How about giving the world a blank stare.
If the world gave you a slap, what would you do
What happens to you if life suffers pain and injustice?
The world kissed me with pain and asked me to sing in return
The Indian poet Rabindranath Tagore replied
Even in the face of pain, still sing
Still reply to the evil encountered with goodness
This is the answer given by poets who pursue truth, goodness and beauty
The painter of the heart Gengsuke did not think so
If the world is not fair
How about giving it a blank stare
The Bada Shanren gave such an answer with a painting
Suffering, facing the injustices of the world,
Seeing many evils,
Seems to forget, cover up, or respond with goodness,
This is the human path that we are familiar with.
Shouting, wandering, or confrontation, is an outlier,
And the Eight Mountain People are just an outlier among this outlier.
▲Jin Shangyi Oil painting on canvas "Bada Shanren"
Bada Shanren, why Xu People?
The Eight Mountain People are not eight people,
It was a strange old man with the surname Zhu.
He has many names,
The most common is still Zhu Yun.
Big ears and shrugged, shrugged as a donkey,
Named after big ears, named after donkeys,
What a freak!
▲ The portrait of the mountain people, "A Small Portrait of a Mountain", was painted by Huang Anping, a friend of the Eight Mountain People
This strange man was born at the end of the Ming Dynasty and grew up in the early Qing Dynasty,
He is one of the four great monks and painters of the late Ming and early Qing dynasties.
Originally a nobleman of the imperial family, he was a direct descendant of Zhu Yuanzhang.
Ben is a noble prince with a golden spoon,
Playing a villain called a prodigy, eight-year-old poetry, eleven-year-old can paint green landscapes, and can also hang his wrist to write Mi Fu Xiaokai,
At the age of sixteen, he secretly participated in the imperial examination and showed talent,
It can be said that it was originally a "model of reincarnation", but in the second year of the examination, it was fiercely swung by fate.
In 1644, the seventeenth year of Chongzhen of the Ming Dynasty, that is, the first year of the Shunzhi of the Qing Dynasty, the Manchu Qing entered the pass and the Ming Dynasty fell.
The year 1644 was also a turning point of fate for the Bada Shan people.
Previously, he was a noble descendant of the royal family;
Since then, he has been a remnant of the former dynasty in anonymity.
"When fate brings disaster to you, it will not give you any negotiables or choices."
March 19, 1644,
Emperor Zhu Youjian of the Ming Dynasty hanged himself on Mount Banzai.
The end of the Ming Dynasty,
The Qing Dynasty began.
This also means that Zhu Yun's life as a royal nobleman also ends here.
In this change,
His country was taken away in vain,
The family was destroyed and torn apart,
On the way to my father's death,
He himself became a miserable monk.
At this time, Zhu Yun,
He was only 19 years old.
The world to him,
It is really unfair;
He is to the world,
I'm really not angry.
Lived in anonymity for a period of some peace,
In the fifth year of Shunzhi,
Death of his wife,
He was "ordained" by his mother and brother.
Come to The Gongxiang Temple in Fengxin County, not far from Nanchang,
Shaved his hair as a monk and changed his name to Snow One.
At the age of twenty-four,
And a mountain and a donkey.
thereafter
Spend half your life in the temple dojo.
I thought I would be able to do it, but I was scarred,
But it is difficult to calm down,
Zhu Yun, who has nowhere to vent,
Start drawing like crazy.
His spirit is good and bad,
Often crazy as crazy.
On the drawing paper,
Full of old mountains and rivers,
The paper was full of tears.
As he said:
- There are no more ink spots and more tears, and the mountains and rivers are still the old mountains and rivers.
- Cross-current chaotic coconut tree, left to WenLin to carefully imitate.
The name Bada Shanren was commonly used in his later years.
The eight mountain people, up and down the pen, like a crying laugh,
It is extremely suitable for the sad and powerless heart of the eight countries after the destruction of their families.
