Hongren's Huangshan Hongren of Huangshan
Original title: Tracing the Origin of Hongren's Huangshan Travels and Huangshan Maps
Text/Cheng Guodong
During the Shunzhi period in the early Qing Dynasty, located in the Huangshan Mountains in the Huizhou region of southern Anhui, this beautiful but difficult to climb high-chong realm, after the development of all the sages since the middle of the Ming Dynasty, has become less dangerous and rugged, so the number of elegant people from all over the sea to win is increasing. Among them was a monk, especially nostalgic for the thousands of wonders of Huangyue. He "hung up his staff and walked on a perpetual bed", traveling to and from the mountains for more than ten years, only to write about the Songyun rock ravines and dangerous empty pools here. After the death of the painter monk, he left many spiritual and strange pictures, which are still talked about in the art history community. He is Hongren, one of the most influential painters in the early Qing Dynasty. Considering that Hongren's life expectancy was not eternal, coupled with his "secluded" and "not dry world reputation", he was able to gain such a high reputation in the jiangnan calligraphy and painting circle, which was as strong as clouds, of course, thanks to his achievements in painting. Looking at his works, it can be seen that the reason why his creative pattern and pen and ink style are very different is inseparable from his special experience of visiting Huangshan For many years. Therefore, Humble Wen tried to combine his paintings and historical materials to explore the relationship between his personal landscape travels and landscape painting creation.
I. "Thirty-Six Hibiscus in a Dream" - the number and proportion of Huangshan paintings in Hongren's surviving works
Fig. 1 Yellow Sea turquoise figure Hongren shaft Ink on paper
198.7cm×81cm, 1660, Shanghai Museum Collection
The period from 1651 (1651) in the eighth year of Qing Shunzhi to the second year of the Kangxi Dynasty (1663) is the last ten years of Hongren's life and the more than ten years when the flower of his art has completely bloomed. During this time, he bravely and diligently, painted tirelessly, and greatly enriched his travel experience, covering Huijun, Jinling, Suzhou, Weiyang, Pengli, Kuanglu and other places. Its silk has collected mountains and rivers from all over the world, but the ones that have left the most and are particularly exquisite are those works that depict huangshan mountain objects.
Regarding how many times Hongren went to Huangshan after returning from Fujian at the middle age, the historical data is not consistent. Some say once a year, some say several times a year, and some say that Hirohito is "under the lotus peak of The Knot... Sleep in the dining room". Nowadays, it is not realistic to examine which one of the statements is accurate, but it is certain that climbing the Huangshan Mountain and living in the mountains has become accustomed to the painter. As a monk, he was able to make orders at the mountain temple, and he had very good relations with the monks of The Mountain Valley Temple, Ciguang Temple, and Wenshu Monastery. The monks of Ungu Temple invited Hirohito to write a pagoda inscription for their master, Master Yu'an, and master Baoyue of Manjushri Monastery had a painting by Hirohito. Baoyue also painted a vivid description of Hongren's climb to the summit of Huangyue Peak for Tang Yansheng, a Wuhu native, Hongren's close friend:
On the night of the gradual ascension to the peak, the autumn moon is full and bright, and the mountains can be counted. Gradually Gong sat on the Manjushri Stone to play the flute, and Jiang Yunning (Hongren's nephew) relied on song and zhi. Loud pronunciation, on the cloud table. Looking down on the thousands of mountains in the Nether, they are like those who listen with their ears on their feet. The mountain was silent, but the old ape at the top of lotus peak also made several strange roars. To the third change, the clothes are good and single, the wind and dew are not royal, but the courtyard stays.
Imagine that it is night, how romantic. Hirohito himself once said, "How heavy is the first to sit in the torn moss suit?" Thirty-six hibiscus in a dream. "Without a love for this, how can you be so blind that you can sleep and think?"
Figure 2 Tiandu Peak Diagram Hirohito Axis Ink on paper
307.7cm×99.9cm, 1660, Collection of Nanjing Museum
In short, Huangshan was regarded as a spiritual destination by Hongren. He has a party seal that says "Home is between the Huangshan Mountains and the White Mountains". The younger generations of the same village also believe that "Huangshan was originally a Gong (Hongren) family hill, and the cold companion Song Kanjie". So, how many huangshan maps did Hongren paint in his lifetime? Tang Yansheng once called himself "the longest travel from his teacher (Hongren)", saying that the painting monks "live in the Huangshan Mountains and have thousands of pictures". The dedication of Hirohito's painting for the rest of his life can be seen. Those who are extant or have written records today can be roughly classified as:
Those who have a year to take:
1. "Cliff Lone Pine Diagram Axis", ink on paper, Shunzhi Eight Years Xin Di (1651), 120 cm in length, 53 cm in width. This is the first surviving visible figure of Hirohito with a clear date and date and the name of Hirohito. It is now a private collection.
2. "Qingquan Wash brick picture scroll", this volume of Shen Quan's "Reading And Painting Record" (manuscript), volume 3: "On paper, seven inches high (about 23.3 cm), two feet long (about 66.7 cm). Because there is a self-titled "Hehai September, Hanging Order Cloud Valley", it can be seen that it was written in Huangshan in the sixteenth year of Shunzhi (1659).
