The landscape will be hidden in the book foot swimming
——Lu Zhi's "Red Apricot Wild Map" analysis
The Wumen School of painting that rose to prominence in the Suzhou region of the Ming Dynasty is a very important painting genre in the history of Chinese art. Lu Zhi is the toshihiko of this school. In his early years, he traveled to Zhu Yunming and Wen Zhengmingmen, and was proficient in painting and poetry. Dong Qichang said in the "Song and Yuan Album": "Learning books is different from learning paintings, and books have ancient theories... Since Lu Shuping, Wu Zhong's paintings have declined, and he has also collected more fake books for good deeds, and false seeds have been circulated, and they have falsely claimed to have opened their own houses. [1] Dong believed that Lu Zhi was a watershed painter in the decline of the Wumen school, and fully affirmed his position in the school. Wang Shizhen has a more detailed comment on Lu Zhi's artistic affairs. The author cites three of them: first, his study of Danqing, his chest is strange to be with the ancients, a good name, and a few with Wen Li; [2] Second, the four famous families of the shengguo (Yuan Sijia), who have been written in the landscape and water compromise, The Four Famous Families (Yuan Sijia), The Huiwei Xiuba, the creative at the time, the dots and dyeing flowers, birds and bamboo stones, often made in heaven, and the Xi Tsuen and the underlings do not care; [3] Third, the writers of flowers and plants since the Shengguo (Yuan) are not as good as Wu County, and Wu County has not been as good as Chen Daofu (Chen Chun) and Lu Shuping (Lu Zhi) since Shen Qinan (Shen Zhou), but the Tao is wonderful and not true, and the Uncle Ping is true and not good. [4]
Part of Lu Zhi's "Collection of The Feast of the First Night", collected by the Shanghai Museum
From the comments of Dong and Wang, we can glimpse the position of Lu Zhi in the Wumen School. What needs to be pointed out here is: First, although Lu Zhi has a high attainment in Danqing, he has not reached the same status as Wen Zhengming, but his achievements in the field of flower and bird painting should be similar to Wen Li and even have blue points; second, Wang Shizhen does not mean that Lu Shuping's works are not good, Chen Daofu's works are not true, this phrase should highlight the strengths of the two. Judging from Lu Zhi's flower and bird paintings, his style is relatively comprehensive, and there are really wonderful works. The "Red Apricot Wild Map" of the Anhui Museum in present-day Tibet is a masterpiece of Lu Zhi's really wonderful work. This article intends to comprehensively analyze the cultural value of "Red Apricot Wild Map" from the aspects of the creation content, creation period and circulation context of the work. Before examining this work, let's first sort out the author's life.
I. Author Profile
In studying Lu Zhi's life, the author mainly relies on two biographical documents: Huang Shengzeng's "Ming Wu County Youzhu Lu's Monument"[5] and Wang Shizhen's "Biography of Lu Shuping"[3]. The former is a protégé of Lu Zhi's father, and the latter is a friend of Lu Zhi.
Portrait of Lu Zhi, source Baidu Encyclopedia
Lu Zhi (陸治), courtesy name Shuping ,Bao Shan (包山) and Bao Shanzi (包山子), was born in the ninth year of Ming Hongzhi (1496) and died in the fourth year of the Ming Dynasty (1576). Lu Zhi's ancestors were from Kaifeng, Henan, and were a traditional squire family. Since his grandfather Lu Ding, the family moved to Meiliangli in Wumen Baoshan Mountain, which is also the reason for Lu Zhi's name. Great-grandfather Lu Xian, due to the flooding of Meiliang Lake, moved his family to the county town (Suzhou). His grandfather Lu Xuan had four sons, and his father Lu Ming was a jizi. Lu Ming (1456-1532), also spelled Ruxin, was a Gongsheng during the Zhengde dynasty, known as Mr. Youzhu. Lu Ming studied the I Ching with Lai Shui Wenhong (Wen Zhengming's grandfather), guangdong classics, and was a famous Confucian in Wuzhong, but his fate was bumpy, and he failed to pass