Xue Yuanming
Today's cold dew, Bai Juyi's "Twilight River Yin" has: "Poor three nights in the first month of September, the dew is like a real pearl moon like a bow." "The cold dew festival of the ugly year is exactly the third day of the first month of september in the lunar calendar. In our folk, there is a proverb of "dew is white first and then cold", which means that after the white dew festival, the dew water changes from a hint of coolness in early autumn to a "white dew frost" that is a little cold in late autumn. In expressing the feeling of the festival, the famous poets, calligraphers and painters of all generations will find ways to create their own unique artistic conception. Among them, there are paintings by Ni Zhan and Shen Zhou who paint late autumn, as well as "cold pond goose shadows" under the knives of Ding Jing and Wang Fu'an, "wine cups are absorbed in autumn, and poems are cut at night".
The autumn of the ugly year, from shallow to deep. When it comes to the cold dew festival, the geese fly south, the chrysanthemums begin to bloom, the moon dew is cold, and the sycamore leaves are drifting. Wang Anshi has a poem: "The empty court is long and long in autumn, and the cold dew is in the twilight of the clothes list." Bai Juyi's "Twilight River Yin" has: "Poor three nights in the beginning of September, the dew is like a real pearl moon like a bow." "The cold dew festival of the ugly year is exactly the third day of the first month of september in the lunar calendar.
Eastern Jin Dynasty Wang Xizhi's "Picking Chrysanthemums"
At this moment, the calligraphy creation of September can be written as "Xuan Yue, Ju Yue, Yong Yue, Late Autumn, Cool Autumn, Three Autumns, Twilight Shang, Ji Shang, Shu Shang, Frost Order, Ji Bai, Ji Qiu, No Shot, Shu Yue ,......" and so on. The most typical object is undoubtedly the chrysanthemum blooming, reading Wang Xizhi's "Picking Chrysanthemums", I feel particularly suitable: "How much eternal day is not reviewed." Look no, nine days when picking chrysanthemums? I want to walk together until the day, but I don't know when it is sunny. Lun waited, special comfort. "The gist is, I don't know how to spend a long time. Your excellency has checked whether you can go to pick chrysanthemums on the ninth day of the first year? When the time comes, I want to go with you, but I don't know if the heavens are beautiful, and if the sky is sunny, then it is the best. Jing lun was about to return, and he was very relieved. The meaning of "eternal day" in Zhazhong is "long day", and the heart looks forward to the gathering of friends to pass the time. "Lun" refers to Wang Shao, the character Jinglun, the younger brother of Wang Xizhi and the fifth son of Wang Dao.
Speaking of this, I can't help but think of another person- Mr. Tao Yuanming, Mr. Wuliu. Tao Yuanming is famous for his poetry, but he is also a cursive master, but his works have been less circulated. Of course, his poems are more intriguing. A "Peach Blossom Origin", reading it really has the feeling of "not knowing that there is a Han, regardless of Wei and Jin". The biggest feature of Tao's poetry is that it uses more white painting techniques, does not emphasize rhetorical algae modification and rendering, and fades to the point where it is self-explanatory. In his hands, out of nature, he was familiar with it. In fact, painting also has a white drawing technique, which is the same.
There have been people who have learned pottery poetry throughout the ages, but it is not always that taste. This is the same as the fact that future generations of people learn Wang Xizhi's calligraphy, if it is for Wang Xizhi's era and personal experience. If you don't know enough, you can only learn the skin phase, Wang Xizhi and the Pavilion body are definitely different things. However, once there is not enough understanding and input, Wang Xizhi and the Pavilion body are only separated by a line, and the two and three dealers of the "Second King" eventually become the initiators of the "Pavilion Body". The "Book Saint" was really more wronged than Dou E. This shows that in the process of studying books, many of them are the diseases of scholars, but they blame the sages in the spring and autumn.
