Wang Xijue's grandson was born in the family of an official in the Ming Dynasty. Chongzhen was a minister of Taichang Temple in his early years, so he was also called "Wang Fengchang". There are many poems, paintings and calligraphy, and there are many famous calligraphy books and paintings at home. I have observed them many times and received guidance from Dong Qichang and others. He is good at landscapes, especially Huang. His brushwork is subtle, light and loose, rich and elegant, but his composition has not changed much. His paintings had a great influence in the Qing Dynasty, and Wang Yi and his grandson were endowed by him. Together with Wang Jian, Wang Yi and Wang, they are called "Four Heavenly Kings" and "Six Qing Dynasties". Created the "Lou Dongpai" of landscape painting, ranking first among the "Four Heavenly Kings" of painters in the early Qing Dynasty. Handed down from ancient times, there are Yayi Mountain Zhai Tu, Summer Mountain Tu and Western Hills Louguan Tu. He is the author of Xitian Collection and Postscript of West Road Painting. (1598 ~ 1677) is a famous painter in Qing dynasty. The word Xuan Zhao was changed to Yuan Zhao, Yuan Zhao, Xiang Bi and Master Xiang 'an. People from Taicang, Jiangsu. Born in a scholarly family, Wang Jian is the great-grandson of Wang Shizhen, a famous scholar in Ming Dynasty. There are rich works of ancient and modern famous artists in his family collection, which provides a good condition for Wang Jian to learn to copy the original works of famous paintings of past dynasties. The antique works are deep and the brushwork is extraordinary. It is one of the "six schools in the early Qing Dynasty".
Wang Jian was personally taught by Dong Qichang in his early years. His life-long painting career developed along the direction of attaching importance to learning from the ancients in Dong Qichang, constantly pondering the brushstrokes of many predecessors such as Dong Yuan, Zhen Wu and Huang, absorbing and transforming the brush and ink structure of the ancients, and forming his own rich landscape painting language. Wang Jian painted a slope stone with yellow, learned Zhenwu with moss, and learned Ni Zan with ink. In particular, his turquoise landscape paintings are meticulous, beautiful, charming and clear, which combine the clean and elegant painting styles of Shen Zhou and Wen Zhiming, and the elegant book style has been praised by future generations.
Chongzhen served as a juror for six years (AD 1633). After the official to Lianzhou satrap, it is also called "Wang Lianzhou". Wang. He is good at landscapes, far away from Dong (source) and Ju (nature), and near between Wang Meng and Huang. The brushwork is sharp, the pen and ink are thick and moist, the trees are lush, the back valley is deep, the brushwork is bright and ethereal, the rendering is clever, and it has the strength of ancient meaning. Intercropping green and heavy colors can also be beautiful and harmonious. The new Yunlin landscape is extremely dense. Imitation of Shan Ye firewood, imitation of Zhao Danian's "Spring Scene" boneless landscape, imitation of Hong Guzi painted landscape, strange and dense, pure seal writing outline. Imitate Zi Jiu's Color Map of Autumn Wood Mountain, Huang's Smoke Drift Away, Shen's Landscape Map, Dong Yuan's Color Map of Autumn Wood Mountain, Landscape Map and Landscape Map, with emphasis on bones and light spirit. Most of his works imitate the past, believe in famous artists, lack originality, and have a strong style of retro thinking and formalism. His works include Ranxiang Temple Collection and Postscript of Ranxiang Temple Painting. (1632 ~ 17 17) is a famous painter in Qing dynasty. Word stone valley,no. plowing smoke scattered people, Jianmen firewood passengers, five acres of mountain people, Qinghui old people and so on. People from Changshu, Jiangsu. Known as the painting saint in the early Qing Dynasty. Grandfather Wang Zaishi and father Wang Qilong are both good at painting.
