History and Culture- A Brief Introduction to Calligraphy and Painting since the Ming and Qing Dynasties in Yunnan

Calligraphy and painting is an important part of Traditional Chinese culture, on the one hand, as the product of the superstructure of the mainstream of social culture, calligraphy and painting directly reflect the aesthetic fashion, value orientation and style of the times in various historical periods; on the other hand, as the lyrical artistic creation of literati doctors, calligraphy and painting have become the concentrated embodiment of the thought, art, character and cultivation of China's cultural elite. Although Yunnan is located on the border of the motherland, in the long-term integration and docking with the Culture of the Central Plains, it has gradually formed and constructed rich and diverse cultural characteristics. The art of calligraphy and painting not only has the charm of the central plains tradition, but also has the style of the frontier peoples. The early calligraphy and painting art in Yunnan, such as the "Cuan Baozi Monument", "Cuan Long Yan Stele", "Meng Xiaoju Stele", "Nanzhao Zhongxing Picture Scroll", "Zhang Shengwen Picture Scroll", etc., all occupy an important position in the history of Chinese art. Since the Ming Dynasty, with the gradual establishment of the dominant position of Han culture in Yunnan, the development of calligraphy and painting in Yunnan has tended to be more consistent with the Central Plains, and its influence in the country has also become greater and greater. For example, the group of monks and calligraphers represented by the late Ming and early Qing dynasties, and the famous calligraphers Qian Feng and Zhao Guang in the middle of the Qing Dynasty, all have a place in the history of the development of Chinese painting and calligraphy. Judging from the current works handed down, Yunnan calligraphy and painting are mainly since the Ming and Qing dynasties, and the following is a brief description of the calligraphy and paintings since the Ming and Qing dynasties in Yunnan.

1. Calligraphy

The calligraphy of the Ming Dynasty in Yunnan still inherited the aftermath of Zhao Mengfu, and in the later period, Dong Qichang appeared, and the calligraphy of the two people has always influenced the Qianjia period of the Qing Dynasty. In the Ming Dynasty, there were not many Yunnan literati in the world, and the historical records were relatively simple, and there were few works passed down from generation to generation, while Yang Yiqing, Li Yuanyang, Fu Zonglong, etc. were undoubtedly among the leaders. Anning Yang Yiqing, Chenghua Nongchen Jinshi, the successive officials Chenghua, Hongzhi, Zhengde, Jiajing four dynasties, in and out of the phase. Zhengde Lieutenant to the official Shangshu Huagaidian University Scholar, Jiajing six years as the first assistant, Yuwen Xiang. There are "Shi Shu Poetry Notes", "Records of the Western Expedition" and so on. Calligraphy in Kai multi-pagoda, row grass cang ancient has a strange atmosphere. Dali Li Yuanyang, Jiajing Bingjinshi, was a superintendent of imperial history, and returned to his hometown to compile the County Chronicle and the Yunnan Tongzhi. The calligraphy is gentle and elegant, and the inscriptions in the county are more than his hands. Kunming Fu Zonglong, Wan Li Gengji Jinshi, LiGuan Jiliao Governor, Bingbu Shilang, Fuqian Bingbu Shangshu, Shaanxi Viceroy, fought with Li Zicheng's army, the army collapsed and was held, unyielding, martyred Xiangcheng, and Yu Zhongzhuang. The calligraphy is majestic and majestic, and it is famous in the world. Others, such as Yao An Tao Jue, ming wanli eighteen years of jinshi, official to Wuchang bingbei dao, his book is fresh and elegant, its own style. Kunming Wang Laiyi, ming wanli twenty-eight years of the people, official Yingzhou Zhizhou, calligraphy Zong Ge Ti, strict observance of the law. Good writers also include Zhang Qiao, Guo Zhijian, Kang Xuan, Ren Ren and so on.

