Portraits of Li Lingzhou, Yun Shouping, Wang Yi and Wang Yuanqi, portraits of Yun Shouping, collected by the Nanjing Museum
Before Yun Shouping (1633~1690), flower works circulated faster than landscapes, and the ink treasures behind him were even more difficult to find. Bi Yuan's (1730~1797) brother Bi Taki often made a trip to Wujin, and wanted to visit Yun Shouping's grandson Yun Yun and see the real handwriting of the old man of Nantian, but unfortunately it did not succeed. Yun Ju said, "Once the paintings made by the old man before his death were completed, they were snatched away by relatives and friends, so there were no pieces of paper to collect at home." Only a few copies of the manuscript remained... Among the disciples who enter the house are those who imitate and make profits, and those who have profound skills can be confused with the truth, but the seals are different, and if they are carefully distinguished, they can also be known as fakes." In addition, it is mentioned that there are several forgers in Yangzhou and other places, and the kung fu is poor. The clan members respected the ancestors' testament and said, "No forgery is allowed, it is detrimental to reputation, so there is no one who dares to do anything." (1) Connoisseur Zhang Geng (1685~1760) said that "in recent days, no matter whether it is the north and south of the Jiangnan River, the Family of Nantian, the uncle of the household, and the eyes of the 'Changzhou School'", at this time the Changzhou School of Painting was like the sun in the sky.
In the painting world at the beginning of the Qing Dynasty, the form of pen and ink was mostly a collection of landscape paintings, and the orthodox scholars and painters all accepted the theories of literati painting and the Southern and Northern Sects put forward by Dong Qichang in the late Ming Dynasty, advocating nature, not carving, expressing their noble feelings with light ink colors and remote brush tones, and the "Four Kings" who undertook the mantle integrated the tradition of classical civilization and spread the literati landscape to the world. Their macroscopic painting concepts and the social values they embody, the visual sense of the picture are similar, leading the antique atmosphere of the times and radiating countless friends around them. At this time, the painting world is not isolated and closed, there are orthodox and wild yi, there is imitation of the ancient that is, there is innovation, the differences and regionalities of Chinese art in this period tend to be obvious; due to economic factors, social structure, historical evolution and cultural literacy, the differentiation of painting groups has formed groups such as Yushan, Loudong, the four monks of the early Qing Dynasty, the eight families of Jinling, Wumen, Changzhou, Yangzhou, Jingjiang and other groups. The painters not only adhered to their beliefs but also had very smooth interaction and exchange with each other, which promoted the development of the classical high-quality tradition.
Yun Shouping "Sketching Flowers bamboo stone map" volume one of the ten open "Lily" color on paper length 23.5 cm width 30.8 cm Nanjing Museum collection
Sketching decency: recreating the bones and melting the ancient into the new
Yun Shouping learned to paint as a teenager, and there were at least three (2) Of them, all of whom were famous masters of the clan who were good at landscapes, among which his uncle Yun Xiang (1568~1655) gave him the instruction of landscape classics, which also laid a solid foundation for him to build a foundation for the Future HanMo To build the Foundation of the Song Dynasty and the Song Dynasty. The painting concept of changzhou school has always been in line with the advocacy of the four kings, the difference is that Yun Shouping summed up the experience in many antique practices, only through field sketching, and ancient integration can better express his creative enthusiasm, so he pays more attention to sketching rather than blindly imitating the ancient. When he recognized his biological father among the monks at the Lingyin Temple in Hangzhou at the age of 20, the father and son who had been separated for many years reunited, the fate miraculously turned around, the beautiful wind god Yun Shouping quickly entered the cultural circle through his father's personal connections, 2 years later, when he was handed over to the Wumen painting circle, he met Wang Yi, who often came here, only one year older than him, and began a common exploration, not only that, the acquaintance with Wang Yi can be said to expand his influence in the Jiangnan painting circle and know Wang Shimin. After writing the Painting Basket, Shigemitsu (1623~1692) only asked Yun and Wang to make comments, probably when the two were most closely friends. These are extremely important to Yun Shouping's career success. It is also the existence of Wang Yi that has put a lot of pressure on him and has a huge motivation. He never stopped exploring landscape sketching all his life, but he just felt that landscape and water could not reach the extreme of his own performance. At the age of thirty, Yun Shouping, who had studied for many years, admitted that it was a door of landscape and water, and he could not get rid of the shackles of the ancients and was ashamed of the "second hand", so he took another path, taking natural flowers as the object of creation, starting from the model of Xu Chongsi of the Northern Song Dynasty, while copying the ancients, often exchanging skills with his peers, imitating the paintings of the Song people, and often "weaving fences and planting flowers, and chanting in them." Excited to the point of extraction, I feel that the present creation is all my powder." As Zou Yigui (1686~1772) expounded in the "Little Mountain Painting Spectrum": "Now take all things as the teacher, take the vitality as the distance, see a flower and a calyx, see it and look at it well, so that it is so, then the rhyme will be rich and natural, and the creation will be in me" (3). This great artist finally completed the foundation of the Changzhou School of Painting.