thirteen township examinations. Lu Ming once served as a tutor in Suichang, and his disciples Li Fanghua, such as Liu Wentao, Zhu Zichun, and Huang Shengzeng, were all his protégés. Later, due to tiredness of traveling to his hometown, he resigned from the post of yueqing county teaching, and Dumen guarded himself, with high festivals, and had a strong friendship with Wen Zhengming. The "Bamboo Diagram" volume of the Ming Sijia "Four-Stage Combination Volume of Landscape And Water Figures" that exists in the Shanghai Museum is written by Wen Zhengming for Lu Ming. After Lu Ming's death, Wen Zhengming was even more tombary. Lu Mingyi had many children, and Lu Zhi was born to him and his original partner, xing. Lu Zhi was born and bright, and Gong Zhi was righteous. When he was a teenager, he was good for chivalry, and he was good after learning to raise his children. [6] Lu Zhi was awarded the title of Official Palace As a Zhusheng, and was on a par with Wang Pet and Wang Guxiang. Like his father, Lu Zhi was also unlucky, and repeatedly tried to meet the heavens (township test). Middle-aged people gradually reclusively, often make ancient words, in order to adapt to the mood, and refuse all rewards. Lu Zhi has a high talent for Danqing. Because the Lu family and the Wen family were family friends, he studied painting with Wen Zhengming very early on, and then traveled to Zhu Yunming and Chen Daofumen, and his painting skills were refined. Because he had no intention of raising his children, Lu Zhi resigned his identity several times. However, all the sheriffs (Lin Maoju, Wen Jingkui, and Wang Daoxing) appreciated his talents and learning, so they asked Tixue Yushi to play. Ti xue yushi had already heard of Lu Zhi's reputation, and recommended him as a gongsheng (宸) for his character. However, at this time, Lu Zhi had already made up his mind, and he wore a virgin's uniform and lived in seclusion in Zhilu, resolutely not to come out until his death.
Lu Zhi's "Pear Blossom Double Swallow Diagram", Tianjin Art Museum Collection
2. Appreciation of works
The "Red Apricot Wild Map" of the Anhui Museum in present Tibet, with a vertical axis, 120 cm in length and 43 cm in width, was made by Lu Zhi. This is a freehand flower and bird. The top of the picture is painted with several red apricot branches, competing for glory in the wind, and spitting out micro-English. Apricot branches are either outlined with thick brushes or shaped with ink lines, which are simple and vigorous, strong and powerful. The apricot blossoms are boneless and dotted, and the double hook leaves are interspersed with them, innocent and lively and natural. Under the red apricot, a wild stalk is painted on the water. Wild Blade flicked the red palm, looked at the sky with his neck sideways, and Jumped on the paper. Here, the author's grasp of the wild god is very exquisite, reflecting the author's profound sketching skills. The feathers of the wild catfish are mainly ink-colored, with a small amount of vermilion, rich layers, and a fat body. Although the water streaks around the wild stalk are only a few strokes, the texture of the water is completely out of the way, which is quite a legacy of Ma Yuan. In the close-up, several water plants are painted, including green and green, jade pavilions, and a spring machine.
Lu Zhi's "Red Apricot Wild Map", anhui museum collection
In the middle and bottom of the right side of this painting there is a poem written by Lu Zhi:
In February, Wusong water beach, willow wind and long. Lu Ji gave up idleness and spent all over the spring pond fighting duck pen.
(Press: Lu Zhi initially wrote "by the column", later changed to "idle place", "column" word point). Drop the "Bao shan Lu zhi", plutonium yin text square seal "Lu Shi Shu Ping", "Bao Shan Zi".
"Red Apricot Wild Blade Map" Lu Zhi self-titled
The first two sentences of these seven are mainly written scenes, depicting the early spring scene of Wusong Beach in February. The three or four sentences concern two Wudi sages: Lu Ji and Tortoise Meng.