There are many calligraphers and painters who also worship Tao Yuanming, for the simple reason that most of the ancient calligraphers and painters were also poets. The reason for admiring Tao Yuanming is more out of admiration for Tao Qian's "reclusive" living state, Zhao Zhiqian has carved the seal of "not bending the waist for five buckets of rice", and Wu Changshuo has the seal of "abandoning the official Before Peng Zeling fifty days". However, the other side of "secluded" leisurely has spoilers in "The Biography of Mr. Goyanagi" - this is the transcript of the state of personal life: "Sexual alcoholism, poor family can not always get." The old know that this is so, or they will invite it with wine; and when they are drunk, they will be drunk. Drunk and retreating, he did not hesitate to stay. The ring is blocked by Xiao Ran, not covered by the wind and day; the short brown wears the knot, and the scoop is repeatedly empty, and Yan Ruye is also". Speaking of essence, the so-called "distant self-bias of the mind" is actually a state of mind, which must be so inherently, and learning cannot be learned, because it is related to the mind.
The second half of Wang Xizhi's life is actually a state of seclusion. After going to the official, Wang Xizhiyin traveled all over the mountains and rivers of the eastern soil counties, "with the people of the eastern soil, swim as far as the mountains and rivers, and take pleasure in fishing." He also practiced and took food with the Taoist priest Xu Mai, and the medicinal stone was not far away", and could not stop sighing, "I should die of euthanasia!" After returning to nature, Wang Xizhi immersed himself in it and enjoyed it, gaining spiritual satisfaction and enjoyment of beauty.
Shi Tao's painting "Tao Yuanming's Poetic Album" vividly excavates the artistic conception of Tao's poetry. Tao Yuanming often used chrysanthemums as a metaphor for himself, and wrote many poems about chrysanthemums: "Picking chrysanthemums under the eastern fence, leisurely seeing the South Mountain", "Autumn chrysanthemums have good colors, and the dew is exposed to its ying". Shi Tao admired Tao Yuanming and used painting as a medium. The composition of the picture is exquisite, and the characters are meticulously written. The distant mountains are dyed with ink pens, and the mountainside is densely clouded, and the foot of the mountain is not seen, showing the dynamic and momentum of the smoke clouds. Chrysanthemums bloom in the fence yard, and a coat of arms holds chrysanthemums to watch, which can be seen leisurely. This kind of painting method that combines center forward, fine hook and stain dye makes the picture dynamic and static suitable, the combination of virtual and real, and the meaning is endless.
There are many imitations in later generations, painting Li Bai's poems and painting Du Fu's poems, but it is easy to get shape and difficult to get God. You know, Tao Yuanming is a kind of "hidden escape", and Shi Tao is also a kind of "hidden escape". As a descendant of Zhu Mingzong's family, the country was broken and the family died, and he became a monk in the world, and he often saw the feelings of the homeland and the vicissitudes of the past. In the process of life escape, Shi Tao realized the ethereal silhouette of the art world, realized the freedom of life, the falling leaves follow the wind, and the white clouds and dogs. The "Fisherman's Father Diagram" written by him reads: "The eyes are cut off from the smoke and waves, and the frost withered maple leaves are blurred." A thousand feet of waves, four-cheeked perch, poetry tube relative to wine gourd. "Only by truly appreciating the chaos of life can we draw a true sense of seclusion." In traditional Chinese culture, cultivating trees and fishing and reading are often high-ranking people in the world. Shi Tao is not only a painter, but also an art philosopher. "Quotations from Shi Tao Painting" is undoubtedly a volume of the history of Chinese painting and even the history of Chinese aesthetics.
The entire volume of Tao Yuanming's Poetic Album painted by Shi Tao consists of twelve frames, painted in poetry, arranged on the right side. On the left are verses written by Wang Wenzhi according to the poems of Shi Tao and Tao Yuanming. After Shi Tao painted tao poems, they were matched by Wang Wenzhi's inscription poems, which can be described as icing on the cake. Wang Wenzhi inscribed on this page: "Huang Ju's eastern fence has been flowered, and he is drunk and supports the staff to rest at the mountain home." Pleasant is the most beautiful mountain color, autumn willow west wind sunset oblique. Sir drunk! Chrysanthemum has flowered, the eater who has a good heart, white clothes to send wine also. "Wang Wenzhi calligraphy Wang Xizhi and Dong Qichang, faithfully adhering to the posthumous meaning, using pen rules to see freely, turning less and folding more, mainly folding, clean and neat, decisive and elegant, the glyphs are tight and introverted, mainly light ink, which is really a reproduction of Dong Qichang's calligraphy. However, sometimes the strokes are flat and thin, but they are the result of immersion in the light of the heavy light. In addition, Wang Wenzhi immersed himself in Zen after middle age, which was also influenced by Dong. Wu Hufan, a master of calligraphy and painting in later generations, learned from Wang Wenzhi.
