Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the ancient paintings truly reflect the way of life and scientific and technological level of the people at that time, combined with the record of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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Chinese Qing Dynasty painting, under the influence of politics, economy, ideology and culture at that time, presented a specific style of the times. Scroll painting continues the trend since the Yuan and Ming dynasties, literati painting is popular, landscape painting is flourishing, and ink freehand painting is prevalent. Literati painting presents two tendencies: sublime and innovative. In terms of subject matter content, ideological interest, pen and ink skills, etc., they have different pursuits, and form a variety of styles and genres. Court painting also achieved great development during the Kangxi and Qianlong periods, and presented a new style that was very different from the previous generation of courtyards. Folk painting is most prominent in the achievements of New Year paintings and prints, showing an unprecedented flourishing situation. The historical process of the development of painting in the Qing Dynasty is related to the development and changes of the whole society, and can also be divided into three periods: early, middle and late.
In the last years of the Qing Dynasty, with the decline of feudal society, new changes took place in the field of painting. For about 200 years in the Qing Dynasty, the authentic literati painting school and the imperial court paintings were gradually declining, and Shanghai and Guangzhou, which were opened as treaty ports, had become new painting centers, and the Hai school and lingnan school of painting appeared.
The factional forces of the Four Kings gradually declined during the Daoguang and Xianfeng years, and there were not many accomplished painters, only Tang Yifen and Dai Xi's landscapes made breakthroughs, which were valued by the people of the time, and the landscapes of Qian Du, Hu Yuan, Wu Yuxiang, Wu Qingyun and others were also praised for a while. We first share Dai Xi landscape paintings from the late Qing Dynasty.
Dai Xi (1801-1860 AD) was a Painter of the Qing Dynasty. Zi Alcohol Shi, No. Lu Bed, Yu'an, Songping, Shuxi, Jingdong Jushi, etc., Zhejiang Qiantang (now Hangzhou) people. Xianfeng Hanlin, the right attendant of the military department, resigned his official and presided over the Chongwen Academy after returning to Li. He is good at painting landscapes, learning Wang Yun's pen and ink, and also teaches the Song and Yuan families, especially good flowers and bamboo and stone sketches, can rule the seal, and authors "Xi Ku Zhai Collection" and "Inscription Painting Even Record" and so on.
The main works handed down include: "Yunlan Yancui Map", "Yisong Diagram", "Boiling Tea Reading Painting", "Old Willow Songbird Diagram", "Secluded Residence Map", "Landscape and Water Four Screens", "Landscape Map", "Landscape Book" Eight Zhen, "Landscape Map", "Heavy Mountain Dense Tree Map", "Songshan Visiting Friends Map", "Shiliang Yulai Pavilion Map", "Qiupi Xiao Shuang Map", "Stream and Mountain Flowing Trickle", "Xingshu Seven Words Lian", "Xingshu Eight Words Lian", "Xingshu Seven Words Lian", "Xingshu Seven Words Lian", "Huiyan Waterfall Map", "Landscape Map" and so on.
Late Qing Dynasty landscape painting master Dai Xi's "Yunlan Smoke Andi Tu" appreciation
Dai Xi's "Yunlan Smoke Andi Tu" vertical axis, paper, ink pen, length 138.5 cm, width 64.5 cm. Collection of Qingdao Municipal Museum. In the distance, the mountains are undulating, the trees are luxuriant, and the clouds float among the mountains. Mountain springs merge into small streams under the clouds, and turn valleys down. The huts were jagged in the flat middle of the valley, and the owner of the small courtyard was busy with the window. Nearby, the water ripples, the rocks are overgrown with weeds, and the dense forests are thick. The whole picture is bright and elegant. This picture is exquisitely structured, relaxed, the pen and ink are clean and moist, all tacky, although it looks like smoke, but it has a different atmosphere. The title is "Cloud Lan Smoke Green." The image of the big fool is not to seek the number of families. The eldest brother of Bo Huang, Shi Xianfeng five years B Yi Qing Ming Festival alcohol Shi Dai Xi. ”
In the late Qing Dynasty, the master of landscape painting Dai Xi's "Yisong Tu" was analyzed
Dai Xi's "Yisong Tu" is ink on paper, 37.7 cm in length and 123.2 cm in width. Collection of the Palace Museum in Beijing. The "Yisong Tu" is the best example of Dai Xi's "master's creation". Painter Baoyun: "The land is close to the Fang Mountain, the mountain has longchi cloud cave victories, many pines, manxi migu, endless hope, changing the moon and night in the middle of ten thousand pines, meeting the brothers of the Yao clan, reading books under it, giving poetry to answer, and having the ambition of Bu Lin." Later, the Beijing Master, every value of the wind and the moon, remembrance, asked to write the "Remembrance of the Pine Map", the end of the five years of the fall has a reward, Ding Wei early spring, the overseas Chinese residences are quite reminiscent of the old mountain pine path ..." "The Remembrance of the Song Map" has the momentum of the "Northern Song" landscape, and in the artistic conception, it breaks through the Xiao Light and Dry Silence of the Last Stream of the "Four Kings School", and to a certain extent, it shows the majesty and thickness, the form of the mountain stone and the law.
