At the time of the Ming and Qing dynasties, famous monks and artists such as Bada Shanren and Shi Tao appeared, and in Yunnan, there was also a monk who was famous for poetry, books and paintings.
He assumed the real name Tang Tai, and the character Dalai took on the number after his ordination. In the twenty-first year of the Ming Dynasty (1593), he was born into a family of poets and books in Jinning County, Yunnan. His grandfather Tang Yaoguan was a Yunnan township trial Xieyuan (the first person to raise people), living in seclusion, leaving many poems, which were well-known in the Yunnan literary circles. His father, Tang Maode (唐懋德), was a chinese official who was a scholar of Poetry in Lintao, Gansu Province.
Portrait of the Tang Family Tree (quoted from "The Responsibility of The High Monk of Calligraphy and Painting", Yunnan People's Publishing House, 2019)
Travel to the world, forever rest in cloth
As a child, he studied with his father and ancestors, and he was intelligent and read a lot of books, wrote good poetry, and began to compile his poems into the "Collection of The Garden" at the age of 13. Reading thousands of books and traveling thousands of miles, Tang Maode took the responsibility when he went north to beijing to take the opportunity, and the responsibility was able to travel to Nanjing, Beijing, Lintao and other places. Four years later, he returned to Yunnan to continue his studies and prepare for the imperial examination.
However, after ZhongxiuCai, he has not been able to win the lift, and gradually looks down on fame and fortune, and no longer takes the name of merit as the future and the way out. In 1625, at the age of 33, he was recommended to take the examination of the Rebbe because of his outstanding talent, but for him, this was only an opportunity to travel.
In the past 6 years, he has served as a climber on Mount Taishan, a tour of the rooftop, a yandang, a feast of tiger hills, traveled to the famous mountains and rivers of the motherland, and also looked around for teachers and friends. He studied calligraphy with the famous calligrapher Dong Qichang, studied poetry with the famous poet Li Weizhen, and studied painting with the famous painter Chen Jiru. After this trip, the responsibility has opened his eyes and made great progress in artistic attainment.
After returning to Yunnan, He became acquainted with Xu Xiake, a famous traveler who was traveling in Yunnan. Xu Xiake had heard of The Responsibility before, and after arriving in Kunming, he made a special trip to Jinning to pay his respects. The bearer warmly received him, and the two of them chanted poems against each other, talked about heaven and earth, and became confidants. Despite his poverty, He was generous enough to finance the travel expenses for Xu Xiake's subsequent trip to Western Yunnan. More than 20 days later, Xu Xiake took on a different responsibility and left Jinning.
Gao Shitu (quoted from The Complete Collection of Calligraphy and Painting, Yunnan Fine Arts Publishing House, 2001)
Gango day is not quiet, hidden in the Jishan Ridge
Although he did not seek fame, his years of travel inspired his love for the motherland and also made him understand the sufferings of the people. However, in the last years of the Ming Dynasty, eunuchs were in charge, wolves were everywhere, and the building would fall, and it would be difficult to repay the ambition of serving the country and the people. Having no way to serve the country, he chose to be alone, pay close attention to the development of the situation, and wait for the opportunity to move.
For example, Sha Dingzhou, the tusi of southern Yunnan, rebelled against Mu Tianbo, the Duke of Qianguo, who was stationed in Yunnan, and took on the responsibility of participating in the counterinsurgency. Soon after, the Sha clan was defeated. Witnessing the decline of the country, the bearer was a little discouraged, chose to live in seclusion, climbed the Jizu Mountain to cut his hair and became a monk, and his legal name was Puhe. As he describes himself in the poem: "The day of the dry ge is not quiet, and the Yu Zhi is getting colder and colder, hidden in the Jishan Mountains, and the foot is tied to The Dian." ”
After the Yongli Emperor entered Yunnan, the renunciated head began to pay attention to the development of the situation. When the Yongli Emperor retreated to western Yunnan, he took on the name of Yunyou and went down the mountain to the Tengchong area to find the whereabouts of the Yongli Emperor. When the Yongli Emperor was killed, he finally gave up the idea of repaying the country and lived in the Buddhist temple between Jizu Mountain and Cang'er. However, the Green Lantern Ancient Buddha could not dispel the pain in his heart, and he placed his love on poetry and painting and landscapes, expressing his sorrow and anger at the changing times. Patriotic enthusiasm and righteous character constitute the backbone of the work of art.
Fishing Boat Singing Evening Picture (Quoted from "The Complete Collection of Calligraphy and Painting", Yunnan Fine Arts Publishing House, 2001)
Confucians are born and inky, and drinkers are also poets
His poems are included in two collections, the Shōen Collection, which includes his works from the age of 13 to before his ordination at the age of 50, and the Akane Grass, which includes his post-monastic works. There are about 1500 poems in the two collections, which shows the exuberance of their creativity.
His poems include a wide range of subjects, including travels, people's livelihood, mountain scenery, and lyrical narratives. Many of his poems, profound but not preachy, cynical but not disease-free groaning, beautiful rhetoric but not rhetorical, many reflect warm patriotism, strong and unyielding ideological character.
