Search for Qi Feng to hit the draft.
Painting to the point of silence, how dare you inscription.
Floating clouds and high soldiers, dead wood Road people's hearts.
Stacked on the surface of the water in autumn,
Layers of ghostly stone people live in the painting.
--Shi Tao
Shi Tao (1642 ~ 1708), painter of the early Qing Dynasty, original surname Zhu, name Ruoji, Guangxi Guilin people, ancestral home of Fengyang, Anhui, many other names, such as bitter melon monk, blind Venerable, etc., the legal name is Yuanji, Yuanji and so on. The son of Zhu Hengjia of the Southern Ming Dynasty, he was jointly known as the "Four Monks of the Early Qing Dynasty" along with Hongren, Jia Ren, and Zhu Yun.
After being transformed into a monk at an early age, he was stationed in The Guangjiao Temple of Jingting Mountain in Xuancheng, Anhui Province, and traveled in the second half of his life to sell paintings.
In the early years, the landscape master Fa Song and Yuan families, the painting style was sparse and clear, and in his later years, he used his pen to indulge, the gefa was changeable, especially the album sketches; the flowers were dashing and elegant, fresh and messy; the characters were clumsy and simple, unique. Pen and ink are unbridled and novel, contrary to the antique style of the time.
Shi Tao Matsuyama hut
Shi Tao is a very important figure in the history of Chinese painting, he is not only an explorer and innovator of painting practice, but also an art theorist. Surviving works include "Shitao Luohan Hundred Open Album Pages", "Searching for Qifeng To Hit Draft", "Landscape Qingyin Map", "Bamboo Stone Map" and so on. He is the author of "Quotations from the Painting of the Bitter Melon Monk".
Born ahead of one's time
The descendants of the Ming Dynasty royal family fled into the empty gate
Shi Tao Ping Lake release map
Shi Tao was the tenth grandson of Zhu Zanyi, the King of Mingjingjiang, and the eldest son of Zhu Hengjia. At the beginning of the Qing Dynasty, his father Zhu Hengjia attempted to claim the title of Overseer of the State, but was executed by the Tang King in failure. The young Shi Tao saved his life by relying on the protection of the internal official (the "drinking Tao" monk). They fled from Guilin to Jeonju, where they became monks at Xiangshan Temple and changed their names to Shi Tao.
Young
The talent for painting is gradually emerging
Shi Tao Cold Spring Cloud Depth Map
As a teenager, he showed a strong talent for painting, but mostly in the form of white painting. At present, his earliest work, "Landscape and Flower Album" (1657), is mainly dry pen, with clumsy pens and occasional light ink.
Around 1666, the 24-year-old Shi Tao went to Xuancheng, Anhui Province, where he met Mei Qing (1623-1697, known as the "Giant of Huangshan", a representative of the Xuancheng School). The two saw each other as they were, and became acquaintances in the art world.
Shi Tao's huangshan representative paintings can be seen that Mei Qing's influence on him is the most profound. For example, "Dufeng Stone Bridge Chart Axis" and "Huangshan Eight Victory Atlas", especially the latter, are the most representative works of Shi Tao's early stage of art, in many painting methods, he absorbed Mei's softness, but the arbitrariness in his personality was exposed under the changeable painting style.
Shi Tao Lotus Peak Diagram
Favorite bitter melon
Self-proclaimed "Bitter Melon Monk"
Shi Tao imitates Ni Wanqiu Mountain's seclusion map
Shi Tao is the most famous figure in history who eats bitter melons. He called himself a "bitter melon monk", and his meals did not leave the bitter melon, and he even offered the bitter melon to the desk for worship. This feeling for bitter melon is inextricably linked to his experience and state of mind.
When he was young, he broke up his family and died, and after fleeing, he had to cut his hair and become a monk. After that, he was displaced, traveling to Guangxi, Jiangxi, Anhui, Jiangsu, Zhejiang, Shaanxi, Hebei and other places, and only settled in Yangzhou in his later years. The unique style of his paintings, which is strange and beautiful, and the faint bitterness contained in the brush and ink, is a rhyme that is very similar to bitter melon.
Shi Tao Chunjiang Fishing Diagram Chengzi (1696) made
He used the world's well-known and puzzling nickname: Bitter Melon Monk, Blind Venerable. What is the solution to the bitter melon? Shi Tao's eyes were bright, so why was he called a blind Venerable? There are many legendary versions. The more well-known saying is: bitter melon, Pi Qing, Zhu Hong, meaning that the body is in the Manchu Qing, the heart remembers Zhu Ming; the blind Venerable, blind also, means to lose the Ming Dynasty. A man who is blind does not want to regain his sight?
