Female painting, a kind of figure painting. Originally, it referred to Chinese painting with the theme of middle and upper class scholars and women's lives in feudal society, and later in the figure painting department, it specifically referred to a sub-item depicting the life of upper class women. Chinese female paintings were formed more than a thousand years ago during the Two Jin Dynasties. The women depicted are mainly poems, fu and other literary works, as well as ancient sages and fairies in myths and legends in folklore. For example, Gu Kaizhi of the Eastern Jin Dynasty created the "Luoshen Futu" based on the poetry of Cao Zhi's "Luoshen Endowment". The Tang Dynasty, as the most brilliant era of feudal society, was also the prosperous stage of female painting. The painters were keen to express the leisurely lifestyle of aristocratic women, the monotonous and leisurely mood of life. For example, Zhou Fang's "Picture of a Lady with a Hairpin Flower" and Gu Hongzhong's "Han Xizai's Night Feast" express a strong sense of the times and the aesthetic interest of the nobles. In the Song Dynasty, as an era of relative stability of political power, economic development and cultural prosperity, the Song Dynasty inherited the prosperity of the Tang and five dynasties in the creation of female paintings and innovated, especially in terms of subject matter, and its scope of expression has been extended to the image of women at the lower level of society. Such as Wang Juzheng's "Spinning Wheel Diagram" and so on. With realistic artistic techniques, he praised their attitude towards a life of poverty and happiness and the beauty of their simple and unpretentious personality, and also expressed sympathy for their poor life.
In the Yuan Dynasty, as a period of Mongol rule, the special social status quo, the character modeling inherited the legacy of the Sheng Tang characters "the state is thick and far-reaching and true, the texture is delicate and the flesh is even", such as Du Qiu in Zhou Lang's "Du Qiu Tu", which is similar to the character image in Zhou Fang's "Fan Waving Lady Figure". The Ming Dynasty was a period of political stability in feudal society, and the paintings of women were also rich in subject matter and technique, in addition to portraits, various women in dramas, novels, and legendary stories became the images of women created by painters. For example, Wu Wei's "Wuling Spring Map" represents the highest level of white painting of women in the early Ming Dynasty, and Wen Zhengming's "Xiangjun Xiang Lady Figure" represents the highest realm of pastel female painting. At first, the qing dynasty women's paintings were based on the aesthetic pursuit of the painter to express the female "leaning on the wind and being weak", and later absorbed some positive factors of literati painting in terms of expression skills, and integrated the advantages of Western painting into the works, opening up a path for the later innovation of figure painting. The surviving female paintings of the Qing Dynasty have survived the most, and they are also closest to the aesthetic standards of modern people. Now select some of the paintings of the Qing Dynasty women to enjoy with everyone!
Qing Chen Qingyuan "Small Portrait of Li Xiangjun" Silk Color Length 115.5 cm Width 35.5 cm Collection of Tsinghua University Academy of Fine Arts
Li Xiangjun was a famous prostitute in Qinhuai at the end of the Ming Dynasty, who was brilliant in learning, and at the same time was a strange woman with a strong patriotic heart. This picture aims to highlight Li Xiangjun's talent and temperament. In the painting, Li Xiangjun is embroidered in a dress and is concentrating on holding a reading scroll. The clothing pattern is mostly depicted with nail heads and rat tails, and the painting style is similar to that of Qi Qi.
Chen Qingyuan, a native of Hangzhou, was born and died in unknown years. Good landscapes, flowers and birds, the characters are particularly exquisite.
Qing Fei Danxu's "Blowing Pipe Diagram Under the Moon" Color on Paper Length 136 cm Width 56 cm Collection of The Academy of Fine Arts of Tsinghua University
This picture is sparsely mei langyue, green bamboo xiushi, smoke cage water surface. Above the grass, the graceful and elegant lady is playing the hole flute. The beautiful mood is displayed in the author's pen. The combination of picture work and writing, dense coexistence, thick and light, the portrayal of the character's demeanor is the embodiment of the author's consistent painting style.
Fei Danxu (1801-1850), zi zi yuan, xiaolou, even weng, huanzhu sheng, sanbei township people, etc., zhejiang wucheng (now Huzhou) people. His young family learning, can poetry, fine portrayal, such as mirror photography. Good at drawing characters, especially the best women. Part-time work on landscapes and flowers, take the law Yun Shouping, the Qing Spirit God Show, quite charming. Try to sell paintings in Jiangsu and Zhejiang. He once painted portraits of Ding Jing, Jin Nong, Li Yan and others, and became famous for a while. He learned calligraphy from Gao Yan and Zhang Tingji, and traveled extensively and had profound artistic accomplishment. The paintings passed down from generation to generation include the "Dongxuan Yinshe Tu" volume, the "Han Kang Selling Medicine Map", the "Zhaojun Out of the Set", and the "Red Clothed Su Wrapped Map". He is the author of "Still Caotang Testament".
