Tang Yin (yín) was a native of Suzhou in the Ming Dynasty. He was born on the fourth day of February in the sixth year of Chenghua (March 6, 1470) and died on the second day of December in the second year of Jiajing (January 7, 1524). Born into a merchant family, his father is Tang Guangde and his mother is Qiu. He was smart since he was a child, but when he was in his 20s, his family suffered a series of misfortunes. His parents, wife, and sister died one after another, and his family declined. Under the advice of his friend Zhu Yunming, he concentrated on studying. At the age of 29, he participated in the Yingtianfu public examination and won the first place "Jie Yuan". At the age of 30, he went to Beijing to take the examination, but was implicated in a fraud case and was denounced as an official. After that, he decided not to make progress and made a living by selling paintings. In the ninth year of Zhengde (1514), he went to Nanchang for more than half a year at the invitation of King Ning Zhu Chenhao. Later, he realized that King Ning had evil intentions, so he pretended to be crazy and even ran naked on the street to escape. Life was difficult in his later years, and he died of illness at the age of 54. Although Tang Bohu in history was talented, ambitious and a talented painter, his cynical and arrogant character was not suitable for this society. He had a rough life, and finally died in despair at the age of 54. The last poem he wrote before his death revealed his unforgettable complex mood of nostalgia for the world but resentment and world-weariness: "If you are born in the earth and have an end, it doesn't matter if you die and return to the underworld. The earth and the earth are all similar, just drifting in a foreign land." In commemoration On the 540th anniversary of Tang Yin's birth, the coupletist Chen Zhisui's "In Memory of Tang Yin" said: "Painting reaches the state of samadhi/Dreams and awakenings are like the body." He is good at landscapes, figures, flowers and birds. In his early years, he studied landscape painting with Zhou Chen, and later learned from Li Tang. , Liu Songnian, made some changes, and the mountains and ridges in the painting were chopping with a small axe. They were majestic and steep, but the brushwork and ink were fine, the layout was sparse, and the style was elegant and elegant. Most of the figure paintings are of ladies and historical stories, which are inherited from the tradition of the Tang Dynasty. They have clear and thin lines, bright and elegant colors, graceful postures and accurate shapes. They are also freehand figures with simple and comprehensive brushwork, which is full of interest. His flower and bird paintings are good at freehand ink painting, free and easy, and elegant in style. In addition to painting, Tang Yin also practiced calligraphy, adopting the method of Zhao Mengfu, and his calligraphy style is unique and handsome. There are "Riding a Donkey Thinking of Returning", "Mountain Road Sound of Pines", "Shi Ming", "Wang Shu Palace Prostitutes", "Li Duanduan's Settlement", "Autumn Wind Fan", "Withered Cha and Birds". Wait for the paintings to be handed down to the world. Tang Yin was also very successful in literature. His poems are mostly travel records, paintings, and sentimental works. They express his wild and lonely mood, as well as his feelings about the harshness of the world. He uses slang and colloquialisms in his poems, which are easy to understand and the language is simple and meaningful. He is the author of "The Collection of Liuru layman" and the "Complete Works of Liuru layman" compiled by the Qing Dynasty.