Tang Yuzhao's "Lotus Heron Chart Axis" is colored on silk 126 cm in length and 46 cm in width, and was made in the collection of Changzhou Museum in 1654
Painting features: Extremely beautiful and elegant
"Regent" is said to be deliberately thrown out of Yun Shouping's paintings, and it is also the unique feeling and connotation brought by his pictures to people. The painter can blend his own perceived scenes with the exploration of the past, and has a distinct and true performance in the works, so that the viewer can also feel the rich charm. Whether it is landscapes or flowers, there are both creations and writings. The realm created by the great poet must conform to nature, and the realm written by the great poet is also the ideal realm. The relationship between realism and idealism expounded by Wang Guowei is in line with Yun Shouping's poet identity as a poet of "Biling Liuyi". He is not alone in sketching flowers.
The Suzhou painter Wang Wu (1632~1690), who specialized in flowers and became famous at a young age, was already quite admired at that time, Yun Shouping once visited him, and the record of their interaction is preserved in the Ouxiangguan Collection (4).
Wang Wu's method is to "hook flowers and dot leaves", and the skill is mellow, but Wang Painting does not have the "truth" of Yun Painting, that is, the depiction of objects is not as good as the beauty of the near-state Extreme Yan that Yun Painting can convey after grasping the realistic grasp of objects. Often studying the boneless painting method with Nantian were the Changzhou Benyi painters Tang Yuzhao (1602~1672) and Tang Zhao's father and son, who made meticulous observations of the shape, quality, color, state and god of flowers in nature, and paid attention to the charm of various flowers. Through the sketching of the field, they introduced many flowers that the ancients did not paint into the picture, and all became the main method with the harmony of color, grasped the collocation and halo of color, used the pen to be subtle, and the painting method was dashing, so that the heavenly machine was interesting.
Wang Wu "Autumn Hui Butterfly Diagram of Flower Atlas" Color on paper Length 23.1 cm Width 34.4 cm Collection of Nanjing Museum
There is an inscription in Yun Shouping's "Peony Diagram": "Give light color light and light to pass through its boneless freehand, allude to the principle of seiko, and try to make the flower god to the back of the yin and yang to merge with nature, bend to the fullest, do not hurt the decoration, do not hurt the decoration, there is no Xu Xi falling ink, Zhao Chang portrays the restraint, since Bai Shi [Shen Zhou], Bai Yang [Chen Chun], Liu Ru [Tang Yin], Bao Shan [Lu Zhi] can not be discussed without this." Yun Shouping achieved the unique appearance of the school with his talent, and his later studies carried forward its characteristics, pushing the Changzhou school from a corner of the south of the river to the north and south of the great river.
The business is idyllic: the post-learning continues to be famous
Yun Shouping had worries about the imitation of his works by contemporaries: "Recently, there have been many boneless flower drawings by sketchers, and once they become beautiful and habitual, they are pleasing to the eye, but the mold has been passed on for a long time, and it will be indiscriminate." Yu therefore urgently calls the Song People a kind of elegance, wanting to make the fat powder gorgeous state, restore the true color", and the "natural color" he emphasizes is the natural color that is always suitable for light makeup. Yun Shouping's paintings are full of emotion and beauty, and his works soon became a model for the Qing Dynasty courtyard to emulate. Ma Yuanyi (1669~1722), Jiang Tingxi (1669~1732), Qian Weicheng (1720~1772), etc. were all his followers, and they were also masters of grasping the word "tranquility" at all times. Through their inheritance, the works of the Changzhou School of Painting have been accepted by all parties. Nantian was famous for his cloth clothes at that time, from the unfavorable painting of mane paintings, to the later works in short supply, flowing for hundreds of years, his personal success was also the beginning of the far-reaching influence of the Changzhou School of painting, in the stage of the gradual maturity of his sketching flower creation, the world was moved. As Zhang Kun, the leader of the Jingjiang School of Painting later said: "The State Dynasty has been known as The Emperor Lutai Sikou in the name of Hai Nei, and the scholar Mo Buzongzhi has been called the Loudong Sect; the second is the Tranquil one, known as Yun Nantian; the good one is the handsome one, the Emperor Shigu, and the Yuan and Ming dynasties have directly ignored it", this is the situation of the painting world that lasted for a long time after the founding of the Yunshou Pingzhou School of Painting.
Qian Weicheng "Poppy Douyan Tu" Fan 17.7 horizontal 52.7 cm Nanjing Museum Collection Department "Chen Qian Weicheng Gong Painting", these works often become the emperor's reward for the minister.