3. "Yellow Sea Turquoise Chart Axis", colored on paper, made by Gengzi (1660) in the seventeenth year of Shunzhi, 198.7 cm in length and 81 cm in width, made as a seal "Home between Huangshan And baiyue". At the end of the Qing Dynasty, Lu Xinyuan's "Records of the Passing Eyes of the YongLiGuan" volume 32 is recorded. It is now in the collection of the Shanghai Museum.
4. "Huangshan Tiandu Peak Chart Axis", ink on paper, written by Gengzi (1660) in the seventeenth year of Shunzhi, 307.7 cm in length and 99.9 cm in width, also printed "Home between Huangshan Baiyue". It is now in the Nanjing Museum.
5. "Huangshan Tu Axis", colored on paper, shunzhi eighteen years xin ugly (1661), 145 cm in length, 47.6 cm in width, now in Wuyuan County Museum, Jiangxi Province.
6. "Xiyan Pine Snow Map", ink on paper, Shunzhi Eighteenth Year Xin Ugly (1661), 192.8 cm in length, 104.8 cm in width, now in the Palace Museum in Beijing.
7. "Shi xin feng tu axis", color on paper, Kangxi second year decay (1663), 214 cm in length, 84 cm in width, now in the Guangzhou Art Museum.
Those who do not have a year to take:
1. "Absolute Stream And Cold Scroll", ink on paper, 116.6 cm in length and 51.2 cm in width, now in the Shanghai Museum.
2. "White Dragon Pond Diagram Axis", which is now in the collection of Xi'an Luo Ming, together with "Wolong Song", "Luohan Grade" and "Lotus Flower Ditch", is a total of four paintings, all of which were exhibited in February 1964 at the "Gradual River Master Painting Exhibition" in Hefei, Anhui Province.
3. "Wolong Song", Cheng Hongzhi's "Huangshan Zhi" volume 13 has Wang Jichun's "Gradual River Wolong Song Tuba".
4. "Arhat Class".
5. "Lotus Ditch".
6. "Landscape Axis", this axis is titled "Gradual River Written in Yungu Temple", so it is known as a map of Huangshan Mountain. It is now in the collection of the Freer Museum of Art in Washington, D.C., and has a photocopy of the American publication "Shadow of Huangshan Mountain".
7. "Yellow Sea Dragon Pine Scroll", which is now in the collection of the Metropolitan Museum of Art in New York, USA, is recorded in Zhang Daqian's "Records of Calligraphy and Paintings of dafengtang": "The paper is colored, five feet eight inches high (about 193.3 centimeters) high, and two feet three inches wide (about 76.7 centimeters). It was also photocopied in the first collection of the Famous Relics of Ōkazedo (published in Japan in 1954).
8. "Yellow Sea Turquoise Scroll", this axis is recorded in the third volume of ge Sihuan's "Continuation of the Love Ri Yinlu Calligraphy and Painting": "On paper, four feet two inches and one minute high, two feet eight minutes wide." ”
9. "Guke Hanxiao Tu Axis", which is recorded in the Qing Dynasty Hu Jitang's "Bi Xiaoxuan Calligraphy and Painting Records" volume. Zheng Zhenduo's "Sequel to the Ming Relics of the People" (the seventh collection of ancient Chinese paintings collected abroad) has photocopies. According to the painting of Tang Yan's growth in the clouds, it can be seen that this was made by The Zen Master Baoyue when Hongren lived in The Manjushri Monastery in Huangshan, so the scene in the painting should come from Huang Feng. According to Chen Chuanxi's catalogue of "Hirohito", this drawing is now in the Osaka Municipal Museum of Art, Japan.
10. "Yellow Sea Turquoise Chart Axis", which was written in Kenjiro Harada, Japan, "Catalogue of Japanese Chinese Famous Paintings Now" (published in 1938). Note: "Ink on paper, three feet eight inches (about 126.7 cm) high and one foot eight inches (about 60 cm) wide." It is also recorded as "Matsumoto Kiyoyuki Clan Collection, Kagoshima Prefecture, Japan". Although it is the same as ge Sihuan's "Continuation of The Continuation of The Paintings and Calligraphy of the Ai Ri Yinlu" volume III of the "Yellow Sea Turquoise Scroll", it is not a frame.
