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The "Four Schools of Yuan Dynasty" are the four masters of landscape painting in the Yuan Dynasty. There are two main theories for the collective name of this representative painter: one refers to Zhao Mengfu, Wu Zhen, Huang Gongwang, and Wang Meng, as shown in the "Appendix of Yiyuan Yan" by Wang Shizhen of the Ming Dynasty; the other refers to Huang Gongwang, Wang Meng, Ni Zan, and Wu. The four people from the town can be found in Dong Qichang's "Rongtai Collection: Painting Purpose" in the Ming Dynasty. The second theory is more popular, and Zhao Mengfu, Gao Kegong, Huang Gongwang, Wu Zhen, Ni Zan and Wang Meng are collectively called the "Six Painting Masters of the Yuan Dynasty". Although each style has its own characteristics, it is mainly developed on the basis of Dong Yuan of the Five Dynasties and Ju Ran of the Northern Song Dynasty. It emphasizes brush and ink, emphasizes interest, and combines calligraphy and poetry. It is the mainstream of landscape painting in the Yuan Dynasty and has a great influence on the Ming and Qing dynasties.
Influence
The four families of the Yuan Dynasty played a decisive role in landscape painting. The four of them were all from Jiangsu and Zhejiang. They were all good at ink landscapes and also worked on bamboo and stone. They were typical literati painting styles. They lived during the social turmoil in the late Yuan Dynasty. Although their social status and circumstances were different, their unhappy experiences were similar. They were all influenced by Zhao Mengfu in art. Through their exploration and efforts, they made Chinese landscape painting possible. His brush and ink skills reached a peak, which had a great influence on later paintings, especially the "Nanzong" school.
Edit this section Yuan Dynasty Painting
Landscape painting was the most popular in Yuan Dynasty painting. , whose creative ideas, artistic pursuits, and style all reflected the main trends in the painting world, and had the most profound influence on later generations. Qian Xuan, Zhao Mengfu, and Gao Kegong were the representatives of landscape painters in the early Yuan Dynasty. They all seriously explored traditional landscape paintings and entrusted them with their work. Qian Xuan is good at all kinds of techniques, and his works mostly depict the landscapes of ancient masters and hermits or their hometowns. His brushwork is simple and ink on bamboo scrolls
He is naive and refined in his artistic conception. He is good at painting green landscapes, following the example of the Tang Dynasty. He represents Li Sixun, Li Zhaodao and his son, and Zhao Boju of the Southern Song Dynasty, and incorporates the brushwork and charm of literati paintings, which has a sense of crudeness. His attitude towards life of "having nothing to do with the world, and not praising or criticizing" also makes his paintings clear and elegant. Gao Kegong changed his style among Mi Fu, Dong Yuan, and Li Cheng, and formed a unique style of vigorous and elegant style. He was excellent in attainments, rich in brushwork, and good at painting landscapes and bamboos. In the early Yuan Dynasty, he was the most comprehensive painter with Zhao Mengfu and Qian Xuan. He was particularly good at painting pommel horses, figures, landscapes, flowers and birds, bamboo and stone - ink, meticulous green brushwork, and freehand brushwork. He was truly a rare art master. As a versatile artist, he respected the past in painting and advocated learning from the Tang and Song Dynasties. He often said that he was "worthy of the Tang people" and "rough and has ancient ideas", which had a profound influence on many later painters. In the middle and late Yuan Dynasty, the rise of Huang Gongwang, Wang Meng, The four masters of the Yuan Dynasty, Wu Zhen and Ni Zan, developed Chinese landscape painting to a new stage with their own innovative styles and concise and transcendent artistic techniques. The Eight Scenes of Jiahe represents the landscape painting of this period. The mainstream of development. Figure painting in the Yuan Dynasty was far less prosperous than landscape, flower and bird painting. Due to the sharp and complex national, class and social contradictions, most painters passively avoid the world and ignore life. Especially the literati painters mainly used mountains, rivers, dead trees, bamboos and rocks to express their feelings and aspirations, but neglected to express human affairs. Therefore, there are very few figure paintings that directly reflect real life. With the popularity of religion, there has been a certain improvement in Buddhist and Taoist figure paintings. In terms of art, some painters have absorbed the brush and ink techniques of literati paintings and have achieved certain achievements. Liu Guandao learned from the Jin and Tang Dynasties, and combined the strengths of the ancients. His brushwork is dignified and solid, and his characters have a comfortable mood. He was a master in the early Yuan Dynasty. He Cheng inherited the legacy of the Southern Song Dynasty and pioneered figure painting in the Yuan Dynasty. Wang Zhenpeng learned from Li Gonglin. His brushwork is smooth and vigorous, and the characters' expressions are vivid. He uses light ink to render the lines between lines, breaking through the ordinary line drawing method. Qian Xuan studied figure painting since the Jin and Tang Dynasties. Most of the clothing patterns were drawn with ancient gossamer silk by Gu Kaizhi. His work is steady but not rigid, and his paintings are elegant and clumsy, forming a style of its own.
