Wang Yuanqi's "Spring Mountain Counting Peaks and Qing" appreciation!
Small statue of Wang Yuanqi
Wang Yuanqi (1642-1715), also known as Maojing, was a native of Taicang, Jiangsu, and the grandson of Wang Shimin. Kangxi 9 years into the soldier, the official to the household department waiter, known as Wang Sinong. Paintings are used to enshrine the inner court. At the age of twenty, he began to learn painting with his grandfather Wang Shimin, traced back to Dong Qichang, and then went to the Yuan Sijia and Zhao Mengfu families, taking Huang Gongwang as the sect, and Bo Tong Songren's painting theory, which used a calm pen, claiming that the end of the pen had: "Jin Jia Pestle". His paintings are "cooked but not sweet, raw and not astringent, light and thick, solid and clear." The style of landscape painting led the development of the entire Qing Dynasty painting system, with many disciples, and eventually formed the "Loudong School". Together with his grandfather Wang Shimin, Wang Jian, and Wang Yi, he was known as the "King of Siguang".
Wang Yuanqi (1642-1715) Chunshan Several Peaks Qingjing Heart Colored Paper Propylene (1706) Seal: Wang YuanqiYin, Lutai, Imperial Calligraphy and Painting Tuliu Renguan, Xilu Descendants (see "Chinese Calligraphers and Painters Seal Zhi Zhi Wang Yuanqi", pp. 45, 47, 84, 86 Seal) Inscription: Pen and ink together, the origins are connected, since the Song and Yuan Dynasties, dong, ju, Song Xue, Fangshan and Huang, Wang, Ni, Wu four families followed, for the six golden needles, and then Xuejin Liangye. Yu has worked hard for more than forty years in this, inheriting his family's learning, taking the big idiot as his teacher, and blunt capital has not dreamed. Today is a day of decay. Rising to revitalize the exterminators, Huating Dong Zongbo has his own generosity after that, and Yu is not without high hopes. Kangxi Chengzhi Wang Zhenggu Dan pen. Lou Dong Wang Yuan Qi. Jianzang Seal: Li Baowei Wen Li Seal, Ji Qian Treasure Collection
Wang Yuan's Landscape and Water benefited from the personal teaching of his grandfather Wang Shimin, "Yu Yu pen and ink together, less than nature, ben has no teacher." In the time of recitation, the day attendant first gave the father to the public, and he had to hear the continuation. For a long time, the Song and Yuan teachings ran through the place, and there was a basis in the chest. Wang Shimin collected the famous relics of the Song and Yuan dynasties, and was deeply influenced by the Dong clan, and loved Huang Gongwang. Under the influence of his grandfather, li chased after zijiu, and also ran through Wang Yuanqi's painting career, until the fifty-second year of Kangxi, he still warned Yangzhou painters in his works:
"The painting of the big idiot is mainly plain and naïve. Sometimes Fu Cai is brilliant, Gao Hua is fluent, like pine snow, so it reaches its thick meaning and Hua Zi qi. The passages are high and elegant, the imitation is dashing, and there is a kind of natural and lively looming in the middle, and the scholars get what they want and teach, what is the stain of accumulated habits, and the subtle confusion is not removed? When Yu Weak Crown was heard, he first gave the Gong Da Father's training, and so far for more than fifty years, the scholars are also great fools, and the people who pass on them are also great fools. Huating Blood Vein Golden Needle is only here. Because of the circulation of the currents, miscellaneous sects, and false species, it is a lifelong disease and cannot be reversed. "Lutai Inscription Painting Draft • And Imitation of The Great Fool (For The Beauty)"
Of course, Wang Yuanqi is not a lifelong obsession with the reproduction of Huang Gongwang's style. According to Mr. Guo Jisheng's division, Wang Yuanqi's painting style is roughly divided into three periods: the early painting style before the 30th year of Kangxi (1691), the mid-term painting style of Kangxi 30 to 45 years (1706), and the later late painting style. Every turning point in the change is related to Wang Yuanqi's personal encounters. From the thirty-first year of the Kangxi Dynasty (1692), Wang Yuanqi almost settled in the capital, and the following year he was appointed as the chief examiner of the Shaanxi Township Examination and toured Mount Hua. The structure and majestic intention of the northern mountain stone naturally affect the painter's aesthetic and creative interest. In Mr. Wan Xinhua's article "On the Evolution of Wang Yuanqi's Painting Style (II)--Middle-aged Change", it should be emphasized that Wang Yuanqi attaches great importance to the structural consciousness of mountain stones, and the peaks are made of almost square rocks... Wang Yuanqi uses pen and ink to capture the overall situation, and his focus is obviously on how to accumulate stones into mountains and not flow into small pieces. This mountain stone structure should be in line with the northern landscape.