The reason why Wang Xizhi and Tao Yuanming chose to live in seclusion was mainly because they were tired of the worries of the chaotic world, "preferring to be a peaceful dog than a chaotic world." For more than four hundred years, the Wei and Jin dynasties intertwined and intertwined, forming a huge and lasting "historical whirlpool" that lamented the rulers of history. After the "Yongjia Rebellion" in the Western Jin Dynasty, the Zhongyuan Shi clan successively crossed the Huai River and the Yangtze River and moved south, crossing the south with Nanjing as the capital, for the Eastern Jin Dynasty. From the eastern Jin Dynasty qing tan metaphysics to the appearance of the Southern Liang "Guan I Sheng Fu" and "Wai Jiangnan Fu", there was a cultural Jiangnan.
Southern Song Dynasty Liu Songnian "Autumn Window Reading "Yi" Diagram"
The inheritance of culture depends on the seeds of reading. Liu Songnian's "Autumn Window Reading 'Yi] Picture" is quite exquisite in composition, highlighting the arrangement of scenery and characters, which can be described as painstaking management. Two towering pine trees stand upright, pine branches like coiled dragons intertwined, twisting and changeable, their shade is like a cover, the courtyard is built by the water, and the mountains and rocks are staggered. The picture is dense on the left and loose on the right, and the realm on the right is open, near the water and distant mountains, which is in strong contrast with the courtyard with a strict composition on the left. Liu Songnian was one of the representative painters of the "Courtyard Body Painting", and posterity referred to him together with Li Tang, Ma Yuan, and Xia Jue as the "Four Houses of the Southern Song Dynasty". There is a proverb, "Learning to paint without learning Song is equivalent to wasted effort", which shows the cleverness of Song painting. Why is this painting called "Autumn Window Reading "Easy" Diagram"? The name of the painting should be added by later generations, because the original painting only has the words "Liu Songnian" inscribed in the blank space of the mountain stone on the left side, and there is no painting name. The left inscription poem of the Qianlong Emperor of the Qing Dynasty, "Right Liu Songnian Autumn Window Reading 'Yi'": "The master and disciple Lian Zhen painted surprisingly, when the master read the small window of "Yi". Fontaine pine is green and humane, and benevolence is clear. "The Qianlong inscription poem clearly says that it is reading "Yi", and since the emperor opened the golden mouth, it seems that future generations will be conventional.
In 1279, at the Battle of Yashan, the Song army was defeated, and the prime minister Lu Xiufu jumped into the sea on his back and died of Zhao Fu, the late Song Emperor, and the Southern Song Dynasty perished. The unique social reality of the Yuan Dynasty made most scholars lose their enthusiasm for actively joining the WTO, coupled with the need for all-round self-preservation, the Han literati of the Yuan Dynasty once again chose a secluded life, the so-called "the world has the way to see, no way is hidden", the number of people increased sharply, thus strengthening the characteristics of the yuan dynasty's hidden culture.
Yuan Ni Zhan "Maple Fall Wu Jiang Tu"
Among the group of calligraphers and painters, Ni Yunlin must be the first to mention it, because his calligraphy and paintings are all "Yi" grid, which is higher than the crowd. The history of painting refers to Ni Zhan, Huang Gongwang, Wu Zhen, and Wang Meng as the "Four Families of the Yuan". The calligraphy is sparse and healthy, with the grace of a Jin person, the painting is ethereal and scattered, and the poetry is also light and vulgar. The aesthetic interest and style of "Yi" run through the entire artistic creation, especially his landscape paintings, which fully embody the "Yi" style of literati painting and establish the classic style of Yi Pin landscape painting. "Maple Fall Wujiang Diagram" composition is ingenious, on both sides of a river, the tree pavilion is facing the water, the emptiness is clear, the slope stone is folded with the belt, the pen is used to turn the side, the wrinkle is more dyed, so the pen is particularly clear, the dry ink is dry, the light and elegant pine is beautiful, the artistic conception is cold and empty, and the style is scattered and super-easy. Folding belt is one of the expression techniques of Chinese landscape painting, the inventor is Ni Zhan, and the person who inherits the folding belt method and has the most charm is the Qing monk Wanjiang. Ni Zhan's life can be described as a book like his person, painting like his person, but he was born at an inopportune time and had a bad fate.
