Chen Hongshou is a painter who is good at both characters and flowers and birds. He has a status of inheriting the past and opening up the future in the history of Chinese painting art.
According to the summary of the Qing people, Lao Lian's paintings have four changes in his pen and ink throughout his life, and they enter the "three realms", that is, from "wonderful" to "god", and from "god" to "transformation". In Chen Hongshou's "Flower and Bird Fan" collected in of the Palace Museum, the Tang Jiujing says: "(Chen) Zhang Hou was less than 60 years old, and his brush and ink changed in four changes, and he was less beautiful and divine, and he was old. The change is very large and every ten years. Now it is strong from young to strong, and it is a wonderful time for humans and gods. Zhang Lao (Hong Shou) once commented on himself: "Although my paintings are so old that I have no choice but to do what I want to do, I can't do it because I am close to you, and I must seek details. ’Only by looking at this, I realized that the comments are not wrong. "This comment is generally pertinent. (The ancients said "shao" generally refers to under 30 years old) The so-called "transformation" is the extreme of simplicity. Chinese painting lists "nature" as the best, which is what later called "elegance". Chen Hongshou's "transformation" not only includes "elegance", but also a full reflection of Chen Hongshou's character in painting. "Zhuangzi" is called "material transformation", which is "Tao" rather than painting. Chen Hongshou's old painting "transformation" means that he has completely escaped from the world and entered the most extraordinary realm. The works of Chen Hongshou when he was young, which are earlier in his youth are based on the "Chen Hongshou's father and son" collected by Weng Wange . Judging from the style, when painting before the age of 30, the plum branches are hard and hard, firm, which is the painting method of people in the Southern Song Dynasty . The painting methods of people in the Northern Song Dynasty were hard but not strong. Hong Shou lived in Hangzhou in his early years, which was the political and cultural center of the Southern Song Dynasty, so there were many paintings in the Southern Song Dynasty. His figure paintings created by him around 30 also liked to use these hard and straight lines.
Chen Hongshou's early flower and bird paintings were mainly learned from the Song people, solid and strict, bright and majestic. Although he had some personal appearances, he was not outstanding, so he could only be included in the wonderful or good. Chen Hongshou's flower and bird paintings in his prime were much higher than those in his early years. "The Book of the Lotus, Birds, Grass and Insects in Ming Dynasty" contains ten pictures, which were a set of albums he painted when he was 37 years old. This set of paintings is a work by Chen Hongshou when he first entered his prime, and it was also a work from the time of the wonderful, slightly stronger than "miracle", but not very "god".
Ming Dynasty Chen Hongshou lotus mandarin duck picture The scroll of "Lotus Mandarin Ducks Picture" in the Palace Museum is a representative work of Chen Hongshou during his prime. The lotus flowers in the painting are covered with white powder, with light red tips, thick but not floating; the lotus leaves are dark green, and the veins are prominent. The most rare thing is that the colors of the brush and ink appear very quiet and calm, which shows that Chen Hongshou's personal style has matured. However, the big stone in front of the lotus is still outlined with solid lines with hard and square folds (the lines are thicker than those used in his later years), and has not yet been "transformed". Butterflies and mandarin ducks in the water are much more "transformed" than those used in their early years. Therefore, this type of painting can be regarded as the main appearance of the "god" products in his prime.
Chen Hongshou's early and middle years of painting stones in his prime and middle years were relatively thick, hard, thick and solid. Also folded straight square. In the paintings made in my later years, although the stone shapes are the same as those in middle-aged works, the lines have become thin, soft, light, gentle, round and thin, and there is no thick and straight folding atmosphere like those in my early years. Moreover, the overall style has become soft and mossy, and it is restrained (energy contains concentration), and there is no moss spot, and there is no thick and strong moss spot in my early years and high school paintings. The coloring has become more ancient and light, surpassing the Song and Tang Dynasties, and directly into the hall of the three people of the Six Dynasties. The paintings in my later years are only paved with light powder, not as thick and thick as works in my early years and high school. The lines of the branches and flowers are not as serious as those in my early years and heavy, but are written casually, soothing and even vaguely.The surface of the lines seems to be irregular, but in fact the internal changes are wonderful, revealing the author's emotions and interests everywhere. Butterflies are much more elegant than those in their early years. The color contrast is not strong, but there are very subtle changes. The green flowers and leaves are not as bright and heavy as the green leaves in the early years, but they do not appear thin, but they feel closer to nature.
summarizes Chen Hongshou's paintings in his later years. In short, it can be said that the traces are simple and elegant and upright. His paintings in his early years and in his prime were detailed; his paintings in his later years were inadvertently revealed simple strokes, simple ink, simple color, and simple scenery. This is called simple traces. In the early years and in the middle age, I used my skills to paint, seek strong contrast, and mostly used heavy brush and ink; in the old age, I painted lightly and lightly, inadvertently reducing strong contrast, and the brush and ink were both light and light, which is called calm. Early and middle-aged paintings are created with care, and the brush and ink are very particular, not natural, so they are not "light" to a certain extent; late-aged paintings are not painted with care, but randomly, but naturally reveal the indifferent and quietness, emptiness, no desire, and a soothing atmosphere in his mind, which is called elegance and righteousness. A person with an irritable state of mind must have an irritable pen in his writing. Especially for such ancient lines in Chen Hongshou's paintings, people who are upset cannot draw them. A person who is snobbish and wants to use his paintings to suit his preferences must follow the customs and must be fully equipped. Because the purpose of painting is not correct, the painting is vulgar. Not only cannot be elegant and upright, but it must also go to the opposite: vulgar but not correct.
