"The Biography of the Painter" ~ 342
<h1 class="pgc-h-arrow-right" data-track="2" > Ma Tsuen and Yun Bing are equally famous, known as double absolute, Jiang Tingxi's sister once learned to paint from her! </h1>
Text/Lu Xiuhui
Ma Quan (born and died unknown), lived during the Kangxi, Yongzheng, and Qianlong dynasties, and was a native of Changshu, Jiangsu.
Ma Quan's grandfather Ma Mei (马梅), zi bai (字子白), was a flower and bird painter of the late Ming Dynasty, and a yougong luyan.
Ma Quan's father, Ma Yuanyi (1669-1722), drew the heirloom method, and the qi yun chaoyi protruded over the father Ma Mei. Ma Yuan's temperament is not to be expanded, and it is beneficial to indulge in wine and pen. Worshiping Yun Shouping as a teacher and getting his own inheritance, and making friends with Jiang Tingxi, the two often discussed the Six Laws, so the work was "boneless painting", which was full of charm and flying, and it was informal. Ma Yuanyu thought that he had the will of Shen Zhou and Lu Zhi, and his super-vertical places really had the Lu family's style rules, while the old Jianyuan was inferior to Ishida, and his promise was to think that he could be a good product. The work of xingzhi, especially the yi pen, more ink. The book is also elegant. Died at the age of fifty-four.
Ma Tsuen's elder brother Ma Yi , huahua not only learned Yun Shouping, then studied under Jiang Tingxi , but also was good at painting fish , and was the main ghostwriter of Jiang Tingxi. Qianlong once asked Jiang Tingxi, who is the most recommended of your disciples? Jiang Tingxi replied without hesitation: Ma Yi! The imperial court sent someone to recruit him, and Ma Yi resigned on the pretext of his mother and elder. When the famous eunuch Li Shizuo accompanied his father to the eunuch Jiangnan, he also traveled from him.
In jiangsu and Zhejiang, the society is prosperous, the material is abundant, the people's life is stable, and the people pay more attention to the needs of spiritual life. Changshu is located in jiangnan, adjacent to Suzhou, is the cultural and economic town around the Taihu Lake area, the humanities are far away, the culture is thick, the budding of capitalism in the late Ming and early Qing dynasties stimulated the rise of this area, brought about changes in the economic structure, changed people's old ideological concepts, and had new ideas and new definitions for many problems. Many literati eunuchs and rich families were very supportive of the female relatives of the family to learn piano, chess, calligraphy and painting, and formed a custom. Ma Tsuen is the representative figure among them, as a boudoir painter and the inheritor of the family painting style, she led the new shaping of the concept of women's class, making her artistic path relatively broad, and also making Ma Tsuen's gongbi flower and bird paintings full of sincere love for life and nature.
Ma Quan is the representative of the boudoir painter group in Jiangnan region, the emergence of jiangnan boudoir painters is not accidental, the rise of capital has contributed to the progress of ideological concepts, from the family point of view, can add color to the family lintel, from the perspective of cultural development, show the formation of such cultural customs, so that more qualified women to join the edification of art, therefore, the number of women involved in the study and creation of poetry and painting suddenly increased in the Ming Dynasty, and the Qing Dynasty reached its peak. As a painter of that era, Ma Quan's superior social background created a good space for her painting path. In such a historical atmosphere, many female painters were born in Changshu and the surrounding areas. The more famous ones are Ma Tsuen, Jiang Jixi, Jiang Shu, Yun Bing and so on. Among them, Yun Bing is a Changzhou person, and the others are All Changshu people. Yun Bing got its name because of its proficiency in the boneless method, and Ma Tsuen became famous because it was good at the hooking method, so the Jiangnan people called Ma Tsuen and Yun Bing, who was good at bonelessness, a double jeopardy.