Life story
Tang Yin's ancestral home is Jinchang, which is now the Jincheng area of ??Shanxi Province, so the four characters "Jinchang Tang Yin" are often written in his calligraphy and painting signatures. During the Northern Song Dynasty, the Tang family moved south and began to do business in Nanjing and Suzhou. Tang Yin was born into a merchant family in Wu Qili, Wu County, Suzhou Prefecture. Tang Yin had three wives in his life. When he was nineteen, he married Xu, who was Xu Tingrui's second daughter. However, she died of illness when she was about twenty-four years old. Later, he may have married again, but he left because of the scandal in the examination room. Later, he married Shen, or Jiuniang. Tang Bohu was talented and intelligent since he was a child. He was familiar with the Four Books and Five Classics, and was well-read in historical books. At the age of 16, he won the first place in the scholar examination, which caused a sensation in the entire Suzhou city. At the age of 29, he went to Nanjing to take part in the provincial examination. He also won the first place of Jie Yuan. Just when he was full of ambitions, when he went to Beijing for the examination the next year, he suffered bad luck because he was involved in a fraud case in the examination room. The general theory of "leaking the exam questions" is that Xu Jing, the son of a wealthy man in Jiangyin who was traveling with him to take the exam, secretly bribed the examiner's family boy to get the exam questions in advance. The matter was revealed, and Tang Yin was also implicated and imprisoned. The examiners of the Beijing Examination that year were Cheng Minzheng and Li Dongyang. Both of them were well-educated people, and the test questions were so obscure that many candidates could not answer them. There were only two test papers among them, which not only answered the questions appropriately, but also were elegantly written. Cheng Minzheng was so happy that he blurted out: "These two papers must be from Tang Yin and Xu Jing." This sentence was heard and spread by everyone present. Tang Yin and Xu Jing visited Cheng Minzheng many times after arriving in the capital. Especially after he was appointed as the chief examiner, Tang Yin asked him to write a preface to a collection of his poems. This has created doubt in the minds of others. This time I heard Cheng Minzheng say this again in the examination room, which gave people who usually hated him a clue. A group of people started to report to the emperor one after another, saying that Cheng Minzheng had accepted bribes to leak the scandal. If he did not investigate strictly, he would be disgraced by the scholars in the world. Emperor Xiaozong believed it and was very angry. He immediately issued an order not to allow Cheng Minzheng to review the papers. All papers reviewed by Cheng Minzheng were reviewed by Li Dongyang. Cheng Minzheng, Tang Yin and Xu Jing were taken to Dali Temple Prison and sent to special personnel for trial. After Xu Jing was imprisoned, he could not withstand the torture and confessed that he used a piece of gold to bribe Cheng Minzheng's personal entourage and stole the test questions and leaked them to Tang Yin.
After a joint trial by the Ministry of Punishment and the Ministry of Personnel, Xu Jing overturned his confession and said that it was a result of torture. The emperor issued an order to "rehabilitate" Cheng Minzheng. After being released from prison, Cheng Minzheng died of carbuncle due to resentment. After Tang Yin was released from prison, he was relegated to Zhejiang as a minor official. Tang Yin was ashamed not to take office. The axis of "Tongyin Qingmeng Tu", Ming Dynasty, painted by Tang Yin
There are many records about this exam, with different opinions. In fact this is the result of internal struggle within the ruling class. "History of the Ming Dynasty·Cheng Minzheng Biography" says: "It may be said that in Minzheng's prison, Fu Han wanted to seize his position and ordered Chang to report it. The secret cannot be revealed." But there is no doubt that this incident was extremely serious for Tang Yin of. From then on, Tang Yin decided not to pursue an official career. After returning home, he drank to drown his sorrows and traveled to famous mountains and rivers, determined to spend his whole life writing poetry, calligraphy and painting. In the thirteenth year of Hongzhi in the Ming Dynasty (1500), Tang Yin left Suzhou and arrived in Zhenjiang by boat. From Zhenjiang to Yangzhou, he visited Slender West Lake, Pingshan Hall and other famous places. Then we took a boat along the Yangtze River through Wuhu and Jiujiang to Lushan. The majestic and spectacular scenery of Lushan Mountain left a deep impression on Tang Yin. It was fully reflected in his later paintings. He took a boat up the river to Huangzhou and saw the ruins of the Battle of Chibi. Tang Yin's "Red Cliff Picture" was painted based on this. Then he traveled south to Hunan, climbed Yueyang Tower, and visited Dongting Lake. Then go south and climb Nanyue Hengshan Mountain. Then enter Fujian and roam around the famous mountains in Wuyi and Jiuli Lake in Xianyou County. Tang Yin transferred from Fujian to Zhejiang, visited Yandang Mountain and Tiantai Mountain, crossed the sea to Putuo, then went up the Fuchun River and Xin'an River, arrived in Anhui, and went up to Huangshan and Jiuhua Mountains. At this time, Tang Yin's pocket was exhausted and he had to return to Suzhou. Tang Yin's grand journey of thousands of miles lasted for more than nine months and visited famous mountains and rivers, which added a lot of material for his later paintings. When he returned to Suzhou, his family was very poor and his wife made a lot of noise and finally left him. He lived in a small building facing the street at the entrance of Wuchifang Lane, where he entertained himself with paintings and made a living by selling literary paintings. He wrote in a poem: "If you don't refine elixirs, you won't meditate. If you don't work for merchants, you won't plow the fields. When you have time, you can write pictures and sell them. You don't make money by making sins in the world." This shows that he is indifferent to fame and fortune and specializes in a career of free reading and selling paintings. ambition.
