In the seventeenth year of Chongzhen (1644), the Ming Dynasty perished, and Manchu and Guizhou nobles entered the customs to rule the whole country. Badashan was nineteen years old. Shortly after his father died, he was extremely depressed and indignant. He pretended to be deaf and lived in seclusion in Shan Ye to save himself. A strange sign can often be seen in Badashan people's paintings, which seems to be a symbol of cranes. In fact, it is composed of the words "March 19th" to express deep nostalgia for the old country (March 19th in Shen Jia was the day when the Ming Dynasty perished).
In the fifth year of Shunzhi (1648), his wife died, and Badashan people became monks with their mother and brother and shaved their hair to Gengxiang Temple in Fengxin County. Since then, they have changed their name to Brother Xue. At the age of 24, I became a mountain and a mountain donkey. Ten years of Shunzhi (1653), Badashan was 28 years old. He married his mother to Hongya Temple in Xinjian County, where he was ordained as a teacher, lived in the mountain to give lectures, and followed more than 100 people to learn dharma. According to research, Badashan people have been living with their mother and brother near Jinsheng, outside the Fuzhou Gate in Nanchang, from the age of 28 to 36. At that time, there were many teahouses and hotels, and working people lived together. Badashan people live in poverty, unkempt and wandering here. I have always liked drinking, but I am not satisfied and often get drunk. I spent a lot of money and a dozen pictures when I was drunk. Monks, poor people, butchers and sellers on the mountain asked him for paintings, and they gave them generously at any time.
When Badashan people were 36 years old, they wanted to "find a self-existence" and found the Tianning view in the suburbs of Nanchang. This year, he rebuilt Tianning Temple and renamed it "Qingyun Garden". The word "Qingyun" comes from the Taoist myth "always driving down Qingyun". There is also a saying that "flying swords are inserted into the ground and laurel trees are planted to stipulate the old inheritance", which is also the origin of the existing Haitang laurel. In the 20th year of Jiaqing in Qing Dynasty (18 15), Dai, the top scholar, renamed "Pu" to show the spectrum of "Qingyun" and renamed it "Qingyunpu Scenic Resort Scenic Area" from then on. Qingyunpu Scenic Resort Scenic Area was once a Taoist temple with a long history. According to legend, more than 2,500 years ago, Prince Jin (son) came here to make an alchemy and build a Dojo, which made him an immortal. In the Western Han Dynasty, Nanchang County ordered Mei Fu to abandon his official position here and later built Meixian Temple. In Jin Dynasty, Xu Xun Water Conservancy also opened a Dojo here, founded Jingmingjiao and changed its name to Taiji View. From then on, Taoism was formally formed, belonging to Jingmingdao. In the fifth year of Emperor Taizong (83 1), Zhou Xun, the secretariat of the Tang Dynasty, changed his name to "Taiyiguan". In the second year of Song Dynasty (1055), it was named Tianningguan. In the eighteenth year of Shunzhi in Qing Dynasty (166 1), Badashan people came here to pay tribute to the remains of the sages and appreciate the mountains and rivers here, so they rebuilt the original Taoist temple and renamed it "Qingyun Garden". Since then, Badashan people have become the founders of Qingyun Garden. Later generations also set up the memorial tablet of "Zhengkaishanzudao Lang Nuo". Liang Yuewen didn't. Zhu Zhenren from Badashan ".
Between the ages of 36 and 38, the Eighth National Congress of the Communist Party of China traveled between Nanchang City and Qingyunpu Scenic Resort Scenic Area, and the reconstruction of Qingyunpu Scenic Resort Scenic Area was presided over by his brother Zhu. Badashan people officially settled in Qingyunpu Scenic Resort Scenic Area, with about 39 to 62 people. He has painstakingly managed this temple for more than twenty years. After being a Buddhist for 13 years, Badashan people became the founder of a Taoist temple. His life as a monk was not mainly for religious belief, but to escape the political persecution of Manchu nobles in the Qing Dynasty to the imperial clan of the Ming Dynasty, so as to hide and preserve himself.
At the age of 60, Badashanren began to paint with poems signed by Badashanren. When he pays money, he often connects the words "Badashanren" together, as if they were words like "crying" and "laughing" to express his distress. His younger brother Zhu, named, is also a painter. His style is similar to Naixiong's, but he is also uninhibited. His calligraphy and painting is signed by Niu Shihui, and these three words are written together in cursive, which is very similar to the word "Do you want to worship the monarch", expressing the feeling of never giving in to Manchu. At the beginning of the signature, the two brothers took apart the Chinese characters, one is the word "Niu" and the other is the word "Eight". This anonymity is well-intentioned.
