No. 5, Summer Palace Road, Haidian District, Beijing, is the west gate of Peking University. Across the road, there are two lonely mountain gates, standing abruptly and nestled next to each other. During the Yongzheng and Qianlong periods, there were two monasteries here, one called Enyou Temple and the other called Enmu Temple, but now the temple has long ceased to exist, except for the remaining two empty mountain gates. Through the mountain gate, you can enter Buddhism and escape into the empty gate; or you can enter history, and the place of the Temple was originally the former site of the Qingxi Bookstore in Changchun Garden.
Under the sunset in late autumn, I entered the mountain gate to visit the Changchun Garden of the Kangxi Emperor, but I looked around dazed and there was no trace of autumn water. It turns out that Buddhism or history is all about emptiness. In the middle of nothingness, I found a fragment of a poem that my friend Wang Yuanqi had left behind for three hundred years:
The geese call the cold Ting autumn water white, and the horse hisses and crosses the sunset red.
Two mountain gates, the left is the mountain gate of Enmu Temple, and the right is the mountain gate of Enyou Temple (Photo: Fang Ming)
The Qingxi Bookstore of the Kangxi Emperor was located here
1.
Looking at the spring auction of Xiling Printing Society in 2020, I saw a painting of wang yuanqi's "imitation of Wang Mengshanshui" by wang yuanqi in the early Qing Dynasty, rendering smoke clouds and elegant style. It is known that this painting was once collected by Qing Dynasty collectors Qian Peiyi and Pan Zuyin, and under Qianxun, the wind flowed for a long time.
This painting by Wang Yuanqi was first hidden in kuangshichun in 2012, when it was called "Layers of Mountains and Mountains". Six years later, this painting appeared again on the autumn auction of Xiamen Poly in 2018, and The silk was tossed and turned, continuing to write the inheritance. Until this spring auction, the name was renamed again, emerging xiling, baoruo gongbi, zhenbi liancheng.
Wang Yuanqi 《Layers of Mountains and Mountains》
Vertical scroll on paper, painted in 1703
However, I am more concerned with the brief inscription on the line on the canvas: "Yan Wei Winter Imitation Yellow Crane Mountain Qiao Yu Zhi, Wang Yuanqi". I also noticed that there were five square stamps on the canvas, one of which was "The Imperial Gift Painting for People to See" and the other was "Descendants of Xilu".
According to the genus Yearbook, it can be written in the forty-second year of the Kangxi Dynasty (1703), when Wang Yuanqi was sixty-one years old.
I just read Kangxi's "Records of Changchun Garden" again, and my thoughts, from this painting, suddenly fell back to the Changchun Garden three hundred years ago, a thousand patrols are exhausted, it is difficult to be indignant, ploughing rain and hoeing clouds, chatting about the years...
The year 1703 was 1703, when Wang Yuanqi was 61 years old, in the late autumn of his life. Wang Yuan Qi ShiGu, whose painting titles are mostly imitation sages, is not only to bow to the ancients to learn, but also to establish a sect, indicating the origins, da zhen ancient scrolls, the six laws are like this.
Huang Heshan Qiao is the alias of wang Meng, a famous landscape painter of the Yuan Dynasty, who is listed with Huang Gongwang, Wu Zhen and Ni Zhan in the same yuan four families, with a clear brushwork, transcendent dust table, Xiao Sanxiu, and longitudinal and colorful. Ni Zhan wrote poems to him: the prince's pen was able to carry the crown, and there was no such king in five hundred years; Dong Qichang praised him as the first in the world; Wang Yuanqi also said that he was the unprecedented pen of the Yuan Si family.
Haidian Yuzhi is the value of Wang Yuanqi into the Kangxi Imperial Garden Changchun Garden. Changchun Garden is the rural imperial garden where Kangxi avoids the noise and listens to the government, Kangxi said, in broad daylight, cheerful and peaceful is originally Chang, and the four hours are spring and the spring is the spring, and the Changchun Garden is the meaning of This Changchun. Kangxi lived in Changchun Garden for most of the year, and as Kangxi's calligraphy and painting attendant, Wang Yuanqi was on duty in Changchun Garden all year round, serving Kangxi's imperial appreciation of calligraphy and painting.
The seal "Imperial Gift Painting Picture Left for People to See" is because Kangxi gave Wang Yuanqi "Painting To Stay with People to See", so Wang Yuanqi engraved this seal on the canvas. Kangxi appreciated Wang Yuanqi's article Han Mo, and once watched his paintings, but did not feel that the sun and shadow moved west.
Xilu is the great painter Wang Shimin, the late "Old Man of Xilu", the head of the four kings of the early Qing Dynasty, and the grandfather of Wang Yuanqi, so Wang Yuanqi printed "Descendants of Xilu", which not only shows respect for the ancestors, but also claims to inherit the true tradition of Xilu.
"Seventy Portrait Axis of Wang Shimin" Ming Zeng Whale (paragraph)
Wang Yuanqi has left inscriptions on many paintings, or comic inscriptions, or long paragraphs, describing the reasons, processes, moods, and thoughts of his paintings, which not only left precious handwriting, but also passed down the words of the world.
On the side of Wang Yuanqi's ink landscape, those paintings of the distant ink marks are also his literal landscapes. In 1710, Wang Yuanqi painted "Red Incense Sandwich Shore Map", saying to himself: "Painting to reach affection, poetry to speak zhi", and inscribed a poem:
Peach blossoms bloom into the spring, March red fragrance between the shore to see.
Instead of chasing fishermen to seek refuge, they also rationalize rods from the river.
Who says that the title of this poem is not a pleasant text landscape? Therefore, when I look at Wang Yuanqi and appreciate the paintings and the paintings, I can enjoy the wind and smoke on the river and the water flowing and clouds in his pen.
I looked at Wang Yuanqi's paintings in Changchun Garden, and I also read all the paintings on the scrolls, so that under the ancient Danqing and between the rambling words, I vaguely saw a painter's phantom back in Changchun Garden, trance and clarity, ancient and quiet.
2.
Wang Yuanqi (王原祁), a landscape painter of the Kangxi Dynasty of the Qing Dynasty, was one of the Four Kings of the Early Qing Dynasty. In the early Qing Dynasty, the four kings were Wang Shimin, Wang Jian, Wang Yi, and Wang Yuanqi, and Wang Shimin and Wang Yuanqi were four masters of calligraphy and painting, and Wang Shimin and Wang Yuanqi's grandchildren were ranked first and last, occupying half of the four kings of Hehe.
Wang Hara Images
Wang Yuanqi enshrined the inner court with paintings, and the official went to the left attendant of the household department. Since 1700, he entered the Shunan Study, and then entered the Changchun Garden, and at four o'clock in the year, from the pen pipe, Linchi Dyeing Han, swinging the sun.
In his paintings, I can find that the latest record of his painting in Changchun Garden is the mid-autumn festival of 1715, from which it can be seen that in Changchun Garden, Wang Yuanqi immersed in Danqing for fifteen years, painting the evening sun of life, light and eternal, long and mi du, clear clouds and cranes, maple leaves flowing Dan. After the Mid-Autumn Festival in 1715, the 74-year-old Wang Yuanqi rode the crane to the west, the pine was hidden, the moon was falling and the stars were sinking, and the lingquan sound was extinguished.
The Qingxi Book House is Kangxi's residence in Changchun Garden, and from this point along the courtyard wall to the south, is the small east gate of the Hanlin people entering and leaving the Royal Garden in the South Study, with a Hanlin straight room. In 1703, Kangxi personally pointed to this place and built a three-entry courtyard, the first courtyard was the upper study Hanlin straight room, and the last two courtyards were the painting courtyard, which was the place where Wang Yuanqi was on duty and painted, and it was also the closest palace to the Qingxi Bookstore.
The ruins of Qingxi Bookstore, located in the northeast corner of the houhu Lake in Changchun Garden, are a relatively independent space created by streams and pile mountains (Tushan on the north bank of Houhu Lake): the western and northern parts of the courtyard are small northeastern lakes with a considerable area, which lead a stream from the south of the lake, bypassing the south and east of the bookstore, and returning to the lake. The book house sits north to south, facing seven jacarandas, behind the five jacarandas, east Shunshan fang five jacarandas, west Shunshan fang jiuyao. The apse of the book house is the guide and the hall, and there is an east-west veranda connecting the front and back; the west of the book house is the Zhaohui Hall outside the door, the west of the book house is the Zaosi Building, and the back of the book house is woven with bamboo at the mountain and lake, and a lush bamboo is planted on the mountain behind it. The year and author of this picture are unknown.
This year, here, Wang Yuanqi painted the painting "Imitation of Wang Mengshan Water" that I paid attention to at the Xiling auction. Such seemingly ordinary but unusual landscape paintings, longitudinal and bizarre, indistinguishable, but vaguely floating out of Wang Yuanqi's paintings in Changchun Garden, the stars swirling, the sun and the moon passing, poetry into pearls and jade, paper falling into clouds.