Dai Xi, a master of landscape painting in the late Qing Dynasty, appreciated and analyzed "Boiling Tea and Reading Paintings"
Qing Dai Xi 1832 "Boiling Tea reading paintings" vertical axis. Dai Shi was a painter, and the inscription was compiled into ten volumes of "Xi Ku Zhai Painting Silk". I read this book a few years ago, and the words are full of harmony and warmth. In particular, I remember that he was full of love for his children, drawing, painting, painting, and teaching them. This is rare in the ancient texts, and it is very pleasant.
Late Qing Dynasty landscape painting master Dai Xi's "Old Willow Songbird Diagram" Appreciation
Qing Dai Xi "Old Willow Songbird Diagram" Vertical Axis Ink on Paper.
In the year when Dai Xi was out to supervise the study of politics in Guangdong, the Daoguang Emperor said to him: "The Ru brush is pure, but in the chest, it is only the landscape of Wu Yuejian." This trip won the victory of Kuang Lu and Luo Fu... Yu painting should be improved. Ru PinXue, Shu Su Zhi. After-work entertainment, and can also become a full old painter also. It can be seen that at that time, the name of the painting had already reached the heavenly court, and when he went to Lingnan, he actually had the meaning of depicting the great and good rivers and mountains. According to Chen Kangqi (1840-1890), most of his friends in Hangzhou knew about it, and Dai himself has poems in his collection as evidence.
Late Qing Dynasty landscape painting master Dai Xi's "Secluded Residence Map" Appreciation
Dai Xi's "Secluded Map". As a painter, Dai Xi was one of the most famous landscape painters in the late Qing Dynasty Daoguang and Xianfeng years after the "Four Kings", and was on a par with Tang Yifen and was known as "Tang Dai". Dai Xi's uncle was good at calligraphy and painting, and under his influence, Dai Xi was very interested in painting since childhood, calling himself "The Nature of Painting in the Year of Hair"
Late Qing Dynasty landscape painting master Dai Xi's "Four Screens of Landscape and Water" Appreciation
Dai Xi's "Four Screens of Landscape and Water"
The layout of the picture is based on The mountain of Gao Jun, the distant mountains loom, the trees on the mountain are sparse, or a pavilion is erected; or there are several huts hidden between trees and stones; or the clouds and mist swim; or the lake is vast. Near the flat slope miscellaneous trees, the hillside stone gentle, between the near and far of the landscape clouds and mist wandering, the clouds also have mountain stones, trees looming, the mountains undulating, the mountains and rivers are connected, more and more beautify the artistic conception of the picture.
In terms of painting techniques, use more brushes. The mountain stones are made of dry ink, and the thick shade and distant mountains are rendered in wet ink. The dense moss dots of the distant peaks and mountains are arranged in a row, and the pen and ink are thick and dark. However, the nearby slope stones are mostly the "cicada clothes" created by Dai Shi, that is, the linear "Phi Ma Chuan" is mixed with the face-like "axe splitting" to increase the texture of the mountain stone.
The inscription on the top is "Lindong Shuda Da Da", painting the scenery of Jiangnan, not to be the danger of the cliffs of the Qifeng, the shadow of the distant trees in the forest, and the charm of the beautiful waters of the Lingshan Mountains in Jiangnan.