Lu Ji (261-303), Zi Shiheng, a native of Wu County, was a famous writer and calligrapher in the Western Jin Dynasty. He was born into a famous family, with great talent, and Pan Yue was known as "Pan Jiang Lu Hai" reputation. Lu Ji now has 27 fu texts, including "Wen Fu", "Sighing Endowment", "Ghost Endowment" and so on. Lu Ji and Lu Yun actively joined the WTO, and Zhi Kuang was in difficulty. At that time, the Central Plains was difficult and the political environment was not good, and his friends Gu Rong and Dai Ruosi persuaded them not to hide, and finally they were killed by the treacherous rumors, and they were killed in the army and were destroyed by the three tribes. Before his execution, he sighed bitterly: "Huating Crane, how can you hear it again?" [7] This is the origin of the allusion "Huating Crane". After Lu Ji and Lu Yun were killed, their descendants built an ancestral hall in WusongJiangbin, Lu Baoyuan, to commemorate them. In view of Lu Ji's tragic suffering, he became a classic for later literati not to enter the career path. For example, Li Bai wrote a poem in "Difficulty in Walking" after Tianbao was given gold in the third year: "Is Lu Jixiong able to protect himself?" It's not too early for Lees to be taxed. Huating crane can be heard, Shangcai Goshawk Ho Foot Road? ”
Tortoise Meng (?) –c. 881), Tang Dynasty agronomist and literary scholar, courtesy name Lu Wang, Tian Suizi, Jianghu Sanren, Mr. Fuli, a native of Changzhou (present-day Suzhou). Tortoise Meng served as an aide to Huzhou and Suzhou, and later lived in seclusion in Songjiang Fuli (present-day Luzhi). Because of his cultivation of the Tao and the future generations, he, like Tao Yuanming, is a model for the hermits of later generations. For example, in Jiang Baishi's "Dotted Lips", the words and phrases are: "Count the peaks and be bitter, and the light is slightly dusk and rain." On the side of the fourth bridge, it is planned to live with the whole day. The tortoise Meng liked to fight ducks before his death, and there is an allusion to the "duck that can speak", which is detailed in the five generations of Yu Ti's "Wen Qilu" writings. After the death of Tortoise Meng, In his honor, Heo built a "Fighting Duck Pond" attraction in the local area. The Qing Dynasty scholar Wang Tao wrote in the "Duck Swamp Guanhe": "The rest of the life is named after Tang Lutian. Tian Suizi lives in seclusion, when he sings peace with Pi Rixiu, and calls himself Mr. Fuli... Mr. Yi is in the time of the joy of fighting ducks, there is a duck fighting fence, is chiseled for the pond swamp, square pond such as a jian, a water rush. ”[8]
In this way, the poetry of the poem can be solved. In the early spring of February, the author was touring the Wusong Riverside (甪直), thinking of Wudi's ancestor Lu Ji, he recited his fugue, thinking about Lu Ji's life, looking at the column from afar, and thinking of a thousand thoughts. Compared with Lu Ji's choice of entering the Shi, Lu Zhi chose the same way of retreating as Tortoise Meng. In the season when the spring pond is full of flowers, you can enjoy the fun of fighting ducks and no longer have the sorrow of sighing cranes.
From this self-titled poem, it can be seen that the author mainly uses this work to depict a picture of his reclusive life.
"Red Apricot Wild Picture" Wen Peng inscription poem
At the top left of the picture there is a poem inscribed by Wen Peng:
Among the green waves of bustling flowers and birds, there are more apricot blossoms that reflect red. He once lived in Lu Tang and is still said to be a tortoise.
Drop the "Wen Peng", and the plutonium Wen Fang prints "Wen Peng" and "Wen Shou Chengshi".
Wen Peng (1498-1573), Zi Shou Cheng, No. 3 Bridge, Changzhou (now Suzhou), the eldest son of Wen Zhengming, Gong calligraphy and painting, You Jing seal carving, there are "Doctor's Poems" passed down. Lutang, now Suzhou Luzhi Ancient Town, located in the south bank of the Wusong River, known as "Liuzhi" in the Ming Dynasty, is a hermitage of tortoises. The first two verses of the poem mainly depict the scenery in the painting. After a little deliberation in the last two sentences, it is not difficult to see that the author has the idea of praising Lu Zhi. The whole poem should be interpreted as: flowers and birds in the green waves and music, more red apricots reflect each other, tortoise Meng once lived in seclusion in Lutang, (because of his virtue and talent), his good name has been praised by the people here. And Lu Zhi, who chose to live in seclusion like Tortoise Meng, with his character and talent, will also be praised by future generations.
"Red Apricot Wild Picture" Wenjia inscription poem
In the middle left of the picture, there is a poem with Wen Jia inscription:
The branches of the water flowers are light and spring, and the water and light flowers and shadows are dust-free. Xiao Xian was envious of the ducks between the waves, and the catapult did not guess the bath evening.
Drop the "Wen Jia", the plutonium Yin text square seal "Wen Jia Yin", "Wen Xiu undertakes to print".
