Ni Yunlin, a landscape painter in Yuan Dynasty, was addicted to cleanliness. His toilet is a castle in the air, with a lattice made of fragrant wood, filled with earth below and covered with white goose feathers in the middle. "If you go down, the goose feathers will cover it, and you won't smell foul air." Cleanliness is more cautious about sexual issues. Cleanliness and loneliness made this man not only angered the enemy, but also lost his friends. As revenge, there are many versions about the cause of his death. One said that he suffered from dysentery before his death, and he was "filthy and inaccessible", and he was thrown into the cesspit by Zhu Yuanzhang and drowned.
His Four Treasures of the Study has two servants who are in charge of the operation and scrub at any time. The buttonwood trees in the courtyard are also deadly, and they are washed with water every morning and evening. One day, a good friend of his visited and stayed at home for the night. I was afraid that my friends would be dirty, so I went to visit them three or four times overnight. Suddenly I heard my friend cough, so I was worried all night. When it was dawn, he ordered the servant to find out where his friend spit. The servant searched every corner and found no trace of phlegm. Afraid of being scolded, he had to find a leaf with a little dirty trace and send it to him, saying it was here. He glanced sideways, then closed his eyes in disgust, covered his nose and asked the servant to send it three miles away and throw it away.
Zhang Shixin, the younger brother of Zhang Shicheng, the "King of Wu", once sent someone to ask him to paint with a painting silk and gave him a lot of money. Ni Zan was furious and said, "Ni Zan can't be a painter of the King's Gate!" And tear the silk to refund the money. Unexpectedly, when I was boating in Taihu Lake one day, I met Zhang Shixin and was beaten up, but Ni Zan was speechless at that time. Someone asked him afterwards, and he replied, "It's vulgar to make a noise." Ni Zan once wrote a poem to describe his feelings: "White eyes look down on vulgar things, clear words bend to English, rich and full of feet, thinking about the name."
because he loves cleanliness too much, he seldom goes near women. But once, he suddenly took a fancy to a singer named Zhao, so he took her back to the villa for the night. But I was afraid that she was not clean, so I told her to take a good bath first, then go to bed, touch her feet from beginning to end, and smell them while touching them. I always felt that something was not clean, so I asked her to wash them again, touch them again and smell them again, but I was still worried and washed them again. Wash and wash, it's already dawn, so we have to do it. Later, he went to prison for some reason, but at dinner time, he asked the jailer to raise the bowl as high as his eyebrows. The jailer asked him why, and he said, "I'm afraid your spit will spray into the rice." The jailer was furious and locked him next to the toilet, only to be released after pleading.
There is a secret pavilion in Ni Zan, and others are not allowed to enter. And a white horse, take good care of it. Once his mother was ill, he begged Ge Xianweng to see a doctor, and Ge Xianweng asked for a white horse to pick him up. It was raining that day, and Ni Zan was a dutiful son, so he had to agree. The white horse in the rain made a mess. When he arrived at Ni's house, Ge Xianweng asked to visit the Qingmi Pavilion. Ni Zan had to agree. Ge Xianweng rummaged around in the Secret Pavilion, spitting everywhere. Ni Zan will never enter the Secret Pavilion again.
