Among the four monks of the early Qing Dynasty,
Hirohito is the one who has been most completely separated from the world after renunciation.
He is deeply nurtured,
After ordination,
Hanging a scoop and dragging staff every day,
Mangshoe Brigade,
Or sit in the empty pool for a long day,
Or the lonely roar of the moon and the night,
Like a worldly master who does not eat fireworks in the world.
Qing Hirohito Cliff bamboo plum
Hongren was undoubtedly one of the most individual landscape painters of the early Qing Dynasty. His achievements in painting and its characteristics cannot be summed up simply by words such as painting by the remnants, simplicity and remoteness, and alienation and cold silence. His artistic achievements are a reflection of a specific historical period in the early Qing Dynasty, and a concentrated reproduction of the relics complex, the Zen Mysteries, the temperament of landscapes, the charm of ancient winds and tranquility in the paintings. As the pioneer of the Xin'an school of painting, his paintings of landscapes, steep cliffs, weijun and thick, the fa like to use folding belts, the turning is hard, the pen is clear, the dry and light pen is folded with wrinkles, and the picture is simple and steep.
Qing Hongren(清弘仁) lu tianyou pen intentions
Hongren landscape brush ink is exquisite, the pattern is simple, although the teacher Ni Zhan, but can "see the very thin place to see the plump, the very fine place to see the vigorous, although there is no light, but there is no afterglow". Although Hongren inherited the Song and Yuan dynasties, he also had a distinct appearance of his own family. It can be said that the Song people are meticulous and go to their carved and complicated, and the brush and ink of the Yuan people are strong in their structural wind and bones, forming their own artistic style of rigidity, plainness, purity and implication.
Qing gradually river Autumn Mountain double waterfall
The structure of "Autumn Mountain Double Waterfall" is intricate, which is different from the general works of gradual rivers, and is even more different from Ni Yunlin's "scattered and sparse". Because of its denseness and vivid charm, it is not forced, but makes people feel meticulous and fascinating; it is quiet and quiet, thick and ethereal. The lines are fine and round, the square is round, and the turn is ready to go; thick and dry, slow and smooth, with the shape, at will; it can really be described as "doing what should be done and not doing, stopping at what should be stopped and not stopping." "Qisong's posture is clear and clear, and the branches are thin; the pitching side is oblique, as if standing as a line." The mountain road winds and looms, and the creek is clear and sound. The color is light and elegant, if there is nothing and there is no rhyme. The light and quiet atmosphere overflows the picture, showing a quiet, quiet and timeless artistic conception, giving people an endless aesthetic feeling of taste.
Gradually Jiang's "Autumn Mountain Double Waterfall" was originally collected by the Palace Museum, and then the Palace Museum exchanged one piece of each of the "Four Monks of the Qing Dynasty" with Zhu Guang for the famous "Twelve Water Atlas Scrolls" of the Southern Song Dynasty Ma Yuan, which is one of them, which is extremely precious.
Qing Hongren Xishan Chunji
During the Ming and Qing Dynasties, in order to oppose the Qing Dynasty and restore the Ming Dynasty, Wanjiang once wandered between the mountains of Fujian and was a tough man. In the end, because of the hopeless restoration of the country, he threw himself into the empty door and became a high monk admired by everyone. In addition to the Buddha, he also immersed himself in painting, and his stubborn personality reflected the bones of the Huangshan Mountains, washing out the steep and cold brush and ink. But in the silence, he always revealed a peaceful and moist breath, which vaguely showed his concern for the world's human feelings. "Spring In the Mountains" is written about the scene of the warm wind and the revival of the mountain spirit after the high cold, which is simple and pure and harmonious. The admiration for the scenery of Jiangnan overflowed the heart of a bodhisattva who had entered the world. Just like a flood of spring water in a painting, it quietly washes the body and mind of generations of readers.