Wen Jia (1501~ 1583), Zi Xiu Cheng, Wen Shui, Changzhou People (now Suzhou), Wen Zheng Ming Zhongzi, Gongshu Nengshi, proficient in identification. After the fall of the powerful minister Yan Song, Wen Jia was ordered to review Yan's confiscated calligraphy and paintings. The first two sentences of this poem are quoted from the poem "Zheng Xianjue Ghost Bird Shines on the Water Fan Head" by Yuan Haoqing, and the original sentence is: "Linshui Huazhi is light in spring, and the water, light, flowers and shadows are dustless." [9] It is used here to depict a fresh and elegant early spring riverscape. "Dust-free" has the intention of praising the quality of the painter. "Ejection without guessing" was often used in ancient times to describe birds with noble qualities. For example, in the Quan Tang Wen volume 757 "Japanese-ZhongwuFu", it is used "Wishing for rice grain, the zhishi stay and mod; no guessing catapult, the father of the exaggeration is shocked and does not fly." [10] To praise the noble qualities of the blackbird as an ordinary bird. The meaning of this poem is: the apricot blossoms in early spring are leaning against the Wusong Riverside, emitting a faint fragrance. The river water and the flowers and shadows are interesting, and there is no dust. I really envy the idle attitude of the wild ducks in the waves, and I am not afraid of catapults, leisurely swimming in the evening water. Judging from the literature, "Xiao Xian" is also a quality that Lu Zhi possesses. Here the inscription of "Imitation of Wang Mengshanshui" written by Lu Zhi Jiajing Pengshen (1548) is quoted: "Yu Shaoshi Huang Heshan Qiao also peeked at its path, and then responded with grass and grass, for a long time, Gaishan Qiao pen is quaint, more Xiao Xiao idle forest valley fun, non-Cheng Huai to make pen is rare and wonderful, Jiajing Pengshen autumn, mountain dwelling for many months, leisurely have the thought of mountain trees, so this painting is made." [11] Therefore, Wen Jia's meaning in this is self-evident.
Lu Zhi's "Small View of The Durian Flower", collected by the National Palace Museum in Taipei
Third, the creation of the chronology examination
At present, there are about forty of Lu Zhi's flower and bird paintings. Judging from these works, his technique is comprehensive and his painting path is open. Lu Zhi's paintings were based on Wen Zhengming and Shen Zhou, and later Fan learned from the famous masters of the Song and Yuan dynasties, and also took the strength of contemporary painters. His early works are warm and moist, the composition is stable, and the fine brushstrokes or ink colors are freehand, and the aesthetic taste is to follow the literati interest of the Yuanren. During this period, there were obvious marks on both the pen and the selection of topics. After the middle period, the painting style began to change, slowly getting rid of the Wen barrier, the creative techniques were rich and comprehensive, the pen was exquisite, the color was gorgeous, and the aesthetic taste paid attention to the morphological beauty of the flowers and birds themselves. In his later years, due to the need to meet the needs of the commodity economy, the style was complex and changeable, the painting path was open, and the pen was more rapid and old, and the picture often had a sense of old age. [12] [13]
One of Lu Zhi's "Album pages of Mountain Residences and Pleasures", collected by the Palace Museum in Beijing
Throughout the entire book of "Red Apricot Wild Map", the author has a variety of techniques and skillful uses. There are boneless methods (local branches, petals), outline color filling method (wild mouth, local branches, water weeds), and ink color freehand method (wild body, palm). In the treatment of flowers, the author adopts the method of "hooking leaves and dotting flowers", which is fast, old and spicy, and has a taste of old age. In the treatment of wild skeletons, the author uses the pen to be precise, the shape is accurate, and attaches great importance to the playfulness of its formal beauty, which is in line with the aesthetic taste of the author in his later years. Judging from Lu Zhi's surviving works, he liked to use calligraphy and calligraphy to make money, and in his later years, with the change of pen habits, he also had the line of grass, and now the "Imitation of Zhao Mengjian Daffodil" (67 years old) of the Liaoning Provincial Museum and the "Duanyang Instant View Map" (68 years old) of the Shanghai Museum in Tibet. The Red Apricot Wild Blade Is also a rare cursive book by the author. In addition, Wen Peng, who is inscribed for this work, is similar to Lu Zhi's age (a difference of two years). Wen Peng's calligraphy began to learn Zhong and Wang, and later followed Huaisu, and in his later years he all learned Sun Guoting. His inscription and painting poetry style is from Sun Guoting, which is the style of Wen Peng's works in his later years. Based on the above points, this work should be a fine flower and bird work of Lu Zhi's later years. This work is mainly used to express his seclusion.
