In the art world of the late Qing Dynasty, with the revival of the "primary school", the three books, paintings and prints gradually merged and echoed, and immersed themselves with each other, so that there were refreshing new artistic favorites in the scope of these three, one of which was the well-known Zhao Zhiqian. Compared with some of them, Zhao Zhiqian is indeed the only one who is good at three.
Portrait of Zhao Zhiqian
Zhao Zhiqian was originally named Yifu(益甫), leng jun (冷君); later changed to uncle, and was later renamed Tie San (铁三), 寮寮 (憨寮), also known as Sorrowful, Wu Min (無闷), Mei An (梅庵), etc., and Zhejiang Huijian (Zhejiang Huijian). The residence was once known as "Two Golden Butterfly Hall" and "Bitter Room". He has been in Poyang and Fengxinzhi County, Jiangxi, and the time is not too long. In his early years, he worked on poetry, was good at calligraphy, first learned Yan Zhenqing, and Deng Shiru, a new style of calligraphy figure at that time, was a new style of calligraphy, and later became a style of his own, strange and strong, and unique from the customs. He integrated the so-called aesthetic taste of epigraphy into painting, and the flowers were learned from Shitao, and there were changes, which can be called the opening of the "sea" freehand flowers in the late Qing Dynasty. He first learned the "Zhejiang School" in seal carving, and then went deep into the Warring States and Qin Seals that were unearthed or handed down, and revisited the Song, Yuan, and "Anhui Schools", and occasionally took the Qin Zhao, Han Mirror, Spring Coins, Gold Stone Inscriptions, and Inscriptions that could be seen at that time into the printing, so that his books were more ancient than those of the same period of calligraphers and Indians, and more ancient meanings, and people praised him for "sweeping away the old habits, making Cang Xiu majestic, and his youth was famous for his talent." This is to see a new face to his art, but less involved in the source of "new". His achievements in calligraphy are multifaceted, and from the perspective of "philology" or "primary school", the integration of the brushwork of truth, grass, li, and seal is one of the most effective means for him to distinguish him from the world, although the founding power of this method does not belong to him. Zhao Shi once said: "The independence is expensive, the heavens and the earth are extremely large, many people say that it is always exhausted, and independence is difficult to seek." "He invested a huge amount of time and cost in poetry, books, paintings and printing all his life, and the method was accurate, coupled with his understanding, and unremitting efforts, so that he finally became an important town in the history of Chinese art." Although at the present time, there are still people who criticize his art, but his method and understanding of art ensure the uniqueness and irreplaceability of his art.
Qing Zhao Zhiqian's "Iron Tree Diagram"
After he went to Beijing, he gathered with Shen Junchu, Hu Ganbo, Wei Jiasun and others, several of whom were obsessed with gold stones, and at that time he was beginning to recompile the "Supplementary Huanyu Visiting Stele", collecting a large number of ancient carvings, especially the "Zheng Wen Gong Monument" which was the most favorite. Around the age of thirty-five, he lingered back and forth to the Glass Factory every day, admiring and analyzing, morning and evening. Zhao gradually abandoned Yan calligraphy altogether and turned to Northern Wei calligraphy. Regarding the pursuit of calligraphy, Zhao Shi made this self-evaluation of his calligraphy in "The Book of Waking Up with Dreams": "Yu Shu can only make the main book, the seal is more rate, the subordinate is more lax, the herb is not good at it, the book has not been learned, and it can only be a manuscript." However, Pingsheng can be subordinated because of the study of the seal, and the learning of the seal can be the main book. Many connoisseurs think that this passage, in addition to "vaguely indicating that he is good at calligraphy, seal, affiliation, and calligraphy, is somewhat humble about line and cursive writing." People who do not understand the history of the development of writing, and only know where to understand for people who hold people's stinky feet, first, Zhao Said, "Ran Pingsheng can be subordinated to the seal, and the study of the seal can be the main book", and his path of learning books is to start with the method of "primary school", changing the inheritance of the yuan, Ming, and Qing dynasties to start with "Yan, Liu, Ou, Zhao" and other calligraphy. Second, "manuscript book" is also a reason misunderstood by many people as a humble word, and in the calligraphy since the Tang Dynasty, this idiom is often used as another name for the "Xingshu" that originated in the Two Han Dynasties and the Wei and Jin Dynasties. I think zhao defined his works in this way, one of which means that his own writings did not inherit the so-called special calligraphers such as the "Second King" after the Wei and Jin Dynasties, but was extended from his own practice of seal writing and lishu. However, in the era of the so-called "epigraphy", it is not a big deal to break away from the barriers of theology and open up a path other than the "two kings". It is no wonder that later generations have called their works of Xingshu "Wei Ti Xingshu", and although its language is not written, it also shows that Zhao Shi's self-esteem is high.
