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Chen Hongshou (1599 - 1652 AD), the Marquis of Zhang, was once known as Lotus When he was a child, he called himself Lao Lian, and his nickname was Xiao Jing. After the death of Ming, he was also known as The Late, The Late, the Yunmen Monk, etc., and was a native of Chenjia Village, Fengqiao Town, Zhuji, Zhejiang.
His ancestors were official eunuchs, and he lived in seclusion until his father's generation. At the age of nine, his father died of illness. He studied under Lan Ying, the founder of the Wulin School, and his early works, especially landscape painting, were deeply influenced by Lan Ying. Lan Ying was ashamed that she could not do enough in character sketching, and vowed never to paint characters again. This teacher-student relationship has enabled Chen Hongshou and Lan Ying to maintain a deep friendship for life.
At the age of fourteen, as soon as his works went to the market, someone paid for them; at the age of fifteen, he was invited to make a birthday map and a shouwen for people; at the age of eighteen, he went to study with the famous Confucian scholar Liu Zongzhou, who was deeply influenced by his character and knowledge; at the age of twenty-one, he was admitted to Xiucai... At this time, his reputation in the painting world had already risen, and the painters came to him, but the success of the career he longed for was delayed, and his family was becoming increasingly poor.
Ming Chen Hongshou Pear Blossom Diagram
In the third year of Chongzhen (1630 AD), he failed to pass the examination, and in the twelfth year of Chongzhen (1639 AD), he went to Beijing to travel to the eunuchs, sold paintings and saved money to enter the state prison with "donations", was summoned as a shepherd, and was ordered to copy the portraits of the emperors of previous dynasties, so he had to look at the ancient and modern famous paintings hidden in the Inner House. He studied the works of the ancient masters in every possible way, and each style and technique were tasted one by one, and finally the true taste of the ancients was obtained, "the art is becoming more and more famous", and people are proud to have their paintings. For a time, Chen Hongshou became famous in the Beijing Division, and was on a par with Cui Zizhong, a master of figure painting in Suncheon Province, and was known as "Southern Chen Bei Cui". Around 1635, in the chaotic autumn of the late Ming Dynasty, Chen Hongshou, who was in his prime, experienced the failure of the imperial examination in his early years and suffered the sadness of losing his father, mother, and wife, he returned to Jiangnan to find joy in the mountains and forests and poetry and wine, and spent all day chanting and painting with friends, realizing the realm of life from Zhuangzi and Taoist thought, and isolated from the chaotic world of the late Ming Dynasty. This period was also the peak of his artistic career.
Xu Wei Return to zhoutu
In April 1644, when the Ming Dynasty collapsed, Chen Hongshou lived in seclusion by cultivating fields and planting trees and chanting poems and paintings in his father's friend's Qingteng Bookstore in Xuwei, Shaoxing. The great talent Xu Wei is wild and uninhibited, but he and Chen Hongshou are in a dark appearance.
When the Qing army entered eastern Zhejiang, Chen Hongshou took refuge in the Yunmen Temple in the deep mountains of Shaoxing, cut his hair and became a monk, and concentrated on studying Buddhism. The days in the temple were hard, and he was able to survive with the support of his relatives and friends. A year later, in order to make a living, he had to move back to Hangzhou and make a living by selling paintings.
Chen Hongshou Huangliu Jujin diagram
The years in Hangzhou were the last three years of Chen Hongshou's life, and it was also another peak period of his life. In 1652, Chen Hongshou, the most individual genius painter in China in the seventeenth century, died silently in poverty, depression and frustration, "murmuring the Buddha trumpet and dying", at the age of fifty-five.
Chen Hongshou's artistic achievements are first manifested in printmaking. From the Ming Dynasty to the beginning of the Qing Dynasty, it was the golden age of Chinese printmaking, especially led by Xiao Yuncong and Chen Hongshou. Xiao took the landscape as the best, while Chen dominated the world of figure painting, which was not only widely spread in the folk, but also famous in the history of Chinese printmaking.
