Hongren (1610-1664) was originally surnamed Jiang, with the name Tao, the character Liuqi, and later changed his name to Fang, the character Ou Meng. A native of Xin'an (present-day Shexian County, Anhui), he was a young man who was lonely and poor, sexually addicted, and had loved literature since childhood, and his painting life was uninterrupted, and he was born at the end of the Ming Dynasty. When the Qing soldiers entered Huizhou after the fall of the Ming Dynasty, they had the ambition to resist the Qing, participated in the struggle against the Qing And restored the Ming, and then left She for Fujian, where they became monks in Wuyi Mountain, with the legal name Hongren, the character Wuzhi, the number Gradual River, and the name Plum Blossom Guyuan. Studied under the Ancient Navigation Zen Master. After traveling to various places, he returned to She County, lived in the western suburbs of Taiping Xingguo Temple and Wuming Temple, and often traveled between Huangshan and Baiyue. After a few years, he returned to his hometown and devoted himself to the study of painting. This painting only depicts one plum blossom, a few plum blossoms, and the old branches are curved, but it does not affect its expressiveness at all.
He also worked on poetry and loved to write meizhu, but his life was mainly famous for landscapes than at the time, and he belonged to the "Huangshan School" and was the leader of the "Xin'an Painting School". Hongren's personal ideas are closely related to political changes, so they are often revealed in poetry and painting. After becoming a monk, he traveled all over the country and returned to SheXian County, living in the western suburbs of Taiping Xingguo Temple and Wuming Temple, often traveling between Huangshan and Baiyue, and traveling all over the country for more than ten years. The valuable point of his art is that he respects tradition and innovates, and the so-called teacher's method is natural and unique, which is the core of his artistic thought. There was a poem in the past: "Dare to say that heaven and earth are my teachers, and the thousands of cliffs are alone; the dream of a rich spring is good, and there is no section into the fence." "It shows that he is not willing to be confined to the barrier first, and has the courage to change constantly." This kind of artistic realm, except for Shi Tao, is not much among the ancients. Therefore, future generations of original artists have great respect for them.
Hongren was the founder of the "Xin'an School". He, Together with Zha Shibiao, Sun Yi, Wang Lirui and other four people, were known as the "Four Greats of Xin'an" in the early Qing Dynasty, also known as the "Four Greats of Haiyang". Zhang Geng said in the "Records of Paintings of the National Dynasty": "Xin'an painted many Zongqing (Ni Zhan), Gai gradually taught Dao Xianluye," and the history of painting is called Hongren, Jiaquan, ShiTao, and Bada as the "four monks" in the painting world. Represents the innovative faction. In the thirteenth year of Ming Shunzhi (1656), he returned from Min to She, to Xigan Wuming Temple. The painting started from the Song and Yuan dynasties, and Wan Chongni's painting method was the founder of the Xin'an School of painting. Painter of the ancients. More teachers. After returning to She, he must visit Huangshan Mountain every year, taking "Jiangnan True Landscape as a Manuscript", and has made 50 real scenes of Huangshan Mountain, and his pen and ink are vigorous and clean. Rich in elegance, giving people a sense of freshness. His "Huangshan Pine Stone Map" is also very handsome and does not fall into the stereotype. The "Xiaojiang Wind Map" wrote about the scenery of Pukou, pen and ink He Jin, and used both flanking, which is a representative work of his later years. In addition to landscapes, plum blossoms and double-hooked bamboo are also written, and together with Shibiao, Sun Yi, and Wang Zhirui, they are called "Xin'an Four Greats" (also known as "Haiyang Four Houses"). Yan Zhenqing of calligraphy, Ni Yunlin of Calligraphy, Shen Yun of Yi, and gong poems, were compiled by posterity into 148 paintings.
