Among them, the paintings of Wanjiang, Shi Tao, and Gong Xian all have the phenomenon of dry brushes, and Cheng Yi, who is especially good at scorching ink and dry brushes, has also interacted with them, which shows that the formation of Dai Ben's filial piety and dry brushes has a non-negligible connection with the remnant groups. Shi Tao once said, "The pen is dry and beautiful, the pen is wet and vulgar, and the pen and ink in the clouds today have this disease, in short, it is too literary, how not wet, and those who have passed this viewer know it." Gong Xian also had a discussion of dry pens, he believed that "those who are dry and moist are expensive, and those who are wet and rough are cheap."
[Qing] Dai BenXiao Landscape Map (one of 10 open) 26.3× 17.3cm Ink on paper
Knowledge: High in the palm of gold, flying in front of the jade rainbow. The heavenly wind fell on the edge of the stone. The wonders of famous mountains are beyond imagination, and the realization is impossible. The ancients so exclusively honored the charm also. Eagle A.
Seal: Eagle A (White) Writing Heart (White)
It is easy to add moisture from dry, it is difficult to change from wet to thin, and it is not wet to wet." Shi Tao and Gong Xian agree with the dry pen and believe that the dry pen is more beautiful than the wet pen. At the same time, Shi Tao criticized the custom of the Yunjian School of painting at that time to use wet pens, while Gong Xian believed that the technique of dry brushes was difficult to wet pens, and had a sense of nobility. In his dealings with Gong Xian, Dai Benxiao also talked about the problem of dry pens, and he wrote in the poem "Giving Gong Half An Acre": "I am ashamed of the dry ink, and the barren days in the poor valley are constantly colored." Kong Shangren once summed up the painting style of Dai and Gong in his poem, saying that "Chai Zhangshang is still light, and the distant forest is like a god". It can be seen that although there are differences in the ink used by the two people, they both have a "faint and distant" wind. In addition, the painter Cheng Yi, who is also good at dry brushes, also has an opinion on this method, saying: Using the pen "to see nothing everywhere, to see everywhere to see, to be freehand." This is the same as Dai Benxiao's "virtual reality" writing style in the previous article. Qin Zuyong described Cheng Yi's dry brushes as "confused and depressed, with a unique divine flavor" and "a kind of deep and ancient interest" in the "Tong Yin On Paintings", and he also compared it with Dai Benxiao, saying that Dai Benxiao was "similar to Mu Qian's pen meaning", And Cheng Yi was "Canggu" and Ben Xiao was "dry".
[Qing] Dai BenXiao Landscape Drawing (10 Kai Bis) 26.3× 17.3cm Ink on paper
Recognition: Bodian Lake mountain rain, Lotus Pond Smoke. Lazy to repair fishing gear, but used to crow boats. There are such people in the Yuanren paintings, and the black ghost tastes in the poems, and the painting has a origin.
If Dai Benxiao's "Huangshan Atlas" is isolated from the world with a dry pen, then his "Landscape Album" is a realm of longing for a distant future. The former is "hazy" and the latter is "desolate and reckless". There is a clear psychological difference between the two, the former is to close the heart because of suffering, isolate the earthly world, seek the ancient wonderland, and point to the past. However, the latter is to live in seclusion and melt into the landscape, indifferent to Mingzhi, with a high chest and pointing to the future. Therefore, we can see that the "dryness" of Dai Benxiao's pen is mostly withered by the hearts of his remnants, while the "lightness" of ink is to chase the chaotic realm of "Hongmeng" and "Taigu", but Dai's dry pen eventually tends to be "far", and "faint and distant" is where his "perch" is located.
[Qing] Dai Benxiao Landscape Drawing (10 Kaisan) 26.3×17.3cm Ink on paper
Knowledge: White clouds knot mountain light, green sound forest shadow. There is a hot atmosphere in the voice, which leads people to sit in huajing. The ancients' penmanship can be virtual, the compound can be virtual, and this is also the natural principle of heaven and earth. Zhonggui is a nuance. Eagle A.
4. The Rest of the Arguments - The Debate on the Dead Pen
The method of dry pen is, in a nutshell, the dryness of ink. From the Song dynasty to the Ming and Qing dynasties, the world has discussed the advantages and disadvantages of this law. Guo Xi believes that "the ink color is not moist, it is dry, and the dry is no business", Han Hun said that "the use of ink is too small, that is, timid and weak", and pointed out that "the strong affairs are light and boring, and the cunning is dense and entangled, and the old pen is fraudulent, which is not natural." Gu Ningyuan also agreed that "if the ink is too dry, there is no rhyme", and said that "if you dye the obscurantism based on the dryness, there is no ink and no pen". When Discussing the trend of dry brushstrokes and seeking lightness, Li Rihua criticized: "Today," when painting the practice day, the rate is absurd and empty, strange and trance- and even the tree is not repeated, the writing stone is not divided into backs, and the movement is self-concealed with a yuan grid, saying that 'I have an easy ear'. It is a common practice and can no longer be saved. Zhang Geng of the Qing Dynasty also did not respect the method of dry pens, he mentioned that at that time, the wind of learning Dong Qichang's dry pen was prevalent, and the cloud "although the backbone is old and easy, and the method of vivid qi rhyme is lost far away", and proposed that the world's dry pen became a wind because "wet pens are difficult to work, dry pens are easy to do well; wet pens are easy to flow thin, dry pens are easy to see thick; wet pen rendering is laborious, dry pens are convenient to drag", and clearly pointed out that "by being the author's viewer, one is in the ear, one is extravagant and arrogant, so it prevails at the time, but the wet pen is discarded as a layman's work, and it is too much" to be over-the-top.
