Remnants: Hanno Hansho, Semi-New and Half Old

Qing Dynasty's Calvary, known as Shixi, is an outstanding painter in the history of Chinese art, whose patriarchal "Yuan Sijia" has won the essence of Wang Meng; he advocates that creation cannot be adhered to into law, pursue innovation, and eventually become his own face. His life is full of legends, he is a fairy wind Dao bone but he shaved himself out of the family; his personality is independent and decisive but irritable and straightforward; he has an extraordinary remnant plot but is close to Cheng Zhengyi, who surrendered to the Qing Dynasty; he is famous for landscape painting, but the time of his painting can no longer be verified; even in his rare and star-like inkblots, there are still some disputes about authenticity and falsity... From ordinary people to senior monks to painters, this painter who changed the trajectory of his life due to the Ming and Qing dynasties left too many mysteries for future generations. At the "2019 Stony Brook (Calvary) International Academic Symposium", the painting ideas and contemporary significance of the cripple have aroused heated discussion among scholars.

Although the creation period of the crippled is not long, the work is wonderful enough. In his lifetime, he had two close friends, one was Long Renyan and the other was Cheng Zhengyi; if the Dragon Renyan had achieved the high monk Shixi, then Cheng Zhengyi had achieved the painting of the monk's beard. When the remnant entered the Temple of the Dragon Family, the rich collection of the Dragon Family may have become a model for the first study of painting by the Dragon Remnant. As a remnant of the Ming Dynasty, the Dragon People also strongly influenced the remnants in terms of political tendencies. The complex identity background, social relations, and psychological state are all the causes of the formation of the face of the disabled painting, in addition, the disabled people who have escaped into the Buddhist gate also lack the peace that a monk should have, which is particularly evident in his paintings. His art is described more appropriately as "painting as the voice of the heart". "The style of painting is more peculiar among these monks, deep and not silent, cold and irrational, and he is often in a very positive, enthusiastic, even fighting state." Shao Yan, a professor at the School of Humanities at the Central Academy of Fine Arts, said. Therefore, his pen and ink charm is full of enthusiasm and restlessness, and also shows the helplessness and detachment of the new dynasty and the hidden landscape. Xia Yisheng, secretary of the party group and vice chairman of the Hunan Provincial Federation of Literary and Art Circles, said: "The painting of the remnants has the form of jinling landscape, the charm of Wuling Yunfeng, and the quiet and elegant artistic conception of Huangshan Mountain. ”

One of the earliest surviving works of the Crippled, The Imitation of the Great Idiot Landscape (1657), shows a mature appearance, which is only a short period of more than a decade after his last surviving work, the Landscape Album (1670), so it is difficult to stage his paintings, but the style is by no means static. As a disciple of Dong Qichang, Cheng Zhengyi's painting style is clear and quiet, but cheng zhengyi's paintings are full of enthusiasm and restlessness. Cheng Zhengyi's creative ability is particularly strong, he has painted hundreds of pieces of "Jiangshan Lying Tour Map", and he has also given the help of the hand of the bearded remnant, which has a lot to do with the rapid entry of the disabled from amateur to professional state. If there is no Cheng Zhengyi, slowly groping with the understanding of the disabled may also reach a considerable height, but the time will be longer. Zhang Zining, former senior researcher of the Asian Art Museum in San Francisco and former director of the Calligraphy and Painting Department of the Freer Museum in the United States, believes.

The "Imitation of the Great Fool's Landscape" is now in the Shanghai Museum, and this painting also has a distinct Wu style. Song Li, associate professor and master tutor of the School of Fine Arts and Design of Yangzhou University, said: "The source of a painter's technique is nothing more than two ways of inheriting, one is to teach each other, and the other is to study the ancients. The learning style and recognition of historical painters, as well as the more abstract way of receiving teachers, constitute the main characteristics of the painting of the beard. The Yuan Dynasty painter Wang Meng had the deepest influence on the remnants of the skull, according to Cheng Zhengyi in the "Stony Brook Biography": "Intercropping calligraphy and painting self-entertainment, deeply rooted in the will of the Yuan people, spicy and elegant, straight to the ancient style." But what did the bearded remnant learn from Wang Meng that made him different from other painters who copied Wang Meng? Wu Xueshan, a professor at the School of Humanities of the Central Academy of Fine Arts, said: "Wang Meng's paintings have two characteristics, one is that there are a large number of peaks in the paintings, and the other is that there are tall pine trees in the foreground, which is more obvious in the works of the bearded. For example, the "Green Tree Listening to the Oriole Diagram" is considered to be a more typical work imitating Wang Meng's style, and it is also considered by later generations to be a representative work of the bearded. But if you compare the clouds in the paintings of The Crippled and Wang Meng, you will find that Wang Meng uses "blank space" to shape the clouds, while the clouds with the crippled use "hook" and "wrinkle". He prefers to use lines to outline the clouds, and the direction of the clouds is clearer, and the trend of the mountains is better coordinated. From his "Jianggan Fishing Map", it can be seen that a cloud rising between the two groups of mountains creates a large sense of space, which not only contrasts the virtual reality of the picture, but also opens up the distance between the two groups of mountains, so that the picture space continuously retreats, giving the viewer the imagination of the hidden space between the mountains. Zhou Minjue, Academic Research Department, Hunan Art Museum, analyzed. And this feeling of movement does not exist in Wang Meng's paintings, which is also a breakthrough in the foundation of the beard on the basis of the predecessors.

