Zhou Hao
Zhou Hao (1685~1773) Was a Qing Dynasty calligrapher and painter and bamboo carver. The character Jin Zhan, the number Zhi Wei (一作巖, 岩), zhi Dao ren, Zhi Shuo, Xue Qiao ( 薛樵 ), because of the long hair of the long beard, the self-proclaimed hair of the idiot, the people call Zhou Hair. Jiading (now part of Shanghai) Nanxiang people. Sexual addiction, until the old heavy drink does not decrease for many years. Talented, uninhibited personality, not happy to advance, and friendly with people.
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Bamboo carving master
Zhou Hao's calligraphy and painting creation is relatively casual, "accidentally want to paint, painting with people", but together with the carved bamboo, it is extremely meticulous, self-discipline is very strict, "when he transports the knife, if the silk hair is not satisfactory, although it is hanging, it is also axe to sizhi". Therefore, when we find that Zhou Hao, whose bamboo carving name is overshadowed by the name of the painting, has far more painting marks than bamboo carvings in his heirloom works, it is not difficult to understand.
Three monks figure bamboo pen holder Ningbo Museum collection
Painting and sculpture are two distinct plastic arts. Sculpture is a three-dimensional art of three-dimensional space, imitating the three-dimensional image without the problem of spatial transformation, at most it is the treatment of "compressed space" of bas-relief. However, if you try to absorb some of the effects and techniques in flat painting into the sculpture, it is a very professional subject. In the past, among folk artists, there was indeed a situation in which painting and sculpture were not distinguished, but these were limited to depictive and decorative paintings, including the "courtyard body" and some of the paintings of the so-called "Northern Sect" family.
Tao Qi carved arborvitae bamboo stone figure bamboo arm shelf Shanghai Museum collection
If the artistic effects and techniques belonging to "literati painting" or the so-called "Nanzong" paintings are to be grafted onto the carving, it must be realized by artists who are both good at "literati painting" or so-called "Nanzong" paintings and both carving. Because this kind of painting style is written and imagery, the taste of pen and ink is its core aesthetic value. Without mastering considerable pen and ink skills and engraving skills at the same time, it is unimaginable to complete this task. This epoch-making task is destined to be completed by Zhou Hao.
Xishan fishing hidden figure bamboo pen holder rubbing
At present, the earliest known carving of Zhou Hao's landscape theme is the Xishan Yu Hidden Map Pen Holder made in the eighth year of Yongzheng (1730), which has a wide atmosphere and a sense of loneliness in Jiangtian. This work only shows rubbings, but it is certain that Zhou Hao has realized the expression of the "Nanzong" brushwork on the carved bamboo at this time, that is, "its contours are rubbed, and more than one knife is cut out... The branches of the trees are cut off with blunt peaks". This year Zhou Hao was forty-six years old.
SongYuan Yunquan picture pen holder Shanghai Museum collection
Pine Canyon Yunquan Diagram Bamboo Pen Holder Rubbings Shanghai Museum Collection
Subsequent chronicles include the Bamboo Pen Holder of the Songyuan Yunquan Diagram and the Bamboo Pen Holder of the Yunluo Landscape Diagram (the collection of the Palace Museum) in the ninth year of Qianlong (1744), the bamboo pen holder of the Song Waterfall Diagram in the twenty-first year of Qianlong (1756), and the bamboo pen holder of the Xiyun Mountain Pavilion Diagram in the thirty-sixth year of Qianlong (1771), all of which were made after the age of sixty. The bamboo pen holder of the above Bozang Songyuan Yunquan Figure is a representative work of dense landscape bamboo carving, the whole composition is magnificent, the artistic conception is profound, the landscape and cloud trees, slender and tortuous, dense and elegant.
Pine Waterfall figure bamboo pen holder Shanghai Museum collection
In addition to the contour lines expressed by the yin carving knife method, the mountain stone also uses a round knife to shallowly remove the texture layers on the stone, and after polishing, it appears to be subtle, rich and subtle. The waterfall on the bamboo pen holder of the Pine Waterfall figure is more three-dimensional, and it is completely bas-relief with a painting hook effect. In addition to landscapes, Zhou Hao is also quite good at stick figures, and there are many bamboo carvings with the style of landscapes and ancient wood bamboo stone themes that imitate Ni Yunlin, such as the ancient wood bamboo stone drawing pen holder made by Qianlong in the twenty-seventh year (1762).