Outstanding figures appear in various periods of the Changzhou School, and continue the style of "sketching and uprightness", and every outstanding individual is exuding the power of the Changzhou School. For example, the flowers of Jiang Tingxi, a scholar of The Mandarin Temple, are called "natural harmony, vivid wind gods", he "often paints in front of the imperial court, and is hidden in the secret cabinet", both a courtier and a court painter, whose fame is more important than the time, and the supply of works is in short supply. Lady Depai Lanxi, the editor of The Hanlin Academy, Zou Yigui, is a descendant of the Yun clan, and the couple often cooperates with flowers, and the commentators say that "Zou is a brilliant brush of Qingqi, competing for victory over the times, a paper is passed on, and it is famous in the north and south, although one flower and one leaf, there are many masterpieces in life, and the single "Hundred Flowers Scroll" is the most popular among the population." Even imitation of Ni, Huang Shanshui, the style is cold, the atmosphere of strangeness, in the pen end, placed in the Ou Xiang Pavilion, it is difficult to argue its authenticity, but do not do much, benefit the world's treasures... Lady Yun Yuantao (1692~1763) sister, was taught by her brother, also heirloom, known as the painting of the hill, did not start to be able to power the boudoir. For example, the paintings of Ma Yuanyi, who were born in a professional painting family, "endowed with nature, indulged in wine and brush, and are yihao", such as Qian Weicheng, a daguan who was deeply appreciated by Qianlong, who started to learn the folded branches of the Yun school in his early years, and tang Yifen (1778~1853) whose family was good at painting flowers and vegetables and fruits, with idle detachment and personal integrity as the emphasis, as well as the creation of yuxiu talents such as Ma Quan and Yun Bing, which supported the rich connotation and style of the entire painting school. The maturation process of a painting school is that with the absorption and integration of individual styles and continuous innovation, there is a possibility of sustainable development. As a generation of orthodox painting schools, both leaders and followers, it is a natural thing, Qin Genghai compiled the "Changzhou Calligraphy and Painting Family Biography" contained in the Yun family of painters has reached 45, and Yu Jianhua counted that there are 100 large and small painters of the Changzhou School, and then the study lasted for hundreds of years, and the classification involved the shizi boudoir, these outstanding talents have made due contributions to the sustainable development of the Changzhou School.
Li Peng", "Shipan QiuyingTu", color on paper, 118.9 cm in length, 56.6 cm in width, 1715, collection of Nanjing Museum
Fifty-three years after the Kangxi Dynasty, the hopeful Jiangsu Xinghua painter Li Kun (1686~1762) came to the capital to serve as a court painter, although he later became a strong general of the Yangzhou School, but the flower creation he expressed at this time was the style of the Changzhou School of painting recognized by the court. The Nanjing Museum also has a floral picture scroll made by Ai Xinjue Luo ▪ Mianyi (1764-1815) during the Guangxu Dynasty court still admiring changzhou paintings, although it is thousands of miles away from nantian weng's "positive color", but it can be described as another type of post-learning.
Yun Shouping's picture has a vivid depiction of objects, inscriptions, calligraphy, and special charm. The floral landscapes he creates have the power to shape our senses, and can help us to see subtlety, just as music can promote the subtlety of our hearing, so that the senses are transformed and the mind is like a clear spring.
Tang Yifen's "Flower Atlas" "Boneless Peach Blossom Diagram" Ink pen on paper 25.5 cm in length and 44.3 cm in width 1847
Wang Caixuan "Peony Figure" Axis Color on Paper Length 103 cm, width 50.5 cm 1879 Nanjing Museum Collection
This is one of the large families of Zhang Mencai of the Changzhou clan, whose mother is Zhang Yiying, and her father is Wang Xi, a descendant of Wang Yuanqi. The paintings imitate Zou Yigui's painting method, typical of the post-learning post-learning. (Text/Cao Qing, Institute of Ancient Art, Nanjing Museum)
exegesis
(1) Che Xudong's "Yun Shouping Disciple Zhang Wei Xiaokao" was published in The World of Calligraphy and Painting, No. 9, 2020
(2) Yang Chenbin's "Yun Shouping", published by Jilin Fine Arts Publishing House in May 1996, 25 pages
(3) See Shen Zicheng's Compilation of Masterpieces on Painting in Past Dynasties, in Zou Yigui's "Sketches of Small Hills", Cultural Relics Publishing House, June 1982, New Edition, 428 pages
(4) Volume III of the Ouxiangguan Collection contains Nantian's poem "Wumen Wang Qinzhong's Visit", and Wang Wuzuo's "See Nantian Painting Peach Blossoms, Occasionally Recording Old Sentences". Reference to Pan Mao's "Changzhou School of Painting", Jilin Fine Arts Publishing House, January 2003, 77 pages