When Tang Yin was thirty-six years old, he chose Taohuawu in the north of the city and built an elegant and leisurely home to live a pure and wild life. Taohuawu was originally the villa of Zhangzhuang Jian of the Song Dynasty, but after the vicissitudes of life, it had long since become a ruin. However, the scenery here is pleasant and the environment is very quiet. A clear stream meanders through, a few wild peach and willow trees beside the stream, and a hill of soil, which makes it feel like a mountain. The next year, Tang Yin used the money from selling paintings to build Taohuawu Villa. Although there are only a few thatched huts, there are elegant plaques hanging under the eaves with the names of the rooms such as "Xue Pu Tang", "Meng Mo Pavilion" and "Xiaodie Zhai". Tang Yin loved peach blossoms all his life. He named his villa "Peach Blossom Temple" and called himself "The Master of Peach Blossom Temple". He also wrote "Song of Peach Blossom Temple": "The Peach Blossom Immortal planted peach trees and picked peach blossoms in exchange for wine money. When he was sober, he would only sit in front of the flowers. When he was drunk, he would sit in front of the flowers. Come and sleep under the flowers. Day after day, half drunk and half awake, the flowers fall and bloom year after year..." In the spring, the flowers bloomed in the garden. He invited Shen Zhou, Zhu Yunming, Wen Zhengming and others to come here to drink and write poems. Paint and leave happily. . "Drinking from it every day, you will drink it when guests come, and don't ask when they go. If you are drunk, you will fall asleep." (Zhu Yunming's Epitaph of Tang Ziwei) At this time, Tang Yin lived a leisurely and detached life. In the ninth year of Zhengde in the Ming Dynasty (1514), he was recruited to Nanchang by King Ning of the Ming Dynasty with a large sum of money. Later, he found out that he was involved in King Ning's political conspiracy, so he pretended to be crazy and escaped and returned to his hometown. Later, King Ning rebelled against the court and was put down. Fortunately, Tang Yin died. He escaped from death, but also caused a lot of troubles. From then on, his thoughts gradually became depressed, and he turned to Buddhism. He called himself "Six Rus". "Six Rus" was taken from the Diamond Sutra: "All conditioned dharma, such as Dream bubbles, like dew and lightning, should be viewed as such. "The seal of the autonomous party is "Fleeing Zen Immortal Official". After returning home from Nanchang, he was sick all the time and could not paint often. In addition, he did not know how to run a household, so his life was difficult. He often relied on borrowing money from his friends Zhu Zhishan and Wen Zhengming to survive. During this period, the famous calligrapher Wang Chong often came to help him and married Tang Yin's only daughter as his daughter-in-law, which became the happiest thing in Tang Yin's later years. In the second year of Jiajing in the Ming Dynasty (1523), his health condition became even worse at the age of 54. In the autumn of this year, he went to Wang's house in Dongshan at the invitation of a friend. But seeing that there were two sentences in Su Dongpo's original works: "Half a hundred years of strength, there will be no more suffering in the future", which just touched Tang Yin's state of mind. He felt sad. After saying goodbye and going home, he was bedridden from then on, and his miserable life soon ended. After his death, he was buried in Taohuawu North. In the 26th year of Jiajing's reign, the burial was moved to Wangjia Village, Hengtang Town. After his death, his relatives and friends Wang Chong, Zhu Yunming, Wen Zhengming and others pooled money to arrange the funeral arrangements. Zhu Yunming wrote an epitaph of more than a thousand words, which was handwritten by Wang Chong and engraved on the stone tablet. Most of the life stories about Tang Yin in later generations can be obtained from this epitaph.
