Dong Qichang: Xuanzai, Sibai, alias Xiangguang Jushi, a native of Songjiang Huating (now Shanghai), was a famous calligrapher and painter in the late Ming Dynasty. His calligraphy, which integrates the style of the Jin and Tang Dynasties, has"Yan Gu Zhao Zi"The beauty of the formation of a unique style.
His paintings are particularly outstanding, especially good at landscapes, under the tutelage of Dong Yuan, Ju Ran, Huang Gongwang, Ni Zhan, the brushstrokes are delicate and neutral, quiet and spacious, the ink color is bright and clear, and the warmth is light.
His painting style is highly regarded and has had a profound impact on the painting world in the late Ming and early Qing dynasties"Huating School"of leaders. His works include "Essays on Painting Zen Room", "Rongtai Anthology", "Xihongtang Post" and so on.
Dong Qichang: The Birth and Growth of "Danxia and Blue Trees" Dong Qichang, a teenager from a broken family, was 17 years old when he relied on the funding of others to take the Songjiang Prefectural Entrance Examination.
In this exam, he wrote an eight-strand essay that he thought he could win, however, although his essay was well written, he could only be relegated to second place due to poor handwriting.
This experience deeply stimulated Dong Qichang, and he decided to study calligraphy hard. He took Yan Zhenqing's "Duobao Pagoda Post" as a model, and later changed to Wei and Jin, and copied Zhong Xuan and Wang Xizhi's Fa Ti.
After years of hard work, Dong Qichang's calligraphy has made great progress, and painting has gradually started. This is the background of the birth and growth of Dong Qichang's "Danxia Blue Tree".
Dong Qichang was admitted to the Jinshi in the seventeenth year of Wanli in the Ming Dynasty, and was selected as a Shuji scholar because of his outstanding writing and calligraphy, served in the Hanlin Academy, and served as a lecturer to the emperor's eldest son, Zhu Changluo.
At this time, the history of the Ming Dynasty lasted for more than ten years"The battle for the country"It was raging, and the situation was in turmoil within the imperial court over the appointment of the crown prince. Dong Qichang judged the situation and chose to resign and go home on the grounds of recuperation.
Until the first year of Taichang, Guangzong Zhu Changluo succeeded to the throne, and Dong returned to the imperial court as an emperor, served as Taichang Shaoqing, took charge of the Guozi Division, and participated in the revision of the "Shenzong Record".
However, Guangzong died after a month in power, Xizong succeeded to the throne, and the government was controlled by the eunuchs Wei Zhongxian and Xizong's nurse Keshi. In the fifth year of the Apocalypse, Dong Qichang was appointed as the secretary of the Nanjing Ministry of Rites, and after serving for one year, he resigned again and chose to live in seclusion, spending eight years of retirement.
Dong Qichang was a famous calligrapher and painter in the Ming Dynasty, and his calligraphy and painting works were widely loved by people. In the fifth year of Chongzhen, Dong Qichang was seventy-seven years old, and when Wei Zhongxian was dead and the political situation was tending to be clear, he went out for the third time and took charge of Zhan's affairs.
In the seventh year of Chongzhen, he once again asked to retire to his hometown, from the age of thirty-five to the age of eighty to return to his hometown, he was an official for a total of 18 years, and retired for 27 years. Dong Qichang's political wisdom is very high, he entered the elite class with the imperial examination, not only made friends with the Donglin faction, but also had a close relationship with the anti-Donglin Wei eunuchs, and benefited from both ends, left and right, so he was known as "the grass on the wall".
Dong Qichang: The road of calligraphy and painting art of the master of the painting world Dong Qichang often learned calligraphy and painting skills with colleagues and friends during his tenure, and he had a high taste in ancient and modern art. He borrowed a large number of Jin, Tang, Song, and Yuan law paintings, studied carefully, and forgot to sleep and eat, so he was refined in learning and became famous.
After retiring, he built a number of calligraphy and painting studios in his hometown, such as "Lai Zhonglou", "Bao Ding Zhai", "Xihongtang", "Painting Zen Room", "Xiangguang Room", etc., and collected a large number of calligraphy and painting works.
He devoted himself to the study of calligraphy and painting here, and wrote many works, the essence of ancient and modern calligraphy and painting art. Dong Qichang emphasized taking the ancients as his teachers, but he opposed mechanically imitating and copying the techniques of his predecessors, and he believed that he should selectively choose and integrate his own creativity to reproduce the "wind god" of the ancients in his own original form.
