"The Biography of the Painter" ~ 313
<h1 class="pgc-h-arrow-right" data-track="2" > Yu Zhiding was a master of portrait painting during the Kangxi Dynasty, and many celebrities at that time borrowed his hand to convey the gods! </h1>
Text/Lu Xiuhui
Yu Zhiding (1647–1716) was a Chinese painter of the Qing Dynasty. The word Shangji, the word Shangji, the first Shangji, the number Shen zhai. A native of Xinghua, Jiangsu, he was later sent to Jiangdu.
Yu Zhiding was born relatively poor, and the Xinghua County Chronicle of Yu Zhiding records: "Young and lowly, luotuo is not even." "When Yu Zhiding was more than ten years old, he finished things for Li's child servant, and only then did he have time to secretly ink the dance pen, and the master found out and taught him to specialize in painting. The Li clan is a descendant of Li Chunfang at the end of the Xinghua Ming Dynasty, and the clan is good at painting. The master taught Yu Zhiding to learn painting, which was his earliest painting industry enlightenment, and the master taught him to specialize in Lan Ying all the way. When Yu Zhiding was more than 20 years old, he became famous in his hometown of Xinghua and was famous for his portraits.
In the eighth year of the Kangxi Dynasty, Yu Zhiding met Wu Weiye, a great scholar who was famous all over the world for poetry, painting and calligraphy, and Wu Weiye was one of the "Nine Friends in Painting" and was friendly with Dong Qichang and Wang Shimin. When Yu Zhiding was 23 years old, when Wu Weiye was more than 60 years old, Wu Weiye asked Yu Zhiding to paint a portrait for him, which shows Wu Weiye's importance to Yu Zhiding. In the thirteenth year of the Kangxi Dynasty, the famous scholar Xu Qianxue Hanlin came to Yangzhou, and drank with the calligrapher Jiang Chenying and the poet Wang Maolin at wang's "Love Garden", and Yu Zhiding, who was 28 years old at the time, was also invited to attend.
In the Kangxi Dynasty, Yu Zhiding entered the capital and entered the prelude class of the Hongxu Temple. Hongxu Temple is an institution dedicated to the ceremonial ceremonies of the pilgrimage celebrations, and the "Prelude Class" is responsible for the ceremonies such as the Attendant Class, the Qi Class, the Correction Ceremony and the Praise Ceremony, and is the official in charge of the hundred official shifts, and the official rank is from the Nine Pins, and has not entered the stream. Although Yu Zhiding held a very low position, he specialized in painting portraits, as if they were offerings. Wu Qing's "Xi Zhai Collection" Volume II "Guangling Yusheng Wang Hui Tu Song" Prologue: "Kangxi Bingyin, Ding Jiaojian, Korea, Annam, Ryukyu, Helan, Xiyang, Turpan, Siam, Lama, Aros, Kharkefan ten kingdoms, its king Li Chun and other envoys sent to pay tribute, the story of Dahong Qi led the envoys to see Chaobi, gave the banquet ceremony department, then the East China Sea official Ceremonial Department waiter. The guest of the public Guangling Yusheng is a good person. On the day of the public banquet, the life of the sac pen to follow, the life from the side of the view, fold small square paper, rough writing, retreat to the silk of the picture. Whoever wears a crown and a sword, and whose hair and bones belong to the gods, there are all Bi Xiao, Tu Cheng, gong to take the righteousness of the King of the Zhou Shu Wang Hui, and the fate of the "Wang Hui Tu". "At that time, the Qing Dynasty was strong and powerful, and the vassals and foreign countries constantly came to pay tribute, and they were all received by the Hongxu Temple, and every time the main officials who came to the pilgrimage to see them had to be painted by the painter to leave the bottom, Yu Zhiding took up this position.