The patriotic heart of responsibility has not been shaken to death: "Although the heart is still strong, read the song of "Leaving the Sorrow" (Although I am old and described as withered, I am still strong, reading Qu Yuan's patriotic poem "Leaving the Sorrow", I also want to sing loudly, the road is long and its cultivation is far away, I will seek up and down!) "Knowing that there is a red loyalty to Ling Bihan, how can I be willing to bear a thousand autumns in my life" (My sincere loyalty can be learned from the heavens, how can I live up to the years and not be shown?) "Supporting heaven and earth for integrity, husbands should be self-determined when they are in difficulty" "Do not sink with the rivers and rivers, and stay in the mountains and forests for a long time" (in times of national crisis, the eldest husband takes the decision to serve the country, even if it is difficult to turn the tide, living in the mountains and forests is also concerned about the homeland).
The bearer often uses the poem Mingzhi: "Keep this cold incense and weigh this body, and a bottle is often full of pots." I don't know how many people in the East Hedge are now in the East Fence after the frost of the yellow chrysanthemum" (I love chrysanthemums like Tao Yuanming, I am also the chrysanthemum, the cold frost does not frighten me, after the frost blows, it is still proud and emits fragrance). "Hibiscus flower, the name of the humble and smelly strong, dare to compete with the palace brocade, the contract weeds are muddy" (although the hibiscus flower is falling towards the twilight, it dares to be more beautiful than the brocade in the palace, and there is no complaint or regret when it is zero into mud). These verses embody the noble sentiment of not being afraid of danger.
Ren also wrote a lot of poems about Yunnan. For example, he wrote about Kunming City"; "A Guandong controls the golden horse, and the jade dragon is hung in the twin towers"; write the three pagodas of Dali "The footpan earth is safe as a ding, and the light finger is on the stage"; write the Lijiang Yulong Snow Mountain "The jade fortress has stored ancient snow for a thousand years, and the golden sands are in a wild wave"; write about the Binchuan Jizu Mountain: "Only let the Central Plains TuiTaidai, more from the two poles of Kunlun"; write that the Anning Hot Spring is "no smaller than Huaqing, like a scoop, and does not touch the warm heat"; write the torch festival "not to flow fire first in July, and suddenly see the sunset in the three". From these words, it is not difficult for us to feel the deep love of the mountains and rivers of our hometown.
Unfortunately, because of the high pressure of the literal prison, he eliminated the "generous and touching the taboos" when selecting and compiling poetry collections, which also makes it impossible for us to see more of his realist works that are stitched up and flawed, but this does not affect his essence as a patriotic poet. Dong Qichang commented on his poem "There is the method of Shaoling (Du Fu)", and Xu Xiake called him "a person in southern Yunnan". After his poems spread, they were not only studied and praised by all ethnic groups in western Yunnan, but also promoted the development of local cultural and educational undertakings and the integration of various ethnic exchanges, and also left excellent first-hand information for us to understand the history and humanities of that period today.
In the early years, the calligraphy of the undertaker had the style of his teacher Dong Qichang, and the "calligraphy of the big and small kings (Wang Xizhi, Wang Xianzhi)" was partial to beauty. In the later period, the pen took the dragon and snake, which was more wild, "if there is no Huaisu family style, it is also possible to do Zhang Qian (Tang Dynasty calligrapher Zhang Xu)", which has its own style. At the same time, the paintings of the bearers are connected with his poems in terms of thought and artistic conception, and the inscriptions on the paintings are often inscripted with poems, and the poems and paintings cooperate with each other, which is intriguing.
He advocated "only wanting to resemble the shape and detach from the principle of painting", pursuing the conveyance of the painting, and did not care about the shape. His paintings are mostly deserted villages and wild ferries, deep mountain ancient temples, fishermen's trees, and cold forest autumn colors, these paintings seem simple, a few strokes, but can depict landscape figures very evocatively. In his later years, he painted a painting of the mountains upside down, with the inscription: "Today's world has not been turned upside down." "It fully expresses the worries about the current situation and shows the heart of worrying about the country and the people."
The style of his works has had a great influence on the development of calligraphy and painting art in western Yunnan, and has enjoyed a high status in the literary circles and calligraphy and painting circles in Yunnan, and has had a profound impact on intellectuals of all nationalities in Yunnan. The famous calligrapher Zhao Fan, a member of the Jianchuan Bai ethnic group, once gave a high evaluation of the calligraphy and painting of "poetry Gao Yu earth-shattering questions, calligraphy and painting incense light proof ink Zen".
In 1673, he died at the age of 81 at the age of 81. Although he was less famous than bad mountain people and Shi Tao in the late Ming and early Qing dynasties due to his remote residence in a corner, he made a real contribution to the calligraphy and painting world in Yunnan and even the southwest, and was worthy of being the first person in Yunnan calligraphy and painting in the Ming and Qing dynasties.
Today's language
One poem, one realm. The responsible monk, who has excellent poetry and painting, takes books as his bones, paints as his skin, and poetry as his soul, records the landscapes of Yunnan, and he places his love on the landscape and water, and uses poetry and books to express his sorrow and anger about the changing times and his love for the motherland. His works have been praised and studied by the people of all ethnic groups in western Yunnan, promoted the development of local cultural and educational undertakings and the integration of exchanges and exchanges among various ethnic groups, and become a valuable asset for the study of the art of calligraphy and painting in western Yunnan.
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