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The "Lou Dong School" headed by Wang Yuanqi was dominated by painters from the literati, while the "Yushan School" painters headed by Wang Yi were different, most of them were similar to Wang Yi, and they were professional painters who made a living from the painting industry. Professional painters emphasize their skills, but they are not good at poetry and singing, there is no poetry collection circulating, and there is a lack of literary materials that can be studied, so although there are many highly accomplished painters in this school, they are often ignored by their neighbors, and Gu Fang is one of them...
Qing Dynasty Wang Yi, Gu Fang, and others co-painted Kangxi Southern Tour Map Volume (Part of volume 9) On silk and colored in the collection of the Palace Museum
Wang Yi drew Kangxi's "Southern Tour Map", and the most powerful assistants around him were Yang Jin and Gu Fang. Yang Jin was a disciple of Wang Yi in his middle age, who followed Wang Fei for a long time, and because of the large number of works passed down from generation to generation, the painting name is well known in the sea; while Gu Fang was a disciple of Wang Yi in his later years, the history of painting is brief, and there are very few works passed down.
Gu Fang (Gu Fang), also known as Rifang, Ruozhou, and Wangao Sanren, was a native of Shanghai (present-day Shanghai), Jiangsu Province.
Gu Fang lived in his hometown and studied from Yan Zai.
Qing Gu Fang QiuSheng Fu Tu Page The color on paper is taken from the "YuShan Clothing and Helmet Map" album of Gu Fang and other paintings in the Palace Museum
Yan Zai, the characters are vicissitudes, not only the temperament is obedient and stubborn, but the painting style is also known as "strange". At present, there is no ancient work of Gu Fang, whose painting style or many types of his teachers are dangerous and absurd. In the past few years, with the growth of years, the broadening of his vision and the improvement of painting skills, the realm and skills of the old painters in the countryside are far from satisfying Gu Fang's desire and pursuit of a higher level of painting. He no longer believed in Yan's instructions and hoped for a wider world.
Gu Fang then went to Beijing with Liye Fengmao's father, saw Wang Yi's true works, admired Wang Yi's painting skills, so he asked "Chao Yun" to intercede, worshiped under the door, and wang Yi personally instructed, and participated in the drawing of Kangxi's "Southern Tour Map", and from then on followed Wang Yi around until Wang Yixian's death.
Gu Fang learned to paint at an early age, and only learned from Yan Cangyi for a few years, so it was inferred that when Gu Fang traveled to Beijing with Li Yeshi, he should have just reached adulthood, about twenty years old.
The more than twenty years from the entry into Beijing to the death of Wang Yi in the fifty-sixth year of the Kangxi Dynasty (1717) was the peak of Gu Fang's creation, and most of the works that can be known to be handed down are concentrated at this time. During this period, with the help of his mentor, Gu Fang repeatedly participated in the collective creation of Wang Fei's main writer; in addition, his personal creation was also valued by Wang Yi, and he repeatedly received the inscription written by his mentor. Now in the Palace Museum's "Landscape Map of Wang Yi and Other Nine Houses", there is a frame of Gu Fang's "Xishan Tree Pavilion", imitating Ni Zhan's pen as a small scene of the Forest Pavilion, and the picture contains the inscription of Wang Yi's personal book: "If you don't see Yunlin for three hundred years, who will exchange mortal bones for immortals." The wind and smoke are miserable and the autumn light is good, and I have found Jin Dan in front of my eyes." This is the earliest of Gu Fang's works with an age, written in the "Spring Day of Nongshen", that is, the spring of the thirty-first year of the Kangxi Dynasty, which is a painting by Gu Fang when he first entered the division.
Qing Gu Fang Xishan Tree Pavilion Picture Page Ink on paper taken from the Palace Museum's collection of Qing Wang Yi, Gu Fang and other paintings of the "Wang Yi and Other Nine Landscape Maps" album
Also composed in the thirty-first year of the Kangxi Dynasty is the frame "Autumn Sound Fu" in the book "Yu Shan Cloth and Helmet Map". "The stars and moon are pure, the Ming River is in the sky, the four voices are silent, and the sound is among the trees", in the early winter, Gu Fang made this picture with the poem in Ouyang Xiu's "Autumn Sound Endowment", the ink is lightly colored, and the picture is based on the theme of the tree, depicting the autumn wind under the moon night. With a penmanship, he shows a humble and respectful creative attitude. The print of "Game Hanmo" in the picture is Yang Jinjian's collection, and it can be seen that this frame was made by Yang Jin. Yang Jin was Wang Yi's most proud disciple, and Gu Fang's initial entry into the division, through this diagram, not only exchanged skills with Yang Jin, but also expressed the intention of humbly seeking advice.
Qing Gu Fang Imitation Huang Gongwang Landscape Drawing Page Ink on paper taken from the Palace Museum collection Gu Fang and other paintings of "YuShan Clothing and Helmet" album
There is also a frame of Gu Fang's "Imitation of Huang Gongwang Landscape" in the "Yushan Clothing and Helmet Map", which simulates the Yuanren pen as an autumn scene, with the brushwork of the "Northern School" and the "Northern School", which is reckless and thick, and has the style of a teacher.
