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Gong Xian, a famous painter of the Qing Dynasty, was a master of landscape painting with modern significance, and he had a deep influence on modern landscape painting masters such as Huang Binhong and Li Keyan.
Cool Mountain view
There is a secluded place in the west of Nanjing, called Qingliang Mountain, which is also the hermitage of Gong Xian in his later years. Here, Gong Xian went from "White Gong" to "Black Gong", found the cool world of his heart in the steamy ink color, and also left a thick and colorful stroke for the history of ancient Chinese painting.
QingliangShan
Gong Xian: (1618-1689) A famous painter in the late Ming and early Qing dynasties, one of the eight great masters of Jinling. Also known as Yi Xian, the word half a thousand, half acres, the number of wild relics, also known as Chai Zhangren, Zhong Shan Ye Lao, Jiangsu Kunshan people, Liuyu Jinling (now Nanjing), in the early years of the revival of the community activities, the late Ming Dynasty war chaos when the wandering and wandering, into the Qing Dynasty seclusion can not be out, he and the painters who were also active in the Jinling area Fan Xi, Gao Cen, Zou Zhe, Wu Hong, Ye Xin, Hu Yu, Xie Sun, etc. and called "Jinling Eight Families"; and the famous poetry and calligraphy painter Lü Qian in the early Qing Dynasty and called "the second half of the world" (Gong Xian, the word half a thousand; Lü Qian, the number half hidden). Gong poetry, good deeds grass, derived from rice, and informal, self-contained. He is the author of "The Collection of Vanilla Hall".
Half-life drifting zero
Gong Xian lived in the era of the Ming Dynasty and the Qing Dynasty, and as a lower-class intellectual with no background, he was adrift in life, and almost most of his life was spent in refuge and difficult livelihood. "Don't be happy, go to the old and make a living." It was a lament for what had happened to him in his life.
In the forty-sixth year of the Ming Dynasty (1618), Gong Xian was born in the family of the eunuchs in Kunshan, Jiangsu Province, and when he was born, he was actually in the middle of the family. He moved to Nanjing with his family at an early age, and his mother died before he was ten years old.
Shortly after arriving in Nanjing, his father married another woman. His grandfather and father went to Sichuan for business together, and have never returned, and there is no news, I don't know if they were killed on the road, or how, this question is still a mystery. Therefore, Gong Xian's boyhood was very unfortunate.
At the age of thirteen, Gong Xian began to learn painting, and studied with Yang Wenqi under Dong Qichang. In the last year of Ming Chongzhen, the members of the Fu Society formed a society on the banks of the Qinhuai River in Nanjing to give poetry, give lectures on art, and save the national crisis. When he was young, Gong Xian also participated in the activities of re-establishing the society with the enthusiasm of meritorious service. Because of his integrity and achievements in poetry, books, and paintings, Gong Xian gradually emerged among the scholars and doctors in Nanjing.
However, the good times did not last long, and in the first year of the Southern Ming Dynasty (1645), the Qing army attacked Nanjing, and the young Gong Xian survived because of his wild residence in the northern suburbs. The war dragged his life into poverty. At that time, the north had been occupied by the Qing army and was relatively stable, and the Qing court resumed land reclamation in order to revive agricultural affairs, recruiting displaced people to reclaim the land.
In order to earn a living and escape the chaos of the war, Gong Xian helplessly began to drift north. However, he grew up in Jiangnan, grew up in the bard and poetry, but was not good at business, coupled with a weak body, unable to adapt to the hard life in the north for a long time, and soon had to return to the south.
After Gong Xian returned to Nanjing, his wife and children in his early years had already died of poverty and illness. He was alone, independent, and it was difficult for him to survive. He wrote in the "Guangling Liu Bei Nan ZhongZi": "Although the grand tour is my ambition, this trip is really sad and arduous. Eight died early, and they were all human. There is sadness between the lines.
