"The Biography of the Painter" ~ 186th article
<h1 class= "pgc-h-arrow-right" > Du Qiong was Shen Zhou's teacher, and the Wumen school began its initial development from him to the peak. </h1>
Text/Lu Xiuhui
Du Qiong (1396~1474), also known as Jia, Dongyuan, Luguan Daoren, Wuwushan, owner of Yanlu Pavilion, privately known as Mr. Yuanxiao, known as Mr. Dongyuan, was a native of Wu County, Suzhou Prefecture (present-day Suzhou, Jiangsu). Ming Dynasty writer, calligrapher, painter, bibliophile, historian.
Du Qiong's father, Du Yu, was a highly educated and very wealthy man. In the third year of Hongwu (1370), in order to retaliate for the support of the gentlemen of Su, Song, Jia, Hu, Hangzhou and other places for Zhang Shicheng, and also to develop the Huai River Valley and avoid powerful landlords and countries competing for the source of taxation, Zhu Yuanzhang forcibly drove more than 400,000 people from Jiangnan in Suzhou and surrounding places as mentioned above to northern Jiangsu, which is the famous Hongwu dispersal. Zhu Yuanzhang moved 3,000 families from Jiangsu and Zhejiang to the capital (present-day Nanjing) to weaken the high concentration of wealth. Du Yu was moved to the capital city of Nanjing as a rich man to enrich the population of Nanjing. In the first month of the thirtieth year of Hongwu (1397), Du Yu died in the residence of Dazhongqiao. Shortly after Shi Duqiong's birth, his father died in Jingshi and died in a foreign land. Du Qiong said in the poem: "First the king rises from the rich room, and dresses up on the beijing master." ”
The unfortunate death of his father was a tragedy for Du Qiong, who was raised by his mother Gu Shi, and their mother and son were often cared for by their uncle Gu Dehua. Gu Dehua is also a literati and has the grace of education and support for Du Qiong.
Du Qiong was diligent and studious since childhood, talented and sensitive, coupled with her mother's good training, teaching him benevolence and filial piety day and night, which created Du Qiong's lifelong temperament and was known in the township for filial piety. At the age of twelve, Du Qiong learned from Liu Mengchu, a township school teacher, and passed the "Filial Piety Classic" and "Analects". At the age of fourteen, he also learned from Chen Ji, Botong ancient and modern, and his poetry was also quaint and elegant. Chen Ji played an absolute role in Du Qiong's life. Chen Ji's father, Chen Ruyan, was a famous landscape painter, the painter Zhao Mengfu; Chen Ji's teacher Wang Xing was also a painter who was good at painting landscapes, and was called "Wang Splash Ink"; Chen Jiben's artificial painting of bamboo, Du Qiong's landscape painting was taught by Chen Ji in the enlightenment stage of landscape painting.
Chen succeeded as Dr. Hanlin and selected Du Qiong to inherit his profession, so Du Qiong became a teacher and "taught apprentices and townships". In the eighteenth year of Yongle (1420), Du Qiong, who was only 26 years old, was summoned to Beijing to lecture and read the Great Commandment. The book "Great Curse" is a criminal code personally written by Zhu Yuanzhang, the ancestor of the Ming Dynasty, which sorts out the trial of major cases of corruption and distributes it to the whole country in the form of a curse, warning officials not to repeat the same mistakes. It includes four parts: "The Great Commandment", "The Continuation of the Great Commandment", "The Third Part of the Great Commandment", and "The Great Commandment", which are collectively referred to as the "Imperial Great Commandment". Ming Chengzu re-lectured on the Great Commandments in order to warn his subjects, and the imperial court had the idea of using heavy codes to govern the world.
This is the first time that Du Qiong has gone out to participate in major social activities, and for young people, he has exercised himself and increased his insights. Two years later, Du Qiong completed his first manuscript, The Doctrine of Learning. Du Qiong also succeeded in becoming a model for the famous sages and scholars in the township. In the first year of Hong Xi (1425), Du Qiong was revised by the Suzhou government to repair the records of Emperor Taizong (Zhu Di). In the tenth year of Xuande (1435), he was also recommended as the president of the Seven Counties of Emperor Xuanzongzhang. In the sixth year of orthodoxy (1441), Wu Jun's family was designated as a Confucian, and he was named on a par with The Sages of Wu County, Yu Zhenmu and Chen Ji. In the fifth year of Jingtai (1454), the imperial court revised the "Chronicle of Youdi", and The Gunshou Wang Hu asked him to revise the County Chronicle, and until the year of his death (I474), he also actively participated in the revision of the "Chronicle of Su County".