Chen Hongshou's paintings in his later years surpassed the "god" and entered the state of "transformation". The paintings of this period were so peaceful, natural, simple, and subtle, and there were many changes, and they were a state of "transformation". This state is not only not achieved by the Ming and Qing dynasties, but is also rare in the works of great painters of the Song and Yuan dynasties. As mentioned earlier, it has surpassed the Song and Tang Dynasties and entered the halls of the Six Dynasties, but it is much more mature and richer than the Six Dynasties.
Chen Hongshou is best at and has the highest achievements in figure painting. It should be said that his landscapes are all influenced by his figure paintings.
Ming Chen Hongshou Nine Songs Pictures by Mrs. Xiang The engraved version of "Chu Ci Shu Notes" by Kangxi of the Qing Dynasty The library of Lu Xun Academy of Fine Arts
Ming Chen Hongshou Qu Zi Xing Yin Pictures The engraved version of "Chu Ci Shu Notes" by Kangxi of the Qing Dynasty The engraved version of "Chu Ci Shu Notes" by the Lu Xun Academy of Fine Arts
The existing eleven pictures of "Nine Songs Pictures" plus one Qu Yuan image (usually called "Qu Zi Xing Yin Pictures") were works by Chen Hongshou when he was young, and it can be confirmed that it was written by him when he was 19 years old.
One of them; According to the records of Chen Hongshou’s friend Zhou Lianggong:
Chapter Hou learned painting when he was a child, and he was irregular in shape. He crossed the river and studied Longmian’s "Seventy-Two Sages of Swords" in Hangzhou Prefecture. He closed his door and copied it for ten days, and obtained it all. He showed the person’s day: “What’s the case?” Day: “It’s similar.” (Chen) was happy. After imitating for ten days, he also told someone, "Why?" and said, "Don't look like it." He was even more happy. All the methods are changed by copying them all, and they are easy to be round and square, and they are easy to be round and scattered. People should not distinguish them.
Hangzhou Prefecture School was a royal school in the Southern Song Dynasty (Taixue ). It was originally Yue Fei's residence, and Longmian was the great painter Li Gonglin of the Northern Song Dynasty. Emperor Gaozong of the Southern Song Dynasty visited the Imperial Academy and ordered the carving of the figures of Confucius and his 72 great disciples on the Imperial Academy and praised them. Therefore, he carved the "Picture of Sages" created by Li Gonglin of the Northern Song Dynasty. This set of pictures is still in the Confucius Temple in Hangzhou. Confucius sat on the couch, with seventy-two sages standing to listen to the teachings, a total of seventy-three people, carved on fifteen rectangular stones. Except for the tenth stone that has been lost, the rest is intact. Li Gonglin's painting Gu Kaizhi , Lu Tanwei, Gu and Lu were both painters of the Six Dynasties. The lines were as thin as gossips, and were called "spring silkworms sprinkle silk". The lines were neat and long, soothing and stable, round but without square folds. This is the existing Li Gonglin stone carving "Sage Picture" is like this. Chen Hongshou crossed the river to Hangzhou Prefecture School to draw up this set of paintings and went back to copy them for ten days. When others read them, they said they learned them very much, and they were very happy. After another ten days, they said they didn't look like them, and they were even happier. Because he wrote several times, he changed his method, turned round and folded into square and folded, turned round and loose, and changed into his own method. Judging from the existing pens of Chen Hongshou's "Nine Songs Picture", most of them are thin and round, but there are many square folds. The straight square brush strokes of "Water Margin Leaves" painted by his middle age became its prominent feature. The lines painted by people in the Six Dynasties were long and drawn from top to bottom, so it was called a complete one.Chen Hongshou's lines become square, with twists and turns, and starts and ends, so they are called scattering. But in his later years, Chen returned to the thin and round brushes of Gu and Lu in the Six Dynasties (details below). He started to read similarly, and learned all the techniques of the ancients, so he was happy; later he was not similar, and he had his own new techniques, so he was even more happy.
Ming Chen Hongshou Water Margin Leaf
Second, Chen Hongshou's "Self-Flirting Zhou Changshi Painting" says:
I copied Zhou Changshi Paintings, but after repeated attempts, people said, "This matter has passed Zhou (more than Zhou Changshi), but it is still a shame (regret), why?" I said, "This is why I am not good at it. My paintings are easy to see, but I can't finish it. The Changshi is the most capable, but if I cannot, it is difficult to do it." ...