Tang Yin's official career was bumpy and his later life was miserable, so that his poems and prose were almost scattered after his death. During the Wanli period of the Ming Dynasty, He Junli, a bookseller in Changshu, admired Tang Bohu's poetry and conduct, and spent a lot of money to collect pieces of paper and words to collect and organize poems and chapters for him. After reviewing nearly a hundred poems (pieces) of Tang Yin's anecdotes during his lifetime, he published them, which gave Tang Yin his first relatively complete poem. Suzhou Tang Yin's Tomb
[1] The collection of essays has been handed down from generation to generation, and for a time, paper was expensive in Luoyang . Later, he became a famous publishing bibliophile in Jiangnan. Mao Jin, a bookseller in Changshu, also respected Tang Yin's talents and personality very much. When he compiled "Chronicles of Ming Poems" and "Haiyu Ancient and Modern Literature Garden", he specially included Tang Yin's poems and anecdotes during his lifetime in detail, which enriched and improved the content of Tang Bohu's poems. Vivid cultural materials have been accumulated for future generations. Mao Jin later independently took on the important task of rebuilding Tang Yin's tomb. According to "Suzhou Prefecture Chronicles", on the 16th day of March in Jiashen, Chongzhen, Mao Jin and the scholars from the same county went to Wangjia Village in Hengtang, Gusu during a spring outing. They saw the tomb of Tang Yin, a talented man of a generation, barren with thorns and thorns, and the cattle and sheep had been exiled from the cemetery. A heart of compassion. He asked nearby farmers and found out that after Tang Yin's death, only one of his descendants, a grandnephew and a widow, was financially strapped and trapped in the city, resulting in a lack of sacrifices for Tang Yin in the four seasons. Mao Jin lamented sadly: "It's a friend's crime. Everyone who has read Bohu's works for thousands of years has been his friend. Why should they be separated from each other?" So Mao Jin generously donated money, rebuilt the tomb seal, erected a stone tablet, and selected a site. Three ancestral halls were built next to the tomb. Lei Qijian, a local official in Suzhou, personally wrote the inscription "Rebuilding the Tomb of Jieyuan of the Tang Dynasty", "More stones will be used to preserve the memory of those who are willing to pass through the ages."
Painting Style
Tang Yin's early paintings, "Far Attack" Li Tang" and "Inbred Shen Zhou". In his early days, he became a disciple of Shen Zhou, the founder of Wumen School of Painting. Shen Zhou and Zhou Chen were both famous painters in Suzhou at that time. Shen took Yuan people's painting as his sect, while Zhou took Southern Song Dynasty painting as his teacher. These were the two major painting schools in the Ming Dynasty. Although Tang Yin studied with Zhou Chen, he It has the reputation of being better than blue. Tang Yin combined his strengths and integrated Yuan people's brushwork into the style of the Southern Song Dynasty. He made rapid progress and even surpassed his teacher Zhou Chen, and became famous. Tang Yin painted the most and was most accomplished in landscape painting. Tang Yin traveled all over Mingchuan Mountains, and his mind was filled with thousands of mountains and valleys. This gave his poems and paintings a majestic spirit that was not found in Wu poets and painters, and turned the simplicity into unrestrainedness. Most of his landscape paintings depict majestic and precipitous mountains, pavilions, creeks and bridges, and the scenic scenery of mountains and rivers at all times of the year. Some depict pavilions and