"Bamboo and Stone Pictures", Qing Dynasty, Zheng Banqiao, ink on paper, length 217.4 cm, width 120.6 cm, now in the Shanghai Museum.
Appreciation of Famous Paintings
"Bamboo and Stone Picture" is a painting of bamboo in the courtyard by the Qing Dynasty painter Zheng Xie when he was 62 years old. The thin and hard long folded belts outline the hard and sharp stone texture, which is extremely varied and full of charm. In front of the stone, there are two or three branches of strong and tall new bamboos, which echo and echo each other. They are written in a simple painting method of "the redundant and complex are cut away, leaving the thin". This is Zheng Banqiao's typical style. The whole picture is simple and bright, with clear bamboos and beautiful rocks, handsome momentum, solemn wind and spirit, and has the feeling of standing proudly and arrogantly. Zheng Banqiao's bamboo painting focuses on "simplicity and thinness". In this painting, he outlines the abrupt rocks with simple and vigorous strokes, and uses a small ax to chop wrinkles on the folds of the entire hard and thin stone, creating a rough and rugged look. Although the bamboo poles are thin but not weak, the bamboo leaves are few and plump, and there is no lack of verdure and richness. One bamboo pole towers up to the sky, while the other bamboos are intertwined and mixed, with virtual and solid, thick and light, high and low, far and near echoing each other, creating a sense of aloofness among the interesting things. gas.
The inscription on the painting directly expresses his thoughts, and the inscription goes: "In the past, lay people from Dongpo used dead trees to make ancient wood, bamboo and stone, but without bamboo, which made them look gloomy and colorless. The rest of the bamboo and stone were not taken from dead wood; When I want to paint bamboo, bamboo is the main part and stone is the supplement. Today, the stone is larger than the bamboo, and it is out of the ordinary; I don’t adhere to the ancient methods, don’t stick to my own opinions, and just keep living..." He clearly expressed himself His creative thoughts: first of all, the painting should not fall behind the predecessors' stereotypes, and he should not just follow the ancients, but should not imitate the ancients. He advocates "imitating his ideas but not his traces", "but the charm of the Song and Yuan Dynasties is still there, why should he paint a gourd based on the same pattern"; secondly, the creation Don't stick to the old rules, don't be afraid to go out of your way, and pursue new expression techniques; moreover, don't be superstitious about ancient methods in creation, don't be stubborn, and be "living". In short, "The intention lies first in the writing, which is the rule; the interest which lies outside the law, it is the turning of the machine. It is like painting alone." From "bamboo in the eye" to "bamboo in the heart", and then to "bamboo in the hand" It is the process of processing, refining, summarizing and improving from life image to artistic image. "The intention comes first" is a rule that must be followed, and only by flexible use of methods can we create vivid and touching artistic images.
Zheng Banqiao's "Bamboo and Stone Picture"
In this "Bamboo and Stone Picture", Zheng Banqiao painted the bamboos to be thin and tall, standing tall and straight into the sky. Each leaf has a Different expressions and watery ink colors vividly represent the texture of bamboo, and the slender and rustic beauty of bamboo sets off another style of stone. In terms of composition, the positional relationship between bamboo and stone and the text of the poem are very harmonious. Moreover, in his later years, his calligraphy became more unique, free and vigorous in calligraphy. Jin Nong, the leader of the "Eight Eccentrics of Yangzhou", once lamented: Compared with the paintings of the two of them, the bamboos he painted were not as forest-like as Banqiao.
A collection of interesting paintings
Zheng Banqiao was praised by later generations as an all-round painter with three special skills: poetry, calligraphy and painting. Among the three special skills, there are three truths, which are particularly emphasized. To show true temperament, true spirit, and true interest.
