Qian Xuan was a painter of the late Song and early Yuan dynasties, and his paintings were praised by the contemporaries as one of the "Three Absolutes of Wu Xing", such as the "Records of the Famous Sages of The Two Zhejiang Provinces" volume 48: "Commentators take Qian Shunju paintings, Zhao Ziang characters, and Feng Yingke pens as Wu Xing's three masterpieces." Volume 20 of the Huzhou Fuzhi also says: "Zhao Ziangzi, Qian Shunju painting, and Ying Ke pen are Wu Xing's three masterpieces." And Zhu Tong of the Yuan Dynasty also said in volume 6 of the "Covered Collection" "After the Painting of Shu Qian Shun": "Wu Xing Qian Shun's move is exquisite in painting, exquisite in craftsmanship, and wonderful in shape,...... Ju Wuxing is one of the three best, which is with! And its folded branches cry birds, green sleeves are cold, do not have a delicate attitude, and others can not reach. ”
These records all compare Qian Xuan's paintings with Zhao Mengfu's calligraphy, so as to show that at a certain time, his painting achievements were higher than Zhao Songxue's. Because Song Xue was more famous in calligraphy, but later with the change of the identities of the two, Zhao Mengfu gradually became a great painter with a leading position in his time, while Qian Xuan's fame and status were getting lower and lower. The rise and fall of the two men in status is also a widely discussed issue among later scholars.
"Rolls of Flowers and Birds" Part I Collection of Tianjin Art Museum
Regarding the relationship between Qian Xuan and Zhao Mengfu, the "Illustrated History of Chinese Painting" by Mei Gao Juhan and translated by Li Yu has the following statement: "The literati painting movement began with Wu Xing in the north of Hangzhou, and the pioneers were Qian Xuan and his student Zhao Mengfu. Qian Xuan was one of the retirees who refused to serve in the Mongol court. Zhao Mengfu was about twenty years younger than Qian Xuan. In 1286, at the beginning of his painting career, Zhao Mengfu went to Beijing and became a courtier of Kublai Khan. Qian Xuan did not go, spending time on poetry, books, and drinking. He painted figures, flowers, birds, and landscapes, often going back to the pre-Southern Sung style. ”
Gao Juhan explicitly said that Zhao Mengfu was Qian Xuan's student, and Li Yongqiang had two categories in the "Examination of the Relationship between Qian Xuan and Zhao Mengfu", "Master-apprentice Relationship Theory" and "Friendship Relationship Theory", obviously Gao Juhan's conclusions belonged to the former, and Li Yongqiang also said that the scholars who held this statement were the most, such as Zhang Yu of the Yuan Dynasty, who said in "Title Qian Shunju 'Floating Jade Mountain Jutu]": "Wu Xinggong Flea had to paint the method in Shunju when he was old, and Shunju wrote more about characters, flowers and birds, so the landscape he drew was rare in the world. Huang Gongwang also said in the poem given to this figure that Qian Xuan was the teacher of Zhao Mengfu: "Xia Xi Weng, Wu Xingshuo Xue, whose history runs through the chest, when no one knows it." Du and Ao Junshan, explaining the rewards, Xian Yi Li Ao, and Zhao Wenmin tasted the teacher, not specially taught his paintings. In addition to ancient things, he is also deep in the study of musical rhythms, and his character is so high. And the world often refers to the history of painting, which is a special game and hides what it has learned. This volume is in the collection of the present Guan Zhenju, and the inscription is on it, poems and paintings, and those who know the poets know their paintings. On September 8, 2008, the great idiot scholar Huang Gongwang first saluted the inscription, when he was eight years old. ”
"Rolls of Flowers and Birds", Part II, Collection of Tianjin Art Museum
In the text, Li Yongqiang also cited a poem inscribed by Ni Zhan in the "Peony Diagram" given to Qian Shunju: "The immortal pen in the Crystal Palace once learned to paint flowers on Xi Weng. Today, Phi Tu idle sentences, empty green Yi Yi Yi Dan sand. ”
The above three inscriptions are all Yuan Dynasty people, of which Zhang Yu also studied calligraphy with Zhao Mengfu, and Zhang Yu's "Coral Net" contains Zhang Yu's self-statement: "Park Yu shi served Zhao Wenmin's public school book, and spent time trying to discuss the "Zen Thesis" Dingwu Ben, which is rare for the best. And Huang Gongwang also clearly wrote in the "Title Zhao Mengfu "Thousand Character Text" Volume": "When I saw gong waving, Song Xuezhai primary and secondary school students. Although Huang Gongwang was born 15 years later than Zhao Mengfu, they had lived in the same period of time for more than fifty years, so some of these three were Zhao's friends and some were Zhao's students, and since they all said that Qian Xuan was Zhao Mengfu's teacher, this statement should not be a problem.
