As a painter and collector, Dong Qichang paid attention to book collection all his life. He identified ancient works with different purposes and classified their styles, and gradually formed the theory of painting and calligraphy such as "the theory of southern and northern sects", which guided his own painting and calligraphy creation. Around these collections, Dong Qichang launched a series of appreciation activities and left calligraphy and painting inscriptions. The book "Essays on Painting Zen Rooms" recorded the detailed process of Dong Qichang's ancient posts with the inscription and postscript.
In Zhao Mengfu's masterpiece "Autumn Color Map of Quehua", Dong Qichang wrote it five times from the age of 48 to 76, from which we can not only appreciate Dong Qichang's calligraphy, but also appreciate his highly theoretical research on calligraphy and painting tasting, which is also quite meaningful to read. The reporter interviewed Ye, a professor at Zhejiang University of Science and Technology, and asked her to interpret the different angles behind Dong Qichang's five questions.
The fourth postscript of Dong Qichang's "Quehua Autumn Color Map"
Dong Qichang collected a large number of Zhao Mengfu's paintings and calligraphy works, and copied them many times, which shows that he admired Zhao Mengfu very much. In Rong Tai's Bieji, he commented that Zhao Mengfu was "brilliant, graceful and beautiful". Yuan Shizu called and said, Master Hanlin's instrument is also ... Paintings and books are fine works, and paintings are the best and the treasure of the world. "Praise" Zhao Jixian painted the crown of Yuan people. Although there were many people who could do things in the Yuan Dynasty, they inherited the Song Law with a little effort. "For" The Color Map of Que Hua Qiu ",Dong Qichang first saw it at Xiangjia at the age of 28, collected it at the age of 48, and wrote the fifth inscription at the age of 76. He copied it twice, namely 1.603 (thirty-one year of Wanli) and 1.665438+2 years (forty years of Wanli), and wrote: "The other family has Zhao Ronglu. I also talked about Wen Zhiming's "Imitation of Que Hua Qiu Color Map". How familiar is he with "Que Hua Qiu Color Map"?
Comments on Zhao Mengfu, Wang Wei and Dong Yuan.
In the thirty-third year of Wanli (1605), Dong Qichang put "Quehua Autumn Color Map" on the vertical axis of the development of painting art from the perspective of a master painter. He praised "Quehua Autumn Color Map" with the style of Wang Youcheng and Dong Beiyuan, and pointed out that "Quehua Autumn Color Map" was inspired by the Tang Dynasty and had lost its fiber; There is a hero in the Northern Song Dynasty. Go. "Since then, I have summarized the overall direction of Zhao Mengfu's painting style and the source of taking the past, taking this school as the Sect; And realized Zhao Mengfu's innovative method of learning from the past, and how to correct the current disadvantages. On the other hand, comparing Zhao Mengfu with Wang Wei and Dong Yuan, who are turning points in the history of painting, implies the affirmation of Zhao Mengfu's position in the history of painting, and also implies the admiration of the "Southern School of Painting".
Where did Zhao Mengfu's Quehua Qiutu reflect from Wang Wei? The most obvious thing is to absorb the artistic expression in Wang Wei's Wangchuan Villa. There are many similarities between the two works.
Zhao Mengfu's "Quehua Autumn Color Map" is a typical work of his style, which shows simplicity in seiko. Composition method, pen and ink characteristics, image elements, etc. Everyone has their own style and historical origin, which is clearly visible. With exquisite pen and ink, the paper presents a slightly dry and hairy effect, and the innovation in form has opened up a new situation for the literati painting school in the Yuan Dynasty and beyond.
From the perspective of painting style, both of them directly depict the object, and the panorama is placed at the bottom of the pen, which makes people feel immersive, and the presented image is easy to identify the corresponding real scene. In the realistic method, Wangchuan Villa divided the scenery, mountains, houses and trees. In order to make the scene clear, they are divided into groups, thus showing a series of matriarchs, such as Wang Chuan Zhuang, Huazigang and Mengcheng Ao. , concise its scenery, exaggerate its shape. It is also through this method that Queshan autumn color map makes Queshan and Huashan relatively independent and separated from the turquoise rich environment. Judging from the various images in the picture, it seems out of proportion, which is based on the principle that the image size is determined by the importance of things in the painting style of Tang Dynasty. In the treatment of far and near space, both of them adopt the method of the foreground ground leaning forward, which is convenient for the painter to have enough space to express the hierarchy and give the viewer the best perspective to get a panoramic view.
Wang Wei marked the address according to the previous drawing method. While inheriting the methods of "close at hand, focusing on depth" and "close at hand", Zhao Mengfu broke the rigid division mode of Wangchuan Villa, and the two sections of the picture were independent and unified, realizing the schema transformation from Wangchuan villa style to landscape courtyard style.
As far as pen and ink are concerned, the mountain shape is composed of soft lines and miscellaneous trees. But "Quehua Autumn Color Map" is obviously more vigorous and mature. Emphasize painting with books.