From this passage, we can see that Chen Hongshou copied Zhou Changshi's paintings. Zhou Changshi is Tang Dynasty famous figure painter Zhou Fang , with his courtesy name Jingyun, and his official position is Xuanzhou Changshi. Zhou Fang painted characters in Zhang Xuan and , and then surpassed Zhang Xuan. He created the original "Water Moon Guanyin", and painted Buddhist Guanyin Bodhisattva to see the moon by the water. It is very novel and has many scholars and is called "Zhou Family Style". Zhou painted "the clothes are simple and the colors are soft and beautiful", and "the women in Fang painted are mostly rich attitudes." " Lady's Picture of a Lady with Flowers in Hairpin " written by Zhou Fang is now stored in Liaoning Provincial Museum . The lines are clear, round, thin, and sparse and soft. The women in the paintings are all fat, which is indeed similar to Chen Hongshou's paintings.
In fact, Chen Hongshou's paintings are most affected by Zhou Fang's style. The paintings of ladies in the Ming and Qing dynasties are all about thinness and slimness. Only Chen Hongshou's paintings are relatively fat, some are very thick, and few are not fat. At that time, someone ridiculed the woman he painted was too fat, and Chen Hongshou did not accept this opinion. According to Zhou Lianggong's records,
Jun said: Zhang Xuan is good at serving women, but is not on the right side of Zhou Fang. She has seen more than ten copies in her life, and all of them are collaborative (high-quality works). She draws women with red and dizzy ears, and it is necessary to know that this is the difference. After passing Fusha, Zhang Shi only sent the emperor to the emperor, and a roll of Xuan Lady Huiyu was beautiful and plump, not only red and dizzy, but also covered with swallow branches (rouge) on his cheeks. Although the silk was broken (breaking), he was full of energy. To show Chen Zhanghou, he said: Don’t do it unless Xuan. I was surprised by me and said, "You often mock my daughter for being too fat. I read this volume and I have a lot of grace between my ten fingers."
Chen Hongshou saw that the lady Zhang Xuan painted was very fat, so he said: Look at Zhang Xuan’s paintings, my ladies are much slimmer.
The former Central Academy of Arts and Crafts contains Chen Hongshou's "Picture of Lady in the Mirror" (silk) and recognizes himself: "Hongshou looks like (given to Brother Tianer She." A beautiful young woman in the painting admires herself in the mirror. The lines in the painting are thin and vigorous, but they are different from the lines in his later works. The lines in the old age are basically thin and even, but there are still twists and turns and changes in slightness and heaviness, and they contain the advantages of being bright and vigorous, which is not as ancient as the lines in the old age.
Ming Chen Hongshou Yang Sheng'an picture of hairpin hairpin The Palace Museum is
Chen Hongshou's "Yang Sheng'an 's hairpin hairpin" (silk) is obviously his careful masterpiece. Judging from the style, it belongs to the same category as "Lady in the Mirror", but furthermore, it should be his work in mid-primary. The main character in the painting, the middle-aged man wearing flowers, is Yang Shen (1488~1559). The lines of the characters in this picture are quite skillful. The painter always controls the pen in his hand, runs gently, concentrates his mind, and focuses on his strength everywhere. Unlike the lines in "The Lady in the Mirror", there are differences in lightness, heaviness, hardness and softness, but are as thin and even as spring silkworms spin silk. Painters who lack skills cannot control the pen to make it even, quiet, round and vigorous. Although the lines in this painting have not reached the level of elegance and lightness as in his later years, they are also very rare.
A masterpiece that goes further than "Yang Sheng'an's hairpin" is "Xuan Wenjun's Sutra" (silk). This picture was written by Chen Hongshou to celebrate his aunt's birthday when he was 41 years old. In the picture, a noble lady ( Xuan Wenjun ) is sitting upright in the high hall, nine disciples at the steps kneel down and worship left and right, and nine maids under the hall are serving on both sides. There are white clouds above and in front of the hall, and there are large table barriers in the hall. There are pine trees, flowers, water and stones, and they are from far to near, with exquisite arrangements, grand scenes and extraordinary momentum. This is one of the most powerful masterpieces in Chen Hongshou's life. The characters have wide robe and big sleeves, and their shapes are exaggerated.The white clouds are like circles of winding lines, solemn and decorative. Except for the thin and square lines of the stone, the rest are like spring silkworms sprinkling silk, ancient, clear, round and thin, transcending the Tang and Song dynasties, and chasing the Six Dynasties and surpassing the skills. Chen Hongshou studied painting in the early years of his study of the Tang, Song and Six Dynasties. Yijing became scattered and Yijing became square. Now he has changed square to circle and dispersed and become square. Although the lines of the wide robe and big sleeves are long, they are all one to the bottom, without starting a new stroke, without making any stops, without making any stops, but the energy connotation, concentrating the mind all the time, without any slackness, is the most valuable. No one can surpass the Wei and Jin Dynasties. It can be said that "The Picture of Xuan Wenjun's Sutra" basically laid the foundation for his painting style in his later years.