gardens, and the leisurely lives of literati. The landscape and figure paintings are majestic in large paintings and clear and unrestrained in small paintings, with rich and diverse themes and appearances. Since Tang Yin rarely indicated the year he painted on his paintings, and the changes in his painting style were not very regular, it is difficult to estimate the time when he painted, and it is also difficult to divide the change process of his painting style according to time. After Tang Yin became a disciple of Zhou Chen, he mainly studied the style of the Southern Song Dynasty, but sometimes his paintings also included works similar to Shen and Wen's styles, such as "Southern Journey". This was given to Tang Yin as a gift when the piano player Yang Jijing left Suzhou when he was thirty-six years old. Tang Yin is good at freehand paintings of flowers and birds, which are lively, free, interesting and full of reality. Legend has it that the "Crow Array" painted by Tang Yin was hung at home. One day, thousands of crows were circling on the roof, like a fierce battle, which was very strange. The representative work of Tang Yin's flower and bird paintings is "Picture of a Dry Tree and an Owl". The composition uses the branch-folding method, with the dead wood branches bending and extending upward from the lower right side in various ways. It is painted with dry brush and thick ink, making it look old and straight. Using the accumulated ink method, a starling is drawn perched on a branch. It is chirping loudly, and the branches seem to be moving slightly in response to the seasons, thus showing the harmonious beauty of the rhythm of life in nature. Bare brush strokes with dotted leaves, one or two thin vines and several strokes of wild bamboo are painted together with the old leaves on the dead trees, adding to the quiet, tranquil and fresh atmosphere of the empty mountain after the rain. The poem inscribed in the upper right corner is: "The mountain sky is silent and no human voice is heard, and the birds are singing a few times after the spring rain." The poem and painting are reflected, and the demeanor of the subject and the painter's taste are integrated, embodying otherworldly thoughts. This painting is a small freehand painting, with flexible movements, using calligraphy to paint, and writing to describe. The writing is strong, the shape is beautiful, the ink and ink in the whole painting are sparse, concise and precise, the lines are straight and elegant, and the image is full of charm. , from which we can get a glimpse of Tang Yin's outstanding achievements in exploring freehand techniques and opening up a new realm of flower and bird painting. Tang Yin's ink flower and bird paintings basically use ink to refine the image, and the ink rhyme is clear and full of life and interest. The famous one is also the "Rain Bamboo Picture", which has two groups of thick leaves as the main branches, followed by light leaves, and then several leaves appear to echo each other. The leaves all move downward sharply, creating a feeling of rain hitting the bamboo leaves. Tang Yin's calligraphy originated from Zhao Mengfu's style. The style is rich and flexible, elegant and graceful, which is almost hidden by the name of the painting. His representative work is "Album of Falling Flower Poems". Page of "Real Scenes of Peitai", Ming Dynasty, by Tang Yin
Tang Yin was good at painting landscapes, figures, ladies, flowers and birds, and was especially famous for his landscapes and ladies. Tang Yin's landscape paintings were imitated by Shen Zhou in his early years, and few of his works have been handed down from generation to generation.
