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Shen Zhou (1427-1509), also spelled Qi Nan , was named Ishida , and called himself Bai Shi Weng. A native of Changzhou (present-day Suzhou, Jiangsu). Shen Zhou's painting art embodies the aesthetic concept of Ming Dynasty literati painting, and at the same time he is also the guide of Wumen painters' artistic outlook and outlook on life, thus becoming the leader of wumen painting school.
The literati atmosphere of the Yuan Dynasty is not only the connotation of poetry and calligraphy into painting, but also the feeling of being a Chinese literati who cultivates his heart and establishes himself as a whole of the literature, which permeates the brush and ink of painting. This means that the depth to which the study of the mind of all Chinese culture is accumulated in the practice of a literati's life is an indicator of how "literati atmosphere" is. The study of the mind in Chinese culture is the confucian and Buddhist thought as the core of the concept of life. In the final analysis, it is the mental goal of conforming to the "Tao" all the time, everywhere, and everywhere. Such a person is actually the highest and deepest learning of Chinese culture. The ancients believed that there was nothing wrong with engaging in art on such a basis. For example, Zhao Mengfu and the "Yuan Sijia" are representatives.
Ming Shen Zhou
Sketch axis of vegetable shoots
Pen and ink on paper
Length 56.7 cm
Width 30 cm
Collection of the National Palace Museum in Taipei
Shen Zhou imported the literati atmosphere of the Yuan Dynasty into the literati freehand flowers and birds paintings of the Ming Dynasty, which was expressed in the thick and gentle atmosphere based on the profound learning and standing as a model for people. The aesthetic concept of Literati painting in the Ming Dynasty established by his personality, artistic success and influence is, in short, the highest aesthetic ideal of ancient art that realizes the unity of human character and painting. Practice the theory of Confucianism and history, consciously pursue the cultivation of a pure and noble personality and the cultivation of perfecting one's character, and at the same time cultivate the talents and pleasant cultivation of abundant and heroic hair with poetry and calligraphy, so as to taste the thickness of the cultivation in the expression of personality in the expression of the chest, in the artistic structure of the work and the artistic structure of the interesting expression of pen and ink. This became the rational beauty of wumen painting. Condensed in Shen Zhou's paintings, it is concentrated on the extremely thick characteristics of the pen. For example, the "Sketch of Vegetable Shoots" uses the simple and majestic, thick and light, and the deep temperament of the painter Park Houru, who is immersed in the pen, which is the natural expression of Shen Zhou's accumulated virtue and poetic cultivation in his life practice.
Snow Tree Double Crow Chart Axis
Ink on paper
Length 132.6 cm
Width 36.2 cm
Collection of Shanghai Museum
Shen Zhou's life practice is like Wen Tong's Confucianism and self-cultivation and "Tao", not the goal of painting art as the goal of life. Therefore, Shen Zhou's behavior has great virtue. He inherited the profound ancestral style of Confucianism, fulfilled filial piety to his parents, took care of his brother who was sick for a year, raised his son as if he were his own after his brother's death, and for the young brother, Shen Zhou trained him and divided his family property equally with him and fulfilled his brother's responsibility, and his sister who was widowed was taken home for life. Respect for teachers, sincere and innocent to friends. The breadth of friendship, from grandfathers to children, from the current dynasty's civil and military officials, celebrities gao yi, monks and Taoists to commoners, all permeated Shen Zhou's sincere feelings. They are happy to return to Shen Zhou, not only love Shen Zhou's literary talents and calligraphy, but also admire Shen Zhou's noble character. Indeed, there are lost and found people in the neighborhood who mistakenly recognize Shen Zhou's family's things and do not care about sending them; they respond to the requesters who do not ask for objects, all of which reflect Shen Zhou's generosity and open-mindedness in treating people.
Double birds on the tree chart axis
Length 140 cm
Width 52.2 cm
This place of mind is the deep realm of Confucianism. For Shen Zhou, the "chest" and "personality" of literati paintings are really an escape from the common background of deep traditional Confucian thought. The depth of his pen is deep, the breadth of his chest, the thickness of his penmanship, the thickness and clarity of his pen, and the spotlessness of his heart. In the history of Chinese painting, it is very rare to have such an indifferent mind and pursue an indifferent body, but at the same time, it is rare for someone like Shen Zhou to enter the world and use both the body and use each other. The so-called "self-cultivation to establish the world, cultivation of virtue to moisturize the body" (self-titled "Qingyuan Tu" sentence), is the basis for Shen Zhou's enlightenment into painting, with a thick and condensed pen. The atmosphere of the family since childhood, the atmosphere of the Four Families of Dong, Ju and Yuan, which are painted by the literati, is even more important to the Shen family; it is precisely this spiritual ideal that has been condensed by the Shen family for several generations. It is used as an aesthetic expression of painting, and it is only a carrier of virtue that is indisputable and self-reliant. It was only a different era that Shen Zhou was born as a Confucian monk who entered the world and participated in the Buddhist path of the Four Families of the Yuan Dynasty. This is the biggest difference between Shen Zhou's painting and the Yuan Sijia.