In the winter of the twentieth year of the Kangxi Dynasty, Ryukyu came to ask for the seal, and in April of the twenty-first year, the imperial court selected Wang Kai as an envoy, and in August, the envoy left Beijing to go to fujian to go to the sea, and in Ryukyu, his son Shangzhen was crowned as the king of Zhongshan in the Ryukyu kingdom, and Yu Zhiding also accompanied the envoy to Ryukyu, and returned to the dynasty in the spring of the twenty-third year. Yu Zhiding's mission to Ryukyu was the most prominent deed of his life, because his portrait paintings were outstanding, and the envoy was to depict the grand situation with a paintbrush. As a result, Yu Zhiding was even more famous in the capital, and this mission had a great role in promoting his reputation. The "Xinghua County Chronicle of Yu Zhiding" says: "Kangxi Zhongzhi Hongxu Temple Preamble Class, with the book envoy to Ryukyu, the name broadcast at home and abroad. ”
At that time, the princes and ministers of the Jing Dynasty, all of whom had the name Gongtong, asked Yu Zhiding to paint them all over the place. Yu Zhiding entered the heyday of creation, so he got to know more princes and ministers and literati celebrities, he expanded his contacts at the same time, but also expanded his horizons, so that the art of painting has made great progress, the overall quality has been further improved, his creation not only left many famous people at that time precious historical images, but also made his painting art more mature, more exquisite artistic style. Yu Zhiding's reputation in the capital is growing, and the number of people who ask him for paintings is increasing, and most of them are contemporary celebrities. He painted the "Dongting Map" for Cao Xueqin's grandfather Cao Yin; the "Yanju Lesson Map" for the cabinet minister Chen Tingjing; the "Hu Bo Flute Image" volume for Zhu Kuntian, the son of Zhu Yizun, and the "Picture of the Little Long Reed Fishing Master" for Zhu Yizun; and the "Jiangcun Nangui Map" volume for Gao Shiqi. Such an endless stream of people asking for paintings overwhelmed him. Therefore, Yu Zhiding was more than 40 years old and had a trip to the south.
In the twenty-ninth year of the Kangxi Dynasty (1690), when Yu Zhiding was 44 years old, he decided to return to the south, and after five years, he returned to the Beijing Division in the thirty-fourth year of the Kangxi Dynasty, and he returned to the Beijing Division at the age of 49. During Yu Zhiding's stay in the south, he mainly lived in Wumen Dongting with Xu Qianxue, the shangshu of the Punishment Department of Zhishi, and paid off with Wu Chinese, during which he created a large number of portraits, flowers, landscapes, etc. In the thirty-third year of the Kangxi Dynasty (1694), Xu Qianxue died. Yu Zhiding was left undepended in Jiangnan, so in the thirty-fifth year of the Kangxi Dynasty (1696), he returned to Beijing, and from then on, he lived in the capital until his death. Living a life of painting for a living.
For the remainder of his 20 years, he continued to paint portraits of people, and became more closely associated with some famous calligraphers and painters, often painting inscriptions and poems with each other, or cooperating in painting formats, or supplementing scenes, or inscriptions, leaving many wonderful masterpieces. Kong Shangren inscribed poems for his "Jiangxiang Fishing Diagram"; Wang Tuzhen, Song Jie, and Song Zhi inscribed poems for his "Washing Bamboo Diagram"; and Zha Shen performed his "Eight Qitu" inscription poems. Yu Zhiding's position at that time was already outstanding in reputation and achievements, but he still tirelessly expanded his painting path and tried to create a new style. He revisited the tomb and explored new painting methods. Extensively involved in women, flowers, landscapes, etc., has been in and out of Lan Ying and Song and Yuan families, turning to many teachers. He is good at painting methods such as heavy color, ink freehand, white drawing, pastel color, and bonelessness. Portrait painting also combines many techniques such as ink bone method, white drawing method and Jiangnan painting method. His painting methods have gone from being a scholar to a great scholar, and he has become an outstanding artist compared with the portrait painters of the specialized sect and the school.
Before the beginning of the Qing Dynasty, portrait painting has appeared Jiangnan painting method and ink bone method. The photography is divided into two schools, "a heavy ink bone, the ink bone is completed, and then the color is applied, in order to take the old and young of the qi color, and its spirit is transmitted early in the ink bone, and the learning of this Fujian Bochen is also." A little ink, outline the facial features. Mainly in the generality of the part, all rendered in pastel, this Jiangnan painter's transmission method, and Zeng's good. "The Zeng clan is the Zeng Whale, and he is also a good river color. The Jiangnan method makes the structure more solid, clear, and more three-dimensional, and the "Bochen School" is also the "concave and convex method", which is the southern painting method.
Yu Zhiding draws nourishment from tradition extensively, integrates it, and then applies it to his portrait creation, so that his portraits gradually reach the realm of divinity and pure fire. His portraits are both influenced by and not confined to the whales. He uses the "ink bone method" to rub in it, the use of Jiangnan painting method, to heavy color smudge dyeing, ink bone and color halo equal emphasis, both light ink rendering of the solid structure undulating, but also the heavy color halo of the bright skin color, the shape of the work is forced, three-dimensional sense of strong, and radiant, radiant, reached the perfect state of both form and god, but also with landscapes, flowers, stories as the scene, the white drawing, ink bone, color halo all the methods into one, into a new style of painting.