Zheng Banqiao's painting achievements are extremely high, and he is especially good at painting bamboo and stone, with thin branches and thick leaves, thin and strong, and a superhuman style. He had the theory of "unprecedented knowledge" in painting bamboo, and he did not learn from a teacher. He mostly learned from the sunlight and moonlight on paper windows and pink walls, and directly adopted the natural method. He claimed: "Every time I paint bamboo, I have no teacher. I get more from paper windows, pink walls, sunlight, moonlight, and shadow in my ears." In response to Su Dongpo's statement that he "has the bamboo in his mind," Zheng Banqiao emphasized that the bamboo in his mind "doesn't know how it is." "Nothing in mind". These two theories seem to be contradictory, but they are actually similar. They also emphasize the high degree of combination of conception and skilled skills. His creative experience is clearly revealed in an inscription: "In autumn in Jiangguan, I look at the bamboos in the morning, the smoke and the shadows of the sun." The dew air is floating among the floating branches and dense leaves, and the bamboo in the chest is full of paintings. In fact, the bamboo in the chest is not the bamboo in the eyes. Therefore, the bamboo in the hand is not the bamboo in the chest. The bamboo in his works focuses on the combination of "thinness and restraint", which is often the embodiment of his own thoughts and character. It is said that a large family once invited Zheng Banqiao to paint bamboo. After drinking, he sprinkled ink on the wall of the house and stopped painting. The wind and rain at night washed away the ink marks on the wall. Early the next morning, it turned out that A vivid painting of black bamboo, and a few sparrows thought they were in the bamboo forest and fell unconscious under the wall.
The legend cannot be fully believed, but we can imagine the creativity of Zheng Banqiao's painting.
Zheng Banqiao's "Orchid"
The orchids he painted highlight the wild atmosphere of the mountains. His brushwork is elegant and fragrant, and he often uses inscriptions and poems to vent his dissatisfaction and anger. , such as "I don't bloom, so I don't tease bees and butterflies" reflects his aloof and reclusive attitude. He also painted orchids in broken pots and orchids on cliffs, all of which are metaphors for the failure to realize one's ambitions.
His calligraphy is a fusion of the styles of Huang Tingjian and Su Dongpo, mixed with seal script, official script, and regular script, and mixed with orchid and bamboo strokes. Yun is known as "Six-and-a-half-point Book".
Chinese literati for thousands of years have been ashamed to talk about money, and most of them thought it was vulgar. However, Zheng Banqiao had a unique view of elegance and vulgarity, and believed that there was nothing shameful about exchanging paintings for money. At the age of 30, Zheng Banqiao could no longer make ends meet while teaching, so he went to Yangzhou to make a living by selling paintings. He worked as a professional painter for 10 years. Even when he later served as county magistrate, he believed that "if you don't enter an official career, you can earn more by writing books and selling paintings." Yu Lian's salary is several times that of Lian." He also thought about his retreat, and wanted to make a living selling paintings with his friend named Li. He wrote in the letter "Ink in the Office to Show His Brother's Ink": "Hurry up and install my inkstone, hurry up. I will take my manuscripts with me, sell them in Yangzhou, and grow old with Li." Sure enough, he worked as a professional painter from his resignation until his death, selling paintings to make a living for 20 years. According to "The Sequel to the Shen Shen Guan Series", people came to Zheng Banqiao's door with gold and silver to ask for paintings. The guests' shoes were always covered outside the door. The guests were silently waiting for the paintings and calligraphy to come out. There were many princes, princes, and officials buying paintings. , poet Ci Bo, old monks in the mountains, Huang Guan Lianke, and more buyers are wealthy merchants such as salt merchants and Hui merchants. Zheng Banqiao promoted calligraphy and painting works as commodities, with six taels for large paintings, four taels for medium paintings, and two taels for small paintings. One or two book slips and couplets. The price of a fan and a bucket of five cents is clearly marked, and the price is based on quality and value, publicly indicating one's identity as a professional painter.
Speaking of Zheng Banqiao will definitely lead to the topic of "Eight Eccentrics of Yangzhou". Among the "Eight Eccentrics of Yangzhou", Zheng Banqiao is undoubtedly the representative figure. Documents record that Qianlong once named Zheng Banqiao as "Eight Eccentrics of Yangzhou" during his eastern tour. "History of Calligraphy and Painting".