At the end of the Ming Dynasty and the beginning of the Qing Dynasty, a large number of monks with good books emerged in Yunnan, such as Hong Ru, WuZhu, Ren, Ben Yuan, Guo Feng, Da Er, Zhongfeng, Miaodi, Xueyun, Tongming, Jie'an and so on. These monks, while studying Buddhism, were also very involved in the art of calligraphy and painting. Hong Rushu is quite elegant, the book is idle and free, the study of the book is even jin and Tang dynasty penmanship, and the Tongming book is high and ancient. Among them, he is the most famous as a bearer, and the most works have been handed down. As the beginning of the book, Dong Qichang, after the grass is thin and clean, timeless and elegant and Zen, the birth of the world that has gone through the vicissitudes of the world is written at the end of the pen, and finally becomes a generation of everyone. In the early Qing Dynasty, Jie'an (Zhanfu) Seiko Kaili, You Jing seal carving, was quite famous in the Beijing Division, and was valued by Fang Bao, and the seals used by Yao Nai, Weng Fanggang and others were more than their hands, and Cang Xue and Ren were known as the "Three Monks of Southern Yunnan".

In the Qing Dynasty, Kunming Qianfeng was the most well-known and respected by the world, qianfeng was a qianlong thirty-six-year soldier, a clean and honest official, a straight Gengjie, and deeply respected by the world. His Calligraphy Zong Yan Lugong, Pingzhi Dunhou is more than enough, and the Xingshu is rubbed into the vertical and horizontal ups and downs of the Mi Yuanzhang, which is unique in the Pursuit of Beautiful Books in the Qing Dynasty and reaches a very high artistic level. Others, such as Tonghai Kan Zhenzhao, Kangxi Second Year Xie Yuan, Xingshu Zong Second King, cursive writing from Zhang Xu, Huai Su, has the reputation of "dragon snake falling pen storm", Inspector Wang Jiwen signed the monument more than his hand, is actually a big person in Central Yunnan. Kunming Yu Shiying, whose calligraphy from Ouyang Inquiry, Qing Shu Junli is meticulous. Zhao Shilin of Heyang (present-day Chengjiang), a kangxi three-year jinshi, calligraphy came and went between Li Jianzhong and Zhao Mengfu, and ShiFushi was re-imitated to learn later. Ma Ruwei of Yuanjiang, a scholar of the Kangxi Dynasty for thirty years, whose calligrapher Chengwang Zhao, used a pen knot to form an elegant and moderate body, quite bookish, sometimes there is a saying that "Ma Ru is a character to press the two rivers". Kunming Zhao Shiying, Kangxi forty-five years into the jinshi, his calligraphy Xiao Kai especially written, qing sheng ancestral order before the chibi endowed with ivory pen holder, that is, in front of the imperial kneeling book into the presentation, the great Meng Jia reward. Kunming Wang Sixun, Kangxi forty-five years of jinshi, Kai calligraphy multi-pagoda, xingshu rounded to the pavilion tiyi. Stone screen tu blanching, Kangxi twenty-four years of people, ICBC, cursive, strong posture, structure atmospheric. Eshan Zhou Yuli, Qianlong sixteen years of jinshi, successively served as Hanlin, editor, Dali Temple Shaoqing, Shuzong Yan, Mi, has a great influence on QianFeng. Meng Zi Yin Zhuangtu, Qianlong Thirty-one Years Of Jinshi, Official Ceremonial Department Waiter, his calligraphy is like an iron cone painting sand, vigorous and powerful. Shiping Liao Ronglun, a good list book, its large characters are magnificent. Tonghai Zhu Ling, Jiaqing twenty-four years of jinshi, official ceremonial department Shangshu, calligraphy is thick and dignified, as the time called. Kunming Zhao Guang, Jiaqing Twenty-five Years Of Jinshi, Shangshu of the Ministry of Official Punishment, Gong Shiwen, Calligraphy Dong Qichang, Condensed and Rounded, well-known in Hainei, together with Xu Naipu, Qi Liaozao, and Chen Fuen as the four calligraphers of the Daoguang Period. Chenggong Sun Zhu, Daoguang twenty-nine years old tribute, calligraphy, line, grass are all work, his books are high and majestic, the bones are vast, and his seal carvings are new from time to time. Luxi Chen Du, Guangxu thirty years of jinshi, with the seal, subordinate to the world, the seal book is standardized and solemn, and the line book is stretched and flowing. Among the best scholars of the Qing Dynasty were Gao Tianying, Sun Xuan, Lin Youbing, Zhong Yue, Zhang Han, Xu Helai, Li Bengong, Li Yinpei, Shi Fan, Gu Jiqi, Lu Shutang, Chen Luhe, Chen Da, Li Chen, Liu Kun, He Guiqing, Dou Gao, Chi Shengchun, Huang Chun, Li Kun, Sun Qingyan, Zhao Heling, and Zhu Jiabao.

