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Hongren is good at poetry, calligraphy and painting, loves to write plum bamboo, has the reputation of "three absolutes", belongs to the "Huangshan Painting School", and is also the leader of the "Xin'an Painting School". His art not only respects tradition but also focuses on innovation, teaching nature and pioneering paths.
Dare to say that heaven and earth are me, thousands of cliffs and cliffs;
Dream of a good home in Fuchun, and there is no section into the fence.
In the "Four Monks" of the early Qing Dynasty, Hongren's painting style was known for its sparse and cold silence, which was very different from the other three. He was also a representative painter of the "Xin'an School", representing the highest level of painting style of the remnants of the people at that time.
James Cahill, a well-known overseas art historian, called him and Gong Xian a representative painter of originalism, saying that they "showed the individualistic characteristics of the late Ming dynasty and the literati circle in different ways", and "also pursued a unique style in painting, sometimes even pushing the painting style to the extreme". This unique critical perspective makes us more truly aware of Hongren's position in the early Qing Dynasty painting world.
Behind closed doors, a thousand snows, and a lamp is sent
Hongren (1610~1664) commonly known as Jiang, name Tao, character Liuqi, a fang, the character Ou Meng, the family name Yihong. For the post-monk Dharma name Hongren, the character is unwise, no attachment, the number of gradual river, gradual river scholar, gradual river scholar, gradual river monk, other names are Yunyin, plum blossom Daoist, etc., the most commonly used is gradual river and Hongren.
Hongren was born in Taoyuanwu, Dongguan, Shexian County, Anhui Province, and the Jiang clan was a prominent family member of Shexian County at that time, and later fell in the middle of the family road. When he was young, he studied in Shexian Social Studies, and then went to Hangzhou and became a "Hangzhou County Student". Soon, he and his mother returned to their native Shexian County, where they studied the Five Classics and prepared to participate in scientific expeditions under the local name Ru Wang Wuya. During this period, he "tasted the palm and learned with his tongue, and ate his mother with a lead", and lived a very hard but filial life.
Hirohito's life was lonely and bitter. In his early years, he was dependent on his mother for his life, and the "Biography of the Monk of Gradual River" by Wang Taizheng recorded that he had been a classic story of "thirty miles of rice in one day" for his mother, which shows that he is a filial piety.
When Hongren was 36 years old, in the second year of Shunzhi (1645), the Qing army launched a major attack on Huizhou, and jin sheng and his student Jiang Tianyi at the end of the Ming Dynasty organized an army to fight against it, but later failed and Huizhou fell. Some of the anti-Qing warriors transferred to Fujian and defected to the Tang dynasty. Hongren's teacher Wang Wuya also went to Fujian.
In June of the third year of Shunzhi (1646), the Qing army attacked Fujian again, and the Tang king was executed. Hongren arrived at Wuyi Mountain, and the same group of Zhishi Renren who followed the Tang King hid in Tianyi Peak on Wuyi Mountain. About a year later, together with Wang Muri, Wang Jiao, Wu Lin and others, he left home, converted to the ancient navigation boat Zen master, began to use the name Hongren, and then took the word Wuzhi and called himself Wanjiang, after which he no longer used the common name.
In the sixth year of Shunzhi (1649), Hongren returned to Huangshan from Wuyi Mountain. Since then, his main artistic activities in his life have been concentrated in Anhui and Jiangsu, successively living in Shexian County, Xuancheng, Wuhu, Fengxi, Nanjing, Xiuning, Poyang and other places, and traveling to Yangzhou, Hangzhou, Lushan and other places, the main place of activity is the birthplace of the "Xin'an School" - Shexian County, the most traveled mountain is Huangshan. He has a party seal "home between huangshan and baiyue", and many sources say that he "must travel to Huangshan in his old age", which shows that the temperament of landscape and water is an important part of his lifelong artistic life.
Sparse and cold, desolate and desolate
Hongren was undoubtedly one of the most individual landscape painters of the early Qing Dynasty. His achievements in painting and its characteristics cannot be summed up simply by words such as painting by the remnants, simplicity and remoteness, and alienation and cold silence. His artistic achievements are a reflection of a specific historical period in the early Qing Dynasty, and a concentrated reproduction of the relics complex, the Zen Mysteries, the temperament of landscapes, the charm of ancient winds and tranquility in the paintings.