I originally thought: After Wang Yuanqi entered changchun garden, he always imitated Wang Meng over and over again, would there be any special reason for this? Or, can you find out what special reasons are there?
Before that, in 1701, shortly after Wang Yuanqi entered changchun garden, he had painted a painting of "Imitation of Wang MengshanShui", perhaps a humble word, perhaps dissatisfied with his paintings, Wang Yuanqi only thought that he was obtuse in painting, saying that he had not obtained the elegance of the ancients.
Back in 1703, Wang Yuanqi also painted another painting "Imitation of Wang Meng's Landscape", and he also left a piece of experienced painting, he wrote: Wang Meng's painting method changes, the learner can not always get its clues, I think Wang Meng's brush has a source, Wang Meng is deeply rooted in Dong Yuan and Juran's essence.
Dong Yuan, "Evening View of the River Embankment"
Dong Yuan and Ju Ran, the suzerainty of landscape painting from the Five Dynasties to the Northern Song Dynasty, were ink-stained clouds and heavenly algae Linchi. In the Northern Song Dynasty, everyone said that Dong Yuan was "incomparably tall" and that Juran was "the most refreshing"; Huang Gongwang, a member of the Yuan Dynasty, said that in painting landscapes, Dong Yuan must take Dong Yuan as his teacher, such as Du Fuye, who studied poetry; Dong Qichang said that Wang Meng became famous for Dong and Ju; Wang Yuanqi also said that when he was a teenager, he was instructed by his grandfather Wang Shimin and understood that Dong Yuan and Ju Ran were the authentic masters of the painting school.
Originally, Wang Yuanqi imitated Wang Meng in order to explore the origin of his painting method, taking the ancient as a teacher, believing in the ancient, and if it is not exhausted, it is new with the ancient. Dong Qichang once said that Wang Mengqi's paintings were all imitations of The Tang and Song Dynasties, and Wang Yuanqi also said that Wang Meng was completely under Dong Yuan and Juran, and eventually became his own style.
Wang Meng, "Qingbian Hermitage"
Beyond 1703, to 1704, during which Wang Yuanqi spent another year in changchun garden, he spent another year feeling the warbler flying grass inside and outside the imperial garden, the water flowing and scattering, Zhong Lingyuxiu, and the late Fangfei, in the change of the years, cultivated his mind, and then imitated Wang Meng, and completed another "Imitation of Mountains and Mountains".
This time, Wang Yuanqi wrote a long inscription: I imitated Wang Meng's painting for a year, and after a year of summer and autumn, Fang knew that Wang Meng was plain and innocent in the change of the years. Therefore, I often say that in the paintings, you can see people's mental cultivation and the atmosphere of poetry and books, and you can learn the method of cultivating the heart from it!
This passage also shows that he imitated Wang Meng in order to learn the method of nourishing the heart and return to the realm of plain and naïve. Yu thought so, so he silently wrote down this sentence:
Yu often said that there is the work of the heart and the spirit of poetry and books in the painting, and you can learn the method of cultivating the heart from here.
3.
Wang Yuanqi also has a long-time "Imitation of Wang MengshanShui", which was written in 1701, but due to the official duties of Changchun Garden, it was not completed for a long time, and it was not written until 1705. Although the text is not long, it is deeply meaningful.
Wang Meng's painting style is dense and deep, the color and ink are lush, the mountains are heavy and the water is restored, and the thick Huazi is thick. Most of the famous artists use high and simple pens, and simplicity is precious, but why does Wang Meng use a complicated pen alone? It turns out that complexity and simplicity are only in one thought. Wang Yuanqi understood that Wang Meng was a simple mind, a great natural, a complex as a simple, a simple one, and a pen as ink, and a pen and ink as a pen.
Another year passed, and in 1706, Wang Yuanqi painted "Imitation of Wang Mengshan Water". This time, Wang Yuanqi still praised Wang Meng in the text, saying that Wang Meng's pen was not in the form of God, and he turned into softness with clarity and softness, and he turned into a dragon in the painting, just like the dragon in the painting.
In 1707, Wang Yuanqi continued to imitate Wang Meng's landscape, but he had a special feeling. His grandfather Wang Shimin once had two drawings of Wang Meng's "Lingquan Qingji" and "Dantai Chunxiao", which were the original facsimiles of Wang Yuanqi's paintings, which were able to be viewed from an early age and continued throughout his life. Wang Yuanqi self-examination, this time the imitation of the painting, I don't know if I can get its appearance in case?
In 1708 and 1709, Wang Yuanqi copied Wang Meng twice. Looking at the paintings, it can be seen that Wang Yuanqi is in a relaxed mood in Changchun Garden. In the 1709 painting, Wang Yuanqi said that he was waiting for the banquet in the garden, and his interest was very good, so he could not help but imitate Wang Meng's brush intentions and remember his deeds; and in 1708, on the "Long Scroll of Imitation wang Meng", Wang Yuanqi even inscribed a long American painting, which was originally a beautiful picture of Changchun Garden.
Wang Yuanqi "Imitation of Wang Mengshan Water"
Pulling aside the words that are draped like wooden leaves, I see him staggering in the Changchun Garden ~ ~ as far as the eyes can see, the heart is free; moving the scenery, the heavens and the earth are spring; the scenery is lyrical, reflecting the landscape; borrowing the scenery to make love, the pen and ink are true.
The painter looks far away at the West Mountain - the west of the capital city, the peaks are stacked, the Dragon Vein of the West Mountain meanders from the Taihang Mountain, the undulating convergence, the foothills of the Pingchuan River, the circle of dozens of miles...
The painter looks closely at the Imperial Garden- Fangshu Ganquan Spring, the golden stem purple qi, the magnificent lushness, and the Imperial Garden is in Yan. This place is full of rural scenery but like the fairy world of Penglai and Langyuan, you can enjoy the beauty of the world...
Wang Yuanqi couldn't help but sigh: I have been in Changchun Garden for many years, in the morning light and sunset, enjoying the Qinghua of the Imperial Garden, overlooking the refreshing beauty of the Western Mountains, so that I can not suck ink, paint real landscapes with real ink? The ancients were like that, and so was I.
Here, Wang Yuanqi's words are clear, and he also explains another reason why he imitates Wang Meng--to paint real landscapes with real brush and ink. I can't remember how many times Wang Yuanqi said the real pen and ink, and how many times he talked about the real landscape, but I only saw his pen and ink landscape, the earth is far away, the wind and grass are warm, Xuan Yang Yasu, and the moon window.
In the past, I had read a poem by Li Bai, but I had long forgotten it, but when I suddenly remembered it, I felt that it was somewhat close to Wang Yuanqi at this time, so I took it and borrowed it for this purpose:
I closed the south building to read the Taoist books, and the curtain was silent in the Xianju.
In the curtain of Changchun Garden, Wang Yuanqi imitated Wang Meng nine times, and wrote paintings nine times, solving paintings with inscriptions, illustrating problems with paintings, repeating themselves, and flowing with nine curves, in fact, he was painting a landscape of his own soul and painting a corner of his own spiritual garden.
When Wang Yuanqi wrote down a paragraph of painting, when the three-hundred-year-old wind gently stroked these texts, slightly fluttering, back and forth, and embellished into a chapter, I saw that the painter in Changchun Garden, wielding a life, exquisite brushstrokes, chaotic leaves, snow condensation, and finally took the ancient as the teacher, the heart as the law, the light tuo like spring, the Taoist law of nature.
4.
In 1626, Wang Yuanqi's grandfather Wang Shimin also painted a painting of "Imitation of Wang MengshanShui", with hills and valleys, smoke and mist, clear ink and moist pen, and weak wrists. 300 years later, Zhang Daqian and Gu Linshi wrote the inscription, and once collected everyone Dai Peizhi to pass it on. When I saw this painting, it was already on the special scene of the 2007 Xiling Autumn Auction.
Wang Yuanqi studied painting next to his grandfather when he was young, and he must have seen Wang Shimin's "Imitation of Wang MengshanShui", so Wang Yuanqi's pen and ink, imitating Wang Meng, also imitated Wang Shimin, Wang Yuanqi and Wang Shimin's grandson's "Imitation of Wang Mengshanshui", which can also be compared to the wall view.
<h1 toutiao-origin="h1" > Wang Shimin's "Imitation of Wang Mengshan Landscape Map"</h1>
Wang Shimin was not only Wang Yuanqi's grandfather, but also his master of calligraphy and painting. Because Wang Shimin was once the secretary of the Taichang Temple, he was called Wang Fengchang, and Wang Yuanqi also called him Xianfeng Chang. In many of Wang Yuanqi's paintings, he always talks about the teachings and influences of Xianfeng Chang.
