"The Paper, Ancient Art" (www.thepaper.cn) learned from the Zhejiang Provincial Museum that the annual exhibition of calligraphy and painting of Zhejiang Bo, "A Thousand Years of Fresh Wind - Ancient Ink and Bamboo Famous Traces Exhibition", will open on October 27 in the Wulin Pavilion area of the Zhejiang Provincial Museum, exhibiting 38 ink and bamboo masterpieces (groups) such as Wen Tong, Li Yan, Zhao Mengfu, Ke Jiusi, Ni Zhan, Wang Meng, Wang Fu, Xia Chang, Shi Tao, Jin Nong and so on. In addition to the collection of the Zhejiang Museum, it also gathers the treasures of the Palace Museum, Shanghai Museum, Liaoning Provincial Museum, Tianjin Museum and Guangdong Provincial Museum. "A Thousand Years of Fresh Wind - Modern and Contemporary Famous Ink and Bamboo Exhibition" will also open on the same day at the Zhejiang Boxi Lake Art Museum.
Today coincides with the 1,000th anniversary of the birth of Wentong, and 38 pieces (groups) of ink and bamboo famous relics of the three dynasties of the Yuan, Ming and Qing dynasties after Wentong are specially exhibited in one hall. According to the relevant person of the Zhejiang Bo Calligraphy and Painting Department, this exhibition is first to commemorate Wen Tong's ink and bamboo people, the second is to understand the temperament of the bamboo king, the third is to follow the character of the ancient sages, and the fourth is to contemplate their own soul.
Bamboo is a thing, its nature is different from the wood, not because of the cold and heat and thanks, not to change from four times, the wind and rain are not afraid, the sycophant is quiet, the strength is not lost to the green pine, the curve can be compared to the fine willow, so the gentleman is in the bamboo.
The spiritual friendship between the Chinese people and bamboo can be traced back to "Poetry" and "Ritual". Since the Eastern Jin Dynasty King Huizhi said, "He Ke can not have this jun for a day", "jun" has become another name for bamboo. For hundreds of generations, bamboo has been preserved in people's hearts as a gentleman. Ancient scribes loved bamboo, winged bamboo, and wrote bamboo, and gave bamboo all the good qualities and ideal personalities. From the Tang Dynasty "gentleman is better than bamboo", to the Song people "his body and bamboo", regard bamboo as a gentleman who communicates with his own soul, the spiritual connection between man and bamboo has reached the state of "things and me".
Mozhu, also known as "Mo Jun", originated from the Tang Dynasty and has not been examined. Northern Song Dynasty Wen Tong (字與可), Su Shi Kaiwen people write freehand ink bamboo precedent, its writing bamboo is not only in the appearance, not in its external beauty, but with a vegan heart body bamboo high purity.
Later generations of painters, who wrote ink bamboo, were all influenced by Wen Tong and Su Shi, and all of them admired it. Wang Tingjun of the Jin Dynasty, Li Yan, Gao Kegong, Zhao Mengfu, Wu Zhen, Gu An, Ke Jiusi, Ni Zhan, Wang Meng, etc. of the Yuan Dynasty, and Wang Fu and Xia Chang of the early Ming Dynasty, they wrote bamboo, prepared bamboo with the fa degree of brilliance, and were full of gentleman's temperament and character, directly inheriting the right vein of Wen Su. After that, Chen Qin, Yao Shou, Wen Zhengming, Chen Chun, Xu Wei, Zhu Yun, Shi Tao, Jin Nong, Zheng Xie, etc. adhered to the wind and bone of Wen Su, blended their own hearts, different and possible, but could "shout and be", injecting fresh blood into the literati Mozhu. "Mo Jun" thus carries more imagery and higher emotions. Inheritance is the foundation of the continuation of art, but its more touching aspect is its unique and independent spirit, its lush and endless state of life.