Since childhood, Ma Quan learned the painting family method with his father and brother, and his painting skills were passed down from family to family and his painting skills were refined. While refining her art, she also studied painting theory, exhibited paper and ink to paint tirelessly, and once carved herself with "family study" and "green window learning painting" and other idle chapters. When Ma Quan became an adult, he married Gong Kehe of the same county. Gong Kehe and Yigong books and paintings. Ma Quan won with flower and bird paintings, and Gong Kehe was named after landscape paintings. His brother Gong Keyong was taught by Zhuxi ZhiXian (竹溪知县). Gong painting, noh poetry, and gong biao style text. In Zhuxi, the abandoned weir was built, named "Bohai Weir". Died in office. After Ma Quan got married, the couple became inseparable, and the two traveled to the Beijing Division together, and stayed in the capital to sell paintings for a living. Ma Quan also worked on embroidery, and his embroidery was also a superior work, so the two stayed in Beijing, and the food and clothing were quite abundant, and the couple was also pleasant and comfortable.
Later, her husband unfortunately died young, and Ma Quan had to return to his hometown of Changshu alone to engage in calligraphy and painting. Concentrate on painting, embroidery, and "always store a few people, and order lead to kill powder." "She recruited handmaidens to teach them to paint and embroider. Many women from large families in Changshu begged her to teach. When Changzhou Yun Bing paintings are named after bones, while Jiang Xiang is named after hook dyeing, Jiangnan people call it a double absolute. For a while, the reputation grew. At that time, "silk wrapped around dyeing Han, drinking iced tea, and the fame is high, and the four parties are gathered with silk and gold for painters." And Kotokawa's many noble warriors and daughters have come to ask for fingering. She calls herself a "flower slave", and the themes of her works are mostly idle flowers and quiet grasses, small insects, fish and butterflies, both wild and elegant themes that the literati GaoShi liked, as well as common objects in the world.
In the history of Chinese art, literati paintings of the Qing Dynasty flourished, but in the field of flowers and birds, yun Shouping and his "Changzhou school" shone brightly. Yun Shouping is good at using the "Boneless Technique" to paint flowers and birds. His appearance opened up a new field of painting development for the flower and bird painting circle of the Qing Dynasty, which not only influenced generations of painters of the Yun family, but also had a great influence on the Jiangnan region, and strictly speaking, Ma Quan also benefited from the "Changzhou School". Her father, Ma Yuanyi, was a student of Yun Shouping, and her brother Ma Yi first learned Yun Shouping, and then asked Jiang Tingxi, who also learned Yun Shouping's boneless painting technique, and then changed his delicate style and created the "Jiang School" flower and bird painting rooted in Jiangnan and pouring into the capital. Under the influence of the Yun and Jiang families, Ma Quan grew stronger and stronger.
In addition to learning Yun, Jiang, and inheriting family studies, Ma Quan has also been committed to the study and reference of the Song people's flowers and birds, and often inscribed "imitation of Song people's brushwork" and "imitation of Song people's method of sketching" in her flower and bird works, Ma Quan is very respectful of the Song people's flower and bird paintings, and the mainstream painting circle at that time followed the song people's courtyard style of flower and bird painting was also more prevalent. Ma Quan's study and reference to the flowers and birds of the Song people does not stay on the surface, but adds her own artistic perception on the basis of absorbing the nutrition of Song painting, so in her works, we rarely see her simple copying from Song paintings with every stroke, and more is the pursuit of the artistic conception of Song people's flower and bird paintings. Ma Quan's flower and bird paintings were also influenced by Yun Shouping's flower and bird paintings. Yun Shouping's elegant style when depicting objects with the boneless painting method, as well as the intention to deeply understand the objects, have had an important impact on Ma Tsuen's flower and bird paintings.
