Wu Zhen wrote his tombstone as "Plum Blossom Monk's Tower" before he died, which of course aroused the curiosity of the people of the time, someone asked him why he wrote the tombstone like this, Wu Zhen did not answer positively, only said that after you will understand what is going on. Not many years after the death of Zhenzhen, Yang Zhenjia began to dig graves in the Jiangnan region, but although Yang Zhenjia issued countless graves, he was also a monk after all, so the tomb digging process did not destroy the monk's tomb tower, and it is precisely for this reason that Wuzhen's tomb has not been destroyed. From this point, it can be seen that Wu Zhen, like his brother Wu Yao, has also learned the essence of fortune telling and can predict the events behind him, otherwise, if his tombstone is signed as the tomb of Mei Daoren, I am afraid that he would have been dug up by Yang Zhenjia's men.
So many units are based here
Wu Zhen is listed as one of the four great painters of the Yuan Dynasty, so what is the status of Yuan Dynasty painting in the entire history of Chinese art? Pan Tianxiong said in the article "On the Role and Status of Wu Zhen in the Transformation of Landscape Painting in the Yuan Dynasty": "Chinese landscape painting sprouted in the Six Dynasties, became sui and Tang dynasties, flourished in the two Song Dynasties, and there was a major change in the Yuan Dynasty, one of which was that the material of painting was replaced by silk with paper. It makes it easier for the author to exert the effect of ink on the rice paper that can be poured. The second is to change the previous dynasty to advocate too much reason and law, deliberately seek work on natural scenery, and place your heart on pen and ink. The Scholars of the Yuan Dynasty have used painting as a means of empathy and pleasure to express the painter's own personality and personality. The third is that painting is more calligraphic, and calligraphy, poetry, inscriptions, etc. are integrated into calligraphy and painting and become one. Yuan painting mainly pursues a noble, relaxed literati lyrical freehand style, becoming the highest peak of China's literati freehand landscape painting. ...... Among them, Huang Gongwang, Wu Zhen, Wang Meng, and Ni Zhan had the highest achievements and became the mainstream of the transformation of landscape painting of the literati of the Yuan Dynasty. ”
Fan laughed and I counted, there were 31 pieces in total
Since these four painters have the highest achievements, what are their original skills in painting? Pan Tianxiong said in the text: "In terms of the shanshui method, Huang created a pen on the basis of Dong Ju to wear a ma, Wang Chuang's fine cattle hair, Ni Chuangjian talked about folding belts, and Wu Zhen created a new painting method on the basis of dong Junan's painting school, dissolving the painting style of Li Tang, the successor of the Northern Sect. Nakamura said in the "History of Chinese Painting": "These four people all use the erasure of thirsty brushes and the rendering and drying of light ink as the tone of their paintings, and their simple and elegant painting style is a typical example of the Nanzong paintings that have changed the Song style and become the Yuange, which is also powerful in the Nanzong paintings that inspired the Ming and Qing dynasties." And Chen Shi once had such a statement in the "History of Chinese Painting": "Before the Yuan Dynasty, wet brushes were mostly used in painting landscapes, and the so-called water halo ink chapters were the same since the Tang and Song dynasties. In the fourth season of the Yuan Dynasty, everyone began to use dry pens, and the two families of Ni Yunlin and Wu Zhonggui were particularly heavy ink methods, and the others were mainly based on shallow baking and dyeing. ”
The courtyard of the courtyard
The above is a discussion of the Yuan Sijia as a whole, specific to Wu Zhen, Pan Tianxiong said in the text: "Wu has condensed Dong's short and slightly curved short pimp lines and huge long and interactive dense lines with arcs into thick, solid, and muddy pen and ink organizations. Mr. Shao Luoyang once ordered it to be "bracketed iron" in the "Dictionary of Appreciation of Chinese Famous Paintings". ”
Wu Zhen sat in the statue
Regarding the characteristics of Wu Zhen's painting technique, Wu Li said in the "Ink Well Painting Trek": "The Mei Dao people are deeply familiar with Dong Ju's method of wet moss. As for the specific paintings that Wu Li saw, he also commented: "The streams and mountains are endless, the Yangtze River is two volumes, the Mei Dao people are huge, the pen is rich and rich, the perversion is infinite, the novelty is in the law, the magic is in addition to the boldness, it is natural, and the five inks are also prepared." ”
Reflections are difficult to photograph clearly
In terms of comprehensive evaluation, Zheng Chang summarized Wu Zhen's paintings in the Complete History of Chinese Painting as follows: "Lumen Chai Shiyun: '... Zhonggui landscape master Juran, the pen strength is ancient, the qi rhyme is like a vast expanse, there is a forest under the wind, so although the classmates Dong and Ju, they also have their own paths and clouds. Yunlin tasted himself and said: "The so-called painter of the servant, but the brush stroke is sloppy, does not seek similarity, and talks to entertain himself." Zhonggui also said: "Painting is a scholar's word, and it is a temporary interest." Although his painting method is slightly different, those who think that it is a work of conservatism are purely subject to literature. The painting methods of these several families are all rubbed with thirsty brushes and rendered with ink, and their simple and ancient painting style can actually change the Song style into a yuan grid, and have inspired the painting of the Second Dynasty of the Ming and Qing Dynasties. ”