From the late Qing Dynasty to the Republic of China period, there were many scholars in the Yunnan book world, and the more famous ones were Zhao Fan, Chen Rongchang, Yuan Jiagu, Zhou Zhongyue, Li Gengen, etc., and Zhao Fan, Chen Rongchang, and Zhou Zhongyue all took Yan and Qian as their ancestors. Jianchuan Zhao Fan, Guangxu first year of the people, the book Chengdu Wuhou Ancestral Hall joint name all over the world. Kunming Chen Rongchang, Guangxu Nine Years Jinshi, thick and simple calligraphy, like a righteous spirit. Jianchuan Zhou Zhongyue, Guangxu thirty-one years of people, served as the minister of civil affairs, for the Nanjing Presidential Office. Shiping Yuan Jiagu, Guangxu twenty-nine years of economic special yuan, his book is based on Wang Ou, both Chu and rice, self-created a grid, with Qiao Ba Junxiu to win, see the called Yuan Family Book. Tengchong Li Gen, who was the superintendent of the Yunnan Daowutang, the chief of agriculture and commerce of the Beiyang government, and the acting premier, was in an ancient style.

Yang Shen and Zhu Taizhen of the Ming Dynasty, Who Traveled to Yunnan, Xu Hongxun, Ruan Yuan, Wang Wenzhi, Gui Fu, Gu Shu, Song Xiang, Luo Huodian and Lin Zexu of the Qing Dynasty, not only had excellent calligraphy themselves, but also played a positive role in promoting Yunnan calligraphy.

The above individuals are just a drop in the ocean of many calligraphers in Yunnan, just to take this look, or can glimpse the grandeur of Yunnan calligraphy culture in that year.

2. Painting

According to the works that can be seen so far, we divide the local paintings in Yunnan into three periods (late Ming and early Qing, mid-Qing, late Qing to modern) according to the three contents of landscapes, flowers, birds and figures, and summarize the basic situation and representative painters as follows:

1. Landscape painting

(1) Late Ming and early Qing dynasties

During this period, dynasties changed, wars were frequent, and many remnants followed after the Southern Ming Yongli Emperor entered Yunnan, which played a role in promoting the development of Yunnan culture to a certain extent. The painters of this period mainly include: Yu Qian, Ren, Zhu Ang, Fang Zhengyang, Zhang Duanliang, Wen Yuxin, Yang Rang, Gao Lang and so on. During this period, most of the painting styles were Ming people, mainly inheriting the styles of the Wumen School and the Huating School, of which the most accomplished person was the monk.

As a teacher in his early years, Dong Qichang, with a beautiful style and a pursuit of plain innocence, after experiencing social turmoil and life changes, he escaped into the empty door, his painting style was more concise and detached, forming his own outstanding face, and in his later years, he became a unique style of clumsy old spicy, simple and frank and quite "Zen flavor", which enjoyed a high reputation at home and abroad. There are many successors, and the only one who has received his mantle is his nephew Zhu Ang. Kunming Wen Yuxin, although a martial artist, but in addition to military affairs, Yu Danqing is quite accomplished, he painted donkeys and figures, few strokes, each posture, vivid.