Fourth, the circulation of the work is examined
Judging from the current data, the earliest analysis of the circulation problem of the "Red Apricot Wild Map" was the famous modern painter Hui Xiaotong. He has an inscription on the left side of the painting:
The painting net coral nine axes are suspicious, and the Pevin style is ancient and strange. Love him swing all over goose creek water, red apricot branches on the first month late. The red apricot wild map of Lubao Mountain is suspected to be one of the nine axes of flowers and birds contained in the Coral Net. There are bibliographies in Pei Wen Zhai and Shi Gu Tang. Tolerate its good treasure. Nongchen Haruhi Takashi and Huijun questions. 钤阳文方印 "Hui Jun" and "QingLu".
Lu Zhi's "Red Apricot Wild Map" Hui Xiao tong inscription
Judging from the text, this is the title of Qian Rongzhi's Tohui Xiaotong in the spring of 1952. Hui Xiaotong believes that the Red Apricot Wild Blade Map is suspected to be one of the nine axes of flowers and birds contained in the Coral Net. The author initially thought that "love him all over the goose creek water, red apricot branches on the first month late." Excerpted from the other paintings of the Nine Scrolls, I went through the relevant literature. In the Ming Dynasty Wang Keyu's "Coral Net" volume forty-seven painting inscriptions, the Qing Dynasty Sun Yue's "PeiWenzhai Calligraphy and Painting Spectrum" volume ninety-eight dynasties collection eight, the Qing Dynasty Bian Yongyu "Style Gutang Calligraphy and Painting Examination" volume 32 painting two, all found "Xie An TaoYu Story Two Axis Chun Gui Tu Lu Bao Shan Flower bird nine axis Lu Zhi flower feather six axis" related records. Unfortunately, there is no detailed record of the content of the nine axes of flowers and birds in the literature. The authors of the Peiwenzhai Calligraphy and Painting Notation and the Shigutang Calligraphy and Painting Examination are both compilations of "Coral Net" information, so they cannot describe the contents of the nine axes in detail. Because there are so few documents, it is not known whether the nine axes are scattered or partially extant. Therefore, whether the "Red Apricot Wild Blade Map" is one of the nine axes of flowers and birds contained in it is really uncertain. However, after reading the relevant literature, the author found that Lu Zhi had made a painting with a similar theme, "Peach Blossom Willow Dancing Duck Diagram". This painting no longer exists, only the inscription poem is recorded in the literature. Poetry: "In February, Wusong water beach, willow wind and long. Shi Weng gave a place of idleness, and spent a lot of spring pond fighting duck pen. [14] Although this painting is not visible today, judging from the author's inscription poem, the content of the painting and the ideas expressed are very close to the "Red Apricot Wild Picture". This is mainly because Lu Zhi often expresses his feelings in poetry and painting, so it is understandable that there are repetitive themes in the selection of topics, for example, he has painted works of the "Peach Blossom Origin" type many times.
Partial stamp of the Red Apricot Wild Blade
Since it was painted, the "Red Apricot Wild Painting" has been circulated several times, and there are many seals on the painting. In the lower left, the seals are in order: Yangwen Fangyin "Siwei Bookhouse", Yinwen Fangyin "Sun's Great Light of the Plutonium", Yangwen Fangyin "Yong'an Shen's Tibetan Calligraphy and Painting Seal". The lower right is printed sequentially: riding the seam circle seal "□□□ Hall", Yang Wen Changyin "Qian Rong Family Treasure", Yin Wen Square Seal "RongZhi Identification".
