Lee in "Mi's Cloud Mountain Map" and its parts
The use of archaeological excavations to study art history has successfully solved some important problems in the study of early art history. The excavation of early paintings can help us understand the general situation of artistic development at that time. Important tomb frescoes or grotto frescoes can also reflect the scales and claws of court painting at that time.
The records of Gu Kaizhi and Wu Daozi painting walls show that before the rise of literati painting, there was a common painting style between the two. However, with the rise of the status of literati painting, the difference between the literary and the wild has become more and more obvious, and it has embarked on a difficult slope to solve the major problems in the history of painting after that through the murals of the tomb.
Through the spatial relationship of Feng Daozhen's tomb murals, some people have found a similar perspective concept in Zhao Mengfu's "Quehua Autumn Color Map", and led to the broken standard of landscape painting in the Yuan Dynasty. However, this standard of discontinuity is at odds with the perspective concept of other Yuan Dynasty literati landscape banners that have been confirmed as authentic works.
The difference between the Liao Dynasty tomb murals and the Liao Dynasty scroll paintings reminds us to use the excavations to study the scroll paintings that have been handed down to generations, and we must first face up to the correspondence between the two. As a result, there is a growing expectation of reliable scroll paintings.
Today, the understanding of the paintings of the early Ming Dynasty is still in the exploratory stage, and the excavation of two volumes of calligraphy and paintings in the tomb of Wang Zhen in the Ming Dynasty in Huai'an has raised some questions worth pondering for us.
About the creation time of the second volume of calligraphy and painting in Huai'an
In January 1982, the tomb of the ming Dynasty virgin Wang Zhen and his wife was found in Zhakou Village, an eastern suburb of Huai'an County, and 25 paintings and calligraphy were unearthed from the tomb. Since the ninth year of Akihiro's reign (1496), these paintings and calligraphy have been in the ground for nearly five hundred years and are basically intact. Twenty-five paintings and calligraphy are framed into two long scrolls, placed under the two armpits of the tomb owner, Wang Zhen.
The authors of this batch of paintings and calligraphy are calligraphers and painters of the Yuan and Ming dynasties. They are not directly related to the tomb owner Gong town, and the evidence is that none of the works are the upper paragraph of Wang Zhen. Wang Zhen (王镇), also spelled Bo'an, was born in Yizhen, Yangzhou, and his ancestors moved to Huai'an. He did not live in his life, engaged in business, loved calligraphy and painting, and collected goods as the proceeds of his life.
Jiuyang Daoist "Shusheng Tu" and its parts
Hu Duanzheng's book "Bamboo Window"
The first volume of calligraphy and painting is a sporadic collection of paintings, and there is a lack of certain connection between the frames; the situation in the second volume is different, and the emphasis is on the examination of the second volume of calligraphy and painting.
Li Zheng's "Yanpu Fishing Boat Map"
Xia Zhi's "Dead Wood Bamboo Stone Diagram" and its parts
Fan Hun "Distant View of Xishan Mountain"
Xie Huan's "Small Scene of Yunshan Mountain" and its parts
"Studio Clear Shadow Map" and its parts
The second volume of calligraphy and painting consists of seventeen paintings, namely Li Zheng's "Yanpu Fishing Boat Map", Dai Hao's "Qiujiang Summoning Crossing Map", Li Zai's "Map of Mi's Yunshan Mountain", Ding Wenxian's "Autumn Tree Double Bird Diagram", Xia Zhi's "Dead Wood Bamboo Stone Map", Xia Chang's "Bamboo Map", Jiuyang Daoren's "Capture Life Map", Hu Zheng's "Bamboo Window", Gao Ding's "Ink JuTu", Fan Hun's "Distant View of Xishan Mountain", Ma Shi's "Qiujiang Hongyan Map", Chen Charter's "Mo Mei Tu" and "Studio Qingying Map", He Cheng's "Yunshan Piao Play Infiltration", Li Zheng's "Water Pavilion Return to Zhou", Xie Huan's "Yunshan Small Scenery Map" and Yin Shan's "Zhong Kui Tu".
The above authors, except for Li Zheng, Gao Ding, and Fan Hui, who are omitted to record in the painting history documents, the rest have more or less clues to be found.
One or two of the seventeen paintings are depicted in the upper section. Dai Hao's "Qiu Jiang Summoning Crossing Map" is titled "Mo Yu wrote for the bamboo window", referring to Hu Zheng's "bamboo window" for the Jingrong book, and it is known that it was also made for the jingrong. It can be seen from this that a total of thirteen of the above works were directly composed for Jing Rong, and the rest were Jing Rong's personal collection, which later flowed into the hands of Wang Zhen.
Jiuyang Daoist's "Shu Lan Tu" and Gao Ding's "Mo Ju Tu" not only provide the time and place of the painting, but also provide the author's relationship with the Jingrong referred to in the preceding paragraph, proving that this batch of paintings and calligraphy wells is not improvised in the same collection.
Jiuyang Daoist's "Shu Lan Tu" is self-aware that "the forty-fifth generation of teachers gave Jing Rong Qingshi to write the Shu Lan Tu, and wrote it in Jintai". Zhu Wen "Nine Yang Daoist" and "Forty-five Generations of Heavenly Master Chapter" two seals. According to Jintai, it refers to Beijing. Jiuyang Daoist surname Zhang, name Mao Cheng, character WenKai, born in the 20th year of Ming Hongwu (1387), died in the 10th year of the Orthodox Decade (1445), Xuande 3rd year (1438) Si Zhengyi Zhenren throne, the 45th generation of heavenly masters. The "Forty-five Generations of Heavenly Masters Chapter" has been used on the painting, so the upper limit of the "Shulan Tu" will not be earlier than three years of Xuande, and the lower limit will not be later than the orthodox ten years.
