(1269 ~ 1354), a painter of the yuan dynasty in China. Formerly known as Lu Jian, he adopted the Huang family in Yongjia, Zhejiang Province, so he changed his name, with a long word, named Yifeng, Taoist Crazy, Jingxi Old Man and so on. His name and the source of words are interesting. After Huang's father had a son, a friend came to congratulate him and said, "Huang has a child!" " Therefore, Huangfu named it "Wang Gong" with a long word. People from Changshu, Jiangsu. He used to be a small official and was imprisoned for his participation. After he was released from prison, he lived in seclusion and joined Quanzhen Taoism. He is good at calligraphy, poetry and Sanqu and has made great achievements. After the age of 50, he began to paint landscapes and studied under Zhao Mengfu, Dong Yuan, Ju Ran, Hao Jing, Guan Tong and Li Cheng. In his later years, he turned over a new leaf and got married. His paintings pay attention to imitating nature, and he often carries a pen and paper to describe the natural scenery such as Yushan, Sancha, Jiu Feng and Fuchun River. Calligraphy strokes have two sides: ink and wash, light crimson, simple and elegant brushwork, rich and broad style and great momentum. Huang's paintings had great influence in the late Yuan Dynasty, Ming and Qing Dynasties and even modern times, and he was called Zhenwu, Ni Zan and Wang Meng in the history of painting. He wrote "Landscape Tactics", expounding painting theory, painting method, layout and artistic conception. There are snowfall maps of Fuchun Shan Jutu and Jiu Feng, Yushu map of Ya Dan, stone wall map of Tianchi, Shan Yu intention of Xiaoxi, visit map of Tunxi and Daling map of Fuchun handed down from ancient times.
Huang worked as a local official when he was young, first as a bookkeeper, and later as a rafter under a bureaucrat named Zhang rate when he was about 45 years old. Later, because Zhang Lu committed a lawsuit, Huang was framed and imprisoned. After he was released from prison, he stopped asking about political affairs and wandered around the rivers and lakes. Once, I made a living by selling divination. Later, he joined Quanzhen religion which advocated the integration of Confucianism, Buddhism and Taoism, and he even saw through the world of mortals. As a result of wandering mountains and rivers for a long time, I became interested in mountains and rivers. In order to appreciate the charm of mountains and rivers, when he lived in Yushan, Changshu, he often observed the changes and wonderful scenery of Yushan, learned from his heart and conveyed it with a pen. Some of his landscape paintings come from these mountains and forests. When he lived in Songjiang, he became obsessed with the observation of landscapes. Sometimes he sits in the mountains all day and forgets to eat and sleep. When he lived in Fuchunjiang, he always carried a leather bag with built-in painting tools. Whenever he sees the scenery in the mountains, he will write it down with exhibition paper.
There is a Daling Mountain to the north of Fuchun River, where Wang Gong lived in seclusion in his later years. He took Daling Mountain as his teacher and drew the Fuchun Daling Map. In the seventh year of Yuan Dynasty (1437), Huang wanted to paint a complete Fuchun Mountain. At this time, Huang is an old man who is nearly eighty years old. After three or four years of operation, it was completed. This painting depicts autumn scenery on both sides of Fuchun River, using Dong Heju's brushwork and originality. He brushes his hair with a brush, and brushes his hair with a brush. The tree and the forest are horizontal, and the forest is beautiful and looks very flat and real. The whole picture seems to have a fairy spirit. This is Fuchun Shan Jutu. This picture was inscribed by Shen Zhou, Wen Peng, Zhou, Dong Qichang and Zou. Zou said in his inscription that the painting was "inspired by the change of the pen end, and the Lanting of the right army is also holy and divine!" Many painters in Ming and Qing Dynasties got inspiration from Fuchun Shan Jutu, which had a far-reaching influence.
Ni Zan
(130 1 year ~ 1374), a painter and poet in the Yuan Dynasty. The first name is Shen. The word Yu Tai, after the word town, is called Yunlin, also called Yunlin Woods, or Yunlin scattered people. Also known as Jingmanmin, the net name lay man, Zhu Yangting master, Pu Xian Xianqing, fantasy Xia Zi, Donghai farmer, homeless nunnery master, unique pavilion, full of music, the sea is full of stones, lazy praise, Donghai praise. Wuxi (now Jiangsu) people.