In his lifetime, Du Qiong was treated with courtesy by the government and admired by the squires and eunuchs, but he was extremely indifferent to his career, but he was intoxicated with a secluded life, only talking about poetry and painting. Du Qiong's idea of seclusion had a lot to do with Zhu Yuanzhang, who committed all kinds of crimes against the Jiangnan region and constantly retaliated against this region. The people's taxes were arbitrarily increased, the civilian warlords were killed in vain, and even the painters were inevitably killed. Zhao Yuan, Sheng Zhu, Xu Ben, Chen Ruyan, Wang Meng, and others were all persecuted, and many of them had contacts with Du Qiong's father. As for the "Four Masters of Wu Zhong", Gao Qi, Yang Ji, Zhang Yu, Xu Ben, and the "Ten Friends of Northern Guo" were also slaughtered. And the early death of his father was also due to Zhu Yuanzhang's immigration policy, and these bloody facts have cast a shadow in his heart, forming a deep-rooted reluctance to leave the world.
During the Xuande and Orthodox periods, the regime was relatively stable, and Xuanzong and Xianzong also attached great importance to calligraphy and painting, but Du Qiong's thought had matured, drawing on the lessons of the literati of the previous generations, not keen on the career path, and did not want to offend the official government, maintain cooperation with them, and engage in some cultural and indoctrination activities. Du Qiong had close contacts with Suzhou Shou Zhouchen and Guan Zhong, and his feelings were very deep. Among his poetry and painting friends, Zhou Ding, Liu Jue, Xu Youzhen and others were also officials. In fact, Du Qiong not only maintained a high social prestige, but also avoided the dangers of his career. The same was true of his student, Shen Zhoujia III. From Shen Zhou's grandfather Shen Cheng, he took pleasure in Gao Yin, built "Xizhuang", lived a life of seclusion and reading, and played in the mountains, Shen Zhou's father and son and Du Qiong were like-minded friends.
Du Qiong described this situation of secluded life in the "Book with Chen Yong": "To the deer crown of the day, the crane, the shoes of the piano face, the staff of the hundred knots, the song on the quxi, the hustle and bustle of the pavilion, the dust is not heard, the incense is burned to visualize the business, the people who give it to the people in the picture, and the men who give it to the people in the gods, then give it to the solo music." The famous husband and noble secretary of state have passed by, and the guest of honor has walked outside the door, and the unveiler has walked in the snow and green fog, and his horizontal gold and purple clothes can also shine in the forest garden, or the rioter carries wine and food on it, and the guest of honor is all drunk, and this is also happy with people. ”
Du Qiong enjoyed a long reputation in his life, especially in his later years, he was invited to drink from the countryside many times, and at the age of seventy-four, he was invited to be a "village drink guest". The village drink is one of the ceremonies, which is an important ceremony for "more clear ancient and modern, re-observing the village drink, Dunjin County School, and refining the scriptures". Wang Jun, in the preface to the Dongyuan Collection, talks about Du Qiong's influence in Wudi at that time: Du Qiong "went to the place where people looked forward to Qihao, and after the county general Yan Libin was frightened, the gentleman's trip, those who passed under Wu would build a house, and the peddlers and treemen knew it." "For a moment, people look forward to reaching the peak." He has a poem "SuTai Don't Mean to Send Shen Yuan Back to Qinchuan", Shiyun:
Soon after the encounter, I thought about it,
Endure listening to the song of the dynasty.
Green wine a few glasses of wanderers to go,
The green mountains are sparsely populated.
Apricot blossoms drift away from the table in a slight rain,
Willow east wind blows fishing rocks.
Tomorrow when the spring is warm,
Try on spring clothes during the season.
Du Qiong lived in the circle of literati since childhood, and he formed a literary society with 7 people in the township, including Xu Yongli, Lu Tangmin, Wang Mindao, Chen Kuan, Wang Mengnan, Zheng Dehui, and He Meizhi, and was a very influential group in Wu County at that time. In terms of painting, his middle-aged paintings are often collected by friends, and Du Qiong's "Color landscape map" self-titled: "Yu Su is good at writing, and when he finishes writing, he holds it for the good, so that he is the one who has no stroke of his own." The guests are eager to see, there is no way to play, and they write this banner, thinking that they are proud, that is, they order their sons to pretend to be on the axis, and they will always be the reward of the guests of the grass hall, and forgive the others. Orthodox change to Yuan Bingchen year 9 february, Dongyuan Daoren book. This is the early stage of the budding of the "Wumen School". His painting friends included Xu Youzhen, Liu Jue, Zhou Ding, Yao Shuo, Chen Kuan, Chen Wei, and his students were Zhao Tonglu, Shen Zhenji, Shen Hengji, Shen Zhou, etc. They eventually dominated the painting world and enlarged the "Wumen School". Du Qiong wrote a poem:
One after another, the debts were not repaid,
Day by day, it is not going to go down.