Wang Shimin also had a good grandfather, Wang Xijue, who was a university scholar of the Ming Dynasty, and was rich in collecting and addicted to antiquity. Wang Shimin has been serving his grandfather since childhood, with a different posture, a beautiful hand, an early literary talent, a different talent for painting, and is loved by his grandfather, which is also like the scene of Wang Shimin and Wang Yuanqi's grandchildren. Wang Shimin said that when he was at his grandfather's knee, he always saw Wang Xijue holding a furnace to cut candles and talk about the scriptures, but he never said a word about glory and wealth.
Wang Xijue (1534-1611), courtesy name Yuanyi (元驭), was a native of Taicang Prefecture (太仓州, in modern Taicang, Jiangsu). Ming Dynasty first assistant, famous politician
If Wang Yuanqi and Wang Shimin both had a good grandfather, then Wang Meng had a good grandfather, Zhao Mengfu. Zhao Mengfu, a calligrapher and poet in the early Yuan Dynasty, was known as the "Crown of the Yuan People". At the beginning of Wang Meng's study of painting, he was instructed by Zhao Mengfu and finally became a master; Zhao Mengfu's poetry was Qingqi Gaogu, and he was born out of nowhere, which even gave Wang Mengmeng a flood. In autumn, Zhao Mengfu once painted a landscape scroll and inscribed a hidden poem. Of course, Wang Meng had observed Grandpa's good scrolls; how could he not recite Grandpa's good poems?
After the frost, the leaves of the forest are dried up, and the rain and water are cold.
How many idle houses in the world, to benefit the streams and mountains.
Wang Meng lived a life of seclusion, and he was obscure in the mountains for nearly thirty years, and he lived in seclusion on two Yellow Crane Mountains, so he called himself the Yellow Crane Mountain Tree, and painted the "Summer Mountain Hermitage Map", "Qingbian Hermitage Map", "Xiashan High Hidden Map", "Xishan Gaoyi Map", "Qiushan Caotang Map", and "Spring Mountain Reading Map", all of which are hidden works in the mountains. Therefore, Wang Meng was hidden in the Yellow Crane Mountain, and he really painted the real landscape with real pen and ink.
Wang Meng, "Summer Mountain High Hidden Map"
I just don't know why Wang Meng rarely has poetry. Instead, on his "Reflection on the Fountain Map", I saw a hidden poem inscribed by Qianlong:
Under the fall of the pine, Buju is a neighbor.
The breeze is eternal today, and the bright moon is the predecessor.
There is water separated from the world, no bridge to the guests.
The mountain tree is high, and the bottom distinguishes between fake and true.
However, the emperor wrote hidden poems, after all, it was not the same. It is better to read a Song Ren Ye Yin's "Mountain Residence":
Ancient wood ring pond bamboo poles, sparse hedge to supplement the chrysanthemum house three.
The white clouds do not let the red dust in, and there is no wonder that the mountain people are lazy out of the mountain.
Perhaps, Wang Yuanqi likes to imitate Wang Meng, and another very important reason is the yearning for his hidden world. In fact, Wang Shimin and Wang Yuanqi are also hidden. However, Wang Meng was hidden in the wild, Wang Shimin was hidden in the city, and Wang Yuanqi was hidden in the dynasty. The great concealment is in the dynasty, and Wang Yuanqi is the great hidden, the body is not hidden but the heart is hidden, the body belongs to the imperial court, and the heart is not in the grass.
With Wang Yuan's mentality, he should have gone to the mountains to paint, but he had no reason to hide. He had no thoughts, and he met a Ming Jun. The Kangxi Emperor admired him so much that he summoned him to the imperial court to lecture on painting, painting, setting up a painting academy, identifying the famous relics of the Inner House, and later ordering him to serve as the president of the Peiwenzhai Calligraphy and Painting Notation, a large 100-volume book that was the first collection of Chinese calligraphy and painting works.
The 100-volume Peiwenzhai Calligraphy and Painting Genealogy, the content of which began from the Five Emperors and ended in the Yuan Ming, of which "the source of calligraphy and painting, the surnames of those who worked here in ancient and modern times, and even the inscriptions of people who have heard of them, the collections of the past dynasties have been prepared for the examination and carefully chosen, which can also be said to be detailed and exhaustive", and make them follow each other in a similar manner. With its voluminous volumes, rich materials, precise examples, detailed citations and orderly examinations, it is the first tool book in China to collect the masterpieces of calligraphy and painting, and it is also an indispensable and important reference book for chinese calligraphy and painting researchers.
Although Wang Yuanqi was already painting in the opposition at that time, he was not a court painter, and his paintings were not court paintings. He was in Changchun Garden instead of the Forbidden City, and he looked up into the distance, and what floated in front of him was the smoke of the West Mountain.
Although he could not hide in the depths of the mountains like Wang Meng, using the color of mountains and waters as a picture screen, after all, he was in the suburban garden of Kangxi, Changchun Garden and The West Mountain were not far away, as far as the eye could see, the image of the landscape and the water, Lu Chengxia.
He was neither squatting under the imperial city nor lying in the mountains and forests. In the painting academy of Changchun Garden, he can be as close to the ancient, addicted to the ancient, imitating the ancient, collecting the ancient, but he is close to the nature of heaven and earth. Such a place where poetry bears the clouds and the moon is white and the wind is clear, just makes him get what he wants, and he has a sense of hope.
Wang meng
He longed for the true landscape of the world and envied the true ink of the ancients. In this way, how could Wang Meng's true pen and ink not let him stand on the slope of Changchun Garden, and cherish the true landscape in front of him? He has repeatedly imitated Wang Meng, and he has long been immersed in Wang Meng's true landscape and real pen and ink.
10.
Shen Zhou was difficult to imitate Ni Yunlin, and it was even more difficult to imitate Plum Blossom Daoist. Meihua Daoist, that is, Wu Zhen, another big man of the Yuan Si family. Wu Zhen lived in seclusion all his life, Dasheng knew his fate; the pen of plum blossoms, clear and wild. His tomb is on the side of the plum blossom temple, so the world calls him the lord of the plum blossom temple.
Shen Zhou is a clever hand imitating Wu Zhen, who is in the realm of divine transformation, but still thinks that he is a little bit worse, so much so that he once gave a poem to say: "The spirit of the main ink of the Plum Blossom Nunnery has not been used for seventy years." Wu Zhen's ink technique was full of essence and radiant, and Shen Zhou actually said that he had not fully simulated it for seventy years, which was even a pity!
Therefore, Wang Yuanqi said that Shen Zhou could be said to know Wu Zhenyi very well.
Wu Zhen was more likely to inherit the Fa of the Five Generations of Juran. Huge landscapes, ancient peaks steep, like wind bones; forest foothill trails, as far as the villa. Wang Yuanqi then said that the Mei Dao people passed on the mantle of Juran. Naturally, Wang Yuanqi also passed on the mantle of mei dao. Doesn't this look like a praying mantis catching cicadas, with yellow finches in the back? Wu Zhen hunted Juran, Wang Yuanqi was behind...
Wang Yuanqi waited all day in Changchun Garden, lulu qing, and sent to Xiao Temple. At dusk, there is only the sound of dissolving the moon and the sound of the wind. Occasionally in the evening imitation of Mei Dao people, bonfire waving, long notes short, the beginning of the night, happy to sleep, sleep, do not know the white of the East.
Imitation of Wuzhen landscape chinese painting Wang Yuanqi
In 1704, at the end of Meng Chun's reign, Wang Yuanqi rarely wrote about wuzhen landscapes in his spare time. On that day, he was in a very good mood, and even dropped a series of beautiful words on the painting, as if he had transformed into a master of words: the material was steep and comfortable, the wind and the sun were beautiful, the idle window was silent, the birds were chirping and flowers...
Wang Yuanqi recalled his return trip in the winter more than ten years ago, and once saw the creek and mountain back to hug, the village ruins fell, quite similar to the pen and ink scenery of WuZhen, although it was imitated with heart, it was difficult to achieve his wishes. For more than ten years, the heart comprehended that the ancients were based on heaven and earth. Originally, what the predecessors said about taking the ancient as a teacher, its origin was to take heaven and earth as the teacher.
In the autumn of this year, Wang Yuanqi imitated the landscape of Wuzhen again, and he also saw Song Yuanqiyun in Wuzhen's paintings, and said that Mei Daoren's pen and ink were calm and floating, which could be pushed as the first of the four Families of the Yuan. But I saw that he had the most respect for the four families of The Yellow King, Wu Ni, and was tied for the first place.
Let's talk about "Autumn Mountain Map". In October 1706, Wang Yuanqi imitated Wu Zhen's "Qiushan Map". I have only heard of this painting and have never witnessed it, but I have always wanted to find it to see how he imitates the Autumn Mountain of WuZhen, and it is even more comparable to the Autumn Mountain of Ni Huang in his pen.
Although this picture is far away, I have found nothing else in the literature of the Forbidden City, knowing that he has another "Imitation of Wuzhen Qiushan Map", which was published in December 1707, and there are two inscription poems on it, one five and one seven, in which there are the sinking pictures of Wuzhen Qiushan, which have fallen through the history and thinly collected its algae:
One:
The peaks are green, and the visit is victorious to Chaimen.
