If the interest of Tang and Song painting lies in creating a literary environment, then Zhao Mengfu played a bridge role in it. If the literati painting movement before the Yuan Dynasty was mainly manifested in the preparation of public opinion, and the literati painting movement after the Yuan Dynasty gradually replaced formal painting and became the mainstream of painting with its successful practice, it was Zhao Mengfu who caused this change. As a great leader in the period of reform and transformation, Zhao Mengfu has made outstanding achievements in the following aspects:
First of all, he put forward the slogan "Painting values the ancient meaning", which reversed the decline of painting circles since the Northern Song Dynasty and turned painting from elegant and trivial style to simple and natural.
The second is to put forward the slogan of "taking Yunshan as a teacher", emphasizing the painter's realistic basic skills and practical skills, and overcoming the bad habit of "ink play".
Thirdly, he put forward the slogan of "painting and calligraphy are of the same origin", and painted with calligraphy, which made the literati temperament of painting more intense and the charm of painting enhanced.
Fourthly, he put forward the slogan "How can you write a long-term sorrow without faking the pen of Dan Qing?". Represented by painting, the intrinsic function of painting has been deepened and covered more widely.
Fifth, he has made achievements in figures, landscapes, flowers and birds, horses and beasts, and his painting skills have been completely innovated.
6. His paintings have the beauty of poems, books and seals, which complement each other.
7. Under the political situation that the North and the South were unified and the Mongols entered the Central Plains, he absorbed the strengths of the North and South paintings, revived the traditional painting art of the Central Plains, and maintained and continued its development.
Eighth, he can unite minority artists, including Gaohe Kanglizi Mountain, and prosper China culture. The aesthetic standard examines Zhao Mengfu's paintings, and combined with his related expositions, we can know that Zhao established the aesthetic standard of painting art thought in Yuan Dynasty by criticizing "modern times" and advocating "ancient meaning". This standard is not only reflected in painting, but also widely penetrated into poetry, calligraphy, seal cutting and other fields.
Advocating ancient meaning
Every culture in history is prone to anomie. People always take history as a mirror and look for a cure from the ancient enlightenment, such as Confucius' self-denial and self-surrender, the return to simplicity of the seven sages of bamboo forest in Wei and Jin Dynasties, and the ancient prose movement in Tang and Song Dynasties. Attaching importance to tradition has become one of the characteristics of China culture. Zhao Mengfu's starting point of advocating "ancient meaning" is no exception. He took the Jin and Tang Dynasties as a mirror and criticized the Southern Song Dynasty for being dangerous, weird, overbearing and obscene. Not only that, as a scholar-bureaucrat painter, he also opposed the ink play attitude of literati painting since the Northern Song Dynasty, which is very valuable. As a value principle, Zhao Mengfu not only maintained the individual interest of literati painting, but also abandoned the game attitude of literati painting. As a morphological principle, Zhao Mengfu not only created a unique form of expression of literati, but also made it worthy of the technical style of conventional painting, and carried out comprehensive practice in various painting themes, thus establishing the position of literati painting as a conventional painting in the painting world. It should be said that Zhao Mengfu made professional formal painting and amateur literati painting, which were originally opposite or parallel painting traditions, communicate and merge. Since then, a new era of painting with literati painters as the protagonist and the construction of literati painting schema as the theme has begun.
change
What needs to be pointed out in particular is that Zhao Mengfu's landscape paintings not only combine Hook Shadow, Danqing and ink painting, but also emphasize pen and ink, learning from others and innovation, and also combine chivalry with rambling literati atmosphere, changing "sightseeing landscape" into "lyrical landscape"; Moreover, the harmony and unity of creation and freehand brushwork, poeticization and calligraphy in painting laid a solid foundation for the emergence of poetic and calligraphic literati paintings of the "four masters of the Yuan Dynasty" (Huang, Wang Meng, Ni Zan and Zhenwu).
These theories and practices pushed Zhao Mengfu to the position of a master of painting in Yuan Dynasty. As a great master, many disciples were influenced by his painting skills. Not only his good friends Gao, Li Li, his wife Guan Daosheng and his son, but also his disciples Tang Di, Zhu Derun, Chen Lin, Yao Yanqing, his grandson Wang Meng and even Huang and Ni Zan at the end of Yuan Dynasty inherited and carried forward Zhao Mengfu's aesthetic view to varying degrees, which made the literati painting in Yuan Dynasty prosperous for a long time and wrote beautiful and strange pictures in the painting history of China. Together with his son and grandson, he made a "one horse map", which was called "three generations and one horse map" and became a much-told story. All three paintings were spread to the United States and collected by the Metropolitan Museum. Painting and calligraphy and poetry printing "draw first and then write this paper, which is beautiful at hand." Zhao Mengfu's books, paintings, poems and seals were famous at home and abroad at that time, and even Japanese and Indians attached great importance to his works, which contributed to the cultural exchange between China and foreign countries at that time.
