Introduction: Wang Zhirui, one of the "Four Houses of Xin'an", is the oldest and the earliest in his painting style. Even though his influence may not be as great as that of Wanjiang, Cha Shibiao, and others, Wang Zhirui still occupies an important artistic position in the Tiandu School and the Xin'an School.
The Xin'an School of Painting is a painting genre formed by a group of relict painters in the late Ming and early Qing dynasties with Huangshan, Baiyue and Huizhou landscapes as their creative themes.
The early representatives were Cheng Jiaxuan, Li Yongchang, and Li Liufang; in the mature period, they were represented by Hongren, Cha Shibiao, Sun Yi, and Wang Zhirui.
Wang Zhirui is the oldest of the four new ones and the earliest to debut. However, few works have survived, and fewer than ten are known to be authentic. Some commentators believe that Wang Zhirui is deeply rooted in the essence of Ni Zhan's painting art, especially committed to the simple style, and the works reflect a super-dusty and frosty temperament, with a profound artistic conception.
Landscape
<h1 class="pgc-h-arrow-right" data-track="7" > laughs and starts a meter upside down</h1>
Wang Zhirui was a highly educated scholar, whose paintings and personalities had an important influence on the Xin'an School of painting, and enjoyed a certain reputation in the Qing Dynasty painting world, and was known as the "Four Houses of Haiyang" along with Cha Shibiao, Sun Yi and Wanjiang.
Wang Zhirui, the word Wurui, the number of the chakra, shulin, RuiDaoren, riding the old man. The Xiuning people. Pingsheng Gongshu is good at painting, calligraphy Li Yong, early pro-post, deep skill, Qing Jin is gratifying. After learning from the Ming Dynasty masters and the rural generations of Mo rock carvings, he eventually transferred to Li Beihai. Good at writing all kinds of books, especially fine grass, the characters are known for their rigidity.
The landscape is yellow, and it is a machine of its own. Li Yongyi, a disciple of the Tiandu School of Painting in xin'an area, was high-footed.
He is the eldest of the four families of Xin'an, and also the most indulgent and willful among them, and his landscape paintings express personal emotions far more than the pursuit of painting skills, and the picture is rewritten without seeking detail.
Wang Zhirui has the most contact with Cha Shibiao and has the closest personality. The temperament and behavior of Chasi biao's laziness, sleepiness, and closed doors are quite similar to Wang Zhirui's personality of "sleeping stiffly, or not getting up for days", "although it is more golden and disdainful", and the two smell quite similar.
Part of "Landscape Map"
In the surviving paintings of Wang Zhirui, almost every work has the inscription of Cha Shibiao, which not only describes Wang Zhirui's personality and painting skills, but also appreciates and praises Wang Zhirui's painting concept.
From the inscription of Cha Shibiao on the inscription "The Ruins of the Title Wang Chengcha", it can be seen that in the eyes of Cha Shibiao, Wang Zhirui has a heroic temperament, is drunk as fate, is maverick, and is a painter with quite a personality.
Forty years after he went to the human world, he only talked to the wild cranes for a long time. The ribs are like pictures, and the laughter is a meter upside down.
The poem was written 40 years after Wang Zhirui's death, and Cha Shibiao's longing for Wang Zhirui was overflowing with words, and at the same time described Wang Zhirui's character. In the eyes of Cha Shibiao, Wang Zhirui is undoubtedly a figure of "angular and bone-like pictures, laughing and repeating a meter upside down".
The "mi bump" mentioned in the poem refers to the famous northern Song Dynasty literati calligrapher and painter Mi Fu, who praised Wang Zhirui as a figure like Mi Fu, in addition to friendship and friendship with his hometown, indicating that Wang Zhirui was indeed a painter with quite a personality.
《Landscape Map》
<h1 class="pgc-h-arrow-right" data-track="69" > simple and elegant landscape painting style</h1>
The "Records of Paintings of the National Dynasty" says that Wang Zhirui "is good at landscape and water, with a dangling elbow in the center, a thirsty pen for scorched ink, a multi-mapi lotus leaf, etc., and loves to be a back mountain." The wine is full of excitement, the pen is like a storm, and dozens of paintings can be obtained all day long."
In the landscape painting world of the early Qing Dynasty, the retro simulation style and the view of sect portals were a fashion. Wang Zhirui has a maverick personality, not moved by the wind of the times, and still pursues the simple landscape he advocates as always. This is very different from the wind of the times, as he said to himself: "Painting can be dense, there are strange and positive, and it is a good hand." He also said: "Thick is not because of more, thin is not because of less." ”
Wang Zhirui first studied Li Yongchang, and later studied jiu and Yunlin. Among them, Ni painting is the most diligent. "Thirsty pen and scorched ink" is his painting style, informal, spontaneous, unique in the Xin'an school.
The painting style that best represents Wang Zhirui is his simple and elegant landscape. A few lines outline a hillside, and three strokes outline an old tree. Mountain stones also use geometry. The composition is lonely and the scene is refined, which can be described as simple to the extreme. This kind of painting style is derived from both Ieyama Katsumi and Hirohito's painting style.