Ni himself is an eccentric person. When he stayed with Zou's family, Mr. Zou had a son-in-law named Jin Xuanbo who came to visit him this day. Ni Zan heard that Jin Xuanbo was a scholar and came out to meet him without even putting on his shoes. But when I saw that he was rude in speech and appearance, I was very angry and slapped him. Jin Xuanbo was ashamed and angry, and left without seeing Mr. Zou. When Mr. Zou came out, he blamed him very much. Ni Zan said: "Jin Xuanbo's face is disgusting and his words are tasteless. I scolded him!" Evaluation
Ni Zan's paintings created a generation of painting style of ink and wash landscapes, and he was also called "the four masters of Yuan Dynasty" with Huang Gongwang, Zhen Wu and Wang Meng. The painting is simple, the style is naive and quiet, and it wins with indifference. Most of his works draw mountains and rivers around Taihu Lake, and his composition takes the scenery of Pingyuan. He is good at drawing dead trees and bamboo and stone huts, and the scenery is extremely simple. Most of his paintings are polished with dry pen, and the pen and ink are extremely simple. The so-called "intentionally or unintentionally, if it is light, if it is sparse", it forms a school of desolation and depression. Among the four schools in Yuan Dynasty, Ni Zan enjoyed a high reputation in the eyes of the literati. Ming He Liangjun said, "Yunlin's official order is that there is no dust." In the Ming Dynasty, Jiangnan people divided elegance and vulgarity according to whether they collected his paintings or not. His painting practice and theoretical viewpoints have great influence on the painting circles in the Ming and Qing dynasties for hundreds of years. He was rated as one of the "Top Ten Painters in Ancient China" and listed as a world cultural celebrity by the Encyclopedia Britannica. Life
His grandfather was a big landlord in his hometown, rich in wealth, and in a rural area. My father died early, three brothers, and my half-brother Ni Zhaokui, Wen Guang, was an upper-class figure of Taoism at that time. He once "proclaimed the record of Changzhou Road", "mentioned something about Kaiyuan Palace on Hangzhou Road", "gave the name element to the Taoist mage to give advice to the host", and "specially gave the real person number, which is a pure and true person in metaphysical Chinese." Second brother (compatriot) Ni Ziying. In the Yuan Dynasty, the upper class of Taoism had a high status and various privileges. There was no pain of hard labor and taxation, and there was no fatigue of officialdom. Instead, there was an extra way to make money.
Ni Zan was raised by his eldest brother since childhood, and his life was extremely comfortable and carefree. Ni Zhaokui invited his countryman "real person" Wang Renfu as a tutor for him. Influenced and educated by such a family, Ni Zan developed his unusual attitude towards life, such as lofty and aloof, totally honest, not asking politics, unwilling to manage production, calling himself "lazy", also known as "Ni Yu", immersed in poetry and painting all the year round, which was quite different from the Confucian ideal of joining the WTO, so he became an official at the end of his life. The sex is clean, the towel is washed several times a day, and the trees in front and behind the house are often washed and wiped. There are thousands of books in the house, which are assigned by hand.
Although Ni Zan had a well-off family and a comfortable life in his youth, he did not get into the habit of being a playboy, and he held fast to his own study and accomplishment. At home, there is a three-story library "Qingyue Pavilion", which contains more than a thousand volumes of scriptures, history, books, collections, Buddhist scriptures and Taoist books. Ni Zan reads and writes poems upstairs every day. Besides carefully studying classics, he also dabbles in Buddhist and Taoist books. There are also famous calligraphy paintings in the Qing Dynasty in the Qing Dynasty Pavilion, such as Zhong You's Recommended Seasons Table in the Three Kingdoms, and Mi Fei's Haiyue Temple Map in the Song Dynasty. Ni Zan played with these masterpieces every morning and night, especially Dong Yuan's Xiaoxiang Map, Li Cheng's Maolin Yuanyao Map and Jing Hao's Qiushan Map, and devoted himself to copying and imitating their verve temperament. At the same time, he often goes out for sightseeing, and sees valuable scenery and things painted casually. He carefully observes various phenomena in nature and sketches carefully, and often comes back with a full picture. On the one hand, Ni Zan paid attention to the inheritance of traditional techniques, learned from the strengths of various schools and studied diligently, which laid a solid foundation for his later innovation in painting.
Thai was appointed for five years (1328), and his eldest brother, Ni Zhaokui, died suddenly. Subsequently, the mother Shao and the teacher Wang Renfu died one after another, which made Ni Zan sad. He used to rely on the privileges enjoyed by his eldest brother, and then he was ruined. Ni Zan became an ordinary Confucian, and his family economy became increasingly difficult. With a sad mood, he wrote poems on his own, detailing his painful environment at that time.
The 2-year period from the third year of Yuan Tianli (133) to the eleventh year of Zhengzheng (1351) is the maturity of Ni Zan's painting creation. During this period, Ni Zan had extensive communication, and most of his friends were monks, Taoist priests, poets and painters. Most of his poems are also sung with such people. Zhang Boyu, his best friend, is a famous Taoist priest, for whom Ni Zan has carefully drawn the Picture of Bamboo and Stone. Huang Gongwang, another famous painter whom he admired, was also a famous figure in Quanzhen religion of Neo-Taoism at that time. He was 32 years older than him because of his profound Taoism. Huang Gongwang once spent 1 years painting "Jiangshan Shenglan Map" for Ni Zan, which is more than 2 feet long. It is one of the masterpieces of Huang's pale red landscape, and the title of the picture scroll is Zhizheng Wuzi (1348); Ni Zan was 48 years old. At this time, he began to believe in Taoism (Quanzhen religion), and developed a lonely and secluded character, escaping from the reality of the world, which was also reflected in his paintings, and his works showed a desolate, simple, quiet and sparse intention.
