Qing Hongren Imitation Ni Landscape Scroll Pale Color on Paper Length 133·1 cm Horizontal 62·7 cm Collection of the Palace Museum
Hongren's calligraphy and paintings were deeply influenced by Ni Zhan, and many of his paintings had a distinct imitation Ni style, simple pen and ink, and were empty and vulgar, and Zhou Lianggong said of him: "I like to imitate the cloud forest, so I have perfected the extremes." He himself once said, "Ni Fan wrote ink to the family treasure, and burned incense for the teacher at the age." For example, the axis of "Imitation ni Landscape Map" made by Shunzhi in the eighteenth year, the axis of "Youting XiumuTu" and the "Yunlin Biaoyun Map" volume are such styles. The axis of "Imitation ni landscape map" takes the composition of the two banks of a river in Ni Zhan, with jagged dead trees in the near distance, soothing hillsides in the distance, and a large lake surface left blank. It is obviously modeled on the scenery of Taihu Lake, which is common in Ni Zhan's works, but there is a lot of personal style in the portrayal of the scenery: clear and straight lines are horizontal and vertical, general and refined, moist ink color, no cumbersome dot dyeing, and trees and stones show a sense of bone and cold charm.
Qing Hongren Youting Xiumu Tu Scroll Ink on paper 68 cm Vertical 50 · 4 cm Collection of the Palace Museum
The axis of "Youting XiumuTu" is a variation of Ni Zhan's mode, flat and far layout, near the slope shore maoting pavilion, pine and fir miscellaneous trees towering, dry pen rubbing tree trunks, slope stone using the side pen folding belt of the cloud forest, the outline point of the tree is simple, showing the sense of desolation and desolation. On the painting there is a poem by Hongren's nephew Jiang Zhu: "My master wrote Ni Zhiyi, the ancient wood lonely pavilion water stone you." The youbao Ephemeral Inscription is in, zen gate treasure secret anti-prince. Write for the Kai Gong Title." The purpose of this painting is clarified. Hongren pursues Ni Zhan and obtains its charm, but does not stick to the form, which can be described as the heart of the ancients.
Qing Hongren Lin Fan District 1 Picture Scroll Partial Ink on Paper Length 23.3 cm Width 157 cm Collection of the Palace Museum
Qing Hongren Festival Shou Tu Axis Ayamoto Ink Vertical 102·2 cm Horizontal 51·5 cm Collection of the Palace Museum
"Leisurely and distant" is a major feature of Hirohito's paintings, showing the meaning of remoteness and leisure with a very simple brushwork, without superfluous background in the composition, only with a simple structural performance, giving people a sense of super-dusty and unworldly. Among the typical works are the "Lin Yu First District Map" volume, the "Festival Life Chart" axis, and the "Ancient Chakra Short Di Diagram" axis. The first two paintings were painted in the eighteenth year of Shunzhi, when Hongren was fifty-one years old, just over two years after his death, and was at the peak of his work. The Forbidden City's collection of works in the Hongren Belt Chronicle alone amounts to six in this year alone. The volume of "Map of The First District of Lin Yu" was made for the elder monk Yigong of Fengxi Renyi Temple, and the picture depicts Renyi Temple and its subsequent Cizun Pavilion. The temple building is outlined with a fine pen, the pine bamboo is slightly dyed, and the surrounding scenery is brushed over, and the "quaint and deep and rich and steep and steep" (Tang Yansheng's inscription after the scroll) is immediately revealed. "Ancient Chakra Short Hagi Diagram" axis, the picture depicts the residence of the incense stickEr Chen Yingyi, with realistic meaning, the composition is novel, the front of the picture is a circular pond surrounded by rocks, quite symmetrical, the last two trees are dry, open hall, there is no one, the rock trees are dry and hooked. Tang Yansheng's inscription says that this painting is "dyed far away, and it is as big as the Life Pen of Gaofang Mountain".
Qing Hongren Ancient Chakra Short Hagi Chart Scroll Ink on Paper Length 61·9 cm Horizontal 35·3 cm Collection of the Palace Museum
"Sit on the first few weights of the torn moss coat, and dream of thirty-six hibiscus." Pouring ink can be given as a gift, and the trance is difficult to name is a certain peak." - Hirohito, "Painting"
If he were only a teacher, Hirohito would not have been classified among the "Four Monks" in later generations, nor would he have been recognized as a representative of the Xin'an School of Painting. Hongren has traveled to Wuyi Mountain, Huangshan Mountain, Lushan Mountain, etc. in his lifetime, and his observation and feeling of nature have a great influence on the formation of Hongren's landscape painting style. Huangshan, in particular, became his spiritual home and soul habitat. As Cha Shibiao said: "Gradually painting into Wuyi and changing, returning to the Huangshan Mountains and Yiqi." In the past, people took the clouds of heaven and earth as their teacher, and the landscape and water could empathize, and there was a god in painting things? To taste and read thousands of books and travel thousands of miles is enough to be called a painter."