Don't wait for the autumn light to grow old, desolate and clean the soul.
Second:
Yamamura Ichigo song to The Morning Sun,
Autumn Ji Lin Guangcui wet suit.
Wanting to be high,
See more Gangfu and Creek Wai.
There are paintings in the poems, poems in the paintings, full of eyes, full of greenery, forest light, Chaohui, Qiuji, Gaofeng, Shigeoka, Mountain Village, Qingxi, as well as Chaimen and Guest Souls.
It's the Mid-Autumn Festival again. In the mid-autumn of 1709, Zha Ji Xinliang, Xing Club, Wang Yuanqi again imitated wuzhen landscape, Tufu Pingtuo, Pingsha shallow water, twilight smoke condensed purple, Jinbo Manjiang... More than three hundred years later, it was also a Mid-Autumn Festival, I stood in front of the canvas, haoyue thousands of miles, mountains and valleys should be; and I read another painting, quiet shadow, and my heart was full of spirit.
Akiyama Chinese painting Wang Yuanqi
Wang Yuanqi wrote: To avoid complexity with the pen, we must take the simplicity of the complex; the use of ink should be light, and the thickness of the light should be taken. Many people learn Wu Zhen to splash ink, the fate is not high, the vision is not good, the coarse clothes are chaotic, the self-singing is sprinkled, but it is ultimately a diaphragm, nothing more than an ink pig.
I appreciate its complexity and simplicity, and I smile at the word ink pig. The theory of the ink pig has been passed down for a long time, the earliest from the Eastern Jin Dynasty Lady Wei, more than 1,700 years ago, even from Wang Yuanqi, there are three hundred years. However, the scenery lingered, the country and mountains did not change, and the ink pig was still the same, both in ancient times. The way of pen and ink is not as good as the ancients, and it is still only about the ancients.
Wang Yuanqi imitated Huang Gongwang for fifty years, and imitated Wu Zhen for twenty years. Twenty years later, he wrote a poem, thinking of taking off the mundane and replacing the silk he was wearing with Wu Zhen's heavenly clothes:
Twenty years of old fanggui,
The spirit of the Lord of the Nunnery is rare in the world.
Get rid of the storm and find seamless,
Good to change the silk into a coat.
11.
The front has been traced back to Wang Yuanqi's Yuan Sijia Road, and the southwest is determined, and the road is far away. Shen Maode, a Qing dynasty, said that Wang Yuanqi specialized in Huang Gongwang, and that Wang Meng, Wu Zhen, and Ni Yunlin had a divine contract with the Yuan family.
However, Wang Yuanqi imitated the four Yuan families, and naturally had to copy the other two Yuan Dynasty masters in the early days: Gao Kegong and Zhao Mengfu. These two people know each other and are good friends, one north and one south, and they are equally dominant. Wang Yuanqi said that Gao Kegong showed that the change was in the table of pen and ink, and also said that Zhao Mengfu's hair was beautiful in thickness.
Gao Kegong and Zhao Mengfu are both famous painters and poets; both love to paint Autumn and love Ton Qiu. I read Gao Kegong and admired one of his sentences, "The clouds dew leaves autumn sound ancient, Wan Yu Cong deep green Jiao dance"; and then read Zhao Mengfu, he has a song "Title Qiu Jiang Fishing Moon Chart", can't help but let me catch a night of autumn thoughts:
Dust stained people's clothes, and smoke rippled through my porthole.
In order to ask the city of xingge, how to fish for the moon and autumn river?
Gao Kegong originally studied the Mijia landscape, but still carried a huge legacy, and communicated with Huang Gongwang's qi rhyme, and he saw the turbulence in the drenching. What about Zhao Mengfu? If you look at the Cloud Mountain he painted, you will know that he is also out of the Mijia landscape, the sky is light and cloudy, and the time is shu rolled, and the mountain is lying down, that is, to relax.
Wang Yuanqi's autumn day always seems to be related to Huang Gongwang. In the mid-Autumn Festival of 1707, Wang Yuanqi imitated Gao Kegong, but went after Huang Gongwang, and if he was separated from the great fool, he imitated Ni Huang. He said that he did not have to be too rigid in the antique, and he could take the place where the two families of Gao and Huang were together. This is exactly the poetic meaning of Gao Kegong's "not plum edge, that is, water's edge":
Lazy zazen for love chanting,
The Five Lakes returned to buy fishing boats.
He is like a cloud of traces,
It's not plum edge or water's edge.
Wang Yuanqi went to imitate Zhao Mengfu again, first making a spring mountain, and the flowers on the other side bloomed, and the meaning was still unfinished, repeating the autumn colors. He most wanted to imitate Zhao Mengfu's "Quehua Autumn Color Map". Zhao Mengfu paints autumn scenery of mountains and rivers with the brush of green landscapes, deep still water, few rivers and villages, mangrove reeds, cardamom tips, its color does not take color but takes gas, and its magic is not in work but in escape.
Wang Yuanqi's brush is poetic, the poetry is picturesque, the intention is to be machine first, the pen stops at will, and read a poem inscribed in his painting to see how his millimeter gushes out of Zhao Mengfu's Cui Furong:
Taoyuan is full of wonderland,
The cloud outside the building reflects the Bisong.
Only Wu Xing lao chengzhi,
Emerald hibiscus poured out of the end.
In their early years, Gao Kegong and Zhao Mengfu both studied Mijia landscapes, and opened a canopy window for Wang Yuanqi to look at the scenery of the Northern Song Dynasty. Father and son of Mi Fu and Mi Youren are both northern Song Dynasty people, self-reliant Mi family landscape, original splash ink painting method, cloud smoke obscure, blue virtual silhouette, forget all worries, thinking of the wind and clouds.
Wang Yuanqi saw the Mijia landscape in Changchun Garden, however, the rice painting is the most mysterious, in my eyes, it is the pen of a philosopher. Wang Yuanqi was proficient in painting theory and enlightened in the metaphysics, he said that the Song and Yuan families were all real in the breath, but the Mi family was the one who took the breath in the virtual, the truth in the virtual, all of which cared about the pen and ink. - This has entered the way of Lao Tzu, whether there is multiplication or not, and virtual reality is born.
Imitation of Wang Meng landscape Chinese painting Wang Yuanqi
Wang Yuanqi imitates the mijia landscape, showing the true color of his speculation. He wrote on a painting: "People know the splashing ink of Mijia's brushwork, but they do not know that they cherish ink, but they can splash ink, and when they are a little dyeing, they must think deeply to understand." Wang Yuanqi imitated many Mijia landscapes, and his landscape pen and ink were also all in the midst of pity.
One day in the late spring and early summer of 1710, Wang Yuanqi entered the Changchun Garden, admired the morning light and evening light of the Xiyuan Garden, the peaks of the Guanxi Mountains were hidden, the smoke forest was clear, the heavenly machine was out, the heart traveled to Wanyu, the reference to the creation, Fang Xin Mi Fu left ink, obtained the true essence of heaven and earth, and then figured it out, which was another imitation of the Mijia landscape.
I recalled that Mi Yuanqi actually had a "Miscellaneous Song", and its poetry was exactly similar to Wang Yuanqi's painting on this day in Changchun Garden, but unfortunately, Wang Yuanqi imitated Mi Fu and failed to record this poem as a painting:
A water out of the bushes,
There is no sand on the bottom of the blue.
Leaning on the Creek Bridge to see the wind and moon,
West Mountain Purple Twilight Triple.
12.
Although he did not see Wang Yuanqi inscribing this poem, like Mi Fu, he also watched the wind and moon on the Xiqiao Bridge, and he saw the water of the Southern Tang Dynasty of the Later Liang and the early years of the Northern Song Dynasty, and the Chengjiang River; he also chanted poetry in the twilight and looked far away, and then he saw the purple green of the Western Mountains of Jingguan and Dong Ju.
In the winter of 1710, Wang Yuanqi used the Jingguan ink method to paint the "Autumn Moon Reading Chart". Jing Guan, that is, the five generations after the Liang painter Jing Hao and his disciple Guan Tong. In the Yuan Dynasty, Tang Gao called Jing Hao "the crown of the late Tang Dynasty", and looking at him, there was pen and ink, shallow and deep, water halo ink chapters, and color with the class; there were more clouds on the top of the mountain, thick on all sides, high and low, like flying.
From the perspective of historical chronology, Jing Hao was the first person to be good at painting Qiushan, and his paintings include "Qiushan LouGuantu", "Qiushan Xiaosi Tu" and "Qiushan Ruiyi Tu". Guan Tong followed Jing Hao and also liked to make Qiu Shan and painted the "Autumn Mountain Map". Unfortunately, the Qiushan works of Jingguan and Jingguan have been lost, and only from Wang Yuanqi's "Autumn Moon Reading Map" can they vaguely identify Jingguan's ancient pen and ink; and from his inscription poems, leisurely taste the fragrance of Houliang's guizi:
Autumn moon and autumn atmosphere is relatively clear,
Sound and light into the night.
