Wu Li (1632-1718) has a unique life experience in the "Qing Liujia", he was born in poverty, although he was both long in poetry and painting, deeply educated, but adhering to the aspirations of the people, refusing to be able to do so, and only using painting to serve as a farmer for self-sufficiency. In his youth, he sang and reconciled with the scribes and monks living in the Wumen area, and lived a plain life like a crane in the clouds.
In the ninth year of the Kangxi Dynasty (1670), Wu Li traveled to Beijing with his friend Xu Zhizhi (1613-1701). At the age of nearly 50, he said goodbye to his family and crossed the ocean to study theology at Sam Pa Tong in Macau. In 1682, Wu Li officially joined the Catholic Jesuit Society as a monk in Hangzhou and served the church for decades.
Starting from the works of Wu Li in the collection of the Shanghai Museum, this article briefly discusses and studies the inheritance and inheritance of Wu Li in the field of painting.
Wu Li's teachers inherited and imitated the ancients
Wu Li (Wu Li), also spelled Yushan, was the eleventh grandson of The Right Vice Capital of the Yongle Dynasty, Yushi Wu Ne (1372-1457), and the Palace Museum's collection of seven Volumes of the Xingkai Shu Huating Shen Clan Xiande (Note 1) was followed by Wu Ne Xuande's Fifth Year (1430) Xiao Kai's Book "Shen Shi Xiande Scroll Afterword" (Figure 1). This volume is Shen Du (1357-1434) who asked Zou to write the "Records of Shen Shi Xiande" in honor of the name of his grandfather Shen Dehui (字桓卿, Zhu Tingweng), followed by Zeng Jiao, Liang Hao, Hu Yu, Li Guan, Zhao Youtong, and Wu Ne. Wu Nezhi was diligent in his studies, prudent and honest in his official duties, and was promoted by Shen Du. The "History of Ming" records: "In the first year of Hong Xi, Shen Du, who was to be studied, recommended the Ming Practice and was given the imperial history of supervision. (Note 2) From Wu Ne's biography, it can be seen that Wu Li's diligence and studiousness and the joy of marrying Yashi passed on Wu Ne's family style.
1. Zou Ji and seven other families, "Xingkai Shu Huating Shen's Xiande Record" volume, partial, Qing, ink and pencil on paper, 24×284 cm, the Collection of the Palace Museum
Wu's father, Wu Shijie, was nearly in decline, and when Wu Li was still in his infancy, his father was used as a grain chief and died in Hebei on the way to transport grain. Despite such changes, Wu Li was still cultivated to be self-reliant under the care of his mother, Wang Xiaoren. Regarding Wu Li's shicheng, Zhang Yunzhang (1648-1726) made a brief and comprehensive summary in the "Biography of the Mojing Daoren": "The fishery mountains are clean and self-righteous, and they are disdainful of the world. Qi studied in Chen Xiaolian'an (陈瑚), Asked poetry from Qian Zongbo Muzhai (Qian Qianyi), studied painting from Wang Taichang (Wang Shimin), and learned the piano from Chen Gaoshimin (陈岷), all of which were taught by him. I can't give my mother's support, and I am especially focused on painting. (Note 3)
For Wu Li, painting is not only a way to nurture his temperament, but also an important source of income for his mother. Wu Li's family was poor and had no first-class collection of calligraphy and paintings to be copied. The calligraphy and painting collection of his mentor Wang Shimin and his friends became an important source of learning from the ancients.
Chen Hu (1613-1675) said in the "Preface to the Collection of You" composed for Wu Li: "Wu Lou Wang's smokers Bong Chang, to paint the Fa guan Jiangnan, the family to collect the song and Yuan authentic works. Yushan learned from Fengchang, and Fengchang saw it. Yushan imitates and shrinks into a small book, rendering the essence and obtaining its essence. (Note 4) Wu Li's "Wu Yushan Linsong and Yuan Paintings" volume copied by Wang Shimin can also be called Wu Li's edition of "Small, Medium, present and Large" volumes. This teaching method of copying the large landscape paintings of the Song and Yuan Dynasties and presenting them in the form of albums began with Dong Qichang, the master of the Wu calendar. The volume "Small, Medium, Now Big" in the National Palace Museum in Taipei, is introduced by Dong Qichang. Since the beginning of modern Wu Hufan, many scholars believe that this volume was written for Wang Shimin is very likely. Regardless of who the author of this album is, this fruitful learning method is inherited by Wang Shimin.
