【Danqing Share】Hongren: No fiber dust in the chest, wind and bones

Among the four monks in the early Qing Dynasty, Hongren was the one who was the most completely separated from the world after renunciation, he had a deep cultivation, and after he became a monk, he hung up his staff every day, walked with shoes, or sat in the empty pond for a long day, or cried out in danger on the night of the moon, like a worldly master who did not eat fireworks in the world.

Hongren was undoubtedly one of the most individual landscape painters of the early Qing Dynasty. His achievements in painting and its characteristics cannot be summed up simply by words such as painting by the remnants, simplicity and remoteness, and alienation and cold silence. His artistic achievements are a reflection of a specific historical period in the early Qing Dynasty, and a concentrated reproduction of the relics complex, the Zen Mysteries, the temperament of landscapes, the charm of ancient winds and tranquility in the paintings. As the pioneer of the Xin'an school of painting, his paintings of landscapes, steep cliffs, weijun and thick, the fa like to use folding belts, the turning is hard, the pen is clear, the dry and light pen is folded with wrinkles, and the picture is simple and steep.

Hongren landscape brush ink is exquisite, the pattern is simple, although the teacher Ni Zhan, but can "see the very thin place to see the plump, the very fine place to see the vigorous, although there is no light, but there is no afterglow". Although Hongren inherited the Song and Yuan dynasties, he also had a distinct appearance of his own family. It can be said that the Song people are meticulous and go to their carved and complicated, and the brush and ink of the Yuan people are strong in their structural wind and bones, forming their own artistic style of rigidity, plainness, purity and implication.

Hongren was the founder of the "Xin'an School". He, Together with Zha Shibiao, Sun Yi, Wang Lirui and other four people, were known as the "Four Greats of Xin'an" in the early Qing Dynasty, also known as the "Four Greats of Haiyang". Zhang Geng said in the "Records of Paintings of the National Dynasty": "Xin'an painted many Zongqing (Ni Zhan) people, Gai gradually taught Dao Xianluye. ”

Hongren paintings start from the Song and Yuan dynasties, especially admiring ni zhan painting method, but the style of his works is different from ni zhan, less desolate and lonely, and more fresh meaning. Straight teachers create, and the unique face, truly convey the beauty and novelty of the mountains and rivers. The scenes of the Huangshan Mountains he composed are not bound by Ni Zhan's painting method, but are deeply inspired by the magic of sketching and conveying the gods, and are full of life. Hongren xing calligraphy Yan Zhenqing, Calligraphy Ni Yunlin, got its charm.

Hongren, who also worked on poetry books, loved to write plum bamboo, but in his life he was mainly famous for landscapes than at the time, belonged to the "Huangshan School" and was the leader of the "Xin'an Painting School". Zhang Geng said in the "Records of Paintings of the National Dynasty": "Xin'an painted many Zongqing (Ni Zhan), Gai gradually taught Dao Xianluye," and the history of painting is called Hongren, Jiaquan, ShiTao, and Bada as the "four monks" in the painting world.

In his early years, Hongren learned from Sun Wuxiu, middle-aged from Xiao Yuncong, from the Song and Yuan families, and later from the "Four Families of the Yuan Dynasty", You Chongni's painting method, and the works seen today, such as "Qingxi Yuji", "Qiulin Tu", "Ancient Cha Short Di Tu", etc., are fresh and fresh, and all have Yunlin's will.

Hongren admired the works of the Yuan Dynasty painter Ni Zhan, so his works were also quite concise, the pen and ink were vigorous and clean, and the use of folding belts and dry pen thirst ink was good. But compared to Ni Zhan, his paintings are less desolate and have a more fresh feeling.

Hongren's landscape paintings, whether it is album sketches or long-form masterpieces, or field sketches, or ideas to take ideas, Huangshan provides him with an inexhaustible source of creation.

In addition to landscape painting, Hirohito loves to paint pine trees and plum blossoms. The painting is tangled and coiled, tall and majestic, with dangerous rocks and strange stones, and is also proud of the Huangshan Mountains. He once called himself "Plum Blossom Gugu" and left his friends to plant a variety of plums on the side of his tomb. The "Songmeitu" volume and the "Momeitu" axis are representative works of his paintings Of Song and Mei.

Editor-in-Charge/Xuan Xuan

Past period review