Painting has become an expression of lyricism and ambition. Zhao Mengfu and Wang Wei have similar identities and mental processes. Wangchuan Villa is Wang Wei's refuge, and it is also a paradise that scholars of all ages yearn for. The color picture of Quehuaqiu follows the theme of Wangchuan, which is not only an ideal place for him to live in seclusion, but also his regret for being an official and his yearning for seclusion. He also portrayed an idealized landscape image with the expression of homesickness, and revealed his contradictory psychology of "being in Wei Que" and "having nymphs in his heart" with implicit pen and ink.
As for absorbing Dong Yuan's advantages, the mountains painted with lotus leaves and Pimapa in Quehua Autumn Color Map, the close-up paintings of Zhu Ting and reeds, and the figures, houses, sheep and other elements in the paintings can be traced back to Dong Yuan's three volumes: Summer Scenery, Waiting for Crossing the Mountain Pass, Xiaoxiang Map and Summer Mountain Map. Both of them pull objects that should be in the middle of the middle scene to the foreground, almost close to the bottom of the picture, thus dividing the river into two sections, winding and creating a sense of depth.
The origin and objective conditions of Zhao Mengfu's learning from the ancients
Zhao Mengfu tried to turn the tide when the world was in decline, flaunting the painting style of Tang and Northern Song Dynasties as the essence of painting, and praising Wang Wei's works as a model to lead people in the right direction, so as to realize the admiration for the former dynasty and reverse the delicate style of modern literati painting.
In Epilogue V, Dong Qichang affirmed Zhao Mengfu through his careful appreciation. There are 43 collections recorded in The Story of Clouds Passing Eyes, which indicate the author, painting name, collection mark, inscription and spread process respectively. The appraisal conclusion is concise and to the point. Among them, collectors include Zhao Mengfu's many contacts with the Southern Song Dynasty, Yuan officials and Yi people. This book also has a catalogue of Zhao Mengfu's uncle Zhao Lanpo's paintings and calligraphy. This shows that Zhao Mengfu has a large collection of books, family collections and paintings that may be handed down from generation to generation. Ziang followed it and learned about the romantic life in the Tang and Song Dynasties. On the one hand, it further complements the close relationship between Zhao Mengfu and him, which is the friendship between teachers and students. On the other hand, it points out the origin of learning from ancient times, which leads to "romantic life in Tang and Song Dynasties". In fact, Zhao Mengfu's study of ancient works is aimed at the works before the mid-Northern Song Dynasty. In addition, Qian Shunju (Qian Xuan), a famous painter in the late Song Dynasty and early Yuan Dynasty, and Zhao Mengfu were also called "Xing Wu Eight Horses". They are very similar in learning from ancient times and have close contacts, and they are both "Huzhou School". Zhao Mengfu was born in a big family of more than 30 painters in Song Dynasty. He was "born different" and had an advantage in objective conditions. He once looked at a large collection of paintings and calligraphy, so he began to learn from ancient times.
As can be seen from Postscript 2 and Postscript 5, Dong Qichang knows Zhao Mengfu very well.
Combining the inscription and postscript, we can interpret it as: 1. Zhao Mengfu's painting thought and the expression method of "ancient meaning theory"; 2. The historical position of Zhao Mengfu; 3. Advocate the origin of the positive pulse of Tang and Song painting and how to "learn from the past". When evaluating Zhao Mengfu, later generations inevitably quoted two inscriptions by Dong Qichang.
A probe into the wind of late Ming dynasty
In Postscript 1, Ren Yin (1602), this is the first time that Dong Qichang wrote an inscription for "Quehua Autumn Color Map", telling a story of the painting world. This paper compares the color picture of Que Hua Qiu with Li's Lotus Society Picture, and it can be seen that Zhao Mengfu and Li were highly respected in the painting circle at the end of the Ming Dynasty. These 20 years, we can see that Dong Qichang has a good impression on Zhao Mengfu. He juxtaposes "Quehua Autumn Color Map" and "Lotus Society Map" with "Playing the Golden Sword", suggesting that he began to consider Zhao Mengfu's future position in the history of painting.
Besides, we can also see the friendship between Xiang Huibo (Xiang) and Dong Qichang. He brought such precious works and told Dong Qichang about the collection, which reflected the popular trend of collection, communication and exchange in painting circles at that time from another side.
Put yourself in others' shoes and feel it.
In the fourth postscript, Dong Qichang wrote Poems on Autumn Colors of Quehua, which described Zhou Mi's feelings for his native land: "The autumn colors of Quehua are green and edible, and farming crops and pottery fish are in it", and "Wu Nong's head is not turned back, so it is better to cover up the spring rain". This is the inscription of Dong Qichang at the age of 76, just as he retired. This inscription made him feel his own mood rather than meticulous feelings. On the one hand, Dong Qichang's attitude towards painting has changed, and the painting significance becomes less important when he suddenly saw Quehuaqiu Color Map for the first time. He carefully understood the reason why he loved this painting and felt Zhao Mengfu's meticulous understanding. The three characters understand each other through time and space. On the other hand, it also aroused Dong Qichang's yearning for life and hometown, and he felt more about the rise and fall of the country. Putting yourself in others' shoes makes people deeply moved.