11. "Huangshan Landscape Album", this volume has a total of 60 figures, specifically:
"Happy Pavilion", "Jue'an", "Woyun Peak", "Songgu Nunnery", "Cuiwei Temple", "Baishaling", "Mingxian Spring", "Lixue Pavilion", "Oil Pond", "Immortal List", "Lian Dantai", "Yanwangbi", "Yunmen Peak", "Zangyun Cave", "Yungu", "Feiguang Xiu", "Xiao Taoyuan", "Guanyin Rock", "Jiulongtan", "Pippen", "Xihaimen", "Tiandu Peak", "Lifting Clouds", "Old Man's Peak", "Moon Pagoda", "Lianhua'an", "Careful Slope", "Shimen", "Beidou Temple", "Xian Lantern Cave", "Dragon Turning Stone", "Scattered Flower Dock", "Disturbing Dragon Pine", "Stalagmite Stone", "Stone Shooter", "Dragon Stone", "Stalagmite Stone", "Dragon Stone", "Stalagmite Stone", "Dragon Stone", "Stalagmite Stone", "Dragon Stone", "Stone Stone", "Stone Stone", "Dragon Pine", "Stalagmite Stone", "Dragon Stone", "Stone Stalagmite Stone", "Dragon Stone", "Stone Stone", "Dragon Pine", "Stalagmite Stone", "Dragon Stone", "Stone Stalagmite Stone", "Dragon Stone", "Stone Gate", "Dragon Stone", "Stone Stone", "Stone Stone", "Stone Gate", "Dragon Pine", Great Compassion Peak", "Fei Lai Peak", "Jie Shi Ju", "Green Cliff", "Qingtan Peak", "First Line of Heaven", "Cinnabar Spring", "Tin Cane Spring", "Bright Peak", "Drunken Stone", "Happy Creek", "White Dragon Pond", "Ciguang Temple", "Qinglian Yu", "Hengkeng", "Danjing", "WolongSong", "Wulongtan", "Lion Forest", "Lotus Peak", "Sprinkle Medicine Creek", "Zhao Zhou'an", "Xianqiao", "Wenshu Monastery", "Futuan Pine", "TaohuaXi"
Length 21.5 cm, width 18.3 cm. The first 50 drawings in this volume are originally found in the thirteenth volume of the Japanese "Chinese Southern Painting Dacheng", with Xiao Yun from the front and Cheng Yi in the back. On June 5, 1964, the "Exhibition of Calligraphy and Paintings Donated by Hou Baozhang" in the Painting Museum of the Palace Museum had Gradualjiang's "Huangshan Atlas", 50 paintings, divided into 6 volumes. The first volume contains the inscriptions of the famous sages, and the remaining 5 volumes are titled "Huangshan Tu of the Gradual River Daoists", or the photocopy of the "Dacheng Painting of Southern China". Su Zongren of Taiping, a close friend, published the "Huangshan Series", and the first volume photocopied Hongren's "Huangshan Map", and added the last 10 paintings on the basis of the first 50 paintings. In addition to Xiao and Cheng's texts, the other 6 people's texts are also recorded. The 6 people were Tang Yunjia, Zha Shibiao, Yang Zishou, Wang Zisui, Rao Jing, and Wang Jiazhen. It is now in the palace museum in Beijing.
12《. Huangshan Atlas", Wang Hongdu's "Book with the People on the Gradual River", see Zhou Lianggong's "Lai Gu Tang Ruler Mu Xin Banknote Two Collections" Volume 15, The text says: "Often from friends to see the public painting, it is like swimming a mountain, the dream soul is still in the smoke and xia. ...... The guests are bitter and hot, thinking of their hometown, and insulting huangshan to see the thousands of miles. In addition to reading, the peaks of the lotus cloud gate and the cool mist made me overwhelmed. When the corrupt Confucian buys a mountain, he will be proud of the south. Hurry up!" Huang Binhong's "Huangshan Atlas" listed in the "Gradual Master's Catalogue", the bet "Gift Wang Yuding", Wang Hongdu, the word Yuding, Shexian Songmingshan people.
13. The Eight Views of Shimen, which is recorded in Guan Mianjun's "Records of Calligraphy and Paintings of the Three Autumn Pavilions": "The paper is colored, six inches and six minutes high (about 22 centimeters) and six inches and seven minutes wide (about 22.3 centimeters). "The 8 pictures in the book, all of which write the scenery of huangshan mountain: first, the stone gate; 2. Xianqiao; 3. Matsutani; 4. Danjing; 5. Xiangxi; 6. Heling; VII. Haizi; VIII. Pippen.
14. "Disturbing the Dragon Pine Chart Axis", there are seven sentences with self-titled words.
15. "Yihai Pine Stone Book", a compilation of xuanzhai. The above is a comprehensive compilation of Huang Binhong's "GradualLy Master Painting Catalogue", Wang Shiqing's "Gradual River Data Collection", Chen Chuanxi's "Hongren", Tianjin People's Fine Arts Publishing House's "Collection of Paintings of the Four Monks", and Lü Shaoqing's "Inheritance and Evolution - A Comparative Study of the Landscape Painting Styles of Gradual Rivers and Ni Zhan", if the "Huangshan Landscape Album" with 60 pictures, the "Huangshan Atlas" donated to Wang Yuding, and the "Eight Scenic Albums of Shimen" with 8 pictures are recorded as 3 works, it is a total of 22 works. It is necessary to emphasize that the author's statistical results are conservative. Because only works whose motifs are clearly derived from Huangshan and completed locally in Huangshan are included, and some works that may belong to Huangshan elements and works that cannot be determined whether they overlap are not included.
