Yuan Anon. "Snow Mountain Donkey Transport" album Ink on silk
25.1×25.9cm Collection of the Freer Museum of Art, USA
The late Tang Dynasty poet and chancellor Zheng Qi was asked by his subordinates one day: "Is there any new poem in Xiangguo nearby?" ”
Zheng Qi said: "Shi Si is on the donkey of baqiao wind and snow, how can it be obtained here?" ”
The poet replied very clearly, poetry can only be generated on the back of the donkey, without the donkey's back, where can there be any poetry?
The Baqiao, wind and snow, and donkeys in Zheng Qi's mouth constitute the "Baqiao Wind and Snow Map" of the famous celebrities Wu Junchen and Wu Wei, and also write about the life precipitations and ups and downs of Xu Wenchang and Tang Yin...
Song Wu Junchen's "Baqiao Wind and Snow Map" Silk book color
191×94.4cm Collection of the Freer Museum of Art, USA
Later generations attached great importance to the study of the scenery of Baqiao and the artistic conception of wind and snow, and often ignored the existence of donkeys. Literati paintings mostly use donkeys in the mirror, why not horses, or cars?
One: Noble. Horses are expensive and donkeys are cheap, horses can be classified as luxury goods in ancient times, in addition to the war horses used for war, those who can ride horses are large households, noble children, and literati can not afford to buy horses.
Second: self-deprecating. Literati with ideals and ambitions, full of poetry books, and rich emotions were difficult to display their talents in ancient times. They need to laugh at themselves: "Donkey talk can be a donkey", "The owner donkey promises to lend me", "Driving a donkey and has no way to do it, what is the way to go" "Donkey to get the spring wind", "Donkey is stomping on the shadow, the tea smoke stove is cold, the wine pavilion door is closed", "The donkey is full of riding will come out, and the autumn roll will be sent to whom"...
Third: temperament. The literati have the purity, stubbornness, and stubbornness of the literati, which is similar to the stubborn donkey god.
Ming Wu Wei "Baqiao Wind and Snow Map" Ink on silk
138.1×106cm Collection of the Palace Museum
The woman in the painting carries the reverence of the literati and inkers for nature, the entanglement of the journey and the imagination of infinite nostalgia and return, and has walked through a thousand years.
As the largest group of "middle-class intellectuals" in ancient times, the Chinese literati have gone through thousands of years of tearing and torture, their spiritual totems appear foolish, stubborn and funny, they are eager to integrate into the values of others, but in a loud hiss, they expose their shy and weak faces, and finally have to compromise with the world and power.
Song Wu Junchen's "Baqiao Wind and Snow Map" (partial)
Ming Wu Wei's "Baqiao Wind and Snow Map" (partial)
In the Ming Dynasty, the image of riding a donkey to find poetry was not only included in poetry, but also in painting, becoming one of the behaviors of the literati to flaunt their temperament and show their loneliness.
The struggling donkey has a wild atmosphere, and Xu Wei, a calligrapher and painter of the Ming Dynasty, is such a proud and arrogant "donkey". His life was full of hardships, encountered ups and downs, and his old age was miserable and desolate, hanging from each other, and he integrated his sadness and indignation and the sense of not meeting his talents into the pen, creating one after another shocking ink paintings. From his freehand "Donkey Back Poetry Diagram", we can see his uninhibited and fierce temperament.
Ming Xu Wei's "Donkey Back Chant" on paper Vertical axis ink
112.2×30cm collection of the Palace Museum
The Donkey Back Poetry Drawing inherits the Southern Song Dynasty painter Liang Kai's tradition of "reducing brush strokes". The subjective emotional color is strong, and the pen and ink are indulged, which pushes the Chinese freehand flower and bird painting to the highest realm of writing strong thoughts and emotions. Painting with calligraphic brushstrokes is another feature of "Donkey Back Poetry Drawing". The painting methods of people, donkeys, trees, and vines in the picture should have the meaning of truth, line, grass, and subordination, which makes people feel that there is an endless vitality in them, which is where Xu Weizhi's paintings can be free from the world and stand out.
Tang Yin, who was born 51 years earlier than Xu Wei, is more "tragic" than the fate of Tang Yin, who "dots Autumn Fragrance" in the legend, and when he was more than 20 years old, his relatives in his family died of illness, and he just began to know how to be self-motivated and take the imperial examination, and as a result, he was implicated in a fraud case and isolated from his career. Painting is Tang Yin's hobby and specialty, and it is also his survival skill. At the age of 54, Tang Yin was poor and died, and when he died, he died in hell, and he was loveless.