Gao Ding's "Ink Jutu" has the author's long title: "Jing Rong Zheng Jun, Hu Hai Shi Ye." Beautiful style, wonderful words, and durable friendship with people. From Jintai to Jiangzuo, do not ask whether you know or not, as soon as you arrive at the palm of your hand, you are happy to swim with it. It is also good to befriended. In the years of the curtain, relatives and friends drank the Wangjiang Pavilion of the Junjun Mountain, when it was the ninth day of the Ying Yin, they all held the chrysanthemum and said: "The son can write is the chronicle, and not especially the frost willow is destroyed by the waiting for the destruction?" ' Because the pen is stuffed white, and a short cut. ...... Jiyang Gaoding. ”
From this text, it can be seen that the "MoJu Tu" was written in the "Junshan" of "Jiangzuo", not the Junshan in Dongting Lake. The Junshan Mountain on the left side of the river is in the north of Jiangyin County, Jiangsu Province, overlooking the Great River, which coincides with the "Wangjiang Pavilion" in the title. Gaoding signed himself "Jiyang Gaoding", which is also another name for Jiangyin. Gao Ding is a fellow villager with He Cheng (the old man of bamboo cranes), the author of "Yunshan Ink Drama", and He Cheng is also a native of Jiangyin.
Gao Ding's "Ink Jutu" was written in the "Ninth Day of Ying Yin". The time when this batch of paintings and calligraphy entered the tomb of Wang Zhen was in the ninth year of Hongzhi, before the Ming Dynasty had two Years of Ying Yin, and the main activity time of the author of the second volume of calligraphy and painting should be the eleventh year of ming orthodoxy (1446).
The recipient of these paintings, Jing Rong, came from Beijing to Jiangyin and returned to the north in the autumn of the eleventh year of orthodoxy. Refer to the farewell poems inscribed by Gao Ding and Xun Zhai (Gu Hezhong) on the "Ink JuTu" to understand more clearly. Gao Ding Shiyun: "Don't climb the frost willow gift, try to pound the frost to dye the FallEnying." Return to Jintai to play idly, and the quiet period is not negative for the cold. Sun Zhai Shiyun: "Farewell branches are picked yellow, folded with light frost, there are no more roads in the golden taipei, and three paths of autumn wind and evening incense." ”
It can also be learned from He Cheng's "Ink Drama Of Yunshan Mountain" painted for Jing Rong that Jing Rong had had contacts with He Cheng in Jiangyin for eleven years. "Yunshan Ink Drama Map" self-knowledge "Bamboo Crane Old Man He Cheng wrote for Jingrong". The year of He Chengsheng's death is unknown. The Biling Ren Zhi Zhi Yongle Yan did not lift up in the township, with the words of Bu Lang as the purpose, Di Wudang. To repeat the agitation, to go to prison. Hong Xi changed the yuan and released it. Xuande zhong recommended Yuan Zhou, rested with the people, and praised the people. Orthodox begging. Hundreds of bamboo poles are planted in the residence, leading to the second crane, the old man who calls himself a bamboo crane, Yayi Hanmo. It can be known that He Cheng called himself the "Bamboo Crane Old Man", which was in the orthodox years.
It can be proved that He Cheng's "Ink Drama Map of Yunshan Mountain" and Gao Ding's "Ink JuTu" were written at the same time or a little earlier, limited to the eleventh year of orthodoxy, and it was He Cheng who made it for JingRong when Jing Rong came to Jiangyin. Incidentally, Mr. Yu Jianhua said in his Dictionary of Chinese Artists that He Cheng was orthodox and did not know what the basis was.
According to Hu Yu's "Records of New Cultivation" ("Zhengde Yuanzhou Fu Zhi"), He Cheng served as the prefect of Yuanzhou in Jiangxi from the eighth year of Xuande (1433) to the orthodox years (1437), and according to the Zhou Boqi inscription poem on the axis of Xia Chang's "Qingfeng Gaojie Tu", there is the sentence "Meet Chengjiang He Zhuhe, also return from the famous county", it seems that He Cheng was still alive in the eighth year of Chenghua.
According to the fifth volume of the Ming Painting Record: "Peng Yuanzhong, the number juniper, the Jiangyin people, Chenghuajian and He Chengsiyi, painted landscape masters and their methods, and obtained the magic of dyeing ink." Whether it can be understood that Peng Shi was instructed by He Cheng, if so, can also be used as evidence that He Cheng is still alive in Chenghua.
Chen Charter's "Mo Mei Tu" was painted for He Cheng and later owned by Jing Rong. The above examination shows that Jing Rong's interaction with He Cheng began eleven years ago, and according to this estimate, this painting was transferred to Jing Rong by He Cheng during this period. Later, Chen Charter saw it at the Jingrong place, so he inscribed on the painting: "I have not seen the history of He Zhuang for several years, and today I remember the old mouth, and the mouth mouth is Mei Huafa, and I am suddenly alone at the mouth of the lake." Ten years ago, this picture was seen by the old man of the bamboo crane He Taishou, and the mouth mouth was seen at the mouth of the mouth, and the inscription was absolutely disciplined. charter. Therefore, the painting should have been made eleven years before orthodoxy and inscribed eleven years after orthodoxy.