Ren Renfa's figure Pomma followed the example of the Tang Dynasty people, with fine and smooth brushwork and bright and clear style. The painting of Six Gentlemen retains more of the Tang Dynasty tradition, but also has its own style. In the early Yuan Dynasty, it was as famous as Zhao Mengfu. Zhang Wo is good at sketching figures in line drawings. He learned from Li Gonglin. His brushwork is smooth and elegant, and his images are realistic and lifelike. He is praised as "unparalleled in the world". Wang Yi is good at painting portraits, with fine brushwork, accurate modeling, and vivid expressions. He has the most outstanding achievements among the portrait painters of the Yuan Dynasty. Yan Hui is well-known for his religious figure paintings. His brushwork is rough and bold, slightly close to the Liang Kai splash ink method of the Southern Song Dynasty, and the ink smudge shows a concave and convex effect.
Edit this paragraph Wu Zhen
Wu Zhen (1280-1354), a native of Jiaxing, Zhejiang, was erudite and aloof. He lived in seclusion in the countryside and made a living by selling divination in Hangzhou. His painter, inherited from Ju Ran, is good at using wet ink and giving full play to the characteristics of ink painting. He especially likes to make pictures of fishermen, which express the vast atmosphere. They are all scenery of famous mountains in the south of the Yangtze River. His ink is round and green, and his brushwork is concise and solid. He likes to make free and smooth cursive script inscriptions. It is known as the three best in poetry, calligraphy and painting. Wu Zhen often wears hemp with long wrinkles. He is a landscape master. Ju Ran comes up with new ideas and is good at making ink bamboo. His painting style is gloomy and vast. His handed down works include "Streams and Mountains", "Eight Views of Jiahe", "Water Village", etc.
Edit this paragraph Wang Meng
Wang Meng (1308-1385), a native of Huzhou, lived in the late Yuan and early Ming Dynasties. He served as the magistrate of Tai'an in the early Ming Dynasty, and was later imprisoned and died. He learned painting from his grandfather Zhao Mengfu since he was a child. When he grew up, he had contacts with Huang Gongwang and Ni Zanduo. He likes to use burnt ink and a thirsty brush when painting, adding tiny spots of moss to create a dense and substantial picture. His paintings mostly express a life of seclusion, and his brushstrokes and scene descriptions are full of layered changes. His compositions like to be full and full of paper, with strong color contrast, and his brushwork is sophisticated and simple. He is good at painting the lush forest scenery in the south of the Yangtze River, which is moist and luxurious, and has a distant artistic conception. Representative works include "Residence in Qingbian", "Residence in the Mountains in Summer", "Residence in Qingbian", "Reading in Spring Mountain", etc.
