When it comes to monk painters, many people will first think of Hongren, Jia Zhan, Bada Shanren, and Shi Tao, four monk painters who were active in the late Ming and early Qing dynasties, collectively known as the "Four Monks" in the history of painting, and many monk painters have emerged in the history of Chinese painting. For various reasons, they escaped into the empty gate and diligently pursued not only the Dharma scriptures but also the Han Mo Danqing under the Qing lantern ancient Buddha.
Sixteen Arhats Kanoga
Guan Xiu was a famous painter and poet monk of the five generations at the end of the Tang Dynasty. He can write poetry and books, and is good at painting, especially the Luohan-like appearance of the ancient and the extraordinary, and has a high reputation in the history of Chinese painting.
Akiyama asked TuJuran
Juran Master Fa Dong Yuan ink painting in one. His paintings not only have the characteristics of plain nature, thick and deep, but also have the characteristics of high and strong, magnificent and magnificent, especially good at painting the scenery of "light ink and light land" in the high mountains and rivers.
Guanyin Tu Muxi
Muxi, the Buddha's name Fa chang, a native of Sichuan, was a disciple of the monks who were not allowed to be monks at that time. Muxi is a mysterious character who excels at painting landscapes, vegetables and fruits, and freehand splashing ink monk figures. Makiki gained far more prestige and respect in Japan than in its homeland. Maki's paintings flowed into Japan around the end of the Southern Song Dynasty and had a huge impact on the development of Japanese art. He is one of the originators of the Japanese "Zen Yu School" and is known as the "Great Benefactor of Japanese Painting". At that time, the Japanese shogunate classified the collection of Chinese paintings according to the upper, middle and lower grades, and Maki's paintings were classified as upper grades.
Satin Bush Tree Diagram (Partial) Huichong
Hui Chong (965-1017), a native of Jianyang, Fujian, was a monk of the Northern Song Dynasty, who was good at poetry and painting. He was famous throughout the ages with Su Shi's "Three Or Two Branches of Peach Blossoms Outside the Bamboo, Spring River Plumbing Duck Prophet" in Su Shi's "Title Hui Chongchun River Evening Scenery Ii". His paintings had a profound impact on later generations.
Landscape map responsible
Responsible (1593-1673), known as Puhe, also known as Tonghe, ziren, a native of Jinning, Yunnan. The history of painting says that he "has a good spirit for people, and he is wandering, so the paintings are flowing and strange". Although he became a monk, he did not sit in meditation or go to church to speak, but only entertained himself with poetry, calligraphy and painting, and never talked about the world. He was a disciple of Dong Qichang. His paintings integrate the ethereal spirit of the Buddhist "no hue" and the Taoist "Chong He" artistic conception, externalized into poems, books, and paintings, all of which have Zen machines, and all of which are full of Yiyuan's simple rhyme.
Layered rocks are stacked on top of each other
Shi Feng (石谿), commonly known as Liu (劉), was a native of Wuling (present-day Changde, Hunan). Shi Jiao, who loves to travel to the famous mountains and rivers, has a profound understanding and observation of the broad artistic conception of nature. He finally settled at the Youqi Temple on Niushou Mountain in Nanjing. He makes good use of bald feng thirst to paint mountains and stones and trees, renders them with thick and light ink, exudes rich and beautiful elegance in the vigor and solemnity, and the artistic conception is strange and deep, and the water in Jiangnan is dense and thick. In Shi Xie's paintings, he wrote many Buddhist words, borrowed paintings to talk about Zen, because Zen said painting, melting Zen machine, painting theory in one furnace, and the style was superb.
Huanghai Turquoise Hirohito
Hongren, also known as Jianfu, one of the "Four Monks" in the early Qing Dynasty, was the founder of the "Xin'an School of Painting", and was known as the "Four Greats of Xin'an" along with Cha Shibiao, Sun Yi, and Wang Zhirui. "Teaching nature and blazing new trails" is the core of his artistic thinking. He once wrote a poem: "Dare to say that heaven and earth are my teachers, and the ten thousand cliffs are scepters." Dream of a good home in Fuchun, and there is no section into the fence. ”
Akiyama diagram Shi Tao
The most famous figure in history who suffered bitter melon was the painter Shi Tao in the late Ming and early Qing dynasties. Shi Tao called himself a "bitter melon monk", and his meals did not leave the bitter melon, and even offered the bitter melon to the head of the desk. Shi Tao is a landscape painter and painting theorist. His painting treatise "Quotations of bitter melon monk painting" consists of 18 chapters, which not only expounds the relationship between landscape painting creation and nature, the law of pen and ink use, and the expression methods of mountains, rivers and forests, but also emphasizes that painters should face reality, devote themselves to nature, "search for qifeng and draft", and create their own artistic artistic conception. He advocated "borrowing from the past to open up the present" and opposed "mud and ancient times", which played a pivotal role in the development of modern landscape painting.
Dead wood comes to the bird figure Zhu Yun
Zhu Yun, at the age of 8, could compose poetry, at the age of 11 he could paint green landscapes, at the age of 20 he was "changed, and after abandoning his home, he avoided the Xianshan Mountains", at the age of 23 he cut his hair and became a monk, and his name was chuanqi, and he was called a blade an, at the age of 31, he "called himself a master, from the scholar Chang more than 100 people", Kangxi Seventeen (1678) Summer and Autumn Turned Ill, Kangxi Nineteen years (1680) was still vulgar, and then lived in Nanchang, Jiangxi, where he took pleasure in poetry, calligraphy and painting until his death. In his later years, he took the "Eight Mountain People" and used it until his death, and often wrote "Eight Greats" and "Mountain People" in his paintings, taking the meaning of crying and laughing. Zhu Yun has made outstanding achievements in art, calligraphy, painting, poetry, and seal carving. Bada Shanren was the peak of Chinese ink freehand painting and had a profound influence on later generations of painting.
Loquat figure Virtual Valley
Xugu (1824-1896), original surname Zhu, name Huairen, Anhui Xin'an people, home Jiangdu, guest residence in Yangzhou. The flowers, birds and animals depicted in the Virtual Valley are lively and fresh, and the paintings of goldfish, squirrels and cranes are lively and dynamic. Wu Changshuo praised his "one punch to break the past and the present".
The success of these monks should be related to the following reasons:
01
The monk's humility and hard work. For example, Wu Daozi, the master of the Tang Dynasty, and Dong Yuan, the master of the five generations of Juyuan, are not different, and they have achieved special achievements; such as the Tang Dynasty Daofen's dedication to painting things, persevering unremittingly, and after death.
02
The situation where the painter monks and folk painters and court painters use painting as a means of livelihood, but take painting as sustenance and painting as fun, so they can not be disturbed by the external commodity economy, can paint more independently, express their pursuit of beauty, and create works that are higher than life.
03
The painter monk lives in the morning bell and the twilight drum, and compared with the frustrated literati and painters of the sea, there is less of a layer of ordinary shackles, and an extra layer of meditation experience, because he can express his own understanding of nature without restraint, just as the Six Ancestors' "Tantra Sutra" clouds: blowing but delusional, clear inside and outside, in the self-nature, all the laws are seen.
04
Most of the monks live in the jungle Lanruo, which has a good natural environment protection, and can directly contact nature and the countryside, and it is easier than others to obtain a natural and innocent, indifferent and quiet creative environment. And this is the basic objective condition that the painter needs to create a good work.