When Wang Shimin commented on the volume "Wu Yushan Linsong and Yuan Paintings", he emphasized the importance of Shigu. In his inscription to Wu Li, he said: "It is more difficult to paint than to paint yourself. Cover self-painting can still be from the ingenuity, copying will be the size of the previous rules, unhappy hair, but called able to do things. Even if it looks like it, how can pen and ink be both wonderful? And if you want to shrink between the scales, seek its position of charm, slightly without losing the face of the ancients, or it is difficult. The paintings hidden by Yushan Suoguan Yu were imitated and shrunk into small books, with grass and trees between them, and colors were set with pens, one by one. And can render smoke clouds on raw paper, rising and moving, without any trace. It is a true carving magic skill, a magic hand, a tacit understanding of the heart, and an incredible person. (Note 5)
"Humble Xiutang" is Wang Shimin's room name, and in Wu Li's paintings and poems, there are many experiences he had in viewing the famous relics of the past in the Humble Xiutang. The 33rd article of the Ink Well Painting Is recorded: "This is given to Yu Xia, in the Taiyuan Clan Humble Cultivation Hall, shrunk to Shu Ming's "Lin Quan QingJi", and I don't know when it fell into the hands of Hui Yu (Shen Sanfu, the word Hui yu). Today's question, such as the old face, care for love, can not be their own. (Note 6) The second year of the Kangxi Dynasty (1663) was written by Wu, who was 32 years old. Judging from the "Antique Landscape Map" volume (Figure 2) painted by Wu Li when he was 30 years old, his pen and ink at this time were greatly influenced by Wang Shimin and had not yet formed his own style. Another example is Dong Beiyuan's "Xishan Travel Map" axis, and the "Ink Well Painting" recorded Wu Calendar title: "Half of Dong Yuan's rumors have been rumored for a long time." Wishing to see is nothing less than hunger and thirst. One day, I passed through the Humble Cultivation Hall of Taiyuan and was fortunate to be fully watched. (Note 7)
2. Wu Li, "Antique Landscape Map", Qing, Color on Paper, 27.5×18 cm, Shanghai Museum Collection
Qian Qianyi (1582-1664) said in the "Wuyushan Linsong Yuanren Shrinking Inscription": "Yushan Ancient Light Andya, like the characters in ancient pictures, people will be called Zijiu yipai, close to Yushan Mountain, Yu Shenzhi. This volume of authentic handwriting, all smokers worship Changzang, and personally pass on a lamp in Huating, the secret has instructions, so the fishing mountain is wonderful. The smoker did not want to show the magic of the wheel, so he hid it and did not write. Talk about it, and believe in my habits. 1663 Midwinter Seventeenth Day. (Note 8) The "Wuyushan Linsong Yuan Painting Miniature" included in the "Wang Fengchang Calligraphy and Painting Inscription" should be the "WuYushan Linsong Yuanren Condensed Edition" mentioned in Qian's "Muzhai Youxue Collection". However, judging from qian Qianyi's inscription, Wu Li learned to paint from Wang Shimin no later than 1663. In addition to Wang Shimin, Wu Li can also see many ancient painting treasures from other calligraphy and painting collectors such as Tang Yuzhao (1602-1672), Chen Fan, Wu Qi (1619-1694), Song Xi, Song Huan (1614-1673) and so on.
