Biography
Wang Fu (王绂), born on May 3, 1362, the 22nd year of the Yuan Dynasty (1362), was a native of Wuxi, a painter of the early Ming Dynasty, with the character Mengduan, a youshisheng, and another name as Jiulongshanren. Young Cong is studious, 10 years old can poetry, 15 years old You Xue Yi Ku as a disciple. Ming Hongwu was conscripted into Beijing in the eleventh year (1378), and after twenty-three years (1390) of Hongwu, he was tired of the imperial court's pursuit of Zuo Xiang Hu Weiyong's rebellion against the party, and was sent to Datong, Shanxi, to serve as a pawn for nearly 20 years. In the second year of Jianwen (1400), he returned to his hometown and lived in seclusion in Jiulong Mountain, composing poems and paintings, and teaching his disciples. In the first year of Yongle (1403), Wang Fu was recommended to Beijing for the Book of Kindness, where he served in Wenyuan Pavilion and participated in the compilation of the Yongle Canon. Yongle spent ten years with the zhongshu sheren and was sent to Beijing to engage in preparatory work for the relocation of the capital. In the eleventh and twelfth years of Yongle, he twice accompanied Ming Chengzu Zhu Di on his northern tour.
On February 6, 1416, the fourteenth year of Yongle (1416), Wang Fu died of illness at the Beijing pavilion at the age of 54.
Wang Fu has "Wang Sheren Poetry Collection" and "Youshi Mountain House Collection" passed down.
Painting
Wang Fu painted landscapes and characters, and the four families of landscape masters, especially Wang Meng and Ni Zhan, were light and simple, and sometimes Ni Zhan and Wu Zhen painting methods were mixed, dry and wet, canggu thick. The Peiwenzhai Calligraphy and Painting Notation and Pictorial Biography says that he "used his brush to surpass yuwen Tianyou, and was on a par with ShuMing." The Ming Dynasty Wang Shizhen said, "Meng Duan was no less expensive than the Yellow Crane Mountain Tree in Yongxuanjian (Yongle Xuande)" (Weizhou Shanren Manuscript). Wang Qi's paintings are extremely high, and Wen Zhengming said in the inscription of the "Hushan Bookhouse Map" that he "has a very high character and can not be served by the arts, although the piece of paper ruler is not unattainable to his people." He did not easily paint for people, and for the rich who used money to ask for painting, he refused to go out, so posterity has a verse that "the crown of the person who gives up his demeanor is flowing, and the bottom of the pen is not easy to seek". Therefore, there are very few works handed down by Wang Fu, and several works are really rare in circulation, such as "Ink Bamboo Diagram", "Bamboo Crane Double Qing Diagram", "Xiaoxiang Autumn Intention", "Dead Wood Bamboo Stone Diagram", "Jiangshan Fishing Music Map", "Lugou Xiaoyue Map", "Eight Views of Yanjing", etc.
Wang's painting bamboo combines the strengths of various famous artists since the Northern Song Dynasty, and has a unique style of free swinging, vertical and horizontal flowing, and clear and strong, and is known as "the first of the Ming Dynasty". In the fourth year of Jianwen (1402), Wang Fu painted the "Bamboo Furnace Boiling Tea Diagram", and wang Da, a scholar who was a scholar, wrote an inscription for his preface, constituting the precious "Bamboo Furnace Picture Scroll". This picture scroll was deeply loved by the Qianlong Emperor, and during the southern tour, he used to taste the inscription of the "Bamboo Furnace Map" in huishan pin erquan water. After the scroll was accidentally destroyed, the Qianlong Emperor actually imitated Wang Fu's penmanship, supplemented the bamboo stove head map, and inscribed poems.
