Recently, the well-known art historian Shi Shouqian held a lecture entitled "Continuation and Regeneration of Classics - From Zhao Mengfu to Dong Qichang and Wang Yuanqi " in Shanghai Library. The lecture talked about the four hundred years of the establishment, continuation and regeneration of classical models in the history of Chinese landscape painting through retro and innovation in " Quehua Autumn Scenery Picture ", Dong Qichang's Southern School Model Genealogy, and the instrumentality of "The Little and the Big Book" and proposed that "retro is an important main axis of Chinese artistic tradition, not conservative."
In Shi Shouqian's view, "classical continuation and regeneration" is a key aspect in art history. Revival means looking at how it continues and how it regeneration occurs repeatedly in the circulation of our cultural traditions. "This lecture is jointly organized by Shanghai Library , "Zaiyi" and Shanghai Calligraphy and Painting Publishing House . Shi Shouqian's new work "Shan Minggu: The History of Chinese Landscape Painting and Audiences" will also be published by Shanghai Calligraphy and Painting Publishing House. "The Paper·Ancient Art" ( www.thepaper.cn) published a lecture transcript:
Shi Shouqian's "Hate the Ancients Don't See Me: Continuation and Regeneration of Classics - From Zhao Mengfu to Dong Qichang and Wang Yuanqi" lecture site
We generally use the so-called "retro" concept to govern the process of cultural continuation and regeneration. But it is not clear enough to talk about "retro" enough, so I hope to use the three important masters of Zhao Mengfu, Dong Qichang and Wang Yuanqi to see the process of artistic transformation.
I personally boldly summarize the Chinese artistic tradition into two points. The tradition of "retro" and "lyricism" happen to be relative to "retro" and "lyricism". I personally believe that the "retro" artistic tradition is actually the tradition of Chinese painting, especially the core of the last 400 years. In comparison, the "lyricism" tradition is more profound in literature. In fact, the "retro" artistic tradition is actually the tradition of Chinese painting, especially the core of the last 400 years. In comparison, the "lyricism" tradition is more profound in literature. Enter and concentrate.
In order to present the process of these 400 years of retro tradition, I think it is worth looking at with you. How the retro tradition of these three masters continues? It is not just a repetition, it actually has a new life and a new rebirth.
Retro and innovation in "Quehua Autumn Scenery Picture" by Zhao Mengfu
First I want to talk about Zhao Mengfu. Of course, we cannot limit the behavior of "retro" to starting from Zhao Mengfu in the Yuan Dynasty, but Zhao Mengfu is undoubtedly the most important one.
In the past, it particularly emphasized the importance of classicalism, especially in the calligraphy world, and the landlords repeatedly described the "Two Kings", but in painting, the one who fully demonstrated retro was Zhao Mengfu. So strictly speaking, it started from Zhao Mengfu and continued to In the 20th century, a development model of about five or six hundred years was set. From then on, when people create, they will clearly think about the relationship between classical and him.
I think if a work can be used to illustrate the beginning of Zhao Mengfu, it is the "Quehua Autumn Scenery Picture" collected in the Forbidden City in Taipei. Among them, the painting was completed in the year of Yiwei (1295). Zhao Mengfu was a very important year by Kubi in the 1280s. Liehan recruited Dadu to be an official. Although he was not a very important official, he always had a salary for a public office. However, he did not live very happily in the north, and later he found a way to become an official in Shandong.
But in 1295 (Yiwei year), he temporarily returned from the north to his hometown Wuxing , so his friends recorded that Zhao Mengfu Yiwei returned from Yan, and they were all very excited. His hometown of Wuxing There are many old friends and fellow travelers. When he returned, he certainly brought some ancient paintings he collected in the north. Of course, I think what is more important is the cultural experience and feelings he experienced in the north. Because the north and the south experienced a long period of division before the reunification of the Mongolian and Yuan dynasties, the north was ruled by the Jin Dynasty and the south was the Southern Song Dynasty. The cultural development of the two sides was different. Many people could not go to the north to see the culture that they could not see in the south.
This includes an old friend of Zhao Mengfu, Zhou Mi. Zhou Mi served as an official in the Southern Song Dynasty and was considered a leader of the southern literary world. His ancestral home is Jinan, Shandong, so he called himself Huabuzhushanren. But he had never returned to his hometown, so he could only imagine Jinan in his dreams. Zhao Mengfu happened to be an official in Jinan, so when he returned to Wuxing and had an old friend, he would talk about what he saw and heard in Jinan, including its famous scenic spots.
Zhao Mengfu's "Quehua Autumn Scenery Picture" is round on the left, which is Qushan , and the pointed right is Huabuzhushan
"Quabuhua Autumn Scenery Picture" is titled, the most famous mountain and river in Jinan is Huabuzhushan, which is found in Zuzhuan . He said that in order to tell Zhou Gongjin (Zhou Mi) what the mountains and rivers in Shandong look like, and reminded him that "Huabuzhu Mountain" is very famous.