Create novelty
The style of painting and calligraphy is otherworldly
As a great painter, Shi Tao particularly emphasized the use of painting intentions into books, with calligraphy into paintings, paying attention to change and eclecticism.
In the painting "Plum Bamboo", the plum stem is only a few strokes, from the lower right end obliquely into the upper left, the top of a small branch obliquely to the left and right, the flowers bloom several times, and a branch full of flowers folds in the air. However, the best thing is in the title section, the upper end of the picture from right to left full of verses directly fell on the branches and flowers, the handwriting is large and small, the strokes are tied together, the square pen is like a branch, the round pen is like a flower, the whole is natural, it feels like the branches are luxuriant, and the fragrance is fragrant. This is the fusion of words in the painting, painting into the words, wonderful to the extreme, Shi Tao's one-shot work to the viewer's feeling is so real.
"Plum Bamboo" Ink on paper
61cmx29cm
The eighth opening of the "Twelve Openings of the Landscape Book" in the Boston Museum, USA: "The flowers on the pavilion are like words, and the owner of the idle is eventful." Things like flowers are getting more and more, like words like flowers too game. Kelai is just idle time, rain and snow spring and cold flowers are late. The hall is full of clear snow inadvertently, and the roots are blossoming who do it. The master loves to plant flowers, and the flowers know the herringbone. I typed a word between the flowers, and the flowers smiled in unison. "Isn't that exactly the picture of this painting?"
One of the Twelve Books of Landscape and Water
Museum, Boston, USA
Chinese painting has different kinds of landscapes, flowers, figures, etc., and there are differences in different forms such as freehand, ink painting, boneless shallowness, etc., so the title requires that the book body be different, the size is suitable for the meaning, and it is just right.
Shi Tao is quite good at using the fusion of painting and calligraphy, and in his works, the long section is not tired of its length and even with different book titles, such as the "Chaohu Tu" in the Tianjin Museum, which has two paragraphs of books, and one line of books is quite spectacular on the hidden waves. There is only one seal, and even the seal is not covered in the blank space, but hidden among the trees and stones.
Shi Tao 《Chaohu Map Axis》
For example, Wang Jiqian's family collection "Landscape Album for Yu Lao Dao Brother" No. 3 "Rock Ravine Retreat Map" in the collection of Wang Jiqian, who lives in the United States, gives people a feeling of joyful flying, and the inscription is obviously superfluous.
From the perspective of font, seals, subordinates, letters, and lines of grass are all prepared, as an organic part of the painting, and almost inextricably omitted, which reflects Shi Tao's brilliant artistic realm.
In this way, Shi Tao is based on the calligraphy of the painting method, or the "two ends" and "one body" theory mentioned above, in fact, he completed the process of introducing the book into the painting. We can't be far-fetched, saying how consistent Shi Tao's inscription is with the main content of the painting, but this kind of writing style and style always gives people the right feeling and is real.
You can try the following types:
1. A variety of styles of calligraphy.
A kind of method of getting the bell and Wang Xiaokai, such as the "Xiyuan Yaji Picture Scroll" now in the Shanghai Museum, Shi Tao copied Mi Fu's "Xiyuan Yaji Tuji" in the back of the volume, because the characters in the Yaji in the picture scroll are quaint and natural, so the style characters use the bell and Wang Thick and simple all the way, so that the artistic conception of the painting appears more quiet, which is quite consistent with the situation at that time. This kind of book style is probably a direct manifestation of Shi Tao's pursuit of Jin Wei.
"West Garden Yaji Picture Scroll" Shi Tao inscription
Another type of Ni Zhan Kai method, which is quite suitable for the sparse and beautiful point paintings, is typical of the "Huangshan Travels" volume now in the Palace Museum in Beijing, and the inscription of this volume is completely born from Ni Zhan, just as Shi Tao said to himself: "Ni Gaoshi's paintings are like waves and sand and stream stones, standing with the flow, out of nature, and a period of ethereal and clean atmosphere, cold and compelling, and future generations imitate his dry ropes and cold frugality, and the reason why this painting is not far away."