Yuan Xian Yu Shu Tang Dynasty Du Fu's "Fu Sorrow" twelve songs eleventh
Among the scholars of the same era, there is little in the Shushu Tang Dynasty Du Fu's "Twelve Songs of Sorrow" No. 11: "I love Tao Pengze, and I have no money for chrysanthemums." Now, on the day of the ninth day, the conscious wine must be credited. "The line is vigorous, the knot is open, and although the scale is small, it is enough to represent the heroic and heroic style of the rare Yu clan. At that time, the writers generally liked to write long volumes, and rarely wrote fighting sketches, which was "alternative". Works with too much text content undoubtedly have a great impact on the passion of creation, a poem or a word, dozens of words, just have a variety of collocation combinations, the words are fully meaningful. If you write more than a hundred words, or even hundreds of words, you have to rely on physical strength. Yan Zhenqing has had a human body, his works are "huge productions", more than a thousand words can still be done in one go, it can be seen that the body is very good, and the works are full of true qi.
Yuan Zhao Mengfu "Qiu Xingfu" (partial)
The long volume of Zhao Mengfu's book "Qiu Xingfu" is one of the representative works of the Western Jin Dynasty literary scholar Pan Yue: "Servant savages also, but they can't rest under the huts and forests, and the conversation is not a guest of the farmer Tian Father." The regent is lacking, the molested toilet is in the column, the dream is happy, the bandit is not ning, for example, the fish cage bird of the pond, and the thought of the rivers and lakes and mountains. So dye Han the paper, and gave it a sigh. In the autumn of the time, so it is called 'Autumn Xing'. Liang Zhongrong's "Poetry" lists Pan Yue's works as the top products, and has the praise of "Pan Cai Rujiang". Pan Yue people call "talent and appearance double complete", folk remember his appearance, so there is a metaphor of "talent than Zi Jian, look like Pan An". This volume is not written in the new year, but the work of the pen knot body is stable and familiar, and the meaning of the whole breath is dense, which should be the work of Zhao Zhongnian's meaning.
The Yuan Dynasty was a period of great changes and great achievements in landscape painting. Chinese painting pays attention to the "creation of foreign teachers, the source of the heart", the pursuit of lyrical freehand, with the realm, charm as the core of the expression of aesthetic ideas to the extreme is undoubtedly the "Yuan Sijia", but the "Yuan Sijia" in the mountains and forests, clean and self-respecting, lonely and self-congratulatory, this kind of Xiao Suo sparse, dry and remote style of the work, must be disliked by the rulers. In the early years of the Ming Dynasty, the painting academy was restored, and the official advocate of the "Four Houses of the Southern Song Dynasty" dominated the landscape painting scene in the early Ming Dynasty.
There are many schools of landscape painting in the Ming Dynasty, the most famous of which are the early "Zhejiang School", the middle "Wumen School" and the late "Huating School". The center of the prosperity of calligraphy and painting creation must be the economic and cultural center, which is basically locked in the Jiangsu and Zhejiang areas. Suzhou Wumen is the center of the center, the humanities are gathered, their artistic ideas and aesthetic tastes are similar to the "Yuan Sijia", so they inherit and develop the literati painting style represented by the "Yuan Sijia", and eventually form the "Wumen School", whose representative figures are Shen Zhou, Tang Yin, Wen Zhengming and Qiu Ying of the "Wuzhong Sijia". Shen Zhou's age was much older than Tang Yin, Wen Zhengming, and Qiu Ying, and Tang Yin and Wen Zhengming were all from Shen's disciples, and they were well-deserved leaders of the "Wumen Painting School". Their autumn scenes are wonderful.