No more than 150 of Hirohito's paintings are known to have survived. In terms of quantity alone, it seems that the proportion of Huangshan paintings left by Hongren is not very large. However, we can easily find that compared with his other works, Huangshan inscriptions are often larger in size and have strong themes, including many huge works. The small study works, on the other hand, are curious and painstaking, exhausting the depiction of the HuangShan Mountains. But when people mention Hongren, the first thing that comes to mind is often the highly recognizable Yellow Mountain objects in his pen: the strange peaks of the ridges, the vigorous ancient pines, the skinny rocks, and the cold wasteland. Therefore, the Huangshan series of paintings is undoubtedly the most representative and research value in the development of his personal landscape painting creation.
Second, "the pen edge has gone through saga" - the Huangshan factor behind Hongren's outstanding painting style
Figure 3 Yellow Sea Dragon Pine Diagram Hongren Axis Ink on paper
192.5cm×78.6cm Collection of the Metropolitan Museum of Art, New York, USA
And Hongren and called one of the four families of Xin'an, Cha Shi Biao Zeng yun:
Gradually, the painting entered Wuyi and changed, returning to Huangshan and Yiqi. ...... To taste and read thousands of books and travel thousands of miles is enough to be called a painter. Isn't it true that the works of huangshan are gradually being made public now!
The works of the "Entering Wuyi" period are not visible today. However, after returning to Anhui, Hongren relied on his memory to create several Wuyi landscape paintings (two of which are still visible today). From this, we can be sure that the calm and spectacular style of Wuyi Mountain injected a majestic beauty into Hirohito's landscape paintings, so that his art gained the meaning of "originalism" for the first time. On the "Wuyi Rock Ridge Chart Axis", he wrote to himself: "Wuyi Rock Ridge is steep and steep, and there is really this realm." Yu zeng lost a scoop and wandered around for many years. Dare to indulge. In the "Wuyi Landscape axis", he also inscribed the poem Cloud:
Creation he zhong jiuqu creek, the peak of the hind wall Kan glass.
The Daoist pen was at the bottom of the canopy window, and his eyes were stunned and did not dare to ask the question.
These words clearly expressed his reverence for Wuyi. So, the natural attempt of the Teacher's Fa began and ended? If Wuyi is the first bowl of Daigo that awakens his artistic spiritual sense, then Huangshan can be said to be the elixir that stimulates all his artistic intellect. Cheng Hongzhi's "Biography of the Gradual River" records that Hongren "every time he sighs the victory of Wuyi, he wins the ark swimming, and the wonder of the Huangshan Mountains, the mirage, the illusion of land, is reversed." He returned from a tour of Huangshan and gave a painting to Cheng Zi, but the painting did not have anything to do with Huang Yue, but was a Wuyi map, on the grounds that "Gai did not dare to be abrupt and sudden" It can be seen that first of all, in the face of the big hills and ravines, Hongren's attitude is extremely respectful and humble, and if he does not have a deep enough understanding of the mountains and rivers, he will never write and ink in vain. Secondly, in his mind, the mountains and rivers themselves are like paintings, and there is also a distinction between high and low. Therefore, even though Huangshan and Wuyi have their own characteristics, in terms of status, Huangshan should also be ranked above Wuyi.
Figure 4 Nishiwa Pine Snow Diagram Hirohito Axis Ink on paper
192.5cm×104.5cm, 1661, Collection of the Palace Museum, Beijing
In the Huangshan Mountains, he "has a thousand rocks and a thousand valleys and a single cane", capturing the image of the most majestic and majestic peaks. Because only such a magnificent body and a lofty demeanor could place his lonely soul. After descending the mountain, he managed dismally, successfully turning them into some of the most magnificent masterpieces of his life. His "Tiandu Peak Map", the main peak hall is centered, like the Optimus Prime, straight into the clouds, looking at the world. The "West Rock Pine Snow Map", created a year later than the "Tiandu Peak Map", renders the sky with light ink, and the mountain peaks leave a large area of white space, creating a cold and solemn atmosphere of the snow scene, and also has the beauty of "majestic and majestic". Although there is no West Rock in the Huangshan Mountain Scenic Area, it is clear that the scene of this work was born from the Huangshan Mountain. Ming Hu Yinglin has a poem "Xie Ao's Grave" that survives, the poem is: "Xiyan Xie Aozuka, a path of only berry moss." Relative to the deer elk sitting, the autumn wind comes by itself. The "West Rock" in this refers to the West Terrace on the Fuchun River. Xie Ao of the Southern Song Dynasty once wept here to pay homage to Wen Tianxiang. Coincidentally, there are also five words and a poem in Hirohito's "Painting", expressing the remembrance of Xie Ao: "Buzi Mountain And Water Grotto, with my ice and snow rolls." Speaking of the people of Xitai, there will be no resembrance of Junshan. "Could it be that Hongren borrowed the cold winter scenery of Huangshan Mountain to attach the special meaning of "West Rock" and secretly praise the friends who used to resist the Qing Dynasty in his hometown? There is also a work of "Shi xin feng tu", which also adopts the form of a huge vertical axis and a large hill. The sense of silence and seclusion of his paintings is even greater than that of the first two works.
Hirohito once wrote his own poem:
People believe in the peak, and when they reach the peak, they believe in the peak.
The wall is broken to loose aid, and the deep spring is listened to.
He Dang took a scoop and stopped all worries.
When the moon rises, Yu Yanxin can prove it.