[Qing] Dai Benxiao Landscape Drawing (10 Kai Si) 26.3× 17.3cm Ink on paper
Style: Qishi Mao Chongya, Youquan Pharynx. Loose scales, listen to what people say. A silent sound that can be heard by the eyes. Dry is not a tongue, more than a rhyme, chat for the quiet person to understand the ear, do not know for whom the family law also. Eagle A.
Seal: Eagle A (White) Writing Heart (White) Chicken Scale (Zhu)
From the above discussions, we can see that the drawbacks of the use of the pen are mostly pointed to no rhyme and no business, and in the Ming and Qing dynasties, due to the popularity of the dry pen fashion, the dry pen method has become a shortcut for painters to rush to achieve success, so Zhang Geng believes that it is "too much". The controversy over the method of dry brush was particularly fierce during the Ming and Qing dynasties, and the criticism of this method has risen from the denial of ink to the undesirable atmosphere of the painting world. Fan Bo once had an opinion on these criticisms with ink and dryness, pointing out that "these negations are relative, they only deny the tendency of dryness and boredom too much, but do not deny the dryness and boredom itself..." Further, these negative attitudes are not against dry writing, but rather a criticism of this tendency to be superficial. Zhang Geng compares the difficulty of wet pens and dry pens here, and points out that the world only learns the skills of dry pens, but ignores the blind follow-up phenomenon of dry pens. It can be seen from this that the core of the method of criticism of dry pens by predecessors lies in two points, one is to criticize the lack of charm and no business caused by excessive dryness; the other is the denial of the dry pen atmosphere of blindly seeking lightness and flowing in form.
[Qing] Dai Benxiao Landscape Drawing (10 Kai wu) 26.3× 17.3cm ink on paper
Knowledge: The flow of disbelief is broken, and the immortal fan is cut open. Sail back to the bird rush, try to bring the sunset to come. The light of the river and the mountains is faint, and it is not allowed to look at it with a dull pen. Eagle A.
During the Ming and Qing dynasties, there were also many positive views when it came to the method of dry writing. When Shi Tao and Gong Xian discussed dry writing, they thought that this method was more beautiful and noble (as discussed earlier). Buyan Tu said: "When painting, it takes dry and light ink, rough rubbing and staggering to take it, and its vast and thick trend is all at hand." Shandashi also pointed out: "The arrogance of the absurdity comes from the dry pen rubbing." Hooks and rubs are changed at will without seeing traces, and if they are clumsy, they can reach the point of absurdity, which is the true skill of the painter. Hua Lin believes: "With dry ink to be confused, you can not see the pen marks at the pen, the pen marks are not seen at the pen, the composure is painful, jump out of the paper, and do your best to dry the pen... With scorched ink fang is not raw, not hard, not turbid, not leprosy, not abrupt and not evil overflow also... The dry pen is not wet and wet in impatience, and it is especially moist compared to wet black. The aesthetic style of "vast and thick", "absurd and reckless" and "cangrun" mentioned above focuses on the embodiment of "cang", "cang" has the meaning of "old things", so it is impossible to express the composure of "cang" with the dry brush method that floats on the surface.
[Qing] Dai BenXiao Landscape Drawing (10 Kai Six) 26.3× 17.3cm Ink on paper
Knowledge: Like this cloud spring tree, born in Huang Nongtian. Strange shadows fell into the world, repenting of painting and passing on. Yihai turquoise, the ancients have not seen, the situation painting can be copied? Introduced as a close play, the Immortal Emperor was disgusted, and Yu and You gradually duke could not be blameless. Pi Ang Song Sac Cloud, how about the complex? Tengen Daoist.
From the controversy over dry pen in the Ming and Qing dynasties, we can see that although dry pen is a pen and ink technique, not everyone can learn dry pen. At the time of the Ming and Qing dynasties, the dry brush used by Dai Benxiao as a representative was by no means a dry form, nor was it just a matter of seeking escape in the painting, but its dryness was the embodiment of his withering heart as a remnant, and the fading of pursuit was the realm he truly yearned for because of the pain of this world. Therefore, whether it is to paint "fans" with dry painting or "cang" with dry painting, it is the projection of the painter's heart shadow, if there is no source of "heart shadow", it is really the "dry" of the painting realm.