The useless division volume "Fuchun Mountain Jutu" now in the National Palace Museum in Taipei and Shen Zhouben's "Fuchun Mountain Jutu" volume hidden in the National Palace Museum have both been copied by Wu Li. Wu Shi said: "The idiot returned to Fuyang in his later years and wrote the "Fuchun Mountain Scroll", and the penmanship was like a grass seal. It is rumored that there are two books, one is unknown, and the other is loved by the fist of the good deed, and it is not separated from the hand. At the end of the day, throw it into the fire, and the others urgently need to take it, and the first ruler of the scroll has been burned. To those who came to Guangling. Returned to taiyuan fengchang gong, the public is not only a volume of ishida back. Soon to survey, the mountains and rivers and trees and stones, there is no loss, but Ishida's set (color), is its true color also... There are two volumes of The Gift, one for the Blessing and one for the Benefit. (Note 9) The so-called "unknown details" are the Ziming scroll "Fuchun Mountain Jutu" that is widely regarded as a forgery. Wu Li copied the useless master volume "Fuchun Mountain Jutu" that later generations considered to be authentic. The useless master volume "Fuchun Mountain Jutu" was purchased by Ji Yuyong (ziyin) at the end of the Ming Dynasty, and there are Zhu Wenchangfang's "Yangzhou Jiyin is hidden" seal in the lower right corner of the volume. Ji Yuyong's second son, Ji Zhenyi, was Tang Yuzhao's son-in-law, and Wu Li was able to observe this volume and have a lot to do with Tang's dredging.
Under the influence of Wang Shimin and his ancestor Dong Qichang, Wu Li paid special attention to the works of Huang Gongwang and Wang Meng before the Southern Song Dynasty and the Yuan Dynasty, and his painting style in his later years obviously tended to wang Meng's pen and ink style. In the autumn of 1951, Wu Hufanguan Wu Li's "East Bay Fishing Boat Map" axis (Figure 3) was followed by the inscription: "Mojing Shan HuangHe thirsty pen. This painting is also made for the later standards. Wu Li wrote Huang Gongwang's "Floating Lan Nuan Cui Tu" (Note 10) at Song Huan's place. During Wu Qi's tenure as governor of Huzhou, Wu Li copied the Great Fool 's "Spring Mountain Fan Cha Tu" (Note 11) in his Mo Miao Ting.
3. Wu Li, "Wandong Fishing Boat Diagram" Axis, Qing, Ink on Paper, 57.5×41.4 cm, Shanghai Museum Collection
As for Huang Gongwang's "Map of the Steep And Dense Forest", Wu Li is even more "every time you pass through the Humble Cultivation Hall, you must please look at it" (Note 12). At Chen Fan in Hengtang, Wu Lide viewed Wang Meng's "Qiu Shan Tu" axis (Note 13). During his travels in Beijing, Wu viewed Wang Meng's "Jing Late Autumn Xiaotu" (Note 14) at Liu Shangshu's house. Wu Li's axis of "Quiet Late Autumn Xiaotu" (Figure 4) is now in the Nanjing Museum. Self-knowledge: "Wang Shuming is quiet in the late autumn dawn, and what he saw in YuJing's mansion is not forgotten." Yi Haichun recalled his coloring method in Shangyang, brought to practice the river, the people's reputation and hobby, now value the flower armor, is the picture of the pine cypress, appropriate to live. In the autumn of the afternoon, mojing daoren. (Note 15) Jin Zhaoshi, the character minyu, Jiading people, and Wu Li thick friendship, Seiko landscape small. Wu Hufan believes: "Its painting method is similar to that of the fishing mountain god, but it can be chaotic. (Note 16) Wu Li gave the painting in the forty-first year of the Kangxi Dynasty (1702), based on the Jin dynasty, and his birth year was in Chongzhen Yanwei (1643). The inkblots of Jin Zaoshi's inheritance can only be found in the Pages of Jin's "Green Window Confrontation Diagram" in the Qing Dynasty Wang Zhu, Gao Jian and other "Green Window Confrontation Picture Poetry Album" (Note 17).