Chen Hongshou lived only 55 years old. Jiashen’s change (i.e. 1644 when the Ming Dynasty died) was a major turning point in his life. He was 47 years old this year, and we have designated his subsequent works as his later works. After Jiashen, Chen Hongshou wrote "Lao Chi Hongshou" or wrote "Lao Chi" and "Hui Chi" in most works.
Ming Dynasty banana forest wine drinking pictures Ming Dynasty Chen Hongshou Colored on silk Tianjin Art Museum collection
Banana forest wine drinking pictures Partial
Chen Hongshou's works in his later years are not only exquisite but also numerous. The "Picture of Drinking Wine in the Banana Forest" collected by the Tianjin Museum of Art is one of his representative works. In the painting, the nobles drink their own cups under the banana forest. Two women in front of the stone table pick chrysanthemums and cook wine; a tea table with a tree root shape on the right is quite eye-catching. This painting is a self-portrait of Chen Hongshou's depressed mood in his later years, and there are many similar works. The upper right hand of the painting is written by "Lao Chi Hongshou", two seals, one is "Chen Hongshou Seal" and the other is "Zhanghou". Chen Hongshou's figure paintings in his later years are consistent with his flower and bird paintings and landscape paintings. The character line drawing is basically the same as "Xuan Wenjun's Picture of Sutra". It is as thin as a gossip. If you observe carefully, although it is like a spring silkworm spinning silk, the more you feel it is clearer and softer than you are in your later years, and the richer the inner connotations are. The lines of the characters he made in middle age were thin and even, and were rigid, lacking the flexibility of his later years. Moreover, the lines of the clothes in his early middle age were sometimes straight folded, and they were all changed to round and turned in their later years. In "The Picture of Xuan Wenjun's Sutra", there are also hard pens in the stones, but in his later years, this hard pen was completely eliminated. The stone in "Picture of Drinking Wine in the Banana Forest" is the same as the stone in "Picture of Jade Hall Pillars" collected in the Palace Museum. It is hooked out with clear, round and thin lines. Although there is a turning point, it is neither hard nor frustrated and very soft. The stones are no longer scratched, and there is no moss on them. They are only a light color, very light, but never thin.
Ming Chen Hongshou Miscellaneous paintings and albums of jade hall pillars and stones collections of the Palace Museum
"Picture of Drinking Wine in the Banana Forest" has a high-end style and a simple and contains changes, which are beyond the past. His later works are generally similar. The woman in the picture is sitting on a large plantain leaf with a chrysanthemum pouring into the jar, which is quite interesting. In his other work, "He Tianzhang's Joy Picture", a woman is also sitting on a banana leaf, and the painting method is the same.
Chen Hongshou's "Cage Goose Picture" collected by Zhejiang Provincial Museum draws the story of Wang Xizhi's love for goose in . There is no background at all, and the upper right is titled "The old man Chi Hongshou of Fengxi is painted in Shenliu Hall." It can be seen that this was a work by Chen in his later years. The clothes of the characters in this picture are as ancient as those in other works in Chen's later years, clear, round and thin. Moreover, because the characters are standing figures, long sleeves are hanging down, and the lines are special, they look particularly smooth, and the characters' personality is also portrayed quite successfully. During the Eastern Jin Dynasty, literati such as Wang Xizhi were relaxed in temperament and their belts were also relaxed. The painting depicted Wang Xizhi's temperament and the characteristics of both the belts and movements were soothing. Moreover, Wang Xizhi's elegant and unrestrained literary aura is obviously different from the aura of the servant behind him. The colors of Chen Hongshou's figure paintings are generally very light, but the robes in this picture are red and purple and the balls are blue, all of which are deep and heavy, which is rare. The fat character image is one of the characteristics of Chen Hongshou's appearance, and these are worth noting.
Ming Chen Hongshou's cage goose picture collection Zhejiang Provincial Museum
There is another type of figure paintings made by Chen Hongshou in his later years, namely the strange and strange style. There are two types of strange and strange shapes, one is the common one with a large head and a short body; the other is only strange but not strange.
Ming Chen Hongshou Miscellaneous painting album Kuilong supplementary gull picture collection
Although his figure paintings have certain deformations, the proportions are basically consistent.However, in the former figure painting with a large head and a short figure, he deliberately exaggerated his appearance and was terrifying and terrifying. There is a large album of Chen Hongshou in the Palace Museum, which contains a picture of "Kuilong Purifier" in which three girls are painted in total. The front girl's head is much larger than her chest and arms, and the girl's body length (from head to toe) is only three and a half head long. Her head and body didn't seem to be the same person. The two girls behind are also big heads and short bodies, which are not proportional. In addition, the lines are thin and round, the colors are light and the style is elegant, all of which are the same as other works.