Edit this paragraph Huang Gongwang
Huang Gongwang (1269-1354), a Changshu native, called himself a "songxuezhai primary and secondary school student" and worked as a minor official when he was young. He was involved in other people's affairs. prison. After he was released from prison, he changed his name to "Yifeng", became a Taoist priest, and began to paint. After the age of 50, he lived in seclusion in Hangzhou and concentrated on the creation of landscape paintings. He was praised as "the top of the four great masters of the Yuan Dynasty". His landscapes were "full of peaks and mountains, lush with vegetation", and he was good at ink painting and light crimson landscape painting. Huang Gongwang was taught by his uncle Zhao Mengfu and integrated the strengths of all the masters of the Song Dynasty. In his later years, he "lyed with a green heart and looked at the white clouds", went deep into nature to observe and comprehend, and formed his own artistic style of "pure Qi, solid bones, strong bones". His representative work "Dwelling in the Fuchun Mountains" took seven years to complete, with a height of 33 cm and a horizontal length of 396.6 cm. The essence of hundreds of miles on both sides of the Fuchun River is collected in the pen. The painter uses both center and side strokes, and uses both pointed and bare pens. The long and short dry brushes are scratched and rubbed, and the wet brushes are covered with linen. They are integrated into one body. It is indeed a masterpiece in landscape painting. And the simple strokes of "Quick Snow and Clear Suns" are painted with ink and wash, and the sun is bright and red in the haze of ink and wash, which is unique and original.
Edit this paragraph Ni Zan
Introduction
Ni Zan (130l--1374), named Yuanzhen, also named Xuanying, also known as Jingmanmin, Jingming Jushi, Zhuyang Pavilion Master, Cang Romantic Scholar, Qu Quansou, Haiyue layman, etc. also signed their names as Donghai Ni Zan and Lan Zan, and changed their names to Xi Xuanlang. They often used Yunlin in their poems and paintings. Ni Zan was born in Fantuo Village, Meili, Wuxi in the fifth year of Dade of the Yuan Dynasty (1301). My grandfather was a big landowner in his hometown. He was very wealthy and lived in Xiong Township. My father died early. Among the three brothers, the eldest half-brother Ni Zhaokui, also known as Wenguang, was a high-ranking figure in Taoism at that time. He once "announced and accepted Changzhou Road Daolu", "mentioned matters in the Kaiyuan Palace on Hangzhou Road", and "given the title of Elemental God Ying Chongdao Master , "To give some advice to the host", and "Specially given the title of real person, "Xuanzhong Wenjie Zhenbai" second brother (comatriot) Ni Ziying. In the Yuan Dynasty, the upper echelons of Taoism had a very high status and had various privileges. They did not have to suffer from labor and taxes, nor were they burdened by officialdom. Instead, they had extra ways to make money. Ni Zan was raised by his eldest brother since he was a child, and his life was extremely comfortable and carefree. Ni Zhaokui invited Wang Renfu, a "real person" from his hometown, as his tutor.
Ni Zan was influenced and educated by such a family, which developed his unusual life attitude. He was aloof, aloof, self-sufficient, independent of politics, and immersed in poetry, poetry and painting, which was very different from the Confucian ideals of the world. Therefore, he will end his life as an official. Although Ni Zan had a wealthy family and a comfortable life in his teenage years, he did not get into the habit of a playboy, and he paid close attention to his own learning and cultivation. There is a three-story library "Qingbi Pavilion" at home, which houses more than a thousand volumes of scriptures, histories, works, collections, Buddhist scriptures and Taoist books. Ni Zan read and wrote poems upstairs every day. In addition to carefully studying classics, he also dabbled in Buddhist and Taoist books. The "Qingbi Pavilion" also houses famous calligraphy paintings from past dynasties. The more recent ones include "Jian Ji Zhi Biao" by Zhong Yao of the Three Kingdoms, and the more recent ones include "Haiyu'an Picture" by Mi Fu of the Song Dynasty. Ni Zan played with these masterpieces day and night, copying them with all his heart, especially Dong Yuan's "Xiaoxiang Picture", Li Cheng's "Maolin Yuanxiu Picture", and Jing Hao's "Autumn Mountain Picture". He devoted himself to copying and imitating their charm and temperament. At the same time, he often went out to travel and sketched the valuable scenery and objects he saw. He carefully observed various phenomena in nature and sketched seriously. When he returned, his paintings were often full of paintings. On the one hand, Ni Zan paid attention to inheriting traditional techniques, learned from the strengths of various schools, and studied diligently, which laid a solid foundation for his later innovations in painting.
