Zhu Bang (朱邦), a Ming Dynasty painter, was a Ming Dynasty painter with the nickname Jiulong Shanqiao (九龙山樵), also known as Yin Shuo (隐叟), also known as the Shu Dao (齁道人), a native of Xin'an (present-day Shexian County, Anhui).
His person, the "History of Painting Society", has a legend: "Zhu Bang, zi zhengzhi, alias Jiulong Shanqiao, also known as Yin Shuo, also known as The Daoist of Shu, Xin'an (present-day Shexian County, Anhui). Landscapes and characters are sketched with pens, and the ink is dripping, similar to Zheng Qianxian and Zhang Lu. ”
Ming Zhu Bang, "The Sound of Wind and Snow in Maotang", 184×102cm
part
Inscription: Wind and snow thatched hall wild water bay, the sound of the chant stirred through the cold of the water. The neighbor suddenly recalled the appointment, and Xu drunkenly ruined the moss plate. Zhu Bang.
Close-up ancient wood cang pine, old dry branches, flexing coils, azure lush. Under the shade of the pine at the water's edge, there are two water pavilions, one of which seems to be gossiping, one of which is reading. The water is babbling, and there are two moored boats on the shore. In a few huts in the village on the right side of the close-up view, a man is dragging a cane and carrying wine slowly. Between the two mountains, above the bridge, a man bent down and raised an umbrella to walk.
In the middle of the scenery, the mountains are steep, the peaks are stacked, standing upright, straight into the clouds. In the depths of the mountain pass, the houses and dangerous roads are faint and faint. The distant mountains of the distant landscape are slightly outlined, a few sailboats on the water, sailing, and the farther away is dyed with light ink, the farther the scenery becomes more and more foggy. The whole painting is quiet and lofty, vivid and natural, full of life.
The composition follows the composition style of the Northern Song Dynasty panoramic landscape painting, with the mountain and the river as the main body, the main mountain in the center, standing majestically, the left and right scenery contrasting, a pyramid-shaped stable structure, a combination of high and far-reaching, and the momentum is magnificent. The arrangement of the three scenes near, medium and far is orderly. The medium and long views account for two-thirds of the picture, and the close-up view accounts for one-third of the picture. The close-up view takes the Songshui Pavilion as the visual center, and the ink is slightly heavier, and the long-range view is mostly light ink. Near real and far away, near complex and far simple, virtual and real complex and simple reflect each other, the level is orderly, which better reflects the sense of spatial hierarchy of the picture. There are few characters in the point scene, the shape is clumsy, the vibrating pen or orchid leaf drawing, the pen and ink are concise.
In terms of pen and ink, it is mainly based on axe splitting and dragging mud with water, and the pen is strong and bold, with strong setbacks and strong, vigorous and moist, with a clear Zhejiang style.
This work has a huge scale, the composition and set arrangement are appropriate, the pen and ink are unrestrained without losing the law, the rigor is flexible and changeable, and there is no Zhejiang school of hard and crazy, the disadvantages of pen and ink decadence, when it belongs to the "Zhejiang school" in the masterpiece.
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