Judging from the analysis of the Era of Jianzang Seal, this painting should be collected by the owner of the round seal of the plutonium riding at the earliest. However, due to the long age and the re-mounting of the work, only half of the printed text remains, and the handwriting is blurred, and the specific information needs to be further examined. The era is followed by the "Yong'an Shen's Tibetan Calligraphy and Painting Seal", the Yong'an Shen clan is the Yong'an Wang clan in Fujian at the end of the Qing Dynasty, and the calligraphy and painting collection is common, and the Ming and Qing paintings are commonly printed with this seal. Shen's plutonium printing has a regular pattern to follow, most of which is covered in the lower left corner of the painting center, in order not to harm the picture. "Qian Rong Family Treasure" and "Rong Zhi Appraisal" are Qian Rongzhi's collection seals. Qian Rongzhi (1915-1998), a native of Wenshui, Shanxi, is a famous collector, appraiser and painter of the Huzhou Bamboo School in modern China. Qian Rong was later transferred to Sun Daguang's collection. "Four Tastes Book House" and "Sun Daguang No. 2" are the collection seals of Sun Daguang. Sun Daguang (1917-2005), formerly known as Shiwei, Siwei, a native of Shouxian County, Anhui Province, is a famous collector of modern cultural relics in China, and once served as the secretary of the party group and minister of the Ministry of Geology and Mineral Resources. Mr. Sun Daguang donated the "Red Apricot Wild Map" to the Anhui Provincial Museum in 1987. In view of the rich cultural value of the "Red Apricot Wild Map", it was appraised by the National Cultural Relics Appraisal Group in 1990 and designated as a national first-class cultural relic.
V. Lu Zhiyin's Analysis
Judging from the "Red Apricot Wild Blade Map", Lu Zhi's return to hiding has taken into account political factors. The time of Lu Zhi's return to the Hidden Branch can be deduced from his "Xie Ke Poem" written in Long Qing Xin Wei (1571). The poem says: "Bu Zhu zhi is twenty spring, and the lonely clouds are often accompanied by uninhibited." Yu Lang Mo asked Mizu, that there is Taoyuan to attract outsiders. [15] Therefore, his seclusion time should be around the thirty years of Jiajing (1551). During the Jiajing dynasty, Sejong indulged in Taoism and neglected government. The power minister Yan Song, the wings are gradually enriched, and the power is tilted towards the opposition. In order to monopolize his authority, Yan Song committed adultery and expelled dissidents, causing many people of insight to become tragic figures of the "land machine". If there is a way in the world, it is seen, and if there is no way, it is hidden. When there is no way, many disciples choose to be self-reliant, and Lu Zhi is no exception. Unlike many hermits, Lu Zhi clothed for life, during which he even gave up the opportunity to resign and chose to retreat. For such a hermit, the Tao he pursued is worth studying by later scholars. The author quotes a poem "Zhang Zuoyu's Visit to Man", which he wrote in his later years, to describe it. The poem says: "Learn from the old man, look at the flowers and stay." Crane ming tong wrong response, warbler trick first reward. The landscape will be hidden, and the book will be fully reclined. Is the Junjia Double Jade Sword still in the box? [16] From the poem, we can see that Lu Zhi was willing to live in tao yuanming's landscape and pastoral life in his later years, and he found a way to settle his soul from "books". It can be seen that his Tao lies in the self-sufficiency of the spiritual world, and he is not obsessed with material fame and fortune. Therefore, he said that even a treasure as honorable as the "Double Jade Sword" could not remain in the box forever. And "books" such as "Red Apricot Wild Map" are the peach blossom origin of their spiritual sleep.
Lu Zhi's "Caoge Maple Forest Map", shanghai museum collection, wind into the pine photograph
Judging from the existing data, Lu Zhi's hidden thought has been around for a long time. His earliest surviving work, Peng Zegao (created at the age of 28, now in the National Palace Museum in Taipei), is a work that reflects his reclusive thoughts. The author believes that the source of Lu Zhi's reclusive thought has a lot to do with his family environment and the social environment at that time.
First, the family environment. Lu Zhi inherited his family's education at an early age and followed his father Lu Ming to the business of Soo Si. According to the literature, Lu Ming was a Confucian with a hidden feeling. After he obtained the status of a sentient being, he was still diligent and studious, and he could not release the scroll, "soaring like a grave version, exploring the yaguya." Specializing in signing the curtain, lowly production, is a single void of the family. Xiao Ju Ugly Lane, sipping water, fragrant wind flood bamboo, Ming Xia NaJi, Mr. left and right piano classics, Xi You drum recitation, do not change their music. From the special intention of the barnyard, the sentiment is timeless, and the result is a Hongru. It can be seen that Lu Ming has a Yan Yuan-style celebrity style and can live in peace and happiness. After resigning from the Yueqing County teachings, Lu Ming was even more high on the east mountain, enjoying the landscape and water, "Dumen gaoqi, irrigation in the garden of the mausoleum, ploughing the field of Mount Tai." The old forest is overgrown, and the new one is built. So morning observation of twilight, pitching time, mountain cup or moc, pool piano occasionally open. The gods are full of grace and have no hidden worries about the camp; the garden is lonely and quiet, and there is no trace of the dust of the carriages and horses. [5] Under the influence of his father's words and deeds, Lu Zhizi was very familiar with his sexual characteristics.