Life
In the fifth year of Yuan Taiding (1328), his eldest brother Ni Zhaokui died suddenly of illness. Subsequently, his mother Shao and his teacher Wang Renfu passed away one after another, making Ni Zan extremely sad. The privileges he had relied on his eldest brother were all lost, and Ni Zan became an ordinary Confucian scholar. His family's financial situation became increasingly difficult. With a sad mood, he wrote his own poems detailing his painful environment at that time. . The 20 years from the third year of Yuan Tianli (1330) to the eleventh year of Zhizheng (1351) were the mature period of Ni Zan's painting creation. During this period, Ni Zan socialized extensively, and most of his friends were monks, Taoist priests, poets, and painters. Most of the poems he wrote were written for singing with such people. His close friend Zhang Boyu was a famous Taoist priest, for whom Ni Zan once carefully drew the "Picture of Wu Bamboo and Beautiful Rocks". Another famous painter he recommended, Huang Gongwang, was also a famous figure in the New Taoist Quanzhen Sect at that time. He had profound Taoism and was 32 years older than him. Huang Gongwang once spent 10 years painting "The Landscape of Lands and Mountains" for Ni Zan. It is more than two feet and five feet long. It is one of the masterpieces of Huang's light crimson landscape. The scroll is inscribed "Zhi Zheng Wu Zi" (1348); Ni Zan was 48 years old at that time. At this time, he began to believe in Taoism (Quanzhen Religion), and developed a withdrawn character and a detached and escapist thought from reality. This thought was also reflected in his paintings, which showed desolate, simple, quiet and sparse intentions. . From the 13th year of Yuan Zhizheng (1353) to the 20 years after his death, Ni Zan roamed around Taihu Lake. He wandered around Jiangyin, Yixing, Changzhou, Wujiang, Huzhou, Jiaxing and Songjiang, amusing himself with poetry and painting. This period was also the heyday of Ni Zan's painting. He carefully observed the quiet and beautiful mountains and waters of Taihu Lake, understood their characteristics, concentrated, refined and summarized them, and created new composition forms and new pen and ink techniques, thus gradually forming a new artistic style. The work has a distinct personality, and the brushwork is steep and simple. The close-up view is a slope of soil, with three or five trees planted nearby, and one or two thatched huts. The upper part of the middle is blank to show the rippling lake waves and the clear sky, and the distant conversation is light. The mountains, the picture is quiet and tranquil, the realm is vast, this kind of style has never been seen before. During this stage, Ni Zan created "Pine Forest Pavilion Picture" (1354), "Fishing in Autumn Festival" (1355), "Strange Rock Clusters and Huang Picture" (1360), "Ting Shu Yuan Ceng Picture" (1363), Many masterpieces such as "Autumn Colors on the River" (1368) and "Yushan Forest Valley" (1371) had a huge influence on Pengqing's later paintings, and he became one of the four great painters of the Yuan Dynasty. On September 18, the twenty-third year of Yuan Zhizheng (1363), his wife Jiang died of illness, and Ni Zan suffered a great blow. The eldest son died early, the second son was unfilial, and his life became more and more lonely and helpless. He was troubled, depressed, and at a loss as to what to do. In the early Ming Dynasty, Zhu Yuanzhang once called Ni Zan to serve in Beijing, but he refused to go. On May 27, the fifth year of Hongwu's reign in the Ming Dynasty (1372), he wrote a poem titled "Ti Yanzhenwu": "Only by the clear water, not stained by dust," which expressed his unwillingness to be an official. When he wrote poems and inscriptions on the paintings, he only wrote about the Jiazi year, not the Hongwu year.
In the seventh year of Hongwu in the Ming Dynasty (1374), Ni Zan stayed at the home of his in-law, Zou, in Changjing, Jiangyin. On the night of the Mid-Autumn Festival, he contracted spleen fatigue, so he went to the home of his friend Xia Zhi, a famous doctor, for medical treatment. Ni Zan fell ill and died in Xia Mansion on November 11 of the lunar calendar at the age of 74. His body was buried in Xili, Jiangyin, and later in his ancestral grave at the foot of Yingrong Mountain in Wuxi.