Existing works include "Dongting Huangmaozhu Picture" and "Zhenshou Tang Picture" and "Dual Bamboo Picture" painted by Tang Yin when he was 21 years old. Landscape paintings in middle age mainly followed Zhou Chen, and Zhou Chen's landscape painters followed Li Tang and Liu Songnian of the Southern Song Dynasty. Therefore, Tang Yin's paintings can be traced back to the courtyard style painting school represented by Li Tang and Liu Songnian of the Southern Song Dynasty. Under the influence and guidance of his teacher Zhou Chen, he learned the rigorous and vigorous style of the Song Dynasty's calligraphy. At the same time, he also incorporated the composition and brushwork techniques of Ma Yuan and Xia Gui, and extensively studied the strengths of Li Cheng, Fan Kuan, Guo Xi of the Northern Song Dynasty, and Huang Gongwang and Wang Meng of the Yuan Dynasty. He integrated them and gradually formed his own style. The layout of the picture is rigorous and orderly, the shape is real and vivid, the mountains are majestic, the rocks are steep, the texture is chopping with an axe, the brushwork is vigorous, and the ink is dripping. His representative works include "The Picture of Wang Hao Coming Out of the Mountain", "The Picture of the Real Scene of Peitai", "The Picture of Xingchun Bridge", "The Picture of Traveling in Guanshan", etc. In his later years, his painting style had broken away from Zhou Chen's style and established his own style. At this time, most of the fine brushstrokes were landscapes, and his works include "Mountain Road with Pine Wind", "Spring Mountain Companion", "Lower Clouds and Solitary Duck", "Old Pictures of Xizhou Dialect", "Youren Yan Sitting" and so on. Judging from the style of these paintings, the composition is simple and clear, and the brush strokes are mostly thin and powerful, like gossamer strokes. They are slender but not weak, powerful and rhythmic, and have the beauty of hardness and softness. There are many methods of chaffing mountain rocks, including short chop, long chaff, smooth strokes, reverse strokes, square folds, round turns and other strokes. The trees, houses, streams and other scenery are interspersed in an orderly manner, dense but not suffocating, mixed but not chaotic, full of rhythm and the graceful and ethereal beauty of literati paintings. The ink is dripping with color and rich in shades. The reason why Tang Yin's landscape paintings have such great artistic achievements is, on the one hand, his ability to break through sectarian opinions, whether it is the Northern School of Painting, the Jiangnan School of Painting, or the Southern Song Dynasty's courtyard style and Yuan Dynasty literati landscape paintings, as well as recent famous painters such as Shen Zhou and Zhou Chen. , he studied hard, learned from others' strengths, and innovated and created. Finally formed his own painting style. on the other hand. The most important thing is that he has personal observation and real feelings about natural mountains and rivers, and draws nutrients from the inexhaustible real mountains and waters, which plays an important nourishing role in his landscape painting creation. His works are majestic, rigorous and accurate in shape, and exquisite in brushwork, surpassing some of the painters of his generation. "Pictures of Prostitutes in the Palace of Wangshu" scroll, Ming Dynasty, painted by Tang Yin
Tang Yin's paintings of ladies and figures generally did not exceed the boundaries of figure paintings in the Southern and Song Dynasties. Especially his meticulous figure paintings with heavy color application, the kind of bright eyes, white teeth, red face, pink cheeks... are still the legacy of Nanzhu Academy style painting. His figure paintings can be roughly divided into two types. One is with strong and thin lines, beautiful colors and sublime atmosphere, which comes from the courtyard paintings of the Southern Song Dynasty. For example, in the "Picture of Prostitutes in the Palace of Wangshu", the painter used traditional fine brushwork and heavy color techniques to dye the faces of the ladies with the "three whites method" to highlight the rich application of the palace ladies. The clothing patterns are drawn with fine and smooth iron lines, and the clothes are painted with rich colors, making them look gorgeous. The palace prostitutes competing to dress up and fight for beauty are vividly and meticulously depicted, which is worthy of being an excellent work of Tang Yin's paintings of ladies. The other type is derived from the courtyard style of the Southern Song Dynasty, and the pen and ink flow smoothly. The pen is turned vigorously, and the lines are ups and downs. Representative works include "Ⅸ Autumn Wind Fan" and "Li Duanduan", etc. The painting style has changed from elegant to simple and elegant. The painter combined Li Gonglin's flowing clouds and flowing water paintings from the Song Dynasty with Yan Hui's folding reed paintings to make the picture full of rhythm. Tang Yin's figure paintings have strong realism skills, accurate images and unique charm. Therefore, "Ming Dynasty Painting Record" commented on his figure paintings: "Qian Shun was promoted next to Du Jin (Du Jin), a lay scholar." There are not many of Tang Yin's flower-and-bird paintings handed down from generation to generation. The existing works include "Dark Plum Blossom Picture", "Wind Bamboo Picture", "Owl Singing in Spring Picture", "Hibiscus Picture by the Water", "Apricot Blossom Picture", etc., with a far-reaching style. French ink painting of the Song and Yuan Dynasties. He learned from Shen Zhou's reforms and innovations and deliberately pursued refinement. For example, in "Ink Plum Blossom Picture", Tang Yin painted a branch of plum blossom with ink, using freehand brushstrokes to describe the stem of the flower, and using a boneless method to point out the plum blossoms. As for "The Picture of the Bird Ming Spring", it is painted with ink and ink at will. Compared with Shen Zhou, it is more lively and free. Compared with Lin Liang and Lu Ji, it is not as rough and bold as them, but has a fresh and lively interest. Tang Yin is not only a famous painter, but also a poet. According to incomplete statistics, he wrote more than 600 poems. His poetry style is graceful and gorgeous, popular and fluent, impromptu and expressive, and he wins with talent. The contents of poems and essays mostly expose social contradictions and express injustice. Have a strong ideological nature.