Lu Zhi's "Ink Flower Fan", in the collection of the Palace Museum in Beijing
Second, the social environment. In the middle of the Ming Dynasty, the talented literati circle centered on Wumen was the main representative group of mountain forest culture in the Ming Dynasty. [17] During this period, the Suzhou area had emerged from the "shadow" of Zhang Shicheng's regime and once again became an economic and cultural center in the country. Although many talented literati have experienced political twists and turns, they can still live a comfortable literati life by relying on family assets or calligraphy and painting. They dare to express the mountain forest ideas in their hearts and fight against the traditional Taige culture, which has caused great repercussions in society. Under the infiltration of this culture, many literati advocate a life of retreat, and they often collect elegant collections, exchange calligraphy and painting, and express their chests. Lu Zhi's growth stage was the heyday of Wumen Mountain Forest culture, and his teachers Wen Zhengming and Zhu Yunming were representative figures in between. Therefore, Lu Zhi's eventual retreat had a lot to do with the entire Wumen ideology.
epilogue
"Red Apricot Wild Painting" is a fine flower and bird work by Ming Dynasty painter Lu Zhi in his later years. Since its inception, this painting has been handed over in a clear vein, and was eventually donated to the Anhui Provincial Museum by Mr. Sun Daguang, and was rated as a national first-class cultural relic in 1990. "Red Apricot Wild Painting" has rich cultural value, from which we can glimpse Lu Zhi's artistic and moral accomplishment. In today's increasingly rich material life, precious cultural relics such as the "Red Apricot Wild Map" are undoubtedly the best products of our spiritual sleep.
"Red Apricot Wild Picture" animated drawing, made by Supreme Treasure
bibliography:
[1] Qing ZhangZhao Shiqu Baodi (Wenyuange Siku Quanshu) vol. 42;
[2] Ming Wang Shizhen's "Four Continuations of the Shanren of Yizhou" (Wenyuange Siku Quanshu Edition), vol. 150;
[3] Ming Wang Shizhen's Four Drafts of Yizhou (Ming Wanli Inscribed Edition), vol. 83;
[4] Ming Wang Shizhen's "Four Continuations of the Shanren of Yizhou" (Wenyuange Siku Quanshu) volume 170;
[5] Ming Huang Province's Collected Works of the Five Mountains (Ming Jiajing Inscribed Edition), vol. 36;
[6] Qing Feng Guifen (Tongzhi) Suzhou Fuzhi (Qing Guangxu Ninth Year Edition) volume 80;
[7] Tang Fang Xuanling et al., Book of Jin, Vol. XXIV;
[8] Qing Wang Tao, "Wandering With Records", Vol. 1, Social Science Press, 2007-4-1;
[9] Kim Won's Good Questions Collected Works of the Relics of the Mountains (Four Series Of Gyeongmyung Hirojimoto), Vol. XII;
[10] Qing Dong Xuan Quan Tang Wen (Qing Jia Qing Nei Fu Inscribed Edition) volume 757;
[11] Qing ZhangZhao Shiqu Baodi (Wenyuange Siku Quanshu Edition), vol. 39;
[12] Charlemagne, Even if Dan Qingmiao is fascinated, Lazy and Detective, his descendants: Lu Zhiqi's Paintings of the Ming Dynasty, Rong Baozhai, 2011-09-15;
[13] Sun Xin, Inheritance and Innovation The Evolution of Lu Zhi Qiangu's Painting Style from the Relationship between Lu Zhi Qiangu and Wen Zhengming, Collector, 2004-04-15;
[14] Qing Zhang Yuzhang's Poems of the Four Dynasties (Qing Wenyuange Siku Quanshu Edition) Ming Poetry Volume 19;
[15] Zhu Yannan, Lu Zhi and Wang Shizhen Calligraphy and Painting Examination, Art Exploration, 2016-06-15;
[16] Ming Qian qianyi, ed., Collected Poems of the Dynasties, Vol. VIII;
[17] Zhang Dejian, Hermit Caizi, Shanren Mingshi: The Group Changes and Cultural Significance of The Ming Dynasty Mountain and Forest Scholars, International Symposium on Ming Dynasty Literary Studies, 2004.
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