The classic landscape paintings of the early Qing Dynasty gathered in Tianjin, and the small editor took you to grab a fresh look
A few days ago, Xiaobian went to Tianjin Museum to watch the "Special Exhibition of Painting in the Early Qing Dynasty", the exhibition exhibited more than 130 works of representative landscape painters in the early Qing Dynasty, which can really be described as a grand view, Xiaobian looked at the exhibition hall for a long time, the impression was very profound, came back to check some online information and combined with this exhibition to introduce it to the small partners, so that even if you don't go out, you can feel the visual feast of the exhibition.
The early Qing Dynasty painting world is largely a continuation of the painting state in the late Ming Dynasty, and is an important stage of development and combing period of Chinese painting, especially the landscape painting department, showing the coexistence of many painting styles, the gathering of famous artists, the variety of genres, and the situation with its own characteristics. Among them, literati painting can be described as a flourishing moment, "imitation of the ancient" and "innovation" constantly struggle, the painter led by the "four kings", through the late Ming Dynasty Dong Qichang, traced back to the Song and Yuan traditions, the work generally attaches importance to the taste of pen and ink, the style is elegant and subtle, conveying a calm, idyllic and elegant artistic conception, which is regarded as "orthodox" by the rulers.
In the "Four Kings", the "Yushan School" represented by Wang Yi and the "Loudong School" represented by Wang Yuanqi were both the most powerful painting schools in the Qing Dynasty. A group of relict painters represented by the "four monks" were determined to advance and turned to painting, emphasizing the liberation of individuality, demanding that "Tao Yong care for me", proposing to "borrow the past to open up the present", opposing Chen Chen Xiangxi, and emphasizing self-pioneering paths. The "Jinling School of Painting" headed by Gong Xian, Yuanzong Dong and Ju, used deep pens, and some people with strong and sparse pens had their own strengths and methods.
Represented by Hongren, Cha Shibiao, Sun Yi, etc., the "Xin'an School" held high the banner of "mastering and creating", based on the ever-changing Huangshan Mountains, and the painting style was dry and cold, with a distinct character tone of scholarly and people. At the same time, a group of professional painters with profound skills were also active in the landscape painting circle at that time, mainly including the Jinling painter group represented by Fan Xi and Gao Cen and the Zhejiang painter group represented by Liu Du, Lan Meng, Zhang Sheng, Lü Huancheng, etc.
Qing Wang Gong Yun Gu Pine Shade Chart Axis
This picture is self-titled imitating the Yuan Dynasty painter Wang Meng's "Cloud Valley Pine Shade", the upper part of the picture is Wang Meng's typical solution, the lower part is joined by Wang Meng's cattle hair, and the whole painting is more mellow and ethereal than Wang Meng's lush and ethereal, with the length of Shen Xiong's ancient elegance. In the late Qing Dynasty, the Collector wang Yangdu (Zi Mengquan) of Zhejiang, the modern Anhui collector Ku Shoushu (Zi Ruomu) and others were sent to tibet.
Wang Yi imitates the Wang Meng landscape map axis
Wang Yi (1632-1717), Zi ShiGu, The Old Man of Qinghui, etc. Jiangsu Changshu people. He successively studied painting with Wang Jian and Wang Shimin, and on the basis of Wang Shimin and Wang Jian's development of the Southern Sect painting school, he borrowed some techniques from the Northern Sect. His landscape paintings are not limited to one family, and the calligraphic brushes of Huang Gongwang and Wang Meng are perfectly combined with the compositions of Juran and Fan Kuan, creating a style of landscape painting with a thick and imposing style. "Imitation of Wang Mengshan Landscape Map" is mostly wiped with fine brushes, and dry pens and wet pens are used at the same time, and the picture effect is dense and not congested.
Self-titled "Famous Mountain Grass Hall, Xiao Ran lives alone." There are no cars and horses at the door, and there are books. Sleepy pillow book, do not know the rest. Looking forward to the past and the present, happy and beautiful". The paragraph belongs to the "Penzi Li Autumn One Day Imitation Yellow Crane Mountain 櫵 Strokes." Shiguzi Wang Yi". "Pengzi" is the forty-seventh year of the Kangxi Dynasty (1708), and the author was 77 years old at the time.
Wang Yi Liu'an River Boat Chart Axis
The picture depicts the mountain color of the West Lake Liu'an Lake, the composition of Pingyuan, divided into two paragraphs, sparse and elegant, fresh style, full of fun, is a landscape work with a sketching nature, which shows the other side of Wang Yi's painting style.