Under the guidance of Wang Yi, Gu Fang's painting skills improved, and in just a few months, his appearance changed. On the summer solstice of May in the 32nd year of the Kangxi Dynasty (1693), Wang Yi, Yang Jin, and Gu Fang co-painted the fan page of "Xiting Songhe Tu", Wang Yi painted landscapes, Yang Jin supplemented pavilions and figures, and Gu Fang painted several old trees with The Song method. Compared with the trees in the frame of "Autumn Sound Endowment" a few months ago, this painting is showy with pen strength, the shape of the tree is like a crab claw, quite ancient, which should be wang Yi's careful carving.
Qing Wang Yi, Yang Jin, Gu Fang, Painting Xiting Songhe Diagram Fan Page Ink on Paper Collection of the Palace Museum
In the summer of June of that year, Wang Yi, together with his disciples Yang Jin, Song Junye, Xu Mei, and Gu Fang, as well as his contemporaries Wang Yun, Yu Yuan, and Wu Zhi, who drew Kangxi's "Southern Tour Map", jointly collaborated on the "Nine Autumn Map", and the upper figure in the inscription was "Dong Laoweng", which should belong to the celebrities of the capital. Looking at the flowers and plants written by the famous hand in the picture, more learning Yun Shouping boneless method, fresh and elegant, adds a court flavor of craftsmanship, but it is slightly stereotypical. Gu Fang's floral appearance is not composed of Wang Yi's pottery dyeing, but during the painting of Kangxi's "Southern Tour", the court painting style dominated by Yun Shouping's style, and his flower techniques are ordinary, and he has not seen any good works since then.
After the return of Wang Yinan in the 37th year of the Kangxi Dynasty (1698), Gu Fang continued to follow him until his mentor Xie Shi. During this period, the volume of "Endless Maps of Xishan Mountains", written in the spring of the thirty-eighth year of The Kangxi Dynasty, was the only hand-scrolled work seen by Gu Fang. This volume is in line with Wang Yi's imitation of Wang Meng's works, and the composition is dense and full, and it is profound and expansive.
Qing Wang Yi, Gu Fang and eight others jointly painted the Nine Autumn Chart Scrolls on paper and colored the collection of the Palace Museum
Gu Fang studied art from Wang Yi for more than 20 years, during which he completed the grand composition of Kangxi's "Southern Tour Map" with his teacher, which not only practiced painting art, but also changed his identity and status, and jumped from a folk painter to a world-famous artist.
Gu Fang did not have Wang Yi's learning situation, and could look at ancient famous deeds, so what he was studying was more of the ancient ink written by the teacher. Influenced by Wang Shimin and Wang Jian, Wang Yi pursued the "Four Families of the Yuan Dynasty" and integrated the strengths of each family into the imitation, so Gu Fang also learned Wang Yi's techniques step by step when imitating such themes. Generally speaking, Gu Fang could all obtain the charm of Wang Yi when he imitated Huang Gongwang, Ni Zhan, and Wang Meng.
Wang Yi died in the 56th year of the Kangxi Dynasty (1717), after which Gu Fang went to Guangdong to defect because of Tongli Yeshi's appointment as Zhizhou in Guangzhou.
Qing Gu Fang Xishan Endless Picture Scroll (Partial) Collection of the Palace Museum
The Nanjing Museum collects the axis of Gu Fang's "Meng Haoran Wuling Rafting Poetic Intention", painting the white clouds far away, the smoke and water, and the Taoyuan wonderland of Gao Shixingyin, rich in Tang and Song dynasty relics. The picture is self-titled: "Imitate Zhao Boju's penmanship, late Gao scattered people Gu Fang." Although there is no year, from the perspective of style recognition, it may be Gu Fang's late works. The number of titles of the "Late Gao Scattered People Gu Fang" is different from the number of "Gu Fang" or the place of origin of the mid-term works, and the Xingshu Fund Office does not repeat the restraint of imitating Wang Yi's book in the middle period.
Using this map to examine Gu Fang's green landscape style, the trees and mountain stone silhouettes are still imitated by the master, and many details such as composition, water waves, characters, and architecture are different from Wang Yi's green landscape. The limitations of cultural literacy and artistic accomplishment have caused Gu Fang's habit of carving with his pen; and the way of making a living by painting makes Gu Fang have no time to think, so his works lack the implication and implication of the literati. Therefore, the objects he depicts very well are often the "Northern Sect" people of the fine style such as Zhao Danian and Qiu Ying, while the concise and clear brushstrokes of Yu Mijia's father and son and Ni Zhan are not strong enough to catch, and only seek to resemble them.
Wang Yi, who is also a professional painter, because of the personal teachings of Wang Shimin and Wang Jian in the literary world, to a large extent, makes up for the lack of cultural literacy and artistic accomplishment, and can collect the ancient dacheng on the basis of imitating his predecessors; while Gu Fang learned from Wang Yi, the lack of cultural literacy could not be filled, so his artistic attainment was inferior to Wang Yi's, and he only knew that he was blindly imitating the ancient and could not come out of the machine, which was also a common disease of the "Yushan School" painters after Wang Yi.
Gu Fang, who was shrouded in Wang Yi's aura, although he was a generation of famous artists, it was difficult to reach the artistic realm and the status of the painting world.
Original author: Wang Xiaomei Original source: "Forbidden City" September 2018 issue "YuShan Houxue neglected by the history of painting - Gu Fang's life and creative examination" (Due to space limitations, the original text has been deleted)
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