In his early years, Hongren learned from Sun Wuxiu, middle-aged from Xiao Yuncong, from the Song and Yuan families, and later from the "Four Families of the Yuan Dynasty", You Chongni's painting method, and the works seen today, such as "Qingxi Yuji", "Qiulin Tu", "Ancient Cha Short Di Tu", etc., are fresh and fresh, and all have Yunlin's will. In the inscription poem, his admiration for Ni Zhan is also fully revealed, "The pen and ink are given to the family treasure, and the incense is burned for the teacher at the age". He is concise in composition, the pen and ink are vigorous and clean, and he makes good use of folding belts and dry pen thirsty ink, because he draws nourishment from the scenic scenery of the famous mountains of Huangshan and Wuyi and attaches importance to the nature of the teacher, so the style of the work is different from Ni Zhan, less desolate and lonely, and more fresh. The direct teacher created, and the unique face, truly conveyed the beauty and novelty of the mountains and rivers, and the scenery of the Huangshan Mountains he made was not bound by Ni Zhan's painting method, but was deeply inspired by the magic of sketching and conveying the gods, full of life. For example, the Palace Museum's collection of "West Rock Pine Snow Chart Axis", the penmanship is sharp and concise, and the artistic conception is magnificent and beautiful, reflecting his own style. Hongren is famous for painting Huangshan, "to get the true temperament of Huangshan Mountain", deeply conveying the magic of god and sketching, the pen and ink are vigorous and clean, full of elegance, giving people a fresh feeling. Together with Shi Tao and Mei Qing, he became the representative figures of the "Huangshan School". Cha Shibiao wrote in the title Hongren Landscape Painting Cloud: "Gradually painting into Wuyi and changing, returning to the Huangshan Mountains and a strange." Shi Tao said: "The longest public tour of Huangshan, so the true disposition of Huangshan, that is, a wood and a stone, are the true colors of Huangshan." "Hongren's landscape paintings, whether it is album sketches or long-form masterpieces, or field sketches, or ideas, Huangshan provides him with an inexhaustible source of creation. Hongren's "Huangshan Map" has a total of 60 paintings, painting sixty scenic spots, and collecting all the scenic spots in Huangshan, it can be said that he is the first person to sketch in Huangshan. In addition to landscape painting, Hirohito loves to paint pine trees and plum blossoms. The painting is tangled and coiled, tall and majestic, with dangerous rocks and strange stones, and is also proud of the Huangshan Mountains. He once called himself "Plum Blossom Gugu" and left his friends to plant a variety of plums on the side of his tomb. The "Songmeitu" volume and the "Momeitu" axis are representative works of his paintings Of Song and Mei. Its pine, the pen is dignified, the momentum is magnificent; the painting plum, the branches are like flex iron, and the dark incense flows. Song and Mei Chong are proud of the snow, and the spirit of high standard independence is the self-portrayal of Hongren's personality. At the same time, Hongren has a calm and stoic personality, when the nation is in danger, he stepped forward, after the death of the Ming Dynasty, he fled to the famous mountains, poetry and painting were happy, and he cherished his homeland, and there were many inscriptions, paintings, singing, and poems to reveal his thoughts in this regard. His painting was first studied by Huang Gongwang, and he was late at work with Ni Zhan, and he especially had a special love for Ni Zhan's works. The influence of the collapse of the country and the personality of Hongren Jianzhen are certainly the main reasons for his preference for Ni Zhan's works, but also closely related to the specific regional background. In the late Ming Dynasty, Ni Zhan's reputation grew, and people rushed to buy his works to self-label Qingyi. The rise of Hui merchants brought Ni Zhan's works back to his hometown, which contributed to the collection of Ni Zhan's works in Anhui Province, and Hongren's imitation ni works also became popular in the market. Therefore, Zhou Lianggong's "Reading Picture Record" records that Hongren "likes to imitate the cloud forest and perfects the extremes." Jiangnan people have no fixed elegance, such as the heavy clouds of the past, and the salty means that the river is gradually enough to be a cloud forest. This constitutes the basic feature of Hongren's landscape painting.