Wang Yi loved painting since childhood, inherited his family business, and studied painting with his fellow villagers who studied painting in Huang. He showed extraordinary painting ability very early. Wang Yi studied under Wang Shimin and Wang Jian. However, the landscapes he painted are not limited to one kind, and they are widely collected. They are the achievements of various schools since the Tang and Song Dynasties, and they are integrated with the northern and southern painting schools. On the basis of Wang Shimin and Wang Jian's development of the Southern School of Painting, Wang Yi used some techniques of the Northern School for reference, comprehensively combed the tradition of landscape painting, and formed a comprehensive and generalized law. Wang Yi perfectly combined the brushwork of Huang and Wang Meng with the composition of Fan Kuan, creating a magnificent landscape painting style. Therefore, the small scenes he painted in the south of the Yangtze River are often interesting, quiet and smart. Wang Yi likes to use both dry pen and wet pen in painting, and often rubs with fine pen, so the picture effect is stronger. Someone once said, "It is a great achievement to convey the mountains and valleys of Song people with the pen and ink of Yuan people and the charm of Tang people." In his early days, his painting style was beautiful and beautiful, but in his later years, it tended to be broad and vigorous. The composition is rich and varied, and the ink and light crimson are well rendered. Some critics also pointed out that Wang Yi's pen is too mature, but some of his paintings are exposed, his ink method rarely changes, and his composition is a little congested. (1642 ~ 17 15) is a famous painter in Qing dynasty. The word Mao Jing, footstool No.1, Shi Daochang No.1.. During the reign of Kangxi, he painted for the imperial court and appraised the scholars of ancient paintings. He is a native of Taicang, Jiangsu Province, and the grandson of the famous painter Wang Shimin. He, Wang Shimin, Wang Jian and Wang Yi were also called "Four Heavenly Kings" in the early Qing Dynasty. Among the "Four Kings", Wang is the youngest, but his achievement is the highest. Wang used to be the left assistant minister of the Ministry of Finance, known as Wang Sinong. In the forty-fourth year of Kangxi (1705), he was the curator of the painting and calligraphy museum, and together with Sun Yuefa, Song and Quan Wang, he compiled a large-scale painting and calligraphy book, Pei Wenzhai Painting and Calligraphy Museum 100 volumes, which took three years to complete. It provides valuable comprehensive information for painting and calligraphy lovers. This painting spectrum is the first treasure in China's painting history. Wang was deeply appreciated by Emperor Kangxi, so he had many students and gradually formed an independent painting school.
In painting, he studied under his grandfather and Wang Jian, and liked to copy famous paintings from the Five Dynasties to the Yuan Dynasty (907 ~ 1368). His painting style is mainly influenced by Huang in Yuan Dynasty. In terms of techniques, he likes to use dry pen when painting, first with pen, then with ink, from light to thick, from sparse to dense, repeatedly rubbing, alternating dry and wet, and the picture looks seamless. In addition to painting, he also wrote painting theories, the most famous of which are Walking in the Rain Window and Footsteps Painting. Wang is also good at writing poems, and he has written three volumes of the Collection of Painted Buildings.
Wang is a native of Taicang, Jiangsu Province, and Taicang is also called Loudong, hence the name "Loudong Painting School". At that time, the Loudong School of Painting was so famous that it could almost control the art world. As a representative of orthodoxy, Wang had a great influence on later generations. (1632 ~ 17 18) is a native of Changshu, Jiangsu. He lived a life of food and clothing, and his family came down when he was a teenager. He makes a living by selling paintings. He believed in Catholicism in middle age, went to Macau at the age of 50, became a Catholic priest at the age of 5 1, lived in poverty in his later years and died in Shanghai. Together with the "Four Heavenly Kings" and Yun, they are called "Six Great Masters in the Early Qing Dynasty". Although the social status is low, he is not arrogant in power, personality and painting. Qin said to him, "The old man is lonely and refuses to rely on others. Look at its gloomy charm, heroic and self-sufficient, overlooking other homes and being unique. "
Artistic Features Wu Li studied painting with Wang Jian in his early years and was also a student of Wang Shimin. So the early works are very similar to Wang Jian's style, with fine workmanship, cleanliness and beauty. In middle age, he absorbed the strengths of Wang Meng and Zhen Wu and formed his own style on the basis of visiting all the philosophers in Song and Yuan Dynasties. The layout of the work is more realistic, properly placed and full of distance. The pen is steady and meticulous, and the ink is accumulated. Rock is full of three-dimensional sense, and its style is simple and smooth. For example, Hu Cai's Painting Axis, collected by Shanghai Museum, was created at the age of 45, which is his masterpiece in middle age. In the landscape of the plain, willows are gradually growing in the near, middle and far places, and Wu Li is also good at painting bamboo stones. Taking Zhenwu as an example, he also has his own characteristics. For example, the bamboo branches in "Bamboo Stone Painting Axis" are quite thick, and the branches and leaves are all thick and colorful, which is more vigorous and powerful without alternating painting.
He is an archaist, not limited to the ancients. He can integrate the strengths of various schools, bring forth the old and bring forth the new, and to some extent absorb western methods, such as layout, light and shade, etc. So history tells him: "Every time you paint in the western way, the clouds are ethereal, which is different in peacetime." His landscape paintings pay attention to nature, which makes his works full of realism. As he said, "Don't take a chalk book as a rule, it will naturally follow his pen." These are different from the "Four Kings". What is more different from the "Four Heavenly Kings" is that Wu Can painted figures, which is different from any other style. The "People's Story Map" collected by the Palace Museum has a heavy shape, spacious houses and superb skills, which has never been involved in the history of painting.