Reading does not wait for quinoa,
The fragrance of cinnamon wafts to five more.
Jingguan Landscape is the Northern School of Painting, and in the history of the Five Dynasties of Painting, the Jiangnan School of Painting that confronted it is Dong Ju Landscape. Dong Yuan and Ju Ran, one was the deputy envoy of beiyuan in the Southern Tang Dynasty, the other was a monk of Kaiyuan Temple, two people with different origins, but became the suzerainty of the Jiangnan school of painting in China. Wang Jian, one of the four kings of the early Qing Dynasty, said that dong ju's position in the history of painting is equivalent to that of Zhong Xuan and Wang Xizhi in the history of books.
It has always been more ancient, and the view is hesitant.
If it is said that Huang Gongwang is the first level in the world, then Dong Ju is the Main Hall of Jiangnan that can only be looked up to when he enters the pass, and the other sages are either the matching hall or the Imperial Daoye. Therefore, Wang Yuanqi imitated the Song and Yuan families, and eventually he still had to enter the Tang Ao and worship Dong Ju.
Dong Yuan's map of XiaShan and Juran's map of Qiushan are both facsimiles of Wang Yuanqi's Thousand Autumns. He imitated Huang Gongwang and Wang Mengzhugong, but in fact he climbed this mountain, looked at the other mountain, traced back to Dong Yuan and Juran, and trekked to the source of the five generations of mountains and rivers.
Wang Yuanqi learned Dong Yuan, the pen and ink were microscopic, and the communication was fascinating. Dong Yuan's paintings are vivid and vivid, both graceful and relaxed, and the innocence of the majestic and unrestrained is interesting, and the doors of the families after opening. Wang Yuanqi started from a big idiot, studied diligently, and gradually made progress, but if he wanted to explore the end of the painting method, he could only pay attention to Dong Ju in his spare time.
His state of mind has long since melted into the poetry of Du Mu's "Dengle Youyuan":
The lone bird in the long sky did not,
Wangu pin sinks into this.
On Chongyang Day in 1705, Wang Yuanqi imitated Dong Yuan. Originally, Kangxi asked him to make a shaft Dong Yuan was large, but he did not dare to write a draft, so he tried to write it first. Although it was an audition, he wrote a line of golden sentences on the manuscript that can be passed down from generation to generation:
Learning is not the same as walking at night without candles.
In April 1707, Wang Yuanqi went from Kangxi to Suzhou, and in the rain of Kangxi went to Visit Tiger Hill, and somehow Wang Yuanqi stayed with Zi Chongzhai and did not accompany him. He rarely had a day of free time, and the excitement of pen and ink came out of nowhere, so he imitated Dong Yuan and remembered it.
In 1710, it was another April, and Wang Yuanqi imitated Dong Yuan again in Changchun Garden. After three whole years, Wang Yuanqi's love taste was naturally much richer. He understood that every family of the Yuan people could trace their roots here, and although he himself had studied Dong Yuan for many years, he felt that he had not yet fully grasped it.
Layers of Mountains Towering Scrolls on Paper By Wang Yuanqi in 1703
He was also imitating Juran. Ju Ran is Dong Yuan's protégé and a monk of Kaiyuan Temple, but I don't know if he is the first painter in the history of Chinese painting? Juran's paintings seem to have Buddha-nature, water and clouds scattered, smoke and waves, meteorological subtle, and the use of Yichang; Juran's mountains are also like an old monk who has settled down, quiet as ever, true thoughts, smoke floating far away, streams and mountains Lan Ruo.
On the Chongyang Day in 1705, Wang Yuanqi had just finished imitating Dong Yuan and then imitating Juran. He said that after Dong Yuan, Juran took its momentum but there was a change in turn, melting and fading, and the Yuan Ji Great Fool and the Mei Dao people all got their divine essence. His own skills were not yet perfect, and his qi rhyme had not been stretched.
In changchun garden in the winter of 1708, Wang Yuanqi began to paint a snow scene in imitation of Juran. The snow scenes he had painted in his life were rare, and this time he did not achieve them in one go. Two years later, on the day of the establishment of winter in 1710, still in the Changchun Garden, the blowing lights and windows were brighter, and the moon shone on the snow for a day, and Wang Yuanqi finally completed this ink and snow scene.
Spring, summer, autumn and winter, the scenery is different; at four o'clock at dawn, each is extreme. Wang Yuanqi painted all over the "Spring Mountain Map", "Summer Mountain Map", and "Autumn Mountain Map", although he occasionally painted winter scenes, however, the mountains are lonely, who appreciates them for a thousand years? "Winter Mountain Map" is ultimately missing. Winter Mountain is like sleeping, perhaps, Wang Yuanqi's Winter Mountain is still sleeping in the dream of Autumn Mountain.
At the edge of the sky, it seems that a voice can be heard reciting the landscape training of the Northern Song Dynasty painter Guo Xi:
Spring Mountain is like a smile,
The summer mountains are green and dripping,
Akiyama is clear and like makeup,
Winter Mountain is bleak and sleepy.
13.
And look at Wang Yuanqi, who has studied the ancients all his life, traced the ancients before the flow, and tried to chase the ancient law, all over the monuments. However, on his path to climbing the ancients, in addition to the enlightenment of the ancestor Wang Shimin, there were two other people who were very important to him.
The first person, a figure of the level of a great god, from the beginning of Wang Yuanqi's study of painting, was guided by this person's immortal under the personal influence of Wang Shimin. Wang Yuanqi looked up at the present and the past, step by step, no matter how far he went, it was the same as the direction of the Great God.
This great god is not only the leader of the painting circle on the Side of Long Pan, but also the spiritual teacher of Wang Yuanqi, and also the calligrapher and painter whom Wang Shimin respects the most. Not to mention, he was famous in the sea, and even the Kangxi Emperor highly praised him.
He is Dong Qichang, a celebrity of calligraphy and painting at the end of the Ming Dynasty.
Dong Qichang is really like a god and a man, transcending the Tang and Song Dynasties, ancient law and forgiveness, poor and micro-creation, and exquisite elegance. When Wang Shimin was middle-aged, he took more of the Fa from him, followed in the footsteps, obtained the True Scriptures, and opened up a generation of ancient winds, Qingbiao Yuli, and Yi Yunfeng.
Wang Yuanqi has been enlightened by his grandfather Wang Shimin since childhood, and his grandfather's Mugu feelings have a deep-rooted influence on him. I always feel that their grandchildren, especially deep contracts, are the same person, not only is their antique painting style difficult to distinguish, but even many of their paintings are actually very similar. Moreover, in addition to the similarity between the two, they are more like another person, and this person is Dong Qichang.
Wang Shimin and Wang Yuanqi worshipped Dong Qichang, and all the people of the Juzong Song and Yuan Dynasties were deeply influenced by Dong Qichang's admiration of Huang Gongwang, and most recognized Dong Qichang's imitation of the ancients. Wang Yuanqi said: There is no shortage of people in the ancient family, and there are few people who are blue, but Dong Qichang can get the essence of Huang Gongwang, so to learn Huang Gongwang, we must also learn Dong Qichang.
Imitation of Ni Huang landscape Chinese painting Wang Yuanqi
Wang Yuanqi even said that only his grandfather Wang Shimin could inherit dong Qichang's mantle. That is to say, after this, only Wang Yuanqi was the descendant of Dong Qichang. Wang Yuanqi is simply a pen and ink that does not leave Huang Gongwang, while walking toddler Dong Qichang. Wang Yuanqi admired Dong Qichang, and his hands chased after him, and he was deeply committed.
Therefore, when talking about Wang Yuanqi, we must not fail to talk about Dong Qichang. Although the two were separated by generations, they did not meet and were not personally taught, but Dong Qichang was a god-like existence to Wang Yuanqi. Wang Yuanqi said of him: Tianzi Junmai, Immortal Bone Tiancheng. For Wang Yuanqi, Dong Qichang was a god man whose grandfather always thought about it in his mouth and respected him in his heart.
Dong Qichang is indeed a great divinity. He went through the ancients, learned from the ancients, and pioneered the world, leading the way, putting forward the theory of the southern and northern sects, clarifying the pattern and division of painting history, and also laying the foundation for his position as the suzerainty of the painting world in one fell swoop:
The Zen family has two sects, north and south, which began in the Tang Dynasty. Painting the two sects of the north and south, also Tang Shi Fen also.
He also identified a gaogu "Xiaoxiang Tu" with no money and no print as Dong Yuan's work, "Dong Yuan's paintings are like the star wind, and this volume is the rate of ancient desolation", which has since been regarded by the history of painting as the top of the southern school of landscapes, and the founding of the sect has been enshrined as a guideline.