Qing Ren Qi's "Sending Sons to Get Kui Tu" Silk Color Length 97.6 cm Width 42.6 cm Collection of Zhejiang Provincial Museum
It's a copy. The figure shows the female, children's facial shapes, clothing lines, and even the nine characters in the upper right corner, "Old Lotus Hongshou Painted in the Lion Forest", all imitate Chen Hongshou's artistic style. From the self-title, it can be seen that this painting is an early work of the author, although the god is insufficient and the appearance is still there, it can be seen that his copying attitude is still relatively serious. From the perspective of the history of modern Chinese painting, this facsimile has its own specific artistic research value.
Ren Qi(?) –1861), courtesy name Zhujun (竹君), courtesy name Jianzhai (号建斋), a native of Xiaoshan, Zhejiang, was an uncle of the Xiong clan. Gong calligraphy, learning the second king, exquisite calligraphy; fine seal carving, gold, stone, bamboo, wood are all good at; also good at painting flowers, birds, figures, boundary paintings, especially long double hook method painting flowers, painting style fine. Under the advocacy and influence of chen hongshou, Ren Xiong, Ren Xuan, and Ren YishiFa Chen Hongshou were all the rage. His surviving works include "Sending a Son to Get Que Tu".
Qing Ren Xiong's "Autumn Fan Diagram of Yao Palace" Silk Color Length 85.2 cm Width 33.5 cm Collection of Nanjing Museum
This figure writer writes a lady holding a parrot fan in her hand, with a beautiful posture. The lines of the clothes are strong and flowing, and the pen is folded at times, the pen is delicate, the color is strong, and there is more worldly interest. Character depictions focus on dynamics. The shape is slightly exaggerated, the style is similar to Chen Hongshou, and it is one of Ren Xiong's masterpieces.
Ren Xiong (1823-1857), zi Wei Chang, Xiangpu, a native of Xiaoshan, Zhejiang. He once went to Shanghai to sell paintings. Workers, landscapes, flowers and birds. Character science Chen Hongshou, style has changed. The pen is strong, the atmosphere is quiet, and it is deeply rooted in the essence of the Song people. Together with Ren Kaoru, Ren Yi, and Ren Pre, they are called "Four Terms". His surviving works include "Four Plum Diagrams", "Roselle Diagrams", "Shaokang Statue" albums, "Yao Palace Autumn Fan Diagrams" and so on.
Qing Ren Kaoru 'Magu Xianshou Tu' Color on Paper Length 172 cm Width 81.5 cm Changshu City Museum Collection
This painting is a painting of a Buddhist figure with heavy color. According to Ge Hong's "Biography of the Immortals", Magu cultivated in The Guyu Mountain in Muzhou, with a wonderful posture, and lived in Penglai Xian Island after becoming an immortal. On March 3rd, the birthday of the Queen Mother, Magu used Lingzhi to make wine as a birthday gift, and later folk painted this to celebrate the birthday of the daughter. This painting imitates Chen Hongshou's brushwork, drawing with iron wire, but it is also folded in many ways, and the brushwork is novel. The fairy shapes are all mortal, rich in heavenly and earthly changes, fascinating.
Ren Xuan (1835-1893), also known as Fu Chang and Shunju, was a native of Xiaoshan, Zhejiang, and the younger brother of Ren Xiong. For a long time, he has been selling paintings in Suzhou, Shanghai and other places for a living. Good at drawing characters, especially flowers and birds. The characters take Chen Hongshou and are original, and they are particularly ingenuity in the use of color. His works include "Yaochi Neon Clothing Diagram", "Deep Boudoir Buddha Diagram", "Lotus Bridge Statue", "Magu Dedication To life map" and so on.
Qing RenYi "Songxi Blowing Pipe Drawing" Ink on paper Light color Size unknown Singapore private collection
This picture is a poetic painting. The poetic euphemism is quiet, with a little sadness, and the painting is also the same tone. Ren's painting brush is more exciting and the rhythm is strong. This picture is peaceful and simple, the character dynamics are very emotional, and the facial expressions and gestures of the women's low singing are particularly delicately portrayed. Songzi's pen has also changed from the common CangJin Qi to a soft and graceful woman, which also sets off the poetic and deep situation painted in this picture, which is actually a wonderful masterpiece of its late period, which is extremely intriguing.