His paintings are a fusion of the methods of many families, creative and self-contained, and have made great contributions to the art world.
Dong Qichang once used the metaphor of the "North and South Sects" of Zen Buddhism to regard Li Sixun and Wang Wei as the founders of the two painting styles of green and ink, thus putting forward the theory of "North and South Sects" of Chinese landscape painting, which caused controversy in later generations.
Dong Qichang emphasized the authentic status of Nanzong's paintings, which showed his personal preference for Nanzong and his disparagement of Beizong. He believes that literati painting began with Wang Youcheng, and then was inherited and developed by Dong Yuan, Ju Ran, Li Cheng, Fan Kuan and others, until Huang Zijiu, Wang Shuming, Ni Yuanzhen, and Wu Zhonggui, all of whom were orthodox descendants of Nanzong.
And Wen Zhengming and Shen Zhou were the direct successors of Nanzong. As for Ma, Xia, Li Tang, Liu Songnian, and others, they belonged to the faction of General Da Li and not the traditional style of literati painting, so they were not suitable for study.
Dong Qichang engraved the "Xihongtang Law" in the thirty-first year of Wanli (1603), including Wang Xizhi, Wang Xianzhi, Xie An, Huan Wen, Zhao Ji, Mi Fu and other famous books.
During his retreat to Songjiang, when he was in the prime of his 40s, he dabbled in a wide range of activities, learned from others' strengths, lived in the forest and springs, and created many famous landscape paintings depicting the scenery of the south of the Yangtze River, such as "Fengjing Visiting the Ancient Map", "Crane Forest Spring Society", "Fulan Nuancui Map", "Shenlou Map", "Eight Scenes of West Lake", "Turning the Loop of the River" and so on.
Dong Qichang's landscape paintings are ancient but not ancient. His paintings are rendered in ink, smudged with light ink, and even boneless with classical and elegant colors, giving the picture a fresh and refined charm.
He pays attention to the use of brush and ink, but does not stop at traditional techniques, but finds inspiration in the cultivation of calligraphy and integrates it into painting. The mountains, rivers, trees, stones, smoke and clouds in his paintings are smooth, soft and bone-like, turning and changing, the ink color is clearly layered, clumsy and beautiful, clear and elegant.
This is the embodiment of his unique painting style, and also shows his charm and heritage as a master. In Dong Qichang's eyes, learning from the ancients is for better innovation.
He knows that only on the basis of inheritance can he create his own style and show a unique artistic charm. This is him, Dong Qichang, a landscape painter who pays attention to tradition, dares to innovate, and is unique.
Dong Qichang's "Autumn Ji in Guanshan" uses exquisite ink painting techniques to show the landscape painting style of shade, dry and wet natural harmony, although the ink is not much, but the artistic conception is far-reaching and the charm is endless.
With his artistic style, which is full of sincerity and fills the paper, he shows the artistic concept of no need to show off the strange. In addition, he also used the technique of coloring landscapes, or Yang Sheng's boneless method, or imitated Huang Gongwang's Qianjiang method, and participated in the green and green method of Zhao Danian and Zhao Mengfu, showing multi-level and vivid landscape paintings with an elegant, fresh and vibrant artistic style.
Dong Qichang's "Qingyue Picture of Streams and Mountains", his painting style is old and spicy and unique, full of bone strength, and fresh ink. With sparse brushwork, he depicts the cold and distant landscape scene.
His paintings emphasize freehand, making the landscapes of the south of the Yangtze River even more beautiful. He was not only good at painting, but also extremely good at writing poetry. Every time he finishes painting the landscape, he will inscribe poems, his calligraphy is beautiful and strong, the line is smooth like silkworms, flashing like lightning, the poems, calligraphy and paintings of the whole painting reflect each other, harmoniously and consistently, leaving a deep impression on people.
His paintings are exemplary examples of literati painting's pursuit of artistic conception.
It is said that in the autumn of the forty-third year of Wanli in the Ming Dynasty (1615), Dong Qichang's family robbed Lu Ying, the daughter of a tenant, saying that it was to "collect yin and supplement yang" for Dong Qichang, who practiced "room in the house" in his later years.