For this style of painting of Hongren, when tracing its origins, we can get the following three ways:
(1) Fagu people—especially Shifa Ni Yunlin
A large number of documents and paintings show that the most direct source of Hongren's art comes from Ni Yunlin, one of the "Four Yuan Families". Zhang Geng's "Records of Paintings of the National Dynasty" refers to his "landscape master Ni Yunlin, Xin'an painter Duozong Qing sneerer, Gai Gradually leading the way", pointing out that not only hongren patriarchal law yunlin, but even the xin'an painter with Hongren as the forerunner is also patriarchal yunlin;
And Hongmei also said in the "Huangshan Zhi" that Wanjiang painting "all ancient and modern masters know their methods, and in their later years especially love Yunlin's brushwork", indicating that Hongren is based on the collection of various families, and still prefers Yunlin's brushwork in his later years when his art is perfected in the realm; Feng Xianyun and other "Picture Painting Treasure Jian Continuation" says that he is "the first master of the Song dynasty, and as a monk, and his paintings are known as the Yuanren faction, Yu Ni and Huang families, especially good at the field", saying that he was outside of Ni Yunlin, tasted the influence of Huang Gongwang, but from the perspective of the paintings passed down from generation to generation, Huang Gongwang's shadow does not seem to be obvious Zhou Lianggong, a contemporary, called him "fond of imitating the cloud forest, and thus perfecting the extremes", saying that his paintings were promoted to the room because they learned Ni Yunlin's style.
Hongren also mentioned his love for Ni Yunlin many times, regarding Ni Yunlin's pen and ink as a treasure and offering it to his teacher, such as one of his "Wai Wai Poems":
The trees are cold and the mountains are far away, knowing that they are not in the right place.
He wrote and inked to the family treasure, and burned incense for the teacher at the age.
From the poem, we can see Hongren's admiration for Ni Yunlin. Not only that, in the inscriptions of many paintings, you can also see his obsession and admiration for Ni Yunlin's painting style. For example, in a "Landscape Map of Wuzhong", he inscribed:
Drifting all year round without a house, the streams and mountains are sparsely lined with trees.
At this time, if you encounter a cloud forest, tie a mao pavilion to read a different book.
In his lifetime, Hongren had no meritorious reputation and had less worldly socializing. He became a monk because he was discouraged and lazy, his heart was as quiet as water, he concentrated on artistic creation in emptiness and silence, and he put his inner loneliness, helplessness and loneliness on the paper through the perception of real mountains and real waters, and appealed to the unique language of painting on the paper, so that we can see a handsome, cold and full of artistic spirituality. He took meditation as his main way of life and used pen and ink to do Buddhist deeds.
In his artistic experience and paintings, the passion for life and the love of life can hardly be seen, and overseas scholars have said that the slender trees in his paintings are almost full of fragility and coldness, while the whole painting is airless and very pale." This is the unique will to life that Hirohito, as a relic, shows us, and it is also an important factor that distinguishes him from others and is famous in the history of art.
Hirohito is also good at calligraphy and poetry, and is known as poetry, book and painting. In terms of calligraphy, He studied Yan Zhenqing in the Tang Dynasty, Ni Yunlin in the Yuan Dynasty, and also worked on the Eight Points Book and the Seal Book; in terms of poetry, his poetry collections mainly include Xu Chu's inscription poem "Painting Poem", his disciple Zheng Shu's "Wai Wai Poem" and his close friend Huang Binhong's "Gradual Master Poetry" and "Gradual River Painting Book", reflecting his multifaceted artistic achievements.
(2) Creation of teachers
Like many landscape painters in ancient times, an important source of Hongren's art is the creation of the Teacher's Law. He himself put forward the slogan of "dare to say that heaven and earth are my teachers", which is similar to Shi Tao's "Searching for Qifeng And Playing Drafts", both of which advocate seeking spirituality in the real mountains and true waters, and expressing the true disposition of the landscape through pen and ink.
Hongren has a special love for Huangshan, he has visited Huangshan several times, and dozens of times he has faithfully moved the real scenery of Huangshan into the painting. Among his heirloom works, there are no less than 60 paintings with the theme of Huangshan Mountain, and each one indicates the name of the scenic spot, such as Shixin Peak, Xian stirrup Cave, Scattered Flower Dock, Bailongtan, Songgu Nunnery, Tiandu Peak, etc. Therefore, Shi Tao said in Bao Hongren's "Xiaojiang Wind Map":
The longest public tour of Huangshan, so the true temperament of Huangshan is also obtained. That is, one wood and one stone, all of which are the true colors of Huangshan Mountain, and the bones are full of bones. It shows that the influence of Huangshan yu Hongren art is very large.