Hirohito lamented the quiet beauty of Shishin Peak, and he longed to inhabit it so that he could forget his joys and sorrows and his heart was like water. I believe that when he depicts the mountain scenery in this area by memory, he must also be calm and contemplative. Today, there are also views that Hongren created this "Shixin Peak Map" to commemorate the anti-Qing hero Jiang Tianyi, who used to be a fellow villager. Jiang Tianyi, nicknamed Han Jiangzi, did live in seclusion at Shixin Peak before his death, and he often sat alone at the head of the peak and sang songs to express his feelings of sorrow for the country. Regardless of whether the speculation is true or not, there is no doubt that Huangshan's temperament away from the dust is most in line with the people's heart of Hongren's widow.
Spiritual purity has become a habit, so that Hongren always tends to be unique, walking into the depths of the clouds of the Huangshan Mountains, to explore those absolute sense of no man's land. Tang Yansheng, who "traveled the longest from his teacher (Hongren)", knew that the painter monk "searched for mountains and waded through the mountains, ventured to climb, and passed through the teeth, half of which was the state where the apes and birds did not see." Often out in the early hours of the morning, as long as the unitary returns; The wind and snow looped back, and there was nothing to avoid." "Empty mountains are empty, water flows and flowers bloom" is Hirohito's lifelong favorite color of life. Many of the scenery of Huangshan Mountain in his writing also have the color of fireworks that do not eat human beings.
On a certain day in a certain month of the year of Nongyin, the 53-year-old Hongren traveled to the Huangshan Yanshan Pavilion and said the following to his friend Xu Fangcheng:
Near the floating stream, I know that the twenty-four sources are strange here. Along the mouth to enter, the silhouette is immeasurable, the two mountains govern the clouds, the stream penetrates its abdomen, the old plum tree, the reflection of the cliff, the tangled stone, the cold gargling, the root will be fossilized. Every spring and summer, the flowers in the world have been exhausted, and at this point, the fragrant snow is full of mountains, into the heart, the flow of the towel, the Luofu Vengeance Pool, and the heavens and the earth. Because of the single way of thinking about opening up the valley Luofu, Xiao Qi only poured a bowl into the spring, swallowed several white stones, and did nothing, and his heart was towards Muzhi. The gap between the altar of the barren altar, the general will be a handful of incense, and the old is the countryside and dissolves. The stone of the niche gate, then Qingyan business also.
Floating Creek is located at the foot of the Peak of the Floating Hills of The Yellow Mountains, and Hongren swims here, and immediately falls on the ice fountain valley and ancient plums in between, and has the intention of finally growing old here. Considering that Hirohito loved plum blossoms during his lifetime, he had asked the people around him to plant plums in his graveyard, so it is not surprising that he wanted to put his body and mind here. And the painter monk did not realize at that time that he had not much time left in the world, so this heartfelt remark did not mean to determine a place for himself to be buried, but to reveal his heart, telling Xu Fangcheng that Huangshan was the paradise in his heart, and he was willing to spend the rest of his life here. At this time, Hongren's soul can be said to have long been one with Huangshan. Therefore, the following year, he lived in Poyang and read Zhai, painting for the owner of the house, Lü Danxian, but still chose the Huangshan Mountain view - Shixin Peak. And because the surface of Huangshan Mountain has long been hidden in his heart, the mountain peaks in the picture will be so realistic. Three years after Hongren's death, the monks of the Ciguang Monastery in Huangshan compiled the history of the mountain and asked Xu Fangcheng to "record the mountain in the middle of the mountain" to "record the mountain in the high place". Xu Zi did not hesitate to write Hirohito into it. In his view, although Hongren "buried his bones and covered the clouds", "his smoke drives the incense building, and he is not in the Lingquan Fahai all day long".