Assuming that Jing Rong returned to Beijing in the eleventh year of orthodoxy, and Chen Charter saw this painting made by He Cheng ten years ago in the same year, the upper limit of the time of this painting would not be earlier than the first year of orthodoxy. If the above judgment is correct, chen charter and Jingrong's interaction should be after the eleventh year of orthodoxy, not more than ten years before and after, and the lower limit is always before the seventh year of Jingtai (1456).
Another of his "Qingying Pictures of the Study Room" is self-aware of "Chen Charter Writing Jingrong In the Studio of Qingying", and Zhu Wen is "like a hermit" with a seal. The "Charter" book on this painting is close to the "Charter" book on the title of "Memetu", and the use of the same seal, its creation time should also be eleven years after the orthodox, at the same time as the inscription on the "Memetu".
Regarding chen charter's life and activities, the history of painting is not detailed. Volume 26 of the Huiji County Chronicle only says that he painted plums "with sound Gyeonggi", and it is possible that his main activity was in Beijing. Jingrong's study room is naturally in Beijing, so Chen's "Qingying Map of the Study Room" should also be made in Beijing.
Xie Huan's "Small Scene of Yunshan Mountain" self-knowledge: "Jing Rong held this volume to write a small scene of Yunshan Mountain, so he made a proposition, and wrote a book to return to it... Seven senses. Under the Zhu Wen "Xie Ting Follows the Seal". It is learned that Xie Huan was over seventy years old when he painted this painting.
Xie Huan's birth and death years have never been known. His original manuscript "Apricot Garden YajiTu" (Zhenjiang City Museum Collection) was painted in the second year of orthodoxy, painting the scene of the courtiers Yang Shiqi, Yang Rong, Yang Pu and others in Yang Rong's Apricot Garden Yaji, and also painted the painter himself. Weng Fanggang said in the middle of the journey: "Then this collection of late spring, the year of Southern Yang (Pu) is sixty-six, the year of Eastern Yang (Rong) is sixty-seven, and the year of Western Yang (Shiqi) is seventy-three. Judging from the age of Xie Huan's self-portrait, he was much younger than the cabinet minister Sanyang, around forty years old.
Xie Huan was summoned in the "Yongle Zhong" to be about twenty years old when he entered the palace. Xie Huan learned to paint very early, and it was entirely possible to be "famous at the time" at the age of about twenty. Yang Shiqi said that Xie Huan was "the first master Chen Shuqi". Chen Shuqi was a famous painter at the end of the Yuan Dynasty, Zhang Shikui," famous when Hongwu came to Yongle. Yang Shiqi also said that Chen Shuqi "followed the general angle of knowledge", which refers to childhood, indicating that they are two generations.
Based on the age of Xie Huan's portrait in the "Apricot Garden Yajitu", we assume that Xie Huan is about forty years old in the second year of orthodoxy, and the twenty years up is the fifteenth year of Yongle Ding You (1417), and Xie Huan is about twenty years old, and it is possible to enter the palace before and after this. From this, it was pushed up for another twelve years, that is, in the third year of Yongle (1405), Xie Huan was about eight years old, which was the year of the general horn. According to Huang Sigong's inscription on "Xiao Xiangqiu Intention", Uncle Chen started from this fashion.
Some people set the creation time of "Small Scenery of Yunshan Mountain" at the orthodox eleventh year, and think that it is difficult to be convincing at the same time as Gao Ding's "Mo Ju Tu". First of all, the second volume of paintings is not all simultaneous.
Second, if the orthodox eleventh year Xie Huan has been "Qiqi Weng". The orthodox second year should also be sixty or seventy years old, which is too big compared to the age of Xie's portrait in the "Apricot Garden Yajitu". In addition, in the third year of Jingtai (1452), Xie Huan inscribed a seven-piece poem and a jibi text on the "Water and Light Mountain Color Map", which was also composed for the farewell of his friends, and finally signed the name "Yongjia Xie Tingxun" instead of the words "Qiqi Weng". It was in this year that Xie Huan and Yin Shan were promoted to the command of Jinyi Wei.
Based on the above inferences, Xie Huan's "Small Scenery of Yunshan Mountain" made by Xie Huan in his seventies was composed around the time of Chenghua.
The creation time of Dai Hao's "Qiu Jiang Summoning Crossing Map" should be at the same time or close to Hu Zheng's "Bamboo Window" book. The reason is that Hu Zheng wrote the word "bamboo window" for Jing Rongshu, and Dai Hao wrote "Qiu Jiang Summoning Crossing Map" for "bamboo window", and there is a connection between the two. "Bamboo Window" may be the number used by Jing Rong during this period.
Hu Zheng (胡正), also spelled Duanfang, was a native of Jishui County, Ji'an Province, Jiangxi, who was good at literary and cursive writing, and had the "Collection of Su Ling". The year of Hu Zheng's birth and death is unknown, but it is only known that he "entered the Taixue School in Yongle Township, and Xuandejian taught guizhou dao to supervise the imperial history" and "died in the ninety-first year". It is estimated that he lived to the Chenghua years.