Painting as the voice of the heart, everything in the painting is the hill in the heart,
The world in the painting is the most direct expression of the world in his heart.
He hated the world, he hated the suffering he suffered,
But he was powerless to fight back, powerless to fight,
So I drew a group of animals that could return with white eyes.
He became a meme painter at that time,
With one white eye after another, a clear slap back to the world.
Yu Qiuyu said that the paintings of the Bada Shan people had white eyes that made heaven and earth cold.
White eyes are actually a very low-cost scruples.
In the face of chaos and injustice, the Bada Shan people are like this, and Ruan Zhi and Lu Xun also have such white eyes.
The Ruan of Wei and Jin, disdainful of being in the company of the worldly, showed it with white eyes, and only when he saw a confidant and friend like Ji Kang, Ruan Zhi showed it with blue eyes;
And Lu Xun of the Republic of China is also often "horizontal eyebrow cold to a thousand fingers".
White eyes, in their world,
It is an attitude proclaimed to the world,
It is a wonderful language that writes a proud bone between words and draws on paper.
Therefore, in the paintings of the Bada Shanren, white eyes are often seen.
Some people call him Van Gogh of China,
But if the world in Van Gogh's paintings is passionate to the extreme,
The Eight Mountain People's pen is a world of arrogance and coldness to the extreme.
A plain white drawing paper,
A lone bird in mid-air,
A lone fish under the water,
A mountain deer,
A pair of lifeless geese,
On blank drawing paper,
They have more white space in their eyes.
Each one rolled their eyes recklessly.
They are nakedly expressing a kind of arrogant anger.
So there are also people who say,
The Bada Shan people are not alone in battle,
There is a strong team under his brush.
Their weapons are the white eyes of each one.
It may be said that
It is the aristocratic blood in the bones of the Bada Shanren,
He was not allowed to sink in another era.
If you ask, "Will the prince have a kind of xiangning?" ”
The answer to the Big Eight must be yes.
Even if the dynasty changes, even if it is not for the royal family,
Even if you are an old monk in the mountains,
He also never lost his integrity as a royal descendant.
Although dressed in cloth, he always retained a noble heart.
The Eight Great Mountain People call themselves the Eight Greats,
In all directions and in all corners, I am greater, and no one is greater than me.
Although the Ming Dynasty, which brought him infinite honor, is no longer there,
He still does not allow the world to despise him,
He does not move forward bound to the unaccustomed world,
Do not bury your resentment,
Even a hopeless salted fish,
In his paintings, he can still give the world a blank eye.
If there is no freedom in the world,
Then create a free world.
When you are powerless to fight,
At the very least, there is the right to express anger.
The world in the paintings of the Bada Shanren,
It is such a world.
In the Analects of Government,
Confucius said, "If you see righteousness, you will not act courageously." ”
Righteousness, yiye, refers to what should be done.
See what should be done and not do it,
Is for no courage.
The courage to roll your eyes at the world,
Have the courage to speak up for yourself to the world,
Have the courage to express their confrontation against injustice,
Maybe it's also a kind of righteous courage.
Qing Bada Shanren Bamboo Stone Mandarin Duck
The artistic characteristics of the Bada Shan people
Bada Shanren was not a simple calligrapher, but an artist with both calligraphy and painting, and his paintings had a greater impact on later generations, and only a few people (such as Huang Binhong) realized that the bada Shanren calligraphy was higher than his paintings. From the perspective of the history of calligraphy, the calligraphy of bada shanren is an outstanding representative of the calligraphy of painters; from the history of painting, bada shanren is a generation of painters who are proficient in calligraphy. Because he was proficient in both calligraphy and painting, he achieved outstanding achievements in both the fields of calligraphy and painting. What is even more valuable is that he infiltrates and interconnects the two systems of calligraphy and painting, and can not only enter the painting with the book, but also draw into the book, so that his calligraphy is full of pictorial meaning, and the painting enhances the meaning of writing.
