Who are the "Four Monks in the Early Qing Dynasty" talking about? What artistic achievements did the "Four Monks in the Early Qing Dynasty" have? I will provide you with detailed relevant content.
Speaking of the Four Monks of the Qing Dynasty, many people probably don’t know about them. In fact, the reason is relatively simple. It’s just that these few people are not famous, but in fact, these few people are very, very powerful. People who really understand them. You will know that they are still very powerful. Recently, many people have asked, wanting to know who these four monks in the early Qing Dynasty are and how to pronounce their names. Let’s continue to analyze and reveal the secrets!
The four monks in the early Qing Dynasty were: "Yuanji, Zhu Da, Kuncan, and Jianjiang". In fact, Yuanji and Jianjiang are relatively easy to recognize, but how do you pronounce the word "耷" in "Zhu Da"? Actually Don't make a mistake when pronouncing "[dā]". The last word is "kun can", which is more difficult to pronounce. So what do you pronounce? In fact, when pronouncing "[kūn]", it is also pronounced. I think everyone will It’s quite difficult to recognize all the words and everything.
Introduction to the Four Monks in the Early Qing Dynasty
Zhu Da
Bada Shanren (1626-1705), native of Nanchang, Ming Dynasty Descendants of Ning Wang Zhu Quan.
When Zhu Da was in his teens, the Ming Dynasty was destroyed and the Qing Dynasty was established. The destruction of his country and his family dealt a heavy blow to him. At that time, the Qing Dynasty adopted a high-pressure policy against the Ming Dynasty clan, forcing Bada Shanren to go to Gengxiang Yuan in Fengxin County to officially become a monk at the age of 23, "living in seclusion in Xinshan, and keeping all earthly affairs in the dark". In this temple, Bada Shanren spent a long time meditating on Zen and enlightening the Tao, listening to bells in the morning and drums in the evening. In the early years of Kangxi's reign in the Qing Dynasty, Bada Shanren left Fengxin and came to live in seclusion in Qingyun Pu Taoist Temple, where they cultivated Taoism and created calligraphy and paintings. At the age of sixty-two, he handed over the Taoist temple to his disciples and left Qingyun Pu to build the "Sleeping Thatched Cottage" near Fuhe Bridge in Nanchang. He spent his late eighties in artistic creation. In the early winter of the 44th year of Kangxi's reign, he died of illness in the "Sleeping Thatched Cottage".
No. Bada Shanren, Xue Ge, etc. He was loyal to the Ming Dynasty throughout his life. He regarded himself as a survivor of the Ming Dynasty and refused to cooperate with the Qing Dynasty. His works often use symbolic techniques to express his feelings, such as painting fish, ducks, birds, etc., all of which have their eyes turned to the sky, full of stubbornness. This image is a reflection of Zhu Da's own mentality. When painting landscapes, most of them take desolate, cold and desolate scenery, leaving mountains and rivers, and the feeling of admiration overflows on the paper. It can be said that "there are not many ink dots and many teardrops, the mountains and rivers are still the old mountains and rivers", "I want to see the people of the time interpret the pictures, and a peak "He also wrote about the mountains and rivers of the Song Dynasty." It can be seen that Zhu Da attached great importance to painting and expressed his attachment to the old dynasty through calligraphy and painting. Zhu Da's calligraphy is characterized by his unbridled and unbridled style, which is vigorous, round, graceful and elegant. Whether in large paintings or small pieces, he has a simple, smooth, clear and healthy style. The composition and structure are unconventional and seek to be complete despite incompleteness. Zhu Da's paintings had a great influence on later generations.
Also known as Xuege, Geshange, Renwu, Ren'an, Shunian, Heyuan Geshan Donkey Han, Donkeywu, Chuanqi, Badashanren, the seventeenth son of Mingning Wang Yuanzhang of Jiangxi The ninth grandson of Ningxian King Zhu Quan, his father's name is Chixian. He is mute and unable to speak. He is a famous contemporary calligrapher and painter. His grandfather's name was Duogang and his courtesy name was Zhenji. He was a painter of landscapes, flowers and birds, and good at calligraphy. He had six sons. The sixth son, Zhu Mou, was a painter of landscapes, flowers and birds at that time, and was probably the father of Zhu Da. Bada Shankou eats, and in his inscriptions, his name often says "Xiangru eats". Bada Shanren was both a monk and a Taoist priest. His Taoist name was Zhu Daoming. He was a woodcutter named Liangyue and Poyun. He was a calligrapher and painter from Tomorrow to the Kangxi period of the Qing Dynasty. ICBC is good at landscapes, flowers, birds, bamboo and wood.
Shi Tao
Shi Tao (1630-1724), one of the "Four Great Monks" in the late Ming and early Qing dynasties. Chinese Qing Dynasty painter. Monk. My real surname is Zhu, my given name is Ruoji, and my nickname is Achang. After I became a monk, I changed my name to Yuanji, Chaoji, Yuanji, and Daoji. I called myself the Balsam Pear Monk. When I was traveling in Nanjing, I got a long pole. Because of the old man under the branch, I named him separately. Ah Chang, blunt root, is a mountain passer, Jishan monk, Shi Taoist, Yizhige. He has many nicknames, including Dadizi, a descendant of Qingxiang, a Chenren of Qingxiang, a descendant of Jingjiang, the old man of Qingxiang, the late No. Blind Venerable, Lingding Old Man, etc. The tenth grandson of King Zhanyi of Jingjiang of the Ming Dynasty, he was originally from Guilin, Guangxi and a native of Quanzhou, Guangxi.