Anecdotes
Ni Zan had an aloof and aloof temperament, a pedantic personality, did not engage in worldly affairs, and had never been an official in his life. According to "Yunlin Yishi" compiled by the Ming Dynasty, he once stayed with a guest and heard a cough at night. He ordered him to search carefully for any traces of phlegm the next morning. The servant couldn't find him, so if he spit on the sycamore leaves outside the window, he ordered the leaves to be cut off quickly and thrown away far away from home. There is also a legend about Ni Zan: Zhang Shixin, the younger brother of Zhang Shicheng, the "King of Wu", once sent someone with painting silk to ask him to paint and gave him a lot of money. Ni Zan was furious and tore up the silk to refund the money. Unexpectedly, one day while boating on Tai Lake, I met Zhang and was beaten severely. Ni Zan remained silent at that time. When someone asked him afterwards, he replied: "It becomes commonplace as soon as you say it." Ni Zan once wrote a poem to describe his feelings: "Looking at vulgar things with a blind eye, speaking with pure words and bending the times, being rich and noble, and thinking about the name."
Evaluation
Ni Zan has three unique features in poetry, calligraphy and painting. Ni Zan's paintings created a generation of ink landscape painting style, and together with Huang Gongwang, Wu Zhen and Wang Meng, he was known as the "Four Masters of the Yuan Dynasty". The painting method is sparse and simple, and the style is innocent and quiet, winning by indifference. Most of his works depict the landscapes around Taihu Lake, and the compositions mostly use flat and distant scenery. He is good at painting dead trees, bamboo and stone huts in the distance, and the scenery is extremely simple. Most of his paintings are scratched with dry brushes, and his brushwork is very simple. It is said to be "intentional or unintentional, as light as it is sparse", forming a desolate and depressing style. Among the four families of the Yuan Dynasty, Ni Zan enjoyed a high reputation in the minds of scholar-bureaucrats. He Liangjun of the Ming Dynasty said: "The great order of the calligrapher Yunlin is not a speck of dust." In the Ming Dynasty, people in the south of the Yangtze River were distinguished by whether they had collected his paintings or not. His painting practice and theoretical views had a great influence on the painting circles of the Ming and Qing Dynasties for hundreds of years. He is still rated as one of the "Top Ten Painters in Ancient China", and the British Encyclopedia Britannica lists him as a world cultural celebrity. The landscapes painted by Ni Zan mainly show the scenery of Taihu Lake, with trees nearby, mountains lying far away, and a large lake in the middle. The artistic conception is quiet and desolate, not stained by the worldly dust. His paintings rarely use colors, and the pen and ink are simple and clear. Strength, less is better than more, and was highly favored by painters of the Ming and Qing Dynasties. Many people in later generations often signed "Imitate Yunlin's brushwork" when painting, which shows the great charm of his calligraphy and painting. Ni Zan is a calligrapher and painter with a relatively unique personality. In his calligraphy, as an expert scholar in the field, he studied Zen and Taoism, wandered around the world, and used the charm of ice and snow to write his unique style of simplicity, desolation, simplicity and elegance. Wen Zhengming and Dong Qichang both highly praised his calligraphy. Wen Zhengming commented: "Mr. Ni has a high moral character, and his letters have the style of the Jin and Song Dynasties." Dong Qichang commented: "The ancients were naive and innocent, and he was just the next person after Mi Chi (ie Mi Fu)." Ni Zan stayed with Ge. Comparing the calligraphy I learned, they are two completely different styles, which is not immune to criticism. For example, Xiang Mu accused Ni Zan of "when he wrote, he was bitter and shabby. Even in the age of Lao Peng, he was never in a good state." Li Ruiqing, a modern calligrapher, believes: "Ni Tiao's writing is cold and elegant, without losing the etiquette of Jin people. It has the style of Linxia, ??just like Yuanming (Tao Yuanming) in the poem, but it cannot be understood by carnivores." Ni Zan's handed down works There are "Sanyin Tie", "Yue Fazhou Tie", "Guest Poems", "Poetry Volume to Chen Weiyin", "Yu Suidu Zha", "Yu Liangchang Shihan", "Yu Shen Du Two Slips", " "Miscellaneous Poems" and many more.