Figure 4 Wu Li, "JingQiu Deep Dawn Diagram" axis, Qing, color on paper, 95.6 × 24.1 cm, Nanjing Museum collection
Regarding the ancients, Wu Li believes: "If you look at ancient paintings like encountering foreign objects, you are frightened and dazzled, and there is no master of the five colors. And its god is clear, then it is green and yellow. It is necessary to take advantage of the imitation, and the intention is not mixed, so as to get the expression of the ancients to the road. (Note 18) In the face of this diligent student, Wang Shimin gave a high evaluation. He said: "Yushan wenxin rhymes, and the pen and ink are exquisite. In the first autumn, Lou passed, and Suo guan yu hid the traces of the Song and Yuan dynasties. Copying the apartment, shrinking into a small book, not two decades and dying. Not only is it a mold, but a simple and super-comfortable place, which is deeply meaningd by the ancients' pen, and the letter is the only step today. (Note 19)
Fishing mountain people
Those who followed Wu Li to learn painting are known to have been monks such as Mo Rong, Lu Daohuai, Shen Huiyu, Wang Zhezuo (Note 20), and there is also a person named Shan Domain, whose life is yet to be examined. In the year of the Kangxi Dynasty (1675), Wu Liguan's axis of xingfu yiyun tu (figure 5) was titled: "Wuyou Shan Domain, and Mo Rong successively participated in the painting of Zen, and each obtained the Song and Yuan Three Ambiguities." Silent and beautiful work, the mountains are elegant and rhymed, the ink of the two is rare in the world, this painting is silent, and it is also the work of the mountains. His uncle used the king's collection, please identify it, in order to know its end. Yi Di plum rain new sunny. Yanling Wuzi calendar. (Note 21)
Figure 5 Mountain Domain, Xingfu Yiyun Tu Axis, Qing, Ink on Paper, 55.5 × 37.5 cm, Collection of the Capital Museum
The method of staining mountain stones with light ink in this figure is very similar to the pen and ink in Wu Li's "Fengxi Huiqin Tu" volume (Figure 6). He and Mo Rong were both monks of Xingfu'an, and they successively studied painting with Wu Li, and each of his paintings had their own strengths.
Figure 6 Wu Li, "Fengxi Huiqin Tu" volume, partial, Qing, ink on paper, 40×137 cm, Shanghai Museum collection
The friendship between Wu Li and Mo Rong is the most well-known to the world. The Nanjing Museum has a set of "Antique Landscape Maps" painted by Wu Li in 1666. Wu's signature: "Return from Wu, pass through WuMen to visit Mo Gong." Mo Gong stayed in the Xingfu Jingshe and did not feel it for two months. In order to go to Chunsuo to paint the plain book, morning and evening teasing pen and ink, so as to get ten frames. Gu Zi was blunt and clumsy, and failed to dream of the ancients, chatting about the booing ears. (Note 22) In 1675, Wu Li re-inscribed: "My Zen friend Mo Rong, from Yu Painting, aspired to poetics, so that he could get three ambiguities early, and should be famous for Hongxiu." Unfortunately hang on to Gao Yan, its fate is dead! In the year of Nongzi (1672), every time there was happiness, it was a meteoric snot... The rest of this volume was composed by Mo Rong, which is now polished and combined. 17 September 2012. Yanling Wu Li also knows. (Note 23)
In the volume "Antique Landscape Maps", Wu Li copied the works of many sages of the Song and Yuan dynasties such as Zhao Lingyong, Huang Gongwang, Ni Zhan and so on. This set of albums has the educational meaning of "Small in The Big", and Wu Liying hopes to master the historical inheritance of traditional painting and the characteristics of different styles of brush and ink through understanding and writing these pictures. We can also feel the interaction and exchange between him and Mo Rong in the composition of paintings through Wu Li's "Maple Leaf Evening Cloud Map" fan (Figure 7). Wu Li title: "Maple Leaf Lake Mountain, late clouds haunted." Rambling pine snow, driving Hao is not easy to look like also. The side of Mogong Creek was eager to add one person. Yu Mian was known as 'In the Rock Of The King'. 26 July 1669. Unable to withstand The repeated requests of Silent Rong, under the red maple, on the shore of the stream, Wu Li depicted the image of him sitting on his back and playing the violin. In the year of Kangxi Jiayin (1674), when Wu Li painted the volume of "Xingfu An Sense Old Map" in order to remember Mo Rong, the Si people had gone, and only the rest was empty.