Ming Wang Fu "Guanyin Book Diamond Sutra Combined Scroll" picture part
I. The Guanyin Book of the Diamond Sutra
The Guanyin Book of the Diamond Sutra, on paper, ink and pencil, 24.6 cm in length and 78 cm in width, is a late work of Wang Shi when he was 52 years old (1414). It is an old collection of the Qing Palace, now in the Liaoning Provincial Museum, and was viewed three times in the library of the museum more than 20 years ago, and it is still fresh in my memory today. In the volume, there are 33 seals of Qianlong Royal Treasure, New Compilation of Secret Hall, Treasure collection of Ganqing Palace, Yi Descendants, Qianlong Appreciation, Sanxitang Jingjian Seal, Treasure of Jiaqing Imperial Collection, Treasure of Xuantong Imperial Collection, Ruilin Chongding, MengRui and so on. The work consists of two parts, Guanyin Tu and Xingkai shu "Diamond Sutra", the picture part depicts Guanyin sitting cross-legged on a rock cliff with white depiction, squinting at a barefoot boy with his eyes squinting, looking peaceful and calm, Yang Liujing bottle is placed on the left, and the green bamboo cave rock behind him shows the painter's grasp of the environment and artistic conception when creating, forming a perfect spatial relationship between primary and secondary, and shaping a transcendent world beyond red dust. Wang's painting traces are known as "out of the posture in the vigor, see sprinkled in the vertical and horizontal", this volume of brushwork presents a calligraphy pen, the lines of the vertical and horizontal turning flexible and lively, in the flow of the bone strength of the strong, in the strong and hidden a hint of subtlety, the handwriting is clear, the law sweeps with dyeing, the change of the moss thick and light, the dry show is endless, the rock cliffs and rivers, connecting the clouds and smoke, the artistic mood is quiet and idyllic, the cold and cold, the vastness, the whole picture does have the same feeling as the ancient people's character evaluation. The interlaced book "Vajrapani Prajnaparamita Tantric Sutra", with elegant and round characters, subtle and quiet, diluted and peaceful, just like the style of painting, is a treasure that can be called the combination of Wang's calligraphy and painting.
Ming Wang Fu "Guanyin Book Diamond Sutra Combined Bi Scroll" Vajrapani Prajnaparamita Sutra Partial
II. "Daiyue Spring Cloud Map"
This frame of Wang Fu's "Daiyue Chunyun Map", 70 cm long and 27 cm wide, was composed in the Ming Dynasty Yongle Gengyin (1410), which was a masterpiece of Wang's 48 years old. It is a picture depicting the spring scene of Daiyue, taking the method high and far-reaching. Close-up scenery of the bushes, lush forests weeping willows, casually adapted, all wonderful, on the stone bridge an old man with a staff to visit friends, listen to the water to appreciate the spring, both gods and shapes, moving places, evocative. A person sits in a hut on the shore, meditating in all directions, the breath is quiet and idyllic, the look is leisurely, the view is like a dream like reality, like a Confucian Tao like a god. The two people have different hearts, the breath is different, and what comes to the face is the different emotions of the painter when shaping the two characters, which is very rare in the creation, and the two people's looks expressed by the painter are amazing, and I have to be in awe of this outstanding painter of ancient times. In the middle of the scenery, the water is quicksand, the reed grass is rampant, the strange peaks are strange, the pines and cypresses are sparse, overlooking the mountains, the waterfalls are straight down, pouring thousands of feet, the mountain peaks are alum heads, and the grass and trees are overgrown. The distant mountains stand tall, the virtual reality is appropriate, the smoke and clouds are swirling, the changes are endless, and the artistic conception is long. This Tushan Stone Fold Method takes the pen of Wang Meng and Wu Zhen. With the thick integration of the long blade of linen into the stick pen, dry pen, rubbing point dyeing and use, the alum on the top of the mountain turns the raindrops into wrinkles, and the leaves are mostly painted with thick ink, forming a splash of ink and lushness, this picture is conceived of a deep valley, a scene of lofty mountains and mountains, which can be called Wang Mengrui's proud work. Wang Qi's paintings also came from Huang Gongwang and Ni Yunlin. Shen Zhou commented on his paintings: "Simplicity in complexity, strange in silence". Dong Qichang also praised the Wang clan: "Wang Fu was like Yang Wanli (Shi Qi) Fang Zhengxue (Filial Piety) in the early days of the country, and the rules of the ancestors were actually used." The Ming people praised the appraisal and affirmed Wang Fu's important position in the history of the development of landscape painting.
