Urgent! Brief introduction of Ming Dynasty painter Zhao!

Zhao Zuo (1573— 1644) left one as an assistant, with literary style. Active in the late Ming Dynasty. Wanli and Chongzhen were both from Huating (now Songjiang, Shanghai). Zhao Zuo, who was outstanding in poetry and prose before his death, arrived in Beijing and made a blockbuster with an autumn grass poem called Zhao Qiucao. Later, Gu Zhengyi appreciated him, and asked Song to learn painting from his friends, and his painting name gradually became clear. Garden teacher Dong Yuan, Huang and Ni Zan. The painting of Yunshan has its own meaning, like rice (not rice). Jiao Mo is a dry pen master, good at dry dyeing. Influenced by Dong Qichang's painting style, he has formed a style with delicate brushwork and elegant colors. He and his disciples Shen, Zhu Xuan, Ye Younian, Chen Lian, Li and others formed an art group called "Su Song School". In the idea of painting, the direction of the object to be painted should prevail, and the scenery should be staggered rather than complicated. He was poor all his life and wrote for Dong Qichang. The collection of Da Yu 'an's posthumous works has been lost, and scattered poems have been compiled into an episode by his son. There is a secluded picture of autumn mountain handed down from ancient times in the thirty-ninth year of Wanli (161) (collected by Shanghai Museum) and an endless picture of western hills in the forty years of Wanli (16 12), which is included in China Painting. In addition, there are the Fuchun Daling map of the Palace Museum, the Cao Ge map of the Han River of the National Palace Museum in Taipei, and the endless imitation of crazy autumn mountains and landscapes of the Shanghai Museum.

First, learn from Vae. Vae (1525-? Chu Yun was born in Huzhou, Zhejiang Province, and later moved to Songjiang, Shanghai. Shen Zhou is one of the main imitators of "Ming Sijia" and the originator of "Songjiang School". Zhao Zuo's landscape painting is based on Vae.

"Mountain Living and Leisure Scenery" is collected in Shanghai Museum.

Based on this, he traced back to the source, imitated the brushwork of Dong Yuan and Ni Zan, adopted the pale crimson method of Mi Yunshan and Huang Zijiu, made good use of dry pen, was good at dry dyeing, and was full of charm. In the Qing Dynasty, Wang Pei Wenzhai's Calligraphy and Painting Spectrum says: "(Zhao Zuo) studied abroad" ... His paintings are from Dongyuan, which means Huang and Ni Zan. "

Secondly, influenced by Dong Qichang's landscape paintings. Dong Qichang was a master of painting and calligraphy in the late Ming Dynasty. His theory and practice of landscape painting influenced the development of landscape painting in the late Ming Dynasty and even in the Qing Dynasty. Coupled with Dong Shi's prominent social status, he served as an official in the Nanjing Ritual Department and made a large number of officials, literati and painters, so he was famous and had many followers. Because Dong Qichang was a native of Songjiang, many painting schools in Songjiang at that time followed Dong Shi, emphasizing antique and attaching importance to pen and ink. Zhao Zuo was inevitably influenced by rural sages in his painting creation.

Zhao Zuo and Dong Shi are close friends in the field of calligraphy and painting, and they have been in contact with calligraphy and painting for a long time. They are one of the most important ghostwriters in Dong Shi's paintings. In this regard, Zhu Qingyi Zun (1629- 1709) pointed out in Twelve Paintings that "Zhao Zuo, a recluse, and Xue Ke, a monk, should always be busy with Xiangguang. There is still a difference in the end, because the inscription was almost collected. " Zhu's own notes said: "Dong is tired of socializing. Every time Zhao writes ghosts, he pays for a book." At the same time, in the Qing Dynasty, Jiang Shaoshu (the date of birth and death is unknown) also said in "History of Silent Poetry": "I am friends with Dong Sibai, and I have traces of Dong, which is quite literary." It can be seen that Zhao Zuo's ghostwriting for Dong Shi was an open secret at that time, which also reflected from one side that Zhao Zuo's painting skills were really extraordinary.