This painting looks on the surface, and looks at the scenery from Jinan City to the north. But this is just on the surface, but in fact there are several other meanings. I think the most important thing about one is that what he sees is not only the scenery of Queshan and Huabuzhu Mountain, but also a nostalgic feeling, where he feels the so-called history. What history did he feel? It’s just Huabuzhu Mountain, a strange-looking mountain.
The Huabuzhushan we saw today is still a very strange triangle, exactly the same as this one.
Zhao Mengfu's "Autumn Scenery Picture of Quehua" (partial)
What kind of historical stories are there in it? "Zuo Zhuan" records that these two mountains were actually related to the battle between Qi, Jin and Du in 589 BC. In that war, Qi Qinggong, the king of Qi, was defeated. The most attractive thing about this story is that Qi Qinggong escaped three times at the foot of Huabuzhu Mountain.
I personally think this doesn't seem to be very interesting. There is nothing great about going around three circles, and there are no dramatic details. However, Zuo Zhuan’s intention is not here. He said that he was so glorious when Duke Huan of Qi was dominant. He was the overlord of the world. When Duke Qing was defeated in the war, he also went around three times under Huabuzhu Mountain and was chased and beaten by others. The changes in this world are really great.
After the Zuo Zhuan records, Huabuzhushan became very famous. Li Bai and Du Fu have visited nearby, so they once wrote poems about these mountains, and now they have become cultural memories of Jinan.
This memory was very clear when it was in the Northern Song Dynasty. Because there were several so-called scholars and officials in the Northern Song Dynasty, including Su Dongpo and Zeng Gong , who both went to Jinan to work as officials, and Zeng Gong also built a Beizhu Pavilion in Jinan City.
Beizhu Pavilion was built around 1093, but it was destroyed soon. Later, Chao Bu came here to be an official and wrote a poem "Baizhu Pavilion Fu", which was very well written. This fu is well known. He also commented that "Beizhu Pavilion Fu" is very similar to Su Dongpo's " Chibi Fu ", and said that it is not easy to have completely innovative articles in the world.
So when Zhao Mengfu arrived at the Jinan city tower, he thought of these things. What you see in the picture is an empty plain, but what he sees is not just the plain, he also sees many memories of the ancients and the Huabuzhu Mountain they miss. He feels time, history, and the role he wants to play in history, all of which make him feel. So what Zhao Mengfu wanted to draw was to tell Zhou Mi and his friends who could not go to Jinan.
How to draw this picture? For him, he wanted to find a different way of painting scenery than ordinary people. From the details, the slopes are peaceful, the lines are clear, and the lines are dry. Zhao Mengfu's dry brushes are different from those of very skilled professional painters who often change the thickness of the lines.
Zhao Mengfu's "Autumn Scenery Picture of Quehua" (partial)
This painting is special in the slope bank, you can see the long and continuous slope bank, and the lines themselves are particularly dry. It is like regular script in calligraphy, and there is no change in thickness.
In addition to the very smooth and continuous space, he has a new way to write and ink. This method comes from his understanding of calligraphy, but it is not copied directly from calligraphy, nor is it a special technique of calligraphy, but its concept has something to do with calligraphy, because he is not describing trees, stones, and he has no realistic elements. So from this perspective, calligraphy is a bit related.
Of course, here we will find that this space is very dull. Then looking from the tree in the center to both sides, it looks like a gentle plain. Push it to the back you can see Huabuzhu Mountain and Queshan Mountain. This Hirano seems nothing great today, but it was a new solution at that time.The feeling of space was something that people thought was fresh at that time.
Comparing the best work of Xia Gui in the collection of the Forbidden City in Taipei, " Xishan Qingyuan Tu ", there are very rich changes in ink colors, lines and brushwork. For example, above the hill in the middle is what was later called "axe-splitting texture". Axe-splitting is actually a very skillful technique. You need to lie down on the screen to brush the effect, which is not easy to control. Unlike us who write, we use the tip of our pen to write.
Xia Gui, "Picture of Qingshan Mountains" (partial)
Xia Gui was the most amazing professional painter at that time, serving the palace. Xia Gui was earlier than Leonardo da Vinci, who also served the palace. This was the brushwork and ink method used by Xia Guishan Peak in the early 12th century, with many changes. And there are five fixed points in the whole mountain.
Xia Gui, "The Picture of the Qingshan Mountains" (partial)
Just like people who like photography today usually take different angles, in fact, Xia Gui is similar. Therefore, the viewer follows the painter's pen and moves up and down, forward and backward, and can fully feel the visual changes and fun that Xia Gui wants to provide us.
In comparison, Zhao Mengfu's "Quehua Autumn Scenery Picture" actually has only one point, and he is very dull. So what I just talked about is that "Quehua Autumn Scenery Picture" used a new technique. His nostalgia is not just about the real scenes of Queshan and Huabuzhu Mountain. It actually has a historical extension, entering the Tang Dynasty and the Zuo Zhuan era, so he led Zhou Mi and other audiences to recall history.