Tang Yin's contribution to traditional painting can be roughly summarized in three points: First, he integrated the northern and southern schools and promoted the tradition of Wenhu painting. my country’s traditional painting. In the early Northern Song Dynasty, due to different geographical conditions and styles, it was divided into two major painting schools: Northern and Southern.
The northern painting school, represented by Li Cheng, Guan Tong, and Fan Kuan, has a profound and far-reaching painting style, solid stone bodies, steep features, and majestic momentum; while the southern painting school, with Dong Yuan and Ju Ran as its masters, has a soft and gentle style of painting, and elegant and subtle brushwork. , the ink is moist and luxurious, with a strong sense of distance and nearness. But they have their own weaknesses, such as the Northern Painting School. The brush strokes are too exposed, lack of subtlety, charm and sense of distance; the Southern Painting School lacks strength, solemnity and boldness, etc. Tang Yin's achievement lies in breaking through the traditional views of the school, integrating the different origins of the northern and southern schools in terms of brushwork, momentum, brushwork and coloring, maximizing their strengths and avoiding weaknesses, and absorbing the strengths of Yuan painting. Finally, he formed a painting with rigorous structure and unique style. The brushwork is elegant, the ink is dripping, and the artistic conception is ethereal. His paintings have both the profound skills of Song Dynasty paintings and the bookish style of literati paintings. He made great contributions to the rise of the Wu School of painting and the promotion of the tradition of Wenru painting. Second, the organic combination of poetry, calligraphy and painting. Tang Yin was not only a famous painter, but also had profound attainments in poetry, prose, and calligraphy. He also made new contributions in the organic combination of poetry, calligraphy, and painting. The combination method: first, the consistency and harmony of calligraphy style and painting style. The interest of calligraphy is very similar to the interest of painting, because both emphasize the reproduction of personality and true feelings. Tang Yin's calligraphy originates from Zhao Mengfu and Li Beihai. His brushwork is smooth and meticulous, with a combination of hardness and grain, and a dignified and unrestrained attitude. It is similar to the "courtyard style" landscape painting style, but it has a clean and smooth appearance in the regularity. The second is to apply the calligraphy brush method to painting, which is more obvious in Tang Yin's handed down paintings. In addition, the harmony between poetry and the four is another feature of Tang Yin's paintings. For example, Tang Yin's poems are bold and uninhibited, and his plays contain worries; his paintings are also like poems, such as deepness can be seen in the vertical lines, and thoughts are contained in the playwriting. Third, the close combination of poetry and painting. The poems and emotions in Tang Yin's paintings closely follow the theme and artistic conception of the painting to elaborate or enrich the connotation of the picture. The blue ink on the back in the work vividly expresses poetic sentiment through the creation of symbolism, allegory, personification and other techniques or artistic conception. This unjust and beautiful combination of poetry and tranquility is also a major feature of Tang Yin's paintings. Tang Yin's contribution to calligraphy and painting is also reflected in other aspects, such as deepening the subject matter and content of literati paintings, promoting the comprehensive development of landscapes, figures, ladies, flowers and birds, and strengthening the awareness of self-expression in literati paintings, etc., all of which had a profound impact on later generations.