This incident has aroused widespread attention and discussion, and some people have even used this incident to make up stories and bribe storyteller Qian Er to rap everywhere. The rumors were quickly fermented, and Dong Qichang found out about it and pursued it to Fan Chang, and after several questioning, Fan Chang fell ill and died.
Fan's mother thought that this was forced by the Dong family, so she took her daughter-in-law Gong, granddaughter-in-law Dong and the maid to the Dong family wearing filial piety clothes to cry. The Dong family fought back excessively, and fought against the daughters of the Fan family, and there were frivolous and excessive actions.
The son of the Fan family is a student member of the government, and he is unbearable and riskes his death with a piece of paper"Peel off the cassage and pound the yin"sued the Dong family to the government, but it was not accepted for a long time, causing great public indignation.
This incident is deeply shocking and painful, and it also makes us reflect on the good and evil of human nature and the justice of justice.
Xitou Fishing Crossing Picture is a work created by Dong Qichang in the spring of the 44th year of Wanli in the Ming Dynasty, which depicts a scene of fishing boat ferrying. However, in the process of creating this work, a sensational event occurred - "the people copied Dong Eun".
At that time, students from Songjiang, Huating, Shanghai, Qingpu and Jinshan gathered in Dongfu, and together with the crowd of onlookers, broke into the door, burned down hundreds of garden pavilions and pavilions with carved beams and curved thresholds of Zhulan in Dongfu, burned down Dong Qichang's library building in Bailongtan, and also wrote Dong Qichang's handwriting"Huzhu Pavilion"The three-character plaque sank to the bottom of the river.
This incident brought endless shame to Dong Qichang in his later years, and he was forced to take refuge in Suzhou, Zhenjiang, Danyang, Wuxing and other places, until the incident was calmed down half a year later.
Behind this work, there is both the charm of art and the complexity of human nature.
Dong Qichang, the character Yuanzai, the number Xiangguang Jushi, Songjiang Huating people, the famous calligrapher and painter of the Ming Dynasty. With his unique artistic style and profound attainments in calligraphy and painting, he is known as "Wen Min" and enjoys a high reputation in the calligraphy and painting world.
Dong Qichang's artistic achievements were comparable to those of Zhao Mengfu of the Yuan Dynasty, and the regime of King Fu of the Southern Ming Dynasty in Nanjing granted him the same nickname as Zhao Mengfu"Wen Min"。His landscapes, trees and stones, smoke and clouds are smooth, full of spirit, both elegant brush, and the charm of romance, known as the first in the Ming Dynasty.
Dong Qichang died in his residence in Songjiang on September 28, the ninth year of Chongzhen, at the age of 82. His body was buried in the tomb of the Dong family in Yuyang Bay, Wu County, leaving behind a hundred years of fame and the legend of calligraphy and painting.
Dong Qichang's artistic achievements and influence have not only been widely recognized in his time, but also have been praised and respected by people in later generations.
His paintings and calligraphy are not only treasures of art, but also witnesses of history.
Emperor Xuanye of Kangxi praised Dong Qichang's calligraphy, believing that his elegant and mellow brushwork was popular among paper and ink, and no one could match it. His calligraphy is not only unique in its meticulous way, like a slight cloud rolling in the breeze, but also inadvertently revealing a natural interest.
His structural fonts are all derived from the Jin people, skillfully using wrist strength, the pen edge is ancient and hidden, seemingly clumsy, but in fact ingenious, majestic and steep, cursive vertical and horizontal. Dong Qichang created many calligraphy and painting works in his life, including "Lin Hejing's Poetic Intent", "Rock Dwelling Map", "Eight Scenes of Qiuxing", "Dayjin Hall Map", "Bai Juyi Pipa Xing", "The Third World's Command", "Cursive Poetry Book", "Yanjiang Stacked Peaks and Mountains" and so on, which have been passed down to this day, which is admirable.
Qing Bian Picture Axis is the representative work of the famous painter Dong Qichang in the Ming Dynasty, which has won the praise of the world for its deep and tranquil landscape beauty. On the picture, the elegant colors and smooth lines outline the majesty of Qingbian Mountain and the gurgling flow of the stream, giving people a quiet and far-reaching visual enjoyment.
The buildings and characters in the picture who are indifferent to fame and fortune reveal Dong Qichang's otherworldly artistic style and profound philosophy of life.