Loquat chart page
Color on paper
Length 27.8 cm
Width 37.2 cm
Collection of the Palace Museum
Because Shen Zhou was in an era when the status of the scribes in the Ming Dynasty had turned upside down. In the Ming Dynasty, which completely changed the situation that the literati of the Yuan Dynasty were the lowest level of society, the literati had become a bright future in their careers and governed the country and the people, but it was only Zhu Yuanzhang's despotic rigor that made the scribes avoid it. The Ancestors of the Shen family did not want to understand this point. On the contrary, Shen Zhou was concerned about the affairs of the dynasty, and every time he traveled with his friends, he was full of joys and sorrows when he heard about the gains and losses of the current government. For example, the "Yong Mo Poem" composed after the age of 70 is also very politically ambitious: "The plate is rolled more heavily, and the function is pleasant." The two elephants come together to divide the movements, and one mind is moderate. Only by absorbing trivialities can we not give up, and we do not choose rough and moral tolerance. Mo Dao was stubborn and unlucky, and he also relieved a thousand bells when he was lucky. ("Mr. Ishida's Story") The poem tells the author's political ambitions. It can be seen that Shen Zhou's simple and majestic pen also has the temperament of potential Confucian political strategy. Although Shen Zhou was devoted to the Yuan Si family, he turned the expression of the reclusive spirit into the expression of his interest in life.
Flower and Fruit Picture Volume (Partial)
Length 35.3 cm
Width 724.4 cm
Shen Zhou's thought, which enters the painting of flowers and birds in this way, is "the way of sketching, you care about the situation, not confined to the shape" ("Inscription Painting"). Compared with the Yuanren's "Guigu" thought, the Yuan Dynasty was helpless to the reality of the literati to go to ancient times to find a kind of beauty ideal, so its "meaning" and "feeling" are more rooted in the ancient people's thoughts and aesthetic traditions, such as mei, orchid, and bamboo, which are good at pinning their feelings on ink painting, and their "meaning" is to cross the current world and empty, and to get out of the world. However, Shen Zhou's "intention" and "affection" of "you care about the situation" are very caring and pleasant for the Ming Dynasty in this world. Many of his poems with flowers and birds give people a sense of pleasure and peace of "chatting about the pleasure of living in their own leisure" (Shen Zhou), such as "Lao Mei who writes Xiao Jiangnan, Tai Chi heart fragrance is contained" ("Title Plum Blossom"),"Luoyang March Spring News, in My Thick Smoke and Light Ink" ("Title Peony")," "Yunyou seems to know people's wishes, and the gap is lightly interpreted by Bai Ni" ("Title Yulan"). This is compared with the Yuanren's "ice flowers are round as jade, qiang flute blows him can not come down" (Wang Mian title plum blossom) Gao Yin Gu Han, Shen Zhou ice melted snow, spring warm flowers bloomed. The Yuan people were on the top of the mountain in the cold at the top of the mountain, and Shen Zhou was in the village where people were comfortable and full of words. In particular, Shen Zhou said the word "love" that Yuan ren rarely said, and he was more full of appreciation for the meaning of life in this world. It should be known that the era of shenzhou art maturity is precisely the period when the ming dynasty literary network gradually relaxed, ideological ideology began to change, and the ideological culture of the citizen class began to sprout. The aesthetic pursuit of "intentional and suitable" flower and bird painting reflects the characteristics of the times.