Qing Zhao Zhiqian's "Peony Lingzhi Diagram"
Zhao Yu seal book, or because of his study of seal engraving. But because of this, the former returned and affected his seal carving. Originally originated from Deng Shiru and Wu Rangzhi, and then under the influence of his friend Hu Shu. At that time, the seal carvings were all printed with small seals. Zhao Zhiqian is also limited to this, and is only good at small seals, but his works are very rare. Zhao Shi wrote an inscription for his disciple Qian Shilin's "Yishan Stele" at the age of fifty-four: "The stone carved by Yishan in the Northern Wei Dynasty was already dead, and the Zheng Wenbao engraving book that is now rumored to be very clumsy is very bad. In the past, people were ugly as banknotes "History", not excessive. My imperial seal book is deng jibo as the first, and the only people who are close to me are Yangzhou Wu Xizai and Wuyou Jixi Hu Xuanfu. Xi Zai is old, And Tsurugi has fallen into Hangcheng, and his life and death are unknown. Tsuen Fu is still there, and I dare not make a seal book. I don't know where to go. Qian Sheng's second practice of the Seal Method must be shown by what he knows, that is, the use of the Deng Fa Shu Shu Shan Wen is better than the History of Wen Bao Banknotes or less than the ear. "There are all kinds of information revealed in this, and the fundamental one is Shi Fa Deng Shiru. It is said that Zhao's printing studies, before the age of thirty, learned the "Zhejiang School", and then continued to learn the "Anhui School", and at the same time as Xi Xiaohuan entered the seal, he began to dabble in the Warring States and the Qin and Han Seals, opened up a wide range of fields of capital acquisition, and dabbled in the power of the Imperial Seal, the Quanbu Jingming, the Wadang Stone Jie, the Han Chuan Sealing Mud, etc. At that time, many people thought that "everything that can serve its seal engraving is widely absorbed and used for its own use". Wu Changshuo said in the title "Sorrowful Seal": "Mr. Sorrowful Luo's book does not read below the Qin and Han Dynasties, and is deeply familiar with ancient scriptures, and the Wa'er characters are rotten and familiar, so his chiseled seal is strangely ups and downs, and the 'Zhejiang School' has become a treasure for one." It can be seen that people at the time recognized his achievements in printing. In the engraving of the side sections, he created a new style of engraving Zhu Wen in the Northern Wei calligraphy and entering the model with Han portraits. He realized his ambition to "build a portal for the six hundred years of Gyinjia". His brand-new artistic practice has effectively influenced and enlightened modern painters such as Wu Changshuo and Qi Baishi.
Qing Zhao Zhiqian One of the flower fans
Qing Zhao Zhiqian Flower Fan No. 2
The development of flower painting in the Qing Dynasty was of great importance to the "epigraphy" calligraphy that was greatly promoted at that time. Since the Qing Dynasty, due to the "Golden Stone Science", or "Primary School" and the so-called "SteleOlogy" of Boxing, the number of people who have entered the painting with "Golden Stone" has been increasing day by day, and famous ones such as Gao Fenghan (1683-1749), Jin Nong (1687-1763), wu Rangzhi (1799-1870), etc., were all leaders of the time before Zhao. However, in terms of the achievements printed into the painting, Uncle Zhao is the most important. Regarding Zhao's achievements in painting, Pan Tianshou commented in his "History of Chinese Painting": "Zhao Zhiqian, the uncle of huijian, made flowers with the fun of jinshi calligraphy and painting, and was a pioneer of the 'Hai School' before the opening, which was a special one, and was a scholar zongzhi for a while. In the end, the 'Nantian Sect' is also rarely questioned. "Because of his new and superb artistic achievements, the artists centered on Shanghai, especially the new generation such as Pu Hua and Wu Changshuo, have been deeply influenced by Zhao Zhiqian and gradually formed a new genre - Hai school painting.