Edit this collection of paintings by the four masters of Duan Yuan Dynasty
Wu Zhen's handed down works
"Picture of the Fisherman", "Picture of Two junipers in the distance", "Picture of Fishing on the Autumn River" "Picture", "Picture of Autumn Mountain", "Picture of Clear Shadow", etc.
Wang Meng's representative works handed down from generation to generation
"Residence in Qingbian" and "Studying in Spring Mountain" are collected by the Shanghai Museum; "Migration of Ge Zhichuan" is collected by the Palace Museum in Beijing; "Thatched Cottage in Qiu Shan" is collected by the National Palace Museum in Taipei Museum collection.
Huang Gongwang's handed down works
"Scroll of Nine Peaks with Snow", "Tianchi Stone Wall" (Collected by the Palace Museum, Beijing), "Mountain Dwelling" (Collected by Nanjing Museum), " "Fuchun Mountains" (Collected by Nanjing Museum), "Autumn Mountain Silence" (Shanghai Museum), "Fuchun Mountains" (Taipei National Palace Museum), "Fuchun Mountains", "Fairy Mountains for Zhang Boyu" (Collected by Shanghai Museum), "Picture of Jade Trees on Danya Cliff", etc.
Ni Zan's handed down works
"River Bank Looking at Mountains", "Bamboo Trees and Wild Rocks", "Streams and Mountains", "Six Gentlemen", "Water Bamboo Dwelling", "Pine Forest Pavilion Picture", "Lion Forest Picture" Volume, "Xilin Zen Room Picture", "Cold Pine Picture", "Autumn Forest Mountain Color Picture", "Spring Rain New Huang Picture", "Little Mountain Bamboo Tree Picture", "Rong "The Picture of the Knee Room", "The Picture of Xiu Bamboo", "The Picture of Purple Orchid Mountain House", "The Picture of Wu Bamboo and Beautiful Stones", "The Picture of Poems Written by Xinyan", etc. There are "Pictures of Bamboo Dwelling in the Water", "Picture of Rong Xi Zhai", "Picture of Autumn at Fishing Village", "Picture of Yushan Forest Valley", "Picture of Cold Pines in a Secluded Stream", "Picture of Beautiful Trees in Autumn Pavilion", "Picture of Strange Rocks and Coils". , "Bamboo Branch Picture" and other works handed down from generation to generation.
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Basic information
Book title: The Four Families of the Yuan Dynasty Author: Edited by Yang Jianfeng Publisher: Jiangxi Fine Arts Publishing House Publishing time: 2009- 4-1 ISBN: 9787807497387 Format: 16 format Price: 78.00 yuan
Introduction
In the Yuan Dynasty, complex ethnic conflicts created a unique cultural background. Han intellectuals were discriminated against politically and were depressed mentally. Therefore, many painters and scholars lived in seclusion and devoted themselves to nature in pursuit of the so-called orthodox spirit of "the unity of Brahman and me." It is this kind of detached life that allows them to often get close to nature and obtain subjects directly from nature, thus making their paintings more detached. The four Yuan painters were the most typical representatives of literati painters at that time. Their creative ideas, artistic pursuits, and styles all reflected the spiritual direction of the painting world at that time. The Four Yuan Schools mainly refer to Huang Gongwang, Wang Meng, Ni Zan, and Wu Zhen. Their painting styles all evolved from the landscape paintings of Dong Yuan of the Five Dynasties and Ju Ran of the Northern Song Dynasty. They were deeply influenced by Zhao Mengfu. They paid attention to pen and ink, advocated interest, and combined The integration of poetry and calligraphy into painting was the mainstream of literati landscape painting in the Yuan Dynasty, and had a huge influence on landscape painters of the Ming and Qing dynasties and even today.