The text is the same as its people
Wen Tong, Word and Ke, Mr. Smile. After the Western Han Dynasty Taishou Wen Weng, he was known as "Mr. Shi Mu" [Wen Tong's ancestor was the Western Han Wen Weng, Wen Weng did too punctual in Shu County, created the county school, named "Shi Room". ], also known as "Wenhu Prefecture" [Wen Tong's last official position was Huzhou Zhizhou, but he did not arrive and died on the way.] ]。
Song Wentong Ink Bamboo Scroll Collection of the National Palace Museum, Taipei (Reproduction of this exhibition)
Emperor Zhenzong of Song was born in Yongtai County, Zizhou (present-day Yanting Yongtai, Sichuan) in the second year (1018) of Emperor Zhenzong of Song,079, and died of illness in the second year (1079) of his post. In the ninth year (1094) of Emperor Zhezong's reign, he was buried in Yongtai's hometown.
Bede in bamboo
The ancient scribes chanted and sighed with sexual spirits, entrusted with high ambition, and developed with affection. The things of nature eventually wither, and the things of chanting last forever and renew. For thousands of years, bamboo has been preserved in people's hearts as a gentleman, and people's praise for bamboo has never stopped.
Bamboo is compared to a gentleman, and since the Book of Poetry, words such as "green bamboo and bamboo" have been used to praise the beauty of Wei Wugong's gentleman. Later, the Prince of the Eastern Jin Dynasty, Yu Xiaoyong, pointed to Zhu and said, "How can you not have this Junye for a day!" Since then, "Jun" has become another name for bamboo. Bamboo, as a gentleman, is endowed with the virtue of a gentleman. During the Wei and Jin dynasties, the scholars mainly admired the naturalness of the bamboo posture and the detachment of temperament. The Tang Dynasty proposed that "gentlemen are better than bamboo", and bamboo was endowed with the virtues of almost all traditional scholars. Bai Juyi talks about the four virtues of bamboo: intrinsic solidity, sexual integrity, emptiness of heart, and chastity, which has more responsibility for the world than the previous generation. The Northern Song Dynasty Wen Tong said: "The dynasty and the bamboo are swimming, the twilight and the bamboo are friends, the food is like the bamboo, the bamboo yin is breathing, and the changes in the bamboo are also many." "He is friends with bamboo, leaning over the smoke clouds in the forest every day, breathing and breathing, and the posture of bamboo and the virtue of humility are all submerged into his heart." Nature and people's hearts are in harmony, and bamboo and literature are the same as "things and me". At this time, the relationship between bamboo and gentlemen was one step closer than that of the Tang dynasty "than de yu bamboo".
Wen Tong was the forerunner of the literati Mozhu, who compared Mozhu to Mojun and named him "Mojuntang". The freehand spirit advocated by him and Su Shi such as "allegorical to things" has had a profound impact on later generations of painters.
Song Tuo's "West Building Su Ti" (selected pages) Ink Tuo on paper 29.5 cm in length and 21.4 cm in width, Tianjin Museum Collection
The positive veins are in the same vein
Wen Tong once criticized the bad winds of the painting world: "In recent times, the habits are shallow, and the silence does not hear of others, and this destroys it, covering the profits without taking itself seriously, and what it does is technical." Wen Tong's ink bamboo painting is not only to depict the appearance of bamboo, but also to "convey its appearance in the object", integrating the dashing posture of bamboo and the beauty of tan yi into the heart and sending it to the end of the pen. His ink bamboo is essentially the embodiment of the personality of a scholar.
At the same time, Su Shi proposed that "impermanence is metaphysical and has common sense", believing that the use of constant-shaped palace utensils must not be out of shape; and the impermanent mountain stone bamboo wood water and smoke clouds must not be unreasonable. The state of life is ever-changing, and only by experiencing its unchanging "common sense" in the change, not sticking to the external "constant form", and grasping the inner vitality and the law of illusion in the object, can we get great freedom in creation.
After Wen Su, the Father and Son of King Tingjun of Jin came out. By the Yuan Dynasty, literati painting flourished, and ink bamboo occupied a prominent position in the painting category, such as Li Yan, Gao Kegong, Zhao Mengfu, Wu Zhen, Gu An, Ke Jiusi, Ni Zhan, Wang Meng, etc. After the Yuan Dynasty, wang fu and xia chang directly inherited the wensu painting lineage in the early Ming dynasty. Among them, Wang Tingjun "when picking bald pens to make bamboo withered maples", Li Yan wrote "Detailed Records of Bamboo Genealogy", Zhao Mengfu put forward theoretical propositions such as "writing bamboo is also related to the eight laws" and "painting is expensive with ancient meanings", Wu Zhen Mechanics Wen Tong Thirty Autumn, Ke Jiu SiXin's hand chase, Ni Zhanyun "Yu Zhizhu chatted to write the qi ear in the chest", "Yi pen grass, do not seek shape", etc., they used their own way to continue and enrich the artistic ideas of Wen Tong and Su Shi from all aspects.