Third, "trance is difficult to name is a certain peak" - the interaction between Hongren's Travels and Creations in Huangshan
Figure 5 "Lotus Peak" Album of Huangshan Landscape Album Hongren Ink Coloring
21.5cm×18.3cm, Collection of the Palace Museum, Beijing
As a mortal, Hirohito's personality is quite different from the world. He served his mother with filial piety, but he never married. When he was young, he "recorded and learned with his tongue", but he was also "afraid of seeing Japanese people in his life". This subtle contradiction guided him to enter the realm of Zhuang Zen with a Confucian character, to explore and create his own artistic world. He lived in Huangshan for more than ten years, hanging a scoop and dragging a cane, and resting on a permanent bed. Every time he seeks a victory, he will take the soup mouth deaf and bear the stone. Or sit quietly in the empty pool for a long day, or the lonely roar of the moon and night. Tired of returning to the key to draw quilts, pillow bitter groaning, or a few days without coming out." This habit of almost asceticism rather than blindly swimming makes his creations a world of difference from the faces of mei qing and shi tao, two other painters in the early Qing dynasty who are famous for painting Huangshan. There is a kind of evaluation that is very pertinent: "Shi Tao has the spirit of Huangshan, Mei Qing has the shadow of Huangshan, and Hongren has the quality of Huangshan." Of course, "quality" does not have "spirit" and "shadow" to be romantic and elegant, but the realism of the painting that penetrates into the bone marrow is enough to make the other two families feel embarrassed. Arrogant as Shi Tao, he also admitted: "Gradually traveling to Huangshan for the longest time, so I can get the true disposition of Huangshan." That is, one wood and one stone, all of which are the true colors of Huangshan Mountain, and the wind and bones live in a depressed way. ”
Style is people. Because people's endowments are different, they will have different moods in the face of the same landscape, and then describe pictures with different styles. Compared with Mei Qing, who "can dance the sword and shoot arrows, get on the horse like a fly, and fight for the chaos", 18 "and the light is the same dust, not willing to be silent", Hongren is solemn and calm. Mei Qing and Shi Tao both have a long-cherished wish to show their ambitions in secular society. One of them was enthusiastic for many years, and one of them greeted the holy car twice, "wanting to ask the royal family for favors." Therefore, it is not difficult to understand why the image of Huangshan in their works will give people a sense of floating and rising. The position of Hirohito's remnants is firm and thorough, and he is persistent and sincere. Even if you may have been a monk out of emotion, once you are in the form of a floating tu, you will have no regrets. This quality can be reflected in the fact that his later painter Cheng Yi persuaded him to return to the world, and his plans to stay in Ciguang Temple for 3 years in his later years to read the Great Tibetan Sutra, and before his death, he also "threw his hat and called me Buddha Rulai Guanyin" and other deeds. Moreover, "he has been painting for thirty years, and he has never had the habit of a painter", "He has never done a little flattering to attract people". Under the domination of this spiritual character, the artistic outlook will naturally show a solid foundation and a sincere and solemn personality charm. So, how did these personality charms materialize into the various landscapes of Huangshan Mountain? In other words, how did the Huangshan landscape factor help Hongren complete the innovation of his personal pen and ink schema?
Hongren painted Huangshan, and Yu Feng, Shi and Song were the most dedicated. Therefore, these three types of landscapes embody the essence of the artist's art, and this choice is determined by his strong, solid, and strict character.
Figure 6 Huangshan Landscape Album "Fei Lai Feng" Album Hongren Ink Coloring
First, let's talk about the peaks and stones of Huangshan Mountain. The uplifting and orogeny of the Earth's crust hundreds of millions of years ago in nature caused the Huangshan Mountains to rise out of the surface. The main body of Huangshan, granite, has gradually formed a variety of shapes after undergoing glacier baptism, natural weathering, rain erosion and continuous erosion. Countless strange peaks and strange rocks are the first feature of the Scenery of Huangshan Mountain. Hongren's eyes listened to his heart, focusing on the four aspects of the mountain rock, thus grasping the "quality" of Huangshan Mountain.
First, the "high" of Yue Yue. Li Bai zeng Shiyun: "Huangshan 4,000 taels, 32 lotus peaks." "Although it is exaggerated, it is actually a portrayal of the towering peaks of the Huangshan Mountains." Among the seventy-two peaks, Lotus, Tiandu and Guangming Peak are the three main peaks, dominating the middle of the Yellow Sea, all of which are above 1800 meters above sea level. The rest is basically no less than 1,000 meters, gathered in a scenic area of 154 square kilometers. With such a high altitude advantage, Huangshan is enough to stand proud of the southeast of the motherland. Perhaps this is the reason why Hongren was slow to "dare to be abrupt" in writing. It is precisely because of this that the status of Huangshan in the minds of the painters is incomparably sacred. In the "Huangshan Landscape Album", the sixty maps of his depiction of the scenery of Huangshan Mountain, which are the most complete extant, of course, the images of the three main peaks are indispensable. However, the size of this sketchbook is too small to record its general appearance, and it is impossible to express the majesty of the mountain. The author speculates that Hirohito must have been unsatisfied with this. Therefore, in the middle of gengzi, he used the form of huge creation to depict the most majestic and dangerous mountain in Huangshan, Tiandu Peak. This work is perhaps the most magnificent work of Hirohito's life. Monumental composition, which is very rare in the painting world of the late Ming and early Qing dynasties, shows the painter's reverence for the tradition of landscape painting in the Northern Song Dynasty. According to Mr. Gao Juhan's analysis, we learned that when Hongren visited Nanjing in the summer of Ding Younian (1657), he learned a lot of expression skills from the Northern Song Dynasty giant mountain landscape represented by Fan Kuan's works. Did he intend to absorb the "majestic" qualities of landscape painting in the early Northern Song Dynasty to make up for the weakness caused by the prevalence of pen and ink from the late Ming Dynasty to the imitation of the Ni Huang atmosphere of the Yuan Dynasty? The works prove that Hirohito is an outstanding painter. Because his study of the masters of the Yao Dynasty is by no means a blind imitation, but under the premise of adhering to his own personality, according to the actual needs, he will make up for it. "Tiandu Peak Map" has the majestic courage of the northern landscape of the Northern Song Dynasty, and more of a sense of sadness that penetrates the clouds. The round and simple mountains in the landscape paintings of the Song Dynasty were also replaced by the straight and angular silhouettes of the Yellow Peaks, turning majestic into tragic and easy to solemn. Through the inheritance and innovation of specific techniques, Hirohito has realized the transformation of the temperament of the picture.
