Shi Mo's closeness to natural creation lies in an unforgettable experience and memory of taking refuge in Taoyuan, and all the Zen music meanings are like clouds of smoke surrounding Pan heng with yuanren thirsty pen as the main sweat and sweaty picture. The Taoyuan of Wuling, the Cave Heaven of Qin. When the Buddha's mind is at peace, when the troubles are like violent Qin, when there is no self, it is like being in Taoyuan, and when the heart is at peace, it is the paper surface of the Buddha's heart, and all the pure realms are abundant, painting and not painting, becoming the medium of enlightenment to the soul.
Life is like an electric bubble, the eternal reality has to be continuously enlightened in the practice, painting has become a means, when the world is infinitely enlarged, the heart on paper is also broad and warm, this is the unique feeling of different from others revealed in the paintings of the ShiYuan Daoist, full of visual Zen sense, not only the profound and mysterious fashion displayed in the picture, the cloudy and misty picture like a fairyland always makes people get an inexplicable sense of pleasure, happy and away from the sea of suffering
Shi Chenzhi's painting is good at using color, subtle and deep, with a kind of warmth, ripe brown use of nature, sweeping away the common sense of coldness of others, the happiness of the ancient temple practice in the deep mountains, will bring its casual picture is not only the deep Zen fullness, the deep bottom of the created realm and the home mountain can be remembered, there is Tao Gong's leisurely idea of Nanshan, the meaning of Taoyuan, there is also Wang Wei's quiet realm with people's wishes, the return to the deep forest of the return to the warm color, the happy Zen meaning.
Shi Mao's calligraphy is rounded and soft with the pen, and the brushwork of his ink works is also subtle and warm, there are few rough clothes and chaotic heads, different from Shi Tao's eight major people, the picture is thick and thick, the composition of the picture is complex and changeable, but it is very orderly and not chaotic, the mountains and waterways are clearly explained, its traditional skills are profound, and it is in line with the overall style of the painters of his time, and his heart is in the Zen master's enlightenment, the mountains he draws are stone pine clouds, and the forest waterside is also a Zen machine. (Text: Lei Jialin)
Stony Brook works Stony Brook landscape
Stony Brook Works Stony Brook Mountain Loose House
Stony Brook Works Stony Brook 1680 Autumn Water Sitting Alone
Stony Brook Works (Paragraph) 癸巳 (1653)
Make a strange and deep picture vertical axis
Stony Brook works Stony Brook Wangu Pine Spring Vertical Axis
Stony Brook works Stony Brook landscape vertical axis
Stony Brook Works Stony Brook Landscape Vertical Axis (choose two out of eight)
Stony Brook Works Stony Brook Landscape in 1663
Stony Brook works Stony Brook Mountain Fishing Chart Vertical Axis
Stony Brook works In the eighteenth year of Shunzhi Stony Brook (1661), he made a map of Akiyama
Stony Brook's work Stony Brook (1662) is a vertical axis of landscape and water
The deep and quiet realm of Stony Brook's "Mountain Residence Map"
In the first part of this Mountain Dwelling Map, Stony Brook writes:
The stream is deep and the moss path is full of shade. Irony of the Purple Xia, Chi Qing Wen Cai. Qinglan whisks the book cover, flying flowers floating tea cup. The pine under the steps is pink and yellow, and the clouds between the windows are warm. The stone rose and the dust trail was broken. Not contrary to the world, the haunting has been forgotten for a long time. Holding the jade hibiscus, the blue sky rides the white dragon. In and out of the world, Feihong stepped on the snow trail. Yao grass can be picked up, and the peaks and peaks are standing. Autumn colors are full of south, away from the shadows of the mountains wet. When Junjin was in the mountains, there was a radiance on the Yuyun Mountain. Because of the same white clouds out, more with the white clouds. There is no place to live, only in the mountains. The river and the Han dynasty are haunted, and the heavens are repeated in the east. Disturb when you are yourself, the millennium chats to send ears. Ryo also brushed his sleeves away, and spoke from Akamatsuko. Go to the mountain this year, and return the mountain to the university immortals. There are fairy houses on the roof, and the clouds are closely connected. The Day of the Buddha, the remnant of the Rock Creek.