Qing Bada Shanren imitates Ni Shanshui
Draw with a book
Later generations have different views on the transformation of the bada Shanren's artistic style, and they also have different views on the specific era of changes in their calligraphy and painting styles, but they all believe that their calligraphy style and painting style are closely related. If we examine the two systems of the evolution of its calligraphy and painting styles together, we will find that the two systems go hand in hand. Bada Shanren has three stages of absorption and exploration, breakthrough and creation, and maturity and perfection in calligraphy, and his paintings also have such three stages, and they are almost simultaneous in time. The calligraphy in the 34-year-old "Chuanqi Sketchbook" is mainly copied from the predecessors, and the calligraphy in the "Chuanqi Sketchbook" depicts watermelon, taro, hibiscus, chrysanthemum, banana stone, pomegranate, daffodil, cabbage, ink flower, plum blossom, Linglong stone, and ancient pine, which also belongs to the study work, obviously imitating the Ming Dynasty painters Zhou Zhimian and Xu Wei.
Another example is the pursuit of calligraphy before and after the burning floating butcher's clothes, which is refreshing, thin, wild and uninhibited, and the structure of some words suddenly exaggerated is in stark contrast, and the paintings at this time are also characterized by exaggerated deformation and strange shapes. For example, when he painted "GuMeitu" at the age of 57, it was the stage of learning Huang Ting's body and exploring wild grass in calligraphy.
Qing Bada Shanren Pine Deer Diagram
There are two flower albums passed down before and after the Eight Great Traditions. The "Flower Album" (Shanghai Museum collection) before the custom is thin with a thin pen, lighter ink, and symmetrical composition; The flower book "The Flower Book of the Mountain House" (collected by the Princeton University Art Museum in the United States) uses a sharp pen, the contrast between the thickness and light of the ink increases, and the composition is strange and dangerous. This is also related to the change in calligraphy style, when painting the "Flower Book" before the custom, the calligraphy is still a light and beautiful Dong style; When he also painted the "Flower Album of the Mountain People's House", the calligraphy was a strange Huang Tingjian body and a wild and uninhibited wild grass.
Qing Bada Shanren Yellow Bird Figure
The obvious sign of the change in his style of writing and painting is the "Album of Miscellaneous Paintings of Geshan", which was composed at the age of 59 (1684). Although the frame is small, it is full of energy. This work is a calligraphy and painting counterpart, each half of which is spatial. The calligraphy is grass, characterized by the sudden enlargement of some words; the painting is a flower and bird, the shape is exaggerated, especially the rabbit's eyes, approximately square, and the round eyes are expressed in an approximately square manner, which proves the exaggeration of the painting method and the peculiarity of the composition.
The change of style is closely related to the psychological factors of the creative subject. The specific life of the last king and sun, the earth-shattering social changes, the trajectory of life that escaped into the Buddha's Gate and out of the Buddha's Gate, the experience of the Bada Shan people is special, the experience of life is profound, and the psychological trauma suffered is huge. Bada Shanren is a relict painter, but not an ordinary remnant painter.
Qing Bada Shanren made a picture of the three friends of the han in 1697
The particularity of the Bada Shan people is also manifested in the fact that in their later years, they have broken free from the ego, transcended the remnant complex, and become the same artist as Dahua. From the change in its name, we can see the change of mentality: in the Buddhist gate, it is called "Chuanqi" in order to preserve life through the place of religion; when you go out of the Buddhist gate, you call yourself a "bald donkey" and laugh at yourself in your heart; in your later years, you call yourself "Eight Greats", the so-called "Eight Greats", which is "the four squares and four corners, all of which are greater than me, and no one is greater than me", this "big me", has integrated his life and art into one. His calligraphy and painting style, the symmetrical balance of the early years shows the inner silence; the exaggerated deformation of the second stage shows the agitated mood after stepping out of the Buddhist gate; and the mature perfection of the style in his later years is the reflection of the sublimation of his inner world.