During the 2 years from the 13th year of Yuan Zhizheng (1353) to his death, Ni Zan wandered around Taihu Lake. His whereabouts are uncertain, and he has traveled all over Jiangyin, Yixing, Changzhou, Wujiang, Huzhou, Jiaxing and Songjiang, entertaining himself with poems and paintings. This period is also the heyday of Ni Zan's painting. He carefully observed the beautiful scenery of Taihu Lake, understood its characteristics, concentrated, refined and summarized it, and created a new composition form and new brush and ink techniques, thus gradually forming a new artistic style. The works are characterized by distinctive personality, strange brushwork and simple drawing, close-up of a vein of soil slope, three or five trees planted next to it, one or two thatched cottages, blank in the middle to show the beautiful lake waves and clear sky, and faint mountains in the distance. The picture is quiet and serene, and the realm is far-reaching. This style is unprecedented. At this stage, Ni Zan created the Pavilion of Pine Forest (1354), Qiuji Map of Fishing Village (1355), Ruo Map of Strange Rocks (136), Remote Cen Map of Tingshu (1363), Autumn Color Map on the River (1368) and Autumn Color Map on the River.
In the 23rd year of Yuan Zhizheng (1363), on September 18th (October 25th), his wife Jiang died of illness, and Ni Zan suffered a great blow. The eldest son died early, and the second son was unfilial. The more lonely he felt in life, the more depressed he was, and he was at a loss. In the early Ming Dynasty, Zhu Yuanzhang once called Ni Zan to work in Beijing, but he refused to go. In the fifth year of Ming Hongwu (1372), on May 27th (June 28th), he wrote the poem "Tiyan Zhenwu", which said that he was unwilling to be an official. He wrote only the year of Jiazi in the poems and books on the painting, and did not need the year of Hongwu formation. Achievements
Painting
Ni Zan is good at landscapes, bamboo stones, dead wood, etc. Among them, he used a typical technique-folding and banding in landscape painting, and was a representative painter of Nanzong landscape painting in Yuan Dynasty. His works are mainly paper-based ink and wash. His landscape teachers, Dong Yuan, Jing Hao, Guan Tong and Li Cheng, developed them, and their paintings were simple and simple, and their styles were naive and quiet. Most of the works draw mountains and rivers around Taihu Lake, with flat composition and simple scenery, mostly for sparse forest slopes and shallow water. With a pen, the center is changed into a flank, and the mountains and rocks are painted in a zigzag way. The pen is dry and ink is elegant and loose, and the artistic conception is desolate and empty. The style is simple and elegant, simple and complex, small and big, lonely outside and connotative. He is also good at painting ink bamboo, and his style is "elegant" and he is thin and open. There are many poems in the painting. Because of his conciseness, his paintings have been faked for many years, but it is not easy to imitate their depressed and indifferent temperament. In Ni Zan's painting theory, he advocates expressing subjective feelings, and thinks that painting should show the author's "escape from the chest" and not seek the shape ("the so-called painter of a servant is just careless, not seeking the shape, talking to entertain himself"). History of painting called him Yuan Sijia with Huang Gongwang, Zhen Wu and Wang Meng. In the Ming and Qing Dynasties, Dong Qichang and others admired him and often put him above the other three. Ming He Liangjun said, "Yunlin Shuda ordered that there was no dust." Wang Mian's "Send Yang Yifu to Visit Yunlin" said that Ni Zan "filled the house with toothpicks and Japanese books, and colored pens filled the floor with Cigarette Cards".
Ni Zan was the most influential painter in the Yuan Dynasty. His simple and simple landscape painting style was sought after by masters in the Ming and Qing Dynasties, such as Dong Qichang and Shi Tao, who cited him as the originator. Shi Tao's calligraphy paintings were based on Ni Zan in spirit and style. Ni Zan is also a calligrapher who takes retro as the banner and pursues artistic individualization. Like Zhang Yu and Yang Weizhen, he belongs to this era and does not belong to this era. This is the transcendental value of art to the era.