The Eight Eccentrics of Yangzhou
The "Eight Eccentrics of Yangzhou" refer to some professional painters who were active in Yangzhou from the mid-Kangxi period to the mid-Qianlong period of the Qing Dynasty. Although they were named "Eight Eccentrics", they did not Which eight painters are really specifically referred to? Art historians have compiled various historical records and found that there are actually 15 painters listed under the name of the "Eight Eccentrics". In addition to Zheng Banqiao, there are also Jin Nong, Huang Shen, Gao Xiang, Li Fangying, Bian Shoumin, Gao Fenghan, Wang Shishen, Li Ge, Bian Shoumin, Yang Fa, Li Yuan, Chen Zhuan, Min Zhen, Luo Pin, etc., and among these 15 people, only Gao Xiang is truly from Yangzhou. Luo Pin's ancestral home is Anhui. They moved to Yangzhou, while others were from all over the world. They settled in Yangzhou to sell paintings for various reasons. Therefore, a group of people like this who have neither geographical connection nor teacher-student relationship can come together and be classified as a painting school. This is a rare and progressive phenomenon in ancient China, which attaches great importance to place of origin and family. First of all, they are all active in the Yangzhou area. Yangzhou's coastal area was blessed with the salt industry. Salt merchants became the richest merchants in the country during the Yongzheng and Qianlong dynasties, driving the development of Yangzhou's economy, culture and other aspects.
But in ancient China, occupations have always been divided into high and low. The social status of businessmen has always been very low. In order to improve their own and their family's status, wealthy businessmen not only let their descendants study and become officials, but also became arty. , support local cultural and artistic undertakings, organize literati gatherings in your own home, the Eight Eccentrics are not ordinary painters, most of them are well-educated people, extremely elegant, and although some of these painters have been Although they were officials, they eventually became professional painters, so their threshold was not as high as that of scholars who did not sell paintings. Therefore, a very close relationship was established between salt merchants and outstanding professional painters represented by the Eight Monsters, such as Many of the "Eight Eccentrics of Yangzhou" lived in the homes of these merchants before settling in Yangzhou. In addition to their relationship with the salt merchants, the painting styles of these people all distanced themselves from the mainstream styles of the time. They focused on personal feelings, expression of personality, and their own style. They also had new expansions in subject matter, expressing things that had been ignored by literati in the past. The lower-class life is like the fishermen and fisherwomen in Huang Shen's works.
Their paintings were regarded as "avant-garde" works by people at the time and some people in the Qing Dynasty after them, and received mixed reviews.
The "Eight Eccentrics of Yangzhou" are a group of intellectuals with a sense of justice. They are aware of official corruption and the plundering of wealthy businessmen. Faced with the gap between rich and poor in real life, combined with their own experiences, He has strong dissatisfaction with society, expresses deep sympathy for the suffering people, and expresses his anger on behalf of the people. However, because they received feudal cultural education and the Qing Dynasty was in its prime at that time, their emotions and dissatisfaction could not break through the barriers of feudal thought. Among them, those who are officials strive to make achievements so that the people can live and work in peace and contentment and maintain feudal order; those who have no intention of being in officialdom strive to be clean and self-sufficient, do not conform to popular customs, and flaunt themselves as noble.
Part of Zheng Banqiao's "Bamboo and Stone Pictures"
However, they could not get rid of their economic dependence on landlords, officials and merchants, so they were often in the extreme pain of ideological contradictions, in addition to cynicism. , had to compromise in order to survive. Zheng Banqiao is the most representative figure among the "Eight Eccentrics of Yangzhou" and left many remarks. He can be said to be the thinker among the Eight Eccentrics of Yangzhou. He rose from an official to a civilian, from a scholar to a businessman, and from a literati painter to a professional painter. His life experience eventually formed a style of painting that is alienated from orthodox art, unconventional, and puts weirdness first, which plays an important role in the history of Chinese art. Zheng Banqiao's unique style and outstanding achievements in calligraphy and painting had a great influence at that time. He had many followers and was known as the "Banqiao School". Many famous artists in later generations also followed his method and absorbed his spirit of innovation. New styles have been created one after another, such as the modern "Shanghai School" schools and modern Qi Baishi and others.