The Fourth Book of Flowers and Birds
Sprinkle gold paper with color
Length 30.3 cm
Width 52.4 cm
Collection of Suzhou Museum
For example, the axis of the "Snow Tree Double Crow Diagram" is "a good tree of the Junjia family, and its upper nest is three birds." One bird rushes, the clouds go, the two birds are not alone, and the source is the intention of "junjia friendship" ("Snow Tree Double Crow Picture" inscription poem). The image of the picture determined by the suitability of "love" is the Winton shape of Wen Dun's tone. The two birds in the quiet habitat are drawn with warm small brushes and look warm, and the basic realistic shape is round and gentle. The branches thus determined by the pen are gentle ink and smooth running. In short, the warmth of "Junjia Friendship" dominates the various elements of the pen and ink modeling of "Snow Tree Double Crow Diagram", and becomes the specific content of "non-confined to shape". However, such a subject matter category is like the "Ciwu" that Zhu Yuanzhangsi personally liked lin Liang's painting before, and the axis of Shen Zhou's "Double Birds in the Tree Diagram" not only confirms Lin Liangciwu's theme (the inscription on the painting has the sentence "See the painting of Ciwu double teardrops"), but also shows to a certain extent that it is influenced by Lin Liang's painting method, such as the specific painting of branches and branches, which is very Lin Liang's feeling of starting with a pen, walking with a healthy pen, and turning the pen is still hard.
Therefore, Shen Zhou's flower and bird paintings show the characteristics of "not being bound to the shape and resemblance of the situation". In the pleasant life of the heart, there are feelings of natural objects and come at hand, such as the "Lying Tour Map" album collected by the Palace Museum in Beijing, which includes apricot blossoms, loquats, pomegranates, cows, chickens, zhiyi, gardenias, green cauliflowers, hibiscus flowers and other pictures, all of which are works of Yilaixing. Often a small folded branch, a fruit or a chicken with a small poem of sentimental objects becomes a picture: the left half of the chicken album only draws an ink chicken chick, and the right half of the inscription poem "Fur color is half yellow, He Du tweets to the mother." The day is a thousand years of events, and the day should be long when the canal is known." The page of "Green Cauliflower Diagram" uses ink flowers to paint the flowering large green vegetables with stretched leaves, and the inscription is Cloud: "There is a lot of rain and dew in the south, and the green armor has been drawn new." Cut the jade rotten and steamed, and naturally the old man will be. "These pictures, in the vividness of the brushwork, are interesting, and the loquat painted is the most representative. The composition of a few leaves, a handful of loquat fruits and a few short branches is extremely dense and scattered, implicitly hidden, and the pen and ink are frank and flat. "Flat" is that pen and ink do not deliberately pursue much change. For example, loquat leaves are only divided into two colors, positive and negative, just as Wen Tong painted bamboo and Wang Yuan painted peony leaves in positive and negative colors. However, it is carefully managed layout, the single leaf has the perspective size, the combination has a distance gradient, the intersection has a hidden beauty, and the material interest is suitable for "meaning".
Flower and Fruit Picture Roll (Partial)
Shen Zhou's painting method mostly uses multiple brushes. Like painting loquat leaves is not a brush stroke, but often the brush is repeated to achieve the ideal shape feeling. Painting loquat fruit is even more so, after writing yellow, then dry the pen and light ink, some naturally faint, some leave the brushstrokes, and even add the desired color after drying a little until it is enough. Fang Xuan's "Treatise on The Painting of Mountain Tranquility" once pointed out that Shen Zhou "dots the clusters of flowers and fruits, and Ishida uses multiple brushes every time", "Bai Shi Weng vegetables and fruits feathers get the Yuanren method, the atmosphere is deep, and the pen strength is calm". Like the birds in "Snow Tree Double Crow Diagram", its black feathers and white feathers are all double brushstrokes, so they are particularly warm and moist. This feeling is found in the 10 albums of "Flower and Bird Album" collected by Suzhou Museum, the axis of "Peony Map" and "Lying Tour" collected by the Palace Museum, the axis of "Painting Chicken Diagram" collected by the National Palace Museum in Taipei, and the axis of "Ciwutu" and "Peony Diagram" in the collection of Nanjing Museum.
The above painting methods and their works can also be regarded as the harvest of Shen Zhou's thick and practical brushes brought into flower and bird painting with the thick and practical brush of landscape painting. In the performance of the two types of themes in this style, the literati atmosphere of the Yuan people opened up the literati freehand flower and bird paintings of the Ming Dynasty. This is a flower and bird painting that belongs to Shen Zhou's simple and thick flat type. Shen Zhou also has a category of pen and ink more flexible and dashing, such as the Shanghai Museum collection of "Flower and Fruit Diagram" volume, the whole volume in the traditional long scroll way, painting a variety of flowers folded branches, but also occasionally mixed with some lotus roots, vegetables and fruits; basically in thick and light ink to write portraits, with the pen is still free, the above mentioned "double pen" is not used much, so it gives people a beautiful and elegant feeling. It is worth noting that the influence of this volume on Chen Chun seems to be more direct, and Chen Chun's ease of writing and his love of drawing long scrolls are inextricably linked to this volume. In addition, this volume is more related to Fa Chang, and Fa Chang's work Shen Zhou has studied it, and he once wrote a scroll in Fa Chang's "Sketching Vegetables and Fruits", which praised it as "not coloring, arbitrarily splashing ink Shen, as if it were alive", indicating his understanding of Fa Chang ink painting. However, it should be pointed out that the Fa Chang "Sketching Vegetable and Fruit Diagram" volume is a more neat ink method, and only painting pine trees like the "Pine Ape Diagram" has the meaning of "arbitrarily splashing ink". However, although there is a lack of accurate expression of fa chang's "Sketching Vegetables and Fruits" volume, Fa Chang's informal creative spirit must have had an impact on Shen Zhoushen, and this long volume shows this. From the perspective of painting method, the freeness of this picture scroll has the greatest influence on Chen Chun.