Of course, I must be very happy to be careful. He had never been to his hometown, but he could feel that he had also been there. Like Zhao Mengfu, I went through a journey of time. Zhao Mengfu used this painting to retain the common memory of the gathering that day. You can even feel that the content of their conversation must be a lot, and we can reconstruct this plot.
But I'm afraid there's more than that. In this hand scroll we can also notice that it has a continuity that is not restricted by time and space. The first person to study this painting today was Professor Li Zhujin from abroad. He first published his in-depth research in the Forbidden City Quarterly.
I think "Quehua Autumn Scenery Picture" is not restricted by the time and space of a certain day. It has a kind of continuity. How can you feel its continuity? The second protagonist of today comes out, Dong Qichang.
Dong Qichang's model genealogy of the Southern School
Dong Qichang wrote five postscripts on his paintings. You must be very moved when you see him having five postscripts. How could he write so much? The first is that his identity is particularly important, and everyone has to ask him to write it. The second is that he writes his calligraphy well. People with that kind of conditions are talented. Dong Qichang was a first-class calligrapher at that time.
Dong Qichang's five inscriptions are very historically meaningful and have a lot to do with what I want to say today, "I hate the ancients who didn't see me." I have selected three postscripts to explain them to you a little.
"Quehua Autumn Scenery Picture" Dong Qichang's second postscript
The second postscript, he said, "and the painting methods of the two families of the Youcheng Beiyuan", he mentioned the two ancient masters, Wang Wei and Dong Yuan . In fact, he is not the first to say this. Someone has discovered it before. Dong Qichang has studied Zhao Mengfu's related remarks and knows that these two people are very important to him. Wang Wei of the Tang Dynasty and Dong Yuan of the Five Dynasties, he told us about the relationship between Zhao Mengfu and these two ancient masters, so he proposed that Wang Wei and Dong Yuan be used as examples.
Next he said, "Learn from the law and give up the shortcomings." It doesn't matter if you learn from the ancients, but you should not be exactly the same as him. He proposed the so-called "learning from the ancients" - you should learn from the ancients, but you must never imitate from beginning to end, so "learning from the ancients" must be combined with "variants".
So in this postscript, he told us these two things. Of course this is his personal opinion, but Dong Qichang's theory was very successful later and was accepted as a correct path to learning from ancient times.
"Quehua Autumn Scenery Picture" Dong Qichang's fourth postscript
Then it is Dong Qichang's fourth postscript. He wrote a poem "Quehua Autumn Scenery Picture", which was made by Zhang Boyu, a famous poet of the Yuan Dynasty.Dong Qichang copied it at the request of the collector Huisheng at that time. Then why ask him to copy it? Unfortunately, he did not have the original works of Zhang Boyu, so he asked the most valued calligrapher Dong Qichang to rewrite Zhang Boyu's opinions. With this feeling, Zhang Boyu appeared, and Dong Qichang reflected Zhang Boyu as a substitute in his work.
We are influenced by Western modernism today and pay great attention to the truth and falsehood. In fact, it was not so complete in the 17th century.
Next is the fifth postscript. Dong Qichang made an explanation more interestingly, saying that Zhou Mi was a knowledgeable connoisseur in the late Song Dynasty. His collections included many wonderful collections of Jia Sidao, which he had identified, so Zhou Mi was probably the number one appraisal expert in the south that year.
"Quehua Autumn Scenery Picture" Dong Qichang's fifth postscript
"Fighting at the beginning of the country" was after entering the Yuan Dynasty. "Zi'ang followed it", and Zhao Mengfu followed him to learn, so he had the opportunity to "see and hear the romantic feelings of the Tang and Song Dynasties". If it were not thorough, it would be difficult for Zhao Mengfu to enter the romantic feelings of the Tang and Song Dynasties. So Zhou Mi is an important figure who led Zhao Mengfu into this world. Then Zhao Mengfu painted "Quehua Autumn Scenery Picture" and entered this tradition. So in this postscript, I think we can reinterpret it as, after writing like Dong Qichang, we also participated in the life of "Quehua Autumn Scenery Picture", so that the life of this scroll will begin a new life history after Zhao Mengfu finished painting. In other words, this life history has a new meaning when Dong Qichang came to his heart.
So in these five inscriptions, Dong Qichang tells us that in the history of life, the value pursued by Zhao Mengfu, Dong Qichang also gloriously participated in this recognition. His participation also enriched this life history. So we started from here to start with another topic of Dong Qichang.
Looking for Wang Wei
Dong Qichang, of course everyone knows that he has a theory of " North and South Sect ". This theory is summarized as a genealogy of classical models, from whom to whom is orthodox, it can be learned. Dong Qichang divided paintings into two schools, north and south. Although there was a northern school, the northern school was not important, and the southern school should be learned.