Zheng Banqiao was born in a declining scholarly family. His father was a county student. His family was backward and he made a living by teaching apprentices. His life was poor. Zheng Banqiao was an only son. Unfortunately, his mother died when he was three years old, and he relied on his wet nurse Fei to raise him. Fei was his grandmother's maid. Feeling grateful for her master's kindness, she left her husband and children to come to the Zheng family to survive the difficulties. Every morning, she carried the thin Banqiao on her back to the market to work as a hawker, preferring to go hungry. I have a hungry stomach, so I have to buy a sesame seed cake for Xiao Banqiao to satisfy his hunger. Later, although her own son became an eighth-rank official and asked her to go back and enjoy the blessings, she still stayed in the Zheng family to endure hardships. Zheng Banqiao wrote a poem specifically for the wet nurse, describing the scene of her kindness in times of adversity. The poem is: "I am not the only wet nurse I have been unkind to in my life. I have always hated being rich and late, so I have been ashamed for a long time. The road to Huangquan is winding and wide, and the white-haired person is old. Ugly, a salary of ten thousand dollars is not as good as a cake in hand." Zheng Banqiao's stepmother Hao was wise and caring, but unfortunately she was weak and could not bear the suffering of hunger and cold. She died when Banqiao was fourteen years old. This is also true for underage children. A big hit.
Part of Zheng Banqiao's "Bamboo and Stone Pictures"
Zheng Banqiao learned lyrics from his father when he was young, and learned lyrics from Lu Zhen at the age of 16. Later, because he married a wife and had children, and his father was old, he opened a private school in Zhenzhou Zhijiang Village (also known as Xicun) to make a living, and worked as a teacher for three or four years. In the tenth year of Yongzheng's reign (1752), Zheng Banqiao went to Nanjing to take part in the provincial examination and passed the examination. In the first year of Qianlong's reign (1736), he went to the capital to take part in the imperial examination and won the imperial examination. He made a special painting of "Okra and Stalagmites" to congratulate himself. Zheng Banqiao summarized himself as "a scholar of Kangxi, a scholar of Yongzheng, and a Jinshi of Qianlong."
In the spring of the seventh year of Qianlong (1742), Zheng Banqiao went to serve as the county magistrate of Fan County, Shandong Province. Five years later, he was transferred to Wei County and served as the county magistrate for seven years, and he served as the county magistrate for 12 years. According to historical records, when he was the magistrate of Fan and Weician counties, he was very helpful in administration. There was no backlog in any case and no one was wronged. As a result, he won the support of the people. He was honest in government and frugal in food and clothing. He was an upright official with considerable political achievements. Zheng Banqiao once wrote a poem: "I lie down in the Yazhai and listen to the rustling bamboos, which are suspected to be the sounds of suffering among the people. These little officials in Caozhou County are always caring about each branch and leaf."
Fan County is located on the north bank of the Yellow River and has a population of 100,000, but there are only forty or fifty households in the county, which is not as big as a village. On the first day he took office, Zheng Banqiao made a strange move: he had people punch holes in the walls of the county government office. When others asked him in confusion, he said that this was due to the bad habits and vulgarity of the former county magistrate.
Part of Zheng Banqiao's "Bamboo and Stone Pictures"
Five years later, Zheng Banqiao was transferred to the county magistrate of Weixian County, Shandong Province. In order to be close to the people, he did not "avoid" or "be quiet" every time he went on patrol. Signs are not allowed to sound gongs to clear the way, and sometimes they wear commoners and straw sandals to visit the poor and inquire about their sufferings. Once I went out at night and heard the sound of reading coming from a thatched house. When he saw that it was a poor young man named Han Mengzhou who was studying hard, Zheng Banqiao used his own money to support him. Later, Han Mengzhou took the imperial examination and passed the Jinshi.