Ming Shen Zhou's "Bonju Appreciation Map"
Shen Zhou's "Bonsai Secret Appreciation Map" adopts diagonal composition, on the side of the volume, there is a grass pavilion in the miscellaneous trees, and the courtyard is separated by curved railings to form a courtyard, and there are several pots of blooming chrysanthemums on the wall of the courtyard. In particular, he praised the treatment of three literati and a scribe, which did not use much pen, but was extremely expressive. The three people in the pavilion drink each other, drink and admire chrysanthemums, and have a good attitude. A servant holding a pot stands, the cloth is loose, the scenery is pleasant, and the autumn is high and refreshing. This painting method is meticulous and the pen and ink are exquisite, which is a masterpiece of the middle-aged "fine Shen" painting style. However, Qianlong's inscription poem is an act of great destruction of the scenery, and the Buddha's head is covered with dung, so that the white space left in the original painting becomes silted. In the lower left corner, there is a poem written by Shen Zhou: "When the potted chrysanthemum blooms, it must be urged by creation." The tuner was present, and the glass of jingjiu was in full swing. Seepage labor irrigation, including the British dispatch guest guess. The west wind suppresses the frost letter, and the incense comes first. Shen Zhou contributed to traditional landscape painting, further combining poetry, calligraphy and painting. Shen Zhou's calligraphy study Huang Tingjian was very harmonious with the vigorous and thick style of landscape painting, and he eventually applied the calligraphy method of wrist and brush to the creation of painting.
Ming Shen Zhou's "Dongzhuang Atlas" one
Shen Zhouping was a good swimmer, so there are many landscape paintings by Ji Youxing. Among them, the "Dongzhuang Atlas" can be called a special work, depicting the autumn scenery of the garden of his teacher Wu Kuan's family, with a calm and natural style and beautiful and simple workmanship. The scenery of grass slopes, fields, woods and so on is fresh and modern. It is no wonder that posterity praised this work: "Looking at its entry and exit in the Song and Yuan Dynasties, it is as it is, the position is not only amazing, the penmanship is repetitive, although Li Longmian's "Mountain Villa Map" and Hongyi's "Caotang Map" do not let it go much. ”
Ming Qiuying, "Album of Garden Views" (Partial)
Qiu Ying's "Garden View Color Book" selects parts of the garden to depict. Nearby, I can see plantains stretching, mountain stones lying horizontally, bamboo hidden, cranes facing each other, and autumn is full of joy. The pavilions and pavilions are only exposed in one corner of the trees, which makes people feel that the winding path is deep and quiet, showing the beauty of the garden. The garden is the last home in Chinese's lifelong dream, just like Shen Sanbai's "Six Notes of Floating Life" Cloud: "There is an old tree in front of the eaves, thick shade and double windows, people are green, enter the door, bend east and twist in, stacked stones into mountains." The pavilion is at the top of the Tushan Mountain, and the surrounding area can be counted for miles, the cooking smoke is everywhere, and the sunset is brilliant. Shao Yan, a round of bright moon, has been on the forest tops, gradually feel the wind at the bottom of the sleeve, the moon to the wave heart.... ”
Ming Qiuying's "Autumn River To Be Crossed"
Another piece of "Autumn River To Be Crossed" composition of the flat in the pursuit of danger, quiet in the movement, is a masterpiece. Only to see the long pine cypress, red leaves danfeng, surrounded by lofty mountains, white clouds, unpredictable. There are light boats in the river with several leaves, slowly moving slowly. On the other side of the river, the boatman urged someone to get on board. On the other side, the white-clad scribes dressed as Tang people leisurely and pointed out the theme of waiting to be crossed. The pen and ink are exquisite and morale-rich, the color is beautiful, and the mountain stone is quite similar to Liu Songnian's painting method. Although the picture is not large, the realm is open and there are thousands of miles of wonder, highlighting the characteristics of the late autumn silhouette.
Ming Lu Ji 《Residual Lotus Eagle Heron Chart Axis》
Lü Ji was a court painter, good at flowers and birds, ink dripping, imposing, became one of the sources of Japanese screen painting. "The Map of the Residual Lotus Eagle Heron" depicts a thrilling moment in the remnants of the lotus pond in autumn. The goshawk swooped down to fight the egret, the egret rushed into the depths of the reeds, The Attempt escaped, the birds were so frightened that they fled, and a wild duck opened its mouth to look upwards, its head and neck constricted, showing a state of fear. The strong wind blows the remnants of the reeds, adding to the atmosphere of slaughter. The painter grasps the distinctive characteristics of a variety of birds, making the picture gripping and infectious. The freehand method depicts the dead lotus leaves, and the effect is realistic, reflecting the superb ink expression ability. Reed flowers are made of broken pens, and the virtual reality is clearly layered. The lotus leaf is drawn with a wet pen, and then the stem is hooked with a center, and the nature is written, and the aura moves around.
