Zhang Geng, a famous painter of the Qing Dynasty, wrote a painting book called "Pushan On Painting" to expound his artistic ideas. It is mentioned in the book that the ancients "painted to have the temperament of a scholar, and this word of character is also". The meaning of this sentence, the criterion for evaluating the quality of a painting lies in the charm, and a good work must have literary popularity. Shape is not the standard for measuring the quality of the work, and the mood is the most important.
"Ten Thousand Pine Winds" is a later work by Zhang Geng, which depicts a tall and tall pine tree in the midst of a lofty mountain. Even if there are smoke and mist, people with flowing water cannot stop the charm of the beautiful scenery and water. This painting borrows from Dong Qichang's artistic concept and has a strong antique atmosphere.
Zhang Geng WanFeng
Taking the fa of the ancients, referring to the natural beauty, although the sense of innovation is insufficient, it represents the mainstream style of the Kangqian period of the Qing Dynasty. Zhang Geng is not a pioneer, he inevitably caters to the aesthetic orientation of the public. Zhang Geng said that his ideal is to travel in all directions and take the strengths of a hundred families. At the same time, he said, "[The Fa] is taken from the ancients." "He is a bit contradictory in his creation, he wants to break the stereotype, and he does not have the courage to break through."
He felt the charm of pen and ink freely from Chen Chun's splashed ink works at the end of the Ming Dynasty, and made a lot of attempts at this. Zhang Geng feels natural and free, smooth and rounded, expressing the aesthetic style of the scholar. Painting such a more rigorous work as "Ten Thousand Pine Winds", emphasizing the effect of using pen and ink, has won the elegance of the ancients' brushwork.
Zhang Geng WanYuan Pine Wind Local
Contemporaries of Zhang Geng commented that his works were "beautiful and weak", which belittled his artistic achievements. "Weak", quite appropriate, indeed does not have the arrogance of being domineering. It is wrong to say that he pursues a sense of form too much and pleases dignitaries and dignitaries. At best, "Ten Thousand Pine Winds" is a standard orthodox face, not a "flattering".
To appreciate Zhang Geng's works, we must see his emphasis on the morale of scholars and the understanding of the tastes of literati. He uses delicate brushwork to show dashing and skillful techniques to express the temperament of the literati. Such works can already be classified as divine or wonderful in style.
Zhang Geng is a painter who attaches great importance to theoretical research, and he has systematically studied the knowledge of character, temperament, and charm of painting. His paintings can be used as auxiliary teaching materials in interpreting traditional painting theories, and whenever he has a unique insight, it must also be reflected in his works, making his paintings extremely valuable.
For example, the scholarly temperament he proposed and the characteristics of pen and ink are not much related, and the focus is on the display of personality. The personality in the painting is more important than the perfection of the technique, and the personality often means that the heavenly opportunity outside the transcendent is discovered. Regardless of whether his point of view is correct or not, he can realize that technique is not the only element of creation, and he will applaud him.
Seeing this, I probably understand the scholar-doctor qi proposed by Zhang Geng, which can be simply understood as vivid qi rhyme. Zhang Geng's works continue the aesthetic taste of literati painting and put forward the creative concept of attaching importance to personality expression.