Wang Zhirui's pen is fast and unrestrained, the lines are round and strong, like "hidden needles in the cotton". Huang Binhong's "Landscape Atlas" said that it was "one sketch and one stroke, all from the book", and a phrase broke the relationship between Wang Zhirui's lines and calligraphy.
Turquoise Diagram
However, unlike Ni Yunlin, Wang Zhirui's overly simple style of painting has been criticized by commentators.
As Zhang Geng's "Records of Paintings of the National Dynasty" said: "Wurui self-conscious, wielding horizontal and horizontal, and treating the rules of the world to the law, sincerely and proudly!" However, the non-six righteous schools are also. Otherwise, how can the ancients call 'one water in ten days, one mountain in five days'? If there is no Rui, the so-called must not be without one? ”
Qin Zuyong commented on Wang Zhirui's painting in "Tong Yin on Painting": "The pen falls like a wind and rain, and the paper is counted in an instant. Covered with contours and without wrinkles, not a masterpiece also. ”
These remarks, believing that Wang Zhirui's simple and simple landscape is not a six-law upright school, contrary to the "ten days one water, five days a mountain" painting convention, there is a kind of Wang Zhirui is not an expert in the painting.
Wang Zhirui's painting is willful and spontaneous, informal, and pursues the form of expression of "painting with simplicity and luxury" and "simplicity over complexity". Only Cha Shibiao knew Wang Zhirui the best, and it was no wonder that Huang Binhong would say: "Zha Erzhan has no Rui painting, thinking that people cannot arrive, but those who know it are especially good." ”
"Dead Tree Map"
<h1 class="pgc-h-arrow-right" data-track="80" > xi style bone vigorous tree bamboo and Jane Wei Pavilion Stone</h1>
In his later years, Wang Zhirui's paintings revered "painting with simplicity and nobility". Most of his existing landscape paintings are the product of the influence of his concept of painting, and the pictures are generally extremely simple.
In the history of traditional Chinese painting, Yunlin is highly appreciated by Yilin for its high purity and solitary collection, which is regarded as a true "Gaoshi". Like Ni Yunlin, Wang Zhirui also likes the vigorous tree bamboo and Jian Wei Pavilion Stone to express the breath in his chest. He uses a lot of vigorous and simple brushwork to sketch the scenery of the turquoise of the Huangshan Mountains and the sea of clouds, as well as the themes that symbolize the high cleanliness and innocence of the literati.
Wang Zhirui's landscape painting style is often simple enough to only have a pen line, but there is no ink color, a line will outline a gangluan, a few strokes will outline a dead tree, and there will be less rubbing. Although it is difficult for the world to accept and recognize Wang Zhirui's painting style, he himself does not think so.
"Silent Picture of Ten Thousand Valleys"
It is a minimalist piece, simple but grandiose in pen. This two-way approach played an important role in the formation of the "Xin'an School" style. In particular, its advocating Yuanren's dry lines, simple and quiet composition, and ethereal artistic conception have brought great influence to the rising Xin'an painters, and Zhejiang is particularly impressed.
《Empty Pavilion Tree Map》
Paint with dry lines, abbreviate tree houses and pavilions in light ink, and draw the canopy with dry and fluffy bow lines. The pavilion pillar is painted in three or five strokes of burnt ink, which can inadvertently show a realistic sense of standing. The slope of the close-up is only pulled out by a long, rhythmic undulating line, and there is no stain. The left cypress and the right pine pen are outlined, and the branches and leaves are rewritten with a slightly thicker wet pen after writing in light ink. The picture is few strokes, and the simplicity is complex. The style is simple and quiet, showing an escaped attitude towards life.
"Calligraphy and Painting Album"
In the composition of the use of cut-off composition, the picture leaves more white, even if there are occasional layers of mountains and mountains, mountains with lines to summarize, the mountain surface is ethereal, the trees are sparse, the picture also has no sense of compulsion. Painting with a broken brush, it leaves a quicksand-like texture on the picture. In terms of penmanship, the rubbing is used interchangeably, both Huang Gongwang's long-phidded hemp method and Ni Zhan's commonly used light ink dry pen rubbing method.
Wang Zhirui refused to abide by the law of the family, and the mountain head liked to use a mixed and chaotic point. The ink color of the work is changeable and bold, with more light ink and less burnt ink, and the layers of mountains and stones and trees are clear. The picture is concise and clear, the artistic conception is sparse, and there is no vulgar atmosphere.
epilogue:
Looking at Wang Zhirui's paintings, it is neither like looking at Cha Shibiao's paintings, and when you look at it, you can see that he took it from someone's brushwork, nor is it like looking at Hongren's paintings, which have the real scene of Huangshan Mountain as a comparison.
The landscape of Wang Zhirui's later period almost abandoned the shackles of ancient law, and the display of his own personality and his concepts was brought to the extreme. His paintings are simple and pure, and looking at his paintings seems to purify the hearts of people who look at them.
——END