Many people say that painting should be calm, and monks should abstain from anger and anger, but there is such a monk, whose sex is like fire, brave and straight, comparable to Lu Zhishen in "Water Margin", but he paints well and has become one of the leading figures in the painting world in the early Qing Dynasty, do you dare to believe it?
This painter was a kūn remnant of one of the "Four Monks" of the Qing Dynasty.
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<h1 class="pgc-h-arrow-right" data-track="42" > crippled</h1>
First of all, to explain the name of the skull: the beard originally referred to an ancient punishment of shaving a man's hair, and later extended to a monk.
The cripple is both a monk, bald early (saving shaving), and sick, so self-deprecating is "crippled".
He rarely uses this name himself (at least not a "broken" name has never been left in his paintings), and only said it when joking among friends, but in the late Qing Dynasty and the Republic of China, after a group of literati pulled out his experience with his friends, in order to show that he had a wide range of knowledge and knew a lot of cold knowledge, he spread the number of people's self-deprecating times.
In fact, the most commonly used name is "Stony Brook" or "Shi Ji [xī]", the legal name Zhi Gao [gǎo], and he also has the characters of The Remnant DaoRen, Denju Daoren, and Shi Daoren.
A monk calls himself a Taoist, so it can be seen that the beard is a person who insists on himself and does not follow the rules very much.
He has cultivated this sex since he was a child.
Originally surnamed Liu, a native of Wuling (present-day Changde, Hunan), when he was young, some people said that he had Huigen (presumably because of baldness), so he had the idea of renunciation, although he could not do so because of his parents' opposition, he still refused to start a family.
In the end, the family still couldn't help him, so he entered the local Long Family Temple to practice.
You said that when you say that you are home, you should be "empty of the four", right?
But when the Qing soldiers went south, the thirty-year-old man resolutely joined the team of He Tengjiao in Hunan, incarnated as an angry King Kong, and rebelled against the Qing Dynasty and restored the Ming Dynasty - this is a copy of Lu Zhishen!
Unfortunately, the Ming Dynasty had exhausted its qi and failed to resist the Qing, and the remnants had to flee to the depths of Taoyuan and hide.
His good friend Cheng Zhengyi recorded him in the "Stony Brook Biography" written for him:
"In the depths of the taoyuan of the soldiers, the mountains and rivers are strange, the trees are strange, and the ghosts and shadows of the beasts and birds and the sounds of the fish are indescribable. Drifting away from the bedchamber, or gargling in the rocks of the stream, or lying on the snake in the ape, or drinking with blood, or drowning to warm the feet...".
This period of exile in the wilderness caused irreversible damage to the crippled body, leaving him with wind and cold from then on, and suffering from illness for the rest of his life.
However, this experience of exile in the mountains and forests also left a wealth of material for him to create landscape paintings.
He "secluded hills and ravines" and "spring stones are in plaster", blending his emotions with scenery, so that his landscape paintings are truly sincere, and the objects and lyricism become one.
In 1654, when the wind was not so tight, He Was invited by the Zen master Juelang to Nanjing to engrave the "Great Tibetan Classic", and successively met Gu Yanwu, Qian Qianyi, Qian Chengzhi, Cheng Zhengyi, Zhang Yi and others. In particular, Cheng Zhengyi not only became one of the few close friends of the crippled, but also provided him with a large number of painting references, which further improved the painting skills of the crippled.
In 1660, jiaquan returned to Nanjing after a tour of the clouds in Jiangnan, Huangshan and other places. At this time, Zen Master Juelang had passed away. He settled down at the Niushou Zutang Mountain Youqi Temple in Nanjing, and took painting as a way for him to meditate, completing the transformation from a Buddhist monk to a painting monk.
He was very diligent in painting, he said:
"All the heavens and the earth are born of man, and it is advisable to be diligent and self-sustaining, and not to be lazy." If you deserve a lazy word, you are a lazy man, and it is useless in the end."
Although he was in pain, he gave full play to the "hegemonic" character of Hunan people, and as long as the illness eased slightly, he immediately threw himself into creation. He also once said that in his life there were "three shames":
I am ashamed of these feet, and I have not experienced the world's famous mountains. He was ashamed that his eyes were dull, that he could not read thousands of books, that he could read all the vast realms of the world, and that he had not tasted the teachings of Homo sapiens with both ears.