Yuan Li Yan "Double Hook Bamboo Figure Axis" Silk Color Length 163.5 cm Yoko 102.5 cm Collection of the Palace Museum
Yuan Zhao Mengfu "Lanshi Tu Axis" silk ink pen length 44.6 cm Yoko 33.5 cm Collection of Shanghai Museum
Yuan Gu'an "Ink and Bamboo Diagram Axis" Silk Ink Pen Length 62.9 cm, Yoko 28.5 cm Collection of Shanghai Museum
Yuan Ke Jiusi "Qing Ming Ge Ink Bamboo Diagram Axis" ink pen on paper length 132.8 cm 58.5 cm Collection of the Palace Museum
Yuan Ni Zhan's "Qishu Autumn Wind Chart Axis" ink and pen on paper 62 cm length 43.3 cm width 43.3 cm Collection of Shanghai Museum
Ming Wang's "Qiao Ke Bamboo Stone Diagram Axis" Ink and pencil on paper 54.7 cm 27.3 cm Collection of the Palace Museum
Ming Xia Chang's "Jade Autumn Sound Chart Axis" Ink and pen on paper 151 cm length 63.7 cm Collection of Shanghai Museum
Shout with can
After Wen and Su Mozhu, after Wang Fu and Xia Chang in the Ming Dynasty, Chen Qin, Yao Shou, Wen Zhengming and others wrote about The Gods in their form, pursuing the meaning of suitable comfort and elegance, which is the so-called gentleman's qi, strong but not angry, escape but not scattered. At the same time, it can also have the magic of bamboo and is the inheritor of the orthodox lineage of Wensu. Inheritance is the foundation of the continuation of art, but its more touching aspect is its unique and independent spirit, its lush and endless state of life. Chen Chun and Xu Wei of the Ming Dynasty, Zhu Yun, Shi Tao, Jin Nong, and Zheng Xie of the Qing Dynasty, they stripped away from the shape of the Song and Yuan ink bamboo, and always let loose the shape of the skeleton, not seeking to resemble, the pen and ink ups and downs and the soul. Although the ink bamboo with Wen Tong has opened up a lot of distance in expression, in essence, it is an art form that evolves under the influence of the idea of direct expression advocated by Wen Su Yimu, and is the recognition and development of concepts such as "not seeking form", "alluding people in bamboo", "painting to suit my intentions" and so on. Its ideological essence is no different from that of Wen Su.
The ink bamboo of the Ming and Qing literati adhered to the wind and bone of WenSu, blended their own hearts, different and can, but can "shout and can". "Mo Jun" thus carries more imagery and higher emotions.
Ming Chen Chun Wen Hui Ming "Lanzhu Stone Chart Axis" ink and pencil on paper 102.6 cm 34 cm Collection of Guangdong Provincial Museum
Ming Xu Wei "Bamboo Stone Diagram Axis" Ink and pen on paper Length 122 cm Yoko 38 cm Collection of Guangdong Provincial Museum
Ming ZhuLu "Bamboo Stone Diagram Axis" Ayamoto ink pen Length 147.9 cm Yoko 49.6 cm Collection of Zhejiang Provincial Museum
Ming Guizhuang "Ink Bamboo Poetry Han Scroll" (partial) Ink pen on paper Length 27.9 cm Yoko 678.2 cm Collection of Zhejiang Provincial Museum
Qing Zhu Yun 'Basho Bamboo Stone Diagram Axis' Ink and Pencil on Paper Length 221 cm Yoko 83 cm Collection of the Palace Museum
Qing Jinnong's "Ink and Bamboo Chart Axis" Ink pen on paper 112 cm Length 30.6 cm Collection of Shanghai Museum
Exhibition catalogue