Ming Chen Hongshou The miscellaneous painting album is indescribable. The Palace Museum contains
There is also "Indescribable" in the same album. In the painting, an old Buddha was painted with a vine stick and sat on a stone. It has a strange appearance. Although it is a sitting statue, you can still see that your head is big and your body is small. It is also very strange that the old Buddha kneels in front of him and listens to the Dharma. This picture may have been influenced by the paintings of Buddha statues and Arhat statues by the Master Zen Yue of 5th dynasty . It is a work that he deliberately transformed in order to shock the world.
Chen Hongshou painted the most Tao Yuanming pictures in his life, and the long scroll "Tao Yuanming's Return to the Return" painted by him before his death (53 years old) is the most meaningful.
This set of paintings embodies many characteristics of Chen Hongshou's paintings in his later years. One is that the head is big and the body is short, but it is not exactly the same as the characters in "Kuilong Purifier Picture", and the head and body of the characters in "Kuilong Purifier Picture" are not like the same whole, as if one person's head is placed on another person's body, which looks awkward. In this set of pictures, although the characters are big and short, they are relatively integrated, which belongs to what Zhang Geng said, "Chen Hongshou painted characters, with a great trunk (strong and powerful)". The second is that the lines are similar to other paintings in their later years, but they are more sparse and scattered than the lines in their early years (the casual effect is called scattered), and more sophisticated, with the color as light as if nothing.
Chen Hongshou's figure paintings matured earlier than his landscape, flower and bird paintings. His figure paintings had already grown from "god" to "transformation" in his prime, and in his later years he became more "transformation". It has reached the end of "transformation" and has reached its peak. It has been perfect and cannot be surpassed.
2. The influence of Chen Hongshou's paintings on Japanese Ukiyoe
The maturity and huge impact of Chen Hongshou's painting art was also the day when Japan's Ukiyoe was on the rise and prosperity. Japanese Ukiyo-e painters claimed to have Ukiyo-e paintings when they learned Chinese Tang Dynasty paintings. In fact, Japanese people rarely saw Tang Dynasty paintings at that time. Their painting methods came entirely from Chen Hongshou, which can be seen at a glance from the comparison of paintings.
Mao Qiling "Biography of Chen Laolian" records:
Korea, Urianha, Japan, Samarkand, and Wusizang buy lotus paintings, and value it. Thousands of people who have passed the model to live in China. Yuan Feng of Yongdong was poor and was a foreign dictionary. He kept two lotus paintings in the bamboo. He was about to return and gave the Japanese master a happy banquet and gave him a gift to him. It is also a model pen.
North Korea, Mongolia, Japan and other countries have purchased Chen Laolian's paintings, which are of great value. Thousands of people in China use imitation of Chen Hongshou’s paintings (forgery). Someone used a bamboo pole to hide two paintings of Chen Hongshou and presented them to the Japanese Lord (the emperor of Japan). The Japanese Lord was very happy and held a banquet to entertain him and gave him a bag of pearls. But these two paintings by Chen Hongshou are also copied, not genuine works of Chen Hongshou.
shows the degree of worship of Chen Hongshou’s art throughout Japan.
In fact, Chen Hongshou's paintings were also learned from the Tang people, and Japanese Ukiyo-e paintings were called to learn from the Tang Dynasty, but in fact they learned from Chen Hongshou, which also had their consistency.
Ukiyo-e had a huge impact in Europe in the nineteenth and twentieth centuries. The success of world-class painters such as Van Gogh , Matisse, Monet , Cezanne , and German Expressionist painting were all influenced by Ukiyo-e and Chinese paintings. In fact, it was also successful in learning from Chen Hongshou indirectly. Here we can see the huge influence of Chen Hongshou.
Chavatkaya, director of the Soviet Union and later Russian National Oriental Research Institute, said many times: "Chen Hongshou is China's largest painter." The author once advised her to change it to: "Chen Hongshou was the largest painter in the Ming Dynasty," she said decisively: "No, Chen Hongshou is the largest painter in China. He is also the first-class painter in the world."
3. The influence of Chen Hongshou's art on future generations
Chen Hongshou is a painter who is proficient in characters, flowers, birds, and landscapes. He has a status of inheriting the past and opening up the future in the history of Chinese painting art. "Inheriting the past" is not a common practice, but has embarked on a new path of its own in the long-standing traditional Chinese painting and achieved unprecedented artistic achievements; "Increasing the past" means that his artistic thoughts and painting style not only influenced his contemporaries, but also had a huge impact on later generations. It can be seen from his predecessors, peers and descendants' praise and high evaluation of him.