Dai Hao, Zi Yanguang, a native of Yan County, Ningbo Province, Zhejiang (Mr. Yu Jianhua said that Dai was a Liao, which was wrong). He was born in the twenty-fourth year of Hongwu (1391) and died in the nineteenth year of Chenghua (1483) at the age of ninety-three. Dai Hao was recommended by the villagers in the eighteenth year of Yongle (1420), and in the tenth year of Xuande (1435) he was sentenced to DongchangFu in Shandong Province, and Ren Tongju was sentenced for nine years, and in the eighth year of orthodoxy (1443), he recommended the Guangdong Leizhou Prefecture, and then changed to the Huguang Yongzhou Prefecture. Jingtai changed its name to Gongchang Province in Shaanxi in the early years until the Tianshun period (1457-1464). It was returned to the hometown of Yinxian County, Zhejiang.
Dai Hao's relationship with Jing Rong was about between the eighteenth year of Yongle and the tenth year of Xuande. During this time, Dai Hao was active in Beijing, and it was more likely that he would know Jing Rong. It is estimated that Hu Zheng also met Jing Rong during this period. However, it is difficult to determine when Dai Hao's "Qiu Jiang Summoning Crossing Map" was made for Jing Rong. Existing material mentions that Dai's paintings were all in his later years.
Volume 23 of the Yinxian Chronicle quotes Dai Hao as saying of Dai Hao: "Repairing the eyebrows and hao's head, advancing and retreating in detail, and looking forward to it in the middle." Sex is good at chanting, and good books are also painting. Volume VII of the Ming Dynasty: "Dai Hao... He painted fish, and his grandchildren, all named after the fish..." Feng Xi, who wrote an epitaph for Dai Hao, joined Dai Hao's eldest grandson Dai Ao in the twelfth year of Hongzhi. When Feng Xi was a child, he personally saw Dai Hao in his later years, saying that he "played games and painted things to adapt himself". Looking at Dai Hao's "Qiu Jiang Summoning Crossing Map", it is very similar to his ink opera works in his later years, perhaps only slightly earlier than the nineteenth year of Chenghua.
The main works of Xia Zhi, Ma Shi, and Li Zai are the volume of "Return to the Citu" (liaoning provincial museum collection), and the birth and death years of all three of them are unknown. Xia Zhi accompanied Dai Jin in Beijing during the Xuande and Orthodox periods. Ma Shi (马轼) is "proficient in painting and is well-known in the Beijing Division along with Dai Wenjin of Qiantang." Sometimes Li Zai and Xie Tingxun can also draw, but their brushwork is dashing, but they are not caught."
The three of them were about the same time, except that Xia Zhi died early and his teacher Dai Jin died in the sixth year of Tianshun (1462). When talking about Xia Zhi and Fang Yu, the painting history said: "It is a pity that they all died early, otherwise they would have been known for their blue reputation." It seems that two of Dai Men's most important disciples died before the teacher died. Xia Zhi's main creative activities were in the Xuande, Zhengtong and Jingtai dynasties. This is the general time limit of his "Dead Wood Bamboo Stone Map". Ma Shi marched from Guangdong in the fourteenth year of orthodoxy (1449).
Tianshun gave a poem to bid farewell to Yue Zheng in the first year, and we only know these two clues. Li was still alive during the chenghua period. The Japanese painter Monk Xuezhou came to China in the fourth year of Chenghua (1468, 1468) and returned to Japan in late May of the fifth year of Chenghua.
Later, he inscribed on his disciple RuShui Zongyuan's "Broken Ink Landscape" (in the collection of the Tokyo National Museum in Japan): "Yu Zeng entered the Song Dynasty, waded north of the Great River, and passed through the outskirts of Qilu as a Luoqiu painter, although the painters of Qilu were rare, Yu Zi Zhang Youshengjing Li was named after several people, and he followed the teaching of the purpose of color and the method of breaking ink, and returned to the native state for several years." This proves that Li zai chenghua is still in four years, and the creation time of his "Mi's Cloud Mountain Map" will not be later than that of Chenghua.
Summarizing the above understanding, it can be summarized as follows: Most of the authors of the second volume of calligraphy and painting began their political and artistic careers from the time of Yongle or Xuande, basically of the same generation, of which many of them lived to the ming xianzong Chenghua year. The period from Xuande to Chenghua is the general time for the creation of the second volume of calligraphy and painting.
It is of great significance to understand these works in the context of the time frame from Xuande to Chenghua. This period was the formation and development period of the courtyard style and Zhejiang school art in the early Ming Dynasty. Most of the authors of the second volume of calligraphy and painting were important painters at that time, which increased the research weight of this batch of excavated paintings and calligraphy.
The characteristics reflected in the second volume of calligraphy and painting in Huai'an
Ink opera, as a prominent feature of the second volume of calligraphy and painting, should be noted. People have become accustomed to acknowledging the universality of the literati ink opera of the Yuan Dynasty, but the fashion of the literati ink opera in the early Ming Dynasty and the late Xingxing of the Zhejiang school is still insufficient. The fact that authors of different identities are unanimously involved in the ink play has a clear impression when you see this batch of excavated works with your own eyes.
The second volume of calligraphy and painting contains some basic themes in literati ink plays. Jiuyang Daoist's "Shu Lan Tu", Gao Ding's "Mo Ju Tu", Chen Charter's "Studio Qingying Map" and "Mo Mei Tu" have been combined into the theme of "Four Gentlemen". The "Dead Wood Bamboo Stone Diagram" by professional painter Xia Zhi is also a traditional form of literati ink opera. The display of allegorical thematic images on a blank plane is a common feature of the above works.