Ming Wang Fu 《Dai Yue Chun Yun Tu》
The figures have been collected by many people successively, such as the "Yi zhou treasure collection" (Zhu), the "Han Helin appraisal seal" (Zhu), the "Qixi Xi Zhuo" (Zhu), the "Li Clan Ganchu Collection" and other imprints. An Qi's "Ink Edge Record View" is recorded, and the "Daiyue Chunyun Map" has a clear record: "Daiyue ChunyunTu, a long page on paper, similar to Shuming, there is a self-titled book. "Yes Tu is a work of orderly inheritance.
Self-titled "Picture book playthings are also, people are fond of them, and good players will clear their eyes to cleanse their minds, and those who are not good at playing will drown their minds, and those who are good at playing are also by the human ear." Khao Gong Lin Jun Zhongyong tasted the love of servants' clumsy paintings, and he was not paid for a long time. Bi Cheng's favor to participate in the government of Shandong is to promote it, thinking that the play of the public surplus, seeing that it is known as Daiyue Chunyun, and the king's fate is also fate. Although in samsa and ancient fangyue, it will be able to declare that the son of heaven is blessed in political affairs, and the rain will reveal that his people will see the effect of love and nurturing, and if there is a spring cloud, then the king will not be able to say that he is not good at playing. When one of them dwells in the eyes of those who must have a resource, it is a little plaything, and it is a book to be blessed with clouds. "From his words, he expressed his open-minded feelings of not being enslaved by artistic affairs and not doing anything to the powerful, which was awe-inspiring.
III. "Pine Forest Pavilion Map"
In the fourth year of Ming Yongle (1406), Zhu Di issued an edict modeled on the Nanjing Imperial Palace to build the Beiping Imperial Palace and city walls. In the first year of Yongle (1403), Wang Fu was recommended to Beijing for the Book of Kindness, where he served in Wenyuan Pavilion and participated in the compilation of the Yongle Canon. Yongle spent ten years paying homage to the zhongshu sheren and was sent to Beijing to engage in preparatory work such as moving the capital. In the eleventh and twelfth years of Yongle, he twice accompanied Ming Chengzu Zhu Di on his northern tour.
Because of their official duties, the Wang family traveled back and forth between Nanjing and Beijing, and had the opportunity to enjoy the majestic mountains and rivers in the north. The different geographical features have added infinite illusion and integration to the jiangnan scenery in Wang Fu's chest, forming his unprecedented feelings, and the hills and ravines in his chest have undergone tremendous changes, coupled with the song people's pen and ink, the essence of the four Yuan families Wang Meng, Wu Zhen, and Ni Zhan, the appearance of their own creation, the landscape and water pen and ink made are subtle, the weather is thousands, the collection of four families and the breaking of four, unique, opening up a momentary atmosphere, leading the wumen pioneer. "Songlin Pavilion" is the work of Wang's travel to and from Beijing. At the beginning of the Ming Dynasty, painters learned the techniques of Yuanren with the advantage of being close to the water tower, Wang Meng and Ni Zhan were still alive during the Hongwu period of the Ming Dynasty, and their influence in the Jiangnan region had not yet disappeared, Wang Fu had the opportunity to contact the authentic works of Wang Meng and Ni Zhan, and had the opportunity to witness the study of Wang Meng and Ni Zhan's works. Therefore, knowing its full picture, he can benefit from the details of the two houses, so his technique of making landscapes and rivers has the denseness of cattle hair and hemp, and there are also simple compositions on both sides of the river, works with the characteristics of Ni Zhan, and sometimes can be integrated into Wu Zhen's brush and ink, painting the rich and elegant works of brush and ink that successive generations of painters yearn for. It has reached the highest realm of landscape painting creation, showing the observable and untouchable beauty emphasized by the ancients.
