Fang Weiyi (1585～1668), courtesy name Zhongxian, was born in Tongcheng, Anhui Province. She was a famous female poet, calligrapher and painter in the Ming Dynasty. She was the second daughter of Fang Dazhen and the second aunt of Fang Yizhi. Fang Weiyi's sister, Fang Mengshi, also worked in poetry, calligraphy and painting. She married Zhang Bingwen, the governor of Shandong. Later, Qing troops invaded the south. Zhang Bingwen was guarding Jinan City and died in battle. Mengshi threw himself into a pond and died. There are "Renlan Pavilion Collection" and "Renlan Pavilion Poetry Collection" handed down from generation to generation. Fang Weiyi's cousin Fang Weize was also young and widowed, and wrote "Fusong Pavilion Collection". Because the three sisters of the Fang family all observed festivals for the country and their family, later generations called them the "Three Festivals of the Fang Family". Among them, Fang Weiyi had the highest achievement. Famous scholar in Ming Dynasty. Fang Weiyi was the daughter of Fang Dazhen, Qing of Dali. She married Yao Sunqi when she was seventeen. Her husband died shortly after the marriage. So he returned home and became a widow, and together with his younger brother-in-law Wu Lingyi, they "weaved scriptures with literature and history." Together they raised their nephew Fang Yizhi, like a tireless tutor. Fang Yizhi (also known as Mi Zhi) later became a famous scholar. Fang Weiyi inherited his family education at a young age, was erudite and talented, and specialized in poetry and painting. He collected the works of women from ancient and modern times and compiled them into "History of Poetry in the Palace", which is divided into two volumes: good and evil. In addition, he is the author of "Jingzhiju Poetry Talk", which also provides insightful explanations of poetry theory. Moreover, she is "a master of Zen philosophy, rich in literature and history, and is also good at poetry and painting. She is as good as Li Gonglin in white sketching." She is the author of "Chujiang Yin", "Returning Sigh", etc., which are collected into seven volumes of "Qingfen Pavilion Collection" roll. His poems were washed away and returned to straight quality. Eighty poems are recorded in "Longmian Fengya", six poems are recorded in "Collection of Ming Poems", 22 poems are recorded in "Tongjiu Collection", three poems are recorded in "Biecai Ming Poems", and "Yu Selection of Ming Poems" is recorded Ten poems were recorded, and one was recorded in "Zhengshi Collection". Born into a family of officials, his grandfather Fang Xuejian was a famous scholar in the Ming Dynasty. His father, Fang Dazhen, was a Jinshi during the Wanli period and reached the rank of Shaoqing of Dali Temple. Weiyi inherited his family education from a young age, "has a broad vision in literature and history, and is also engaged in poetry and painting." At the age of seventeen, she married Yao Sunxi, a fellow villager. Her husband was terminally ill and died soon after. After her husband died, Weiyi gave birth to a posthumous daughter who was less than one year old and died again. Regarding her desolate life experience, she wrote an article "Report of a Survivor's Little Life", which made people scream and cry: "I returned to my husband at the age of seventeen. My husband has been ill for six years... In May of next year, my husband became ill... At the end of the ninth month, the pain screams to the sky... I left my body behind, but I didn't dare to die; I didn't expect to give birth to a daughter, but I died in the ninth month. Heaven! Heaven! If there is no vein left, how can I rely on my body?" Weiyi's age. After losing her husband and daughter, she returned to her parents' home and stayed in "Qingfen Pavilion". She was alone with her shadow and devoted herself to the study of poetry and painting. Fang Weize, a cousin, was a widow in her sixteenth year. The two had a close relationship and exchanged poetry and painting techniques. Fang Kongzhen, his younger brother, his wife Wu Lingyi and his sister Wu Lingze, and Weiyi's eldest sister Fang Mengshi were both good at poetry and painting, and the five sisters often Gather in "Qingfen Pavilion" to recite poems, paint, ponder and sing. Weiyi's poetic style is delicate and touching, simple and easy to understand. Weize and Lingyi admire and recommend him as their teacher. After Wu Lingyi's early death, Kong Zheng was appointed as an official in Huguang. The important task of educating her nephew Fang Yizhi fell on Weiyi. She gave careful instructions every day, supervised class reading, and encouraged Yizhi with her integrity. Fang Yizhi later became a cultural master and scientific celebrity, which is inseparable from the painstaking education of his aunt Weiyi. "Tongcheng Fang's Poetry Collection" contains: Fang Weiyi "taught his nephew wisdom, just like a teacher." Fang Yizhi himself described it this way: "Zhi Twelve lost his mother, and