Zheng Banqiao is a well-known Talent of the Qing Dynasty, he was educated by his father Zheng Zhiben at home when he was a teenager, and when he was 18 years old, he left his hometown in Xinghua to study at Maojiaqiao in Zhenzhou (Yizheng), making many poets and friends.
There was a scribe in Yangzhou, Li Xiaocun, who once gave Zheng Banqiao a couplet, writing: "Three poems, calligraphy and painting, one official returns." "A few crosses, summarizing the life of Zheng Banqiao.
In order to make a living, Itabashi began teaching at the age of 26 in Emura, Jinju, and recruiting apprentices. After entering the army, he recalled his teaching life and wrote:
The church hall was originally obscene, and the people's portals passed through the spring and autumn.
Half hungry and half full idler, unchained and unshackled.
The younger father and brother are lazy, and the children have a vendetta.
And now fortunately, Qingyun stepped forward, covering half of the shame of that year.
Itabashi's family was in difficulty, he lost his mother at an early age, lost his father at the age of 30, and then lost his uncle and wife, so he often made a living by writing and painting in addition to teaching. At first, he did not regard it as a graceful thing, and he was even more reluctant to use calligraphy and painting as a cause for his life. The first half of his life was very lonely, Itabashi was not willing to be a splendid talent for a lifetime, and when he was young, he went to the exam many times, all of which were named Luosun Mountain. He was disheartened and scattered.
At the age of forty, Banqiao went to Nanjing Township to take the test and won the lift. Later, he spent the night studying Jiaoshan Mountain in Zhenjiang, and four years later he became a jinshi, and he was very proud, so he painted a Diagram of Okra Stalagmites and improvised a poem:
Peony Rich No. Kao, Peony Blend and Zai Xiang.
I also ended up being called a jinshi, along with Dangui Yuanlang.
However, because Itabashi was reluctant to become inflamed by nature, he dragged on for four or five years and did not get any official position. Until the age of 49, He was selected as the Commander of Qipin County and went to Fan County, Shandong Province. Fan County is located on the north bank of the Yellow River, and when he first arrived, yamen was quite quiet.
He did nothing, painted and watched flowers, drank alcohol to relieve boredom, and could not help but sing high. It reached the door and caused discussion among the servants, and he was called a "crazy official". Over the years, Banqiao gradually developed feelings for Fan County and Zhejiang. He cared about the sufferings of the people, hated corrupt officials and corrupt officials, and often took the form of poetry.
Banqiao left Fan County at the age of 54 and was transferred to Wei County as a county commander for seven consecutive years. As soon as he took office, he caught up with the severe drought in the whole county, and the people did not have a good life and fled the wilderness. So the opportunity was immediately closed to relieve the victims. At the same time, it also carried out a large number of works, built ponds in the city, recruited hungry people from near and far to work and eat, and ordered large households in the city to open factories to cook porridge and save many refugees.
Unexpectedly, because of this incident, he offended the Shangfeng officials and the rich merchants, and the imperial court finally dismissed Banqiao from his official position on the suspicion of corruption. Banqiao and Weixian fathers and elders have formed a deep friendship, once they are leaving, the people cry bitterly and cover up, and the family portrait is worshipped. Banqiao's mood was also very heavy, and he painted bamboo and chrysanthemums respectively, saying goodbye to the officials and gentlemen of Wei county. In the inscription for painting bamboo, he writes:
Wu Sha threw away not for the official, and the sac Qiao Xiao Xiao had two sleeves cold.
Write a thin bamboo branch, and use it as a fishing rod on the autumn wind river.
At the age of 61, the author bid farewell to the officialdom, returned to Xinghua, returned to his old business, and made a living by painting bamboo and selling literature. Decades ago, Itabashi planted bamboo in front of the house, loved bamboo as much as life, not only admired the bamboo himself, but also painted bamboo. At that time, he was poor and had no way to go, so he had to sell paintings to make a living. Banqiao withdrew from the torrent of the official field and returned to Yangzhou to sell paintings, and his fame was already great. Officials and gentlemen and people near and far all drew paintings to Itabashi, making him overwhelmed.
In order to make a living, Itabashi could not but receive honorariums, and it was unequivocal that those who wanted to take advantage of it would not succeed. In his later years, Itabashi was old and tired, and he was even more reluctant to entangle with people in the payment of paintings, and simply calibrated the price. He gave a poem and thanked the guest with a poem:
Painting bamboo is more than buying bamboo money, and the paper is six feet high and costs three thousand.
Renqu said that the old theory was handed over, only when the autumn wind passed in the ear.
However, Banqiao is not a money-eyed, responsive. There are many rich and wealthy merchants, in order to show off their elegance, decorate the halls and ask for paintings on Banqiao, but Banqiao ignores them. Banqiao's paintings are mostly orchids and bamboo, because orchids and bamboo are not afraid of storms and cold weather, and this nature is most suitable for expressing Banqiao's unconventional arrogance.
He painted bamboo, sometimes with only a few strokes, only fifteen leaves of a branch of bamboo; sometimes it was a dense bush, full of bamboo. Sometimes they stand tall on the cliffs of the hillside, and sometimes they draw bamboo in the middle of a storm and refuse to bow their heads. Sometimes orchids and bamboo are placed in the center, or with stones as the background, or with stones as the foreground, they complement each other, echo back and forth, and have many variations.
Itabashi's calligraphy, in the Qing Dynasty, also became its own family, not falling behind, and has a different style. He used the four bodies of truth, grass, affiliation, and seal to create a new body. Itabashi humbled himself and called it the "six-and-a-half-cent book", which means that this body is still one and a half points less than the ancient eight-point book. His calligraphy is majestic and energetic, and the calligraphy also penetrates into the painting method, so he is full of vitality and vitality, and he is very vivid.
Itabashi's poetry, taking the temperament, has feelings and hair, has something to say, and has a profound artistic conception. He hated to pick up the spit of the ancients, and advocated direct lyricism for articles, and there were propositions outside the pen and ink, not to be a slave article, only to do the master article.
In his later years, the two painters of Banqiao and Yangzhou, Li Di and Li Fangtang, were very close. They meet friends in calligraphy, painting and poetry, and cooperate with each other, encourage and ponder. In the third year of Banqiao's return to Yangzhou, the three of them together made "Three Friends of the Cold Years", and Banqiao inscribed a poem:
Futang Qi strokes Lao Song, Qingjiang dry ink inserted Mei brother.
Itabashi learned to write the wind to bamboo, and the picture became three friends wishing He Weng.
Thirty years after Qianlong, the 73-year-old Banqiao old man was tired and weak, but he still traveled to and from the county town. In the guest, he painted bamboo and inscribed poems
Eunuch Hai returned with empty sleeves, and sold bamboo paintings to qingfeng every time.
He also said that there was no evidence, and secretly stole all over Ludong.
At the end of the poem, he also specially wrote: "The old man of Itabashi praises himself and laughs at himself." In the winter of that year, Banqiao died and was buried in Ruan zhuang, the eastern pipe of Xinghua City. Later generations praised Zheng Banqiao as saying: "Banqiao has three absolutes: painting, poetry, and books. Among the three absolutes, there are three truths: true qi, true meaning, and true interest.