He told us that it was from Wang Wei, and he also introduced what Wang Wei's style looked like. So he said that "indifference" is a recognizable point of Wang Wei's style. After Wang Wei, there were Dong Yuan, Juran, and the Mi family father and son, and then the Yuan family, so this is the classical model genealogy of the Southern School he cited. What he meant was that after he sorted it out, the other ancients were no longer important, and everyone just needed to pay attention to these masters of the Southern Sect.
Wang Wei (Biography), "Jianggan Jixue Picture Scroll" (partial), Ogawa Family in Kyoto, Japan collected
Then, in addition to pointing out the form of "rendering", he also tells us, where is Wang Wei's realm? He said: "The timing of Yunfeng is very different from the secret of heaven. The brushwork is vertical and horizontal, and it involves the creation." These 16 words are extremely abstract. I don’t know what they are talking about, but he thinks that Mi Fu had already been talked about in the Northern Song Dynasty, so he believes that these 16 words make some sense.
The ancients probably got this mystery, so he believed in these 16 words very much. I think the most important thing is that the last four words "consider the creation". The landscape paintings he painted make you feel the same as the landscapes of fate. You may even feel that he is creating mountains and rivers and creating the world. So for him, he has to draw this realm.
But the problem is that at that time no one in the world knew what Wang Wei was, and this was really difficult. So he spent his whole life looking for Wang Wei.
Dong Qichang, "Wanying Caotang", 1597
1597 he drew a picture called "Wanying Caotang", which is a private collection. "Wangui Caotang" is the study of Dong Qichang's good friend Chen Jiru . Chen Jiru is equal to his spokesperson, or the best commentator of Dong Qichang's art. Therefore, this work also contains Chen Jiru's inscriptions and instructions.
This painting begins to make us feel a brand new one, different from Zhao Mengfu, but he is also looking for Wang Wei, how can we imagine the appearance of this ancient master who disappeared from the world?
"Wangui Caotang" This very strange landscape painting, the mountains and cliffs seem to be abstract structures one by one, as if the whole painting is these. It can be analyzed into units of geometric structures. It is arranged along this line, and a platform appears at the end. There is a small house on the
platform, which is Chen Jiru's study room. In Xiao Kunshan, not far from Shanghai, this is a very famous reading platform. I did a research back then and went to this place to see it. Although I could find a place called the reading desk, the entire scenery actually had no direct connection, but it was not right that you said it had nothing to do with it at all.
Dong Qichang went to Chen Jiru's study and thought it was a good place that could be isolated from the city on earth and a very elegant place. Looking down from there, it is such a landscape.
I said this landscape is so strange. How can you see such landscapes with your eyes? In the past, I had a senior scholar named Mr. Wu Nasen (Lu Qiao). If you have the opportunity to read his "Weiyang Song", you will know this talented man from Southwest Associated University back then. Mr. Wu later went to the United States to study art history and once studied Dong Qichang. He wanted to solve a problem. Will there be any problems with Dong Qichang's eyes? What you see is different from that of ordinary people. Will it be a little tilted, or distorted or variant? Of course, he did not solve this problem in the end.
However, his painting is indeed very special. Some people compare it to the landscape scenery of Cézanne and Van Gogh that looks like the modern Western landscape. But this comparison is not necessarily appropriate.
Dong Qichang's style comes from the "Snow Scroll of the River Gan" which is said to be Wang Wei, which is the Wang Wei that Dong Qichang was looking for back then. Then I found such a painting in the wall of an old house in Beijing. Everyone said that this is probably true Wang Wei. This was already the late 16th century and was a very sensational cultural event at that time.
In the late Ming Dynasty, everyone yearned for seeing Wang Wei. Suddenly, Wang Wei's landscape paintings appeared in an old house in Beijing. For enthusiasts like Dong Qichang, of course, they had to read them.
Look back at this picture of "Wangui Caotang". This painting was on a business trip. He ran from Beijing to Jiangxi to preside over an exam. After the exam, I took a long journey, walked from Jiangxi to Fuchun River, and went to Hangzhou to visit a friend, who collected this volume of "The Snow on the River and Mountains". He has borrowed this hand scroll to study several times. Back to Songjiang , I drew this landscape painting in Chen Jiru's Wangui Caotang.
"The Snow on the River and Mountains" has a very clear so-called "ink dye". Early paintings did not have any brushstrokes, so this one was completely "ink dyed". He felt very strange. How should I use his pen and ink to master this Mo Ran? He was puzzled, and finally he got an answer in this "Wanluan Caotang". In 1597, it can be said that Dong Qichang Art has set the tone from here because he found Wang Wei's brush and ink. At a rough look, he felt that it seemed like "ink dyed", but in fact, these lines were drawn very interestingly, and it can be said that they were a bit similar to flat painting. Its professional term is called "direct texture". There is a little trick to this straight brushing, which means that if he wants to draw it like a mechanical one, he must retain the artificial clumsy spirit. "Straight Craft" he believed was Wang Wei's brushwork at that time.