Chinese painting is a means of expressing meaning and emotion, carrying it with the help of objective objects, and the so-called allegory is also in the scenery. "Meaning" originates from within, and "image" is born outside. This is the same as the lyrical literary technique of borrowing scenery. The word "you appreciate" in Shen Zhou's "Bonsai Youxiang Map" is the finishing touch, which can make people appreciate "sitting and listening to the wind and rain, idly watching the flowers fall." Leisurely through this life, only the picture in the picture. "The realm of a poem. The word "to be" in "Autumn River to Be Crossed" points out the theme, which can be described as "don't have sorrows and secretly hate life". Late autumn is picturesque and colorful. This beauty can span the corridors of time. For the season, for the time, for the endlessness of time, I feel helpless, "I know that I am in love for a long time, and I look forward to the sound of the riverhead and the water."
Ming Dong Qichang Xingshu "Female Luo Embroidered Stone Wall Five Words Poem" Banner Taiwan He Chuangshi Calligraphy Art Museum Collection
Corresponding to the "Wumen Shu School" is Dong Qichang's "Huating Shu School". Dong Qichang proved his extraordinaryness with the Founding Sect. Dong's book "Female Luo Embroidered Stone Wall" five-word poem reads: "Female Luo embroidered stone wall, the stream water is green and wet." Purple kudzu yellow flowers, Juanjuan cold dew. Dew towards the drinking flowers, lie down the wind at night. The clouds turned into water, and the brilliance was the same as mine. The sun and the moon are full of spirits, and the sky is empty. "The whole passage is beautiful and moist, the writing is smooth, the knot is simple and mao, the posture is peaceful, there is no slack pen, and it is slightly clumsy in the exquisite and bright, which is the typical appearance and excellent work of Dong's book.
Ming Shi as "Cursive Book"
Shi served as a calligrapher to learn Dong Qichang. This "cursive book" reads: "The rain is less and the autumn harvest is later, and this man is slow to step forward. Crossing the bridge and not going to the city is when the farmhouse wine is ripe. The "autumn harvest" is generally in september of the solar calendar, and "late" indicates that there is a delay, similar to the current season. As a remnant of the Ming Dynasty, the work adds a tragic and magnificent atmosphere, so it can transform the essence of the Dong family and make it old and spicy. At that time, he saw that the Ming Dynasty was about to perish, and felt that there was no way to serve the country, so he went to Jizu Mountain to cut his hair and become a monk, and put the pride of "being able to shoulder the heavy responsibility of The Buddha's Gate" in poetry, calligraphy and painting. It is not difficult to see that the responsibility is to write as a way of practicing Buddha-nature.
Qing Jiang Tingxi's "Ammonite Diagram"
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, Shen Zhou, Chen Chun, and Xu Wei, who painted flowers and birds, came out of Yun Nantian, and the painting style was changed, inheriting and developing the boneless flower and bird painting method, and changing the hook filling method since the Southern Song Dynasty. Jiang Tingxi was a well-known flower and bird painter during the Kangxi and Yongzheng periods of the Qing Dynasty, who mainly studied the boneless painting technique of Yun Nantian, changed his delicate style, and created the "Jiang School" flower and bird painting rooted in Jiangnan and tilting the capital. The flowers painted in the "Ammonite Diagram" are vivid, not limited to craftsmanship or not, and the color is light and elegant, which is the typical style of Chiang Kai-shek. Jiang Tingxi once proposed that "writing peonies should be vivid in neatness, if the pen is too loose, it is not a peony character", pursuing the theory of the Song people and the ink rhyme of the Yuan people, even if "imitating the Tianchi pen, a little bit of rules, can not be crazy and not rather than cunning", only take its anger, not take its madness. This work can be said to be fully reflected.