- In this world, if you are afraid, you are afraid of the word "serious", and the heavens reward diligence. The Qing Dynasty people listed the paintings of the skulls as gods, praising them as saying:
"Play in the middle of summer, quench the heat, cover the chest with a lonely and strange atmosphere, and show no end."
The "Collection of Paintings of the National Dynasty" evaluates the landscape paintings that are crippled
"The mysterious realm is strange, the Burmese is deep, fascinating, the pen and ink are high, the color is clear, and the victory of the Chengyuan people is also!"
"Green Sky Map"
The landscape painted by the flea residue is full of composition, grand momentum, dense scenery, and vigorous brushwork.
He makes good use of dry brush rubbing, and when painting, he uses a dry pen to dip a small amount of ink and rub and dye layer by layer, so that the picture appears thick and thick, thick and deep.
This kind of brushwork due to the low moisture content in the pen, dry pen, too fast or too slow will affect the picture effect, so it is not easy to control, the painter needs to have a solid and profound painting skills. When people are not able to learn with their high art, there is a sigh of "high and widowed".
Using this kind of painting method, even if it is an ordinary landscape, it can appear elegant and generous, producing a majestic and majestic and vigorous momentum, which is the "atmosphere" that many bosses want now, so the beard residue is famous in the world.
"Drawing a Mountain Map in the Mountains"
Zhou Lianggong recorded in the "Reading Album":
"(Crippled) character and ink are superior... The painting is clever, but the light is not made. ”
Originally, there were not many paintings, and the Zen room where the crippled man lived in his old age was also burned, and his paintings and Buddhist sutra scrolls were reduced to ashes.
This blow completely destroyed the will of the skull, and with the simultaneous attack of rheumatism, stomach disease, and ringworm, the beard remnant distributed the remaining antique artifacts to everyone, and from then on the pen was no longer painting.
In 1692, the monks followed his will, cremated him and threw his ashes into the rolling Yangtze River.
More than ten years later, a blind monk asked a stonemason to carve several large characters on the cliff of Yanziji on the Yangtze River to commemorate it.
The swallow is still there, and it is difficult to find the bones
The works of the Remnant are the fewest among the "Four Monks". According to statistics, the total number of collections in domestic museums is 66 pieces (sets), which can be described as rare (so there are many fakes).
The surviving masterpieces of The Beard include "Cangcui Lingtian Map", "Cangshan Jiemao Map", "Cloud Cave Flowing Spring Map", "Layered Rock Stacked Ravine Map", "Songyan Pavilion Map", "Fishing Map on the River", "Rain Washing Mountain Root Map", etc., these paintings are rich in layers, deep in content, and a sense of tranquility - can you imagine that they are actually from the hands of a person who is tormented by illness all the time?
《Cangshan Knot Mao Tu》
《Cloud Cave Fountain Map》
《Rain Washes the Roots of the Mountain》
A life of crippledness is a life of fighting: fighting with secular ideas, fighting with the Qing army, fighting with nature, fighting with illness, fighting with the stereotypes of the painting world... He integrated Zen with painting, entered the painting with Zen, and used painting as a metaphor for Zen, and stepped out of a Danqing path that was completely his own.
Finally, a fragmentary self-description can be translated as the motto:
I live in the Niushou Mountain House, burn incense and chant the sutra day and night, have a little free time, I will climb the mountain to see the scenery, as soon as I have any gains, I will immediately draw several landscapes, or write a paragraph or two, in short, do not let time go by. The so-called static and vivid, when moving, we must do something, so that a person can stand worthy of standing between heaven and earth. If you are muddy and lazy, what is the difference between that and the grass and trees?
(To be continued)
This article is a companion article to "Fun talk about the history of Chinese characters/calligraphy" and a series of articles on the history of Chinese art (tentative name). Every minute, harvest a lifetime of knowledge, you deserve it! Pay attention to the previous article, and prompt the update in time. Please indicate the source of the reprint, welcome to the publisher to contact me.