Figure 7 "Lion Forest" Album of Huangshan Landscape Album Hongren Ink Coloring
Since the Song Dynasty, the Jiangnan region has become the center of gravity of Chinese culture. Major changes, authoritative theories, and aesthetic trends in the field of painting also occur here. With the increasing stabilization of the cultural superiority, the literati class in the Jiangnan region in the late Ming and early Qing dynasties has firmly controlled the right to speak in art in their own hands. The brush and ink techniques and aesthetic spirit of Nanzong landscape painting, which originated in the Song Dynasty, became in the Yuan Dynasty, and flourished in the Ming and Qing dynasties, were most in line with their mentality. Among them, it is represented by the two meters of the Northern Song Dynasty, the four masters of the Yuan Dynasty, and Wen Shen and Dong Qichang of the Ming Dynasty. The "imitation of the ancients" strongly advocated by the four kings of the early Qing Dynasty was to imitate their pen and ink programs as the only way to achieve art. The flexible brushwork such as Phi Ma Jiao, Xie Suo Jiao, and Pip Zi Zhen, which is good at expressing the beautiful scenery of Jiangnan, has almost become the only "right way" recognized by the landscape painting community. However, the Huangshan Mountain that Hongren faces is a strange mountain that does not yet have ready-made pen and ink schemas to endorse it. The entire body of the mountain is made up of hard coarse-grained granite and porphyry granite. The rocks are huge and the rock walls are stunning. This leads to the second and third characteristics of the "quality" of Huangshan Mountain: the "hardness" of stone and the "cleanliness" of cliffs. Because it is hard, the stone body is rugged and abrupt, and the square is more than round; Because the stone walls are large, simple and regular, and the soil on them is sparse, they look smooth and flawless from a distance. Old techniques such as phi-ma-chan are bound to lose their effectiveness at this point. Hongren has been a master in painting, and he has not tried to use these techniques to represent Huangshan, for example, he used Phi Ma In the two paintings of "Xian Lantern Cave" and "Great Compassion Peak" in the "Huangshan Landscape Album", and used the horizontal ink dots used by Mijia Landscape in the "Lotus Temple" diagram. Although full of fun and ancient rhyme, the substantive characteristics of Huangshan stone are not expressed enough. This set of albums may be the best way for Hongren to consciously use ancient methods to explore the representation of Huangshan. However, these methods are like a flash of light, and they do not appear in his other works, indicating that although he has tried them, he has not finally recognized them as the ideal means of expressing Huangshan. In his creative consciousness, nature precedes history. He also expressed his position through poetry: "Dare to say that heaven and earth are my teachers, and the ten thousand rocks are single-handed." Dream of a good home in Fuchun, and there is no section into the fence. So in the formal creation of Huangshan map, he resolutely abandoned the cumbersome rubbing, replaced by decisive, firm, rigid hook lines and ink smudges of different shades, so as to maximize the quality of mountain stones, and strengthened the folding belts derived from Ni Zhan's landscape paintings that he loved to use, so that the shore slope of Taihu Lake, which was loose and weak, was transformed into a tight and solid boulder gap. As the so-called "real Huangshan Hills and Ravines of the Aura, non-imitation ni roundabout pen and ink like the shape, so can be high."
Fourth, the "oddity" of the peak rock.
Huang Hailingqi probed and returned to the hedge to fall chrysanthemum.
Be careful of the slope on the edge of the country, the ladder is empty and the ladder is obtained.
The dragon gate was not broken, and the stone was amazing.
Rain jealousy is mysterious, like a stagnant wilderness.
So many verses prove that Hongren has a full understanding of the unique value of the "strangeness" of the Scenery of Huangshan Mountain. The reason why the four monks in the early Qing Dynasty had a profound impact on the painting world is that they all achieved the goal of not falling behind the ancients, exalting their own strange spirit, using novel techniques, writing out surprising effects, and opening up a spiritual painting realm. Hirohito's learning and style of doing things for people are quite ancient, but the ancient way is by no means the same as the old way. His Huangshan paintings are precisely the precursors of the "strange" wind of landscape painting, but he is not as good at self-promotion as the younger Shi Tao. In the extremely in-depth experience of traveling in Huangshan, he spent time observing, experimenting with skills, grinding painting theory, condensing pen and ink, and the existing set of 60-frame sketchbooks, of which typical ones such as Feilai Peak, Yunmen Peak, Qiuyun Mu, Woyun Peak, etc., all revealed curiosity in the layout of the chapter, the processing technique, and the shape of the mountain stone. The pursuit of "odd" meaning not only ends in this small manuscript of this "pleasant" nature, but also in his elaborate large-scale creations that best reflect his aesthetic character. For example, Xin Ugly Nian (1661) 'Huangshan Map' also maintains a "strange" style: the cliffs are steep and straight, the mountain shape is square and hard, and it is geometrically distributed. The space is narrow and filled with scenery, and trees, rocks, and waterfalls seem to come to the surface, but they seem to be completely isolated from the outside world. In the distance, there are empty gardens and observation decks on the mountainside, but the road is also blocked by deep hills and high hills, giving people a sense of sadness that people yearn for but are really difficult to reach. This kind of Shangqi psychology should start from Wuyi and be stronger than the Yellow Sea. The peculiar shape of HuangshanFengyan provides Hongren with endless creative inspiration, so that many of his other subjects have the shadow of Huangshan.