The Mi's Yunshan style and Li Guo style in landscape works are even more motifs recognized by later literati painters. These themed paintings are accompanied by meaningful verses and inscriptions. Gao Ding's "Ink Jutu" was written for the sake of the chronicle, from Gao Ding's inscription poem "Return to jintai idle play, the quiet period is not negative for the cold feelings", revealing the intention of his painting for Jingrong. Sun Zhai's "Three Paths autumn phoenix evening incense" suggests to Jing Rong the meaning of the personification of chrysanthemums. Ma Shi's inscription on the "Autumn River Hongyan Diagram" is a short paragraph of text, indicating that this picture is for Jing Rong to "play" happily.
In the second volume of works, the combination of poetry and painting has two forms: one is the integration of poetry into painting, just like Wang Wei's "there is poetry in painting". Fan Hui's "Distant View of The Stream and Mountains", Dai Hao's "QiuJiang Summoning Crossing Map", Li Zheng's "Water Pavilion Returning to the Boat Map", and Ma Shi's "Autumn River Hongyan Map" all show the poetic mood of the water and sky.
Another form of combination is to paint earth inscription poems, so that pictorial poetry and poetic paintings echo not only in the artistic conception, but also in the flat space. Xie Huan wrote in the "Small Scene of Yunshan Mountain": "The smoke and clouds on the top of the mountain are piled up, the huts in the forest cover the moss, and the small bridge is not untouched, saying that there is rain in the village." Arrange such a poem in the landscape on the left side of the canvas, this is a complete literati painting.
The spirit of "writing" is emphasized in the painting of books, which is evident in the second volume of calligraphy and painting. All paintings for Jingke emphasize the word "write" in the title. For example, "Li Zheng wrote for Jing Rong", "Putian Li is writing for Jing Rong Qijia" and so on. Yuanren Tang Gao said in his "Treatise on Painting": "Painting plum is said to write plum, painting bamboo is said to write bamboo, painting orchid is said to write orchid, ho ya? Cover the flowers to the clearest, the painter should write with intention, not like the ear. ”
The mentality of Jing Rong, the recipient of this batch of ink opera works, must have an inevitable connection with these works. The life of Jing Rong is unknown, and at present, only one or two can be understood based on the limited text in the excavations. The Jiuyang Daoists called him "Qingshi". Gao Ding said that "Jing Rong Zheng Jun, Hu Hai Shi Ye", "Beautiful Style, Wonderful Words, And Patience with People", Yu Calligraphy and Painting have the fun of "Qing Play". Most of the people who interacted with Jingke were the famous artists of the time.
He Cheng and Dai Hao, who directly painted for Jing Rong, had both served as magistrates at the level of prefect, and He Cheng had also been recommended by Hong Xi in the second year of Hongxi, and was promoted from a discipline to a Hongwen Pavilion to shizhong. As literati and doctors in feudal society, they all had a positive and enterprising side of Confucianism, and were included in the "Ming Shi · The Biography of the Officials praises it. On the other hand, they are indifferent and detached, especially after their retreat. In his later years, He Cheng, "Psalma Forest Spring", "lived in hundreds of poles, led to two cranes, called himself the old man of bamboo cranes, Yayi Hanmo, grew up in landscapes".
He Cheng's Yunshan ink drama began when he was an official, and Yang Shiqi had the sentence "Yiyang is too guarded and more public, and the writing of Yunshan is sloppy" in "Xiao Qiyushi Went to Shandong Youxian and Asked for a Problem with the Yunshan Painted by He Cheng". After his retreat, He Cheng was praised by Zhang Qi as "the old man of the bamboo crane is rare in the world, and the pen end of the cloud object writing machine", is a full literati painter.
He Cheng's ideological character, Yang Rong described in "He Taishou Bamboo Crane Old Man Small Statue Praise", the so-called "there is a great bow, there is Yu Yu Rong, outside it, full of it"; "Love traces to the ancients"; "especially beyond its group, and far from the filth, the period is unswerving, and the introspection is introspective."
Dai Hao's later life is similar to He Chengbo's. "Sexual joy chanting, good book, also work painting." I had fun writing about plum painting fish. Or climb the string, burn incense and read books. Suddenly suitable for the time of the forest spring. "There are "Silent Songs" and "Carp Court Manuscripts", "or game painting to adapt to themselves". These help to understand their ink plays.
Jiuyang Daoist's "Shu Lan Tu" is also a work of ink opera. Jiuyang Daoist Zhang Maocheng is also known as Yuanran, and the "Painting History Will" says that he paints landscape science Mi Fu, Mi Youren father and son, the scenery is elegant, and he can also paint dead wood and bamboo. The literati ink plays of the Jiuyang Daoists not only have family traditions, but also have ideological factors.
The Tianshi family originally had a tradition of painting, and in terms of the Yuan Dynasty, the materials contained in volume 5 of the "Illustrated Treasure Book" about Tianshi Zhang Youcai, Zhang Sicheng, Zhang Side and other materials that are good at painting can give us a general understanding of the artistic origins of the Jiuyang Daoists. After entering the Ming Dynasty, it is not known whether the forty-second generation Heavenly Master Zhang Normal was good at dyeing Han ink drama. But the forty-third generation Heavenly Master Zhang Yuchu was indeed good at Danqing. The "Qinghe Calligraphy and Painting" once recorded one of his "Crane Forest Diagrams", and the "Painting History Huijiao" also said that he had painted "Qiulin Pingyuan Tu" and "Huangming Calligraphy and Painting History" saying that he "wrote ink and bamboo into his own family, and also Jing Lan Hui". Forty-four generations of Heavenly Master Zhang Yuqing also inherited the family study. Zeng Qi's "Xishu Collection" said: "The real person Zhang Yuqing is good at writing landscapes. The Palace Museum now has a scroll of "Si Qin Mu Dao Tu", which is colored on paper and written in the second year of Xuande (1427), which should be Zhang Yuqing's masterpiece.