Figure 7 Wu Li, Maple Leaf Evening Cloud Chart Fan, Qing, Color on Paper, 17.4 × 52.7 cm, Shanghai Museum Collection
Among the known students of Wu Li, Lu Daohuai was the most active. Wu Li once taught him: "Who said that before the Southern Song Dynasty, it was not after the Yuan Dynasty?" In the light and desolate, brilliant former generation. A song of rainy mountains, a few ancient pine willows. When the pen reached the open door, the white clouds took the spring away. When it makes a machine, it wants to wash the ugly of the town. How many people are there? Where is the painter? I was first abusive, and I was often defeated. Late travel in Tianxue, the cabinet pen is really like a broom. The son of the son is hard-working, and the search is long. It is majestic and full of promises. (Note 24) In this text, Wu Li stressed to Lu Daohuai the importance of taking the five generations and the famous masters of the Northern Song Dynasty as teachers. In a similar form, he summarized the sparse and elegant brush and ink characteristics of the paintings of this period. Similarly, Wu Li also sent a gift to another of his students, Shen Huiyu (Figure 8, Note 25).
Figure 8 Wu Li, Book of Xingshu Poetry Manuscripts, one of which is open, Qing, on paper, 28.5 ×33 cm, Collection of the Hong Kong Museum of Art
Wang Shimin once instructed Wu Li to paint the "Wu Yushan Linsong Yuan Painting Miniature" volume, and Lu Daohuai, under the influence of Wu Li, also painted the "Linsong Yuan Famous Painting Miniature" volume. Zhang Yunzhang recorded in his "Pucun Anthology" "Title Land Tour Linsong and Yuan Famous Paintings Miniature": "The true pulse of the painting is near the southeast ... At that time, those who were personally taught and received, who were familiar with each other and who were familiar with the truth, Wu Jun Yushan and Wang Jun Shi Guye. The transcendent and wonderful deeds of the two kings are all divinely entrusted postures, and those who are grinding day by month, accumulating over time and getting deeper, have also achieved their work. Wuyi Lusheng upstream, at an early age, asked The Second Jun, and gave him the condensed copies of the Song and Yuan celebrities who came to him, all of whom came from Taiyuan. Upstream abandon Pepsi, small thoughts, Dumen mountain windows, over the years and imitate it. Yushan sighed deeply, thinking that it was like the honey of the bee, and the one who picked the flowers was made, and the upstream of it was a few. After the stone valley returned to the Beijing Division, the upstream resumed the journey, and the morning and evening grinders for several years, and then its ability was ready. (Note 26)
Lu Daohuai not only studied painting from Wu Li and Wang Yiqin, but also ran for the collation and engraving of Wu Li's poetry collection. In the year of the Kangxi Dynasty (1719), the Wu calendar had died for one year. Lu Daohuai said in the "Ink Well Poetry Banknote": "Two volumes of the Ink Well Poetry Banknote and one volume of the "Painting Trek", my master raised the person who paid Huai when he went to the ocean. The paintings of our master, the common treasures of the sea, all flowed out of the scrolls in his chest. I don't know the paintings in his poems, but can Ann know the poems in his paintings? Respectfully engraved and passed on, shu he is a unique altar, not hidden by the painting. In the middle of the summer, Jin Ting was greeted by Lu Daohuai. (Note 27) Judging from the existing Ludao Huai landscape works, such as the scroll of "Spring Xiaotu of Mountain Residence" and the axis of "Qiao Ketu" in the Upper Bozang, the axis of "Linni Landscape" and the axis of "Painting Pine Stone" in the Palace Museum, etc., can show the yuanren painting rhyme pursued by Wu Li.
Conclusion
Wu Li's family was poor and it was not easy to climb the magnates, and he was able to see and write the famous calligraphy and paintings of the past dynasties collected by the daguan jujia, relying on his own solid education, the identity of the descendants of famous people, and the promotion and recommendation of famous friends such as Qian Qianyi, Wang Shimin, Chen Hu, Xu Zhiwei, Tang Yuzhao and so on. His brilliant artistic achievements, in addition to the careful professors of Wang Shimin and Wang Jian, also come from this.