(2) Mid-Qing Dynasty

The main painters are Duan Jin, Yang Yulan, Li Yi, Zhang Chenzhao, Zhang Xingzhao, Zhang Suiyu, Li Rongfeng, Li Weixin, Liao Ronglun, Duan Yongyuan, Wan Tingen, Hao Wei, Zhou Chuanjing, Qian Yunxiang, etc. At this time, the painting style is partly in line with the style of the "Four Kings" as the main stream in the painting world, with thick brush and ink and strict rules, such as Zhou Chuanjing and Qian Yunxiang. The other part is not limited to the shackles of the orthodox sect of the Central Plains, pays attention to the creation of foreign teachers, and wins the strengths of each family in pen and ink techniques, showing the legacy of different eras of the Song, Yuan and Ming Dynasties, of which Li Yi is a painter with more outstanding achievements in this period.

Li Yi, zi Yang Ting, Kunming Buyi, Yang Qi Ting disciple, see the ancient famous paintings copied, almost realistic. His painting is not informal, not only can abide by the "four kings" law, but also can take the strengths of ancient and modern families, in the green, ink, light and all-powerful, showing a new literati landscape painting style written with a part-time work belt, exquisite painting skills, showing elegance in the rich, and was pushed as the first hand in Central Yunnan.

(3) Late Qing Dynasty to Modern Times

The main painters are He Tongyun, Li Weizhang, Li Huaixun, Gu Yuan, Liu Rongdi, Ni Tao, Xu Shihuang, Sun Zhu, Sun Qingyan, Zhang Shaoheng, Zhang Shilian, Zhang Zaijin, Qian Kuangzhi, Chen Du, Xiao Enrong, Shen Heqing, Hu Yupei, Hu Yingxiang, Li Zeng, hu

Ben Yao, Zhan Baoshan, Jiang Peide, Bu Zhenyu, Dong Yiyi, Zhang Lie, Liang Zhixiang, Wang Jianbai, Zhou Lin, He Jixi, Sang Wenhao, he Zhijian, etc. Since the end of the Qing Dynasty, due to the drastic social changes and the increase in foreign cultural influences, the painting world has also shown diversified characteristics. There are painting styles that continue to inherit the "Four Kings" style, such as Xiao Enrong, Shen Heqing, Hu Benyao, etc., and there are also those who take the Path of Wumen in the Ming Dynasty, such as How Tongyun, Ni Tao, Xu Shihuang, etc., although each has its own advantages, but there are few innovations. There are also some painters who have won the strengths of all, integrated and unique, of which Sun Zhu is the best. Sun Zhu is a scholar of the field of science, but his life footprints have been in the world several times, his insight and temperament are natural, he can be in landscapes, flowers and birds, and he is another talented all-round painter after Zheng And Li Chen. Li Huaixun uses The Song dynasty brushwork, cangjian ancient steep, into its own family. Zhang Shaoheng, Zhang Shilian father and son, with the real mountains and real waters of Yunnan into the painting, quite innovative, widely loved by the public. Chen Du refers to painting landscapes, using light ink to dye at will without losing the law, concise and qingyuan.

Due to social changes, the literary and artistic thought of modern Yunnan is also more active, and there is a trend of a hundred schools of thought in the painting world. In addition to the traditional way, there are modern painters such as Zhou Lin, Zhang Lie, He Jixi, Sang Wenhao, etc., who are influenced by the Hai school and the Lingnan school, and their painting styles are very different from the traditional school. During this period, the Group of Lijiang painters represented by Zhou Lin was more active, and they formed the "Snow Society" to sing harmony with calligraphy and painting.

Zhou Lin, a painter of the Naxi ethnic group in Lijiang, has profound traditional skills and can write poetry, calligraphy and painting. Its landscape followed the traditional style in the early days, and after middle age, it integrated the ancient and the present, and its themes were mostly taken from the snowy mountains and valleys in northwest Yunnan, coupled with the embellishment of local ethnic minority figures, which had a unique style. In 1963, he held a solo exhibition in Beijing, which attracted the attention of the society and was also highly respected among his peers.