Qing Zhao Zhiqian"Chrysanthemum Bogutu"
According to statistics, among the inscriptions of Zhao's paintings, the painters he once took the Fa include: Wu Zhen, Li Kun, Zhang Yan, Ma Yuanyi, Yun Shouping, Zhang Yi, Wang Wu, Jiang Tingxi, Chen Hongshou, Ji Chen, Li Fangyi, Xu Wei, Zou Yigui, Zhou Zhimian, Lu Zhi, Shi Tao, Bian Shoumin, Wang Meng, Qian Zai, Wang Chen, Shen Xiang, and so on. Among them, the most mentioned is Li Kun, followed by Yun Shouping, Xu Wei and so on. According to the existing literature, Zhao Shi wrote four screens of the Book of Youxi around the first year of Tongzhi (1862, when he was thirty-four years old), and one of the screens recorded verses from the age of ten, stating that "this servant's ten-year-old inscription refers to the painting of the "Songyue Shengliangtu" sentence also. It seems that zhao worked painting when he was young. From the perspective of his heirloom paintings, he had worked very Yun Nantian's boneless painting method. His ability to draw lines, colors and sketches is very good, and critics call him "a young man who practiced Yun Shouping's painting method". The creation of flower and bird paintings in the early Qing Dynasty, represented by Yun Nantian, studied the boneless method, followed the painting style of Xu Chongsi of the Northern Song Dynasty, set up elegant and bright colors, and opened a new generation of painting styles. For a time, the "Nantian Sect" was formed. "Yangzhou Eight Monsters" followed out, washing away the "Nantian Sect" elegant and delicate atmosphere, painting with a thick brushstroke method, the picture pursuit of grandeur, a change in the habits of the times. Most of the "eight monsters" are still learning From Xu Qingteng, Chen Baiyang and bada Shanren, and use calligraphy to enter the painting method, pursuing the writing effect of painting, emphasizing its gods and light on its shape, which was widely popular for a time. After the "Eight Monsters of Yangzhou", freehand painting also declined. During the Daoguang years, the painting world was quite silent.
Qing Zhao Zhiqian One of the flower books
Qing Zhao Zhiqian's "Stone Map of Camellia Lake"
It was during this period that Uncle Zhao was born. But Zhao is longer than analysis and synthesis. He often combined Yun Nantian's boneless painting method with the freehand painting method of "Yangzhou Eight Monsters". In particular, drawing on Li Peng's small freehand technique, he set the color out of "Nantian" and combined the two major schools of flower and bird painting in the Qing Dynasty to create his own personal style. Because of his profound calligraphy skills, his grasp of lines is exquisite, and his golden stone brushwork is outlined, which is thick and interesting. The use of a variety of font inscriptions, longer than poetry rhymes, which is also an important factor for him to surpass other painters in the late Qing Dynasty and become a master of painting. He is an important example of the organic combination of poetry, books, paintings and printing, which are important principles of literati painting.
Qing Zhao Zhiqian's "Peach Solid Map"
Qing Zhao Zhiqian", "Flower Screen"
Looking at Zhao Zhiqian's heirloom paintings, the most amazing thing is his painting subject, painting many people who have never been painted before. When Zhao was thirty-three years old, he lived in the Wenzhou area to avoid war, where he saw novel flowers and seafood, and he wrote everything he saw into his paintings, thus greatly expanding the subject matter of painting. His "Different Fish Diagram", "Ouzhong Property Map" volume, "Ouzhong Grass and Wood Diagram" four screens, etc., have become immortal masterpieces in the history of Chinese painting. In fact, Uncle Zhao's influence was not limited to the sea, such as Qi Baishi, Chen Shizeng, and other generations of "Northern School" painters who had been living in Beijing for a long time at that time.
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