Qing Bada Shanren Lotus stone perched bird
Mature calligraphy and painting have common characteristics, that is, solemn and refined, simple and natural. The so-called "eight major bodies", characterized by conciseness and subtlety, are a kind of internal beauty. Although the calligraphy in his later years preserved the original exaggerated elements, the obvious change was that the pen changed from complex to simple, allegorical to round, weakening the setbacks, reducing the press, and reaching the realm of old and natural books. The same is true of painting, although the paintings of the Bada Shanren in the early and middle periods have reached the characteristics of strange shapes and layout openings, but from the perspective of pen and ink, they are spontaneous and insufficiently condensed. After reaching the age of 70, he reached the richest connotation with the most condensed pen and ink. Just like the calligraphy after the age of 70, the painting after the age of 70 is exhausted and condensed and subtle. For example, the 72-year-old "Picture Scroll of Flowers on the River", painting and calligraphy have reached the realm of solemnity, refinement, longrunness, majesty, subtlety and emptiness.
Qing Bada Shanren Vulture plum blossom diagram
Writing books into paintings is not the originality of the Bada Shan people. Due to the same brushwork in calligraphy and painting and the maturity of calligraphy before the historical fact of painting, the former painters of the Bada Shan people have begun to apply the brushwork of calligraphy to painting, and the ancient Chinese painting theory also borrows more from the theory of calligraphy. Although not original, Bada Shanren is the leader in painting with books. For three hundred years, bada Shanren has been famous as a painter, but people often overlook that his painting achievements are based on his profound calligraphy skills. In a sense, without the "eight major bodies" in calligraphy, it is impossible to appear with a unique style of "eight paintings". The Bada Shanren, who is both a master of calligraphy and painting, attaches great importance to the intrinsic connection between calligraphy and painting, and he not only infiltrates the spatial shape of calligraphy with pen and font in his creative practice, but also clearly puts forward the proposition of "painting method and calligraphy" in theory.
As the researchers have pointed out, the Bada Shanren used the central penmanship of the seal book for cursive writing, avoiding the lack of "middle timidity" since the Tang Dynasty when the pen emphasized the ends of the book and the weakness in the middle, and explored a path that was implicitly in line with the Jin people's penmanship and was suitable for the practice of cursive pens. This was carried out within the calligraphy system, and the Bada Shanren, as painters, did not limit themselves to the calligraphy system, but applied their references in the calligraphy system to the painting system.
Qing Eight Mountain People Lone Bird Diagram
The Bada Shan people's painting with books is not a simple combination of calligraphy and painting, nor does it turn painting into pure abstract symbols, but the calligraphy language factor penetrates into painting, making the painting language more abundant. Although both books and paintings belong to the visual arts and have the element of imagery, they belong to two systems, calligraphy uses abstract text symbols as the medium of expression, and painting has to "respond to the pictogram".
Qing Bada Shanren Qizhi Goshawk Diagram
Bada Shanren is well aware that "calligraphy and painting are special and cannot be cross-examined", but also realizes that painting methods can be combined with calligraphy, and infiltrates the brushwork and spatial composition of calligraphy into painting in creative practice. The writing of the Bada Shan people is mainly reflected in their later years, and in their early years of study, although calligraphy and painting have reached a fairly high level, the two systems are not closely related or belong to their own battles. After about the age of 60, the signs of painting with books became increasingly prominent. His calligraphy into painting is reflected in two aspects: one is the use of calligraphy rich and restrained center strokes for painting, and the other is the use of calligraphic abstract space to form a modeling cloth white that processes the picture. In his later years, the more he painted the Bada Shanren, the more he appeared to be rich and thick, thanks to the integration of the subtle and powerful brushwork of the seal book into the painting.
