In the long history of the Chinese nation, many excellent cultural heritages have been left behind, and the flowers and birds of gongbi are one of the strange branches. It arose in the Wei and Jin dynasties, matured in the Five Dynasties of the Northern Song Dynasty, and has a long history. It coexists and develops with figure painting and landscape painting, and reflects the flowers, insects, plants and trees of nature and the spiritual feelings of people with its own unique artistic language and expression.
The development of Gongbi flower and bird painting to the five generations and the two Song Dynasties can be said to have developed from maturity to its heyday, and the five generations were marked by "Xu Huang Alien Body", and flower and bird painting entered a mature period. In the Yuan Dynasty, due to the rise of literati painting, Gongbi painting took a back seat.
In the Ming and Qing dynasties, Gongbi flower and bird painting entered a new period of development. At the beginning of the Ming Dynasty, the academy was revived, and the creative activities of flower and bird painting were mainly centered on the academy, and the flowers and birds in the courtyard dominated the flower and bird painting altar at that time. At that time, the most famous courtyard painters were Bian Wenjin and Lü Ji, who inherited the tradition of Southern Song Dynasty courtyard body painting, double hook filling, and painting methods neatly and beautifully. Bian Wenjin and Lü Ji's representative works include "Three Friends and Hundred Birds" and "Snow Scenery Plume Map", which are unique and have their own distinctive characteristics on the basis of learning traditions.
This issue collects and sorts out the masterpieces of Shen Quan (Qing), Lü Ji and Bian Wenjin (Ming) and their appreciation, so as to entertain readers and appreciate the beauty of Seiko.
1. Shen Quan
(Qing) Shen Quan, "Hundred Birds"
Shen Quan (1682 – c. 1760) was a Painter of the Qing Dynasty. Zi Hengzhi (Chinese: 衡之; pinyin: Zhāng Zhīng Zhīng Zhā Workers write flowers and feathers, set colors beautifully, and paint characters without passing on the secret. Try to write the words of Lady Huarui's palace as a picture, which is very clever. The King of Japan saw his Hundred Horse Tu Da Yue, and yongzheng was hired for three years in the seventh year (1729), and the gold was scattered to friends and friends, and the bridge was still Xiao Ran. Huang Xingjian has a poetry chronicle. He died in his eighties.
Shen Quan's paintings of flowers and birds, with exquisite brushwork and high style, have reached the realm of "sound and color" that is difficult for ordinary painters to reach. In addition to benefiting from superb pen and ink kung fu, it can be intended to be the first in the pen, take the meaning as the soul, and turn the Fa into vitality, so it is wonderful.
Qing Shen Quan Song He Tu Shanghai Museum Collection
Shen Quan Gui He Tu Collection of the Palace Museum in Beijing
Shen Quan was blessed by Tianbailu
2. Lü Ji
Lü Ji (active 1439-1505) was a Ming Dynasty painter, a native of Yin County (present-day Ningbo, Zhejiang). Famous for his flower and bird paintings, he first learned the brushwork of Bian Jing Zhaogong, and was also influenced by Lin Liang's ink painting method, and later imitated the famous relics of the Tang and Song dynasties, so he became a self-contained and unique contemporary. His flower and bird painting style shows two faces, one is heavy and colorful, the precision is rich, and many paintings of phoenix cranes, peacocks, mandarin ducks and the like, supplemented by tree slopes and stones, beach and spring background, both legal and full of vitality. The other type is ink freehand painting, with a thick brush stroke, concise and unrestrained, close to Lin Liang's style. He is also good at characters, landscapes, patriarchal Southern Song Dynasty Ma Yuan, Xia Gui painting method. His style of painting flowers and birds was very influential inside and outside the court at that time, and there was no shortage of successors.