Hongren's biography and various historical sources record That Hongren's mental state of being intoxicated by the wonders of Huangshan Mountain when he visited Huangshan Mountain, relieved and intoxicated. Tang Yansheng wrote in Bao Hongren's "Endless Map of Jiangshan": "Gradually the master searches for mountains and wadses through the zeal, adventures and climbs, and the passage of the teeth is half the realm where the apes and birds have not seen." Often come out in the early hours of the morning, return home, wind and snow loop, and have nothing to avoid."
Qing Hongren Huangshan Atlas of "Flying Light Xiu" on paper Length 21.4 cm Horizontal 18.4 cm Collection of the Palace Museum
Qing Hongren Huangshan Atlas of "Drinking Stone Residence" On Paper Vertical 21.4 cm Width 18.4 cm Collection of the Palace Museum
The Palace Museum's collection of Hongren's "Huangshan Map" volume (sixty kai) can be said to be the most concentrated display of Hongren's sketches in the Huangshan Jiyou. On each of his works, Hirohito inscribed the place names of Ji You, notably Tiandu Peak, Lotus Temple, Careful Slope, Guanyin Rock, First Line Of Heaven, Bright Peak, White Dragon Pond, Ciguang Temple, Wenshu Monastery, Peach Blossom Valley, and so on. Of the sixty opens painted, the color is fifty-three, and the ink is seven open, almost one picture and one method. Among them, there are traditional compositions, but more inspiration comes from the real scene of Huangshan Mountain. It can be said that Hirohito has re-conceived and refined it on the basis of respecting the actual scenery after field investigation, and has integrated his feelings into the pen to draw. All albums use the "Hongren" round seal, the position of the plutonium cover is also carefully designed, the round red small print not only plays a pivotal role in the balance of the composition, but also in the image as a substitute for the red sun in the picture, playing a finishing effect in the frame.
Qing Hongren Huangshan Atlas of "Horizontal Pit" On Paper Vertical 21.4 cm Horizontal 18.4 cm Collection of the Palace Museum
Qing Hongren Huangshan Atlas of "Tiandu Peak"
The monk Hongmei of Ciguang Temple wrote in his "Huangshan Zhi" that he was practicing: "(Gradually Jiang) always inhabits the quiet Huangshan Mountain, walks on the path of the staff, makes a small map, and the layers are towering and beautiful, and the distant and sparse, and the family system is prepared, and there is an interest in transcendent dust." This is a true record of Hongren's painting "Huangshan Tu" book. At the end of the book, there are eight inscriptions by Cha Shibiao, Tang Yunjia, Xiao Yuncong, Yang Zixing, Wang Zisui, Rao Jing, Wang Jiazhen, and Cheng Yi, who evaluate Hongren's artistic style and character, and are very valuable historical materials for studying Hongren. Shi Tao praised in the volume of Bao Hongren's "Wind Map of the River": "The longest public tour of Huangshan Mountain, so I have the true disposition of Huangshan Mountain, that is, one wood and one stone, all of which are the true colors of Huangshan Mountain, and the wind and bones live coldly." The modern painter He Tianjian commented in "The Huangshan School and the Huangshan Mountains": "Shi Tao gets the spirit of huangshan mountain, Meiqu mountain gets the shadow of huangshan mountain, and gradually the river gets the quality of huangshan mountain."
Qing Hongren Huangshan Atlas of "Oil Pond" on Paper Vertical 21.4 cm Width 18.4 cm Collection of the Palace Museum
Qing Hongren Landscape Atlas (one of the eight openings) On paper 29.5 centimeters in length and 22 centimeters in width, collected by Tianjin Museum
"Dare to say that heaven and earth are my teachers, and the ten thousand rocks are single-handedly sceptered." Dreaming of a good family in Fuchun, there is no section into the fence." —Hirohito's "Painting"
Qing Hongren Yunlin Rhyme Album Golden Notes Ink Each open length 21.3 cm Width 25 cm Collection of the Palace Museum
After Hongren became a monk, he always regarded himself as a "scholar", humble and introverted, and Hongren's art tended to be quiet and elegant with his own state of mind, and his works were not as thick as Shi Tao, Bearded, and Eight Great, and their ink was drenched, each showing madness, but with simple brush and ink, the natural mountains and rivers in his pen showed a deep and silent beauty. At first glance, it seems to be plain, but the taste is endless. Unfortunately, Hirohito only lived to be fifty-four years old. Zhou Lianggong said of Hongren in the "Reading Album": "The people of Jiangnan are as indeterminate and elegant as the heavy clouds of the past, and the saltiness is said to be the cloud forest. Live in seclusion in Qi Yun, and do not act in a vain manner." It can be seen that at that time, Hongren's paintings had enjoyed a high reputation, and since then, the Xin'an school led by Hongren has gradually formed, and its influence has been until today.
Yuan Ni Zhan Qiu Ting Jia Shu Tu Scroll Ink on paper 134 cm Vertical 34 · 3 cm Collection of the Palace Museum
Original author: Lu Ying (Deputy Research Librarian, Calligraphy and Painting Department, Palace Museum) Original source: "Forbidden City" April 2017 issue "Xiao Xiao Yiqi is absolutely dustless, sparse trees, cold mountains and distant postures- A brief discussion on the artistic style of the Forbidden City's Tibetan Hongren paintings" (Due to space limitations, the original text has been deleted)
Yuanren Crown - Zhao Mengfu's historical position in art history
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