There is also a type of larger glyph calligraphy, quite a broad and thick spiritual atmosphere, such as the "First to a Branch Pavilion Calligraphy and Painting" volume inscription in the Shanghai Museum, the strokes are strong, the knot body is wide, the nails are cut, and it is very stable. According to the "Biography of the Great Dizi", Shi Tao's early years were "You Xi Yan Lu Gong", which shows the influence of this study experience on him.
2. Write a letter with a strong meaning.
The titles of many of Shi Tao's important works are mainly Lishu or Seal Book inscriptions, and the number of words is not much. The aforementioned "Chaohu Tu" is titled with two long paragraphs of Lishu, and his Lishu was influenced by the Lishu scholar Zheng Basket at that time, and the simplicity and thickness were slightly insufficient, so Mr. Xu Liming said that it was "quite simple and interesting". The second "Peach Blossom Garden" of christie's collection of "Zhu Yunming's Poetic Album" seems to be taken from the font in the text description written in the late Ming "Fang's Ink Spectrum". It shows that the Late Ming Dynasty also had a certain degree of influence on Shi Tao. Although the thought of epigraphy in the late Ming and early Qing dynasties was still in Fameng, the keen Shi Tao still grasped and expressed it, which was relatively valuable.
"Zhu Yunming's Poetic Album" No. 2 "Peach Blossom Garden"
Cursive writing from each house.
A type of Su Shi's relics still exist, with a side pen posture and flattening and weight, such as the "Fisherman" of the "Landscape Characters and Flowers Album" now in the Shanghai Museum. Shi Tao once said: "It is Chinese New Year's Eve, and the ancient people have looked at it, and the ugly characters on the eastern slope have some understanding of the law." So he abandoned Dong and did not learn. ("The Biography of the Great Dizi"), which shows how much inspiration su zi gave him, and the ugly character of Dongpo will be discussed below. Although Dong Shu was abandoned, the traces of dong in the early years can probably be felt from the slightly more beautiful style. Another category, which is consistent with Wang Duo's pen and ink characteristics, such as stroke association, bold use of ink increase method, etc., makes people feel happy and happy. For example, in the three lines of "Fisherman", the ink of the words "water" and "inter" coincides with the steamy lake surface. The use of the ink increase method, especially in cursive writing and calligraphy, has gradually shown Shi Tao's boldness and artistic style.
"Landscape Characters and Flowers Album" of "Fisherman"
The fusion of li, kai, and xingcao truly belongs to Shi Tao's own style.
This kind of book style fully demonstrates Shi Tao's artistic expression, and has a certain degree of influence on the later Yangzhou Eight Monsters. For example, the "Landscape Album for Liu Shi" in the Boston Museum of Fine Arts is now in the collection, one of which is "Spring Wind Blows the Moon". The inscription font combines a variety of calligraphy styles such as italics, subordinates, lines, and cursive styles, opens the atmosphere, combines the pen with a square circle, the posture is relatively gentle, the size of the paragraphs is jagged, and the line spacing is almost zero. It is really like "big pearls and small pearls falling on the jade plate" boiling and clumsy and revealing dexterity.
The twelfth painting in the same volume, "Mountain Trail Walk", says: "This way is clear and clear, just need to be swept straight, thousands of rocks, and look at it as if it were thunderous and rushing clouds." Tun Tun Zi qi, Jing Guanye, Dong Juye, Ni Huangye, Shen Zhaoye, who and An Ming, Yu often used all the famous families to imitate a certain family, a certain sect. Books and paintings, born with a person in charge of a generation, where to start. "How confident Shi Tao is.
He also once said in the inscription: "The painting has the Southern and Northern Sects, and the book has the Law of the Two Kings." Zhang Rong has a saying: Do not hate the law of the two kings. Hate the second king has no subject law. Now ask the Southern and Northern Sects, my Sect? Dzong I yay? For a moment, I said: I use my own method. Shi Tao's "I Method" is a new method created by himself after learning the tradition. We all know that zheng Banqiao created a six-and-a-half-minute book, which was actually taken from Shi Tao (see the inscription of "Furong" in the fourth "Furong" of the "Character Flower Album" in the Princeton University Art Museum).
This type of font, in the use of the pen casually and quite imaginative, or hidden or exposed, or thick or thin, or even broken, in the knot body is very free but does not lose the law; or large or small, or loose or tight, or open or closed, or positive or oblique, or flat or long, or square or round, in the chapter as its painting freely, or dense or even or lacking, especially according to the composition of the main body of the picture and natural expansion and deformation, very romantic.