In fact, since the Yuan Dynasty, Chinese landscape painters have focused on the relationship between brush and ink and hills and ravines, and for future generations of painters, including the remnants, it may be more of a reproducibility, not yet highly expressive and generalized, let alone lyrical expression. Therefore, the painter basically uses pure writing to express, and the brush and ink have never left the hills and ravines; just like Huang Gongwang painted the Fuchun River and Wang Meng painted the landscapes around Yushan in Zhejiang, these great landscape works still stay in the display of specific regions and hills and ravines. In the late Ming and early Qing dynasties, Chinese landscape painting tried more to explore the hills and valleys independently of brush and ink. "I think the greatness of the crippled man lies in the fact that he has taken a step forward in addition to synthesizing the 'Yuan Sijia' landscape pen and ink and hill treatment, and this promotion is mainly manifested in his calligraphy, that is, in pen and ink." However, the construction of the hill and ravine still comes from the Northern Song Tradition, that is, the Wang Meng family. Jiang Shoutian, deputy editor-in-chief of the Calligraphy Herald, said.

But Wang Meng's influence on the cripple is by no means limited to the pen and ink schema, but also to capture the feeling of the scenery scene. He is a painter who emphasizes "teacher creation", and he has traveled a wide range and has rich visual experience. However, due to the uncertain migration and the chaos of the war, he also constantly changed his place of residence. The main sketching sites of the late Jia Mu were in Zutang Mountain and Qixia Mountain in Nanjing. "When we examined the location of the activities in Nanjing in the later years of the bearded person, we found that he had a round trip to and from qixia mountain and zutang mountain. When I was studying at Nanjing Academy of Arts, I also went to Places such as Qixia Mountain, and many scenes in the paintings are indeed in line with the landscapes in this area. Qi Lan, former deputy editor-in-chief of Art Contemporary Magazine, said. In fact, the beard residue is similar to contemporary painters, when you think of it, you will go to the mountains for a walk, as little as a few days, more than a few months, and your understanding and understanding of landscapes and nature is also very sufficient. This is also the reason why people are still excited today to see the landscape paintings of the crippled, this feeling comes from the highly affinity grasp of nature by the crippled, and the cripple actually gives life to nature.

As Chen Shanjun, chairman and secretary general of the Hunan Literary and Art Critics Association, said: "His paintings are half wild and half righteous; his theories are half ancient and half enlightened; his law, half new and half old; I think he is a master of dialectics." "Thus the art of cripple is more like the beginning of expressionism—the beginning of contemporary Chinese expressionism." But the beard is not a stylistic painter, but a master of cultivation, in his paintings we can see the desolation, this desolation may be something that cannot be erased in his state of mind. Artist Liu Mo shared his views on the avant-garde nature of the crippled in the times: "When the 'Four Monks' exhibition and the 'Four Kings' exhibition were held in the Forbidden City last year, I found that the Qianlong stamp could rarely be seen in the paintings of the 'Four Monks', which objectively confirmed that the works of the 'Four Monks' did not enter the eyes of the court and did not enter the eyes of the orthodox painting school. In the paintings of the 'Four Kings', the seal of Kangxi, the seal of Qianlong, and the seal of Jiaqing are all there. Therefore, allowing the 'Four Monks' to return to people's vision and return to art history may involve changes in aesthetic standards and changes in the background of the times. When we look at the paintings of the ancients today, it is actually not very possible to return to the traditions of the past, and what we can now return to is only the edge of tradition, in fact, those things that are truly elegant, quaint, and orthodox, we can no longer go back. If there are wild, strange, and crazy in the contemporary painting genre, it may also be inseparable from the 'four monks'. ”