At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, Cao Zhao contained the following famous passage in the "Shifu Painting" in the volume of the Treatise on the Ancient Essentials:
Zhao Ziang asked Qian Shunju, "How is it a Shifu painting?" Shunju replied, "Shu jia painting also." Zi Ang Yue: "Yes." Yu Guan Tang's Wang Wei, Song's Li Cheng, Guo Xi, and Li Boshi were all noble scholars, and their paintings and objects conveyed the gods to the gods. In recent times, he has painted shifu paintings, and Miao is very good. ”
"Qiu Jiang to be crossed" Part I Collection of the Palace Museum
The content of this passage is the issue of the superiority and inferiority of literati painting and professional painters, and the controversy caused by this passage has not stopped so far, and will be discussed below, but only in terms of the dialogue between these two people, Zhao Mengfu did ask Qian Xuan for advice on painting theory.
Most of the people who hold the friendship relationship are based on zhao Mengfu's words in the sixth volume of Zhao Mengfu's "Song Xuezhai Collection" "Sending Wu Youqingnan to Return the Order": "There are Ao Junshan in my hometown, and my teachers are also." Qian Xuan Shunju, Yue Xiao he Zi Zhong, Yue Zhang Fu Heng Gang Father, Yue Chen Xi Xin Zhong, Yue Yao Style Zi Jing, Yue Chen Kang Zu Wuyi, Wu You ye ... The three chapters of the poem given by Yu Jishu were given as gifts, and the names of my teachers and friends were listed, so that Wu Jun could say something to me because of the meeting. ”
"Qiu Jiang to be crossed" Part II Collection of the Palace Museum
Zhao Mengfu clearly said that Ao Jigong was his teacher, and Qian Xuan and others were his friends. Since many people who were contemporaries of Zhao Mengfu called Qian Xuan a teacher of Zhao Mengfu, why did he himself regard Qian Xuan as a friend? Li Zhujin explained in the book "Quehua Autumn Colors - The Life and Painting Art of Zhao Mengfu" as follows: "The reason why Zhao calls Qian 'My Friend' instead of 'My Master' may be that Qian Xuan used the name of the painting earlier, and Meng Fu often watched his paintings, and occasionally painted at the same time, so he gained some inspiration from it." Because of this, some literati believed that Zhao was Qian's disciple. Another possibility is that Zhao Mengfu was quite reproached for his Song dynasty and Shi yuan, while Qian Xuan rejected Shi Yuan and lingered in poetry and painting for life, generally respecting him as a widow. As a result, there is money to belittle Zhao, emphasizing that money is what Zhao Shizhi said. ”
Li Zhujin believes that Qian Xuan is older than Zhao Mengfu, and he is famous in the history of painting earlier than Zhao, and the two are fellow countrymen, since Zhao Mengfu is good at painting, it is of course possible for him to go to Qian Xuan for advice on related issues, and it is precisely because of these consultations that some people regard him as Qian's disciples. Li Zhujin's implication was that Zhao only asked Qian for advice on related issues, and did not worship the teacher. And the article also said another possibility, this is the attitude of Qian and Zhao, although Zhao Mengfu is the song emperor's office, but he went to the Yuan court to serve, while Qian Xuan adhered to the national integrity, as a relict for life, so later generations of people appreciated Qian's attitude as a person, and denigrated Zhao Mengfu, so he emphasized Qian as a zhao teacher.
"Mountain Residence Map" Part I Collection of the Palace Museum
Li Yongqiang believes that the first half of what Li Zhujin said is more pertinent, and the second half is slightly biased, because Zhang Yu, Huang Gongwang, Ni Zhan, etc. all have great respect for Zhao Mengfu, and there is no personality derogatory, and they also say that Qian is Zhao's teacher, how to explain this contradiction? Li Yongqiang consulted the records of Ao Jigong's life deeds in the "Genealogy of Ten Thousand Surnames" and the "Examination of the Origins of Science in Minzhong", and there was a saying that "the study of scriptures is refined, and especially the three rites", and did not talk about the good painting of Ao Jigong at all. In that era, reading poetry and books was the right way, and Zhao Mengfu's mother let him study hard from an early age, hoping that he would get a meritorious name, so learning to paint was only his hobby. Therefore, Zhao Mengfu's passage is about his poetry and friends in learning, and the focus is not on calligraphy and painting.