Late Qing Dynasty landscape painting master Dai Xi's "Landscape Map" Appreciation
Qing Dai Xi", "Landscape Map", Ink on paper, 17.2 cm in length, 23.4 cm in width, 23.4 cm in the collection of the Palace Museum in Beijing.
Although Dai Xi also started from Wang Yi all the way, he could be creative. Coupled with the late Qing Dynasty examination and the prosperity of epigraphy, Dai Xi also integrated into the trend of advocating epigraphy, absorbed the strengths of calligraphy and seal engraving in painting, and used gold stones to paint, forming an extremely subtle and creative painting style. This painting is solid with a solid pen, the pen has a sense of entering the wood, and the mountains and rivers are also covered with old tones due to the heavy ink pen, forming an empty artistic conception of the picture.
Late Qing Dynasty landscape painting master Dai Xi's "Landscape Album" eight frames appreciation
One of the "Landscape albums" is the work of the Qing Dynasty painter Dai Xi.
Many people's first impression may be "literary and artistic small fresh", beautiful to the extreme. Dai Xi depicts the most beautiful scenery in a limited space. It seems to make people linger in it, and they can't bear to leave. Dai Xi's ability to paint such a unique work is related to his choice of albums as a form of creation. The album is characterized by its small and chic and free composition. You can paint panoramic landscapes, or you can paint square inches in front of you. Painters can display their creative inspiration in the album without being bound by rules and regulations.
The second part of the "Landscape Book" is the snow blowing in the north. It depicts the landscapes and rivers of Gangnam and covers the scenery of the four seasons. It is rare that there are also night landscapes in the painting. Since traditional painters almost never consider changes in light and shadow in their creation, how to paint night landscapes is a big problem for them. Dai Xi lived in the middle of the Qing Dynasty, he had the experience of serving as an official in the capital, perhaps he had seen the depiction of light and shadow by Lang Shining and others, and his night scenes looked very natural. This one is north wind blowing snow.
"Landscape Book" three nights of the bright shaking island. Mainly want to express the literati's happy enjoyment in the landscape, this enjoyment can be called "fun", can also be called "elegant fun". On each frame of the album, he inscribed a sentence summarizing the theme of the picture, clarifying the real feelings of creation. The works of traditional painters pay special attention to expression. However, the living space of the literati is limited, which leads to their feelings being limited. This restrictive pursuit constitutes one aspect of Elegance.
The fourth part of the "Landscape Album", "Xiao Color Floating", Dai Xi's creative ability is very strong, from the technical level, this set of albums are all color ink landscapes. The color and ink changes make the picture full of attraction. Color has always been an important part of painting, even in black and white ink works, there are all kinds of subtle variations. For example, this frame of "Dawn Color Floating", first wrinkles and then dyeing and then applying color. In this process, Dai Xi uses ink colors to separate the structure, and enriches the texture with cyan and light daisy. A variety of methods are used together to draw a faint "sense of light".
In the fifth part of the "Landscape Book", "Qingxue Meilai", Dai Xi was very bold when painting, he did not think too much about stylized composition, but looked for a composition suitable for his form of expression. He wants to express a relaxed, leisurely, and comfortable state of life, so he emphasizes close-up close-ups in his works so that people can have a strong sense of substitution. In the creation, do not separate the various techniques, the work is complete, and the techniques and emotions in the creation should also be connected.
The sixth "Shangcai Twilight Night" of the "Landscape Album" is in line with the aesthetic pursuit of modern people, and the decorative style revealed in it makes the work have the characteristics of "versatile". It can be used for home decoration decoration or in the hand to enjoy. Such works are worth watching several times to increase the understanding of the beauty of classical freshness.