There is a "Wind Map of Ten Thousand Pines", which historians have long determined to be written by Dong Yuan, but Dong Qichang said that it was the pen of Zhao Mengfu. Whether it was Dong Yuan or Zhao Mengfu, Wang Yuanqi was not at the same level, so he had to say: The unknown is what it is, and it is ear-catching? However, Wang Yi did not think so, still identified it as Dong Yuan's work, and painted a "Imitation of Dong Yuan's Ten Thousand Pine Wind Map".
Dong Qichang's paintings are also mostly antique. There are gods three feet above his head, and he also has many great gods on his head. For example, Ni Yunlin, although he is lonely and small, has his own smoke and mist color, if it is light and sparse, Xiao Is simple and expensive, but it is the highest realm that Dong Qichang advocates. Not to mention Dong Yuan, Ju Ran, Mi Fu and Zhao Mengfu.
However, although I canonized Dong Qichang, I did not like his pen and ink.
You say he's Qingqi, I say he's Qiqi;
You say he is a fairy, I say he is scattered;
You say he's naïve, I say he's fimble;
You say he's elegant, I say he's frivolous.
This is also the big difference between my taste and Wang Yuanqi's tasting. However, this does not mean that I deny Dong Qichang's divinity. Dong Qichang's poems and paintings do have little fireworks, I once read one of his inscription poems, and I don't know if he is divine or not?
The mountain trees are half leafy, and the west wind is full of forests.
No one came here, and the wild intentions were from Xiao Sen.
14.
After briefly talking about Dong Qichang, let's talk about another person who was very important to Wang Yuanqi, he was the Kangxi Emperor.
The importance of Kangxi to Wang Yuanqi is self-evident. If Dong Qichang is a god-like being in Wang Yuanqi's world, then Kangxi is a true son of heaven; six years after Dong Qichang's death, Wang Yuanqi was born, and Kangxi was the monarch that Wang Yuanqi served day and night.
Kangxi was the lord of the heroes, with a dignified appearance and a clear spirit, who reigned for sixty-one years, with scriptures and martial arts, universal unity, profound sacred learning, reverence for Confucianism, and a spirit of tireless learning. After the Korean philosopher Hong Dae-yong went to Changchun Garden to meet Kangxi, he said: "When the subject sees Changchun Garden, he knows that Kangxi is really close to the ancient Yingjie King." ”
I don't know how Wang Yuanqi came to the palace from a local official, as a waiter at the Hanlin Academy and a bachelor by Kangxi's side, but I know that he was deeply appreciated by Kangxi, and he spent all day in Changchun Garden, teaching calligraphy and painting to Kangxi, and when Kangxi went down to Jiangnan, he also had to accompany him, which was similar to Kangxi's day and night.
Kangxi not only admired Wang Yuanqi's brush and ink, but also liked to listen to him teach painting theory, at this time, Wang Yuanqi was not only a subordinate, but also a calligraphy and painting emperor whom Kangxi relied on. But the emperor is the emperor after all, but Kangxi can make Wang Yuanqi pour out his talents in front of the imperial court, stimulate the grand theory, and let Wang Yuanqi lead the holy thoughts and cater to the will of the king.
Kangxi admired Wang Yuanqi for a possible reason, as he was also a Dong fan. Kangxi once praised Dong Qichang for "every time you are inadvertent, the abundance of gods is unique, such as the breeze blowing, the clouds curling up, quite natural fun."
The emperor's saint Ming could be learned, so how could he not see the origin of Dong Qichang and Wang Yuanqi? Wang Yuanqi's first teacher was Dong Qichang, and Dong Qichang's later learning was Wang Yuanqi, and the two of them were calm and harmonious, and they were like one person.
Dong Wang Ju Shi Dong Yuan's Ancient, Dong Wang Ju Mu Mi Fu's Ancient, Dong Wang Ju Imitate Ni Huang's Ancient, Dong Wang Ju Imitate Wang Meng's Ancient... Wang Yuanqi is simply the reincarnation and apparition of Dong Qichang. Kangxi couldn't even tell whether it was Wang Yuanqi or Dong Qichang who was in front of the imperial court. In Kangxi's eyes, Wang Yuanqi is Dong Qichang in this life, and Dong Qichang is Wang Yuanqi in the previous life.
Wang Yuanqi not only inherited Dong Qichang, but also was deeply favored by Kangxi, so naturally he established his position in the field of painting in the court and the public, and became famous all over the world for a while. As a royal painter, the greatest power that Wang Yuanqi can enjoy is that he can walk freely in the Changchun Garden, and it is rare to collect the scenery in the garden everywhere. What's more, Kangxi asked Wang Yuanqi to immerse himself in the Changchun Garden, and the end of the Biga, so the thousand-year-old painting history is all in the painting room of Changchun Garden, the eaves of the roof corner, and the landscape and water.
Wang Yuanqi's painting room, the interior is landscape, and the outdoor is Spring and Autumn. Wang Yuanqi admired autumn on a sunny day, and even a grape in the courtyard could touch his poetic heart, and the painter could not help but share a poem and chat about it:
Courtyard support a slanted,
It is rumored that the name is self-riding.
Round beaded foil,
Light teases the crystal fluorescent jade.
Green dipped in virtual windows into a knot,
Bi Tianxin brewed envy Liu Xia.
Pick it up to be rewarded by the common family,
Autumn is like a flower.
15.
In 1713, on the occasion of Kangxi's sixtieth birthday, the chief official Wang Yuanqi was instructed to draw a long scroll of the "Ten Thousand Lives Ceremony Map", which was recorded as a grand birthday ceremony. This is one of the few works written by Wang Yuanqi in his life, rather than antique.
The scroll is nearly 50 meters long, making it the longest ancient picture book known so far. Unfortunately, the original has been destroyed, and only the manuscript of the City Well Scroll, the Zhu Gui Inscription and the redraw of the second year of Jiaqing have survived, as evidenced by Mr. Chu Shuowei's strict examination evidence.
This picture inherits the realistic tradition of Zhang Zeduan's "Qingming Upper River Map", and also follows the exquisite painting style of Qiu Ying's "Qingming Upper River Map", the picture extends with the route driven by Kangxi Luan, starting from Changchun Garden and ending at Shenwu Gate, along the way for dozens of miles, where the road passes, hundreds of officials and pilgrimages, all the people celebrate, Qu Song lane dance, and peril hu song. The long scroll is like a long road, full of Jinfang Color Pavilion, Floor Treasure Pavilion, Luan Yi Xingyuan, and street scene crowds.
In the 2014 Forbidden City exhibition of the "Longevity Festival" repaint book, I saw for the first time a picture of the Changchun Garden Grand Palace Gate, the palace gate five jacarandas, sitting north facing south, Changchun Garden's royal book plaque hanging high on it, golden and brilliant. There is a corner door in the east and west, and there are five rooms facing the room. When my eyes pass through the palace gate, I seem to be able to see three parts of the garden: Zhuxi Fishing Pool, fish and birds are close to people, Xuan Chang is leisurely and elegant, and the wind and dust are perched.
Is this Kangxi's Changchun Garden? Is this the Changchun Garden that Wang Yuanqi shone in the last ten years?
The Qing Dynasty royal family had the famous Three Mountains and Five Gardens in the western suburbs of the capital, namely Wanshou Mountain, Xiangshan Mountain, and Yuquan Mountain; the Five Gardens were Changchun Garden, Yuanmingyuan, and Qingyi Garden of Wanshou Mountain, namely the Summer Palace, the Jingyi Garden of Xiangshan, and the JingmingYuan of Yuquan Mountain. Among them, Kangxi's Changchun Garden was built the earliest and largest, and was the first of the five royal gardens of the Qing court.
It can be seen in the "Longevity Festival Map" that the area around Changchun Garden in that year, before and after the ocean, straight to the grass, lotus and pu, and rice. Changchun Garden was built on the former site of Tsinghua Garden of Li Wei, Marquis of Wuqing in the Ming Dynasty, and is based on the height of Fu, that is, Beicheng Pond, Stacking Mountains and Rivers, And Looking at Ripples, which is a water landscape garden with distant mountains near the water and mountains holding water.
Longevity Ceremony Picture (Partial) Chinese Painting Wang Yuanqi
And look at the hundred acres of Fang Lake, the waves swim scales, a look at the waves, the dry lake, the deep willows and reeds. I don't know when, somehow, and I don't know who, but for this lake surface gave a picturesque name: Dan Ling.
Regarding Danling, as far back as the Ming Dynasty, the poet Wang Jiamu once wrote a "Record of Danling":
The size of the tree is hundreds of acres, even a few miles, can be fished by boat, the bushes of negative mountains, the beauty of gai shengao, the victory of the suburban residence...
Qing Kangxi Hubu Shangshu Wang Hongxu also gave the poem Dan Lingyu:
Xiling thousands of heavy waters flow into a cracked lake.
The branches belong to the Imperial Garden, and the pot is knotted with the scenery.
During the Kangxi Dynasty, there were many poems about Changchun Garden, but the best written was Kangxi's imperial pen. I think that the best poetry in the articles of the emperors is Cao Cao's "Short Song Line"; the best painting is Song Huizong's "Ruihe Tu"; the best literary endowment is Kangxi's "Records of Changchun Garden".