It was mentioned in the literature that "Southern Chen and Bei Cui" represents the highest achievement of figure painting at that time. "Southern Chen" means Chen Hongshou, and "Bei Cui" refers to Cui Zizhong (1574~1644), whose name is Daomu , and his nickname is Qingzhu, from Laiyang, Shandong. Cui Zizhong is in the north, and he has very consistent with Chen Laolian in the overall modeling style of figure painting, that is, he has the same grotesque and decorative beauty. However, Cui Zizhong has more loyal ideas and less democratic ideas, so there are big differences in the choice of subject matters between Chen and Cui. In the specific picture, Cui is more bookish than Chen Laolian, and has a deformation. The above is more restrained and more decorative. In terms of overall achievements and influence, Cui Zizhong is far inferior to Chen Laolian, and is far less impactful than Chen Laolian. The reason why "Southern Chen and North Cui" is as famous is that Cui Zizhong is about 25 years older than Chen Hongshou, and is older than Chen Hongshou's teacher. Cui Zizhong became famous earlier and lives in Beijing. It is close to the waters and towers, and is easy to be known. He is also a student of Dong Qichang . Dong Qichang was the emperor's teacher and holds important positions. Landscape painting and painting theory were both masters. At that time, most important figures in the painting world were his disciples. All painters who were devoted to Dong Qichang's disciples were also easy to become famous. Cui Zizhong has The above factors make him famous. Of course, Cui Zizhong's paintings are still good. No one can compare with him except Chen Hongshou. Chen Hongshou is not under Dong Qichang's disciple, and he disagreed with this generation of masters. He seriously accused Dong Qichang and Chen Jiru in his painting theory. His fame and influence come entirely from his painting achievements. "Southern Chen and Bei Cui" cannot actually be ranked side by side. "Bei Cui" has indeed far less influence on later generations than "Southern Chen".
Chen Hongshou's painting school was very large at that time. Mao Qiling said: "Thousands of people who have passed on model to live in China. "There are thousands of people who copy and learn his paintings in China and rely on money to support their lives. It can be seen that there are so many scholars, and that there are so many people who need his paintings at that time. Even though the bamboo painted by Chen Hongshou when he was 22 years old was very sloppy, some famous later figures were still willing to exchange them with collectors. Volume 2 of "Tuhua Baojian Successor" also records:
Chen Hongshou... is talented, knowledgeable and drinkable, heroic and unruly, with a great flavor of the Jin people. He was good at calligraphy and painting, and all the flowers and birds were exquisite. He became a family in middle age, with a clever idea and a perfect match, which was not accessible to people. He was established after being drunk on poetry and prose, and his calligraphy and painting were so popular that he became famous for a while. There were many scholars. So far, he obtained his manuscripts and all of them were mixed in the world. The wonderful art of that art can be seen.
Chen Hongshou's paintings had a greater impact on later generations. figure paintings in the early and late Qing Dynasty , tracking the painting methods of Lao Lian were once popular. During the Kangxi period, Chen Hongshou's concubine Hu Jingyan, son Chen Xiaolian, daughter Chen Daoyun, and students Yan Zhan , Lu Xin , Wei Xiang, Ding Shu, Wang Gang, Sima Feng, Shen Wuji , Zhu Tianqi, etc., were able to inherit his painting style and had a certain reputation in the art world. The following Yongzheng, Wang Shuyu and Luo Liangfeng during the Qianlong period, and It can melt the old lotus painting method and be innovative.
Chen Hongshou's beloved concubine Hu Jinglang, the flowers, birds, grass and insects she painted very wonderfully. At that time, many literati recorded her paintings, and they were amazed. The leader of the literary world in the Qing Dynasty Wang Shizhen In his book "Occasional Talk on Chi Bei", he specially recorded the section "Lady's Painting" and recorded Hu Jinglang (original note: Chen Hongshou's concubine), "Grass, insects, flowers and birds are all wonderful."
Chen Xiaolian Narcissus Birthday Picture (Partial) Collection of Shaoxing Museum
Among the children of Chen Hongshou, the one who is famous for his paintings is his eldest daughter Chen Daoyun and his fourth son Chen Xiaolian.Chen Xiaolian's landscapes, characters, flowers, birds and calligraphy are all very similar to his father. At that time, people regarded Xiaolian's paintings as old as old lotus. Xiaolian's paintings have many of them. The Zhejiang Provincial Museum contains Xiaolian's "Pictures of Snow Scenery" and running script scrolls. The calligraphy is very similar to his father, and his paintings are learned from his father's brushwork in middle age. Chen Hongshou's paintings were made in ancient ways, and most ancient paintings were painted on silk, so Xiaolian's paintings were also painted on silk. Xiaolian's picture on paper seems to be not his fine work, but should be Xiaolian's early works. The Tianjin Art Museum contains Xiaolian's "Three Churches Pictures", which are set up together by paintings Laozi (the ancestor of Taoism), Confucius (the ancestor of Confucianism), and Sakyamuni (the ancestor of Buddhism), so it is called "Three Churches Pictures". Judging from the character's shape, it comes from Lao Lian, but it is not as elegant as the ancient and elegant style. The lines of the clothes are as elegant as Lao Lian's oldest brushwork. They are more careful and neat, but they are not as clear, round, thin and powerful as they are. Of course, although Xiaolian's paintings are masters of his father, they still have a certain personal mental outlook. This picture should be Xiaolian's work in middle age. The "Arhat Picture" painted by Chen Xiaolian in the "Chen Laolian and Chen's Father-son Collection" collected by Weng Wange in the United States is a late work of learning from his father. It has strange images, clear, round, thin and vigorous lines, and a high-end style, which is no less than his father. Among them, "Landscape Picture" is also a work written by Lao Lian in his early years, and they are all very similar. It's Xiaolian's mature work.