Plum Blossom An
Regarding the expressive subject matter of Wu Zhen's paintings, later generations paid more attention to the bamboo he painted. Wu Zhen has his own unique technique in painting bamboo, and has written the Bamboo Notation, which states:
The method of ink and bamboo is only a dry branch, and the folding of leaves is the most difficult. If you don't work here, you can't paint well. It used to be found in the Genealogy of the Scholar of Shizai, which refers to Su Zongwen and Ke. The next pen should be vigorous, the section should be pressed and virtual, a wipe will pass, and if it is less late, it will be blunt and thick, and it will not be sharp. Scholars should know that the law is as thick as a peach leaf, as thin as a willow leaf, standing alone, as righteous as a well, too long and too short, snake-shaped fish belly, finger dragonfly, etc., all of which are sparse and dense, and the disease of partial emphasis and lightness makes people disgusted. It will not be neglected to zero, and the complexity will not be chaotic, turning the front to the back, turning the side low, the rain and the wind turning, each has its own law, and it cannot be painted in one case, such as dyeing soap silk. Ru asked Yu Mozhu to think that the Fa, and must not forget what I said.
View of the anterior temple
Wu Zhen has so much experience in painting bamboo, it is no wonder that later generations value his kind of subjects. For example, Qing Li Zuoxian recorded in the "Shiquan Shuya Manuscript" that "Wu Zhonggui 'Bamboo Scrolls'": "Zhonggui wrote bamboo scrolls, and each calligraphy and painting was segmented, and what was seen was different. In these two sections, one bamboo and one wood are all inexhaustible. Yu he was packed into a roll, although the Yoshimitsu flake feathers, it was precious. Li Zuoxian even believes that Wu Zhen not only paints bamboo well, but also achieves a wonderful state of achievement in calligraphy: "On the super-magic of the brush, that is, the inscription is also a supreme wonder." In the Yuan Dynasty, the title Songxue was the heaviest, but the Songxue Xuexue Wang Shu got its roundness, and the Zhonggui Xue Wang Shu got its superiority. Its sharpness is unforeseen, but Tang's grandson Guoting and Song's Mi Yuanzhang can fight with opponents, and Song Xuegu failed to follow him. ”
The courtyard of Meihua'an
The great qing dynasty collector Pan Shihuan also had a special preference for the bamboo painted by Wu Zhen, and he wrote in the "Record of the Clouds and Smoke of Xu Jingzhai": "Twenty-six days, to filial piety. The uncle showed the original manuscript of Wu Zhonggui's "Ink Bamboo", with volume 1 and vertical axis 1, all with self-titled sentences. There is not much ink, natural beauty, calligraphy waves, change is unexpected, do not lose the rules, is deeply cherished by the essence of the essence. More than the bamboo plains are hidden. As like as an apple to an oyster. He is undoubtedly a forgery. ”
A new antique building
Wu Zhen has such superb painting skills, so what will be the result of comparing the Four Yuan Families with each other? Zhang Geng, a Jiaxing native, made the following comparison in the "Pictorial Divine Consciousness and Painting Theory": "That is, there is the theory of the Yuan Zhujia, and the big idiot is frank and easy to sprinkle, so his painting is easy and rushed, and it is the most mellow in the family." Meihua Daoren is lonely and tall, so his paintings are dangerous and handsome. Ni Yunlin is blindly vulgar, so his paintings are far away and steep, and they are full of carvings. If Wang Shuming is not afraid of greed and heat, his paintings are close to impatience. ”
Carved stone intro plaque
Zhang Geng's statement has no tendency, believing that these four have their own characteristics and are difficult to discharge the seats. But the bibliophile Ye Dehui did not have this peace, he said in the "Hundred Verses of GuanHua": "The order of the titles of the four paintings of the Yuan Dynasty, each with its own first, is roughly meaning love and hatred, and it is not conclusive." Among the four families, Wu Zhonggui finally became a yuan, and Zijiu, Yunlin, and Shuming entered the Ming Dynasty, and it seemed that they could not be regarded as yuanren. In terms of paintings, the cloud forest is solid and tall, and it is not enough to include the yuan painting; Zi Jiu cannot avoid the discussion of Nantian Jingjing. Shu Mingyuan was born in Songxue, and his learning had a source, Ran Shiming, who was the governor of Tai'an Prefecture, was arrested in the case of Hu Weiyong and died in prison. The righteousness of self-preservation is also lacking. However, Zhonggui's character and paintings are complete. Ye Dehui commented on the character and paintings here, believing that only Wu Zhen in the Yuan Si family could be described as a perfect person.