Living in Wuxi, there are many trees, and the building is named Yunlin, because it is named after Yunlin. He has never been an official in his life, and his family is a famous rich man in Wuzhong; But Ni Zan didn't want to be in charge of production, calling himself "lazy Zan", also called "Ni Yu". The sexual intercourse is clean, the towels are washed several times a day, and the trees in front of and behind the house are often washed and wiped. There are thousands of books at home, all written by hand. Good at landscapes, bamboo stones, dead wood, etc. And his landscape teachers Dong Yuan, Hao Jing, Guan Tong, Li Cheng, etc. have all developed, and their paintings are unpretentious and their styles are naive and quiet.
Most of the works draw mountains and rivers around Taihu Lake, with plain composition and simple scenery, mostly sparse slopes and shallow water. Using a pen to change the center to the side, folding and drawing stones, the pen and ink are dry, elegant and rambling, the artistic conception is desolate and lonely, and the style is simple and detached. Mo Zhu Xiao Shuang Qing Li. On painting, the author advocates expressing subjective feelings, and thinks that painting should show the author's "escape from the chest without seeking form", saying that "the so-called servant painter is just unintentional, not seeking form, and chatting to entertain himself." His painting practice and theoretical viewpoints had a great influence on literati painters in Ming and Qing Dynasties and enjoyed a high reputation. He, Huang Zhenwu and Wang Meng are also called "Yuan Sijia" in the history of painting. Calligraphy, good at regular script, beautiful and elegant ancient light, Wei Jin people style.
Ni Zan lived in a war-torn environment and wanted to escape from reality, give up pastoral industry and lead a wandering life. "The night wind shines on people alone, and the window is bright and clean", which is a portrayal of his life. However, he can't be completely divorced from reality. He said in the poem "To Gu Zhongying": "People's livelihood is devastated and the road is long." Especially in fifteen years in Zheng Zheng (1355), he was imprisoned for not paying the official rent. In the poem "Su Fu", he said: "The harsh one is a tiger, but the merciful one." Shows his critical attitude. Ni Zan often holds a negative attitude towards reality. He has a Sanqu (Ghosts and Ghosts) that says, "There is no hero between heaven and earth, no hero." He doesn't hide or be an official, he wanders around the Jianghu, others don't know him, and he doesn't want to be known.
Ni Zan's poems are natural, elegant and elegant, so are his essays. Author of Qing Pavilion Collection (15).
Zhen Wu
(1280 ~ 1354), born in the seventeenth year of Yuan Dynasty, died in the fourteenth year of Yuan Dynasty at the age of 75. Zhenwu lived in Tang Wei for a long time and lived in seclusion. In the seventh year of Zheng Zhi (1347) (68 years old), Zhenwu lived in Chunbo Guest House in Jiaxing (now downtown Jiaxing) and wrote Zhu Mo. When I met a friend in Jingyan Temple, I fell in love with Buddhism and called myself "Missami". Four years later, he returned to Tang Wei and wrote an inscription at the place where he died: "Plum Blossom Pagoda and Monks". The tomb is beside Meihua Temple.
Wu Ze, whose ancestral name was Bochang, moved from the capital of song dynasty (Kaifeng, Henan) to Jiaxing in the Southern Song Dynasty and settled in Tang Wei, Jiaxing, Zhejiang (now Jiashan, Tang Wei, Zhejiang). Zhenwu is young and skillful in fencing. As an adult, he was educated by Liu Tianji in Piling (now Wujin, Jiangsu) to study the Book of Changes. From then on, he kept a low profile, taught the way of heaven and man, insisted on lofty aspirations and did not live in harmony with others. He became a master of Confucianism, Taoism and Buddhism, and gave birth to knowing life. As a simple man, he was poor all his life, thought highly of himself, lived in seclusion, and rarely contacted with dignitaries. He once taught in rural schools and sold divination in Qiantang and other places.
He began to learn painting at the age of eighteen or nineteen. When he was young, he traveled to Hangzhou and Xing Wu to enjoy the scenery of Taihu Lake. Vision and insight, the true mountains and waters of nature, inspired his creative inspiration.