Chen Xiaolian's Plum Bowl Picture (Partial) Tsinghua University Art Museum Collection
Xiaolian's mature works are almost the same as his father's mature works, and can be called the second second in Lao Lian. Therefore, Xiaolian's paintings are recorded in various painting history documents. Xiaolian occupies a high position in the history of painting and is one of the important painters in the Chen Hongshou School of Painting.
Chen Hongshou's disciples who have achieved great achievements and are listed in the history of paintings were the first ones who entered the house, Lu Xin, whose courtesy name was Shanzi, and was from Shanyin. Good figures, flowers and birds, all master Chen Hongshou, the paintings are almost no different from Lao Lian. Many of Chen Hongshou's fake paintings are from his hands and no one can tell. His paintings are rarely passed down from generation to generation because many of them were sold after they were written. Zhejiang Museum contains a scroll of his "Drunk Song" (this picture is published in "Yiyuan Deying" No. 18, page 12, Shanghai People's Art Publishing House October edition, 1982, silk, color, 114×45.8cm), drawing a child and three adults who are drunk after playing singing . The characters' appearance, line outlines, and inscriptions are very similar to their masters. However, when using the pen, there was a slight stopping, and there was no effort to hook it up like Lao Lian, without pausing it. However, it also seems more fluid and casual, and it is uniquely funny. It is said that Chen Hongshou's paintings in his later years had some use of brushwork that seemed to be flowing and random, which may be Lu Shanzi's works. Chen Hongshou's lines are particularly quiet and stable.
Chen Hongshou's most proud disciple Yan Zhan, whose courtesy name is Shuizi, is a good person with flowers and birds, "his skills are not allowed to be given to his master." Chen Hongshou's proud works are also often called Yan Shuizi's color design. Lao Lian once wrote Shuizi's "Spring and Autumn Picture" and said: "Hongshou is old, and the characters are together, and Shuizi is dedicated." The famous work "He Tianzhang's Joy Picture" collected in Suzhou Museum was collaborated with Chen Hongshou, Yan Shuizi and Li Wansheng. There is a scroll of "Admiring Sound Picture" created by Yan Zhan. Under a large pine tree, a girl is playing the piano, and a man and a beautiful woman are enjoying it on the opposite side. The brushwork is like his master, but the skills of painting trees and stones in the background are slightly inferior. Yan Zhan was quite famous at that time, and many collections of literati mentioned him in his poems and essays, which is famous in the history of painting.
Chen Hongshou has many disciples. The ones recorded in the book "Yue Huajianwen" include: Sima Ziyu, Lu Zengxi, Luo Kun , Ding Shu, Lai Lu Qian (Cheng Hongshou's wife's brother), Shen Wuji, Zhu Tianqi, Shang Chengshu, etc. "Yue Huajian Wen" records that painters are limited to one place in Yuezhong, and there are many omissions recorded. There are many other types of literature records that learn from Chen Hongshou and have a certain position in the history of painting, not limited to Yuezhong. I will not elaborate on this.
Luo Pin "Jinnong's Statue Crack" Shaoxing Museum's collection
examines the painting history behind Chen Hongshou, and learns from him and has gained a certain reputation in the painting world. There are many generations of painters who have learned from him. Luo Pin, one of the " Yangzhou Eight Eccentrics" in the mid-Qing Dynasty, studied extensively in the hundreds of schools in his early years and specialized in Chen Hongshou in his later years, so his paintings were very similar to Lao Lian. I once saw Luo Pin's painting "Meng Haoran's Statue Cliff" at Jing Yuanzhai of the University of California. From a distance, I mistakenly thought it was Chen Hongshou's work.Luo Pin learned from Chen Hongshou and his painting style was higher than ordinary, making him the most important painter in the late " Yangzhou Eight Eccentrics " and boosted the whole country.
In the mid-Qing Dynasty, Yangzhou was the center of the painting world. In the late Qing Dynasty, Shanghai became an important center in the painting world. Chen Hongshou can be regarded as the distant ancestor of the Shanghai School of Figure Painting. Hai Painting School famous figure painters all learn from him, among which Ren Xiong , Ren Xun Ren YiHang is known as the "Three Terms on the Sea". Sometimes, Ren Xiong's son Ren Zhigong is known as the "Four Terms", and is the most famous.