In fact, Shi Tao's paintings and calligraphy penetrate into each other and become one, and the inscription is no longer an independent part. As far as Shi Tao's calligraphy is concerned, it is actually impossible to separate Shi Tao's calligraphy from his paintings. Because Shi Tao not only participates in the composition in the form of inscriptions, the use of pens and loose characters in his calligraphy also affects the lines and layout of his paintings. Looking at the mood of the inscription poem, the fit is amazingly perfect.
For example, the Ten Open "Ten Scenic Albums of Jinling" now in the Palace Museum in Beijing, one of which is "Purple Qi Full of Bell Mountain", depicts a ridge obliquely running through the upper part of the picture. And the inscription is also according to its situation, as an oblique shape, the width and narrowness between the rows do not care, dense and natural, in the details feel just like the mountain beam in front of the eyes, the upper oblique edge is like a row of dense pine trees, and the lower loose handwriting, like a pine forest of loose waves, is setting off the ridge in the distant purple gas, which is amazing.
Another painting in the same volume is titled "Sad Xuanwu Lake", the composition is gentle, the small island in the lake and several small boats that can hardly see the movement, it seems that the lake surface is quiet and heavy, the inscription is below the slow mountain on the shore, written in short light ink, not rubbing, the inscription also adopts a soft winding brushwork, thick ink and dry pen, slowly written, endless, really like a cloud covering the air, making people feel solemn.
The style of Shi Tao's painting and the style of inscription calligraphy are often very compatible, showing the same pen and ink interest. In Shi Tao's "Quotations from Paintings", there is a chapter on "pen and ink":
Ancient people have pens and ink, there are also pens and inkless people, there are also ink without authors... The concreteness of all things in mountains and rivers, there are reverses and positives, there are partial and sideways, there are gatherings and dispersions, there are near and far, there are inside and outside, there are virtual and real, there are broken and connected, there are layers, there are peeling, there are abundances, there are ethereal, and the big end of this life is also... Under the pen and ink, there are fetuses and bones, there are openings and closings, there are bodies that are useful, there are shapes and postures, there are arches and stands, there are crouches and jumps, there are lurking, there are rushes, there are sagas, there are majestic, there are sagae, there are sagae, there are strange cliffs, there are steepnesses, there are steepnesses, there are steepnesses, there are steepnesses, there are steepnesses, there are steepnesses, there are strange cliffs, there are strange cliffs, there are strange cliffs, there are strange and steep, there are strange and steep,
Shi Tao believes that to depict these natural things with different modalities, it is necessary to rely on the lines depicted by the pen to express the objective image, and at the same time to rely on the sprinkling of ink to render the atmosphere, and the pen and ink should also be ever-changing. The emphasis here is to give full play to the function of pen and ink to depict objective objects, and the two must be just right, otherwise there is no ink, there is ink without pen, and the inner vitality of aesthetic objects cannot be fully expressed.
As mentioned earlier, Shi Tao's "Landscape album for Liu Shi" and its fifth "Mountain Stream Stone Bridge" section reads: "The natural principle of hills and valleys, pen and ink meet the scenery and fate, with the intention of hiding the front, turning and collecting, the solution is boundless." It is his so-called "all paintings are used as orthography" when he depicts the object, including the handwriting of the inscription, which also has to change a lot, so that the two become one.
Another example is the Twelve Flower Albums now in the Shanghai Museum, depicting twelve kinds of flowers and vegetables such as peach blossoms and peonies, using a more bold boneless freehand method, with ink double hooks, especially inscription calligraphy, there are lines of calligraphy and grass, and bold use of ink increases. We see that on the picture, the painting is like a calligraphy, the word is also painted, thick and wet, a natural, it appears that the ink is dripping, the color and ink are blended, and the elegant style is displayed in the unrestrained and free pen and ink.
Shi Tao has used ink in his various book styles, and he is more familiar with the picture, he also attaches great importance to the light ink and dry pen in the title, the flexible use of these methods, on the one hand, makes the ink color colorful, on the other hand, can make the picture achieve a high degree of harmony and unity. No wonder Mr. Wu Guanzhong believes that Shi Tao's inscription is almost a painting, and he respects Shi Tao as the "father of Modern Chinese Art"! (Partly excerpted from "Out of One's Own Mind, and the Ancient as an Apprentice- My View of the Art of Calligraphy with Shi Tao's Inscription"; Author: Chen Zhonglin)
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