The magic of Wang Fu's landscape works is that there is both a distant atmosphere and a smooth pen and ink in the painting, the ink color change is very magical, the dry and wet are all present, the top of the distant mountain is painted with wet pen thick ink, and then the dry pen light ink accumulates the mountain stone layers, and the contrast between thick and light produces a rare sense of light in ancient landscape paintings. In traditional Chinese painting, yin and yang are divided into yin and yang but not dark, Wang Fu exudes his thinking on light and shade in his creation, and the details may come from his daily observation and sketching of nature, and his works show the simple beauty of creation.
Ming Wang Fu 《Pine Forest Pavilion Diagram》
"Songlin Pavilion Diagram" is a work created by Wang Fu at the age of 47 for his friend He Jinglian in the ugly year of Yongle Ji (1409), ink paper, 88 cm high and 35 cm wide, imitating ni Zhan's composition on both sides of the river, and getting its essence in technique, is the use of the pen from Ni Zhan and Wang Meng's pen intention, the breath is slightly cold and implicit, clever and clumsy, but also very different from the style of works such as "Daiyue Chunyun Tu" in his later years. Observing this work, it can be seen that Wang Qichang did have a great influence on Dong Qichang, and traces of Wang Qichang can be found in Dong Qichang's works, but Dong Qichang's works are a little more feminine than Wang's, and the literati interest of Wang Qichang's works is not as rich as Dong Qichang's. Judging from the comparison of the works of the two people with similar styles, subtle differences can be found.
Wang Fu suffered hardships in the first half of his life, and after middle age, he wrote ink and bamboo for generations, which can be called a famous painter of bamboo in the early Ming Dynasty, and the exquisite brushwork of landscape figures is admirable.
It is the title of the picture: The peaks on the river are broken and connected, and the Junjia is near the front of the nine peaks. He Yan, the genealogist of the former, is now known as Dong Xian( 継東仙). Panasonic night steaming fire, bamboo edge eye boiling tea smoke. Over the years, the city of medicine has been sold, and poetry and wine have been on the same side. (Deep) Mr. He Jinglian in the clouds covered the Tai Doctor with a square vein, and the servant also carried the pen Hanlin, this year they all pre-empted coming from Beijing, talking and laughing, more than in the past, holding paper for a day to seek false paintings, so he wrote the Pine Forest Pavilion Pingyuan Map and gave poetry to beauty, Yongle himself ugly to the day, Wuxi Wang Yingrui zhi. There are zi jinghu ruyin, Xiangyuan Bianyin, Pingsheng True Reward, Ji Ao, Xu Lang Zhai, Qiu Li, Zi Jing Father Seal, Xiang Molin Secret Seal, Descendant Shichang, Meng Rui Seal.
Ming Wang Fu "Mountain Pavilion Wenhui Map", Collection of the National Palace Museum in Taipei
It was on September 10 of the year of the Emperor in Yunlu
Zhang Jigang
Born in 1966, he graduated from Liaoning Normal University and studied under Mr. Yang Renkai for thirty years. It integrates comprehensive disciplines such as eye recognition, comparison, analysis, examination and fixation, and psychotropics to establish the theory of "calligraphy and painting identification and psychotropy". Ancient calligraphy and painting appraisers, calligraphers and painters, scholars, representatives of contemporary literati painters, advocating the "spirit of literati painting". Dabbled in literature, history, philosophy, poetry, words, etc., and founded the "Yunlu Art Society" academic institution. His works have been collected by Yale University, Cambridge University, University of Paris, Hong Kong university of Chinese, Shaanxi History Museum, Sichuan Museum, Hainan Museum, Three Gorges Museum and other domestic and foreign museums, and have been invited to solo exhibitions.
Chinese, deputy director and professor of the Research Center for the Protection and Appraisal of Literature, Calligraphy and Painting of Chinese University, director of the International Academic Committee for the Identification, Restoration and Protection of Ancient Chinese Calligraphy and Painting, and president of the Yunlu Art Society, enjoy the expert allowance of the State Council.