However, some people believe that it is precisely because of Zhao Mengfu Shiyuan that the relationship between Qian and Zhao broke down, and Zhang Guangfu held this view in the "History of Chinese Art": "His (Zhao Mengfu's) Shiyuan also caused the ideological struggle of many scholars and intellectuals, Qian Xuan did not speak to him for this, and posterity also cursed him in his ink bamboo relics: 'A few dense leaves and several branches, dew pressure smoke and autumn rain, song room mountains and rivers how many tears, a little bit of Lin Yu. In addition, Tong Jiaoying also holds this concept in "A Brief History of Ancient Chinese Painting" and Xie Zhiliu's "Identification of Chinese Painting and Calligraphy". However, as quoted earlier, Zhao Mengfu explicitly listed Qian Xuan as "My Friend" in the "Sending Wu Youqing South To Return the Order", and at this time, Zhao Mengfu had already left the new dynasty, which showed that Zhao still maintained a good relationship with Qian after taking office in the Yuan court. In the text, Li Yongqiang also cited the sentence inscribed by Qian Xuan on The "Momei Diagram" painted by Zhao Mengfu: "Zi Ang Lang Zhongmo Mei, beyond the reach of the servant, obeys and obeys." Wu Xingqian chose Shunju. The reference to Zhao Mengfu here as Langzhong refers to Zhao's ministry of Langzhong in the 24th year of the 24th century, which also shows that the two still had relatively close contacts up to this time.
In the "Cong Ju Tu" recorded in the "Great View Record", there is an inscription of Tang Gu: "Wu Xing Qian Shunju, the world thinks that he is a painter, not also." At the beginning of the country, Qian Qing traveled with Zhao Songxue, Xian Yu, Li Xizhai and Xu Rongzhai on public travels, and did not enjoy leshijin, read books and poetry, and hengmen Zhenshi feasted ruye. It can be seen that after entering the Yuan, Although Zhao Mengfu and Qian Xuan and others have different political concepts, they still have a good relationship of exchanges, so some people say that Zhao Mengfu broke off relations with Qian Xuan after he entered the Yuan, which cannot be established.
If so, why is this statement possible? This should be due to a different interpretation of historical data. Yuan Zhangyu said in the "Jingju Collection" volume 3 "Qian Shunju Creek Bank Map": "When Wu Xing was in the early Yuan Dynasty, he had the title of 'Eight Jun', and Gai was headed by Zi Ang, and Shunju and Yan. In the Yuan Dynasty, Zi Ang was recommended to enter the dynasty, and all the dukes attached themselves to the official Da, and Du Shun held up discord, lingering in poetry and painting, in order to live his life. Therefore, the poems of the two dukes each speak their own minds, and zi ang has a slight wind, and the viewer should be self-satisfied. ”
"Mountain Residence Map" Part II Collection of the Palace Museum
The "Eight Juns" mentioned here refers to Wu Xing Eight Jun, Wucheng County Chronicle Volume XIII: "Zhang Fuxiang. ... together with Zhao Mengfu, Mou Yinglong, Xiao Zizhong, Chen Wuyi, Chen Zhongxin, Yao Shi, and Qian Xuan, all of them can be good at painting with poetry, known as 'Wu xing eight jun'." Zhao Mengfu and Qian Xuan are both eight junzhong figures, which can also be seen that they had a close relationship in those years. As mentioned earlier, Zhao Mengfu sometimes asked Qian Xuan for advice on painting theory, and by the yuan to the first year, Zhao Mengfu was recommended to become an official in the dynasty, and some of the friends of The Eight Juns also came out because of their close relationship with Zhao, but Qian Xuan insisted on integrity and spent all his energy on painting. The same is also said in Zhu Mouyuan's "Painting History Huijiao": "Qian Xuan, Zi Shunju, Yutan, Xiachuan, Song Jingdingjian Township Tribute Jinshi, and Early Yuan Wu Xing had the title of Eight Jun, headed by Zi Ang, while Shunju and Yan, and Zi Ang were recommended to ascend to the dynasty, and all the dukes attached to each other, and Du Shunju was inconsistent, lingering in poetry and painting, in order to live his life." Characters, landscapes, flowers and birds master Zhao Chang, green landscape master Zhao Qianli. ”
It seems that later generations believe that the rupture in the relationship between Qian and Zhao should be the four words of "discord", in fact, the detailed tasting of this sentence should mean that Qian Xuan is unwilling to take the opportunity to enter the DPRK as an official like others and become a prominent figure, not that there is a contradiction between him and Zhao Mengfu.