"Landscape Book" No. 7 "Quiet In the Window",
"Landscape Book" No. 8 "Jade Night Floating Green",
Qing Daixi's "Landscape Map" axis, colored on paper, 151 cm in length and 50 cm in width. The Jiangyin Museum now has a collection of 1847 works. This work is a shallow landscape, and the composition is mainly medium and close-up. The pen is rigorous and delicate, beautiful and smooth. With dry and wet light ink, short pen fragments, layer by layer dot dyeing, intermittent heavy ink broken line to wake up the bones, so that the whole picture is elegant and elegant, and the artistic conception is far away. The upper mountains are abrupt and undulating. The middle is rocky, light ink fine pen short line rubbing, thick ink dot moss. A few strong pines, jagged and erect, branches down, clouds of smoke, mountain springs converge into a curved stream straight into the pool. On the lower near-view mountain stone, two shady ancient trees, one high and one low, staggered each other, reflecting the bank of the stream, in the flat rock, a red-clad hermit sat cross-legged, playing the piano on the shore, not far behind him, the book boy held the sheet music or classics, and served each other with piety. The two masters and servants were placed in the mountains and rivers, listening to the sounds of nature, and the image was vivid and vivid. The whole picture uses the pen "beautiful but not thin, majestic but not thick", outlining the artistic conception of "people, piano, spring", showing the openness and dustlessness, and the high and quiet of the forest spring.
In the upper left blank space of the painting, there is a poem inscribed with seven words: "The mountain light shines white, and the stone is floating in the air." The cold pine is prone to the yin, and the wind in the side ears is windy. Ancient sounds into my piano, make me string the spirit. There is no true reward for the drum alone, and it is scattered and returned to meditation. "Drop the mellow, Dai Xi. Immediately after the payment, the double section is written "Ding Wei, Jing Di". On the left side of the fallen model, there is a white text seal "with the same name as Xuhe Yangguo in Jiangnan", but the name seal or font number seal is missing. There is a wide dug-out mark in the blank space above the drop, and it can be concluded that there are several sentences and seals inscribed in the original place.
On the framed edges around the painting, there are many inscriptions. The inscription on the right: When Zi Zhong's brother yu Jingshi, he and Dai Wenjie were painting friends and made the most intimate friends, so he painted for it, and it was lost when he was fighting. The spin is obtained by a friend, and the son is returned, and the recipient is owned by himself, and for several years, the son is purchased in the bookstore, the painting is still intact and the inscription has been washed away, and The remnant borrows the view as the zhi, and its upside down is here. In the early winter of Jia Shu, Zi Qing Zhang Zhi Wan.
Dai Xi, a master of landscape painting in the late Qing Dynasty, appreciated and analyzed the "Dense Tree Map of Heavy Mountains"
Dai Xi's "Dense Tree Diagram of heavy mountains" on paper, light color, 115.3 cm in length and 46 cm in width, is now in the Shanghai Museum. It is a work of pen and ink. This picture was made a year before Dai's death, although it basically follows the Southern Sect family law of the Dong (Yuan) Ju (Ran) lineage, it better reflects the characteristics of Dai Xi's brush and ink balance, moderate complexity and simplicity, and natural blending.
From the perspective of picture composition, the mountainside cloud and mist can be clearly divided into two parts. Its lower part is densely lined with dense trees, lush and green; its upper part is full of peaks and peaks, calm and clear. The second half of the picture is rich in scenery, with bushes, burrows, streams, and bamboo repairs, with clear layers and staggered arrangements, which is undoubtedly a hermitage of Lu Hong Caotang and Wang Weirenchuan-style ghostly gaoshi. The first half of the picture is simple, mainly with two incomplete mountains occupying most of the picture, and there are trees connecting the two mountains, which are interspersed with reflections and amusing people. The dense moss dots on the peaks are arranged in a row, the pen and ink are thick, the shades are different, the clouds and mist on the mountainside are swirling, and there are also trees looming in the clouds, which beautifies the artistic conception of the picture and makes the whole picture full of poetry. Looking at the whole painting, the hills and ravines are properly arranged, and the pen and ink are skillful, which is indeed a masterpiece of Dai's later years. At the top right of this figure there is the self-title of the author "Heavy Mountain Dense Tree, Beiyuan Testament, It Has Not Been October, Three Brothers of The Servants, And Alcohol Dai Xi", and the zhu bai wenyin is printed on each side. In addition, the map has been circulated for a long time, and once collected the collection of Pang Yuanji, and there was a "virtual fasting approval" Zhu Wenyin side.
