Chash ink
Cha zhā Shibiao (1655-1698) was a Qing Dynasty painter, calligrapher, and poet. Word two, number plum ravine scattered people, lazy old. A native of Xin'an (present-day Shexian County, Anhui), Xiuning. At the end of the Ming Dynasty, he was a sentient being, and soon he had no intention of making a name. Gong poetry, calligraphy and painting, calligrapher Chengdong Qichang, the style is handsome and xiao scattered. Good at landscape and water, the first teacher Ni Zhan, later reference to Mi Fu, Mi Youren, Huang Gongwang, Wu Zhen, Shen Zhou, Dong Qichang and other people to paint, the brush and ink vertical and horizontal, rough and luxurious, or the brushwork is absurd, the ink color is thick and dry and wet, beautiful and high,or the pen and ink are sharp and sharp, and the painting style is dry and lonely. At that time, it was quite famous and was one of the four families in Haiyang. There are "Yunshan Map", "Empty Mountain Knot House Map", "Autumn Forest Distant Xiu Map", "Yunshan Smoke Tree Map" and so on. He is the author of "Manuscript of Seed Bookstore" and so on.
Together with Sun Yi, Wang Yun, Monk Hongren and other calligraphers and painters, they are known as the "Four Houses of Xin'an".
In his early years, he worshipped Dong Qichang, and because he happened to be born with Dong Qichang, he was also known as Hou Yisheng , a Ximen of Xiuning, who lived in Yangzhou. He was six years younger than Gradualjiang, and like Gradually, he was also a Ming "Zhusheng", and later he also voluntarily gave up the business of lifting children. However, he came from a famous and prestigious family, his family was well-off, and his family had Zhong Ding Yi instruments and Song and Yuan calligraphy and paintings, so he practiced imitation Yuan paintings at a young age. After the death of the Ming Dynasty, he lived in Yangzhou and lived a relatively comfortable life, so unlike the poverty and illness and loneliness of Wanjiang, Cha Shibiao's personality had more elements of elegance and even cynicism.
His idle feelings determine his painting temperament is also the laziness of the wind god and the high charm. In his early years, he obeyed gradually river, and like gradually river, he started from learning From Ni Yunlin, and later when he lived in Yangzhou, he still paid attention to gradual river paintings and humbly learned from gradual river. Cha Shibiao often inscribed on his paintings "Quasi-Yunlin Brushwork", "Imitation of Ni Yunlin Method", etc., and his "Lazy Biao" number is also derived from Ni Yunlin's "Lazy", which can be described as the wind god remote connection. Because of his intelligent nature and his many contacts in Yangzhou with Wang Yi, Yun Nantian, Zheng Zhongguang (1623-1692), Kong Shangren (1648-1718), Shi Tao and other celebrities in the painting and literary circles at that time, they exchanged ideas with each other and benefited many teachers, so the style of Cha Shibiao's painting was also diverse and had different appearances.
He especially admired Dong Qichang. He is also good at poetry, and has written the "Shu Shen Tang Poem" posthumously. His paintings are known for their landscapes and landscapes, with a wide range of materials, and there are two main artistic styles, such as dead wood and bamboo stones. A kind of pen and ink vertical and horizontal, extensive and luxurious, mostly with ink yunshan as the theme, shifami's father and son's cloud mountain smoke tree, the penmanship is absurd, rendering and using dry ink color, fused with Dong Qichang's beautiful and elegant ink method, showing a cheerful in the roughness. The other kind of pen and ink is sharp, the style is dry and jerky, and it is mainly based on imitation of Ni Zhan landscape. There are also some works that take on different faces because they imitate different ancients. His paintings have been commented on by previous generations as lacking in boldness and lack of innovative spirit.
Cha Shibiao was a casual and famous poet, he scribbled a few strokes, painted the banks of a river, and the scholar returned with the violin. Near-shore bamboo hedge huts, distant shore landscapes and cloud trees, smoke mist. "Return with the Piano" is just like the previous painting style of Cha Shibiao, the pen and ink are scattered, the composition is scattered, but the feelings are like clouds and flowing water, diffusing in the ink, falling in love in the ink, and disappearing in the ink. Sing three sighs, and finally, "like water disappearing into the water" (Borges). This is the realm of the Chash Mark. The structure of the painting follows the style of Yunlin, but it is full of vertical and horizontal, and the brush and ink style is still out of the rice. Ni Yunlin's paintings are dry and quiet, and Cha Shibiao evacuates and drowns with a pen. Cha Shibiao often sleeps during the day and paints at night, he calls himself "lazy label", "scattered people", "do not seek to hear, outside the room, the landscape is just." (Zeng Can's Preface to Cha Shibiao's "Manuscript of the Seed Book Hall") He took refuge in the Xin'an Mountains after the Ming Dynasty, and the second half of his life wandered around. Mi Fu often traveled to Zhenjiang Jinshan, Jiaoshan, and Beigu Yunshui, and Cha Shibiao and Wang Shigu, Zheng Zhongguang, and Yun Nantian spent three or four years in this area. Zha later lived in Yangzhou to wait for the Crane Tower, and the "Guangling Poetry" recorded the scenery at that time: "Household cup pan river thousands of miles, family painting axis check two zhan. At the age of 73, Zha Shibiao also participated in the Chunjiang Poetry Society with Kong Shangren, Gong Xian, Shi Tao and so on in Yangzhou.
Specializing in calligraphy and painting, jiaduoding yi, and the authentic works of the Song and Yuan people, sui jing identification. Painting first learned Ni Gaoshi, later spring Meihua Daoist, Dong Wenmin brushwork. There are not many pens, borrowing ink like gold, the wind god is tender and scattered, the qi rhyme is desolate and cold, and the yipin is also. Together with Tongli Sun Yi, Wang Zhirui and Monk Hongren, they are called the Four Greats. In his later years, he painted more and more, and he peeked directly into the mysteries of the Yuanren. Zhu Mantang did not lightly approve people, and he was happy to get his Lion Forest Album. The speaker said that he would wake up at the latest, and that all socializing, sprinkling in the pool, would be in the middle of the night, not bitter, more than eighty, still childish. The Shangqiu Song Mantang was involved in the establishment of a biography and his poems were written in order. The calligraphy Xiangyang, very similar to Dong Wenmin. Yi zhou shuangyi commented on his book as a good product.