From the paintings of the Song Dynasty, Hongren received the importance of observing nature and the tradition of fadu rules; at the same time, he absorbed the spirit of the Yuan people who attached importance to shen yun and fun, so that he used pen and ink to lighten the spirit and was full of changes, thus forming his own artistic style of purity, simplicity, purity, purity and emptiness. Yang Han of the Qing Dynasty commented on Hongren's paintings in "Gui shi xuan on painting": In the extremely thin places, you can see the plumpness, and the extremely delicate and weak places see the vigor, although it is faint and there is nothing to fade, but there is a residual rhyme. It's a know-it-all! This hand scroll is the embodiment of Hongren's typical style, the beginning of the volume has Chen Hongshou's inscription "Xishan Light And Down", the picture is a few trees standing on the water's edge, the middle scene is a few cottages lying horizontally, a small bridge flowing water, a thatched pavilion, the distant view is a belt of hills and mountains stretching out, the realm is open, like a cold and elegant idyllic poem. The means of expression are ni Yunlin's simplicity, loose and elegant, but more concise and vivid than Ni's paintings, and the brush is more rigid. Xiao Kai's long model is also thin and stiff, which is intended to be between Ouyang Rate and Liu Chengxin, which is quite harmonious with the picture. Hongren landscape brush ink is exquisite, the pattern is simple, although the teacher Ni Zhan, but can "see the very thin place to see the plump, the very fine place to see the vigorous, although there is no light, but there is no afterglow". In this "Linshui Double Pine Diagram", Hongren rarely uses thick ink with a thick pen, and also less dyeing and rubbing, so as not to let the slightest roughness and domineering appear in the work, and the exposed habits are all written slowly with the fine pine spirit pen, which is full in the ethereal, quiet in the deep show, and the structure is a pure, remote and handsome artistic conception, giving people an infinite aesthetic feeling.
Hongren was the founder of the "Xin'an School". He, Together with Zha Shibiao, Sun Yi, Wang Lirui and other four people, were known as the "Four Greats of Xin'an" in the early Qing Dynasty, also known as the "Four Greats of Haiyang". Hongren came from a poor family and had a lonely personality, he was a Xiucai at the end of the Ming Dynasty, after the death of the Ming Dynasty, he hoped to resist the Qing Dynasty, so he left Shexian County, Anhui Province, went to Fujian, and later became a monk in Wuyi Mountain.
Hongren admired the works of the Yuan Dynasty painter Ni Zhan, so his works were also quite concise, the pen and ink were vigorous and clean, and the use of folding belts and dry pen thirst ink was good. But compared to Ni Zhan, his paintings are less desolate and have a more fresh feeling. This "Pine Canyon Clear Spring Map" is outlined with dry pen and light ink, the lines are concise, there are edges and corners at the turn, the pine trees in the rocks are sparse and clear, the mountains are oblique, the mountains turn to the water, the picture is quite vivid and full of natural interest.
In the fifteenth year of Shunzhi (1658), Wanjiang was forty-nine years old. According to the "Hongren Chronology", in the spring of this year, Hongren was in Nanjing Suhuiying Temple. The composition of the picture is ingenious, surrounded by mountains and rivers, which is a big way out of the ancients. The use of simple pens, sparse forests, clear houses, and character transmission are masterpieces of the late years of the gradual river. Similar works such as: "Huangshan Tiandu Peak Map" and "Huanghai Turquoise Map", "Tao An Tu" painted at the age of fifty-one, etc. Can be seen, at this time his artistic style has been very mature, the pen and ink is simple, clean and pure, mainly with empty lines, shaped by large and small geometry, rarely rubbed, so the cold and quiet atmosphere is particularly strong. In art, it has reached the peak of unprecedented and latecomers. Gradually, the paintings of the gradual river represent the highest level of true paintings of the people of the mountains and forests and the relics, and enjoyed a high reputation at that time, and almost no second person could compare with him. Zhou Lianggong's "Reading The Picture Book": "Collectors take the painting of the wu gradual river as a "hate thing", and the Jiangnan people use the painting of the gradual river to set the elegant custom". The most prominent artistic feature of the gradual river is the simplicity and simplicity. "Idle and simple", "no slim dust in the chest" are the most desirable realms of ancient painters, and they are also the most beautiful and highest styles that the ancients considered. Hirohito's paintings are the most deserved.
