Wang Hui, Landscape Map
What is the pen and ink of the Yuan people, the hills and ravines of the Song people, and the charm of the Tang people? Looking at the landscapes written by Wang Hui, the "saint of painting in the early Qing Dynasty", you may be deeply touched.
Wang Hui (April 10, 1632 - November 15, 1717), the word Shigu, the number of cultivators and smokers, Jianmen woodcutters, Wumu Mountain people, Qinghui old man, etc. Changshu, Suzhou Prefecture, Jiangnan Province (now Changshu, Jiangsu). A famous painter of the Qing Dynasty, he was known as the "Saint of Painting in the Early Qing Dynasty". Together with Wang Jian, Wang Shimin, and Wang Yuanqi, he is known as the "Four Kings" of landscape painters.
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui took more Wang Meng on the "Yuanren pen and ink", unlike the other three kings who took Huang Gongwang. Wang Meng and Huang Gongwang have their own expertise in using the pen; Huang Gongwang is free and elegant, and Wang Meng is meticulous and loose, but Wang Meng, as the grandson of Zhao Meng, benefits from the influence of the artistic atmosphere in the Zhao family, and should be thicker than Huang Gongwang in terms of pen skills. "Wang Meng's painting style is known for its dense and lush, and it is far and clear without Dong and Ju. This is also consistent with Wang Hui's artistic concept from a painting family, and it is reasonable to take Wang Meng, but Wang Meng's style of painting with dense wins has the artistic component of Shi Tao's "self-one, self-ten thousand, self-ten thousand" in the brush, and it is not easy to imitate it.
Wang Hui was able to comprehend and be handy after repeated speculation. The representative work is the "Mangrove Tree Picture of Streams and Mountains" painted at the age of 39, and on this painting, Yun Shouping quoted Wang Hui's words to tell the process of Wang Hui's learning Xi Wang Meng:
The people of Wumu Mountain (that is, referring to Wang Hui) are Yu Yan: "There are no less than twenty authentic works of Wang Shuming seen in his life, and there are three of the most strange real works." I learned from the frame of "Autumn Mountain Thatched Cottage", and I will be interested in the "Summer Mountain Map" of the Tang family in Biling. Finally, I saw "Guanshan Xiao Temple" this one washed the eyes of the mortals, rejuvenated the gods, and I exhausted its changes. "Probably "Autumn Mountain" is natural and beautiful, "Summer Mountain" is dense and ancient, and the picture of "Guanshan" is scattered and scattered, and it is impossible to ask for it, and Wang Lang is so entered. Because the mountains and woods of those who know the direction are still in the clouds. Ishiya pondered for a long time, and spent his days playing with three circles of brushstrokes in one frame. Wandering Chen trend, giving full play to new ideas, returning to Xiang presumptuous, and the mountains and woods have no remnants.
Mangrove Trees in Streams and Mountains, Wang Hui, 112.4x39.5cm, ink and color on paper, Collection of the National Palace Museum, Taipei
The painting collects three far for the combined realm, sets the male show as a picture, the mountains and stones are entangled with each other, the frost forest is sparse and delicate, there are more waterfalls and flowing springs, the village house Fanyu, the realm is deep and far-reaching, and the air is clear and rhyme, which does reflect Wang Meng's "natural beauty, lush and ancient", and sees the artistic style and pen and ink attainments of "floating to the fullest" in the "scattered and chaotic clothes", and also fulfills Wang Hui's own emphasis on the artistic pursuit of "using the pen and ink of the Yuan people, transporting the hills and ravines of the Song people, and the popular rhyme of the Ze Tang Dynasty". In addition to the exquisiteness of the layout of the display, the use of brush and ink is also very important to achieve this artistic environment. The mountain stone is used to solve the rope and the cow hair method, the focus is also light, the trace painting is also fine, and the forest is also off the hook point when depicting the forest, and the intention is to stop, and the pen is extremely loose and free. The whole piece gives a light sweep. If you lift weights lightly, you can see the foundation inadvertently, and look at the artistic perception of charm in the loose and beautiful paintings. Extremely depicted but not depicted, smart and easy to peek into.
No wonder Wang Shimin wrote excitedly after seeing it, "Although this picture of Shigu imitates the mountain wood, and the pen is all based on the right Cheng, so the wind and bones are strange, and it is out of the specifications of the mountain wood." After Yun Shouping saw it, he was also "amazed". Both of them wanted to get this work, but they were embarrassed to speak, and Wang Hui did not cut his love because he was his mentor and a close friend, so that Wang Shimin could only be "stunned", Yun Shouping also saw that Wang Hui was "also complacent" about this painting, and it was not easy to have fifteen cities, so he could only "put the rest of the desk for more than ten days", and quickly returned it to Wang Hui.
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map
Wang Hui, Landscape Map