When Shi Tao was young, he was taken away by eunuchs and became a monk. His Buddhist name was Yuan Ji, and his courtesy name was Shi Tao. His nicknames include Dadizi, Old Man Qingxiang, Monk Bitter Melon, Venerable Blind, etc. He once worshiped the famous monk Lv'an as his teacher this month, and he was happy in nature. Wandering, he visited Jingting Mountain, Huangshan Mountain, Nanjing, Yangzhou and other places many times, and lived in Yangzhou in his later years. He not only suffered from the loss of his country and his family, but also knelt down twice to greet Emperor Kangxi. He also had many contacts with the upper echelons of the Qing Dynasty, and was full of contradictions in his heart. Shi Tao is good at poetry and calligraphy. He is good at painting landscapes and also works on orchids and bamboos. His landscape painting is not limited to learning from a certain school or school, but extensively follows the masters of painters of all ages, transforming traditional brush and ink techniques, and also pays attention to learning from nature, absorbing creative sources from nature, and perfecting expression techniques. The brushwork of the works is smooth and dignified, soft and clumsy, especially moss-spotted, densely packed, split and covered, rich and colorful; the ink is thick and light, dry and wet, or simple and light, or thick and moist, hearty and full of changes; the composition is novel, Either the panoramic scene is grand, or the local close-up, the scenery is prominent and ever-changing. The painting style is novel and strange, vigorous and unbridled, arranged vertically and horizontally, and full of life. His flowers, birds, orchids, and bamboos are also free from formal conventions and express his own thoughts. His brushwork is sharp, sharp, dripping, and full of personality. Shi Tao's paintings were famous in the world at that time. Because he visited famous mountains and rivers and "searched all the strange peaks to make drafts", he formed his own unique style of lush and unbridled paintings. Shi Tao is good at using ink techniques, using both dry and wet, thick and light. He especially likes to use wet brushes. Through the penetration of ink and the blending of brush and ink, he can express the dense atmosphere and profound state of mountains and rivers. Sometimes the ink is very thick, the ink is dripping, and the sense of space is strong. Technically, he is flexible with his pen. Either outline with fine strokes and rarely scratch; or outline with thick lines and use both scratches and dots. Sometimes the strokes are smooth and smooth, and sometimes the strokes are square and clumsy. The square and the circle are combined, elegance and clumsy complement each other.
Kuncan
His common surname is Liu, his courtesy name is Shixi, and his nickname is Baitu. He is a native of Wuling, Huguang (now Changde, Hunan). He is named Shixi, so he is the same as Shi Tao. Called "Two Stones". He also became a monk during the "Jiashen Incident" (the day when Chongzhen hanged himself). Kun Can is a strong-minded person and is respected by the world. He is capable of all kinds of paintings, including figures, flowers, birds, and landscapes, but landscapes are his most exquisite. The "Strata of Rocks and Gorges" he painted has complex scenery and deep layers, giving the viewer a sense of being able to swim and live. His works seek wonder from the ordinary, with a dignified and profound style. He left few surviving works. It is difficult to determine when Kun Can started painting. Today we see that Kuncan's earliest work is the "Landscape" scroll created in the 14th year of Shunzhi in the Qing Dynasty (1657), and his painting style has matured. There were no paintings for the next two years. However, in the 17th year of Shunzhi (1660) of the Qing Dynasty, the number of handed down works suddenly increased. By the 6th year of Kangxi (1667) of the Qing Dynasty, he reached his peak period of creation. Most of Kun Can's works seen today are from this period. creation. How did he become associated with painting? According to his own account: "The disabled monk didn't know painting at all, but he realized these six methods after sitting in meditation." He also said: "The four masters of Jing, Guan, Dong, and Ju got his heart. Fa Wei Ju Ran is one person. The great masters are comparable to those before him, but he thinks that I can't follow suit. He then resumes his meditation and has the ambition to get involved. "It can be seen that he started painting after he became a monk, and he deliberately followed the monk Ju Ran. As for his sudden surge in creative enthusiasm, it is closely related to his association with Cheng Zhengkui.
Hongren
His common name is Jiangfang, and his courtesy name is Oumeng. He is a native of She County, Huizhou (now part of Anhui). After the fall of the Ming Dynasty, he entered Wuyi Mountain and became a monk. He often traveled to famous places and traveled between Huangshan Mountain and Baiyue Mountain. He is an important figure in Anhui's "Xin'an School" because he specializes in painting Huangshan. His works include "Huangshan Tiandu Picture", "Inner Sea Pine and Stone Picture", "Spring Washing Inkstone Picture", etc. Among the "four monks", only Hongren had paintings before he became a monk. His earliest works include the "Residence in the Autumn Mountains" fan created in the seventh year of Chongzhen in the Ming Dynasty (1634) and the "Gangling Picture" volume created in the twelfth year of Chongzhen in the Ming Dynasty (1639), both signed "Jiang Tao". "Gangling Picture" was created by five Xin'an painters, each of whom created it independently. The brushwork and structure of Hongren's work refer to Ni Zan and Huang Gongwang, which are elegant and lovely. At that time, Hongren was the youngest among the five, only 30 years old. Because he painted too seriously, his brushwork was a bit reserved and weak.