His works, poems and calligraphy are mostly about fishermen, ancient trees and bamboo stones, and he is good at painting landscapes and plum blossoms. Cursive calligraphy is Gong Guang, a landscape teacher, Dong Yuan. It is huge and unique. It is dominated by vigorous brushwork, supplemented by vigorous brushwork, and has a boundless and gloomy atmosphere. He wrote bamboo well, studied under Li Li, and wrote ink bamboo in his later years. Mozi Zongwentong is another big family after Wentong. Good use of ink, dripping picturesque, is the crown of Yuan people. Part-time ink flower, but also photo. Cover the painting with bamboo, and cover the town with bamboo. Although his paintings can't be taken away, he can only throw them away with good paper and pen, and he can be happy as he pleases. The style of poetry is simple and exciting, with sincere feelings. It often uses comparison to express its feelings, which is close to Tao Qian's poetic style, with dull appearance and depressed heart. Calligraphy can combine the strengths of Wang Xizhi and Huai Su. Each painting is often inscribed with poems, lines or grass, and the pen and ink are dripping, and the poems, books and paintings set each other off. At that time, the number was "three unique". His painting style has a great influence on the development of landscape painting in Ming and Qing Dynasties. He is as famous as Wang Meng, Huang and Ni Zan, and is called.
According to legend, Zhen Wu Ben and Qian Sheng lived near the gate, and many people from all directions wanted to paint with gold and silk, but the gate of Wu succeeded. The wife kept laughing. Said, "Not in twenty years." The consequences are as they say.
Zhenwu's deeds are included in Painting History Society, Qinghe Painting and Calligraphy Boat, Notes of Liuyanzhai, Rong Tai Collection and Cangluo Collection. Today, there are Shuang Ying Plain Map (collected by the National Palace Museum), Fisherman Map (collected by the National Palace Museum in Beijing), Fisherman Map (collected by the friel Art Museum in the United States), Changsong Map (collected by the Nanjing Museum) and Caoshu Heart Sutra (collected by the National Palace Museum in Beijing). Its wind and bamboo carvings are displayed in Yuyanlou, Nanhu, Jiaxing, and its eight bamboo tablets and cursive heart sutra tablets are displayed in Jiashan Meihua Temple. There are also two volumes of "Mei Daoren Ink", which are poems and inscriptions compiled by later generations.
Zhenwu loves Mei very much. Plum trees are planted around his home, and the name is "Meihua Temple". Because there is an oak forest in the house, the study is also called the "oak room". Zhenwu Tomb exists in Meihua Temple, which is an affiliated building to commemorate Zhenwu. On the east side of the tomb, it was built for guarding the tomb during the Wanli period of the Ming Dynasty. Located on the west side of Huayuan Lane Road, Tang Wei Town. In the first year of Taichang in Ming Dynasty (1620), Wu Xu, Qian and other gentry were ordered to raise funds to repair the tomb and build three towers, three pavilions and five temples. Chen Huating Jiru wrote The Embroidered Plum Blossom Temple, and Dong Qichang wrote the plaque of Embroidered Plum Blossom Temple. Houyi people have raised funds for reconstruction several times. After the founding of New China, Zhenwu Tomb and Meihua Temple were repaired many times. It was announced by Zhejiang Provincial People's Government as a provincial key cultural relics protection unit.
Wang Meng
(130 1 year-1385), painter of the Yuan Dynasty. Shu Ming was born in Huzhou (now Xing Wu, Zhejiang). Grandfather Zhao Mengfu, grandmother Guan Daosheng, uncle Ge Zhichuan and cousin Zhao were all famous painters in Yuan Dynasty. Wang Meng's landscape paintings were directly influenced by Zhao Mengfu, and later imitated Wang Wei, Dong Yuan, Ju Ran and others to form a new style.