Qing Zhang Zongcang 《白白云红叶图》
Court painting in the Qing Dynasty received special attention during the Qianlong period, and the Ruyi Pavilion was set up to recruit talents. Zhang Zongcang was deeply favored by Qianlong, and "grace was unusual, and it was a long time". Zhang Huanian entered the palace, and in only four years of working for the academy, he painted 172 paintings for Qianlong, many of which had royal inscriptions. Zhang Zongcang is good at painting landscapes. "White Clouds and Red Leaves" paints the light and water color of the Nine Lakes in the method of light coloring, and the mountains are stacked on top of each other. Above the picture, the flat lake is wide and the distant mountains are continuous. The peaks on the right are majestic, the mountains are steep, and the waterfalls are high. The lush trees dotted in between are scattered and lush, a scene full of vitality! Nearby GangluanZhouzhu, slope stone grass pavilion, leisurely boat swing, small spring flowing, giving people a sense of tranquility. Connecting the mountains is a dense forest of tall trees, and the clouds and mist are stagnant, adding a bit of agility. The waterfall that cascades down the cliff seems to fall heavily into the valley, eventually merging into a stream and slowly flowing along the undulating rocks. The natural undertaking of the far river and near the water communicates the qi pulse of the picture.
In expressing their feelings about the solar terms, Indians will find ways to create their own unique artistic conception.
Ming Wei Zhi Di Lu Yan Zhu Dian "Zhou Yi"
Wei Zhi, a Ming Dynasty man from Putian, Fujian Province, carved the "Dilu Yandian Point "Zhou Yi"", and the Indian style is close to the style of Deng Shiru that followed. It is more direct in comparison. At that time, the Indians, the technical treatment was more to consider a single word, and the overall effect was not as good as that of the Indians in later generations. The layout of the seven characters is like six characters, and the word "yan" is slightly conflicting. On the whole, the word "Zhou Yi" has few strokes, and the left sidebar can be slightly thickened, which is not yet balanced. The so-called "dripping dew research" in the Indian text refers to the use of Zhu Pen to evaluate school books, and the reader's mentality of bitterness and self-knowledge is suddenly impressive.
Qing Ding Jing Hantan Yanying
Ding Jing is the founding figure of the "Zhejiang School" and a generation of grandmasters. Although later generations judged the style of the Zhejiang school, there was a saying that "non-cutting knife is not Zhejiang school", in the hands of Ding Jing, the characteristics of the cutting knife and the seal method were not completely solidified, and there was diversity and richness in the processing of chapters. "Hantan Goose Shadow" a seal method is quite wonderful, "cold" word on the wide and narrow, "goose" seems to be oblique and stable, partial to the right, "shadow" character seal method is usually written "jing", this seal is cleverly conceived, can also borrow the "tan" word three points of water and "sharing". The text has a profound meaning, and immediately thought of the cultivation tips of Yang Mingxinxue: "The wind passes through the bamboo, the wind goes to the bamboo without leaving a sound; the geese cross the cold pond, and the geese do not leave a shadow; therefore, the gentleman's heart begins to appear when things come, and the heart goes with the air."
Qing Sun Sanxi Warm does not increase flowers and cold does not change leaves
However, the "Zhejiang School" cutting knife eventually went stylized, and could only "rise up and die first". In the middle and late Qing Dynasty, the seal engraver Sun Sanxi learned from Chen Mansheng of the Zhejiang school, "wen does not increase flowers, cold does not change leaves" The eight-character seal adopts the "323" layout, and the middle two character strokes are many, just symmetrical glyphs, homeopathic arrangement, increasing the stability of the printing surface. The two "no" words have changed, but the first line of "no" is slightly cumbersome to deal with. The "Zhejiang School" seal law has always emphasized the use of subordination to change the seal, seeking "simple" meaning, and occasionally overlapping, most of which is out of the need for closeness, and must be stopped appropriately, so as not to be contrived.
Modern Shou Mason Cold Rain Lamp Window Hibiscus Old Courtyard
Later generations of Indians saw the defects of the "Zhejiang School" itself, starting from Qian Song and Zhao Zhiqian, all of them were zhejiang and Anhui, and even the patriarchal multiplicity, widely involved in the collection. Shou Mason "Cold Rain Lamp Window Furong Old Courtyard" mainly takes wu Changshuo and Huang Shiling, with many words but not cumbersome, calm and unhurried. The inscription is from a song from Wu Wenying's words. Wu Wenying once had a sincere emotional experience with Su Concubine, and the two were forced to separate into an indelible pain in their hearts. The "cold" and "old" in this sentence are "words", which undoubtedly express a heavy heart. The side section is "Yin Cai", which shows the worship of Shou Mason to Wu Changshuo. In the late Qing Dynasty, the "Haipai" had "Three Cais", Wu Changshuo called himself "Yin Cai", Gao Yong was "Shu Cai", and "Lan Cai" was the Korean Min Yongyi.