Qing Bada Shanren Heron Stone Map
The 64-year-old work "Fish and Duck Picture Scroll" tends to be rounded, the 65-year-old "Lotus Pond Play Bird Picture Scroll" is "circular arc", using the center to express the stone wall, the 66-year-old "Bird Stone Miscellaneous Picture Book" has thick brush strokes, the 69-year-old work can be seen with the meaning of the seal book, to the 72-year-old "River Flower Picture Scroll", it is the seal calligraphy, the lotus stem is directly written with the longrun seal calligraphy. In their later years, the Bada Shan people liked to paint landscapes, and most of them used the pen of the center forward, and the drawing method was more than rubbing, and the trees and stones were round and thick. As pointed out earlier, the Bada Shan people are extremely exaggerated and deformed in shape, painting large and small stones, painting birds with bulging abdomen and necks, painting tree trunks thick and thin, giving people a sense of "weightlessness" that is unstable, and the steady and rounded center pen relieves the pressure of "weightlessness" to some extent. The combination of Qigu shape and steady pen has both a strong visual impact and can withstand repeated play.
Qing Bada Shanren 1698 as Matsushita Double Eagle
The shape of the Bada Shanren painting Qigu can also be seen to have many similarities with the spatial structure of its calligraphy. The weightless shapes such as the size of the stone, the shrinking neck of the bird's drum belly, the back of the bow, and the thickness and thickness of the trunk can all find the relationship between the spatial structure of its calligraphic knot. From his calligraphy work Wuyan Lian "Picking Medicines Meet the Three Islands, Seeking truth and Encountering the Nine Immortals" and the word "AnWan" in the "Ann Wan", and the "Involved" inkblots that were often written in his later years, it can be seen that when the Bada Shan people arranged the font space, they were often large and small, or the middle was wide and the upper and lower ends were contracted. The Bada Shanren, who understood the principle of "painting method and calligraphy", transformed the abstract spatial structure of these calligraphy into the shape of painting, forming a personality characteristic different from that of their predecessors. Further observation, the figures of the bada shanren painting composition often point to the upper right in pointing, connecting two basically symmetrical arcs with small arcs, in fact, in his calligraphic knot, there are also two sections of curved and pointed to the upper right shuttle space. In the author's opinion, this is also an aspect of the Bada Shan people's use of books to paint and the application of calligraphy figures to painting.
Qing Eight Mountain People Lotus Kingfisher Diagram
To draw into the book
Painting with books is painting to draw nutrition from calligraphy, and painting into books is calligraphy to draw nutrition from painting. The former made the Eight Great Paintings form a unique style, and the latter made the Bada Shanren calligraphy form its own face. In contrast, the Bada Shan people have made more remarkable achievements in painting books, and their significance in art history is even more significant. Because before the Eighth Congress, the use of calligraphy with the brush has always influenced the painting, and it was not until the Bada Shanren that the composition of the painting really affected the calligraphy.
Qing Bada Shanren independent of the map
In theory, the Bada Shanren not only put forward the proposition of "painting and calligraphy", but more importantly, put forward the proposition of "calligraphy and painting method" with their own experience. He said in the eight inscriptions of the "Calligraphy landscape book": "The painting method Dong Beiyuan has been, and a paragraph of the Beihai Book is later, to show the calligraphy and painting method. "Calligraphy and painting" is to draw into the book. If we say "painting method and calligraphy", previous generations have had similar views, such as Zhao Meng of the Yuan Dynasty wrote in the inscription of "Xiushi Shulin Tu": "Stone is like flying white wood is like a basket, and writing bamboo is also in the 'Eight Laws'." If there are people who can do this, they know that calligraphy and painting are the same. "It's about painting with books.
The proposition of "calligraphy and painting method" to be painted into books was first proposed by the Bada Shanren. Bada Shanren is different from Shi Tao, Shi Tao has special theoretical writings, although bada Shanren has no special theoretical works, but the proposition of painting into books is an outstanding contribution in theory. The propositions of the Bada Shan people have inspired future generations that not only can the brushwork of calligraphy be used for freehand painting, but also the imagery modeling and brushwork elements of freehand painting can penetrate into the calligraphy system. This proposition played an important role in the formation and development of painter calligraphy in the true sense.
