The Ming and Qing dynasties were an independent period for the development of Chinese portraiture, and the portrait painting at this time, on the basis of inheriting its predecessors, constantly accommodated the concepts and techniques of Western painting, showing more and more diversified aesthetic standards, especially in the Qing Dynasty, which rose from the literati class, and pushed the appearance of portraiture to a new commanding height.
Literati inkers often write about God with intention, use the picture mood to show the image of "like the Lord", and outline the picture that conforms to the characteristics and identity of the character in the unique "situation and situation". This way of painting was highly respected by the literati doctors of the Qing Dynasty, and many figure painting masters and genres emerged.
In the last issue, this week we will continue to share some of the collections of the "Ming and Qing Portrait Exhibition" jointly organized by the National Art Museum of China and the Nanjing Museum.
Pen and ink at the time of fusion and innovation
If Gu Kaizhi of the Eastern Jin Dynasty and Yan Liben of the Tang Dynasty were the founders of Chinese portraiture, then the white drawing method and stick figure freehand method pioneered by Li Gonglin and Liang Kai in the Song Dynasty respectively brought about the first real change in Chinese portrait painting. In the Yuan Dynasty, Wang Dai compiled the first surviving portrait monograph, "The Secret of Writing Portraits", which became a precious document for later generations to study portrait creation and coloring. During the Ming and Qing dynasties, due to the high prosperity of the commercial economy, folk portrait painting has developed by leaps and bounds, and the import of Western painting has triggered another revolution in portraiture.
Xu Ruke portrait axis (partial)
Cai Shengchu - Ruan Yuan's eighty-three-year-old portrait axis (Qing)
Qing Dynasty portrait painting enriched the relatively single painting technique since the Tang and Song Dynasties by means of hooking, rubbing, rubbing and other layers of blending, and injected more brilliant colors into the portrait. Influenced by the concept of Western painting, the literati and inkers of the Qing Dynasty began to spend more time thinking about the essence of art, which was manifested in the integration and innovation of various techniques. The painter Shen Zongqian explained the relationship between pen and ink in "The Theory of Transmission", and stated that the development of portrait painting in the Qing Dynasty was to use ink to help "pen intention", which was in stark contrast with the Tang and Song Dynasties", which "relied on pen to express images".
Huaguan-Zhou Yuanli small image axis (Qing)
Zhou Yuanli small image axis (partial)
Ren Yi - Liu Sheng portrait axis (Qing)
Ren Yi - Shashan Spring Portrait Axis (Qing)
Yin Yuan, Ren Yi - Shi Jixian Cai Sangtu Axis (Qing)
Qing Dynasty female paintings
The heart of beauty is shared by everyone. The delicate female figure has thus become an eternal theme in the creation of ancient and modern Chinese and foreign art. Most of the depictions of women in Chinese painting tend to be civilized, and the technique of line drawing depicts clothing and ornaments to highlight the femininity of women, which is essentially different from the portrayal of the human body in Western art. However, it is precisely this difference that makes the art history of Chinese women's themes provide the most intuitive and vivid historical information for China's clothing culture.
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Yu Zhiding - Portrait Volume of the Three Good Pictures of The Yuanyuan (Qing)
Gao Chongrui of the Qing Dynasty once had a cloud in the "Songxia Qingzhai Collection": "It is a famous mountain and water in the world, strange flowers and birds, but beauty can be both", which shows that the painting of ladies was highly respected in the Qing Dynasty, and its attention was no less than that of landscapes and flowers and birds.
Compared with the Female Paintings of the Jin and Tang Dynasties, the Female Paintings of the Qing Dynasty have two major characteristics, one is the slenderness, and the other is the bookish atmosphere. If the filament refers to the posture representation of the characters in the painting, then the book qi is a high generalization of its temperament. Most of the female figures in the paintings of qing dynasty ladies are elegant and vulgar, and the objects in their hands are fans, scrolls, paper and pencil, even if there is nothing in their hands, it can be concluded from their temperament that they will be good poetry.
Portrait Volume of the Third Good Picture of The Blade (Partial)
Fei Danxu
Fei Danxu, Zi Zi, Xiao Lou, since childhood with his father to learn to paint, good at painting ladies, the pen is light and elegant, quite a female Juan Xiu weak state. As a typical representative of the female paintings of the Qing Dynasty, Fei Danxu portrays with a unique brush. In addition to female paintings, he is also proficient in landscapes and flowers, and his pen and ink are clean and beautiful, very idle and interesting, and he is known as "Fei Pai".
Fei Danxu-Zhang Yuanhong case joint yin figure small portrait axis (Qing)
Small portrait axis of Zhang Yuhong's joint yin diagram (partial)
Fei Danxu's "Small Portrait Axis of Zhang Yuhong's Case Lian YinTu" exhibited in this exhibition, although the portrayal of the lady is only a simple back shadow, and there is no display of facial features, but with the depiction of manners and the portrayal of clothing, it is extremely feminine and delicate and obedient to a Qing Dynasty woman. In addition to being able and delicate, we can also see its profound construction method.
Ding Yicheng, Fei Danxu- Jiang Zhengtang Small Trick Chart Axis (Qing)
Jiang Zhengtang small trick map axis (partial)
Cheng Tinglu
Cheng Tinglu was a Painter and Seal Engraver of the Qing Dynasty. The first name is Zhenlu, the word Zhenzhen, and the word Qingchu, the number Luqing, the name of the TingLu, the word preface Bo, the number of the township. He is the author of "Collected Poems of Zun Putang", "Records of Lianshui Paintings", "Miscellaneous Works of Komatsu Yuange" and other books.
Cheng Tinglu's landscape paintings were instructed by the Qing Dynasty painter Qian Du, showing the chaotic realm of the Qing Dynasty. In addition to painting, he also has a high degree of achievement in the study of seal engraving. His masterpiece "Twenty-Six Yi Plum Blossom House" Zhu Wenyin perfectly shows the artistic style of the "Zhejiang School" seal carving.
Cheng Tinglu - Wang Wenshao Wangyuntu Axis (Qing)
In Cheng Tinglu's "Wang Wenshao Wangyun Tu Axis" in this exhibition, the painter reflects the autumn coolness with pieces of pine leaves and barren mountains, expresses his heart with the image of Gaoshi, and also borrows the theme of clouds to reveal his feelings of seclusion. The scenes in the painting are layered and interesting. The painter uses bald brushes and thirsty ink to hook layer by layer, and the lines are dense and loose and with a bit of arbitrariness and absurdity, which further highlights the sentiment of gao gu canghun.
Kong Zhaoqin- Guan Tianpei portrait axis (Qing)
No model - Li Da Ting portrait axis (Qing)
Fei Dancheng, Ren Fu - Shen Rikang's fifty-two-year-old portrait shaft
Ren Pre-Daf Portrait Axis (Qing)
Li Shu - G Zhang Sijiao Painting Hua Qiu Yue Portrait Axis (Qing)
The achievements of portrait painting in the Qing Dynasty may not be as prominent as landscape painting, but gradually extending from the court to the people, many people and many masterpieces are extremely stylish. Whether it is Yu Zhiding, who painted all the world's celebrities, or Fei Danxu and Cheng Tinglu, who were extremely heavy at the moment, they not only experienced the changes and innovations of Qing Dynasty figure painting, but also brought the development of Chinese portrait painting into a new historical process.
We'll see you next time.
Eye Edge Art Chronicles Chapter 884 is dedicated to the artistic gift of life. If you need to reprint, please obtain authorization first, and please indicate the source after reprinting
Text Writing: Eye Edge Art Zhi