Various types of bronzes have been unearthed in Weixian County. Ancient ritual vessels and musical instruments have attracted more attention from collection activities. Emperor Qianlong once promulgated ten styles of ritual vessels before the Zhou Dynasty and placed them in the Dacheng Hall of the Confucius Temple. It promoted the pursuit and respect of ancient ritual vessels in connoisseurship activities. After Zheng Banqiao became the magistrate of Weixian County, he became particularly interested in ancient bronze mirrors and began to purchase and collect them. Jin Deying was the top scholar in Zheng Banqiao's class, so when passing through Weixian County, she naturally wanted to visit her classmates who had gone through hardships together. At this time, both of them had become old men with gray hair, and they were naturally filled with emotion when they met. Jin Deying learned that his classmate was being falsely accused for helping the victims, and she clearly felt that his sentiments revealed a kind of generosity, sadness, and sublimation of life. Endless charm.
The night was long and short, and it was finally time for the two old friends who met in Weixian to part ways. Zheng Banqiao carefully selected 5 bronze mirrors from the more than 100 bronze mirrors he had purchased and presented them to Jin Deying, and wrote a poem: "The earth and flowers have eroded the dragon and the dragon is missing, and the autumn water is clear and the sea is full of moonlight. It is expected that the king's heart is like a mirror, and the jade hall is high. Hanging on the ancient Qinghan. "Classmates and friends who are also in the official career must have a big plaque with "a bright mirror hanging high" above their heads, but the bright mirror in their hearts is more important. The purpose of giving a mirror and writing poems is to ask old friends to "use copper as a mirror to correct their clothes; use the past as a mirror to know the ups and downs." He should often look back and look at himself, and be an upright official who enlightens the people and relieves the people. Jin Deying responded with a long poem, with lines such as "There is no reason to grow things in idleness, but it is better to illuminate the courage and illuminate the monster. I will use the general's warning to the white-headed heart, and the bells will ring to stop the common people's behavior" and other lines to clarify their aspirations, indicating that they are of the same mind as Zheng Banqiao Hao Shou. Zheng Banqiao's collection of bronze mirrors turned out to have this profound meaning: he wanted his friends and himself to use the mirrors as a warning for life. This consciousness represents the noble self-kindness of the literati who is unyielding and cleanses the filth, and represents the literati's worldliness and caring for the world. It also reflects his life style of "a heart of ice in a jade pot".
Part of Zheng Banqiao's "Bamboo and Stone Pictures"
Zheng Banqiao carved a seal to express his ambition: "I wish I could fill up the world's hunger debt." When a serious disaster occurred, he resolutely decided to open the official warehouse to lend grain to the people for emergency response. His subordinates advised him to proceed with caution, because if he opened the official warehouse without approval, he would be punished. Zheng Banqiao said: By the time the batch comes out, the people will have starved to death long ago. I will bear the responsibility alone! He also ordered wealthy households to take turns giving up porridge to feed the hungry people, and took the lead in donating his own salary. His decisiveness saved the lives of many people. If there was a disaster after autumn and the people were unable to return the food, Zheng Banqiao simply had the bonds burned. The people were very grateful to him for being an upright official who cared about the people and loved the people like a son.
Zheng Banqiao's lack of pomp and show as an official brought him trouble. Because he often went to the countryside to observe the people's sentiments, his superiors often couldn't find him when they came to inspect, and they inevitably had to question him. In the seventeenth year of Qianlong's reign, a drought that had not been seen in a century occurred in Wei County. The imperial envoy Yao Yaozong ignored it and instead asked Zheng Banqiao for calligraphy and painting. Zheng Banqiao mocked it with ghost paintings, and Yao Yaozong was angry and tore up the paintings. The family advised: Since the emperor doesn’t ask and the imperial envoys ignore it, just pretend to be confused! Zheng Banqiao said angrily: I can't pretend to be confused. Zheng Banqiao offended his boss because he applied for relief, and was dismissed from office. Zheng Banqiao only hired three donkeys, one to ride himself, one to let others ride in front to lead the way, and one to carry all his calligraphy and paintings to Yangzhou to sell paintings for a living. Before leaving, he presented a painting to the people of Weixian who were seeing him off as a souvenir, and wrote a poem on the painting: "Throw away the black gauze and don't become an official. The bag is fluttering and my sleeves are cold. I wrote a thin bamboo and used it as a fishing pole on the river in the autumn wind." Zheng Banqiao had been the county magistrate for twelve years but was so incorruptible. The people seeing him off were very moved and reluctant to leave him.