The "Fenggan" mentioned in the painting refers to the shore of Fengxi in Shexian County, where Gradualshi often stayed in his later years, where there were many friends who admired and cared for him, so he had a poem saying: "After a few years of unsuccessful mountain residence, the bottle is still like a water ping." Alone is Fengxi can be loved, oh ice appearance shadow ink sporadic. "Zhixian" should be one of his Friends of Fengxi, he also has a "Qunmu Yifeng Map" ink painting given to this layman, originally collected by Li Chuli, now unknown, and this painting of the Daqian Old Collection is a genuine, and the style is also close, also Ni (Yunlin) is also yellow (big idiot), not Ni non-yellow, all of which are his own true colors, should be works of the same period.
Qing Hongren Autumn Pavilion Waterfall
"Autumn Pavilion View Waterfall" (ink silk vertical axis, 137 cm in length, 805 cm in width) is a work of Hirohito when he was 35 years old, casting his soul with calmness, hard and strong his bone tendon style, which is the typical appearance of Hirohito. In the strong, thin and steep strokes, it seems that you can feel the pulsating emotions and the power of repression, and its style is different from the Song and Yuan families, and it is also different from the painters at that time. The reason why Hongren is publicly judged to be difficult to imitate is not only because of the cold and quiet
The reason why it is beyond the norm is that the personalities of the painters themselves are incompatible.
Compared with Shi Tao, in terms of artistic skills alone, stone painting is not as deep and subtle as Honghua painting, Shi Tao often believes in the pen and sweeps through the air, while Hongren is not scrupulous and impatient. Traditional Chinese painting is based on the quiet beauty of Yongmu Magnanimity, Outer Softness and Inner Rigidity as the high and deep, and the Moving Beauty is regarded as shallow, while Stony Brook, Bada, and Shi Tao are mostly Moving Beauty, but Hongren is uniquely quiet, and this is high and low, and it can be known.
Qing Hongren Cliff Flowing Water Map
The "Cliff Flowing Water Map" has a falling paragraph on the left side of the picture: "The breeze is fluttering in autumn, and the rain is sparse." Resisting the ancient and modern, waving the cup has not been enough. In August, Bing Shen visited Mr. Wen yu, stayed in the drinking book hall, and wrote this for man, and taught short sentences. Hirohito. From this, it is known that this work was made in the thirteenth year of Shunzhi, and that It was the year when Hongren was basically in Shexian County, and that he painted many paintings this year. On Kasuga, he painted the Scroll of The Pine Stone Diagram to his master in his friend Cheng Shou's Eroding Temple. This image is now in the Palace Museum in Beijing. In March, he painted a landscape scroll of "Spring After The Rain" in the bookstore of Wu Xianzhi in Fengxi, Shexian County, and gave it to the owner. This drawing is also in the Palace Museum in Beijing. After visiting Huangshan, he went to Fengxi and painted the "Yungen Dan Room Map" for Yisheng residents. This picture is now in the Ho's To Lok Lou, Hong Kong. In August, he drew the "Cliff Flowing Water Map" to Mr. Wen Yu. The Tianjin Art Museum has a collection of Hongren's landscape scrolls, which read: "Gradually Jiang Scholars Painted to Send Bo Xingju." ”
In the foreground of this cliff flowing water picture is a puddle of water, withered vines and trees and green bamboo intertwined, sparse and empty, dozens of steps after crossing the wooden bridge, the lake surface of the middle scene is twisting and turning, there are stones in the water, the stream jumps and hits the stones, and there is a sound. Looking up, I suddenly saw a waterfall flying down, and its momentum was very urgent. This painting reflects the most typical appearance of Hongren landscape painting.
This axis is recorded in Yang Hanzhi's Guishixuan Paintings. His trek said: "Yu is a small river in Beijing, three feet long and one foot wide." ...... Printed in white with the two characters of gradual river. Stone furniture as alum blocks, bamboo trees and hills, cliffs and flowing water, small bridges. Not only do you cherish ink, but you also cherish your pen. It seems to be dry and lonely, and it is delicately played, and the divine taste is intriguing to chew. If the forest of clouds sees it, it will be allowed to have the first righteousness. The poems are also pure Wei and Jin, and are not used as Later Tang languages. The book is like Ni Fan. The monk's light ambition can be imagined. (For details, see Chen Chuanxi's "Ming and Qing Dynasty Chinese Painting Masters Research Series?") Hirohito". Yang Han (1812-1879), Daoguang Twenty-five Years (1845) Jinshi, examined Jinshi, discussed books, paintings, words and poetry, and was not proficient. The Guishixuan Paintings were engraved in the twelfth year of Tongzhi (1873).