Regarding the dialogue about zhao Mengfu's consultation with Qian Xuan on "Jia Jia Painting", posterity also has different interpretations. Zhao Mengfu asked Qian Xuan what a scholar painting was, and Qian replied that the painting of the scholar was the painting of the Jia family, and Zi Ang basically agreed with Qian's words, and at the same time believed that Wang Wei of the Tang Dynasty, Li Cheng of the Song Dynasty, Guo Xi and others were all noble scholars, and their paintings should not be regarded as paintings of the Jia family, while some of the modern paintings of the scholars were very poor. Tasting Zhao Mengfu's answer, it seems that he also agrees with Qian Xuan's statement that literati painting is a painting of the Jian family, and this kind of painting is far less orthodox than professional painting.
"Secluded Map" Part I Collection of the Palace Museum
However, this concept was later reversed, especially after Dong Qichang's advocacy, the status of literati painting was much higher than that of orthodox professional painting schools. Why is there such a flip? This requires smoothing out the evolution of the dialogue between Money and Zhao. Tang Bohu of the Ming Dynasty quoted Qian Zhao's dialogue in the Tang Liu Ru Painting Notation:
Zhao Ziang asked Qian Shunju, "How is it a Shifu painting?" Shunju replied, "Li Jia Shu also." Zi Ang Yue: "Yes." When guan Wang Wei, Xu Xi, and Li Boshi, all of them are the noble paintings of Shifu, covering and conveying the gods, and doing their best. In recent times, he has been a painter of shifu, and his miao is also very good. ”
Here, Tang Bohu changed the word "戾" to "屬", and then Dong Qichang changed this in the Rongtai Collection:
Zhao Wenmin asked Yu Qian Shunju, "What is the name of morale?" Qian Yue: "Belonging to the body ear, the history of painting can distinguish it, that is, it can fly without wings, and if it is not, it will fall into the evil path, and the farther it goes." However, it is also related to the hanging, and it is necessary to have nothing to ask for in the world, and not to be ruined with praise. "Wu Taste is like a painter, all of them raise eyebrows, saying that this level is difficult, so they have passed away every year."
"Secluded Map" Part II Collection of the Palace Museum
Here, dong Qichang's original words of "shifu painting" was changed to "morale", and "jiajia painting" was changed to "subordinate body". Obviously, qian Xuan's "jia jia painting" should refer to the lay paintings painted by hand without a teacher's letter, and the opposite is a master who has a master and is a professional painter, and these people should be called experts. Therefore, "Jia jia painting" refers to the paintings of non-professional painters. That being the case, how do you view literati painting among non-professional painters? This is exactly what Zhao Mengfu said when he added to Qian Xuan, arguing that Wang Wei of the Tang Dynasty, Li Cheng of the Song Dynasty, Guo Xi, etc. should not be classified as Jiajia paintings, although they are not professional painters, but their learning is enough to support their paintings to have a high standard. This statement can be proved by What Han Huan said in the "Complete Collection of Pure Landscapes": "Today's famous Qingshi Doctor, in his spare time, holds the pipe in his spare time, writes intentionally, seeks simplicity and takes it lightly, out of natural nature, without a little tackiness, with the style of the world, he is not known." The ancient celebrities and doctors are all from gefa. Since the Southern Tang Dynasty, Li Cheng, Guo Xi, Fan Kuan, Yan Gongmu, Song Fugui, Li Boshi, and Wang Jinqing have also done the same. ”
Han Humble believes that the appearance of fine works in the paintings of ancient literati is also because the painters abide by the painting rules, which are valued by later generations, and relatively speaking, the works painted by the scholars who lack technical training can only be regarded as ink plays. Qian Xuan's paintings refer to this type of painting that has not undergone professional training, and Qian Xuan is also a reader, if he strictly follows his words, doesn't it also mean that he has reduced his paintings to a penny? Therefore, Wan Qingli concluded in "From 'Shifu Painting' to 'Literati Painting'--Qian Xuan's "Jia Jia Painting" Brief Discussion": "The controversy between Qian and Zhao about 'Ji Jia Painting' is the same, and both of them are light 'Jia Jia' and heavy 'experts'. It is precisely because of this consensus that the Yuan Dynasty opened another historical stage from 'Shifu painting' to 'literati painting'. As for what kind of painter Qian Xuan himself belongs to, Wan Qingli's summary in the text is: "He can be regarded as the first connoisseur in 'literati painting'." ”