Zhao Mengfu's calligraphy works are related to Taoism, such as Ode to Luoshen, Classic of Tao Te Ching and Three Stories of Rebuilding the Xuandian. There are many famous paintings, including Zhen Xuan official map, Sanjiao Tu Tu, Xuanyuan Twain, Songshi Laozi Tu Tu and Xishan Xianguan Tu Tu. There is also Ten Pictures of Xuanyuan, which draws portraits of ten Taoist figures, including Guan Yinzi and Wen Zi, with biographies. The calligraphy and painting of this work is ancient. In the ninth year of Yuan Dade (1305), the seal road was carved in Hangzhou, and was later incorporated into the Ming Dynasty Taoist Collection. Poetic style and elegance. Part-time seal cutting, known as "writing with a round bead" for six years (13 19), had to ask Nan to return home. I have been to Songjiang North Road Hall, and the road number is deep. Zhao Mengfu, a master of regular script, and his wife Guan Daosheng are both disciples of a famous monk in Zhongfeng. Zhao Mengfu is proficient in music and is good at identifying ancient artifacts. His poems are beautiful and elegant, and his calligraphy and painting are especially famous. His calligraphy and calligraphy are excellent, and regular script and running script have the deepest attainments and the widest influence. Zhao Mengfu was an influential calligrapher in the early Yuan Dynasty and was highly respected. According to Song Lian, a scholar, Zhao's calligraphy learned Lingling's Eight Intellectuals in his early years, Zhong You and Fairy in his middle years and books in his later years. Wang Shimao said: "Most of Wen Min's books are from the two kings (the sum of Xi and Xian). If you are close, you will win the right army; If you have an elegant attitude, you will get a big order; This calligraphy tablet is cool, imitating Li Beihai's "Yuelu" and "Miluo". " In addition, he also visited the Dingding Monument, Tang Yushi Temple, Chu Suiliang and others in the Yuan and Wei Dynasties. In seal script, he studied Shi Guwen and cursed Zhu Wen; Hu, Zhong You; Learning cursive script and offering sacrifices can strive to inherit the tradition. As Wen Jia said, "Gong Wei's calligraphy is superior to the ancients, and they are all imitations. Yu Ji called him: "Development won the" Luo Shenfu "and won its bid. Running script view "the preface to the holy teachings", into its room. As for cursive script, I am full of "seventeen posts" and measure its shape. "He is an accomplished calligrapher who combines Jin and Tang calligraphy. Contemporary calligraphers hold him in high esteem, and some later generations listed him as one of the four masters of regular script "Yan, Liu, Ou and Zhao". Dong Qichang, a painter and calligrapher in Ming Dynasty, thought that his calligraphy was directed at Jin people, and commented that his calligraphy was "vulgar because of familiarity". Zhao Mengfu is good at learning from others, so he has made great achievements in calligraphy. What is particularly valuable is that most calligraphers in the Song and Yuan Dynasties were only good at lines and cursive scripts, while Zhao Mengfu was able to delve into various styles. Later generations, many people studied Zhao Mengfu's calligraphy, and Zhao Mengfu's calligraphy was very popular in Korea and Japan. Zhao Mengfu's extensive and profound calligraphy theory has an important position and far-reaching influence in the history of China's calligraphy art. His contribution to calligraphy lies not only in his calligraphy works, but also in his calligraphy theory. He has many original ideas about calligraphy. He believes: "There are two ways to learn books, one is brushwork, and the other is glyph. Exquisite brushwork, although good and evil; The shape is wonderful, although it is still cooked. Learning books can solve this, and then you can tell books. " "It is good to learn books while pondering over ancient books and know what it means to use a pen. "He pointed out a very meaningful fact when writing ancient book posts:" In the past, people could become famous by carving a few lines in ancient times and studying hard. Kuang Lanting is the masterpiece of the right army, and he has learned a lot. Why not suffer others? "All these can give us important enlightenment.
His article is out of date and bypasses the study of Buddhism and Taoism. His paintings, landscapes take Dong Yuan and Li Cheng; Characters, pommel horse teacher, Li and Tang people; Bamboo, flowers and birds are all known for their mellow and elegant brushwork, painting stones with flying white and writing bamboo with calligraphy. He urged to change the courtyard style of the Southern Song Dynasty, claiming that "painting is expensive with ancient meaning, without which, work is useless". He chased the testimonies of the Five Dynasties and the Northern Song Dynasty from a distance, and the commentator said, "Someone made it lose its fiber in the Tang Dynasty; There is a hero of the Northern Song Dynasty who went there. " Created a new style of painting in Yuan Dynasty. Make friends and learn from Gao, Qian Xuan, Li Li and Guo Youzhi. Chen Lin, Tang Di, Zhu Derun, Ke, Huang, Wang Meng, etc. Can write poetry, with style and grace. Part-time seal cutting, known as "Yuan Zhu Wen", has been handed down from generation to generation in many books, such as Luo Shen Fu, Tao Te Ching, Danba Monument, Three Stories of Rebuilding the Xuandian, Huanglin Pavilion Classic, Eleven Postscripts of Lanting, and Four-body Thousand-character Text. In the seventh year of Dade (1303), Yuan Zhen (1295) wrote the volume "Autumn Colors in Quehua", which was published in "Three Hundred Famous Paintings in the Forbidden City". Drinking Horses in Autumn Suburbs, written in Huang Qingyuan (13 12), is now in the Palace Museum. He is the author of ten volumes of Song Xuezhai's Collected Works (another volume is attached).
Kang Youwei once said, "Don't learn from Zhao Dong's idleness", which is a personal prejudice. Because Kang Youwei looked down on Zhao, the emperor, and became an official in the DPRK, he extremely belittled his calligraphy. The world only knows that Zhao's words are graceful and fluent, but they don't know that they are just external beauty. After 60 years old, their works are older and heavier, and there is no gentle and charming atmosphere. Ma Zonghuo, a close friend, said in Notes on the Book Forest: "Yuan was the first to write calligraphy, and he can write 10,000 words a day, which is famous all over the world. Tens of thousands of monks from Tianzhu came to ask for their books and returned to China to collect them. "