After Zheng Banqiao resigned and returned home, he only carried a yellow dog and a pot of orchids with "a bright moon on his shoulder and a breeze on his sleeves". One night, he was tossing and turning, and a thief happened to be visiting him. He thought: if he shouted loudly, he would be powerless to deal with the thief if he took action, but he would not be willing to pretend to be asleep and let him steal it.
After thinking for a moment, he turned over and said in a low voice: "It's drizzling in the dark night, and the gentleman on the beam comes into my door." At this time, the thief was close to the bed. He was secretly surprised when he heard the sound, and then heard: "There are thousands of volumes of poems in my belly." There is no gold or silver on the bedside." The thief turned around and went out, and heard another voice saying: "Don't scare the yellow-tailed dog when you go out." The thief thought why not climb over the wall since there was a vicious dog. He was about to go up the wall when he heard: "Go over. Don't damage the orchid pot on the wall." The thief took a look and saw that there was an orchid pot on the wall, so he carefully avoided it. As soon as his feet touched the ground, another message came from the room: "It's cold and I don't have time to put on my clothes. I'll take advantage of the dark moon to catch up with the wealthy family."
Part of Zheng Banqiao's "Bamboo and Stone Pictures"
Zheng Banqiao gave birth to a son at the age of 52. It was a standard old age to have a son. In the feudal patriarchal society that valued heirs, its significance was extraordinary. At that time, Zheng Banqiao was the county magistrate of Weixian County, and his family members were all in his hometown, thousands of miles apart. He was very concerned about his son, so he wrote home and told his brother how to raise his nephew, and that he must "love in his own way." You can cultivate his benevolent and sincere character, and don't cultivate him into a mean and impatient person. Zheng Banqiao pays attention to details and advises his younger brother: If his son is eating candy, he must let him take his own candy to share with everyone. They are all born to parents and deserve to be loved. There is no distinction between a master and a subordinate. You must not let your son bully you. A servant's child. In the social ideology of the time, Zheng Banqiao was an official after all, and his sons were naturally superior to the children of servants. Zheng Banqiao is actually cultivating children's awareness of equality. He believes that "passing the imperial examination, passing the Jinshi, and becoming an official" are not as good as "being a good person with reasonable knowledge." If you understand the principle that everyone is equal, you will be a person who treats others equally. And in this way As the number of people gradually increases, there will be a good environment where everyone is treated equally. The measure of advantages will no longer remain on a single basis such as wealth and status. Mutual recognition and mutual respect will be required.
When Zheng Banqiao was the magistrate of Wei County, his cousin sued his neighbor for a section of the wall foundation of his ancestral house, and asked him to write a letter to Xinghua County to win the lawsuit. After Zheng Banqiao read the letter, he immediately wrote a poem in reply: "A book thousands of miles away is like a wall, so why not give it a few feet? The Great Wall is still there today, but Qin Shihuang is nowhere to be seen." Taking a step back, the sea and the sky are vast, and you will naturally seek peace of mind.
Zheng Banqiao experienced a life of poverty and wandering for the first 50 years, and was demoted from an official position at the age of his ears. He was quite frustrated. When his ambition was not fulfilled, he realized the value of "confusion" and put forward the idea of ??"confusion". It’s rare to be confused.” It is said that the four words "rarely confused" were written in Yunfeng Mountain in Laizhou, Shandong. One year Zheng Banqiao made a special trip here to view the monument of Zheng Wengong and was so lingering that he had no choice but to stay in a thatched house in the mountains at night. The owner of the house was an elegant old man who called himself a "confused old man". In the old man's home, there was an inkstone as big as a square table. The stone was exquisite and the carvings were excellent. It was truly the best in the world. Zheng Banqiao admired it very much.