Length 497.5 cm
Width 29.5 cm
Shen Zhou's flower and bird paintings have a breadth of discovery about life. Everyday common old ling, cucumber, radish, lily, vegetable shoots, eggplant, millet, lotus, melon, rice, crab, fish, shrimp, clams and other table items, donkeys, cows, horses, dogs, cats, chickens, geese, ducks and other livestock and poultry, swallows, starlings, parrots, white gulls, golden pheasants, magpies, Ciwu, waterfowl, geese and other natural birds and poultry, magnolia, Xinyi, osmanthus, peony, okra, hibiscus, kapok, lotus, begonia, apricot blossom, goose laihong, cockscomb flower, butterfly flower and other four flowers, willow trees, sycamores, Plantains, grapes, gourds, grasses and other household plants, as well as silkworm mulberry and other agricultural themes, have become the artistic expression of Shen Zhou's flower and bird paintings, and most of the paintings have inscriptions and poems, indicating the love of real life, compared with the Song and Yuan literati who are more immersed in spiritual images of ink bamboo, ink plum, and mo lan, greatly thickening the sense of secular life.
Guo Sotu axis
Length 49.4 cm
Width 31 cm
Compared with the Yuan Dynasty flower and bird paintings, which are mainly ink expressions, the biggest change in Shen Zhou's "sensibility" flower and bird painting method is that the flower and bird paintings expressed by color have greatly increased, and even account for most of the proportion of Shen Zhou's flower and bird paintings. These works mainly include the "Flowers and Birds" volume (10 open) in the Suzhou Museum, the "Xuanshi Lingzhi Diagram" axis in the Hubei Provincial Museum, the "Sleeping Goose Diagram Under the Flower" axis, the "Dove Sound Calling Rain Diagram" axis, the "Pigeon Release Map" axis, the "Bottle Lamei Diagram" axis, the "Spring Water New Goose Diagram" axis, the "Qiutang Wild Crane Diagram" axis, the "White Head Changchun Map" axis, the National Palace Museum collection "Red Apricot Map" axis, the "Mocai Xinyi Map" volume, the "Loquat Diagram" axis, the "Lying Tour" volume (17 open, including 7 colored flowers and birds), The Guangdong Provincial Museum's collection of "Litchi Goose Diagram" axis, etc., are all colored expressions on paper.
In Shen Zhou's paintings of colored flowers and birds, the "boneless" painting method appeared. Unlike Sun Long's thick brush and boneless, Shen Zhou's painting method is more meticulous. There are not many such works, but the "Flowers and Birds" volume (suzhou museum collection) and the "Flower and Fruit" volume are worth noting. For example, the "Peony Flower" page in the "Flowers and Birds" book, the pink and white peonies drawn in this picture, the flowers and leaves are directly in color, the pink peony is drawn, the red is dyed from the inside, the white is dyed from the outside, probably the reason why the paper is half-ripe, the dyeing is uneven with brushstrokes, but the effect is still brilliant and scorching from the dark to the light of the flowers. Paint the leaves flat, then dye the middle vein a darker green color, followed by the ridges. The old leaves of the main vein of the leaf tendon are purple-red, the young leaves are stone green; the veins are all ink and flower blue. There are three kinds of leaf colors, the front of the old leaves is biased towards flower blue, the reverse side is light and biased towards juice green, and the young leaves are yellowish green and hooked with red. In addition, the white peony is dyed with white powder, and the contour line of the petals is left on the bottom of the paper to indicate. Painting methods like this are also used for other paintings of hibiscus flowers, begonia flowers, geese red, hollyhock flowers, Xinyi flowers, pomegranates and so on. The color is basically flat coated, but it is also appropriate to pay attention to the changes of yin and yang, and some lines such as green leaves have a color supplement effect, which plays a good role in color adjustment. The most active use of complementary colors is the melon and fruit painted in the volume of "Flower and Fruit Diagram". The flower-blue color of the vine and the leaves contrasts loudly and elegantly with the orange-yellow color of the melon, and the color of the painted melon fruit is in the constant contrasting technique. Although the big feeling is near warm orange, far cold cyan, but the near warm orange is added to the cold cyan to express, the distant cold cyan is added to the warm orange to express. Thus this total warm orange melon is in a very comfortable color feeling. If you also look at how the two melons in front and back behave, the melon hidden in the back uses a faint warm orange in the cold cyan to make it retreat farther away from the appropriate distance. This kind of treatment of subtle colors is rare in previous works, but it is the strength of Shen Zhou's artistic treatment of this picture.