was entrusted by his aunt." "Book of Rites", "Li Sao" ", all taught by my aunt." Weiyi carefully studied literature and history, compiled ancient and modern women's poems, and compiled a "History of Palace Poems" and another seven volumes of "Qingfenge Poetry Collection", all of which are precious historical materials and poems of famous ladies. When Fang Yizhi wrote a postscript to his "Qing Fen Pavilion Collection", he sighed: "Ouch! A woman who can write books like my aunt must be a man!" Weiyi painter followed the example of Li Gonglin in the Song Dynasty, especially the outline drawing of "Guanyin Tu" It has both divine qualities and people are eager to collect it. Wang Shizhen, a famous poet in the Qing Dynasty, called it "wonderful product". There is a line of praise in Wu Xun's poem "Inscribed on the White Painting of Masters in Qingfen Pavilion": "The ink flowers curl in the cold autumn tide, and the ends of the hair are lightly dyed with the smile of the spring clouds." Fang Weiyi was widowed at the age of 17, and died at the age of 84. After her death, she The temple is dedicated to worship, and the plaque in the temple says: "Today's everyone".
Life experience
Fang Weiyi’s life experience is miserable. When she got married, Yao Sunji had been ill for six years. When her husband was ill, she personally "supported him, doubled the amount of decoction and medicine, swung mosquitoes and flies around, grasped the phlegm and saliva, and moved around", making her head restless. Unfortunately, her husband died young and she gave birth to a posthumous daughter who died after only nine months of raising her. She lamented in "Report on the Little Life of the Survivor": "Everything has support, but I am alone and helpless. I am filled with sorrow and depression, and my tears are stained on the curtain. From now on, my appearance is getting worse and worse, and my strength is getting weaker and weaker." This kind of life experience This feeling is also reflected in some of her poems. "Farewell in Death" is a representative poem. The poem reads: "In the past, I read about separation in life, but I did not talk about separation in death. Regardless of life or death, I am single.
The north wind blows the withered mulberry trees, and they mourn for me day and night..." The sad atmosphere and sentimental colors are heavily shrouded in it, making people feel sad when reading it. According to Fang Mengshi, Fang Weiyi's words of "parting sorrow and resentment, "The grass grows more and is burned." Most of the works that express sad emotions are discarded as they become, and only a small part remains. She is also like many female painters who use paintbrushes or needlework (such as Qiu Zhu and Xing Cijing in the Ming Dynasty, Qing Dynasty, and Qing Dynasty). Like Dai Zhao Zhao and others, she painted the statues of Guanyin and Arhat with great compassion and the teachings of rescuing people in distress, in order to gain spiritual sustenance. In terms of painting techniques, she admired the line drawings of Wu Daozi in the Tang Dynasty and Li Gonglin in the Song Dynasty. Works. In addition to the "Guanyin Picture" and "Arhat Picture on Banana Walking" collected by the Palace Museum in Beijing, there are also "Arhat Picture" and "Dali Image" collected by Anhui Provincial Museum, and "Arhat Picture" collected by Fushun Museum in Liaoning. Fang Weiyi was born in a family of officials. His father, Fang Dazhen, was a Jinshi during the Wanli period of the Ming Dynasty and was promoted to Shaoqing of Dali Temple. His elder sister, Meng Shi, and his younger brother, Kong Jie, were both erudite and talented. Fang Weiyi grew up in such a family with a strong cultural and academic atmosphere. She was deeply involved in poetry, calligraphy and painting since she was a child. With her own talent and academic ability, she later made outstanding achievements in literature and art. She became a widow after marriage. Fang Weiyi married Yao Sunxi, a young man from Tongli, when she was 17 years old. Unfortunately, her husband died of illness the following year, and she gave birth to a posthumous daughter who died in infancy, so she had to return to her natal family alone to live as a widow. , Shouzhi "Qingfen Pavilion". After Fang Weiyi became a widow, her life situation was no longer comparable to her carefree youth. In a complex big family, she respected the elderly and treated her peers and servants well to harmonize everyone. Although the work was extremely difficult, she always insisted on reading scriptures and history, studying hard, reciting poems and compositions in her spare time, and used this to influence her family's ups and downs in life. Stumbling. A higher level of cultural literacy determines that Weiyi has a higher pursuit of life ideals. With her perseverance and perseverance, she reads a lot of books and writes diligently, and she is different from ordinary women. Different life paths.