Zhao Zuo's Landscape Book

Zhao Zuo's painting "Landscape Book" is now collected by Tiandu Building in Jinling.

Of course, there are essential differences between Zhao Zuo's ghostwriting for Dong Qichang and Dong Shi's original works. Zhao is good at baking and dyeing. He painted trees with strong three-dimensional sense, complex levels, fine painting style and skillful painting skills. However, compared with Dong Qichang, his pen and ink skills are slightly thin, which is mainly due to Dong Shi's extraordinary calligraphy skills that Zhao can't catch up with. As the leader of Songjiang School, Zhao Zuo has his own uniqueness. The History of Silent Poetry records a painting and expounds his artistic views on landscape painting creation. He advocates that painting landscapes should be characterized by mountains, rivers, trees, buildings, boats, cars and people, and borrow scenery without chaos and be patchwork; The scenery layout must be natural and reasonable; The scenery is marked with rotten pen first, and then inked, so that the scenery blends with pen and ink, and the painting becomes meaningful.

His landscape paintings also strive to embody these ideas. Most of the scenery is complex, and sometimes clouds flow in mountains, valleys and streams; It is interspersed with oblique paths, bridges, houses and trees. In terms of pen and ink, or with thick, wet, shallow and light ink color, the back of the mountain is dyed and the white clouds are dyed; Or make a shallow crimson color and integrate it with the use of pen and ink. He often uses different painting methods of artists such as Michaelis and Sons, Huang and Ni Zan.

His landscape painting charm also attracted a large number of Songjiang painters to follow him, such as Zhao Yun, Ye Younian, Zhen Wu and Shi. They all learned from Zhao Zuo's paintings, which made Songjiang painting scene in the late Ming and early Qing dynasties present a vibrant scene. Many of Zhao Zuo's works are also regarded as hereditary treasures by contemporaries and later generations.

The axis of Zhao Zuo's "Deep Scenery of Western Hills" is a silk version, with a length of 1, 4 1 cm and a width of 63 cm. It was once hidden in the place of Guo Weiqu, a contemporary painter. Mr. Guo recorded this in detail in the manuscript of Calligraphy and Painting, and wrote an inscription: "Zhao imitated the long landscape axis. Silk book, in color, four feet six long.

Zhao Zuo's Paintings (29)

Inches, two feet wide. Dong Qichang wrote four lines on the paper. The mountains are deep and beautiful, and I painted for Mr. Ruzhong in the winter and November of Wanli, Zhao Zuo. Zhao Zuo's seal is printed in the vernacular, and Du Wen's seal is printed in the vernacular. Du Wen made this picture for Confucianism and Zhong You, which is a combination of martyrdom and knowledge. Thick mountains and rivers, rich vegetation and loving children are a timeless topic.' Zhu Wen's "Identification of Bamboo Friends" has a long seal. "

This painting "Five Applications of Wanli" dates from the thirty-sixth year of Wanli (1608), belonging to Zhao Zuo's early works. According to the current research on Zhao Zuo, his date of birth and death is ominous. The earliest known chronological work was written in the 31st year of Wanli (1903), with an estimated date of birth of around 1570, and was written in the 6th year of Chongzhen (1633) at the latest, when he was over 60 years old. Deep Show in the Western Hills should have been written in the 1930s, so it belongs to the early stage. According to the existing research results, the development and evolution of Zhao Zuo's painting style can be summarized into three stages. Forty-three years of Wanli (16 15) was the early stage, and his works had a significant influence on Wu Pai, with an antique tendency. From Tang and Five Dynasties to Song and Yuan Dynasties, he was widely studied. The inscription font is square and the turning point is round and soft. From the 43rd year of Wanli (16 15) to the first year of Taichang (1620), it gradually formed its own characteristics. Some works are greatly influenced by Dong Qichang, whose modeling has changed from fine realism to simplification, plainness and form, and pen and ink has changed from sincerity to freedom and liveliness. The font of this book is getting thinner and thinner. After the first year of Taichang (1620), it was the later period, with mature appearance and simple and naive style; This book is also slender, with a sharp nib and beautiful lines. This song "Beautiful Scenery of Western Hills" is in line with the previous style.