Qing Eight Mountain People Flowers and Birds Four Screens
Although Chinese calligraphy and its theories matured early, in the later period, their development momentum was not as good as that of painting and its theory. When freehand painting began to form, it was indeed borrowed from the brushwork of calligraphy, but after the development of the Song, Yuan and Ming dynasties, the brushwork and shape of freehand painting became more and more rich and mature, especially the thick and dry wet ink method has a unique aesthetic interest. Xu Wei and Dong Qichang of the Ming Dynasty had already absorbed the nutrition of freehand brushwork and ink method in the practice of calligraphy creation, and when they arrived at bada Shanren, they theoretically clearly put forward "painting method and calligraphy", and took a big step forward in creative practice.
Qing Bada Shanren Swim fish
The paintings of the Bada Shanren are mainly reflected in the maturity period of their later years, which can be divided into two aspects: spiritual level and technical level. At the spiritual level, the pursuit of painting through calligraphy, the spirit of freehand painting into the calligraphy. The more the Bada Shan people reached their old age, the more calligraphy works there were, and in the last year of their lives, the number of calligraphy works exceeded that of paintings. As pointed out earlier, the so-called "pro" and "imitation" of the calligraphy of the Bada Shan people in their later years is actually to express their own intentions through the text content of others, and to express the meaning of painting through writing.
After experiencing too much bitterness in life and gradually surpassing the consciousness of the remnants of the ego, the Bada Shan people in their later years were not bound by the Buddha's Gate, but also saw through the red dust, and only the art kingdom was their ideal sustenance. The freehand paintings of bada shanren in their later years have both a sense of humor that is "vaguely cynical", as well as a life vitality and childishness that return to the basics. He consciously integrates the humor and vitality and childishness of painting into the words and lines of calligraphy, making his calligraphy lovely, humorous and interesting. In his later years, he experimented with painting as a book, or calligraphy as another form of his freehand painting. Bada Shanren wrote a lot of line letters in his later years, and at the age of 80, he still wrote small letters, and in his later years, the small characters were picturesque, not impatient, slowly brushing, with the transfer of the wrist, and the state of the will, the structure of the words was integrated into the imagery of the painting.
Qing Bada Shanren BaiLutu
At the technical level, bada Shanren is good at infiltrating the characteristics of freehand paintings and spatial figures into calligraphy. Throughout his life, he was immersed in the black and white world of pen and ink, and his paintings were rarely colored, mainly relying on dripping pen and ink to speak. Judging from his poems and books with friends, the emotional world of the Bada Shan people is meticulous and rich. Compared with Xu Wei before, although both of them have the experience of "madness", the eight "crazy" have to be measured, just crying and laughing, dancing with their hands, not hurting friends, not causing pain to others. In the treatment of pen and ink and composition, the Bada Shanren is more exquisite and more meticulous. Although the freehand paintings of the Bada Shanren are strange and ancient, they have never departed from the concrete image, and their paintings are harmonious in the relationship between figuration and abstraction, and they are in place in both the vast and the subtle.
