Recently, due to the epidemic, many museums across the country have opened online "cloud exhibitions".
In the Shanghai Museum's "Sheng Shi Fanghua: Shanghai Museum Donated Cultural Relics Exhibition", a painting by the Ming Dynasty painter Shen Zhou Linyi painter Dai Jin is exhibited. At the same time, Dai Jin's precious works were also exhibited in the "Picturesque Landscape Paintings of Ancient China in the Collection of The Liaoning Provincial Museum".
What is the charm of Dai Jin's art, which can be famous in the history of painting?
"First Hand"
The "Lindai Wenjin Xie Andongshan Tu Axis", which is currently on display at the Shanghai Museum, is both a lonely piece and a strange work in Shen Zhou's works, which is unique.
Shen Zhou is known as the first of the "Four Houses of the Ming Dynasty", and this painting "Lindai Wenjin Xie Andongshan Tu Axis" was composed when he was 54 years old, and copied the "Xie Andongshan Map" by the painter Dai Jin (ZiWenjin), who was 39 years older than him, depicting the scene of the Eastern Jin Dynasty prime minister Xie An indulging in the landscape when he lived in seclusion in Dongshan.
Shen Zhou's landscape painters Huang Gongwang and Wu Zhen of the Yuan Dynasty, Dong Yuan and Ju Ran of the Five Dynasties, and Ma Yuan and Xia Gui of the Southern Song Dynasty. In terms of style, the former inherits the tradition of southern landscapes, while the latter inherits the tradition of northern landscape and court coloring painting.
Although it is a copy, Shen Zhou did not fully imitate Dai Jin's brushwork, but integrated the painting method of the northern and southern landscapes.
The "Cloud Exhibition" of the Shanghai Museum introduces this painting in this way: Shen Zhousheng's landscape paintings are mostly ink paintings, but also shallow, and it is rare that such a large axis is green. The outline of this mountain stone is clear, and the method of piling is different from the long axe cleavage commonly used by Dai Jin, and it integrates the characteristics of the southern and northern landscapes. Among them, the characters are dignified in shape, the costumes are beautiful, and the lines are healthy, reflecting the style of the Ming Dynasty's pursuit of the Song Dynasty courtyard body painting.
From today's point of view, Shen Zhou's popularity seems to be far better than Dai Jin's, but in the early Ming Dynasty, Dai Jin's prestige was no less than that of Shen Zhou. According to historical records, Dai Jin once had the reputation of "painting saint" and "the first in the national dynasty". He is the founder and leader of the Zhejiang School, and is familiar with people, landscapes, flowers and birds, and the achievements of landscape painting are the most outstanding.
Depressed
Dai Jin's father was a folk painter. According to legend, Dai Jin was a well-known gold and silver craftsman when he was young, specializing in the design of exquisite figures, flowers and birds jewelry, and later switched to painting.
When he first came to Jinling, the capital at that time, he brought a lot of luggage and asked a porter to help him pick it. Who knew that on the street, the cars and horses were crowded, and Dai Jin was separated from the porter without paying attention. He looked around, anxious. But he did not know the name of the porter, nor could he tell what the porter looked like.
In a hurry, Dai Jin borrowed paper and pencil from the restaurant on the side of the road, drew the appearance of the porter by memory, and then took the portrait to the place where the porters gathered to inquire. When the porters saw it, they immediately recognized the man he was painting. Finally, Dai Jin finally found the porter and asked for his luggage.
Although this is only a legend, it shows that Dai Jin is a painting genius. The "Ming Painting Record" describes Dai Jin's painting standard as follows: "The mountain water source comes from Guo Xi, Li Tang, Ma Yuan, xia Gui, and the magic is more spontaneous, and the so-called connoisseurs and profiteers are also good, and the miscellaneous paintings of the gods and figures are not bad." "Dai Jin's works involve a variety of themes, including stories of historical figures, scenery of the four hours, and reflections of literati travel. According to legend, the murals of many temples in the Qiantang area at that time were written by him.
During the reign of Emperor Xuanzong of Ming, Dai Jin was recommended to enter the palace and became a court painter, but soon after entering the palace, he was jealous of another court painter, Xie Huan, and was expelled from the palace. Although there is no accurate historical record of this statement, judging from the paintings left by Dai Jin, the signature does not mention his title as a court painter, from which it can be speculated that his stay in the court was very short. Dai Jin once lamented to himself: "There are quite a lot of undertakings in the rest of the chest, and those who are ignorant of the world cannot carry forward the theory." ”
Although Dai Jin did not receive royal favor in his lifetime, he was depressed, but his painting skills were exquisite and his character was high, and he was respected by some scholars and folk painters at that time. Shang Shu Wang Zhi admired Dai Jin's character and painting skills. Xia Chang, a famous ink bamboo artist, had close contacts with him, and the two often exchanged calligraphy and paintings. When the emperor Zaifu Yang Shiqi also wrote poems for him.
Dai Jin Spring Tour Evening Return Map Axis
"North" bone "South" rhymes
In 1442, at the age of 54, Dai Jin returned from the capital to his hometown of Qiantang (now part of Hangzhou).
Previously, he had wandered in the capital for decades without ambition, encountering ups and downs and ups and downs. Although the spring of life has passed, he has painted many famous works depicting spring with pen and ink.
"Spring Tour and Late Return" is Dai Jin's late work and one of his important masterpieces. This painting is majestic and free, and the ink is simple and smooth, as if it is a portrayal of his life that has been turbulent for decades. In the foreground is a manor house hidden in the woods, with branches sticking out of the wall and peach blossoms on the side of the road revealing the scent of spring. There was a knock at the door of the courtyard, and the servant in the courtyard came with a lantern to open the door for the master. The vista is a large mountain with a small ridge at the bottom of the mountain, on which pavilions and pavilions stand. Dai Jin is like the person in this painting, he has seen the vitality of grass and trees breaking the earth, the warblers and swallows dancing, felt the poetry of spring thunder and rain, mist and mist, and also experienced the helplessness of flowing water and flowers in spring, and finally returned home sleepy in the twilight.