Text, figure | Wei Wei is a librarian in the Calligraphy and Painting Research Department of the Shanghai Museum
This article was abridged by the author, and the original article was published in the catalogue of "Spring Colors of Yushan Mountain - Special Exhibition of Calligraphy and Painting for the 300th Anniversary of Wu Li's Death"
Spring Colors of Yushan - Special Exhibition of Calligraphy and Paintings for the 300th Anniversary of Wu Li's Death From now on, 11.11 Macao Museum of Art
This article was published in the October 2018 issue of the Simplified Edition of The Collection of Ancient Art Chinese. Original title: "Yushan Yiyun - The Inheritance and Successor of Wu Li".
exegesis
1. Compilation and Publication Committee of the Collection Department of the Palace Museum, "The Collection department of the Palace Museum, Calligraphy Compilation 10,Ming", Beijing: Palace Museum Publishing House, 2016, p. 125.
2. [Qing] Zhang Tingyu, History of Ming, vol. 14, vol. 158, Liechuan 46, Beijing: Zhonghua Bookstore, 1974, p. 4317.
3. [Qing] Wu Lizhuo, Zhang Wenqin Notes, Notes on the Collection of Wu Yushan, Preface to the Biography of The Preface, Beijing: Zhonghua Bookstore, 2007, p. 42.
Ibid., p. 14.
5. [Qing] Wang Shimin, "Wang Fengchang Calligraphy and Painting Inscription", volume down, Tongzhou Li YuYun Lake School Journal, Xuantong Jianyuan (1909),
p. 29.
6. Ibid., Note 3, Vol. 5, Ink Well Painting Trek, p. 429.
Ibid., p. 407.
8. [Qing] Qian Qianyi, The Complete Works of Qian Muzhai, vol. 6, "Muzhai Youxue Collection", vol. 46, Shanghai: Shanghai Ancient Books Publishing House, 2003, p. 1545.
9. Ibid., Note 3, Vol. 5, Ink Well Painting Trek, p. 410.
10. Ibid., p. 412.
11. Ibid., p. 414.
12. Ibid., p. 415.
13. Ibid., Note 3, Vol. VI, Addendum to the Painting, p. 470.
14. Ibid., Note 3, Vol. V, Ink Well Painting, p. 416.
15. Appraisal Group of Ancient Chinese Paintings and Calligraphy, Complete Collections of Chinese Paintings, vol. 24, Beijing: Cultural Relics Publishing House, 1999, p. 192.
16. Liang Ying, Wu Hufan Manuscripts, Hangzhou: China Academy of Art Press, 2004, p. 75.
17. China Guardian Autumn Auction 2009 (Beijing, November 23, 2009), Catalogue of Ancient Chinese Calligraphy and Paintings, No. 1621, p. 25.
18. Ibid., Note 3, Vol. V, Ink Well Painting Trek, p. 426.
19. Ibid., Note 5, Vol. 1, p. 25.
20. [Qing] Peng Yunxuan, "The History of Painting in Past Dynasties", vol. 29, "The Complete Book of the Four Libraries", Sub-Department, Art Volume 1084, Shanghai: Shanghai Ancient Books Publishing House, 2003, p. 473.
21. Editorial Board of Beijing Cultural Relics Essence Department, Beijing Cultural Relics Essence Department and Painting Volume, Beijing: Beijing Publishing House, 2002, p. 172.
Ibid., note 15, p. 163.
23. Ibid., note 15, p. 160.
24. Ibid., Note 3, Vol. 1, Collected Writing Sorrows, p. 120.
25. See the Hong Kong Museum of Art's collection of Wu Li's inkblot "Three Remainder Collections".
26. [Qing] Zhang Yunzhang, "The Collected Works of Pucun", vol. 22, The Compilation Committee of the Four Libraries Forbidden Book Series, "Four Libraries
Forbidden Destruction of Books Series," Volume 168, Beijing: Beijing Publishing House, 2000, p. 99.
27. Ibid., Note 3, Preface to the Biography of the Preface, p. 34.