Chen Hongshou Shiquan Yunshu imitates Zhao Qianli's brushwork
Chen Hongshou's paintings often use contrasting and exaggerated techniques to express the inner vitality, and the deformation and exaggeration of the character modeling are used to make sense, and combine superb line ability and refined color performance to create a strong "clumsy" meaning, known as "gao gu qi frightening". In his later years, the characters in his pen are grotesque and deformed, their heads are large and short, they are quite childish, the line arrangement is becoming more and more natural, scattered and loose, more old and clumsy, and the hook lines are also very casual. The soothing state of his pen and ink has reached the highest state of traditional Chinese literati aesthetics. Chen Hongshou is not only unique in figure painting, but also shows the brilliance of his creative talent in flower and bird painting. His paintings of flowers and birds are solid and rigorous, rich and majestic, and plantains, chrysanthemums, lotuses, and plums are all objects that appear very frequently in his paintings. In his early years, he sought details, fine work, heavy pen and ink, and in his later years, his pen was simple and light, as if he wanted to do whatever he wanted, not deliberately pursuing, which was the foreignization of his indifferent and quiet, empty and desireless heart, which made the work have an otherworldly strong book atmosphere.
Chen Hongshou Yutang pillar stone diagram
The characteristics of Chen Hongshou's paintings may be summarized by the words "ancient", "strange" and "elegant". Its "strangeness" is an innovation and breakthrough on the basis of "ancient". From Chen Hongshou's quaint works, the illusion is a simple, simple, great, and easy realm, with great personality and rich decorative interest. His world-class, maverick personality gives his paintings outstanding artistic characteristics and distinct personal style.
Since the Song Dynasty, landscape painting has been leading the Chinese painting world, and the scholars' interest in "nature" seems to have far exceeded the attention to people themselves, and most of the paintings and portraits with the theme of figures have gradually lost their sharp edge in China. Until the chaotic end of the Ming Dynasty, a painting wizard appeared- Chen Hongshou, who found the long-lost tradition of figure painting of the Six Dynasties and the Sheng Tang Dynasty, revived the Chinese painting that had been weakened for nearly 600 years, developed to a peak, and flourished in the late Ming painting circle where landscape painting dominated, and the painting style influenced future generations for nearly three hundred years, becoming a remarkable generation of masters in the history of Chinese painting.
Chen Hongshou loves lotuses and also loves painting lotuses.
Ming Chen Hongshou Lotus Mandarin Duck Figure Collection of the National Palace Museum in Taipei
"Lotus Flower Mandarin Duck Diagram" is a work by Chen Hongshou in his early years.
In the water, four beautiful lotus flowers are born from the pavilion, from the buds to the buds, from the dew of the morning sun to the blooming, the image is rich, colorful, the pitched lotus leaves are exposed, and the Ting stretches, reflecting its anthropomorphic style of "out of the mud without staining, maoqing lotus without demon". On the surface of the water, Qingping is dotted with stars, a pair of Mandarin ducks are facing each other, one is resting between the stone and the leaf, the other is leisurely playing in the water, but he will turn his head sideways to his lover, and there seems to be a pulse of affection in his eyes... Two butterflies fluttered in the air toward a lotus flower, while the other was already resting on the heart of the flower. Ochre ink stone color lake stone majestic, rugged and strong, thick and condensed, standing in the water, set off green leaves, red lotus, a frog is lurking behind the lotus leaf coveting beetles, bowing to move...
The whole picture is full of life and interest.
Chen Hongshou Lotus
Chen Hongshou Qing courtesy of the picture
Chen Hongshou Lake stone red argon
Chen Hongshou Lotus Butterfly
Chen Hongshou 《Lotus Double Butterfly Diagram》
Chen Hongshou Vase Flower Diagram
Chen Hongshou Lotus Lake Stone Map
Ming Chen Hongshou Fu Rui Han Tu
Traditional Zhushou works mostly use nanshan, pine cypress, shou peach, xuancao, immortal, Buddha and other allegories, but Chen Hongshou uses Gao Shi holding the lotus out of it, which is a metaphor for the noble character of the person who is painted out of the mud and not stained.
Chen Hongshou Gao Shi holds a lotus diagram
Chen Hongshou takes the old lotus as his name, and is based on the lotus. The Master of the Lotus Is not only Chen Hongshou's praise for the recipient, but also Chen Hongshou's own portrayal of himself.
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