Today we look at the murals of the Tang Dynasty. In fact, you think his statement makes sense. Although he has never seen real works in the Tang Dynasty, this person still has an amazing intuition. So he found the so-called Wang Wei's pen and ink. In his opinion, this pen and ink is what he just mentioned, with life, reminding people of creation, a state of realm when heaven and earth were creating the world.
How can pen ink have an inner anger? This is what all landscape painters want to pursue. The shape and appearance are not important, so they will never paint the appearance of a certain landscape.What matters is not the appearance, just like the style of the ancients, what matters is not the appearance of his style, but how to master the real core content, which is the real vitality.
"Wangui Caotang" starts with brush and ink, then rotates along its structure and the picture, and finally returns to the platform. I want to make an explanation, that is, Wanluan Caotang seems to have all the condensed vitality in the end. After being driven like a spiral, it presses on this platform here, as if it is sprayed out. This house is located in the most energetic place in the whole painting. If someone understands Feng Shui, it is very likely that Feng Shui can be used to understand the flow of energy in this so-called landscape painting. The central position of
is where Wanluan Thatched Cottage is located. The reason why it can condense energy is completely driven by the structure constructed by "direct texture", and it returns to such a picture.
Just now we read that genealogy. After Wang Wei, there are Dong Yuan, Juran, and the Mi family father and son, but the most important one is the Yuan family. The most important of the four families is Huang Gongwang. This "Autumn Scroll of the River and Mountains" is his painting of Huang Gongwang, and it is also the most classic and important work that Dong Qichang has really studied Huang Gongwang in depth.
Dong Qichang, "The Autumn Clearing of the River and Mountains" inscription (partial)
Today, there was also " Remaining Mountains " exhibited at the exhibition hall of the Shanghai Museum. Dong Qichang finally wrote: Huang Ziji's autumn clearing of the country is like this. The ancients did not see me. Why did he say this? Why can this painting make us feel that he wants to recreate Huang Gongwang? How to recreate Huang Gongwang? Here we can see that this is a hand scroll, but he draws the hand scroll like a vertical scroll, with three sections arranged for the foreground, medium view and long view.
Dong Qichang, "The Autumn Scroll of the River and Mountains" (partial)
In this painting, what Dong Qichang used to echo the lines we imagine about Huang Gongwang, which is similar to "straight texture" in "Wanluan Caotang", but the density and speed are different.
So this is the secret of Dong Qichang's personal style. He used this kind of brush and ink to reconstruct Huang Gongwang's style and mountain, divide it into square, platform, and sharp, round and organize it together. This organization belongs to Dong Qichang. It has a strong structure, just like building blocks. You can't pull out a piece in the middle. If you pull out one piece, the whole thing will collapse. This is how solid the structure is stacked one by one.
So he used this "direct squid" to draw the style of the rocks he knew about Huang Gongwang, and then stacked it into a mountain, a large mountain or a cliff. You can see a changing application of "direct squid" everywhere. This is the characteristic of Dong Qichang, as if he had not finished drawing. Why is this happening with
? This is like this " Fuchun Mountain Residence ". Huang Gongwang is a Taoist priest. Taoist priests look at the mountains and rivers differently than us. They are especially likely to see the vitality there.
Huang Gongwang's "Fuchun Mountain Residence" has a similar vitality as the dragon vein, which is structured through the two sides of the mountain. I want to say that as long as you follow these two sides, you can slowly enter the space farther away from the front, so that mountain range will live. Then you notice that there are some repetitions in the painting, because he has been painting for four years and is always revising it.
His modification is to stack it. So you will feel that some lines are transparent and some images are transparent. You can see the original traces below, so you have a little fantasy feeling, as if this landscape is growing. He seemed to be alive, as if God was creating mountains and rivers. God said that there was a mountain here, and that mountain grew up. He said that this mountain was not growing well, so he modified it, similar to this. You can fully experience this process in "Fuchun Mountain Residence Picture".
Huang Gongwang, "Fuchun Mountain Residence Picture" (partial)
Dong Qichang thinks "Fuchun Mountain Residence Picture" is a wonderful landscape painting, so he painted this "Autumn Ridge of the River and Mountains", which is collected by the Cleveland Museum. This is Dong Qichang's work in his late years, which can represent his last experience. He recreated Huang Gongwang's last experience. But what is interesting is that his "straight texture" has not changed. It always maintains such a brush and ink, and then it starts to create all the masters, including Huang Gongwang. Of course, Huang Gongwang had never painted "Autumn Ridge of the Rivers and Mountains", so he said that if Huang Gongwang had painted it, he would definitely look like this, and he only regretted that Huang Gongwang was gone and could not show it to him. If he wanted to see it, he would definitely appreciate it and pat his shoulder and say it was good.