Dai Xi, a master of landscape painting in the late Qing Dynasty, "Songshan Visiting Friends" Appreciation
Qing Dai Xi "Songshan Visiting Friends" Landscape painting.
Dai Xi, a master of landscape painting in the late Qing Dynasty, "Shiliang Yulai Pavilion" Appreciation
Qing DaiXi's "Shiliang Yulai Pavilion Diagram" roll on paper. On paper, ink, length 35cm, width 316cm, Cleveland Museum of Art, USA.
The Southern Song Dynasty Jia XiangDao created the Tanhua Pavilion in Shiliang. In 1838, the pavilion was destroyed. Pan Gongfu (name Zengyi), a suitable housekeeper, passed over the stone beam and discussed raising funds for construction. The monks requested that the Pavilion be changed to Yulai Pavilion, but due to the drought in the Tiantai Mountains, the name was changed to Zhixi. Pan Gongfu wrote a poem for this purpose, poem Yun: "Pingzhang's cause is a big river, and there are leaks that trickle from scratch. Seventy-two puffs were everywhere, when the rain came on tan hua ting. ”
The picture depicts the stone beam flying waterfall of Tiantai Mountain, the east-west direction of the Tiansheng Bridge, connecting the two cliffs facing each other, the stream is three folds, rushing out of the bridge hole, forming a rainbow-like waterfall, dancing and falling into the Huize Pond under the feet. Yulai Pavilion is located on the bank of the flying waterfall, and Fangguang Temple is like a sky outside, only to see its tower. The whole map has a kind of magnificent aura and ethereal rhyme that runs up and down.
Late Qing Dynasty landscape painting master Dai Xi 'Qiu Pi Xiao Shuang Tu' appreciation
Dai Xi's "Qiu Pi Xiao Shuang Tu" fan surface
"Qiu Pi Xiao Shuang Tu" is a paper, ink pen, painting a small scene of Qiu Shan. Purely depicted in ink, it is moist and thick, and the hidden cash yellow caviar gold paper surface is contrasted, which has a unique charm. The department is "Qiu Pi Xiao Shuang, Proposed Dong Si Weng's Spicy Work, Shao Mei Ren Brother Genus, Alcohol Shi Dai Xi". There is one white seal for "Dai Xi" and one zhu wen seal for "alcohol", and one for the lower left corner "Why should I see Dai" Zhu Wenyin.
Dai Xi, a master of landscape painting in the late Qing Dynasty, "Streams and Mountains Flowing" Appreciation
Dai Xi's "Streams and Mountains Trickle" Tuan Fan Frame. In the third year of Xianfeng (1853), the Taiping Army marched into Jiangsu and Zhejiang, and Xi actively donated funds, organized regimental training, recruited more defenses, and assisted the officers and troops in resisting. In February of the tenth year, the Taiping Army conquered Hangzhou, and Dai Xi threw himself into the pool and died. Dai Xigong's poetry, calligraphy and painting, and his achievements are all deep, and he is on a par with Tang Yifen, and is called "Tang Dai". The landscapes he paints are majestic and strong in pen and ink, especially in the gods, and are respected by the world. It is also used as a bamboo stone sketch and a flower and grass figure, and also a seal, which has ancient interest.
Dai Xi, a master of landscape painting in the late Qing Dynasty, appreciated and analyzed the "Seven Words of the Book of Conduct"
Dai Xi's "Seven Sayings of the Book of Conduct" 204×39 cm×2 Interpretation: The practice of karma is far-reaching, and the genius is knowledgeable and comprehensive. Description: Brother of Gong Zhai, Dai Xi. Seal: Seal of Dai Xi, Alcohol.
Late Qing Dynasty landscape painting master Dai Xi's "Eight Words of Xingshu Lian" Appreciation
Dai Xi's "Eight Words of the Book of Conduct" Golden Note, Vertical Axis 179×34cm×2 Interpretation: Gan Ming Dai Mash Name RunruLe, Clear Voice to the Moon and Qi in the Clouds. Description: Four brothers of the Star Maple genus. Alcohol Dai Xi. Seals: Dai Xi (Bai Wen), Alcohol Shi (Zhu Wen).
