Dong Qichang, a famous painter in Ming Dynasty, is known as the representative of Huating School. Calligraphy is unique in Jin and Tang dynasties, and landscape painting pays attention to ink skills and emphasizes freehand brushwork, which has a great influence on painting circles in the late Ming and early Qing dynasties.
Brief introduction of Dong Qichang
Dong Qichang (1555— 1636), a native of Huating, Songjiang (now Maqiao, Minhang District, Shanghai), was a painter and calligrapher in the Ming Dynasty. In the seventeenth year of Wanli, he was a scholar and was awarded editing by the Hanlin Academy. He became an official of Nanjing Ritual Department, and changed his name to "Wen Min" after his death. Dong Qichang is good at painting mountains and rivers, learning from Dong Yuan, Huang and Ni Zan, and his brushwork is delicate and neutral, quiet and elegant; Clean and bright with ink fragrance, gentle and plain; Green, simple and generous. He is an outstanding representative of Huating School of Painting and has the beauty of "Yan Gu Zhao Zi". His painting and painting theory had a great influence on the painting world in the late Ming and early Qing dynasties. Calligraphy in and out of the Jin and Tang dynasties, sui generis, can make poetry. Existing works include Rock House Map, Eight Scenes of Autumn in Dong Qichang in Ming Dynasty, Zhou Jintang Map, Pipa Travel, Poems in Cursive Script, and Jiang Yan's Postscript. He is the author of Essays on Painting Zen Rooms, Collected Works of Rong Tai, Notes on Xihongtang (Block Edition) and so on.
Dong Qichang's calligraphy and Dong Qichang's landscape painting.
Dong Qichang's calligraphy absorbed the essence of ancient calligraphy, but it did not imitate it deliberately, and it had the beauty of "Yan Gu Zhao Zi". Dong Qichang's calligraphy achievement is also very high. Dong's calligraphy attainments are the highest in cursive script, and he is also quite conceited about his regular script, especially small script. Although Dong Qichang was in the era of Zhao Meng and calligraphy, his calligraphy was not blindly influenced by these two calligraphy masters. His calligraphy combines the calligraphy styles of Jin, Tang, Song and Yuan, and forms its own system. His calligraphy style is elegant and ethereal, elegant and self-sufficient. He didn't leave a book, but his experience and opinions in practice and research are scattered in a large number of inscriptions and postscript. Dong Qichang's landscape paintings generally have two faces, one is ink painting or pale crimson painting, and the works with this face are more common; The other is turquoise, and it is rare to come out without bones. Dong Qichang pays special attention to the skill of using ink. Ink painting is good at splashing ink and cherishing ink. Shade, dry and wet are naturally harmonious, and there is not much pen and ink, but the artistic conception is far-reaching and the charm is endless. Dong Qichang's paintings emphasize freehand brushwork, which makes the beautiful landscape look a little stretched. Although the classification of landscape painting in Dong Qichang's On the Southern and Northern Dynasties provided a philosophical concept for later generations to analyze painting, he advocated that literati painting should be based on Zen, and emphasized the painter's moral cultivation and ideological realm, which had a negative impact on the development of Chinese painting. However, the theory of "southern and northern sects" has also contributed to the sectarian dispute in painting, which has obvious negative effects.