So after reaching this point, he mastered the style realm and the true inner vitality, he felt that he could recreate Wang Wei, Huang Gongwang, and any master. Of course he wouldn't say that he would recreate Xia Gui, because Xia Gui was not in his eyes. But he could think about the masters in his genealogy one by one. Whether it is right or not is no longer his consideration. He thought that if they were alive, they would definitely think that this was right.
So when he recreated tradition, he had undergone one recreation after another. It was actually a continuation and regeneration. From Wang Wei to Huang Gongwang, he had undergone a new Renaissance. This is the meaning of Dong Qichang.
After Dong Qichang talked about this, everyone also felt that it made sense. This matter cannot be explained literally, or to use today's so-called scientificism to provide proof, to say whether Huang Gongwang would think so, or how can it prove that Huang Gongwang has truly recreated, rather than Dong Qichang's "Wild Fox Zen" and making up random things. How can
distinguish between reconstruction and random creation? This is indeed not an easy question to answer. Dong Qichang was very confident. He wanted to promote his theory and tell his students how to draw a correct landscape painting. What is the correct landscape painting? It’s not about painting the scenery outside like taking a photo, but about landscape paintings that Wang Wei and Huang Gongwang agree on when painting landscapes.
The exquisiteness of the exemplary genealogy
However, Dong Qichang has his own method. He has a very important student named Wang Shimin . Dong Qichang is a very important collector, and a considerable part of his collection is in the hands of his student Wang Shimin. Wang Shimin was born in the Ming Dynasty and later entered the rule of the Qing Dynasty. He did not belong to the remnant that everyone admired the most in our cultural tradition. He belonged to the new dynasty and did not make too fierce resistance.
However, he has done a lot of things to his hometown, and it should be said that he is a kind of practical person. But politics has nothing to do with his art. He followed Dong Qichang when he was young, so he personally accepted Dong Qichang's teachings. The most important thing in this teaching inheritance is Dong Qichang’s collection, and many of them were transferred to him. "The Big in Small" by Wang Shimin reproduces the " Stream Travel Map " by Fan Kuan, but "The Big in Small" is a small picture, and the original "The Big in Small" is very large, with two meters.
Dong Qichang, "Imitation of Fan Kuanxi Mountain Travel Picture", about 1600
, but we found that in that era there were many "The Big Ones in Small", not only Wang Shimin, but Wang Hui, Wang Jian , many people have it. When Wang Shimin was alive, he probably had more than this one, and he guided him to do it. This is a learning record of ancient classics, including the masters of the Northern Song Dynasty. Of course, Huang Gongwang, whom they admire the most, is indispensable.
This is another one of the "Steep Groves and Twinkle Forests" imitating Huang Gongwang, and the size of the imitation has been reduced. Then there are inscriptions written by Dong Qichang himself inscriptions and inscriptions written by Dong Qichang himself. These inscriptions and inscriptions are all based on their original writings. Then he copied them once, believing that this is the inheritance.
"The Big Seen in Small" instrumentality
Dong Qichang talks about the North and South Schools? The Northern and Southern Sects quoted Zen Buddhism. The inheritance of Zen Buddhism is also called the so-called inheritance of the robe and mantle. What is the robe and mantle? You can imagine that Zen Buddhism may really have its monk's robe or used bowl, which can be passed on to his disciples, and the one who got this bowl was his real disciple. What should the painter’s inheritance be like? Use a robe and bowl to embody it.
Wang Shimin painted the inscription on Dong Qichang, "The Big One" picture album imitates Huang Gongwang's steep valley dense forest map
The left page is like what Dong Qichang said in class with Wang Shimin. The most important thing here is Zhang Boyu's other explanation of Huang Gongwang. This paragraph can be said to be what Dong Qichang admires the most, and he thinks the most exciting and most conspicuous summary. He said that Huang Gongwang's style can be said to be "thick peaks and lush grass and trees". The mountain makes you feel very thick. It not only has the beauty on the surface, but it feels very thick and has an inner feeling. The plants are blooming, so the plants on it will grow very well because there is an inner vitality.
So Dong Qichang wrote it down and told Wang Shimin, remember, this is Huang Gongwang’s secret. If you want to create Huang Gongwang again, you have to master this.
This is another opening imitating Huang Gongwang. He tells you that there are only two pictures of Huang Gongwang in the world. This picture is " Summer Mountain Picture ". What is the key point? He said: Zi has learned from Dong Yuan for a long time, and he has Zi Jiu. So this is the so-called learning method and variation. He comes from Dong Yuan, but he is definitely not restricted by Dong Yuan and wants to become himself. So if you want to learn Huang Gongwang, you have to learn the key points of this variation, so that you can master the so-called ice comes from water but cold is from water, and this thing is getting more and more refined.
Wang Shimin's picture album "The Big Sees the Small" is imitated by Huang Gongwang's picture of Dong Yuan Xiashan picture Wang Shimin's picture of Dong Qichang's inscription
What I call the recreation tradition must not only be continued, but also have new life. This new life is a new creation. So here he is saying that he is speaking to his students that you must not forget when learning Huang Gongwang. The most important thing is that you feel his inner anger.
