Zhang Daqian
Zhang Daqian was about forty years old and shifted the focus of his studies from The Yuan, Ming, and Qing dynasties to the Tang, Five Dynasties, and Song Dynasties. Especially after the Dunhuang Li Buddha, it was even more determined in the direction of his study. Among many famous ancient calligraphers and painters, Zhang Daqian especially admired the four people of Jing Hao, Guan Tong, Dong Yuan and Ju Ran. These four people "opened the door of the six laws and enlightened the enlightenment of the future" and were worshipped by future generations of painters. However, due to the continuous improvement of Zhang Dagan's painting theory and skills, he was also greatly "disrespectful" to Jing Hao, Guan Tong, Dong Yuan, and Ju Ran. This transformation of his adds corroboration to our identification of the authenticity of Zhang Daqian's works from different periods.
Five Generations Later Liang Jing Hao Kuang Lu Tu Ink Painting on Silk 185.8×106.8 cm Collection of the National Palace Museum in Taipei
Jing Hao was a liang man of the fifth generation, and his landscape can be called the crown of the late Tang Dynasty, good at painting Yunkou Mountain, and the summit is steep on all sides.
Five Generations Later Liang Guan Tong Guan Shan Travel Map Ink on Silk 144.4×56.8cm Collection of the National Palace Museum in Taipei
Guan Tong is a five-generation man who is good at painting landscapes. The first master Jing Hao, deliberate mechanics, sleeping and eating are wasted. The original works of the above two people are no longer seen, and only their painting techniques are recorded. Zhang Daqian learned from the two people the same way as from Zhang Shengxuan, Zhang Shengxuan was a Southern Dynasty Liang person, the age is even older, his works have not been passed down, Zhang Daqian inherited and developed Zhang Shengxuan's boneless method.
Southern Tang Dynasty Dong Yuan Xia Jing Shankou To Be Crossed Scroll Silk Light Color 50×320cm Collection of Liaoning Provincial Museum
Dong Yuan is a fifth-generation Southern Tang Dynasty, good at painting landscapes, ink painting Wang Wei, color such as Li Sixun.
Juran Wanren Pine Wind Figure Silk Ink Pen Length 200.1cm Horizontal 77 .6cm Shanghai Museum Collection
Ju Ran was a monk of the Song Dynasty, who studied landscape painting and ancestral narration of Dong Yuan, all of which were exquisite. The authentic works of these two people have been handed down, such as Dong Yuan's "Xiaoxiang Tu" in the Palace Museum in Beijing, and Juran's "Wind Map of Wanren Song" in the Shanghai Museum. In his middle and late years, Zhang Daqian copied dong yuan and juran's brushwork to make many works, especially after he bought dong yuan's "Xiaoxiang Tu", "Evening View of the River Embankment" (suspected to be Dong Yuan's handwriting), "Wind and Rain Out of the Sting" (now unknown), etc., "day after a long period of meditation, the style of painting changed".
Zhang Daqian once said in a conversation with others: "For the ancient landscape paintings in our country, what I most admire is the four great masters of the Northern Song Dynasty, namely Dong Yuan, Juran, Li Cheng, and Fan Kuan. He also said the same thing when he painted.
In 1946, Zhang Daqian inscribed in the "Map of the Wanlin Qifeng of the Proposed Dong Beiyuan": "Beiyuan painting did not rely on teachers before painting, and there was no recurrence after that, and the special shaft was opened, which was followed by authentic scholars throughout the ages." In 1949, he inscribed in the "Imitation of the Juran River Rain Boat Map": "In the past, people said that Wu Zhongguishi Juran got his pen, and Gong Shu ming got his ink, and gave this paper the brushwork of the North Garden's "Xiashan Map" to seek it, and the so-called Shangkunlun searched for the source of the river."
In 1950, he wrote in the "Book of Dajiling Residence": "Dong Juhu can rise, Jingguan painting is strange". In 1956, he wrote in the "Swiss Chronicle": "Jingguan is the same, and the peaks and valleys are thousands of autumns." However, when Zhang Daqian was about fifty years old, he had a new perspective. In his 1950 "Autumn Mountain Waterfall Map", he inscribed: "Jiubo Lanting has mortal bones, and every hatred is vulgar." Tired and roundabout. Slightly turning back to the rotation of the Heavenly Jun's hand, it summoned Jing Ju to sit up. ”
Zhang Daqian Lushan Map This silk sheet is 178.5×994 .6cm
In his later years, he became more outspoken, saying in his 1982 book "Green Landscapes": "Dong Jujing has passed the traces, don't open a new realm and convey the gods." Thousands of sails crossed the river, and there was no one in The Kopo Yaoshan Mountain. In the same year, he wrote in the "Lushan Barrier": "Do not teach Dong Ju and do not Jingguan, splash ink and turn the basin to laugh at yourself." If you want to look at Po Weng sideways, you know that there is Lushan in your chest. Even more intriguing is the poem's last poem.
Tomorrow is the weekly introduction of Western history, and everyone is ready to explore Western history.
Text and pictures come from the Internet