Badashan people lived in Zhu Bei Temple and Fukenji in Nanchang in their later years. Lian Xue, a monk friend, is the abbot of Zhu Bei Temple and has a deep friendship with Badashan people. Lian Xue is also good at calligraphy and has a stubborn personality. Later, he was angry with Fang E, the magistrate of Xinjian County, saying that he was "crazy" and was arrested and died in prison. After Lian Xue's death, Zhu Bei Temple was quickly destroyed. During this period, Badashan people went out to travel, visited friends and painted a lot. This is a prosperous time created by Badashan people. Finally, a thatched cottage named "Song Caotang" was built on Chaowangzhou, a suburb of Nanchang. Ye Zhou, a poet at that time, once wrote a poem "Badashanren", describing his life here. The poem reads as follows: "One room () is full of dust, Artemisia is dark, poems and paintings enter Zen, but the world has escaped fame, the remnant mountain has left water, the old merchants are loyal, and the melons and people are scattered."
Badashan people spent his lonely and poor old age in this hut until his death. It is said that Badashan people were buried in Yaowan, a suburb of Nanchang, and went to Yingjiashan. However, when the tomb was moved after liberation, only some rotten wooden nails were found, but no bones were found, which may be his clothes (). Niu Shihui's tomb is in South General Mountain, a scenic spot in Qingyunpu Scenic Resort. There is a jar of ashes in the grave. After liberation, it was moved and buried in Tuzhu Mountain, a scenic spot in Qingyunpu Scenic Resort. According to the records of Xinxian annals and Xishan annals, the tomb of Badashan people is located 30 miles northwest of the county seat, namely the Hou Ling area of Xishan Huangxi Commune. It is difficult to find the exact location of the grave.
Badashanren was one of the "Four Great Painting Monks" (Shi Tao, Shi () and Jian Jiang) in the early Qing Dynasty, and was famous for a large number of freehand brushwork paintings, especially flower-and-bird paintings. His paintings are natural and novel; Learn from the ancients, but don't stick to the ancient laws; Pen and ink are concise, and less wins more. He expressed his dissatisfaction and indignation with Manchu aristocratic rulers through flowers and birds, wood and bamboo, and landscapes, showing a stubborn and arrogant character. So he drew a bird with a bulging belly and a glaring fish; Still residual mountains and water, old trees and dead branches; Or a beast with its head held high, a solitary bird with its wings flapping; Or a dry pond, standing residue, with lively fish and vivid flowers. It is a metaphor for oneself and a symbol of life. It has reached the realm of simplicity and form, and made full use of the unique traditional techniques of China's painting art. The famous painter Zheng Banqiao praised Badashanren's paintings and said, "Painting Qian Qian horizontally and vertically, no more ink spots, more tears."
It is said that Badashan people used to have several volumes of poetry, which were hidden in the secret realm. However, from the perspective of the poems handed down from generation to generation, most of them use obscure techniques, which contain nostalgia for the old country and ridicule for the Manchu nobles and their minions.
As his poem "Peacock Map" wrote:
"Peacock bright flowers and rain bamboo screen, bamboo is slightly stronger and half ink is generated;
How to say three ears is just sitting on the second watch every spring. "
The upper part of this painting is a stone wall, and there are several drooping bamboo leaves and two withered peony flowers at the bottom of the stone wall; The lower part is a smooth stone with a big top and a sharp bottom. There are two ugly peacocks squatting on the stone, and three broken feathers are dragged at the tail of the peacock. This is an ugly act of peacock mocking the civil and military bureaucrats of Ming Dynasty for falling to Qing Dynasty and kneeling down to the Lord of Qing Dynasty for glory. They wear work hats with three eyes and feathers, just like a monitor with three ears. They went to wait for the emperor to go to court. But the peacocks are squatting on a smooth and unstable stone, as if the Qing regime could collapse at any time. Badashan people use these profound paintings and obscure poems to cooperate tacitly and achieve the ultimate in irony. His flower-and-bird painting is actually a political satire, in which poetry is intended to be outside the painting, and its composition is peculiar, which has always been praised and appreciated by people.
Badashanren's calligraphy art and seal cutting also have his unique style. He tried to absorb the excellent traditions of calligraphers of past dynasties and created a beautiful, straight, chic and heroic artistic style written with bald pen. He is also a master of calligraphy in China. His seal cutting seal is simple in shape, vigorous in description, profound in meaning and unique in style.
Badashanren's painting art has a great influence in China painting circle. For more than 300 years, famous freehand brushwork painters have been influenced by him to varying degrees, such as "Eight Eccentrics of Yangzhou" in Qianlong period of Qing Dynasty, Wu Changshuo in late Qing Dynasty and Qi Baishi in modern times. Badashanren deserves to be a master among the ancient painters in China and a master of freehand brushwork painters since the Yuan and Ming Dynasties.
He was born in 1626 and died in 1705. He is a descendant of Zhu Quan, the royal family of Jiangning in Ming Dynasty, and the ninth grandson. /kloc-when I was 0/9 years old, my country was ruined and my mood was sad. He pretended to be deaf and dumb, put a big dumb word on the door and didn't talk to anyone. At the age of 23, he became a monk in Fengxin Mountain. Due to the long-term accumulation of anxiety and depression, he suffered from madness.