The landscape of Lan Ying at the end of the Ming Dynasty had a great influence on Yu Zhiding's early paintings. In his figure paintings, the rigorous modeling and Jinjian brushwork in the background stones of more than a dozen backgrounds have many similarities with Lan Ying's techniques, which can be seen in his relationship with the Lan "Wulin Sect", and this rigorous and jinjian characteristics can often be seen in middle-aged works. His slope stone is rendered with color after hooking, bright and dazzling, this colorless boneless method, and Lan Ying's technique is also very similar, but the dense moss dot is close to Wen Zhengming. Yu Zhiding also followed the law of the Yuanren, and the most beloved during this period was Wang Meng. From the framing and composition to the brushwork and ink color, they are all deeply rooted in the essence of Wang Meng. He left behind many imitations of Wang Mengshan landscape works.
Li Dou said in the "Yangzhou Painting Record" that Yu Zhiding: "The photograph is more white, and li gonglin's old is not copied, but the Wusheng Lanye method is used." The lines in his portraits, the "flowing clouds and flowing waters" of patriarchAl Li Gonglin, are delicate and rounded and quite strong and smooth. "Wu Sheng Lan Leaf Method" is formed after absorbing Ma Hezhi's "Locust Sketch", which is light and flowing and fluent, also known as "Willow Leaf Drawing", which is his mature natural line. In his later portraits, not only the lines, but also the layout, shape, and brushwork were influenced by Ma Hezhi, and the painting style was more concise and clean. In terms of shape and brushwork, he was also quite devoted to Li Cheng and Guo Xi of the Northern Song Dynasty, and in middle age, he often used sharp brushes to work in a prudent shape, painting Cui Song mountain stones, showing crab claw branches, showing a steady and delicate appearance. In addition, he also studied the "battle pen drawings" of the five generations of Zhou Wenjie, the "folding reed drawings" of the Southern Song Dynasty and Xia, and used the pen to transport lines or vibrate the disk fibers, or the ups and downs, showing rich changes.
The portraits of literati in the Qing Dynasty were significantly more than those of the previous dynasties, and Wang Shichen, the master of classical Chinese poetics, was an avid lover of portraits. Qinghua family lineage, unique talent, and Kuang Dynasty encounters are the evaluation of Wang Shichen by the people of the times, and his prominent political status and long-term meticulous management, from the "Selected Poems of Ruan Ting" to the "Essence of The Yuyangshan People", have established a circle of friends that the heavenly scribes are eagerly pursuing, and there are no less than thousands of disciples under the door. In the Qing Dynasty, the opposition between the government and the opposition in the literary world was always a big problem that the scribes in it could not avoid, and Wang Shichen's identification with the poetry group of the relics bridged the tension between the government and the opposition culture, which was dominated by the Contradiction between the Manchu and Han Dynasties. In Yu Zhiding's "Diagram of the Lotus Hoe with the Scriptures" drawn for Wang Shichen, Wang Shichen hopes to dilute the negative consequences that the grace of "taking the scriptures to give the forehead" with the personal image of The Hidden Grass in the image, Wang Shichen is not a spokesperson and Xuanfu appointed by the Qing court, he is just a lotus hoe scattered people who yearn for the wild, and deals well with the opposition between the government and the opposition.
In "Yu Painting The King's Portrait", Wang Shichen suddenly becomes a farmer, a fisherman, a monk, and a qinshi, no matter how he dresses, he always conveys such a message to people, that is, Wang Shichen, who is in the most proud stage of his life, consciously uses the way of images to alienate or even escape from the real Wang Shichen, and he hopes that people will see or remember the Shichenshan people in the image, not the reality of him.
Lu Xiuhui has a poem "Zanyu Zhiding Shen zhai", praising:
See the qing silhouette under the pen, and fly in the painting.
Look up at the spring color, low eyebrow skirt hem.
The sweet breeze blows the green, and the voice strings swallow the thoughts.
Ink bone realism, color point slightly drunk.
The spirit transmits new dreams, and the atmosphere is revitalized.
The tall buildings are red scaled out, and the green ridges are stacked.
The south curves and the north is cool, and the west cloud is east to fang.
Late Hua Luo yi is there, where to call Yu Lang?
Lu Xiuhui works