Here I will explain to you that "The Big One" is a very important teaching tool in the inheritance and learning of this orthodox school. Compared to other things, it is the most critical. On the one hand, it is Wang Shimin's collection of pictures. In addition, I just said that Dong Qichang was passed on to his disciples as a robe and mantle, so here it is not just a work. He also reminded him how to learn from him, where the focus is, where the core is, etc., which is where the robe and mantle is. Then this became the exclusive secret in their inheritance.
"Small and Big" booklet is only for Wang Shimin himself. Of course, he can do other "Small and Big" and give it to others, or to his students, but this is a minority.
1679, "The Legend of Mustard Seed Garden" also appeared in "Fuchun Mountain Residence". "The Legend of Mustard Seed Garden" has many shortcomings, but there are also many advantages that we ignore today. To put it simply, it means turning all readers into authors, and you can learn according to his own way and you can draw landscape paintings. This is an amazing textbook. Of course, how well you draw
depends on your personal luck. But if I compare it with "The Big One in Small", "The Big One in Small" is an exclusive secret, and "The Big One in Mustard Garden Painting" is a public textbook that everyone can buy.
In the 17th century, "The Legend of Mustard Garden Paintings" can only learn some of the organizational appearances of Huang Gongwang Mountain Stone styles they compiled, but he cannot tell you what the inner life is. He cannot be like Dong Qichang, maybe he was holding Wang Shimin's hand and talking about how to understand his pen and ink. There is no pen and ink here, so Mustard Garden can only look at the appearance, so "The Big One" has its uniqueness.
So how do you combine Shigu and variants, and then a so-called synthesis emerges.The integration of great success does not mean the elements I add up all the ancient masters. The integration of great success is actually the key to the integration of great success. If you master the 16 words of Wang Wei, that is the real core, and the key to the integration of great success. Once you master the brush and ink, you will do any person's style and can be recreated. Whoever you draw is like who you are. That is called the ultimate success.
Dong Qichang mentioned this, but he didn't do much. His students are still limited. Although he feels that he is ranked in the same row as these ancient masters, he will not be able to truly realize it in the last two eras of Wang Shimin. This is Wang Shimin's grandson - Wang Yuanqi.
Wang Yuanqi, "Imitation of Huang Gong's Look at the Autumn Mountains", 1713
All of Huang Gong's works were basically in the 17th century, and they were classics. When it came to Wang Shimin, he would chase Huang Gongwang, so he would have a style for the rest of his life.
He painted Huang Gongwang style with many landscapes. If you read too much, will you feel that there will be some repetition? In fact, the internal changes are very rich and worthy of careful experience. His grandson Wang Yuanqi was when Wang Shimin was alive. He said that he would inherit my career in the future and that he would be this grandson, so he believed that Wang Yuanqi was the one who passed on his mantle. So he also tried his best to let Wang Yuanqi understand all the secrets of Huang Gongwang that Dong Qichang taught him, or the secrets of these orthodox masters of the sect.
You will find that Wang Yuanqi's clouds are different from those in Dong Qichang's "Wanluan Caotang". Wang Yuanqi's cloud is more specific. The role it plays on the picture is slightly different from Dong Qichang, but this is very interesting. He uses this gap more. So from this perspective, Wang Yuanqi's picture appears to be more abstract, and the relationship between virtual and real is more complicated.
Please see if he has an inscription on it, written by Wang Yuanqi himself. He said: I have never seen the autumn mountain map that Huang Gongwang had looked at. They like to say this the most is that they "had hatred that the ancients did not see me." But this Qiushan map is very famous, and he heard from his grandfather. Here he wants to pull his grandfather in, he wants to tell the audience that I am the grandfather's, don't forget who my grandfather is. Then his grandfather told him that the painting was originally in Zhang Ziyu's house, and he told him that it was Huang Gongwang's first work in his life. Dong Qichang also likes to talk about "the best in the world", and Wang Shimin learns from him. This painting has been no longer visible for decades, so Wang Yuanqi has never seen it before. But Wang Yuanqi used his brush and ink to write what he knew about Huang Gongwang, which is what Huang Gongwang calls "The Picture of Autumn Mountain". Although he couldn't see it at all, it didn't matter. As long as you master the inner core, you can be on par with Huang Gongwang. Then your grades are actually a culmination and you can recreate everything.
"Floating Lan Nuancui" by Huang Gongwang by Wang Shimin, of course, Wang Yuanqi knew his grandfather's style very well and had a new idea. The creativity is that the picture I just mentioned has an abstract relationship with reality and reality, which is very flexible.
Wang Shimin, "Fu Lan Nuan Cui"
Wang Xun "Imitation of the Idiot Weng Fu Lan Nuan Cui"
Yunshan and virtual reality are used to correspond to different shapes here to create a new vitality. It operates on the screen. This vitality must be able to operate, which is the real landscape.
