According to reports, from November 23 to 24, 2019, a group of scholars at home and abroad gathered in Changde, Hunan Province, and held a very interesting meeting: the 2019 Shixi (Hip Disabled) International Academic Symposium, which specializes in the life and art of hip disability.
Jia Yan (1612-1692), commonly known as Liu, was a native of Changde, Hunan Province. He lost his mother at an early age and became a monk. The name of the law is "Remnant", the word Shixi, the word Jieqiu, the number white bald, and the number of the remnant Dao, the electric Dweller, and the Stone Daoist. After cutting his hair, he traveled all over the world, settled in Nanjing Dabao'en Temple at the age of forty-three, and later moved to Niushou Mountain Youqi Temple, spending the second half of his life. With a lonely and lonely temperament, a strong personality, a deep-hearted artistic work, a calm and painful painting style, and a rigorous victory, he is a painter with a basis for the law and a source of art. He was also known as "Ershi" with Shi Tao, and befriended Cheng Zhengyi (Qingxi Daoren), then known as "Erxi".
For the name "crippled", I believe many people are not unfamiliar. As one of the four monks in the early Qing Dynasty, he left many legends and stories.
Stump "Perch Map"
However, the cripple you know does not leave a "crippled" font size on his work.
Lou Qiuhua, deputy director of the Research Center for Ancient Chinese Calligraphy and Painting of Zhejiang University, introduced that judging from the signatures and printing of the surviving works of The Skull, the number one of "The Remnant" has never appeared, and the frequency of "Shixi (谿)" is extremely high. Here is his specific analysis:
First of all, it is to examine the signatures and seals of some of the more reliable surviving works under his name, and the single "Skulld" No. 1 has never appeared. In turn, almost every work appears "Stony Brook (谿)", or a signature or seal. As far as the size of the painter himself is concerned, the style and print of the work are undoubtedly the most important. As for the mixed use of "Stony Brook" or "Stony Brook", there seems to be no difference.
Second, the same is true of the discussion through correspondence with friends and friends. In terms of short biographies, poems, and inscriptions written by friends, stony brook (谿) is more common. In addition, the "Chronicle of Jiangning Province", published in the seventh year of the Kangxi Dynasty (1668), and the "Chronicle of Jiangning County", which was written a little later, are also referred to as "Shixi (谿)".
In addition, it is worth mentioning that more than ten years after Stony Brook,000 monk Tongcheng Fang Zi'an raised workers to ascend the cliff in Yanziji, and carved the seven characters of "Stony Brook Zen Master's Deep Bone" on it. Obviously, this is a particularly important title.
In view of the above circumstances, whether it is before and after death, or for others and themselves, "Stony Brook (谿)" is the consensus of its most important official name, and there are many more for future generations.
So, where did the "Crippled" One come from?
Qian Chengzhi's "Biography of the Broken Stone Creek" tells: "Shi And Yu were born in the same year, their heads were white as snow, and they were bald in winter and summer: their arms were less cold and wet, sometimes painful, and very tired of suffering, because they called themselves disabled." ”
This experience is related to the current situation.
After the death of Ming, he avoided the depths of the army and suffered a lot, and after his old age, he was plagued by illness, and severe rheumatism, stomach disease and scabies made his head as white as snow and suffered from all kinds of pain. Although this difficult jungle life made the bearded man suffer a lot, it gave him a good opportunity to feel the strangeness of nature, enriched the hills in his chest, and accumulated rich materials for the later creation of landscape paintings. This is evident in many of his inscriptions and poems. At that time, he had already made his wish to become a monk.
Liu, who has a cruel surname, rarely has Huigen, has long had the idea of renunciation, but because of his parents' opposition, he failed to do so, and refused the marriage arranged by his parents. After his mother's death, he shaved his head and knelt down to beg his father, who finally agreed. He entered the Long family temple to practice, and then participated in Zen under the guidance of the scholar Ofashi Zen, Long Renyu, and traveled to Jiangnan. In 1654, invited by the Zen master Juelang, Jia Yan came to Nanjing to engrave the Great Tibetan Classic, and successively became acquainted with Gu Yanwu, Qian Qianyi, Qian Chengzhi, Cheng Zhengyi, Zhang Yi and others. In 1659, the Zen master Juelang died, and Shixi returned to Nanjing in 1660 after a tour of Jiangnan, Huangshan and other places, and built a large rest hall outside the Youqi Temple to concentrate on painting, completing the transformation from a Buddhist monk to a painting monk.
Skull Fragment Landscape Album
Lü Xiao, director of the Theoretical Research Department of the Beijing Academy of Painting, called it "Stony Brook". In her opinion, there are too many mysteries in Shixi's life: he shaved himself as a monk before the Ming Dynasty, but he showed an extraordinary remnant complex; he omitted everything, but he was irritable and straightforward; he not only interacted with Zhang Yi, Qian Chengzhi, Fang Wen and other remnants, but did not worship Xiong Kaiyuan for passing through the tomb of filial piety, but became a confidant with Qian Qianyi and Cheng Zheng, who had surrendered to the Qing Dynasty; he had a deep zen cultivation, converted to Juelang, but refused to inherit the Fa heir... Throughout his life, he was a wanderer and sickly, with a straightforward personality, who did not like to associate with people except for three or five friends, and had no door to pass on the lamp.