During the reign of Ming Hongzhi, he entered the Renzhi Hall and was the commander of the Jinwei Commandery, and was a representative painter of the Ming Dynasty, along with Bian Jingzhao and Lin Liang. His painting style can be divided into two categories, one is based on ink painting with slight pastel, and the pen is more luxurious, and the other is rich in color, with harmony and craftsmanship, with a rich court decoration interest. Lü Ji changed from ink pale painting to gongbi recolor color painting, and the more direct reason was to adapt to the different tastes of different emperors, specifically that the appreciation taste of the Hongzhi Emperor Zhu Youfan was different from that of his father, the Chenghua Emperor Zhu Jianshen, which caused Lü Ji to paint phoenixes, pheasants, cranes, peacocks, mandarin ducks and the like, mixed with flowers, trees, grasses and stones, with vitality. Pen coloring and ink writing ability, and good at combining the two bodies. Lü Ji first learned from the Tang and Song dynasties and his contemporaries Bian Jingzhao, and later formed his own style. His flowers and birds are brightly colored and full of vitality, and he is known as the first flower and bird painting in the Ming Dynasty. It is said that Lü Ji often used allegorical techniques to advise the emperor in his paintings, and the emperor knew his intentions, and once said: "Gong Deacons are artistic, and Lü Ji has it." His representative works include "New Year Double Pheasant Diagram", "Osmanthus Mountain Bird Diagram", "Residual Lotus Eagle Heron Diagram", "Autumn Heron Hibiscus Diagram" and so on.
Lü Ji Hezhu Sleeping Scroll Silk Color Painting 174.5× 104.2 cm National Palace Collection, Taipei
At the end of the moon, the mist is miserable, the reeds and lotus leaves loom in the middle, and there are four geese perched on the continent. The composition is only near and medium, and the long view is omitted and unpainted. Although this painting has Lü Ji's famous model, there are doubts, and the pen power of the general width is relatively weak, which is not the original trace of Lü's family. However, its scenery arrangement and atmosphere creation are quite close to another piece of Lü Ji's collection of "Qiuzhu Waterfowl", so it should be a copy of the Lü style that is quite faithful to the Lü style, and the appearance of the Lü Ji freehand style can be glimpsed from this painting.
Lü Ji Qiu Waterfowl Collection of the National Palace Museum, Taipei (former)
The snow scene of Xiao Shu, the river sky is like ink. Fearing the cold, most of them have fallen asleep, and the frozen doves inhabit the willows. The author fully grasps the atmosphere of the real situation, which makes people reflect the chill of winter. The pen and ink color shows the rich flavor of Lü Ji, but it is more simple and concise, and compared with other works, it adds a layer of quaint interest.
On the autumn night when the smoke is thick, the moon is half hanging. Hibiscus and reed slopes inhabit the bean geese four, three have fallen asleep, and a pair of moons have been chirping. The brushwork of painting flowers and birds in the painting is fine and not rigid, and the slope stone is freehand. It not only shows the habit of a flock of geese perching at night, guarded by a goose to keep vigil, but also paints the poignantness of the autumn night, and sends a message of mind to borrow time and scenery to express feelings, which is a representative work that shows Lü Ji's combined work and is good at mastering the characteristics of the situational atmosphere.
Lü Ji HanXue Mountain Chicken Collection of the National Palace Museum in Taipei
Lü Ji Plum Tea Baby Bird Diagram Silk Color Zhejiang Provincial Museum
Lü Ji Guiju Mountain Bird Diagram Silk Colored Is now in the Palace Museum
Lü Ji Mao Chicken Diagram
Ming Lu Ji Bamboo Bird Diagram Collection of the Palace Museum
Lü Ji Returned to the Goose Chart
Lü Ji New Year Double Pheasant Tulu
Third, Bian Wenjin
Bian Wenjin (c. 1356 – c. 1428) was an important court flower and bird painter of the early Ming Dynasty, active during the Yongle (1403–1424) to Xuande (1426–1435) periods. The painting style continues the tradition of the Northern Song Dynasty Huang Xiao (c. 903-965) painting school of heavy color, and integrates the southern Song Dynasty painting style.
Bian Jingzhao Si Xi Tu Collection of the National Palace Museum in Taipei
Bian Jingzhao Shuanghe Collection of the Palace Museum in Beijing