In the details of the picture, you can see an experimental method similar to Dong Qichang's "direct texture". It is not exactly the same, but in fact it uses a very clumsy, seemingly quite simple line. Then he explained these different shapes of surfaces. As for whether this surface is three-dimensional or not, it is not the point, he didn't care at all. It just forms the so-called relationship between reality and reality. In some places you are whiter and in some places you are blacker, and you are just playing with this fun. There is also a seal on the screen, which is the sentence "Imperial calligraphy and painting pictures are left to others for viewing" by Emperor Kangxi. So he said that the emperor gave him the sentence, and of course he engraved this seal everywhere because he was recognized by the emperor.
The emperor recommended Wang Yuanqi to the court. He was probably from a Jinshi, but Emperor Kangxi said he was very wise and expressed his agreement with his style. Emperor Kangxi agreed with his style and could not rule out that he had political intentions.Because he wanted to tell the Han doctor that he also understood this, he was willing to support this part of the art of the Han people.
Wang Yuanqi certainly would not reject the emperor's support, so he used this seal. Often you can see long inscriptions on paintings, and he will tell the audience, what are the things I pay attention to in this painting?
You can also say from another perspective that this kind of inscription is a kind of self-promotion, or self-explanation. The more questions you have, the better. It can be recognized by the collector, or it is passed down from generation to generation.
I once did a study to study his relationship with Shi Tao. There is a story about how much Wang Yuanqi attaches importance to Shi Tao. He said that he is the south of the river, and Shi Tao is the most amazing. I don't think this matter is credible. There is a painting in the Forbidden City in Taipei, which is a painting that the two of them cooperated with. I think that the painting shows the part of Wang Yuanqi's pen addition, but I think his pen addition is like a teacher correcting homework. It means that this is not good, so he used the brush and ink he thought was correct, which is the dry brush and ink you just saw, and it was modified everywhere on Shi Tao's bamboo and stone picture. Fortunately, I don’t think I’ve returned to Shi Tao for that painting. I believe his relationship with Shi Tao is essentially bad. If he really praised Shi Tao, he would definitely not be very honest.
In addition, I want to talk about his so-called reinvention tradition and regeneration. He can draw a picture of "Autumn Mountain Picture" that he has never seen before. Wang Wei is actually the key. For everyone, it is the same for the ancestors of this sect and the disciples. What does Wang Wei look like? Is there any way he can draw another picture like Wang Wei?
Wang Yuanqi, " Wangchuan Tu Volume" (partial)
The world's number one Wang Yuanqi's "Wangchuan Tu simplified". This picture was originally collected by Wang Jiqian, and is now in the United States, Metropolitan Museum of New York, . In the beginning of the book, there is the title of Wu Hufan : Yuan Qi, the world's number one king. He drew "Wangchuan Tu". "Wangchuan Tu" is a famous work by Wang Wei, but I have long known where I went, so we only have one engraved book. That moment book is like "The Legend of Mustard Garden Painting", with only the appearance. Wang Yuanqi used the handed down version as material.
What is important is that the brush and ink here actually retains the mountain that Dong Qichang learned from Huang Gongwang, as if it is still in progress. Its shape is not fixed, so this is what he found. He used this thing to reconstruct the shape of "Wangchuan Tu". The stone carving book could not be imagined to be like this.
He also mentioned his admiration for Wang Wei at the end. He really felt that this was the founder in their system. He believed that the changeable and colorful brushwork he used to interpret Wang Wei's "Wangchuan Tu" and that he really found Wang Wei's most wonderful "Wangchuan Tu" landscape painting that everyone had never seen before.
This painting is the most important, but it is not the only explanation from Wang Yuanqi. Every time he paints, he is giving a new explanation. But you can say that his target is a single point, that is, that point is Wang Wei and Huang Gongwang, and they are both at that point. If you get there and find that Huang Gongwang is not there, you must be wrong.
Wang Yuanqi is the theory of practicing Dong Qichang's culmination. I think his status is truly mastered on this so-called core issue of the so-called ensemble, and his practice interprets a abstract theory of Dong Qichang, and the interpretation is so concrete and visible, which is also where we can truly feel the true pulse of classical tradition.
Today, you can’t really touch his picture. But if you imagine it, you can feel its pulsation and its pulsation. He seems to be on the same frequency as Huang Gongwang and Wang Wei. In such a rebirth and reinterpretation, tradition has a new life, which cannot be copied by textbooks like "The Legend of Mustard Garden Painting". Therefore, this traditional regeneration is not a question of whether the image is copied or not.
So since the early 20th century, I think it is a complete misunderstanding of the so-called retro school. Today, we actually have a completely different understanding of the retro tradition. Going back to what I began, I think even the most important axis in the entire Chinese art tradition, we can also see its difference from the literary tradition.
Note: The first draft of the lecture is provided by Shanghai Library
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