However, this one inscription eventually became a sacrifice text. The former Royal Garden has been gone for a long time, and the years are far away, so the traces can be found. And the former emperor has long since turned into a green smoke fairy; his "Records of Changchun Garden", I don't know when, has also drifted in the wind, and many people today do not know.
Wang Yuanqi naturally read the "Records of Changchun Garden", and his landscapes are also scattered with the wind and moon of Changchun Garden. To this day, when I read kangxi's changchun garden at night, what comes to mind is Wang Yuanqi's leisurely smoke and water in changchun garden, and the clouds and mountains:
When the husband is heavy and the mountain is extremely pu, the smoke is in the sunset, the calyx is issued in the four orders, and the rare birds are noisy in the hundred tribes. The crops are abundant and full of wild flowers. The scenery is square, the heart will be far away...
Crystal clear mirror, haunting aromatic flow. Kawakami wanders, swims in a swim...
In 1684, Kangxi first built Changchun Garden, since this time, Danlingyu has a royal weather, clouds and smoke suddenly, the gods change into a thousand shapes; in 1687, Kangxi began to live in Changchun Garden, since then, a generation of famous gardens finally ushered in their own masters, Flying Xialing, divided into heavenly food, swallow sleep incense, day leakage is rare.
Read one of Kangxi's Changchun Garden night poems:
The garden pavilion is refreshing and the rain is sunny,
The crescent moon is shining brightly through the tree.
Missing the micro-sleep thinking of the Road,
It is unknown what the night means.
The owner of Changchun Garden is of course Kangxi, but, in my writing, Wang Yuanqi is the master of The Painting of Changchun Garden, and Kangxi is just a noble statue in the garden- for example, in 1723, on the original site of his Qingxi Bookstore, Yongzheng built the Enyou Temple, the three Buddhas enshrined in the Shrine.
16.
I still wonder why Yongzheng had to rebuild the Qingxi Book House and build the Enyou Temple in the first year of Yongzheng, that is, the year after Kangxi's death. It was from this time that Changchun Garden gradually changed its original appearance. However, eight years before that, Wang Yuanqi had already passed away, and in my mind, the Changchun Garden at that time was no longer the same.
Qingxi Bookstore is located in the northeast corner of Changchun Garden, Liuting Zhuyu Island, Xiqiao is connected, although it is kangxi's sleeping hall, but it is also the diligent emperor's night reading place, so it is called the bookhouse.
The Kangxi Governor was in the southeast corner of the TangNing residence. From The Tranquility House to the Qingxi Book House, is the eastern district of Changchun Garden, where there is Kangxi's Library Pavilion Yuan Jian Zhai, Tibetan Painting Hall Pei Wen Zhai, as well as the Upper Study Hanlin Straight Room and The Painting Academy, and the air is filled with the fragrance of flowers, herbs, books and ink.
Wang Yuanqi entered the Hanlin Zhifang during the day, and would occasionally go to Yuanjian Zhai to read the secret ancient books, or to watch the imperial collection of calligraphy and paintings in Peiwen Zhai. At night, he would paint in the painting courtyard behind the straight room, the wind blowing and the shadows, waiting for the clouds to listen to the rain, light shade cage trees, and sheng song tiles.
When Kangxi was busy with a day's government affairs, returned to the Qingxi Bookstore to rest, and often exhibited ancient paintings at night, at this time, the incense was late and the flowers were eaten and the lanterns were green, Wang Yuanqi would be passed from the nearby painting academy into the Qingxi Bookstore, and with his profound painting theory and outstanding painting talent, he would serve Kangxi to appreciate the paintings.
Jun did not see, he was in Changchun Garden for more than ten years, just to get the moment when Kangxi summoned. For that moment, he waited in the Changchun Garden all the time. However, he was watching for a long time. When he looked at it leisurely, sat and watched, clapped the clouds, and looked at it, who knows, what is he watching?
In 1714, the year before Wang Yuanqi's death, he signed February, Spring, Mid-Spring, April, Autumn, Autumn, New Autumn, Mid-Autumn, and Late Autumn, and painted nine imitations of Huang Gongwang landscapes; in 1715, the year of Wang Yuanqi's death, he painted four imitations of Huang Gongwang landscapes.
After the Mid-Autumn Festival, he finally wanted to drift in the autumn wind, floating to the distant mountains of autumn light. I knew that it was the Qiu Shan that Huang Gongwang had dreamed of since he was a child, and he was about to see it.
For many years, in Changchun Garden, he had been watching over Huang Gongwang's QiuShan. He may even meditate, if one day, he accompanies Huang Gongwang, lying on the top of the Autumn Mountain, the unique beauty of the Peak Rock, the beauty of the Sihu Mountain, the turbulence of the water, the smoke and mist, the sparse forest and wild water, the plain and deep, but only the aura of the jiangshan, swallowing and disappearing, azure and natural, gradually becoming the hills and ravines in his chest, thousands of people, can not be described.
He looked out over the distant mountains, which were like a wash and a gentle breeze. In front of his eyes, Huang Gongwang's Qiushan was constantly changing, transforming into the Spring Mountain of Li Sixun, Yan Su, Qu Ding, and Zhao Boju, and then into the Xiashan of Dong Yuan, Yan Wengui, Zhao Lingyong, and Wang Meng, as well as the twilight snow and cold clouds of the Tang, Song, Yuanming, and Ming Dynasties, the empty forest after the rain, the moon of wine, the strange stones and auspicious smoke, and the mountains full of wonderful shapes and endless horizons.
This scene is just like Li Bai sitting alone on the Pavilion Mountain:
The birds flew high, and the lonely clouds went alone.
Looking at each other is not tired, only Jingting Mountain.
As a result, he himself slowly grew into an old tree in the garden, with old and fresh skin, flying scales in the air, and the momentum of cockroach, wanting to attach to Yunhan. ...... The frost dew has fallen, the autumn sound is a piece, and he has been illusioned in the poetry of the Tang Dynasty Liu Deren:
The old trees are autumn-colored, and the empty pond is immersed in the moonlight.
Cool breeze white dew, this situation belongs to the poet.
You look at him, accompany Kangxi to look at the ancient paintings, appreciate everyone's pen and ink, especially the Qionglin jade tree of the ancestors, the willows contain smoke. It turned out that Wang Meng's heavy writing xia mu made him understand the virtual realm of the Yellow Crane Mountain's summer time of qingyin watchmanship; Ni Yunlin's scorched ink smoke tree made him read the situation of lonely watching in the cold autumn of Yunlinzi.
However, how he wished he were a tree that could walk! Wang Yuanqi is a native of Taicang, Suzhou Province, but he has been away from home for many years since he entered the army at the age of 28. Kangxi six times in Jiangnan, he had been from Suzhou several times, but he had not entered the house several times, nothing more than looking at the cooking smoke wafting in the township. In the more than ten years of Changchun Garden, he has entered the sky at night, but he can only use pen and ink to pin his homesickness, use poetry to dispel homesickness, and see the bright moon in his hometown in his dreams:
A few years in the dream of Jiangnan Moon,
A piece of acacia sent a blue cloud.
On this day the west window fades into the day,
Aoyama pen at the bottom of the autumn min.
The peonies in Changchun Garden are not like the flowers and grasses of their hometown; the deep bamboo warblers are not as good as the April days in Jiangnan. Yun has no heart to come out, the bird is tired and knows to return, but, helpless, he can't help himself, he can only be in changchun garden, like a tree that can miss and can't walk, for Kangxi to be on duty all day, but homesickness is like rain, nostalgia is like smoke, smoke and rain are Xiao Xiao, love for the hometown garden:
Eyes full of Flowers burning,
But he taught three thousand sorrows.
Deep in the bamboo warblers cry green,
Lose with Gangnam on April days.
In Changchun Garden, Wang Yuanqi is a watchman who grows old year by year, lonely and calm, lonely and persistent, watching his dreams on the Autumn Mountain, but also watching his own unforgotten countryside, in countless sleepless nights, picking the bottom of the lamp eaves, showing the ink, lonely love, cold night shines.
17.
In order to explore the old Changchun Garden, I once read the Qing Dynasty Gao Shiqi's "Secret Record of Pengshan Mountain", which is recorded in the book, and in March 1703, he was summoned to the garden and looked at all the scenery in the garden. Gao Shiqi especially wrote about the peonies in Changchun Garden: "Peony xenomorphs bloom between the columns, and the national color is rare in the world."
It turned out that Kangxi loved peonies the most, and the shores of the park were full of peonies and flowers. Kangxi even personally compiled a letter "Peony Flower Genealogy", which gave more than 90 kinds of peony flower names, of which only green peony is elegant and unusual, which is rare in the world, so Kangxi gave seven unique memories:
Bi Rui Qingxia suppressed the fangs,
The sandalwood heart is fragrant one by one.