When I was young, I lived in seclusion for decades in the Yellow River Mountain (now Linping Mountain in Yuhang) and lived a leisurely life of "lying on the green hills and watching white clouds". At the end of Yuan Dynasty, Zhang Shicheng was hired as Wenli and a long history of western Zhejiang. After abandoning his official post, he lived in seclusion in Linping (now Linping Town, Yuhang, Zhejiang Province), and his name was Huang Heshan Qiao. In the early Ming Dynasty, Wang Meng became the magistrate of Tai 'an (now Shandong) and died in prison because of the Hu case.
Wang mengneng's poems and calligraphy. Especially good at painting landscapes, he got the method of Zhao Mengfu, the ancestor of Dong Yuan and Ju Ran. The scenery is dense, the layout is full of mountains and rivers, and it makes good use of understanding the thirst and thirst, showing the lush and boundless atmosphere of the forest. Beyond mountains and rivers, you can also be a man. It had a great influence on landscape painting in Ming and Qing Dynasties, second only to Huang, and later generations were also called "Yuan Sijia" with Huang, Zhenwu and Ni Zan. It has a great influence on landscape painting in Ming and Qing dynasties and modern times.
Wang Meng's "Water Faint Ink Seal" enriches the expression of Chinese painting. His unique style is characterized by "vigorous vitality", skillful use of pens, and "bizarre vertical and horizontal directions, unable to distinguish clues". "Painting History and Painting Essentials" said: "Ju Ran, a landscape master of Wang Meng, had to use ink painting". Yunnan Tian even said that he "lives in a remote place (Wang Wei)". There are two common methods, Jie Suocun and Niu Maocun. Their characteristics are: first, they are easy to use pens, curled like earthworms, and are famous for their diversity and complexity; The other is to use "light ink to hook the stone bone, pure Jiao Mo to rub it, so that there is nothing left in the stone, and then break it to make it look deep and beautiful".
Dong Qichang once wrote an inscription in his works: "You can write a tripod, and there has been no such monarch for 500 years." Masterpieces handed down from generation to generation: Living in Seclusion in Qingbian and Reading in Chunshan in Shanghai Museum; "Migration Map" and "Summer Shan Jutu" collected by Ge Zhichuan in Beijing Palace Museum; "Autumn Mountain Cottage Map" in the National Palace Museum in Taipei. His representative works include Scenery of Xiangjiang River and Scenery of Deep Mountains and Old Forests. Poetry and history are also excellent. Today's poetry collection is "The Elegant Collection of Caotang". The "Reclusion Map" with clear edges was written in 1366, written in paper and ink, with a length of 14 1 cm and a width of 42.2 cm. Dong Qichang is known as the best in the world. This painting is layered, and it covers the whole picture from bottom to top. Use the pen casually, and the color is elegant. The local feeling of trees and rocks is excellent, but the overall effect is fragmentary, and the shape of peaks is a bit strange, which is suitable for close viewing but not for far viewing.
The masterpiece "The Temple on the Peak" is a paper book with ink painting of 129×353cm. This shaft was collected by the Qing palace and then flowed overseas through the hand of Shen, the minister of the interior of Manchukuo. Emperor Qianlong of the Qing Dynasty appreciated this painting very much, and wrote a poem on the other side of the painting, which mentioned on the upper right side of the painting: "Lotus leaves are stacked one after another, and there is an old man living in the temple." Haze is the world, and pine and bamboo are mixed. There are no feet in the door, and the bell rings seven times. Canopy has never stopped and is not allowed to move easily. "As can be seen from the upper part of the frame, this axis is the treasure of Qianlong's imperial reading (Zhu Wen) and the treasure of Qianlong's appreciation (Bai Wen). Wang Meng used the method of combining "sublime" with "profound" on this axis. This painting depicts the mountain scenery in the south of the Yangtze River, where there are many trees and valleys. In terms of organizational structure, the picture of Maolinshan Temple is treated in a middle view, and the pine forests are arranged in close view, and the layout is tortuous. Although complicated and simple, it gives people a profound artistic conception and lush momentum, leading the viewer into a strange spiritual enjoyment. It can be described as ingenious. The painting method of Xiao Temple on the Peak combines the techniques of Dong Yuan, Guo and Zhao Mengfu, and is flexible and changeable. The techniques of cloud head, ox hair and untied rope are used interactively, which fully shows the lush vegetation of the mountains in the south of the Yangtze River.