Jiangnan people in the Ming Dynasty distinguished elegance and vulgarity according to whether they collected his paintings or not. His painting practice and theoretical viewpoints had a great influence on the painting circles in the Ming and Qing Dynasties, and he was still rated as "one of the top ten painters in ancient China" and listed as a world cultural celebrity by the Encyclopedia Britannica.
The paintings include: Mountain View on the Riverbank, Bamboo Trees and Wild Stones, Xishan Mountain, Six Scholars, Water Bamboo Residence, Pine Pavilion, Lion Forest, Xilin Zen Room, Cold Pine in a secluded stream, Lin Qiu Mountain Color, Spring Rain and New Moon, and Small Mangosteen Tree. There are Water Bamboo Residence Map, Knee-tolerant Zhai Map, Fish Village Autumn Ji Map, Yushan Forest Valley Map, You Jian Han Song Map, Qiu Ting Jia Shu Map, Strange Stone Cluster Map, Bamboo Branch Map, Xishan Fairy Hall, Frost Forest Turbulent Stone and so on.
Calligraphy
Ni Zan is good at regular script calligraphy. As a master rhymer in the wild, his calligraphy is a Zen master, and he travels all over the world. With the charm of ice and snow, he writes his unique style of simplicity, simplicity and simplicity. Xu Weiyun: "Jun Shu entered from Li, and he was reborn in Zhong You's" Recommended Season Straight Table ",which is ancient and charming, dense and sparse." Ni Zan really achieved both "seclusion" and "escape", and his books are vigorous and exquisite, but also straightforward and simple. No wonder later generations call him "Ni Gaoshi". Wen Zhiming and Dong Qichang both highly praised his calligraphy. Wen Zhiming commented: "Mr. Ni has a high personality, and his enthusiasm has the ethos of Jin and Song Dynasties." Dong Qichang commented: "Old and naive, Mi Chi (that is, Mi Fei) is only one person behind." Compared with Geshou Tiexue, Ni Zan's calligraphy is totally different in style, which inevitably attracts criticism. Such as Xiang Mu accused Ni Zan of being bitter and shabby when he wrote. Even in the year of Lao Peng, there will be no good in the end. "
Li Ruiqing, a modern calligrapher, thinks: "Ni Yu's book is cold and barren, which does not lose the momentum of Jin people, and has a disadvantage in the forest, such as Tao Yuanming in the poem, but it is not explained by meat eaters." Ni Zan's works handed down from generation to generation include Three Stamps, Boat Posting at the Beginning of the Month, Poem Posting in a Guest House, Poem Volume to Chen Weiyin, Poem Writing with the Rate, Poem Writing with Liang Chang, Two Simple Notes with Caution, Miscellaneous Poem Posting, etc. Ni Zan's poems grieve over the past events in Mo Wen and return to Yuewangtai. The partridge bird cries, the east wind blows to the beginning green wane, the sun Zhongshan flower opens. I am melancholy to go to the sky alone, the mountains are still, the old country is not in, everywhere is full of trees full of moss, a desolate. The bright moon on the head, soft and bright, still shining over the previous dynasty, but where did it come from? -Yuan Dynasty Ni Zan's "Full Moon, Sad Mo Wen's Past Events"
Full Moon, Sad Mo Wen's Past Events
In Yuan Dynasty, Ni Zan's ode to history, nostalgia for the past, autumn wind, and orchid flowers turned into flowers, and the desolation of the South China has disappeared. Only the south heart does not change, tears and ink write "Li Sao". -Ni Zan in the Yuan Dynasty titled Zheng Suonan Lan
Zheng Suonan Lan
Ni Zan in the Yuan Dynasty? Red crow, apricot blossom message in the rain. I feel the dream of Yangzhou for ten years, and the spring water is empty. The wild goose wave cold writes to trace, leaving sorrow heavy, Nanpu goes to the clouds to send. Ice string jade column, playing against the east wind. -the yuan dynasty, Ni Zan "double tune before the house _? Red crow, apricot
Double-tune sex before the palace _? Tihong, Apricot
See more Ni Zan's poems in Ni Zan in Yuan Dynasty > >