Ren Xiong (1820~1857), from Xiaoshan, Zhejiang, whose courtesy name is Weichang and his pseudonym is Xiangpu. He often goes around and sells paintings in Shanghai, Suzhou and other places. His paintings started with Chen Hongshou and were copied for a long time and could gain the essence of Lao Lian’s paintings. The Nanjing Museum contains a scroll of Ren Xiong's copy of Chen Hongshou's "Lady's Pictures" by Ren Xiong, painting a lady holding a fan without a background. The upper left titled: "On the third day of the Qingming Festival in the Xian year of Yimao (1855), Wei Changxiong copied the Zhanghou's version in Bishanqi." It can be seen that Ren Xiong was still copying Chen Hongshou's paintings two years before his death. Generally speaking, his paintings resemble Chen Hongshou's works when he was in his prime. Ren Xiong learned Chen Hongshou's paintings and increased the color and enriched it, thus forming a personal appearance. But his personal appearance was obviously developed based on Chen Hongshou. Ren Xiong learned from Chen Hongshou everywhere, and his characters are both flowers, birds, mountains and rivers, and he also wrote woodcut figure paintings. The past includes "The Lie Immortals' Wine Card", "The Biography of the Great Sage", "The Biography of the Sage of the Past Sage of the Yue Dynasty", "The Legend of the Swordsman", and "The Legend of the Swordsman". Some books are written again and again. In the Bingxu year of the Guangxu period (1886), Shanghai Tongwen Bookstore once photocopied "Four Paintings of Mr. Ren Weichang". In 1985, Beijing China Bookstore re-copied it again according to the Guangxu version. In 1987, Jiangsu Art Publishing House published another set of "Lixian Wine License". It can be seen that Ren Xiong's woodcarvings are all from Chen Hongshou's prints, with very profound lines. His personal style is also changed and added based on Chen Hongshou, just like his scroll paintings. Ren Xiong was not only among the "Four Rens", but also among the Shanghai School of Painting, and one of the most influential painters in the country. The "Three Rens" were his school of painting.
Ren Xun Confucius's statue scroll is collected by Xiaoshan Museum
Ren Xiong's younger brother (1836~1893), whose courtesy name is Fuchang, was influenced by Ren Xiong's paintings and also learned from Chen Hongshou, whose level is no less than Chen Hongshou. But the influence is not as great as Ren Xiong.
arrived in Ren Yi and the Shanghai School was prosperous. Ren Yi (1840~1896) was named Bo Nian, and his ancestral home is Shanyin, Zhejiang Province. He was born in Xiaoshan . He is Ren Xiong's student. Ren Yi's paintings also learned from Chen Hongshou, but he made a living by selling paintings and painted very quickly. Therefore, he liked to use nail-headed and rat-tailed lines and learned too much of Chen Hongshou's painting style in his middle age. However, Ren Yi's careful paintings are quite good, and they are closer to Chen Hongshou. Ren Yi's flowers and bird characters all learned from Chen Hongshou, but they also studied in other schools and attached great importance to sketching, forming a personal style with a fresh, fresh, bright and lively style. After becoming the most famous and representative painter of the Shanghai School after he succeeded Xiong. Ren Yi had a great influence on the paintings of later generations (to the present).
The famous contemporary Shanghai painter Xie Zhiliu also learned from Chen Hongshou since childhood. Back then, he was an "old lotus fan". His existing paintings of early and middle-aged people can be seen in the traces of his learning from Chen Hongshou. Xie Zhiliu's name also happens to be opposite to Lao Lian (Zhiliu Yi Lao Lian). In addition, he is also one of the first scholars in contemporary times to study Chen Hongshou.
Chen Hongshou's paintings not only nurtured countless upper-class painters, but also sponsored countless folk painters. Zhang Shan in the early Qing Dynasty said: "Chen Zhanghou's Water Margin Card has been like a painting of lanterns and a small screen on a mat in recent years, all of which are taken as manuscripts."
For more than three hundred years, Chen Hongshou's paintings have been radiating strange brilliance in the Chinese painting world. In particular, his paintings laid the foundation for the largest school of painting in modern Chinese painting - the Shanghai School. The influence of the Shanghai School has spread all over the country. It even goes far to the United States, Japan, Britain, Canada, France and other countries and Southeast Asia.
Chen Hongshou's paintings are collected in major museums in China and have become one of China's national treasures. Moreover, some large museums in Europe, the United States, Japan and many other countries, as well as many countries in Southeast Asia, have collections, becoming their treasures.Professor Suzuki, Japan, included 41 sets of works by Chen Hongshou in the "Catalogue of Chinese Paintings" (including scrolls and scrolls, and 12 prints are also considered one set), but this statistics are not complete. There are still many of the paintings of Chen Hongshou that I have seen in the United States that have not been counted yet. As for the paintings of painters from the Chen Hongshou School of Painting, there are more.
Chen Hongshou is not only one of the greatest painters in China, but also has a high status in the world art world. With the deepening of research by scholars from all over the world and the improvement of people's aesthetic abilities, Chen Hongshou's artistic status will become higher and higher, which is undoubtedly.
August 2022 at Renmin University of China
(This article is provided by Shaoxing Museum, the original title is "The Art and Influence of Chen Hongshou", and was edited when The Paper was published.)
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