It should be noted that the status of the Heavenly Master lineage is very different from that of ordinary Daoists, belonging to the ranks of the nobility, and has a fairly close relationship with the court. The Jiuyang Daoists often traveled back and forth between Beijing and Guixi, participated in many important activities in the court, and were favored by emperors Xuanzong and Yingzong. Due to his special status, he has extensive social interactions. At the same time, he is also a person with a strong cultural color, "abundant and heroic, reading Confucian and Taoist books, diaries of ten thousand words", "strange writing, the popularity of the heavens and the earth, beyond the meaning of the ancients".
The thoughts of the literati were often between Confucianism and Taoism, and the Heavenly Master also participated in Confucianism when he expounded the Taoist mysteries. Jingrong is a lake and sea, Jiuyang Daoist people are ink plays for it, and the mentality of the Heavenly Master or 'Evil Jingrong has similarities.' Jiuyang Daoist "treats the heart with tranquility without glue", and calls himself "Tranquility", perhaps this is the portrayal of his ideological character.
At that time, the atmosphere of ink opera was not limited to bureaucrats and Taoists, but was widely spread to some professional painters. Xia Zhi, as a folk professional painter, and Li Zai, Xie Huan, and Ma Shi, as professional court painters, have left their own ink opera works, which is a cultural phenomenon worth noting. Li Zai, Xie Huan, Ma Shi, these court painters' brushstroke landscapes, we still see for the first time from the paintings and calligraphy unearthed in Huai'an, which is also an important fact of the history of painting.
The Ming Dynasty did not have a painting academy in the strict sense, but there were scattered officials specializing in art, providing a way to seek fame through art. In the first year of Xuande, Wu Yingdian waited for Bian Wenjin to accept bribes and recommend people, and Emperor Xuanzong summoned Wenjin to ask " Er, who won the official with a small art, dared to hold the grace and poverty" When Xuande was xuande, the painter Xie Huan "entered the official Jinyi Wei Qianhu again, and granted a close post, so that he could eat Lu ye". In June of the third year of Jingtai, "Shengjin Yiwei Qianhu Xie Tingxun and Fujun Wei Qianhu Yin Shan were the commanders of jinshi, still with them, and painted things with their goodness".
Through art to seek progress, there are requirements for cultural accomplishment. Hongwu Shi Zhou was "erudite and versatile". Chen Yuan", "less mechanics, through the I Ching" "is a person who is clean and upright, and his intention is leisurely and elegant, and the scholar and doctor are more respectful." Xiang Li was "funny and wise, able to poetry and painting, especially good at playing, invincible at that time". Fan Retreat of Yongle Shi was "knowledgeable and elegant, and was valued by the famous public of the Pavilion". Bian Wenjin "Spilled out of the wilderness, erudite and able to poetry".
In the Xuande period, due to Xuanzong's own high cultural attainment, it was natural to have some requirements for painters who sought fame through art. Xie Huan's favor is because he is "clean and respectful". Yang Shiqi said, "Emperor Xuanzong had every opportunity to talk about morality, and when he was not a man of great elegance, he was not allowed to give things around. Because of their high cultural attainment, court painters painted poems that were also reasonable.
Examining Xie Huan's literati mentality is helpful to understand the general situation of court painters and ink opera problems at that time. Yang Shiqi said in the "Record of Han Molin": "Yongjia Xie Huanting Xun, a pure and elegant and vulgar person, respectful words and deeds like a virgin, righteous and knowledgeable, not seeking glory, not dry reputation, the family has no spare assets and is often full, and has the meaning of self-sufficiency." Knowledgeable, happy poetry, time chanting self-adaptation. Those who are invited to be tourists of the landscape and rivers will go there without hesitation, or forget to return for a few days. All of them are gentlemen and gentlemen. ”
Yang Shiqi also mentioned in the "Xie Tingxun Xiang Zan" that he was "graceful and calm, idyllic and quiet", and "sent Miaohan to Lin Luan, but also to be pleasant to his affection". Jin Youzi's "Preface to the Poetry of Jingle Xuan" Yun "Yongjia has a soldier named Xie Tingxun, who tastes the name of Jingle Qixuan, and the scholar and his travelers are all poems of Jingle. ...... The court follows the principle of enlightenment and tranquility, and the fun of silence is obtained, but the opposite is more than enough in the middle. Although he is in the noisy area of Fuduyi, the crown carries the path of sound and profit, and his heart is always unmoved, and it is advisable to enjoy it, and it is so that those who are praised by the gentlemen are called. Its detached orange arms jumped out of the paper.
This mentality is also manifested in other court painters, such as Yang Rong's comment on Guo Chun, saying, "Guo Sheng is superior, and the quality is straight by talent." Pure and unobtrusive, the chest is good and calm. Yu Zhai bandit hua ornament, flushed and indifferent. Another example is lu needle when talking about Fan Retreat, "The Ming Dynasty soap hat purple velvet coat, the staff generation also looked at Bai Yunfei, the merit was like a bolt of electricity, and sighed that the Si people were rare in ancient times." "We can see the feelings of frankness and indifference.