In addition to the "Spring Tour and Late Return Map", Dai Jin also left behind the "Spring Ploughing Map" depicting the scene of peasant labor, the "Spring Ploughing Map" depicting the drunkenness of the mountain, and the quiet and empty "Spring Cloud Map of the Spirit Valley".
The "Spring Mountain Jicui Tu" in the Shanghai Museum is Dai Jin's work when he was 62 years old, and this picture is composed diagonally, inheriting the classic layout of the Southern Song Dynasty courtyard body painting. The close-up scene depicts the old pine at the foot of the mountain, with an old man walking slowly with a cane on the path, and the boy carrying the piano; the hillside of the middle scene is dense and the houses are faintly visible; the long-distance view depicts the grass and trees at the top of the mountain. Dai Jin dyes the mountains with light ink, writes trees with thick ink dots, uses a strong pen, the ink color is pale, bold and light, but also elegant, and the scene of spring in the mountains is intoxicating.
Mu Yiqin, a famous calligraphy and painting expert, believes that "Spring Mountain JicuiTu" fully embodies the style of southern Song Dynasty painters Liu Songnian, Li Tang, Ma Yuan and Xia Gui. Compared with the simple and rigorous painting method of his predecessors, Dai Jin's pen and ink are more brisk and loose, with clear layers of upper and lower distances, and new creations in expression techniques, which can be described as both "north" bone and "south" rhyme.
"Wind and Rain Return to the Boat" is also Dai Jin's masterpiece. The expression of this painting is peculiar, the composition is ingenious, and Dai Jin uses a rough brush and freehand blending method to express the tense state of the fisherman in the wind and rain when he returns to the boat in the rain.
The "Guan Shan Travel Map" collected by the Palace Museum is different from the previous works. In the picture, the peaks are towering and majestic, as if painted with bald brushes, the pen and ink are vigorous, the structure is rigorous, and the atmosphere is thick. Dai Jin has obviously jumped out of the paradigm of his predecessors and formed his own style.
Dai Jin Guan Shan Travel Map Axis Collection of the Palace Museum
Founder of the Zhejiang school
Professor Shao Qi of the School of Fine Arts of Shanghai Normal University told reporters that Dai Jin was a painter with certain ties to the Song, Yuan, and Ming dynasties, and his understanding should be viewed in a relatively long historical stage.
At the beginning of the establishment of the Ming Dynasty, retro was the fashion, and what was "restored" was the culture of the Song Dynasty. The court of the Song Dynasty had a painting academy, and the Ming Dynasty also had a palace art creation institution. There is a saying in the collection of calligraphy and painting that it is difficult to distinguish between the courtyard paintings of the early Ming Dynasty and the Song paintings, because the court painters of the early Ming Dynasty were basically learning Song paintings.
Dai Jin grew up in Qiantang, the capital of the Southern Song Dynasty, and the Royal Painting Academy was once in full swing, and painters were passed down from generation to generation. Among them, Ma Yuan and Xia Gui are representative figures of the Southern Song Dynasty landscape painters, and they are known as the "Four Greats of the Southern Song Dynasty" together with Li Tang and Liu Songnian. The school of landscape painting they represent is known as the "courtyard body" in the history of art. The landscape of the courtyard body is characterized by the sharp axe splitting of ink in the painting method, and the scene of the corner of the local close-up is featured in the framing. Ma Yuan is good at using the technique of partial expression of the whole in composition, often painting a corner of the mountain and an end of the water, and the picture reveals a large blank space, which is called "the corner of the horse". Xia Gui's landscape is called "Xia Banbian", and he is good at discovering the vastness and far-reaching landscape from local scenes.
Dai Jin's landscape paintings were heavily influenced by Ma Yuan and Xia Gui, and also incorporated the painting methods of Guo Xi and others in the Northern Song Dynasty. After entering Beijing, Dai Jin came into contact with painters of different styles, and after emulating the painting methods of the Song and Yuan dynasties, he came up with new ideas, his pen and ink were brisk and unrestrained, and he could strictly abide by the law, creating the first painting school in the history of Chinese painting with the name of locality - the Zhejiang school. Geographically, the Painters of the Zhejiang School are mainly painters from the Qiantang area; in terms of painting style, the Painters of the Zhejiang School inherit the Southern Song Dynasty.
Dong Qichang once said in the "Rongtai Beiji Painting Purpose": "The famous scholars of the national dynasty, only Dai Jin is a wulin person, and he has the purpose of the Zhejiang school. He also inscribed on Dai Jin's "Imitation of Yan Wengui Landscape Map": "The history of national dynasty painting is dai Wenjin for everyone, and this study of Yan Wengui is lightly empty, not to make a flat Japanese color, it is even more amazing." ”
Although Dong Qichang agreed with Dai Jin's position in the painting world, it is well known that he divided Chinese painting into the "Southern and Northern Sects", and the landscape of the courtyard was listed by him as the Northern Sect. Under the influence of Dong Qichang's aesthetic view of chongnan and suppressing the north, since the late Ming Dynasty, the evaluation of Zhejiang painters such as Dai Jin in the art circle is much worse than before, and some people even think that his works are too artistic.
In fact, Dai Jin's works have had a profound impact on future generations. Shen Zhou, the representative of the Wumen School of painting that rose after the Zhejiang School, regarded Dai Jin as his predecessor, and Tang Yin's works also carried a certain Zhejiang style.