Ming Tang Yin", "Riding a Donkey back to Si Tu" Silk Book Vertical Axis Coloring
77.7×37.5cm Collection of Shanghai Museum
Tang Yin's "Riding a Donkey back to Si Tu" is close to the steep cliff, the left side of the boardwalk is winding, and it is under the rapid turbulence bridge, crossing this into another mountain road, the mountain circuit turns, the woods are lush, and the houses are first seen. A man riding a donkey returns.
Ming Tang Yin," Riding a Donkey back to Si Tu (partial)
In the painting, there is a poem with seven words and one sentence: "Begging for no bound book return, still riding a donkey to Cuiwei." Full of wind and frost and dust, the mountain wife has a cow coat relatively. Wu Jun's Tang Yin poetic intent. ”
This painting has no year, from the picture Zhu Yao inscription "Happy to hear the heavenly son driving the new return" poem and Tang Yin's self-title "Begging for no bound book return" It is inferred that it should be made by Tang Yin in the first year of Zhengde (1506 AD) after tang yin fell in the first year, when Tang Yin was thirty-seven years old. This inscription poem writes that the Heavenly Son of that year was very important to the literati below, so he went to rush to the examination and rushed to the imperial court, but in the end he did not pass the examination, so he had to ride back on a donkey. Covered in dust, he could only face the mountain wife when he came back, and the "mountain wife" was the wife.
Ming Qiangu "Snow Mountain Travel Map" axis Paper color
288.2×56.1cm Collection of the National Palace Museum, Taipei
Qian Gu's "Snow Mountain Travel Map" adopts a narrow and long composition developed by Wenzheng tomorrow night, depicting snow-capped peaks spiraling upwards on top of each other, the valleys winding and deep, donkey riders about to cross the creek, and there is a quiet and clear atmosphere in the cold.
Zhu Yun 《Dead Wood coming bird map》
Knowledge: Eight or nine sons, donkeys.
Seal: Donkey, Bada Shanren, Picked.
Zhu Yun's "Ode to Wine"
Zhu Yun Seal "Donkey House Into the House"
Shanghai Museum, ed., "The Seal of Chinese Calligraphers and Painters" (Cultural Relics Publishing House, 1987.12)
In addition to using the word "donkey" in his paintings, Zhu Yun also had many related inscriptions or seals such as "Donkey Book", "Mountain Donkey", "Donkey House", "Donkey Han", "Technical Stop This Ear", and Zhu Yun's big character also had the meaning of big-eared donkey. Zhu Yun called himself "Donkey", which was self-deprecating in his untamed meaning. In addition to the Zen idea of "riding a donkey and finding the donkey" metaphor for finding truth in addition to the phenomenon, there should also be self-deprecation and irony that hated oneself as a monk and was powerless to resist the Qing government. Donkey and Donkey House from The Book of Rites . What the Suburban Special Animals say should be said to be the overthrow of the country, so Zhu Yun's "donkey house and people's house" as a donkey also destroyed the country, and people also perished in the country, which was caused by Zhu Yun's sadness.
Zhu Yun once imitated Huang Tingjian's calligraphy and wrote a "Wine Virtue Ode", and the final payment was a "donkey" character. A small "donkey" character sees the personality of the Bada Shanren, and he can be described as a cynical artistic "stubborn donkey".
Huang Ji, Wu Zuoren, Fan Zeng, and Ikuo Hirayama, "The Bright Moon Returns with People", 1984
In modern times, Mr. Huang Ji, one of the representative figures of the Chang'an School of Painting, completely liberated the donkey from the role of mount. He hoped that he, like the Bada Shanren, would use the donkey as a symbol of his own qualities. He believed that the donkey came from the people's homes, not princes and nobles, low-key and hardworking, stubborn and tenacious.
Mr. Huang Said Hun said modestly: "In the face of life, I feel that I am particularly small, particularly clumsy, and no matter how good the painting is, that is, little by little, there is nothing to boast about."
He also once said that "although the donkey is not as noble as the cow and the horse, it can withstand the wind and rain and frost and snow, endure humiliation and burden for life, and be absolutely obsessed."
The travels of the ancients have the feeling of falling into a poor way, and they match the donkey, which has a deep meaning. On the way to the wind and snow, the bridge is dangerous and the creek is evil, the mountain high road is dangerous, and the endless nostalgia is bumping on the back of the donkey, how not to let people sigh spontaneously!