It was also covered with glass
In the fourteenth year of the Yuan Shun Emperor's reign, Wu Zhen died at the age of 75 and was buried in the old courtyard. During the Ming Dynasty, the local parent official Xie Yingxiang renovated the tomb of Wu Zhen and re-titled the tombstone "This painting conceals the tomb of Wu Zhonggui Gaoshi". In the first year of Ming Taichang, Yi ordered Wu Xuru and Qian Shisheng to raise funds to rebuild Wu Zhen's tomb, and at the same time added meihua nunnery. Dong Qichang inscribed the name of the nunnery, and Chen Jiru wrote a "Record of Repairing Plum Blossom An". It can be seen how much posterity attaches importance to it.
Another courtyard
Wuzhen Tomb and Wuzhen Memorial Hall are located at No. 178, Huayuan Road, Weitang Town, Jiashan County, Jiaxing City, Zhejiang Province. On December 31, 2012, the last day of 2012, everyone was preparing to enter the New Year, but I still pulled Fan Xiao and asked him to take me to jiaxing area. I was embarrassed to tell him that he had caught up with this date, and he smiled back at me and said, "Nothing, friends are just using it." "In the morning, Fan Xiao asked his friend to drive to visit the exposure book booth, and in the afternoon, I caught up with the friend who was in an emergency, so I and Fan Xiao took a taxi to the Wuzhen Memorial Hall.
The fallen leaves are gone
Plum Blossom Pavilion
The location of the memorial hall is in the downtown area of Weitang Town, the standard of the gate is a traditional high-permeable brick carving, engraved with "Wuzhen Memorial Hall", the door is lined with zhejiang provincial cultural relics protection plates, as well as Jiaxing Jiashan County Museum and cultural protection office nameplates, it seems that both units are working in this courtyard. On both sides of the door are also hung festive signs, on the left is "Welcome the New Year, the whole country celebrates the Eighteenth National Congress", and on the right is "Celebrate New Year's Day, scientific development and harmony". What is particularly rare is that on the right side of the door, there is a wall, and there are more than thirty metal plates with different names, except for three, the rest are golden, densely arranged together, far away, a piece of golden sparkle.
Wuzhen Cemetery
Wells in the cemetery
I am ashamed that when I write this little article now, it is only 6 days before the 19th Party Congress, and time is really fast. Although I wrote down the search notes at that time, after nearly five years, there were still some details that I could not recall, so I called Fan Xiao and my brother, and he really explained the situation at that time in detail. He told me that the friend who drove me to the two of them that morning was named Lu Jiaping, and he also wrote down the taxi driver's name as Chen Liming. A man who is so careful should really learn from him.
WuZhen tomb introduction plaque
Qianhong Pavilion introduction card
Fortunately, I still remember that when I entered the courtyard that day, I was greeted by the sitting statue of Wu Zhen, but I felt that the open face was a bit like Guan Gong, behind the statue was Lin Quanju, a very elegant antique courtyard, the courtyard wall was embedded with three rows of original Stones, all sealed with glass covers, and the instruction board next to it said "Ren Bentang Ink Carved Stone", which was carved during the Qianlong period of the Qing Dynasty, but they were embedded here, and it seems to have nothing to do with Wu Zhen.
In front of the Thousand Rainbow Pavilion
Meihua An on the right hand side of the former residence, is an independent small courtyard, the entrance is the plum blossom pavilion, the plum blossom pavilion is directly in front of the Wuzhen tomb, the tomb is also a circle of stone walls, the tomb roof is exposed loess, the tombstone on both sides of the iron tree, behind the tomb is a cluster of green bamboo. There is a well three meters in front of the tomb, there is no explanatory sign next to it, I don't know the source and meaning of this well, maybe this is the well used by Wu Zhen's family.
Plum Blossom Pavilion Introductory Card
There is also a Qianhong Pavilion in the memorial hall, and the explanatory plaque next to it says that it was named after Zhang Daqian and Huang Binhong when they visited the park together in 1931. Brother Fan said that during that period, The market coaxed Zhang Daqian to make fake paintings, and he said to the outside world that he had returned to his hometown in Sichuan, but in fact he secretly hid here.