Li Wu has many works handed down from ancient times. The Shanghai Museum alone has a collection of 32 paintings and calligraphy, including five or six excellent works, such as Rain in the Sky, A Qin Puxi Concert and Huaice Hall. The Palace Museum in Beijing has a rich collection. For example, at the age of 43, the painting "Song He Qin Ming Tuzhou" was taken from Wang Meng, with lush scenery, far-reaching layout, fine painting, thick ink accumulation, heavy ink on the negative side, and the light-receiving part "raised the edge", which enhanced the three-dimensional sense of the rock and embodied the typical style of the painter after maturity. The 75-year-old "Huang Shan Qing Ai Tu Juan" is Meng, and it is even more gloomy. Rock is woven with dry pen, coated with ink layer by layer, and then wiped with Jiao Mo. Clear yin and yang, lush, moist and silent. The 75-year-old "Spring Sound Songcai Picture Axis" is a yellow imitation, with dense brushwork and vigorous brushwork. The imitations of pens used by these famous artists in their later years all have the characteristics of being vigorous and dignified.
Market price Wu Li believed in Catholicism in middle age, and went to Macau to become a monk at the age of 50 to join in religious activities. Therefore, there are very few works from the age of 50 to 70. Although his later works after the age of 70 were more vigorous and concise, the price of his works at that time was not as good as that of his middle-aged works. Even in his later years, he lived in poverty.
At present, Wu Li's works have not flowed into Europe, America, Hong Kong, Taiwan and the market, and the price has been high. For example, new york Christie's 1989 auction of "Ancient Wood, Bamboo and Stone Landscape Book" (32.5* 22.5 cm) reached a high price of $352,000. (1633 ~ 1690) is a famous painter in Qing dynasty. Word Shou Ping, also known as Zheng Shu, alias Nantian, No.1 Baiyun Waishi, Yunxi Waishi, Dongyuan Guest, Chaofeng Guest, Cao Yisheng, Hengshan firewood. Jiangsu Wujin people. Together with the Four Kings and Wu Li, they are called "Six Great Masters in the Early Qing Dynasty". His father, Yun Richu, is an outstanding poet and the middleman of "Fu She". Uncle Yun Xiang (Daosheng) is a famous landscape painter with his own school. Influenced by scholarly family. Young Yun Shou Ping was displaced by the war. He and his father first left the temple as monks, and then returned to their hometown to live in seclusion and live a life of cloth and clothes.
Cloud is one of the "six masters in the early Qing Dynasty". His experiences of joys and sorrows as a teenager played an important role in his painting achievements as an adult. Unlike Shi Tao and the descendants of Zhu, his character is indifferent and elegant in painting. In art, Yun studied poetry from his father, painting from his uncle, and landscape painting from Wang Meng, Ni Zan, Shen Zhou, Tang Yin and so on in Ming Dynasty. Flower and bird science Huang Quan, Xu Xi; Calligraphy is the combination of Chu Suiliang and Mi Fei, and it has its own style.
Yun is the most famous flower and bird painter in the early Qing Dynasty. Most of his paintings are sketches, which are called "decent sketches"; Taking Xu Chongsi as the ancestor and taking the advantages of each family, boneless painting has been greatly developed. The painted flowers are rarely sketched, colored and rendered in ink and wash, and the brushwork is exquisite, neat, lively and simple, and full of interest. Yun's artistic creation has his own unique artistic views. He declared in "Postscript on Painting in Southern Sky": "People talk about painting, and it is easy to set colors. Do you know that rendering is extremely difficult? " He also said, "The description of law in the Song Dynasty has not changed, but the beauty of description lies in that they are related to each other without obstacles, and they regard it as different, which makes the world lose ...". This means that the Song painting is neat and the Yuan painting is freehand, and the two must be related to each other to be wonderful. He also said: "One water for ten days and one stone for five days are natural principles. Quiet and deep ... painting needs to enter the ancient statutes, so that time can be lost and shampoo can be new. "
Yun is not only outstanding in painting and unique in style, but also works as a poetry book, with beautiful and fluent sentences and refined poetic style, which is the crown of "Hannah Quinlivan's six lewdness". Yun's poems are fresh, his calligraphy is handsome and his brushes are vivid. He was known as the "Three Musts" and became famous for a while. Because Yun took classes before, he found a new way and created a new look, so he competed to learn the painting style, poetry and calligraphy of Sihai Nanyuan, which had a great influence on later generations, because he was known as "Changzhou School". Representative works include Wu Xuan Tu, Guo Ting Yu Zao Tu and Lin Shi Tu. , as well as Poem Grass in the South, Collection of Ou Xiangge, Original Works in the South and Collection of the South.
Yun took Huang's brushwork of landscape painting and found that its beauty lies in the shortage rate. His 32-year-old Atlas of Lingyan Mountain is sharp and sharp, with thick ink and heavy trees, high and light landscapes, infiltrating the Song and Yuan Dynasties, absorbing the strengths of Wang Meng and others, and his 40-year-old works are the most wonderful, such as the 43-year-old Atlas of Landscape Flowers and Birds, with flexible techniques. The 57-year-old Peony Fan was written one year before his death, with vigorous brushwork. Similar to Chen Chun, he is more interested in the ink painting of literati. He emphasized the relationship between personality and painting, and asked the painter to "get in and out of the storm, roll comfortably, roll comfortably", and then "finish writing". At the same time, he also emphasized that the painter's subjective feelings cast the painting object.