Forced to make a living, he had to cross the river to Yangzhou, remarry again, and make a living by selling paintings and characters. Later, Gong Xian responded to Xu Yi's invitation in Hai'an Town, the capital of Taizhou, and went to the coastal town of Hai'an to become Xu Yi's son's tutor.
In Hai'an, Gong Xian received courtesy and care from the owner, and the guests and hosts got along well, and finally had a safe place. At one point, he had the idea of settling in Hoi An, saying that "love this will add to the hidden door". Probably because he could not bear the loneliness in his heart, Gong Xian wrote, "The short coat has gone to the country, and the surrender is still fluttering." Do not read the jing ke biography, shame for a sword male" verse.
At the age of 35, Gong Xian left the small city of Hai'an and returned to Yangzhou to live. In Yangzhou for more than ten years, he looked at many ancient famous paintings collected by rich merchants and magnates, and whenever he had the opportunity to see the paintings, he did not miss them, and tried his best to ask the other party to take all the collections to see. When he encountered a painting he liked, he explored the theory of painting, repeatedly copied it from memory, and only after obtaining its essence did he give up, and a large number of observations made his poetry and painting mature.
In 1666, nearly half a hundred Gong Xian felt insecure living in Yangzhou, and he once said that "avoid thieves and soldiers, gallop like frightened birds", so he decided to move back to his hometown of Nanjing. However, not long after returning to Nanjing, he was persecuted by powerful people.
If Gong Xian in his youth still had a political ambition, after years of wandering, tasting the world's sorrows and joys, he could not help but have the idea of retreating, in order to avoid disaster again, Gong Xian finally decided to live in seclusion in Qingliangshan, west of Nanjing.
He bought several houses on the mountain, and there was half an acre of land next to the house where bamboo flowers could be planted, so he named the house "Half Mu Garden". The location of the "Half Mu Garden" is very good, you can climb high and overlook the homeland, you can also get close to nature and paint with peace of mind.
Gong Xian once asked Wang Yi to paint the "Half Mu Garden Map" and inscribed a long trek to describe the scenery of the "Half Mu Garden":
"There is a platform on Qingliang Mountain, also known as Qingliangtai. Take the stage and watch, the river is in front, and Zhong Fu is in the back. On the left, there is Mo Shuo, which is like a mirror; on the right, there is Shiling, which is like an eyebrow; the Yu family is under this stage. Turning to the northeast, attracting guests to look at it, the Shibamon dog barked, as if to see it. ”
Teaching in seclusion
After Gong Xian lived in seclusion in Qingliangshan, he immersed himself in painting and studied painting theory, and in addition to having contacts with Zhou Lianggong, Fang Wen and other contemporaries, he almost cut off the general social interaction. In his later years, Gong Xian not only sold paintings and words, but also recruited students to teach painting, teaching students not to "follow the teacher as the wisdom", but to pass on the importance of "teacher creation" to students.
In terms of teaching methods, Gong Xian has achieved practical and specific and targeted. He gave a demonstration to the students, analyzing and explaining the trees, rocks, rivers, rivers, bridges, etc. in landscape paintings one by one, indicating the extent of the painting method, the aspects that should be paid attention to, and the most common mistakes for beginners. He expressed his painting ideas clearly and realistically in simple words and sentences, which were approachable and simple.
For example, Gong Xian pointed out to the students:
"The bridge has a face back. The face is seen in the west, but the back is seen in the east, and there are often painters who are opposites, and the big fallacy is also. ”
"The painting house should be set up on its own place, so that everyone can see it."
"The painting house should not be plated, but it must be upright." If the tilt makes people look uneasy. If the viewer is uneasy, the painting is not quiet. The placement of trees and stones is still appropriate, but the house is like?"
"Whoever paints a sail, or a genus of aquatic grass reeds and willows under it, should be followed by the wind, and if the sail is to the east and the branches of the grass are to the west, it is called a back, which is a taboo for painters."