The use of literati ink opera forms was not strictly limited by the identity of painters, bureaucrats, Taoists, and court painters already had similar literati mentalities and aesthetic tastes at this time, and poetry and painting became a fashion of the moment. After literati painting occupied an important position, the form of ink opera was naturally widely adopted, and it was difficult to distinguish a certain work from whether it was a "craftsman painting" or a "literary painting" through human division. Li Zai, who is regarded as "grassy as absurd as absurdity, Yungen old tree belt loose viewing", and Fan Xian, who "plays with brush painting flowers and flowers", are both court painters. Court painter Sun Long's "Flower, Bird, Grass and Insect Diagram", folk professional painter Dai Jin's "Three Heron Diagrams" the Palace Museum collection and his disciple Xia Zhi's "Dead Wood Bamboo Stone Diagram" Huai'an volume II, it is difficult to think how much qualitative difference there is from ink opera.
The common landscape motif in literati ink plays is Mi's Yun shan or Yun Shan ink play, and there are three such works in the second volume of calligraphy and painting, namely He Cheng's "Yun Shan Ink Drama Map", Li Zai's "Mi's Yun Shan Tu" and Xie Huan's "Small Scenery of Yun Shan".
Li Zai's "Mi's Cloud Mountain Map", the trees and stones and distant mountains are painted more sloppily, the ideas from the beginning are large and thick, the trees do not see branches and leaves, and are painted with a thick brush, but the streams, small bridges, and lonely boats in the painting are very poetic, leaving themselves on the bottom of the paper as water and the sky and the clouds surrounding the mountainside. Li is not found in the history of painting Mi's Yunshan, and He Cheng is specialized in painting Mi's Yunshan, and his "Yunshan Ink Drama Map" is more exquisite than Li Zai in using pen and ink, which is also Yunshan, and has shown different levels in the overlap of mountains near and far.
Xie Tingxun's "Small Scene of Yunshan Mountain" is generally similar to He Shi's work, except that the center of gravity of the scene is arranged on the right side, and a large amount of emptiness is left on the other side to express the hazy scene of the vast water and sky, and to leave sufficient room for the inscription poem. The above three works all take the composition of the "looking at each other across the water", writing the main mountain surrounded by clouds and mist on the opposite bank, and all have the image of a small bridge, and the treatment of the blank space of the water and sky and the painting of the tree show the same trend, from which the general situation of the Mi's cloud style at that time can be seen.
The Mi's Yunshan style was preserved in the literati ink drama, which was related to the general literati mentality at that time. So whether the Mi's Yunshan style was popular at that time From the literature, the court painters of the Xuande, Orthodox, and Jingtai periods painted two-meter landscapes. Xie Tingxun "Shanshui Sect Jingguan, Two Meters", Sun Long "Shanshui Sect Two Meters", Lin Jingshi "Shanshui Specialized Learning Two Meters".
The above three were from Zhejiang, Jiangsu and Fujian, and the three provinces were the main sources of court painters at that time. Many Fujian painters from Yide to Chenghua served in the court, such as Li Zai, Zhou Wenjing, Zhou Can, Lin Jingshi, Huang Ji, Zheng Shimin, Zheng Kegang, Zhan Linsan, Lin Shijiao, Xu Boming, etc., which had a certain influence on court painting, but except for Li Zai and Lin Jingshi who painted Mi's Yunshan, the situation of other painters was not well known.
One of the "Ten Talents of Minzhong", Gao Di, author of the Tang Poetry Collection, was also a literati painter, "Yongle Chu, summoned to Hanlin in a cloth robe, for the sake of waiting for the edict, to move the classics". The "History of Silent Poetry" volume 1 contains "Gao Di, Zi Yan Hui, Shi Ming Tingli, alias Man Shi, the original painting method was in the father and son of Minang Palace, out of the Shang Gao Ma." When the square pot is painted for a while, the first acquaintance with Di, said that the reward is not set aside, and said that 'when the time comes, it should be a famous master.' 'In the twenty years of the Pleasure Forest, the poets of the four directions have competed for the golden veil as their worth, and the years have tasted better than Lu Jin. Mi Xiao often calls himself "Xiangyang Manshi", and Gao Di is also nicknamed "Manshi", which shows his admiration for Mi Fu. Fang Huzi is a Taoist monk of Longhu Mountain in Jiangxi, and is famous for painting Yunshan ink plays. The Fujian painters Wang Zhao and Zhao Di, who are associated with the "Ten Talents of Minzhong", are both teachers of the second meter. Therefore, it is not difficult to understand that Li Zai and Lin Jingshi painted mijia landscapes.
Jiangxi Longhu Mountain Daoist, in addition to Fang Congyi painting Yunshan ink play, as mentioned earlier, Jiuyang Daoist people also painted Mi's Yunshan, but did not see the painting traces passed down. He Cheng of Jiangyin transmitted the style of Yunshan ink opera to the art of Shen Mingyuan, Peng Xuanzhong, Zhang Fuyang, and Shi Bifeng. Dai Jin, the painter who had the greatest influence in the early Ming Dynasty, was particularly good at "Ma, Xia, Liu Songnian and Mi Yuanzhang". Wang Shizhen commented on Dai Jin's "Picture of the Huts in the South of the City", saying, "Wenjin claims to be imitating Chen Zhongmei, and Zhongda has the meaning of Mi Xiangyang. By the middle of the Ming Dynasty, the Mi's Yunshan style was of great significance to Wu school art, and it was inevitable.