Author's own title: West Lake is surrounded by mountains on three sides, and the middle is covered with green water. Pine rows of green ridges, grass full of embankments. Boat in the lake and look around. Water and mountains, competition and wonder. Willow-on-shore flowers, jagged. The peaks are green, the moon prints the heart, the painting is slow, the lingge is late, and the tourists are in the picture. The mountains (Yanwen) and the water are bright and sunny, and the mountains are empty and rainy. If you put the West Lake than the West Lake, light makeup is also suitable. Reflecting the blue with the lake, and seeing fishing boats coming and going, people are suspicious of entering the Wuling Peach Garden. "Department of Funds" Gengyin Jiaping ten and eight days, cultivating smoke and scattering people Wang Yi. "Gengyin" is the forty-ninth year of the Qing Kangxi Dynasty (1710), and the author was 79 years old at the time. The works were donated by Mr. Zhang Shucheng.
Wang Yuanqi "Imitation of Ni Huangshan Landscape Map" ink and ink on paper, 1706
Wang Yuanqi (1642-1715), character Maojing, Lutai. A native of Taicang, Jiangsu, Wang Shiminsun. Inheriting the family law, and then getting the guidance of Wang Jian, learning the four families of the Yuan, taking Huang Gongwang as the sect, likes to use dry pen to burn ink, layer by layer, use pen calm, and good at using color, the combination of color and ink is another feature of Wang Yuanqi's works.
"Imitation of Ni Huangshan Landscape Map" "Zigzag" composition, the layout is sparse, the tree stone is first wiped with a dry pen, and then the ink is repeatedly blended from light to thick, dry and wet are used together, and the picture appears to be integrated.
Wu Li made a landscape axis for Tang Banyuan and colored it on paper
Wu Li (1632-1718), ziyushan, mojing daoren, Taoxi resident, Jiangsu Changshu people. Learned to paint in Wang Jian and Wang Shimin. The painting style of the early works resembles Wang Jian, the dyeing is fine, and the clean and beautiful. In middle age, he focused on absorbing the strengths of Wang Meng and Wu Zhen to form his own style, and his works in his later years were more thick and short, and the pen and ink were mellow. This picture is a landscape painted by Wu Li for Tang Yuzhao, a calligrapher and painter and bibliophile of the Qing Dynasty. Tang Yuzhao (1602-1672), also spelled Kong Ming, was a native of Wujin, Jiangsu (present-day Changzhou). This work diagonal composition, placed appropriately, with raindrops as the mainstay, with a pen calm and rigorous, light ink, heavy ink, ink accumulation, rubbing, rendering and use, so that the mountain stone is very three-dimensional, the overall feeling is simple and thick.
Self-titled "Twenty years of heart, intend to send the picture to the city." Sijun text is a clear night, and the moon in the waiting cup is the brightest. Poetry and paintings are sent to Mr. Banyuan. "Li Zuoxian, a famous epigrapher of the Qing Dynasty, was once in the collection.
Yun Shouping G Beiyuan Xishan chart axis
This ink pen imitates Dong Yuan (Beiyuan Taishou) Xishan map, the pen and ink are changeable, the composition of the space is strong, sparse and elegant, beautiful and reckless. Self-titled: "Wen Qi Zhongyun: There is no Beiyuan painting in the world, and the family hides half of the ear, that is, the xishan travel that is now rumored is also." Its charm is ancient, and it is similar to the huge smoke floating far away, the so-called Yunfeng stone traces, out of the sky, the pen □ the right, the network is unpredictable. Later, it was proposed, just like managing the Heavenly Li Sea, how to speak generously? This figure traces the previous book, slightly depressed and reckless, the history of the times, the customs of history, a few changes, the discerner discerns it. "Department of Funds" Nonzi Runqiu Ling Yun Shou Ping. "壬子" is the eleventh year of the Qing Kangxi Dynasty (1672), and the author was 50 years old at the time. The self-title in the painting describes the creative experience and self-evaluation of the painting, which is like a concise and concise painting theory. Most of Yun Shouping's painting experience in his life is written in landscape paintings.
This is the exhibition in the small editor of the impression of several pieces, this exhibition in addition to the landscape part, but also flowers, birds and characters, and so on Xiaobian continue to sort out and present to the small partners (to be continued)
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