This "Mountain Residence Map" depicts the scenery of the mountain residence, the foreground is surrounded by Jiamu Yinfeng, the mountain stones are listed, the distant mountains and jade springs hang stone walls, flying straight down, flowing in the river pool, there are houses on the banks of the river pool, obviously the hermit Gao people live, the number is WenhuaGuan, the two high priests in the museum sit on the road, and another person is going to the wooden bridge in the mountain, or as his poem: "That is, in the rugged wind and rain, a cane is more the same." "It seems to be the time when the three friends of Yamanaka gathered. Think of Tiger Creek Three Laughs as this scene. Stony Brook lives in the mountains all year round, the differences between the various regions, clear in the center, or for a certain mountain, or the image of the essence of the mountains, the shape of the mountain is S-shaped, if the dragon vein contains, the head of the mountain is like a tiger rubbing the lion standing, the distant mountain is wet, the grass and trees on the mountain are hazy, there is a pavilion on it, it seems to be able to flow around the style. This mountain residence shows the white cloud feelings of Tao Hongjing, or the artistic conception of Tao Qian's leisurely South Mountain. The hearts of the frustrated have far become a mainstream game of the ancient Gaoshi, which must be reflected in the poetry and paintings of these Zen masters.
The ink painting and light coloring in the picture are a common style in Stony Brook, and many of its people wear broken brush strokes, taking their vast brush stroke effects in order to show what they think in their hearts.
The discerning people of the Qing people think that the style of the four families of the Taoist people who live in the electric house, especially Wang Shuming, is the most, chasing its afterglow, and releasing brilliance in the painting world of the early Qing Dynasty, the style of this division is actually related to the reality of the times, the era when the Yuan and Qing Hu people entered the Central Plains, the retreat of the mountains and forests became the inevitable of the remnants, the Ming courtyard style (represented by Tang Yin) is not inherited, the overall style of the four monks is from the Yuan Zhi YiGe, and the painting style of the remnant Daoist people is more in the footsteps of the technique, and the brushwork is rigorous and different from the excessive simplicity of the other three monks. Moreover, because of his latete Shi Tao's Nanjing Temple, his paintings also followed his thick and vast shallow ink painting style in many paintings, not to mention the other painters of Jinling.
Stony Brook's Chongyuan, from the poems he inscribed, can glimpse its news, and its poems are actually spliced together from the two poems of the Yuanzhi Yunlin, and a small number of additions, subtractions and modifications have been made, among which the "Biyue hangs in the south of the sky, away from the stars and wet." Revised to read "Autumn colors are full of sky in the south, away from the shadows of the mountains wet." ", highlighting "autumn colors" and "mountain shadows wet". In order to coincide with the season and style of painting, of course, in the style of painting, The deeper part of his painting landscape is in the poetry of the Tang People, we think of poems about mountain residences, such as Wang Wei's "Mountain Residence Autumn Breeze", but also with a certain ancestral meaning in it, the poetry of this southern school poet is also immersed in the artistic flow of the southern school painters of the past generations.
Obviously, Jie Daoren's "Mountain Residence Map" is also an autumn scene, which is more in line with the poetry of Wang Wei's "Mountain Residence Autumn View".
After the new rain on the empty mountain, the weather came late in autumn.
Bright moon pine light, clear spring stone upstream.
The bamboo hustle and bustle returned to the raccoon girl, and the lotus moved down the fishing boat.
Feel free to rest in the spring, and Wang Sun can stay for himself.
The poems of the Tang Dynasty Wang Wei are full of Zen, and the Shi Dao people who are Zen masters are more familiar with this principle, and the way they discuss in the mountains in the picture should also be si dao, and the things outside the world are thrown into the clouds. Oriental painting, the core is actually in the artistic conception and charm of the painting, which is often reflected in the poet's poetry, poetry and painting, is a whole, understand the painting to read through the poetry in the painting. This is difficult for foreigners or those who do not understand ancient poetry, but it is not a problem for ancient poetry and sinologists. In the past, Wang Wei sushi and others said that there were paintings in poetry, and there were poems in paintings, and later it was simply the painter who painted the works and inscribed the poems, in order to achieve the core essence of the painters who made the viewer or the reader understand the core essence of the painters, and Shixi's poem originated from Yunlin, not only because he and the Yuanzhi relics were united in their hearts, but also because he painted the mood and intention to show the situ.
Yun Linzi's two poems are full of Taoist Gaoshi style, which is reflected very clearly from the will of the Red Pine Nuts to play, but the Buddha and the Tao actually reached the end of the Fa era, there is a confluence, in fact, it is the confluence of the three religions, their pursuit of the three parts of the common, the fusion of their own state of mind, like the Confucian "universe is the heart" is also in line with the ideas of the Taoist and the Buddha.