Ma Quan carved herself "Flower Slave" idle chapter, meaning flowers and birds to convey the divine portrayal, her flower and bird brush and ink vivid, with her father Ma Yuan's pen and ink lively and free, superfluous, endowed with the characteristics of tuoso, full of interest, and in the use of pen is good at using the hook and dye method, more exquisite and meticulous, meticulous. In terms of technique, it also partially inherits the style of Yun Nantian, and in some paintings, the hook and dye method and the boneless method are skillfully integrated, so that the picture has both the ketone of the boneless flowers and birds, and the rigorous and accurate coloring of the flowers and birds. Her pen and ink are beautiful and beautiful, and she writes part-time, expressing the form and texture of objects and images vividly and vividly. As a professional female painter who sells paintings for a living, Ma Quan is not only "occasionally idle writing about flowers and plants", but can grasp the fun of natural scenery while recreating the art of common flowers, birds, fish and insects with pen and ink in his hand, and has a certain ability to control the use of pen and ink, paying attention to the expression of pen and ink interest.
The color of Ma Tsuen flower and bird painting is very elegant, her flower and bird painting inherits the qingli Yanya style of her father Ma Yuanyi in color, although there are more colors, but there is no sense of gorgeousness and kitsch, the color does not change too much, more with the real color in nature as the element and artistic refining and processing, so her flower and bird painting does not need to make people look at the strong color, but appears in a clean and concise color appearance. Ma Quan's flower and bird paintings often use a small amount of stone colors such as powder, stone green and cinnabar as embellishment, and more are used to express flowers with water color, and sometimes even directly use ink color to directly color the leaves. The color of the picture is vivid and harmonious, and it is not vulgar, which fully demonstrates her keen sense and unique insight into the color of flower and bird paintings.
Ma Quan has superb realism skills, and the flowers, birds, fish and insects in his works are all rigorous and vivid. Ma Quan's flowers and birds are accurate, vivid and meticulously portrayed, she is good at observing the natural growth posture of flowers and plants, and can put the most moving posture into the painting, which is very vivid. In her composition, she fully reflects the unique sensitivity of female painters. Ma Quan's flower and bird paintings are characterized by being good at using "virtual", although most of them are brushes, they can often create an ethereal and quiet realm similar to freehand paintings, which fully reflects her deep understanding of layout rules.
Her works pay more attention to the management of the artistic conception of the picture, whether it is static flowers, trees and stones, or dynamic birds, birds, bees and butterflies are presented in a very natural and vivid posture, between the scales, all reveal the painter's deep understanding of the Song Courtyard body flower and bird painting style and the careful observation of natural objects, her flower and bird sketching works often create a flexible and vibrant artistic conception with strong colors and lines, in her works we can hardly find the technique of stacking or the lack of expression techniques, Instead, he can appreciate more of the vividness and calmness of the fresh nature emanating from his works, and because of this, Ma Quan's flower and bird paintings occupy a place that cannot be underestimated in the Qing Dynasty painting circle with male painters as the main body.
In her later years, Ma Quan's paintings were more famous, and her painting style was more mellow, which had a great influence on the painting world at that time. "The four parties went to the painters with both fate and gold to benefit the people, and the good painters also came to ask for instructions." The privateers are more numerous. Jiang Jixi, the daughter of the painter Jiang Yi and the sister of the university general Tingxi, also came to her to learn. Ma Quan's method of painting flowers, as well as Yun Shouping's boneless sketching method, and at the same time cleverly absorbed Western chiaroscuro techniques. She intends to pursue a meticulous, realistic aesthetic interest.
Lu Xiuhui has a poem "For Ma Tsuen Jiang Xiang Song", poem Yun:
Jia shu greets the drizzle, and the chirping birds climb the willows.
The scenery is good at dawn and dusk, and the fragrance of spring and autumn is fragrant.
Life is smiling, and the color is full of joy.
Ji Yue Qing Spit Hui, a hundred flowers hair from it.
Painting has been passed down for a long time, and the southern fence in front of the garden.
Yurui steamed sunset, light cold against the flying late.
Spring wood is wrong, and autumn clouds hate the decline.
Alone to support the widowed husband returned, unable to support the South Branch of the River.
The floral fragrance made me drunk, and the tea was clear.
Good boat book rumors, ghost painting deep.
Delicate embroidery man, threading needles into the iris.