Calligraphy Appreciation
Tang Yin's calligraphy is not as famous as painting and poetry, but his talent is also extremely high. His calligraphy style is inseparable from the shadow of Zhao Mengfu, so Wang Shizhen commented in "Yanzhou Mountain Manuscript": "Bohu's calligraphy is too weak to be accepted in Wuxingtang Temple." In fact, Tang Yin's calligraphy, like his painting, paid attention to the wide coverage of various fields. The family, the master, and the appearance are also very diverse, but the age is not eternal, and it has not yet reached the state of "when the master is mastered, everyone and the book are old". According to the records and extant works of Suzhou Stone Carvings of Tang Yin
[2], he studied extensively from Zhao Mengfu, Li Yong, Yan Zhenqing, and Mi Fu, with different emphasis at different periods, thus forming an ever-changing stage appearance. Generally speaking, the changes in his calligraphy style can be divided into four periods. The first period was before the age of 30. He lived in his hometown of Suzhou and had a good relationship with Wen Zhengming, who was of the same age. He was greatly influenced by Wen. Therefore, their calligraphy and painting were very close. Tang Yin painted "Huang Maozhu Small Scenery" when he was in his 20s. 》 (Collected by Shanghai Museum), the lake rocks, flat slopes, and bushes are all very similar to Wen's fine pen; the calligraphy is also from Zhao Mengfu, all of them are elegant in structure and smooth in use. The characters are very similar to Wen Zhengming. The second period is from 30 to 36 years old. Tang Yin was deposed from the imperial examination and his wife divorced. He had no choice but to make a living through poetry, calligraphy and painting. At that time, calligraphy followed the Tang Dynasty people and strived to be standardized. In particular, Zong Shangyan Zhenqing’s regular script was dignified and round. It is fleshy, the structure tends to be rectangular, strong and dense, the stippling is thin horizontally and thick vertically, and absorbs the calligraphy method. The end of the horizontal stroke is like a "silkworm head", and the stroke is close to the "swallow tail" in the middle of the stroke, which is very powerful, such as Tang Yin wrote "The Falling Flower Poems" when he was 36 years old when Yichou was in Hongzhi (1505). The third period is from the age of 37 to 45. Tang Yin is in his prime. He lives in Taohua Temple in a paradise, and concentrates on the free creation of poetry, calligraphy and painting. He lives a contented life and his creation reaches its peak. At that time, calligraphy returned to Zhao Mengfu and caught up with Li Yong of the Tang Dynasty. It formed its own mature style, based on the Zhao style of handsome and graceful structure and graceful flow of brushwork, and integrated into Li Yong's slanted style. The character posture, powerful brushwork and vivid layout are full of elegance and vitality, and beauty is agility.
There are many works in this style, such as "Scroll of Seven-Character Poetry" (Collected by the National Palace Museum, Taipei), which was written in the first year of Zhengde (1506) when he was 37 years old, and "Scroll of Sound of Pines on Mountain Roads" (Collected by the National Palace Museum, Taipei) which was over 30 years old. The above title and "Three Jue Volumes of Running Script" (collected by Ding Nianxian) and other works all show the fusion of Zhao Mengfu and Li Yong. The fourth period is from the age of 46 to his death at the age of 54, which is Tang Yin's later years. Since he pretended to be crazy and escaped from Jiangxi Ningwang at the age of 45, he has further seen through the world, his thoughts have become more depressed, his behavior has become more decadent, and his calligraphy has also become arrogant. He also absorbed Mi Fu's calligraphy style of seeking ideas and gaining momentum. His writing style is swift and vigorous, calm and joyful, he can attack from all sides, be forthright and free, pursuing strength, speed and charm; at the same time, he integrates the brushwork of various schools of thought. The structure and the use of brushes are full of changes, and the state of free expression and spiritual movement is achieved. Representative works include the first title of "Old Picture Scroll of Xizhou Dialect" (Collection of the National Palace Museum, Taipei), the first paragraph of "Looking at the Spring and Listening to the Wind" (Collection of Nanjing Museum), which were created after the age of 50.