Flower residue is another year,
Mo sent spring light to the sun long.
But I think of Wang Yuanqi's solo appreciation of grapes, and I still remember his poetry grape trellises, written into a good sentence "green dipping virtual window", but I did not see him chanting the spring peonies in the garden. Although the steps up and down the windows in changchun garden are spring with everything, Wang Yuanqi prefers to take spring as autumn, know spring and keep autumn, and only say that "autumn is better than flowers.".
Peony is the flower of the emperor who is glorious and luxurious, and who can appreciate it with Kangxi!
However, is it a year to spend a year? After the death of Kangxi in 1722, the peony in the garden dissipated with the departure of its owner. First the Yongzheng Emperor built the Yuanmingyuan, and later the Qianlong Emperor built the Spring Garden, and the Changchun Garden without a master was gradually reduced to an abandoned garden.
Looking back at the happy things floating clouds to change,
How many years has the jade been buried?
Today, Kangxi's Changchun Garden has long been gone, obliterated, only the first year of Yongzheng and the forty-second year of Qianlong built the two mountain gates stand alone, hanging in shadow, although not the original building of the Kangxi period, Wang Yuanqi naturally has never seen, but as the only remaining symbol of Changchun Garden, it can be used to determine the general orientation of the park landscape.
Who would have thought that Enyou Temple, this small mountain gate, was actually the location of Kangxi's palace before. I imagined the Qingxi Bookstore in front of me, the Songxuan Thatched Hall, and the ancient trees and flowers. From the mountain gate to the south, the foot seems to be the dew of the moss trail of the year, the road is absolutely dusty, bypassing the lotus pond lotus bank in the impression, the corridor is tortuous, the bushes are planted, the plantain is green, I stopped, here should be Wang Yuanqi's Hanlin duty house and painting courtyard.
But in reality, I just walked to the door of an ordinary community, with a flow of people and in and out. I believe that few residents know that this was once the palace of the emperor of the Qing Dynasty, let alone that a great painter of the Qing Dynasty, Wang Yuanqi, used to watch day and night, keep watch every night, keep watch every year, and ask for the year. Of course, no one knew me. The doorman asked me: Who are you looking for? I replied: Look for Wang Yuanqi.
I really wanted to find Wang Yuanqi, to find his face hidden in the light and shadow, even if I found an old tree, there must still be his old gaze on the tree. I walked inside the community, but the huge courtyard did not have the slightest trace of past dreams. Oh, the geometry of the sun and the moon, and the country and mountains can not be recognized.
Suddenly, I saw a vine trellis, full of pearls and jade grapes, which was a familiar scene in Wang Yuanqi's courtyard three hundred years ago, and it was also the only old shadow of the great Changchun Garden in the present, like the stars and moons of the world. Under the vines, there are also poems by Wang Yuanqi.
I walked outside the courtyard, and the grass and trees of Changchun Garden swayed in front of my eyes. I struggled to discern the images in my memory, could it be that the spirit feathers of my previous life had also floated here? I don't know, am I looking for Wang Yuanqi because of Changchun Garden, or am I looking for Changchun Garden because of Wang Yuanqi?
I looked around and walked alone, although the streets, buildings, vehicles, and pedestrians were everywhere in front of me, but they had disappeared into the misty sky, and there was only nothing, and there was nothing. Only the Changchun Garden in my mind is the same as the light, the color of the garden is still the same, the sun is poor, and the waves are far away.
Perhaps, today, I am also a watchman in Changchun Garden, so why am I watching? Changchun Garden has long ceased to exist, the lonely mountain gate is just a mast that exposes the sea level, the sea level of time has risen, and history has sunk. And I, just a late visitor, looking back at the past and sighing.
Over the years, I have been exploring Wang Yuanqi and watching Wang Yuanqi, who has imitated so many famous relics of past dynasties, which have become a complete history of Chinese painting. He traced history and continued history, repainted history and watched history, and finally, in late autumn, late autumn, I followed his steps and walked into Changchun Garden.
In the Changchun Garden floating in the air, the smoke and clouds, the sky is high and the sun is crystalline, and I met wang Yuanqi's inscription poem unexpectedly:
Yerba Buena Water Surface Qi,
Bamboo cool lotus net small bridge west.
Creek side road deep in the clouds,
The stone stone is high and the corner of the hall is low.
18.
When I first met Wang Yuanqi, I was born with a painting of Wang Yuanqi hanging in the foyer of my home when I was a child. At that time, I didn't know how to look at the paintings, but only to see the slopes of the sparse forest, the mountains, stones and trees. I remember my father once pointed to the flogging point on the painting and said to me, you see how strong his brush is! At that time, I didn't understand, but Wang Yuanqi's pen and ink were deeply remembered. When he grew up, he realized that what his father said was true, and that Wang Yuanqi's pen was originally a vajra pestle, as he himself said.
Therefore, from now on and even today, whenever I go to see ancient paintings again, I always have to taste the spots and dots, and I find that the power in these subtle places, no one before and since, it seems that no one can surpass Wang Yuanqi.
I am also good at ancient, but also try to write antique, the pen is like Wang Yuanqi's dot moss, deep and shallow overlapping, fragmented and dense, and good at using ancient language, quoting old classics, according to the meaning of events, aiding the ancient to prove the present, but in the end it is not as good as Wang Yuanqi's paintings are antique, eating the ancient and becoming ancient, and dahua ancient and modern.
Wang Yuanqi is antique, and at first he hated not like the ancients, and then he did not dare to resemble the ancients; if he did not resemble the ancients, he was not ancient, and if he was too similar to the ancients, he was not Wang Yuanqi. Therefore, Wang Yuanqi set the history of painting Dacheng, bu mo shenyi, pure and humble heart, antique to the end, but in the end it was still himself.
A few days ago, I accompanied Ma Zong of Beijing Tiangui Renshun Auction Company to visit my father, who was in his nineties. His father lived a life of antiquity, especially antique painting and calligraphy. Speaking of Wang Yuanqi, my father said slowly: Wang Yuanqi was the most influential painter in the entire Qing Dynasty, and in the two hundred years after his death, his antique painting style has degenerated into a rigid orthodoxy, mud is not ancient, clinging to the defects, and Wang Yuanqi's original antique spirit is far from it.
Songxi Xianguan Chinese Painting Wang Yuanqi Collection of the Palace Museum
Yes, looking at the past and the present, cherishing the past and cherishing the present, Wang Yuanqi is actually a watchman of the past.
Father also said, is it the fault of Xi Shi that Dong Shi is doing the same?
Without saying a word, the father turned and took out a picture of Wang Yuan's Qi shan shui hand scroll. Surprised, I asked my father: How come I haven't seen it? His father said that he had collected it in his early years, and it had been pressed at the bottom of the box, and he had not found it for many years, and he had only turned it over by chance not long ago.
Unfold the hand scroll and contemplate the three-meter-long width, shallow water Haruka, loose pedals, drizzle stained with moss, and green bamboo dragon chanting. As usual, I stared at the moss dots, almost exactly the same as the moss dots I was familiar with when I was a child, and it seemed that I was out of a stroke, making me feel as if I had suddenly retreated back to decades ago, to the ignorant teenagers.
Looking at the painting again, Wang Yuanqi has a five-word poem on the title:
The mountains go south, and the sound of the stream comes from the north.
Seclusion can be hidden, and the leaves are dotted with moss.
The payment is:
The Autumn of Kangxi Pengzi, imitating Ni Huang's penmanship, was written in Haidian Yuzhi.
Haidian Yuzhi... It turned out that this volume was actually a property of Changchun Garden, painted in the autumn of 1708. Painting is a good painting, poetry is a good poem, and the model is a good model, which makes me very surprised, and I have a strange complaint, why didn't I see it earlier!
I suddenly saw that the hidden place of the scroll also depicted a fairy-like Coats, dressed in plain clothes, Shen Yin was speechless, with a smooth look, a collection of virtual and quiet, really like a watchman outside the painting, but in the end it was just a watchman in the painting, so I got a glimpse of the watchman outside the painting.
If I suppose, it must have been the watchful eye of the watcher in Changchun Garden.
Wang Yuanqi watched in Changchun Garden:
Kamima Kiyoha,
Looking down at Chengbo,
Kasumi Lonely Reflection,
Bright Moon Alone,
High in the temple,
Far away from the rivers and lakes,
Both literary and knowledgeable,
Yi Xuan Yi Shi,
Green pine shade,
Who is Baiyun?
Who is Akiyama? Who is Qiushui? Who is the autumn wind? Who is autumn grass?
Suddenly, a bird descended from the clouds, and according to the light... A few cries of Jade Feather... Round back watch... Alone in search of a ghost... The two poems of Tao Yuanming fell on Wang Yuanqi's lonely court:
The mist stops the clouds, and the rain is wet.
Flying birds, rest my Tingke.
On November 18, 2020, it rained and the manuscript was first completed;
On November 19, 2020, the bird flew and the manuscript was finally completed.