Kūn (1612-1673) was a Qing painter. His original surname was Liu, and he was ordained as a monk with the name of JieZhuan (髡残), zi Jieqiu (字介丘), stony brook, Shi Daoren (石道人), Shixi Daoist (石道人), and (尚溪道人), a remnant Daoist (残道人), and an electric Taoist( residential Daoist). A native of Wuling, Huguang (present-day Changde, Hunan). Together with Shi Tao, he was called "Two Stones", and together with the Bada Shanren, Hongren, and Shi Tao, he was called the "Four Painting Monks of the Early Qing Dynasty". Good tour of the famous mountain Dachuan, after living in Nanjing Niushou Mountain Youqi Temple, and Cheng Zhengyi has close contacts. Good at painting landscapes, Master Fa Wang Meng, like to use dry brush rubbing, light ink rendering, intermittent light ochre as the base, complex arrangement, lush and dense, deep artistic conception.
Qing Qi remnants Of the green sky map
Color on paper 85×40.5 cm
Collection of Nanjing Museum
The axis of "Remnant Green Lingtian Map" is a representative work of the qing four monks painter Jia Yan' color landscape, the pen and ink are calm, the mountain stone trees are described with thick ink, first with a wet pen light ink and then with a dry pen deep ink layer by layer, the sky is thick, it seems to have the appearance of The Yuanren Wang Meng. It is also dyed with ochre color, condensed round, simple and ethereal, scorched ink dot moss, far mountain peaks, with a little flower blue hook, the mountain layer overlaps, Gu Pan, Chao Yang, guest and host, back to the back. Between them, smoke clouds wind and turn, so that the whole picture is dense and not congested, the artistic conception is deep and quiet, the peaks are thick, and the pen and ink are vast. Behind the foreground trees and stones, a light lan, ethereal and silent, is the spirit of the whole map, not only sets off the foreground pine trees, but also creates a quiet atmosphere for the placement of the central figure in the picture. The winding mountain path in the picture looms, communicating the whole picture, and a clear spring flowing down from the heights intermittently makes the whole picture full of movement.
There is also no shortage of condensed, rounded, concise and ethereal center outlines in the "Residual Green Sky Map", as well as the thick ink dots on the mountain stone, just like from Huang Gongwang's "Fuchun Mountain Jutu". In the picture, the cliff winding path, the gate of the courtyard of the fence, the roof of the forest loomed, and a person sat in front of the case, as if thinking. Winding paths and ancient houses built on the cliffs, they are vast and ancient, and the atmosphere is deep and quiet. Continuing up, the mountain road leads directly to the summit. Surrounded by strange peaks and mountains, majestic mountains, ancient trees are green and tall, valleys and springs are hanging on the walls, and the mist is misty. Mountain stone trees are dyed with ochre, scorched ink dot moss, thick ink depiction. Indulging with a pen is breathtaking.
The picture of "Remnants of Green Sky" is stacked on top of the mountains, ancient trees, several huts nearby, the firewood door is half hidden, the distant mountain spring is hanging high, and the pavilion is majestic. In this painting, the author reveals to us information that the painting cannot express: the two-tree hut in the picture is located in the shadow of an ancient tree, the front of the house floats lightly, and the mountain path begins here, the spring and ends here. At the intersection of this landscape and water, a person sits by virtue of a few and enjoys this peaceful and desireless realm, and the Daoist in the painting is the author himself, and it is in this realm that the author has reached enlightenment. As he said, "The remnant monks do not know how to paint, but occasionally they realize these six methods after sitting in meditation", and they enter the painting with Zen, and there is Zen in the painting, which is the wonderful point of the author's landscape painting. In the inscription poem with a narrative nature, the author also recorded his feeling of being comfortable bathed in the nature of the landscape, pointed out the harmony and tacit understanding he could achieve with nature, and expressed the relationship between Zen meditation and pen and ink.
Self-titled poem day: "Green sky and half, pine wind morning and sunset blowing, flying spring hanging tree branches, clearing through the mountains, houses and cliffs standing, flowers leaning on the tong, peeling moss to see the broken, reminiscing about the old, wandering for a thousand years, wind rules for hundreds of years, fortunately from the Qing class, the pen is also suitable." The fog is hidden in the morning, the village is sparse, the road turns with the flowing water, people return from half a day, the trees and vines fall, the autumn rain is gradually thinning, sitting in the realms, the heart is entrusted to the heavens. "When it was late autumn in Gengzi, the Stony Brook Remnant Dao people wrote." ”