Flower under the sleeping goose figure axis
Length 130.3 cm
Width 63.2 cm
The color of Shen Zhou's flower and bird paintings is more of a combination of ink pen lines and color lines, freehand lines and boneless methods, and the combination of color points and ink lines, in short, the painting method is free and eclectic. For example, the same part of the above "Flower and Fruit Diagram" volume, on the right side of the painting, the pine leaves are thick ink and then the flower blue is checked, and the pine trunk is light ink and then the ochre is checked by the ochre ink. On the left side of the painting, there is boneless camellia mixed in the double hook daffodil and ink pen plum branches, and the ochre ink color of the trunk, the aqua blue color of the daffodil leaves, the thick and light flower cyan and turquoise of the camellia leaves, the pink of the camellia, the white of the plum blossom, the vine yellow of the flower bud, the ochre yellow of the camellia bud, the pale green of the daffodil, etc. Although the color is rich but elegant as a whole, the light and elegant style is rich and rich and rewarding with the change of painting method, thus showing the free realm of processing color and changing the painting method.
Dead wood partridge chart axis
Length 155 cm
Width 28.5 cm
Shen Zhou was a turning point of the literati flower and bird painting. If the literati flower and bird paintings of the Yuan Dynasty were in the desolate and cold realm of the hidden heart, then the literati flower and bird paintings of the Ming Dynasty led them to the secular worldly realm because of Shen Zhou. The ming dynasty literati flower and bird paintings entered the development path of the "recent world" characteristics of the Ming and Qing dynasties through the Shen Zhou Road. Therefore, Mr. Zhou Jiyin's "Wu School Painting Research" pointed out that "Shen Zhou made a significant contribution to Chinese painting, not in landscape painting but in flower and bird painting", is a very insightful comment.
Shen Zhou won the unanimous admiration of posterity for his character and paintings. Wang Xiaodeng's "DanqingZhi of Wu County, Guo Dynasty" lists Shen Zhou in the position of "Shen Pin Zhi One" with the highest status, commenting that "painting is the first in contemporary times, and the landscape figures are flowers, bamboo, birds and fish into the divine product", believing that Shen Zhou "painted his paintings from the famous figures of the Tang and Song Dynasties and the sages of the victorious country, up and down thousands of years, traversing hundreds of generations, Mr. and General Article, and all of them are subtle". Wang Shizhen in the middle of the Ming Dynasty felt the extraordinary significance of Shen Zhou at that time, and he said in the "Yiyuan Jieyan": "Flowers and birds take Xu Xi as the god, Huang Xiao as the magic, Ju Yu is second, and Xuanhe Emperor is second." Shen Qinan's light ink is actually from Xu Xi and is more simple and radiant. It is obvious that Shen Zhou has been regarded as a new style of ming dynasty flower and bird painting. Wang Shizhen's "Continuation of the Yizhou Mountain People" commented on its flowers and birds: "The Ishida clan can make it in light color and light ink, and the spirit is more self-dancing, the so-called wonderful and true." Xu Wei also commented from the perspective of artistic expression: "Shen Zhengjun's paintings are more freehand, and those who are sloppy are better. And Fang Kaoru's "Treatise on The Painting of Mountain Tranquility" commented the most inspiring posterity, its cloud "white stone weng vegetables and fruits feathers, deyuan renfa, deep charm, pen strength calm." Shen Zhou dots the clusters of flowers and fruits "more than the essence", "The old man of Ishida pen and ink, as if he is a human, vast and fallen, self-satisfied, flawless, where there is something to do, the strength of the gods, there is more than enough." Therefore, the servant must first cultivate his qi by saying that to learn is to learn from Ishida." Indeed, Shen Zhou's success in both the theory and artistic practice of literati flower and bird painting has played a role model and guiding role for the Ming and Qing dynasties for hundreds of years.
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