Gong Xian tirelessly emphasizes the truth and meticulousness of these details to the students, paying attention to guiding students to observe and experience nature, and understanding the painting methods of predecessors through the understanding of nature.
Gong Xian has several kinds of landscape painting manuscripts passed down, and there are annotations on various painting methods next to the pictures. Later generations compiled the explanations on his apprentice paintings into a book, that is, "Painting Tips", which is to explain some basic techniques of landscape painting for beginners.
Gong Xian had an important student, Wang Shuo, and Li Yu wrote the "Mustard Garden Painting Notation", which was written by Wang Shuo. It can be seen that Gong Xian's teaching achievements.
Gong Xian once said to his students, "There is no ancient or modern reason, and an Zhi Dong and Huang are created." Gong Xian was influenced by Cheng Zhu Lixue, who believed that "reason" is the essence of the universe, and the "reason" of nature has been the same since ancient times, is an eternal objective existence, and is no different from the ancients and for today's people, why can't people face nature to create independently? Nature did not know that there was a painter named Dong Yuan or Huang Zijiu.
Gong Xian's theory of "mediocre hands" and "raw hands" is also extremely incisive. The "peaceful and unquenchable" painter only knows how to mechanically reproduce nature truthfully, and this copying and reproduction often makes the originally fresh nature more rigid. They are called "mediocre hands".
Gong Xian pointed out that instead of being a "mediocre hand", it is better to be a "raw hand". Because although the "raw hand" is not skilled enough to depict the object perfectly, it can often maintain the artistic style and the sincerity of the heart.
"White Gong" to "Black Gong"
One of the striking characteristics of Gong Xian's ability to start a family independently is that he uses ink differently from his contemporaries. The four kings of the same era were the mainstream at that time, and they copied and imitated Huang Gongwang and Ni Yunlin at the desk, pursuing the "innocence and lightness" of pen and ink, reflecting the scholar-type book atmosphere.
Gong Xian studied the Song people's teaching method of nature, and the ones he admired were Dong Yuan, Mi Fu, Wu Zhen and Shen Zhou, who was closest to him, combined with his observation and feelings of natural landscapes, he formed a simple and beautiful ink accumulation method, which was different from the ancient creative style advocated by the "Four Kings". Professor Shang Yong said.
In his later years, Gong Xian's paintings were thick and full of ink, and he was called "Black Gong", while the early style of dry brushstrokes was called "White Gong". Teacher Xiao Ping said: "The first symbol created by Gong Xian was his 'White Gong', and he completed this creation around the age of forty. The late Ming and early Qing dynasties advocated dry brushes, and Chinese landscape paintings mostly advocated dry and simple. ”
From around the age of forty to the age of fifty to complete the "Black Gong", the interval is ten years apart. There is one process in this decade, which is the 'gray gong' stage. This is a process of deepening. When he completed 'Black Gong', he actually had an anti-trend style, because most of the works of that era were white, dry and simple, which was the fashion of that era.
Therefore, in the history of Chinese painting and landscape painting, the blackest face is Gong Xian. Gong Xian was very self-satisfied, and he said that he had never come before or since. Although he studied MiJia in front of him, rice, millet to Gao Kegong, but gongbi Mijia Mountain was created by him, and no one could accumulate ink to seven times eight times ten times.
The misfortune of the sages
In the twenty-eighth year of the Kangxi Dynasty (1689), Gong Xiannian was about seventy years old and "died at the hands of Hao Qiangsuoshu". According to records, before Gong Xian's death, a powerful "arrogant" asked Gong Xian for calligraphy and paintings, and Gong Xian was poor and sick, and then he encountered mental suffering, resulting in bedridden, and soon died with hatred. After death, due to poverty, he could not be buried in a coffin, and the funeral was all handled by his friend Kong Shangren, who helped him raise his widow. Gong Xian's coffin was buried in Kunshan, Jiangsu Province.
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