Jia Yan (1612-1692), a native of Wuling (present-day Changde), Hunan. The character Jie Qiu, also known as Shi Xi, also known as Bai Bald, No. 1 Soil, called himself a remnant Daoist, a late Shi Dao person, and his family name was Liu. Good at painting people and flowers, especially fine landscapes. Huang Gongwang and Wang Meng are especially close to Wang Meng. His painting method is strict, the brushwork is vigorous, he likes to use bald pens to thirst for ink, layer by layer of rubbing and dyeing, thick and stagnant, lush and forced, good at writing ordinary scenery, plain and deep. There are "Bao'en Temple Map", "Cloud Cave FlowIng Spring Map", "Layered Rock Stacked Ravine Map", "Rain Wash Mountain Root Map" and so on.
Huang Binhong really wanted to learn to be crippled. Huang Binhong has a very interesting memory, saying that he once went to the Forbidden City to see the exhibition, passed through the "dizzy pottery museum", looked at many paintings, walked through the "paintings of Lang Shining who wanted to vomit when he looked at it", and finally came to the painting of the crippled. It was a shallow ink landscape, and the moment I saw it, it was "like eating a cup of Longjing tea." What a good cup of tea! As the earliest systematic study of modern Chinese painters and the person who taught fa to be disabled, Huang Binhong claimed that "I mainly benefit from Stony Brook", and he integrated the rough head of the beard into his landscape creation. However, even Huang Binhong, who "paints a painting with a lifetime", is also rare in his charm.
Qing Qi remnants Of the green sky map
Color on paper 85×40.5 cm
Collection of Nanjing Museum
The picture is covered with mountains and layers, ancient trees, several huts nearby, firewood doors are half hidden, distant mountain springs are hung high, and pavilions are majestic. The mountain stone trees are described with thick ink, dry ink is rubbed, and ochre color is painted, scorched ink dots, the peaks of distant mountains are hooked with a little flower and green, and the whole scenery is dense, the mysterious realm is deep, the peaks are thick, and the pen and ink are vast. Self-titled poem day: "Green sky and half, pine wind morning and sunset blowing, flying spring hanging tree branches, clearing through the mountains, houses and cliffs standing, flowers leaning on the tong, peeling moss to see the broken, reminiscing about the old, wandering for a thousand years, wind rules for hundreds of years, fortunately from the Qing class, the pen is also suitable." The fog is hidden in the morning, the village is sparse, the road turns with the flowing water, people return from half a day, the trees and vines fall, the autumn rain is gradually thinning, sitting in the realms, the heart is entrusted to the heavens. "When it was late autumn in Gengzi, the Stony Brook Remnant Dao people wrote." ”
Skull remnants Cave dwelling true map axis
Collection of the National Palace Museum in Taipei
This painting depicts an arhat sitting alone in meditation in a cave. Below, the painter also inscribed a five-word poem: "Although it is good in the mountains, it is difficult to leave the nest of pampering and humiliation; in the scenery of the heart, greed gradually wears off." Although the works of the crippled are mainly based on landscape themes, the occasional creation of expository characters also continues to have a thick and simple character, and the style is fascinating.
Hair residue Rain wash mountain root diagram Ink and pencil on paper
103×59.9cm Collection of the Palace Museum
This painting was painted in the second year of the Qing Kangxi Dynasty (1663), when the painter was 52 years old. The painter paints a refreshing and pleasant view of the mountains and rivers after the rain with refreshing brushwork. The painting highlights the low-hanging leaves, the rushing waterfall, the infiltration of the stream and the flow of clouds, which are closely related to the rainwater. The composition is dense and rigorous, the pen is skillful and healthy, and the artistic conception is long and profound.
Clear skull remnants of rock stacking on paper color
169×41.5cm Collection of the Palace Museum
This self-titled poem of five words reads: "Layers and furrows, clouds deep and thick with trees." Outside the flying spring, the ape crane is silent. There are ghosts living in the middle, and the stream is near the stream. Sun and sunset lake good language, willing to travel with the deer. The first line of the great river and the sky, to and from Jia Renzhou. What a taoist, no desire to travel for yourself. In the autumn of September, I wrote this in order to cherish it. Remnants of The Rock Creek. "癸卯" is the second year of the Kangxi Dynasty (1663), when he was 52 years old.
This picture of the overlapping mountains, full of structure, a mountain road along the mountain trend from bottom to top winding, so that the scenery is complex and not forced, the layout is clever, with "the mysterious realm is strange, burmese is deep, fascinating" artistic conception. Rub the mountain stone with a dry pen, thick ink dot moss, and the atmosphere is thick. The brush is thick and spicy, and the ink is rich in layers, showing the very individual painting style of Shi Mo, which is a masterpiece that represents the mature painting style of Shi Mo.
Skull residue Xianyuan diagram Color on paper
84×42.8cm Collection of the Palace Museum
There are two self-titled poems on this canvas, which are signed separately: "Xin Ugly August was written in the borrowing cloud Pass, and the shadow was electric to live in the Daoist", and "Shi Shu was cruel and penned". "Xin Ugly" is the eighteenth year of Shunzhi (1661), when he was 50 years old, this picture is his best work when he was most energetic.
The name "Xianyuan Tu" comes from the first two words of the poem. According to the content of the poem, "Tiandu guarantees the stone pass, facing the Tiandu Peak." "The painting should be Huangshan Tiandu Peak." This drawing method is based on the "Four Houses of the Yuan", especially influenced by Wang Meng, the composition is full, the lines are clear and heroic, the ink and color are integrated, the painting style is vigorous and thick, and the artistic conception is wild and sparse. The scenes painted and the self-titled poems complement each other and complement each other, turning the landscape in reality into a living world where man and nature are one.
Qing Dynasty Remnants Maolin Autumn Tree Scroll Collection of the National Palace Museum in Taipei
The composition of this painting is dense, the brush is thick, and the style is derived from Huang Gongwang and Wang Meng of the Yuan Sijia. The full ink color is clear, the tree stone is light ochre, stone green, and the leaves are filled with heavy colors to add autumn feeling. Most of the works passed down from generation to generation are giant scrolls, and this hand scroll is special.
Skull Remnant Unfang Maizuru Diagram Izumiya Bogu Collection
The remnants of the mountains are high and the water is long, and the National Palace Museum in Taipei is hidden
Remnants of stone beams flying waterfalls from the Metropolitan Museum of Art
The beard is broken, and the Spring Mountain Zhiyin map
Remnants of the Cangshan Knot MaoTu Axis Shanghai Museum Collection
Remnants of the landscape
Remnants of the Association Lin Quan Tu Izumiya Bogu Collection
The remnants of the beard are in the Mud Creek Mountain Tujin Bozang
Skull Remnant Character Picture Page Collection of the Palace Museum
Qiuhui Meng fishing rock was made in 1661
Skull remnants Of the Rock Stacked Ravine Diagram Of the National Palace Museum in Taipei
Remnants of the Skull Landscape Drawing Collection of the National Palace Museum in Taipei
Remnants of the Songyan Pavilion In the collection of the Nanjing Museum