Different from the eight major shitao, Stony Brook is a natural Zen person, because of his mother's dream monk into his room and was born a Taoist, from the Buddha's heart is far more firm than the eight great Shi Tao, those two kings and grandsons are because of the change of the family country and enter the Buddha's door, Shi Xi is even if the country does not change will also enter the Zen family, the firmness of this belief is conducive to his in-depth and persistence in Buddhism, but also conducive to his achievements beyond the two, naturally for his painting, also has a plus effect, he and Hongren are the pioneers of early Qing painting, there is a leading role in it, the fact is that when Shi Tao was in Jinling, he was deeply influenced by it The painting seems to be no different from the Stony Brook style.
This painting once entered the Qing Palace, entered Bashu during World War II, and Ma Heng, president of the Palace Museum during the Republic of China, looked at this picture and printed it.
Painted Suzu Seal: Shi Jie, Gu Xi Tianzi, Sanxi Tang Jing Jian Seal, Chonghua Palace Treasure Collection, Yi Descendants, Chunhua Pavilion Book Treasure Treasure, Hidden Famous Mountain, Fanglin Appreciation, Ma Shuping when he entered Bashu, Feng San selfless double dragon seal.
(Jialin on Art)
(Shixi, original surname Liu, was a remnant of the late Ming Dynasty.) The monks were named JieQiu (字介丘), Shi Xi (石溪), Shi Bald (白秃), Shi Daoren (石道人), Remnant Daoist (残道者), Electric Daoist (延住道人), a native of Wuling, Hunan (present-day Changde, Hunan Province), and later lived in The Youqi Temple on Niushouzutang Mountain in Nanjing. Good at painting landscapes, he was known as "Two Stones" with Shi Tao, and was also known as the "Four Painting Monks of the Early Qing Dynasty" with Zhu Yun, Hongren and Shi Tao. ）
("Mountain Residence Map" is from the collection of Huang Kaifu's studio)
Sources of poems with stony brook inscriptions:
One
"Kasuga Yunlin Zaiju"
The pond spring rises deeply in spring, and the path is full of moss and sunset.
Satire of "Purple Xia", Chi Qing Huayang Pavilion.
Qinglan whisks the book cover, flying flower floating tea bowl.
The pine under the steps is pink and yellow, and the clouds between the windows are warm.
The stone beams are hanging, and the whereabouts of the stone beams are broken.
Not contrary to the world, the haunting has been forgotten for a long time.
Second
"Walking the Pen Times Tao PengYun Sending Ye Staff Officers back to Jinhua"
Holding the jade hibiscus, the blue sky rides the white dragon. In and out of the human world, Fei Hong and snow trails.
Yao grass can be picked up, and the peaks of the forest are jade. The moon hangs in the south of the sky, and it is wet from the stars.
When Junxi was in the mountains, the Yuyun Mountains had a radiance. Because of the same white clouds out, more with the white clouds.
The white clouds have no place to settle, but only live in the mountains. The river and the Han dynasty are haunted, and the heavens are repeated in the east.
Jinhua shepherd, the game does not produce anger. Smile at the rock front stone, line to see the seabed dust.
Hand tune white feather arrows, ugly sharpened copper bricks. No speculation, goodbye to GuiXinning.
Isn't it true that shi hu? All Zhao bandits are similar. King Xiang suspected his father, and the dragon was a fish.
When has the disturbance been over? Centennial chat send ear. Liang also took revenge and returned from Akamatsuko.
Go to the mountain this year, and return the mountain to the university immortals. The rooftop Sima Mansion, the clouds are closely connected.
About the Author
Ni Zhan (1301–1374) was a Yuan Dynasty painter and poet. First named. Zi Taiyu, Hou Zi Yuan Zhen, Yun Linzi, Jing Barbarians, Xianxiazi, etc. People from Wuxi, Jiangsu Province. Rich in family, erudite and ancient, the four famous people often come to his door. Emperor Yuan Shun suddenly scattered his family wealth at the beginning of the day and wandered around The Taihu Lake. He is good at painting landscapes and ink bamboo, and is influenced by Zhao Mengfu. In the early years, the painting style was clear and moist, and in the later years, it changed the law, plain and innocent. Sparse forest slope, beautiful and relaxed, simple and far-reaching, ink like gold. It is based on a flanking dry pen and is called "folding belt wrinkle". The ink bamboo has a posture on its back, a few strokes, and a breath of air. Calligraphy is subordinate, has a Jin demeanor, and is also good at poetry. Together with Huang Gongwang, Wang Meng and Wu Zhen, they are collectively known as the "Four Families of the Yuan". Surviving works include "Yuzhuang Qiu ji Tu", "Six Gentlemen Tu", "Rong Knee Zhai Tu" and so on. He is the author of "Qingjue Pavilion Collection".