Guo Wai has a mountain free,
Have mercy on me.
In his later years, Du Qiong's spirit was nailed, and his paintings were more frequent. Famous surviving masterpieces, such as "Some Sketches of the South Lake" and "Baode YinghuaTu", were all completed at this time, and Liu Jue praised in the poem "Reward Du Dongyuan":
Dulang Gaoyi Bo Yuntian,
Shame I have the best chance of handing it over.
Huating Medicine Bar Three Obscure House,
Pen bed tea stove five lakes circle,
Write the mountain not to let the king Ma jie,
Shi Nan had been lightly Lu Zhonglian.
Yesterday I opened my eyes to see the pearl jade,
Old age is full of thoughts.
Du Qiong died at the age of 79 (Chenghua Decade, 1474), when thousands of Wumen predecessors, protégés, celebrities and other people were buried. Shen Zhou specially painted the "Dongyuan Tu" volume, and wrote the Du Qiong Annals and Sacrifice Texts to show his admiration and remembrance of the teacher.
Du Qiong's creations are mainly landscapes, and the themes of his creations are mostly the hermitage life of the literati and the landscape scenery of Jiangnan.
He painted a large number of small garden scenes with a quiet and elegant garden scene as the background, showing the literati's seclusion and elegant life.
Tao Zongyi was a reclusive literati, and Du Qiong visited his villa when he was a teenager, when Tao was already an elderly man, and Du Qiong had been traveling for a long time. Tao Zongyi had a nurturing grace for him. The "South Village Villa Map" book is Tao's Garden, which selects ten typical scenic spots in the park, showing the owner's rest, sightseeing, fishing, visiting friends and other activities in the pavilion garden, water xuan, rock shrine, river village and tailou, etc., showing the owner's reading and nourishment in a simple living room and a quiet environment, and the life interest of forgetting the landscape. In terms of expression techniques, he learns from the strengths of the family and directly pursues Dong Ju, with light colors and all ink. The composition is more flat and far-reaching.
The "Nancun Villa Map" volume has the title of the seal book of the famous Zhou Ding at that time, followed by the original poem recorded by Du Qiong, The son of Tao, Ji Nan, and the famous artist Wu Kuanbaowei, which can be described as a collection of the essence of calligraphy and painting in the early Ming Dynasty, and has a great influence on the later Wu painters. Wumen painter Liu Jue's "Imitation of Lu Hong Caotang Map", Shen Zhou's "Dongzhuang Map" (Nanjing Museum collection), Wen Zhengming's "Landscape Atlas" (Palace Museum Collection), Lu Zhi's "Secluded Pleasure Map" (Palace Museum Collection) and other large numbers of garden small scenery albums, in terms of creative themes and forms have inherited Du Qiong's style of painting. And further play and improvement.
Each page of the "Nancun Villa Map" book is inscribed with the names of the attractions in the garden, which is also based on the tradition of paintings such as Tang Luhong's "Ten Zhitu of Caotang", Wang Wei's "Map of Yuanchuan", and Song Ligonglin's "Mountain Villa Map" (the above three pictures are hidden in the National Palace Museum in Taipei). The names of the attractions are based on the state of mind of the reclusive literati, and more intuitively reflect the theme of each work. This form has a different taste than independent hand scrolls and vertical scrolls.
Lu Xiuhui has a poem "Zan Du Qiong", a poem cloud:
The hermitage of the countryside provokes the birds to whine,
Don't want to fly in the world.
This life's poetry painting opens the Wu Gate,
Illuminate the diagonal gold furnace.
Floating clouds for the song of sweeping,
Heart ann on the lake to return to the language and.
There is only the smoke in the pen,
Wine aroma ancient lax milky way.
Write to the guest,
Old age is chilling.
Plum blossoms scramble for drunken night cream,
Garden Qiongrui recommends vegetable plates.
The deer crown of the sun is covered with cranes,
The Scepter of the Hundred Knots qu xi yan.
Nothing more than hustle and bustle,
Before the picture of the creation of the creation.
Yizi sunshine forest eaves,
The guest of honor rejoiced in the new moon.
The troublesome inkers carry the chant,
Left behind a makeup curtain.