In modern times, Wang Fu'an wine glasses are absorbed in autumn, and the poems are cut on ice at night
Wang Fu'an's engraving of "wine glass autumn suction dew, poetry night cutting ice" comes from xin qiyi's "Linjiang Immortal" words. The first half of the sentence is to the effect of "may autumn drink be like the beauty of manna", life is happy, when floating a big white. What is pleasing is the word "autumn drink"! "Autumn wind rises, crab feet fat", when a fat hairy crab is brought up, while tasting crabs, while drinking, while eating pomegranates, the delicacies of the world are in hand, you will think of the Tang poetry: "Long winds send autumn geese, you can drink tall buildings", "more to wait for Juhuang home brewing, and Jun Yi drunk and taoran". This seal is the golden text in the Wang Fu'an seal style, although the number of words is more, but each word stretches out, each gets its place, the large piece of red between the words and the word, the contrast between vermilion and white is strong, the whole chapter is strange because of the ups and downs of the glyph, and it can be orderly, worthy of being a first-class master.
In modern times, Wang Fu'an "憀逢笑翦" seal book union
Wang Fu'an is both a book seal and a master. The small seal couplet "If the sea talks about autumn water, laughing at the Xiangtian heavens and absorbing the clouds", the above paragraph has "Shuyi Village Elderly Collection Liu Rong Li Yan Lian", referring to three literary masters, namely Zhu Xiaozang, a big lyricist, Liu Xiaxian, a general of the Xiang Army, and Li Yan, a representative of the middle period of the Zhejiang Western Poetry School. The next paragraph ,玄黓敦牂( 玄黓) is the law of the Tai Nian Chronology, and "玄黓" refers to "壬", which is "Dun Mu" in the year of noon, that is, this joint was written in the cold dew of Nong Wu (1942) at the age of 63. The pen is neat and clean, warm and strong, the knot is calm and elegant, the thin is full of fat, the style is beautiful and energetic, thick and simple, and it is a family of its own. The banner "Ru Gu Han Jin Zhi Zhai" was written in Chengshu Hanlu (1946), four years later than the couplet, with a thick and simple, dignified and elegant charm, especially the hanli famous monuments such as "Zhang Qian", "Shi Chen", "Cao Quan", "School Official", "Three Elders", "Ceremonial Instruments", "Xi Narrow", especially in "Zhang Qianbei". Wang Fu'an often uses the seal as a subordinate, the line of pen is pressed to fit, the intermittent reference is folded, the silkworm head is stored, the swallowtail is not exposed, there is no disease of flat dragging, the outside is seen canggu, the inner meaning is rhymed, especially the sense of gold and stone, intriguing.
Modern Tong Danian Pro "Fengjiao Dun"
Tong Danian, who also belongs to the "Hai School", is an extremely diligent "model of book printing creation". The Book of The Jinwen "FengJiao Dun" was written in the cold dew of the year of Yan Wei, when he was 71 years old. With the pen soft with rigidity, the style is high and ancient and thick, so that people look straight like a paper refinement, ancient rhyme spray thin out, the reputation is called "turning a hundred steel into a soft finger".
Looking back at ancient and modern times, the works of calligraphers and painters on solar terms have recorded countless time cycles.
Chinese is extremely sensitive to changes in solar terms, on the other hand, all kinds of feelings are often hidden in trivial life. Day after day, people become more and more like a gyroscope. However, no matter how busy a person is, he will eventually go step by step to a dull heart. Life is like a flat leaf boat, through the red dust years. Sometimes you may wish to slow down, appreciate the reading and painting of good products, give yourself a leisure place, see the clouds and breeze, let the poetry move forward leisurely, let the life picture colorful, let the story of life be rich. However, as Confucius said: "I taste all day without food, sleep all night, to think, useless, it is better to learn", for the calligrapher and painter Yinren, life is endless, and creation is endless. Because of this, each solar term can leave so many masterpieces of calligraphy and painting.
Editor-in-Charge: Li Mei
Proofreader: Luan Meng