Ancient wood bamboo stone figure bamboo pen holder Ningbo Museum collection
This road of work, are in a bold axe, chat a few times to carve out the outline of the tree stone, in the mountain stone contour line with a round knife carefully "wrinkled" out of the stone pattern, rich in layers and rich texture. With the sword strength jian contains pine spirit, the knife marks have shallow and deep, wide and narrow, light hair changes, deep and steep if there is a thousand jun power, shallow places contain inexhaustible meaning, of which the use of huifeng, dew front, Hidden feng is all natural and appropriate, such as handwriting.
Bamboo stone figure bamboo pen holder Shanghai Museum collection
Zhou Hao's carving technique of combining yin carving and relief is also used to create bamboo stones. Bamboo stone is Zhou Hao's most skilled theme, bamboo carved on the bamboo, really will be the literati love bamboo Yixing to the extreme. This kind of work is carved with bamboo leaves and bamboo branches purely yin carving, which is smooth and strong in one stroke, and the stone is bas-relief, with a knife high and low concave, the layers are clear and integrated. Among them, the most typical ones are the bamboo pen holders of the bamboo stone figures collected by the Shanghai Museum and the bamboo pen holders of the old bamboo stone figures of Ye Gongqi. Of course, works that purely use the yin carving technique, whether it is stick figure landscape or bamboo stone, are even better for Zhou Hao. This road work is represented by the bamboo pen holder of the wind bamboo white stone figure collected by the Shanghai Museum.
In the middle age of Zhou Hao's 50s and 60s, he has perfectly integrated the artistic paths of calligraphy and painting and bamboo carving, and has since entered the golden period of artistic creation and continued until after the age of eighty. The appreciation of Zhou Hao's bamboo carving style is completely based on the aesthetic vision of the literati with pen and ink as the highest standard, and even the handicrafts must be based on the theme and taste of the literati paintings.
Zhiyan bamboo and stone figure pen holder Shanghai Museum collection
From some of the commentaries, such as "no fake manuscript, it becomes a hill of its own." Its wrinkle method is thick and faint, vividly blended into "scratch off, full of energy... Shallow and dark, outline baking dyeing", zhou's bamboo carvings have been regarded as paintings, and there is also the evaluation of "those who cannot be reached by painters". At this time, Zhou Hao's carving of bamboo has been equated with the state of literati calligraphy and painting creation, so that it can be completely applied to the evaluation language of literati painting to depict, in general, its bamboo carvings in the early juan are beautiful, middle-aged and energetic, and the old age is full of flavor.
Yunlin Small Scene Bamboo Pen Holder Shanghai Museum Collection
Yunlin Xiaojing diagram bamboo pen holder rubbings Shanghai Museum collection
Zhou Hao regarded bamboo carving creation as painting, and a prominent feature was that he liked to use inscriptions on the style of bamboo carving works. For example, he inscribed on a stick figure landscape pen holder: "Ni Yunlin's poetry and painting freehand scenery, each self-transcendent, cover is not in the object, so it can swim outside the thing, the top of the mountain, the end of the water, get it in the heart", indicating the love for Ni Yunlin's painting style.
Bamboo stone cold spring figure bamboo pen holder pair Shanghai Museum collection
Another example is the inscription on a bamboo and stone drawing pen holder: "Ancient maple chaotic, Leng Yuanren painting method also, desolate and clear, back to dazed." Zhiyan. On the bamboo stone cold spring map is inscribed: "The rain window is silent, sitting like a monk facing the wall, making a pen as a bamboo stone cold spring, quite like the outside, Zhi Dao people." "Just looking at the text, you would never think of it as a carving.
Zhou Hao's literati Yaji pen holder Shanghai Museum collection
Zhou Hao's works have not been passed down, but they are scattered everywhere. In contrast to his acclaimed bamboo carvings, his paintings have not yet received the attention they deserve. People who know his painting achievements lamented that his painting name was hidden by the name of carved bamboo after his death, but for Zhou Hao, he painted, carved bamboo, chanted poetry, drank, and lived a long and fulfilling life, which can also be said to have no regrets.
Han Chao carved the year of the Qing Dynasty to provide a picture of the bamboo pen holder Shanghai Museum collection
Han Chao carved the year of chaoqing to provide a picture of bamboo pen holder rubbings shanghai museum collection
He should not have expected that as a non-Scholarly scholar in a remote corner of Eastern Wu, the bamboo carvings of his game works would become one of the most successful examples of Chinese literati entering the field of arts and crafts. From the perspective of bamboo carving art, Zhou Hao's success is not only unprecedented, but also unprecedented. Because there is no longer a bamboo man who has such a superb and comprehensive literary artistic attainment as him; there is no longer a literati calligrapher and painter who has such a profound and outstanding level of carving.
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