Huai'an Volume II Calligraphy and Painting and The Style of the Times
After Yongle moved the capital, Beijing brought together a large number of painters from Jiangsu, Zhejiang, Fujian and other places. They brought their own regional painting styles and personal painting styles, which influenced each other and formed the most influential styles at that time- the courtyard style and the Zhejiang school style. The general view is that during the Xuande to Hongzhi period, the Ming Dynasty courtyard style and the Zhejiang school style replaced the main position of the Yuan style and became the main painting style of the Da period.
Most of the works in the second volume are ink opera works, and the various styles contained are not directly related to the courtyard style and the Zhejiang school style. Some of the ink opera authors of The Bamboo Are themselves courtyard or Zhejiang school painters, but their works still do not belong to the style of the main era. This reveals a problem in the history of painting, in the same era or period, there were several styles, some belonging to the main style, some belonging to the non-subject style. The significance of the style of composition for the study of painting history is often overlooked.
The non-subjective era style works unearthed in Huai'an have triggered our thinking on the formation and development of the style of the upper body era. Taking He Cheng's "Ink Drama Map of Yunshan Mountain" as an example, Mr. Zheng Wuchang said, "Although He Cheng studied Mi Yuanzhang and looked at his works, he often belonged to the same category as Liu Jun and Zhang Yousheng, and Gai was also contaminated by the Zhejiang school, which can be described as grand. ”
The same view has been recorded in the "Painting History Society". Liu Jun was a palace painter at that time. His heirloom works have the style of the Ming Dynasty courtyard. From He Cheng's "Ink Drama of YunShan", it is not clear that there is any connection with Liu Jun's heirloom works. This may indicate that He Cheng's paintings had not been influenced by the courtyard style and the Zhejiang school before the eleventh year of orthodoxy, and that it was only after that that it was "unavoidable from the eyes of the Zhejiang school".
Scholars now generally believe that the academy and the Zhejiang school were formed in the Xuande period. He Cheng lived to the Chenghua period, and the Zhejiang sect and the courtyard had grown at this time, and it was understandable that He Cheng was "contaminated" by the Zhejiang sect during the Chenghua years or a little earlier.
Ancient Chinese calligraphy and painting appraisers define the era style of painting works, which is more than the meaning of appreciation. For example, when commenting on the source in the "History of Painting", Mi Fu of the Song Dynasty said, "Ceyuan is plain and naïve, and Tang has no such situation, on Bi Hong." Through the chat of several words, he reflected his understanding of Tang painting. Tang Gao of the Yuan Dynasty said in the "Painting Book" that "Tang no celebrities paint at most, and everyone should know that they are Tang people, don't tell the weather, non-Song people can compare." ”
The differences in the styles of the Tang and Song dynasties are distinguished from the intuitive experience, but the differences are not further described and analyzed. Dong Qichang of the Ming Dynasty used the poetry of Chao Yidao and Su Dongpo to refer to "Song painting" in his "Essay on Painting the Zen Room", which is different from "Yuan painting".
Wang Shizhen's summary of the evolution of landscape painting style is also a summary of the evolution of the style of the subject era. He said, "The landscape has changed from size to size, Jing, Guan, Dong, and Ju have changed again, Li Cheng and Fan Kuan have changed again, Liu, Li, Ma, and Xia have changed again, and people have changed and Huang He have changed again." "The style of the three main era and the style of the main era have not yet been incorporated into the theoretical system of painting history research and appraisal research.
The establishment of the two concepts of the juche era style and the non-juche era style is of great significance to the study of the history of painting and the study of calligraphy and painting identification. Artistic styles are both unified and diverse. This is not only expressed in the artist's personal style, but also in the style of the times.
From the perspective of the diversity of the era style, it can be distinguished between the main body era style and the non-subject era style. Whether it is the style of the juche era or the style of the non-juche era, it has the unity and generality of the style of this era, but the degree is different in the spirit of the Hui dynasty. In order to obtain the most general understanding of the style of the era, it is also necessary to start from the study of the diversity of the styles of the era.
The main era style of the early Ming Dynasty was the courtyard style and the Zhejiang school style, while the style contained in the second volume of Huai'an calligraphy and painting works basically belonged to the non-subject era style. Our general understanding of early Ming painting from the perspective of appreciation is still limited to the courtyard body and the Zhejiang school painting style, which is meaningful for the macroscopic grasp of painting history but omits the diversity and complexity of painting history itself.
More importantly, the discussion of the age scale of painting in appraisal should be based on the style of the subject era and the style of the non-subject era. In the style of the juche era, the chronological scale with the connotation of the juche art is summarized. Similarly, in the non-subject era style, different categories can be distinguished according to the actual situation, and the chronological scale used to identify the style works of the subject era can be summarized from them.
The Mishi Congshan style contained in the second volume of the Huai'an Ming Tomb calligraphy and painting, as well as the simplified Li Guo style, enrich the material of the non-juche era style, which in many ways exceeds our existing experience. The significance of painting history and the significance of identification it suggests cannot be underestimated. In the excavated calligraphy and paintings and the calligraphy and paintings passed down from generation to generation, the simultaneous study of the style of the main era and the style of the non-subject era should be paid attention to by us.
Publication of "Cultural Relics"