Badashan people have many characters, names and aliases. His real name is Tong, also known as Badashanren, Xuege, Geshan, Geshan Donkey, Renwu, etc. Later, he was a Taoist priest, who lived in Table Cloud Spectrum. After entering the Qing Dynasty, he remained anonymous. He cut his hair and became a monk. He took the Dhamma name and handed it down. At the age of 55, he used the word blade in Geng Jia, Kangxi (1680). It began to snow at 4 1 year old, and it was used at 55 years old. The first time I saw No.1 Mountain was at the age of 46, and until I was 59, he still had the equal sign of donkey, donkey house and human house. Donkey money was first seen at the age of 56 and at the latest at the age of 58. Man's house and donkey's house are used at the same time. Before the age of 60, the characters used were Yi Fa, Diandian, Han Chun, Yi Xueheng, Liefu and Hongxuan. Zhu Da is a monk's name, and "dang" is a vulgar word for "donkey". As for the name "Benevolence in Badashan", he chose it after he abandoned the monk and turned to the common customs. From the age of 59 until his death at the age of 80, all the previous words were abandoned. The book "Badashanren" has profound implications. The Eighth National Congress of the Communist Party of China is closely related to Ren Shan, that is, "crying and laughing" is his hidden meaning. He has a poem "Laughter and crying are spreading" to express the feelings of national destruction and danger.
Badashan people are good at painting landscapes and flowers and birds. His paintings are unrestrained, irregular, vigorous and beautiful, full of escape, and the composition is incomplete but complete. His "one flower, one bird" lies not in quantity and size, but in the position and momentum in the layout. And whether it is used in a timely, surprising and ingenious way. This is his "win-win" method. If the layout of the painting is flawed, sometimes books and clouds are used to fill its meaning. Badashan people can write poems and have exquisite calligraphy, so even though his paintings are not many, with his poems, the artistic conception is enough, and his paintings make people feel small and numerous, which is the artistic ingenuity.
Most of his landscape paintings are ink and wash, and the patriarchal clan system is Dong Qichang, with Huang, Ni Zan and Dong Qichang painting landscapes. However, there is no elegant, peaceful, clean and elegant style. Instead, he was lonely and desolate, revealing a strong and simple atmosphere in the desolate realm, reflecting his lonely and angry mood and determined character. His ink is different from Dong Qichang's, Dong Qichang's light ink can moisten Ming Jie, and Badashanren's dry grinding can moisten Ming Jie. Therefore, the paintings are all "unrestrained". Badashan people are different from others, and they are all "moist". Badashan people are different from others. A painter's artistic expression can be different from that of his predecessors, but it also lags behind others.
His flower-and-bird paintings are particularly outstanding and have the most personality. Most of his paintings are lyrical, expressing meaning by symbolic means, personalizing the image and pinning feelings. Such as fish and birds, once made the expression of "staring at people with white eyes" to express cynicism. His flower-and-bird painting style can be divided into three periods. Becoming a monk before the age of 50 is a relatively early period. He spent a lot of money on Biography, Personal, Donkey, and Human Bookstore. He painted more fruits and vegetables, flowers and pine plums, most of which were books. The picture is more exquisite and powerful. From the age of 50 to 65, the painting style gradually changed, and I like to paint fish, birds, grass insects and animals. The image is exaggerated, and the mouths and eyes of birds and animals are mostly square, with oval faces, large and small, and are on the verge of extinction. A bird lives with one foot and hangs with the other. After the age of 65, it will be late, and the art will become more and more mature. The brushwork became Park Mao Xiongwei, and the shape was extremely exaggerated. Fish and birds' eyes turn around a little, and their eyes lean against the rim of their eyes, looking like "supercilious" Some birds he painted seem to be stubborn. Even if there is not much pen and ink, they show the feathers of birds, which makes people feel untouchable and fly at the touch. Some birds shrink their necks with their fists and feet, which are both bullying and afraid of hard work, and are also concise in composition and pen and ink. These images are undoubtedly the portrayal of the painter himself, that is, "the song of grief and indignation, worrying about the country and the people, expressing one's feelings with pen and ink." He wrote in a poem about Huang Shanshui: "Guo Jiayun is small, but Dong Laoma has many trees. People can understand if they want to see pictures. Yifeng is still with Song. Show his national consciousness.
Badashanren's paintings had little influence at that time. Only Niu Shihui and Wan Wan spread the dharma, but they had a far-reaching influence on later paintings. His artistic achievements are mainly unconventional and created by himself. His freehand brushwork is different from Xu Wei's bold and unconstrained, and Badashan people's rigor can be released. The Eight Eccentrics in Yangzhou in the middle of Qing Dynasty, the Shanghai School in the later period and modern masters such as Qi Baishi, Zhang Daqian, Pan Tianshou and Li Kuchan were all influenced by it.