Qing Bada Shanren Willow Starling
Bada Shanren never believed in brush painting, and the more he reached his old age, the more he created a unique image with concise and exquisite brushwork. The intrinsic qualities of these paintings subtly affect the calligraphy, so that the pen of their calligraphy reaches the point of pure fire. He wrote in a poem: "Make the sword a skill, cast a sword as a pen." Blunt and weak Chu Han water, Guang Han quenched and fierce. He Dang Miscellaneous Fu Chuan, Yuan Gong is a knife stroke. Clearly the water is paddled, so eight liters of benefit. In the past, Ruan Shen solved, and secretly understood Xun Jibei. Gagaku is both the moment, the push of the breath and the force. Yuan Gongben was powerless, and the copper and iron were broken. ”
Qing Bada Shanren made a bottle juju diagram in 1694
The poem lists two historical allusions: First, Pu Yuan cast a knife for Zhuge Liang in the Three Kingdoms period, and deeply understood the water quenching of the Shu River in order to create a "divine knife" that cut off copper and iron, so the skill was exquisite, so it could distinguish that eight liters of Fu River water were mixed in the water of the Shu River; Second, Ruan Xian listened to music and could distinguish that the instruments made by the royal music officer were shorter than the standard of the Zhou Shi Jade Ruler. He used these two allusions to illustrate the subtle differences in the use of brushes in calligraphy and painting, and pointed out that the use of qi and force should be obtained. Although Pu Yuan is weak, he can slash the copper and iron with a sword, the key is that he has a "divine sword" in his hand and kung fu arrives home. The Bada Shan people demanded themselves at the level of Pu Yuan casting knives and Ruan Xian's discernment, and infiltrated the fine ink of the brush and ink on the painting into the calligraphy. It should also be pointed out that the calligraphy of the Bada Shanren became more concise the more they reached their old age, and the conciseness was highly refined. Looking closely at the length of the pen and the subtle changes in the length of the pen, it has reached a concise and rich height. If this is "pen essence", then "ink magic" is reflected in the change of thickness and paleness, such as the 74-year-old book "Linhe Collection", the thickness of ink goes with the pen, and the change of lushness is written in light ink, which obviously borrows the ink method of freehand painting.
Qing Bada Shanren Ancient Wood Double Bird
Just as the brushwork of the seal book is integrated into the freehand painting, in turn, the Bada Shanren applies the round, rigid and elastic brushwork of drawing the lotus stem to the cursive writing, such as the long vertical of the "胛" character in the 71-year-old "Xingshu Five Absolute Poetry Axis", and the vertical painting of "Lang" and "oblique" in the 72-year-old "River Flower Picture Scroll" inscription poem, just like writing the lotus stem, which is very three-dimensional. This kind of attempt is unprecedented and is the finishing touch of the "eight major bodies".
The single glyphs of bada Shanren calligraphy often have spatial divisions of up and down, such as "things" in the word "involved", which can be found in the structure of large and small stones on their paintings. The space that deliberately compresses or enlarges a certain word in the chapter layout is also influenced by its painting space schema. The Bada Shanren act on calligraphy with its unique spatial pattern in painting, making their calligraphy break through the shackles of inherent tradition. Ancient calligraphy developed into the early Qing Dynasty and has formed various fixed patterns. At the beginning of the Qing Dynasty, it was still a period when Theology was popular, and for various reasons, Theology had become rigid.
Qing Dynasty Eight Mountain People Calligraphy and Painting Book
The Bada Shan people, who have a very strong personality and innovative spirit, are unwilling to follow the trend of their predecessors and adopt a "combined" approach to innovation. Within the calligraphy system, he "combined" ancient calligraphy, as he said in the inscription of the Linhe Shu: "The book of the Jin people is far away, the book rate of the Song people, and the book of the Tang people are both." "Combine the Qingyuan charm of Jin calligraphy, the personality of Song calligraphy that is not bound by the law, and the subtlety of Tang calligraphy to form their own face." What is even more valuable is that the "calligraphy" and "painting method" are combined with each other, so that the two systems are connected, and some constituent elements are selected from the unique painting imagery model created by themselves to be applied to calligraphy, creating a precedent for painters to use seal calligraphy into the grass.
In short, the style of writing and painting of the Bada Shan people is formed in mutual influence and mutual penetration. The mutual "combination" of painting with books and paintings into books has enabled the Bada Shanren to achieve outstanding achievements in calligraphy and painting. "Books and paintings, with their two ends, their merits are one" (Shi Tao), the Bada Shanren standing in the middle, firmly grasping the two ends, opened the road of mutual communication, so that their calligraphy and painting are at the forefront of the times.