Let's look at the Huangshan pine that most often appears in the Hongren Huangshan Map. Huangshan has always been said to be "no peaks and no stones, no stones and no pines, and no pines and no surprises". Huangshan Qisong is full of peaks and ravines, rooted in the dangerous rock cliffs, standing on the cliffs of the peaks. They are the loyal companions of the mountain rocks, making the Huangshan Mountains evergreen all year round. Pine trees are the only plants that can represent the spiritual character of Huangshan Mountain, because only their vitality is strong enough to grow in the environment of high altitude, low temperature and poor soil, and they are tough enough to withstand the wind and frost. The uniqueness of Huangshan pine is that under the constraints of the special living environment, they have produced an outstanding posture due to the guidance of the situation. From the styling point of view, each Huangshan pine is unique. Some are towering and imposing; Some hang upside down on the cliff, and the wind and bone are dangerous; Some of the twists and turns are full of ancient fun; Some are clustered and leafy.
Hirohito loves pine and believes that "there are only pine trees in ordinary life". Many of his Huangshan paintings are dedicated to depicting pine trees, such as "Cliff Lone Pine Diagram Axis", "Absolute Cold Pine Diagram", "Yellow Sea Pine Map", "Yellow Sea Dragon Pine Map" and so on. Even paintings that do not feature pine as the theme, pine trees often play an important role in them. For example, the two old pines on the shore of the slope in the "Tiandu Peak Map", one before and one after, have been oblique, occupying one-third of the space under the picture, and their vigorous branches echo the steepness of the main peak, adding a lot of color to the cold atmosphere of the picture. Hongren himself inscribed a poem: "Phi Tu glanced at Ersong's wind, just like the heavenly capital song Cuiwei." "Affirms the supremacy of pine trees in the picture.
Tang Yansheng once praised The pine tree in Hongren's pen: "A thousand jun bent wrist strength, a hundred feet drum dragon hyena." A claw high grab, strange stone momentum timid. The "Yellow Sea Turquoise Chart Axis" recorded in the "Continuation of the Painting and Calligraphy of Ai Ri Yinlu" also has the inscription Yun: "The five pine plants, all of which are bizarre and strange, are rooted in the stone crevices." The grass and trees are not fake, and the roots are exposed. Its digging is strong and angry, and it is easy to be angry, and it is appropriate to be angry and born. Those who are not in their own right cannot do so. More than just being immersed in the scene, Hongren "walked at the head of ten thousand peaks every day, explored the desperate realm at night", and the observation of Huangshan Pine has been called deep into the bone marrow, so their commonalities and personalities are vividly expressed. Furthermore, he embedded his own lonely and rigid personality traits deep in the bark of the pine tree.
Huangshan is cui wei and cold, and if you want to show its temperament far away from the dust atmosphere, you can't help but be respectful. The creator's posture is lowered, and the image of the object will rise up. Hongren is a Confucian mind with "ju respect". He loved Ni Zhan the most in his life, but he did not lose his attention to the real scenery of Huangshan Mountain because of his obedience to Ni Fan. So his pen and ink successfully turned the song xiu of Yunlin into a cangjin, and the qi rhyme and bone strength were also possessed. Although the work is enough to be called an elegant product, it is not smeared with a self-entertaining attitude, but runs through a kind of hard work similar to the "Northern Sect". On the other hand, Huangshan is silent and deep, and the inner restlessness of the person, the pen and ink must be jumping restlessly. Fortunately, Hongren was pure in nature, and among the four monks of the early Qing Dynasty, who was known for his creativity, he was the only one with zen spiritual enlightenment. Therefore, his Huangshan paintings are pine and fixed, clouds like condensation, water like ice, the environment is only strange, the fate is deep, and the most enduring. Finally, Huangshan is pure and ethereal. And it just so happens that Hongren is a clear state of mind, no desire and no desire, so his pen and ink, pure and unfiled, simple to light, transparent as crystal, but the empty valley foot sound, the afterglow is endless.
epilogue
Figure 10 AbsoluteLy streamed pine diagram Hirohito Shaft Ink on paper
116.6cm×51.2cm Collection of Shanghai Museum
Traveling to Huangshan provided a huge amount of visual material for Hongren's creation, inspired him to innovate in pen and ink, and thus opened up a new realm of Chinese landscape painting aesthetics. His paintings not only depict the "truth" of Huangshan Mountain, but also convey the "soul" of oneself. On the other hand, in order to elevate the level of art and reach the height of victory with nature, Hirohito intends to strengthen his own travel experience, and deepen and philosophically integrate his travels into a part of life. Huangshan and Hongren are ultimately mutually perfect. Without the existence of Huangshan, there would be no Master of the Kai Sect of Xin'an Shanshui that we are familiar with, and the historical glory of the Anhui Nanshan ShuiShui Painting School would have dimmed much.
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