Knowledge
Because Fang Weiyi is knowledgeable and amiable, she is deeply respected by her brothers, sisters and nephews. She was sincerely convinced and treated her with courtesy. Qingfen Pavilion became a school, and Fang Weiyi became the female teacher of Qingfen Pavilion. Her sister-in-law Wu Lingyi studied at Xiaofen Pavilion and made great progress in calligraphy and poetry. When she passed away at the age of 30, Fang Weiyi hand-written "Qiu Peiju's Posthumous Manuscript" for her to pass down to the world. Fang Weiyi also personally raised her nephews and nieces, teaching them earnestly and caring for her. Later, her niece Fang Ziyao became a talented woman with excellent calligraphy and painting. He acquired Fang Weiyi's techniques. His nephew Fang Yizhi became a great scholar on par with Gu Yanwu, Huang Zongxi, and Wang Fuzhi, which is inseparable from Fang Weiyi's early education and influence.
The temperament of the times
Fang Weiyi lived in an era that coincided with the transition between the Ming and Qing Dynasties. Class conflicts and ethnic conflicts were increasingly intensified. The barbaric burning and killing by Qing soldiers after they entered the customs even shattered the mountains and rivers and devastated all lives. The unique sensitivity and rich emotions of literary artists give Fang Weiyi a stronger sense of real life. She has always paid attention to the fate and future of the country, and deeply sympathized with the people's livelihood sufferings. The cruel social reality always arouses her resentment for the troubled times and nostalgia for her motherland. She vividly reflects her various emotions of concern for the country and the people in her works. She has good conduct and outstanding talents, but she does not show herself by this, and her poems never show off to others easily. "Words about sorrow and resentment are often burned after they are finished" (Fang Mengshi's "Preface to the Collection of Qingfen Pavilion"). Among the poems handed down from generation to generation, the more representative one is her late work "Traveling in Autumn and Hearing the Bandits". Fang Weiyi was highly erudite and talented. He not only studied classics and history, but was also good at poetry, calligraphy and painting. According to records in "History of the Ming Dynasty·Yiwenzhi" and "Ranzhi Collection" by Wang Shilu of the Qing Dynasty, Weiyi has written 8 volumes of "Qingfen Pavilion Collection", 1 volume of "Chujiang Yin", 1 volume of "Gonggui Poetry Review", One volume of "The Seven Confusions of Ni Shuo" and "Poetry and History of Guangui", "History of Guangui Literary", "Returning Sigh", "Guilin Fan" and other collections have been published in the world. These works include poetry, prose, notes, papers and other literary styles, and their content involves literary creation, literary history research, literary criticism and female philosophy. Unfortunately, most of her works have been scattered, and we can only get a glimpse of her poetic style from the few surviving works. Fang Weiyi devoted her life to pursuing literature and art. When she was over 70 years old, she still insisted on writing and painting. Her calligraphy is most admired by Mrs. Wei's style, and her painting is best at line drawing.
Feng Jinbo of the Qing Dynasty listed Weiyi's line painting as a masterpiece in his "Knowledge of Paintings of the Dynasty" and believed that "in the past three hundred years, the generous and famous pens can only be compared with Jie Jie's two or three." Weiyi's achievements in many aspects show that she is worthy of being a "celebrity" in the female world.