2. Flower and bird painting

The main painters are Xiong Cai, Guo Feng, Xue Yun, Tong Ao, Liu Lang, Zhong Tingjue, Zhong Yue, Fang Zhengyang, Miao Dexin, Zhang Duanliang, And Bai Pu. The flowers and birds of this period, part-time writing, pay attention to traditional techniques. Tonghai Zhong Tingjun, Zhong Yue father and son of the ink peony using boneless freehand technique, the pen is free to do, the pen to the pen, famous for a while, there is a "Zhong family peony" known. Liu Lang, a Henan native living in Huaning, is good at painting fish and dragons, and has the reputation of "Liu Big Fish". Tonghai Miao De Xin shan painted valley finches, no different for a while, and Wen Yuxin's name, there is a "Wen Donkey Miao Finch" said. Jianshui Baipu's reed goose and partridge map, famous throughout yunnan. Although there is not much ink on the pine crane on the Weishan Mountain, it looks vivid. The most famous person is Guo Feng, who is a descendant of the Ming Chu King, wearing a shaved Youdian, and painting things in his life only to express his feelings by writing Lan and sending tribute to the mourning of the fall of the country, which can be described as a pure literati freehand painting. He is good at writing cursive, and draws in cursive, the center is the mainstay, dashing and strong, and his composition is simple and steep, giving people a sense of emptiness and tranquility, and his character is super relaxed, far from prestigious. Zheng Banqiao once had a poem "In front of Shi Tao has not learned, how can he learn Yunnan in wanli", and this "Yunnan" is over the peak.

The main painters are Zhang Errong, Li Rongfeng, Li Chengji, Chen Luhe, Gu Jiqi, Jiang Yao, Lu Zhi, Chen Da, Zhou Qichun, Li Chen, Lu Shutang, Ding Yingluan and so on. During this period, due to the steady development of social economy and culture, more literati painters appeared, who in addition to official duties, wielded their hands and had a lot of pen and ink interest, such as the pine crane of Gujiqi and the ink bamboo of Yin Zhuangtu. Among the professional painters, the most accomplished are Li Yi and Zhou Qichun. Li Chen's painting skills are comprehensive, both work and writing, and his finger paintings are also quite innovative. Zhou Qichun was good at coloring flowers, using pen precision, setting bright and beautiful Xiuyan, Ya near Nantian, and was pushed by Gu Xuan, the scholar of Yunnan at that time, as the "first painter" in Yunnan Province.

(3) Late Qing Dynasty to Modern Times.

The main painters are Sun Zhu, Li Jiashu, Zhao Xuan, Chen Gong, Xu Chunling, Xu Huang, Miao Jiahui, Ding Xizhe, Zeng Lanfang, Guo Cheng, Ding Huai, Wang Zheng, Zhao Heqing, Li Hua, Guo Xiexi, Yang Tianlu, Xiao Shiying, Zhou Lin, Liao Xinxue, Liu Wenqing, Liu Huaxuan, Yuan Xiaocen and so on. The flower and bird painting style in Yunnan at the end of the Qing Dynasty was mainly influenced by Yun Nantian, and the most representative was Miao Jiahui. Miao Jiahui was summoned to Beijing during Guangxu and offered to the Fuchang Hall, after which Cixi rewarded his subordinates with flower and bird paintings, mostly from miao's hands. People in beijing also liked Miao paintings and competed to buy them, and people called them "Miao Aunts". Zhenxiong Zeng Lanfang, who lived to imitate Nantian, was known as "Shi Nan", and although his paintings were not new, they could also get the charm of Nantian. In addition, Sun Zhu's Qing Offering, Li Jiashu's flowers, Zhao Xuan's peonies, Chen Hao's crabs, Xu Chunling's folded branches, Xu Huang's flowers and birds, Fruit Cheng's orchids, Guo Xiexi's plum blossoms, and Wang Zheng's walking beasts can also be remarkable, each with its own style.