Qing Hongren Autumn Cliff Long Pine Map
"Deep and quiet" is a kind of artistic conception that ancient Chinese literati painters often love to express, and "quiet" is a noble atmosphere exuded by painters when they are quiet and silent. Zhu Xi's interpretation of the word "jing" in the "University Chapters and Sentences" is: "Jing, that is, the mind does not move. The "Gengsangchu" section of Zhuangzi also says that "the right is quiet, the quiet is clear, and the void is virtual." The Sutra of Tranquility in Buddhism says, "Man can always be quiet, and the heavens and the earth will return." Therefore, "deep and quiet" not only has the Confucian idea of "out of the mud and not stained", but also has the old zhuang feeling of "the sage Cheng Huai tastes the image", pursuing a pure, noble and light beauty, expressing the aesthetic orientation and creative realm of the ancients in painting. Tang Sikongtu's "Twenty-Four Poems" said it well: "The gods are out of the ancient world, and they cannot be received." Like the dawn of the moon, like the autumn of qi. Hirohito's "Cliff Flowing Water Map" embodies this kind of "like the dawn of the moon, like the autumn of qi" of the faint and innocent aesthetic interest.
Qing Hongren 1652 landscape
In terms of composition, the painting refers to Ni Zhan's "Qiuting Jiashu Diagram", breaking the panoramic composition method of heavy mountains, dense content and vast scene in the traditional landscape painting composition, and adopts a simple structure that abandons complexity and simplicity, blandness and sparseness, and develops on the basis of Ni Zhan's pattern. The picture is divided into three scenes: the near view is the reef, the trail, the ancient tree, the hut and the edge of the lake with small waves; the middle scene is the undulating and changing mountains and hills---— although the whole picture does not have much ink, it gives people a fresh feeling of "the sparse place does not see its lack, the open place does not feel empty", a simple few strokes wrote out Hirohito's calm, leisurely, wild mood, it can be seen that Hirohito was thinking clearly and undistracted, highlighting the creative concept of "the scenery is innocent and indifferent", so that people can be quiet in an irritable life after viewing. Reach a state of tranquility and far-reaching.
Qing Hongren Fengxi Autumn Color Map
This picture has few scenes, concise and open, new talents in pen and ink, and vigorous and powerful. The author draws mountain stones with ink lines outlined, ink blended, thick and light changes, mountain stone slopes are covered with hemp and large and small axe splitting interaction for use. The reefs are stacked, dense, large and small, forming jagged "alum blocks"; the distant hills are more covered with hemp and slightly dissolved; the distant peaks are lightly inked and full of spirit. The author's painting of trees also has Ni Yunlin's brush strokes. The combination of trees is complemented by curves interspersed, producing a static beauty. The mountains and trees are mainly linear ink changes, without too much light and shade and depth, so that the linear method is irregular, but it also reflects the overall uniformity and the integrity of the layout, which is the unique feature of Hirohito's landscape paintings, and it is also the result of Hirohito's in-depth observation of nature. As he himself said: "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. ("Painting") Hongren's painting is calm and meticulous, he likes to use flanking and dry brushes, mostly outlined with square folded lines, likes ink and less coloring, "sees plump in extremely thin places, sees cangjin in extremely thin and weak places, although it is light and has no lightness, but has afterglow" (Qing Yanghan's "Gui Shi Xuan Painting Talk"). The objects he paints are all exquisite and unique, both true and beautiful, embodying an ethereal and implicit poetry, no wonder the Qing Dynasty painter Xuezhuang commented on Hongren's paintings: "Better than the real scene, wonderful."
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