The old man asked Zheng Banqiao to write an inscription on the back of the inkstone. Zheng Banqiao believed that the old man must have an origin, so he wrote the four words "rarely confused" and stamped his square seal as "Kangxi scholar, Yongzheng, candidate, Qianlong Jinshi" . Because there were still many blank spaces on the inkstone, Zheng Banqiao felt that the old man should write a postscript, so the old man took up his pen and wrote: "It is difficult to obtain beautiful stones, and it is especially difficult to obtain hard stones. It is even more difficult to turn from beautiful stones to hard stones. Beauty is in the middle, and stubbornness is even more difficult." The house that hides barbarians cannot enter the precious gate." The old man also used a square seal, and the words on the seal were "First in the courtyard examination, second in the palace examination, and third in the palace examination." Banqiao was shocked when he saw it. The old man is a retired noble scholar. He suddenly feels his own shallowness, and his heart of admiration still arises. Feeling the name of the confused old man, and seeing that there was still a gap on the back of the inkstone, Zheng Banqiao added a paragraph: "It is difficult to be smart, especially difficult to be confused. It is even more difficult to turn from smart to confused. Let it go, take a step back, and feel at ease in the moment. , It’s not a plan but it will be reported later.”
What does “it’s rare to be confused” mean? People in later generations lamented the philosophy contained in the four words "It's rare to be confused", so they hung them in their homes in the form of horizontal couplets as a warning for life. If we lived in an era of social fairness and transparent systems, we would not feel confused. Zheng Banqiao's "rare confusion" is a kind of self-encouragement, a kind of compromise, a despair of feudal society in the context of the "Kangxi and Qianlong Dynasties", and also a kind of wisdom.
His thoughts of inaction, seclusion, and self-preservation revealed the helplessness of his era!
In fact, the meaning of "rarely confused" is diverse and extremely rich. If you don't explain it clearly, it will make these four words more charming. "It's rare to be confused" is a state. People with lofty ambitions in their hearts will naturally disdain the details and only focus on the general direction and be the mainstay; "It's rare to be confused" is an experience. Only those who have experienced ups and downs can understand the true meaning; " "It is rare to be confused" is a kind of qualification. People who are indifferent to fame and wealth, and who are peaceful and far-reaching have rich connotations and profound heritage. They treat life with a normal heart and are calm and peaceful. "It is rare to be confused" is a kind of wisdom. In the complicated and changing world, people can see things clearly. If you can see through human nature, you can understand the changing situation in the world, handle things with ease, and handle things with ease; "It is rare to be confused" is a kind of tolerance that makes people extraordinary, magnanimous, free and easy, and tolerant of all things.
Biographies of Famous Masters
Portrait of Zheng Banqiao
Zheng Xie (1693-1765), courtesy name Kerou and Banqiao, was born in Xinghua, Jiangsu. He is good at painting orchids, bamboos, stones, pine and chrysanthemums, especially ink bamboo. He learns the painting techniques of Xu Wei, Shi Tao and Bada Shanren. He is good at freehand brushwork in ink and wash. He advocates inheriting the tradition of "learning from seven strokes to three strokes" and "each has his own talent." "Tan" is a famous idealist, writer and artist in Chinese history. He is a representative painter of the Yangzhou School of Painting in the Qing Dynasty. He is one of the "Eight Eccentrics of Yangzhou" and is known as the "Three Wonders" of poetry, calligraphy and painting. His handed down works include "Bamboo and Stone Pictures", "Plum Blossom Pictures", "Ink Bamboo Pictures", "Orchid Bamboo Pictures", etc.
The article comes from the painter Qiu Hanqiao’s Sina Weibo