Dai Xi's "Seven Sayings of the Book of Conduct" On Paper, Vertical Axis 133.5×29×2 Interpretation: Smoke and water luck can borrow the vision, and Jiangshan Jude can help Shihao. Description: The sixth brother of the peak. Alcohol Dai Xi. Seal: Dai Xi (Bai Wen), Hanlin Offering (Zhu Wen).
Dai Xi's "Seven Words of the Book of Conduct" Sprinkled with gold notes, vertical axis 135×32×2 Interpretation: Alone with the small group moon in the sky, win the soft foot spring in the drunken fast. Description: Curtain Repair Big Brother Genus. Alcohol Dai Xi. Seals: Dai Xi (Bai Wen), Alcohol Shi (Zhu Wen).
Dai Xi, a master of landscape painting in the late Qing Dynasty, appreciated the "Return to the Rock and Waterfall Map"
Dai Xi's "Back rock walking waterfall map" through the screen Ink paper vertical axis each screen length 135 cm, width 32 cm×4. In 1843. Collection of Jiangsu Provincial Art Museum.
Painted in 1843, it is a four-strip ink-on-paper work. The foreground trees are lush, the mountain stones are light and light, and the ink is dotted with moss. The mountains on the left side of the picture are divided into three pieces: left, middle and right, and the irregular huge strange rocks are like barriers, and the mountain springs and waterfalls are like exercises. Beneath the cliffs, pine and fir trees are lined with two tall huts hidden behind the foreground slopes, and the bottom feet of the huts are supported by multiple wooden pillars, which belong to the "thousand legs" residential building form on the water's edge in the Jiangnan Mountains. Look closely, two people standing in the tall hut, leaning on the railing, staring at the scenery on the other side, listening to the sound of flying springs and waterfalls. To the right of the water is a series of mountains that retreat backwards.
Late Qing Dynasty landscape painting master Dai Xi's "Landscape Scroll" appreciation
Dai Yan's "Landscape Atlas" is a hand scroll on paper and ink pen, 101.5 cm in width and 21 cm in length. Collection of Jicuiyuan Art Museum of Fujian Museum. PengShen (1848) made. The picture has the author's inscription "Slightly A Dong Wen Min Wei Bei Spring Shu Jiang Dong Sun Twilight Cloud Small Scroll, When Peng Shen February both looked forward to the Beijing Residence, the second year brother genus, Alcohol Shi Dai Xi", the lower plutonium white text seal "Lu Mu" side. On the left of the picture there is An inscription by Mr. Xu Bangda: "The cold smoke and rain in the west want to levy the blank, and the small pen wears a deer." Whoever under the forest sees the return, the lake building writes a word in the air. The beginning of the winter month. The lake returned to the Beijing Division, and the Ying Gong made this figure proposition, and the rate became a book of absolute sentences. Midge. and bai wenyin "Xu Bangdayin", Zhu Wenyin.
The painting collection is printed with: Chen Ying, Lan Ying Treasure, Ji CuiYuan Treasure, Ji Cui Yuan, Lan Ying, Heart Appreciation, Shi Yi Approval, Zhang Runchun Seal, etc.
The set of the picture takes the high and steep mountains as the main body, the distant mountains loom, the trees on the mountains are sparse, there is a pavilion in the mountains, and the lake in the middle is vast. Nearby, the slopes are covered with trees, the hillsides are rocky, and there are several huts hidden among the trees and stones. The mountains and clouds between the far and near are swirling, and there are also mountains and stones and trees looming in the clouds, which further beautifies the artistic conception of the picture, so that the whole picture is full of the poetry of the landscape paintings in Jiangnan. This composition is neither the magnificent landscape of the Northern Song Dynasty nor the corner scene of the Southern Song Dynasty, but absorbs the Pingyuan set method of the five generations of Southern Tang painter Dong Yuan to transform it, and adopts the Pingyuan style composition, with undulating mountains and mountains and rivers. In the painting technique, the brush is used more, and the mountain stone is made of dry ink, and then rendered with a wet pen. The dense moss dots on the distant peaks are arranged in a row, and the pen and ink are thick and dark. However, the nearby slope stones are mostly the "cicada clothes" created by Dai Shi, that is, the line-like "Phi Ma Chuan" is mixed with the face-like "axe splitting" to increase the texture of the mountain stone.