Ren Yi (1840-1895), zi Bo Nian, Xiao Lou, Shan vagina people, Ren monks, etc., Zhai Yi CaoTang, Ren Ren, Yan Zhai, etc., Shanyin (now Shaoxing) people. Yang inherited the family learning, undertook the painting style of Chen Hongshou and Ren Xiong, and later absorbed the Eight Great and Hua yao techniques. Good at people, especially fine portraiture, intercropping landscapes. Liu Yu shanghai, for the late Qing Dynasty painting giant, the reputation is impressive, and Hu Gongshou is equally important. The Palace Museum, the Shanghai Museum and provincial museums all have their collections.
Qing Shafu 'Bashome Beauty' Color on Paper Size Unknown Xu Beihong Memorial Collection
Although this picture is poetic, it is closer to a portrait of a person. In the painting, the woman's hair is high and plated, and the facial features are proportioned appropriately and accurately, which has the effect of sketching. The inconspicuous tinted color blend highlights the texture of the character's skin and the change of light and shade of the structure. The banana leaves and clothing patterns are all drawn with ink pens, and the pen is fast, and the sudden setbacks are like turning, smooth and free. Although this picture does not depart from the standard of beautiful women with thin eyes and long eyebrows, it is still different from the same fashion of female painting at that time.
Sha Fu (1830-1906), Zishan Chun, a native of Suzhou, Jiangsu Province. He studied under Ma Xiangen and is good at freehand characters, flowers, and landscapes. His works include "Children's Play In the Library" and so on.
Qing Chen Sogo's "Liuxia Xiao Makeup" Color on paper Length 127 cm Width 43.5 cm Collection of Nanjing Museum
In the picture, the willows are low-hanging, the peach dots are dotted, and the cold has not receded. A lady holding a bronze mirror is sorting out her morning makeup. The author uses the small freehand flower and bird painting method to write the scene, point the leaves dry, and hook the grass and dye the stone. The characters are meticulous in their brushwork, paying attention to the coordination of color settings. The whole picture is fresh and moving, elegant and unworldly.
Chen Chongguang (1838-1896), original name Zhao, character Ruomu, Oak Sheng, chun Dao people, Jiangsu Yangzhou people. At first, he was a carver, and later he worshiped Yu Toad as a teacher. Before the age of twenty, he participated in the Taiping Rebellion and worked with Yu Toad in Tianjing (present-day Nanjing) to paint murals. After the defeat of the Taiping Heavenly Kingdom, he returned to Yangzhou and went from Hong Fuxiang to paint land temples everywhere. Landscapes, flowers, characters are all capable, especially good at double hook flowers, for everyone in Yangzhou at that time. Wu Changshuo praised his "ancient pen method, and the magic flowed out of the grass seal". His surviving works include "Maima Wild Pheasant Diagram" and "Yanagishita Xiao Makeup Diagram". Gong poem, author of "Anthology of IchisukayamaKan"
Qing Nitian's "Four Red Figures" Silk Color Length 122 cm Width 49.9 cm Collection of Nanjing Museum
In this picture, four women from different periods are portrayed with ancient and strange strokes. The lines are rounded and vigorous, the colors are beautiful, and the brushwork is neat and meticulous. The author has recently studied in his bertrand year, far from Chen Hongshou, and has obtained the charm of heavy color, but he is not bound to the law. The character shape is slightly exaggerated, but the proportions are roughly accurate, the face and the front side of the gaze are leaned forward, natural and vivid, endowed with different personality characteristics of the characters, showing the different mental outlooks of the characters or rigid or soft, or exposed or introverted.
Ni Tian (1855-1919), originally known as Baotian, the character Mo Geng, the number of Mo Weng, the owner of the Biyue Box, a native of Yangzhou, Jiangsu Province, lived in Shanghai. The beginner learned to paint Wang Su, and the figures, ladies, and Buddha statues were all framed in high distances and with smooth lines. He is especially good at painting horses and walking beasts, and he can wield them at will, and his image is vivid. He is also good at landscapes. His posthumous works include "Writing a Portrait of Wu Changshuo at the Age of Sixty-Six", "Zhong Kui's Female Figure", "Three Heroes Figure", "Songyin On the Tao Map" and so on.
Qing Baodong 'Lady Figure' silk book is set in length 90 cm and width 21.2 cm in the collection of Nanjing Museum
This is the four screens of the lady figure. The combination of lake and mountain colors, pavilions and beautiful female figures forms a beautiful visual effect.