At present, most of the colored landscapes seen in the market have also been made after their northern positions. This work was created in the forty-fifth year of the Kangxi Dynasty (1706), which should be a key period for the change of wang yuanqi's painting style in his later years. A few years earlier, Wang Yuanqi had supplemented The Right Chunfang Zhongyun and was ordered to identify the authenticity of the inner palace calligraphy and paintings, and had the opportunity to see the ancient and modern Mingxian calligraphy and paintings collected in the palace, which opened his eyes and provided a good opportunity for the improvement of his painting creation. Therefore, in the later years from the age of 60 until his death at the age of 74, his painting style was vast and simple, and his brush became more and more old and clumsy, which can be described as clumsy and clever, and his wisdom was foolish, reaching the peak of his painting art. This work is still the law of Huang Gongwang, but the style is obviously different from the same theme of the early years, and it has long been detached from the last rules of his grandfather Wang Shimin, and it is already a custom of its own, turning the ancient into a new one. The picture depicts heavy mountains and mountains, maolin and gang, Taniguchi Creek clear water, dense composition, fine layout but not broken, pen and ink is not the early Huang Gongwang style ink wet pen, but simple and round, cangran loose and beautiful, completely Qingyuan's own face.
Wang Yuanqi paints more ink, less color, and less green. Its shallowness is still a fool and can get the charm, while the green and green in his later years are more surprising, vermilion reflects each other, the color ink melts, and Huang Binhong is most appreciated in recent times. This picture is mainly light, slightly dyed green, with the feeling of spring mountain rain over the land, which is a masterpiece of its maturity.
In the work, the painter inscribed himself: "Pen and ink together, the origins are connected, since the Song and Yuan Dynasties, Dong, Ju, Song Xue, Fang Shan and Huang, Wang, Ni, Wu four families followed, for the six golden needles, after which to learn Jin Liangye." Yu has worked hard for more than forty years in this, inheriting his family's learning, taking the big idiot as his teacher, and blunt capital has not dreamed. Today is a day of decay. Rising to revitalize the exterminators, Huating Dong Zongbo has his own generosity after that, and Yu is not without high hopes. Kangxi Chengzhi Wang Zhenggu Dan pen. Lou Dong Wang Yuan Qi. ”
It is a look back at the painter's forty-year painting career of "family origin" and "big idiot as a teacher". Although the inscription was not without regret, he sighed: "And the blunt capital has not been able to dream." Today is a day of decay. He turned his pen sharply again, saying, "To revitalize the exterminators, Huating Dong Zongbo has his own generosity after that, and Yu is not without high hopes." It is not only a retrospective of his forty-year painting career, but also the ambition to "rise and revitalize the extinction", which is full of excitement. And Wang Shimin also had the same saying: "Yuan Ji Si Jia, when the Tui Zi Jiu (Huang Gongwang). He who has obtained his god is only Dong Zongbo (Qichang); he who has his form does not dare to let it go; if the god of form has it, my grandson is his master! This work on the side of the "descendants of Xilu" is exactly the theme of looking back.
This work is collected by Li Baoke (1859-1915), Li Baoke's original name was Gong, the character Baoqing, the number Of Wenshi, ShuMo, Jie'an, Meng'an, Lonely Laughing Old Man, directly subordinate to Yi County, the late Qing Dynasty and early Minchu writers. Son of Li Henian, the governor of Fujian and Zhejiang. In his early years, he had literary talent, and later he went to Jiangsu to alternate the Dao, and was used by Duanfang. Good at calligraphy and painting. After the Xinhai Revolution, the expatriates lived in Tianjin. His works include "Reading Painting Poems Without Benefit" and "A Catalogue of Paintings and Calligraphy Seen in the Garden". It was collected by the famous collector Wang Jiqian (1907-2003). It was first introduced to the market after decades of collection by a major private collector.