During the Republic of China period, due to the influence of the Hai and Lingnan factions, a new situation emerged. Zhou Lin's flowers and birds, first taught by Fa Qingteng (Xu Wei), Bai Yang (Chen Chun), and then influenced by Ren Bonian, Wu Changshuo and the Lingnan families, integrated and penetrated, formed their own face, and led the way in the modern flower and bird painting world in Yunnan. Xiao Shiying studied in Japan, specializing in boneless flowers, his brushwork is rigorous and meticulous, the shape is accurate and vivid, and the color is bright and vulgar. Liao Xinxue went to France to study Western painting, and after returning to China, he integrated Western painting techniques into Chinese painting, which is unique. Yuan Xiaocen learned the Lingnan School of painting in his early years, and his flowers, birds, and animals were quite the essence of Gao Qifeng and Gao Jianfu, and later he also became a big family with freehand peacocks.

3. Characters

During this period, there were fewer figure painters, mainly Responsible, Zhu Ang, Wen Yuxin, Fang Zhengyang and so on. There are two main faces, one is written with part-time work, and the other is pure freehand, dotted in the landscape, with two small dots to represent the human eye, the lines are minimalist, but very vivid. Wen Yu's new donkey-riding character, the lines are also simple, but lifelike. Fang Zheng Yang gong depicts characters in white, with a strong pen, smooth lines, elegant and durable, and has the rhyme of "Wu belt when the wind".

(2) Mid-Qing Dynasty.

During this period, the number of figure painters increased significantly, and the achievements were not bad. The main painters are Yang Yulan, Li Chen, Qian Feng, Shi Fan, Duan Yongyuan, Liu Xueheng and so on. Yang Yulan's characters are vivid and vivid, profound in meaning, and widely praised. His disciple Li Yi inherited his mantle and entered the painting with Huang Shen's brush strokes, strong and free, and blue out of blue is better than blue. Qian Feng's kurama, with strong and elastic lines, has a Tang style, with flowing characters, revealing ancient style and strong bookish atmosphere. Duan Yongyuan's characters, with cursive brushwork, indulgence, simple and powerful lines, do not put any background, and with cursive long titles, the literati are interested.

The main painters are Zhang Zaijin, Sun Qingshi, Sun Qingyan, Su Wanzhong, Li Guangxuu, Zhang Wenlin, Yang Chen, Yang Yingxuan, Hu Yingxiang, Li Yunfeng, Su Xingu, Zhou Lin and so on. Yang Yingxuan is the great-grandson of Yang Yulan, with deep family roots and innovation, his "Seven Sages of the Bamboo Forest" participated in the Panama Competition in 1915 and won awards, and was once famous, and his disciples Li Yunfeng and Wang Shu inherited his mantle, which had a great influence on the Yunnan painting world at that time.

The above examples are only some calligraphers and painters in Yunnan since the Ming and Qing dynasties, although they are a drop in the ocean, they can basically understand the development of Yunnan calligraphy and painting and representative figures. At the same time, we can also draw some conclusions, that is, first, the culture of Yunnan has had an inclusive and broad mind since ancient times. Although Yunnan is located in the frontier, the ancestors have never been closed, they know how to learn from the advanced culture at home and abroad, it is this kind of mind, so that Yunnan has a rich and colorful culture, created countless miracles in the history of art, left so many masterpieces of calligraphy and painting art; second, the ancestors have a free spirit that is not constrained by the sect. Perhaps it is precisely because Yunnan calligraphy and painting are not contaminated with the bad habits of the literati and are not disturbed by the dispute between orthodox and unorthodox factions, and can pursue beauty and pursue spiritual goals without restraint; third, frankness and simplicity are a major feature of Yunnan calligraphy and painting. In the landscape, flowers and birds paintings in Yunnan, you can truly feel the realistic style of painting in Yunnan paintings that portray mountains and rivers with true feelings and write about the flowers, birds, fish and insects around you. It is precisely because of the inclusive and free spirit of extensive absorption of the techniques of the ancients and the true feeling of "teacher creation" that the Yunnan painting world has blossomed, with a complete range of categories and the coexistence of various techniques, making Yunnan calligraphy and painting unique in the Chinese art world.

"This article is a personal historical view, an original article, hereby declared!"