One of the pictures is "Throwing Pot Diagram", two women are throwing pots in the pavilion for fun; the second is "Looking for Plum Chart", writing that the moonlight is like water, plum blossoms are like snow, and several women who have not been able to sleep are going to pick up plum branches together; the third is "Drum Diagram", ancient vines flying flowers, pine springs are mirrored, a woman near the water drum, causing others to think infinitely; the fourth is "Zhenyu Tu", on the smoke wave river, the willow color is verdant, above the boat, a woman is blowing a pipe to express her heart, and a line of egrets flew away. The four pictures, the characters are different, the background is different, but the painting scenes mostly use freehand brushwork, hook and dye dots, and are timeless and beautiful. The characters are neatly carved, the lines are flowing and flowing, and there is a "Wu belt" style.
Bao Dong, date of birth and death unknown, zi liang, zi liang, number near the third, the owner of the Amaranth Pavilion, Zhejiang Shanyin (present-day Shaoxing) people. Disciple of Liu Yong. The figures of the work paintings, the clothes are quaint and elegant, and the appearance is vivid, which is unique outside the two families of Jie Qi and Fei Danxu. He is also good at landscapes and flowers, with beautiful penmanship, Suzhou and Zhejiang poetry notes, and more than his hands. His works include "Figure of a Lady of Characters", "Figure of Li Sideburns", and "Diagram of Cai Ling".
Qing Li Yu 'Out of the Bath" Fan paper 17.8 cm length 52.5 cm In the collection of the Palace Museum in Beijing
This picture is based on the theme of Yang Guifei's bathing, taking the poetry of Bai Juyi's "Long Hate Song", showing Yang Guifei's delicate and moving posture, the characters in the painting are gathered and scattered, and the posture portrayal is accurate and in place. The lines are nearly blue leaflines, like twists and turns. The color is exquisite, highlighting the main characters with bright colors.
Li Yu (1843-?) ), the word Meisheng, the number of Zhuxi, a native of Yangzhou, Jiangsu. Workers, flowers and birds, and occasional landscapes. During the Guangxu period, he tried to compose "Xiuzhu Yuanshan Map" at the age of 62.
Qing Liu Yanchong's "Listening to Ruan Tu" 20.7 cm in length on paper 78.1 cm in width 78.1 cm in the collection of the Palace Museum in Beijing
From the figure, it can be seen that this painting was painted by Liu Yanchong with his eighth brother as the object of depiction. Tu Chinese man in a high crowned wide dress, sitting on his knees, listening to a singer playing the Nguyen harp. Ruan Yin is clear, everywhere is full of herbs, sycamore branches and leaves are luxuriant, and with lake stones, plantains, green bamboo, quiet and abnormal. The characters in the picture are thin and rounded with lines, quite ancient, and the color is beautiful and bright. The grass is rendered with a large area of flower blue, painted with heavy color thin pen roots, and the thickness changes from time to time, forming a sense of fog and clouds. The sycamore is almost pale ink and white, and it has a deep and beautiful meaning. The whole background has a kind of ethereal illusory meaning, which sets off the realistic and vivid characters' pen and ink; the expression dynamics of the characters in the painting reflect the melodious and beautiful sound of Ruan Yin. Virtual reality complements each other, and writes nothing to form an artistic effect that is more vulgar and dusty.
Liu Yanchong (1807-1847), first name Rong, zi Yongzhi, Sichuan Tongliang people, overseas Chinese in Suzhou, Jiangsu. Disciple of Juan. Gong poetry, good at painting, landscape, characters and flowers have advanced education. Splashed ink as millet cloud mountain, lush and considerable. His heirloom works include "Liu Yan Tu", "Qunfeng Qiu Cui Tu", "Songyin Gaoshi Tu", and "Listening to Ruan Tu".
Qing Wang Su's "Wutong Lady Figure" on paper with a color length of 134.6 cm and a width of 30.9 cm In the collection of the Nanjing Museum
This picture inscription is Li Qingzhao's "Drunken Flower Yin". In the painting, the mountain stones and sycamore leaves are written in thick strokes, and the number of autumn chrysanthemums is written with dot leaves and flowers, and the brushwork is longitudinal and the artistic conception is cold. The woman standing by the window is delicate and beautiful, with a thin line. With the reality of the characters and the virtuality of the scenery, it sets off the artistic conception of "the curtain rolls in the west wind, and people are thinner than yellow flowers".
Wang Su (1794-1877), also spelled Xiaomei, Xiao mou, and Xunzhi, was the master of Zhuli and a native of Ganquan (present-day Yangzhou, Jiangsu). Good at painting figures, flowers and birds, animals, fish and insects, young master Bao Mustard Field, and later Fahua. The pen and ink are clean and the characters are full of life. It can also be sealed, and the French and Chinese seals are covered by the name of the painting. His works include "Erxiang Tu", "Spring Thunder StingIng Map", "Fisherman's Music Map", "Zhong Kui Tu" and so on.