After Stony Brook became famous for painting monks, he was often asked to paint by monks from the temple where he lived. Qinggao's Stony Brook ignored this and was hated by the monks. In 1670, stony brook was suddenly destroyed by a fire, and everything was reduced to ashes. Stony Brook was devastated and died of illness the following year, and the monks followed his instructions to throw their ashes into the river.
It is worth mentioning that the name of "Crippled" was rarely mentioned at that time, except for the short biography made by his friend Qian Chengzhi, there were only three or five people. Since Qianlong, there have been more "relief of the remnants" and the gradual popularity of "remnants" and have become more common in publications after the Republic of China, which has continued into recent decades. Lou Qiuhua analyzed and reviewed qian Chengzhi's relevant expressions and their context in that year to trace the original meaning of the word "calculus". It can be seen that "髡" is the meaning of monk, which is a common phrase used for a long time, and "髡残" is also the monk's disability. This is completely consistent with Stony Brook's "monk remnant" section and seal. Therefore, at the special meeting on the naming of the Complete Works of Qing Paintings held in the spring of 2015, Lou Qiuhua suggested using "Stony Brook".
The mystery is another kind of icing on the cake for artists. As a painter of a generation, there is no doubt about his artistic achievements and far-reaching influence, even if it is impossible to verify when he began painting.
He paints landscapes and landscapes, involving both figures, flowers and birds. His landscape paintings are eclectic and especially inspired by the king of the "Four Houses of the Yuan"; at the same time, they are created by foreign teachers and become a family of their own: complex composition, good at creating a ghostly landscape, and liking to dry pen rubbing, into the style of "rough clothes and chaotic heads". In addition to painting, calligraphy and poetry have also made achievements, and its calligraphy is mostly based on the use of short pens and smooth flow of grass, and the poetry collection contains "Floating Poems Collection" and "Great Rest Hall Collection". With his outstanding artistic achievements and far-reaching influence on the history of painting, he stood out from many painters who lived in Buddhism in the late Ming and early Qing dynasties, and was called the "Four Great Painting Monks of the Early Qing Dynasty" together with Hongren, Bada Shanren and Shi Tao.
Inspired by Wang Meng, one of the Four Yuan Families, Cheng Zhengyi and Huang Shan played a very important role in later artistic creation.
In the literature, Jia Yan once devoted himself to imitating Wang Meng, and also left behind the landscape paintings of Wang Meng. Wu Xueshan, a professor at the School of Humanities of the Central Academy of Fine Arts, believes that there are similarities between the imitation of the "Four Kings" and the imitation of the "Four Kings", but there are also great differences. The remnants developed the changing scenery of clouds and smoke in Wang Meng's landscape paintings, and eventually formed a more personalized painting language. In terms of the theory and practice of "antique", the skull provides a new way.
Around 1659, the Qing Dynasty painter Wanjiang created the "Huangshan Atlas", and at about the same time, Jia Yan also painted the axis of "Huangyue Tu", writing that "I have been coming to Huangshan for more than a year". This painting was created by him in 1660, and at this time he had lived in Huangshan for more than a year, so it can be speculated that he died in Huangshan in 1660. 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, analyzed: "When I was studying the trip to Huangshan Mountain, I saw a lot of paintings with broken hair, and from his tips, I can feel that he and Cheng Zhengyi are very close, and it is likely that they went to Huangshan together. ”
Shao Yan, a professor at the School of Humanities at the China Academy of Art, took the relationship between The Disabled and Cheng Zhengyi one step further: the Disabled was a homosexual and had a resolute attitude: "The middle-aged man with the disabled man ruined the future of Buddhism because of his relationship with Cheng Zhengyi, and his relations with the Buddhist community were tense, but he became a painter monk under the guidance and help of Cheng. The key to the formation of his style is the mental pressure brought about by the contrast between his social life and private life roles, and his painting style reflects his inner world full of contradictions and repression. ”
Lü Xiao counted that Stony Brook has a chronological existence and works that are found in the bibliography, and nearly 70 works were composed from 1660 to 1663, including "Cangcui Lingtian Map", "Layer Rock Stacking Mountain Map", "Huangshan Daozhong Map", "Qingfeng Lingxiao Map", "Cangshan Jiemao Map" and other representative works. The earliest surviving work, "Imitation of the Great Idiot Color landscape map", was created in 1657 and presented a very mature appearance; the last surviving work, "Landscape Album", was created in 1670. There are not many works, but the authenticity controversy has not been large.
Since the 20th century, the earliest systematic study of Stony Brook was Huang Binhong. He has referred to more than twenty kinds of poems, bibliographies, etc., and compiled them into a compilation of the deeds of Shi shixi. After the founding of the People's Republic of China, the first book to systematically study Stony Brook was Zheng Xizhen's 1962 book "Hongren's Remnant", which conducted a preliminary study of Stony Brook's life deeds and art. In the 1980s, researchers paid more and more attention to Stony Brook, and many art historians threw themselves into it. Unfortunately, this heat did not last long, and then it gradually cooled down. Research on cripples continues.
Source: Artron Art Network