Similarly, Hongren's teacher Xiao Yuncong (1596-1673) also said: The world is the most strange mountain, and it must be written with the pen of the spirit. Gradually returning to his hometown, under the lotus peak of The Temple, the smoke and clouds change, sleeping and eating in Yuzi, and having a lot of joy in his heart, because of the famous places in the mountains, he made a pamphlet. The three in the painting of sincerity!
Xiao Yun's three-fold ambiguity from the so-called paintings is actually a kind of realm in which Hongren "even the pen of the spirit" paints true mountains and rivers. Huangshan gives spirituality to the painter, and in the same way, under the painter's pen, Huangshan is also endowed with vitality. Hongren's creative practice of this kind of teacher's creation makes his art not become immoral on the basis of the predecessors of the teacher's law, but is extremely spiritual. That's where his success comes in.
(3) Teachers and present people
The success of a painter does not depend solely on the teachings and creations of the ancients, but sometimes the inheritance and interaction between teachers and friends are also important factors. Hirohito is no exception.
In his early years in Hangzhou, Hongren studied under the painting monk and master Ran. Also known as the Hanging Creek Monk, his real name is Sun Zixiu, the character is not repaired, Zhou Lianggong's "Lai Gu Tang Collection" said:
The paintings of the people on the gradual river are valued by the world, and the smell of people and every stone is born from the Gong (and Master Ran).
Because the traces of Master Yoran have not yet been seen, and the literature on the relationship between the two masters has yet to be further excavated, it is impossible to know how much influence Hirohito's painting art was influenced by him.
In addition to Ran, Cao Yin said in the axis of Bao Hongren's "Ten Bamboo Zhai Tu": "Gradually the river learned from the ruler wood (Xiao Yuncong), and the pinzhi was different from it." Xiao Yuncong's painting style is extremely close to Hongren's. Sherman Lee, in Chinese Landscape Painting, states that "Hongren uses a 'bare bone' style based on Xiao Yuncong's style, but theoretically it stems from Zhao Mengxuan's strategy related to his past: Hongren learned Xiao Yuncong's style exactly what Zhao Mengxuan learned from Li Cheng' style... He stripped the colors and muscles clean, leaving only the 'bare bones'." This shows that Hongren's art and Xiao Yuncong are in the same vein.
According to the literature, Hongren's painting style was also influenced by Cheng Jiaxuan and Li Yongchang at the end of the Ming Dynasty, and Cheng and Li both learned from Ni Yunlin all the way, so the source of Hongren's painting style was deeply influenced by Ni Yunlin.
At the same time, the place where Hongren lives is the Huizhou area where folk printmaking art flourishes the most. The decorative, generalized, grasping of lines and outlines in these prints, and the use of figurative brushes to write figurative mountains and stones and trees, also had a potential impact on Hirohito's paintings. Although there is not enough information to confirm how big this influence is, it is indeed obvious from Hirohito's paintings.
In a work entitled "Year Cold Map", he also wrote that "Yu Even takes Qing Qi as a teacher, and the meaning of Shu Cun Nian Han", "Qing Tao" refers to Ni Yunlin, because Ni Shi Shu Zhai is known as "Qing Qi Pavilion", so posterity often uses this as a substitute. There are still many inscriptions in this category, and most of their inscriptions are similar to his painting style, indicating that Hongren not only has a yearning and reverence for Yunlin, but also applies its essence to painting practice.
It should be pointed out in particular that Hirohito's art of Ni is not simply passed on in the same vein, let alone a simple pen and ink repetition or cloning. In the style of learning Ni Yunlin and other predecessors, he has truly realized the three ambiguities contained in Ni's paintings, and can use the qingyuan and sparse artistic conception and simple and light brush and ink in Ni's paintings to form a different artistic style from Ni's paintings.
Regarding the origin of Hongren art and Ni's family, some art historians overseas have different views. They believe that Hongren exaggerated Ni Zhan's style, which also increased the sadness of the result, and even said that "seeing Hongren's paintings and returning to Ni Zhan's paintings is a kind of relief, and people are back in the real mountains and waters", this kind of criticism of Hongren's study of Ni painting actually shows such a phenomenon: Hongren's learning ni did not surpass Ni, one-sidedly exaggerated the negative factors in Ni's paintings and failed to effectively recognize the charm in Ni's paintings.
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