Introduction to Zhu Da
Bada Shanren
His real name is Zhu Tongquan, and he has nicknames such as Xuege, Geshan, Renwu, Daolang, and Bada Shanren. The word "Bada", according to people's interpretation, means "crying" and "laughing", meaning that we cannot laugh or cry. Nanchang people. An outstanding painter in the late Ming and early Qing dynasties. He is the ninth grandson of Zhu Quan, the 16th son of Ming Taizu Zhu Yuanzhang. Zhu Quan granted King Ning the title of Nanchang and multiplied eight branches. Zhu Da belonged to the branch of King Yiyang and was granted the title of Lieutenant of Fuguo. Both his father and grandfather were good at calligraphy and painting, so Zhu Da was influenced by art since he was a child. He was able to compose poetry at the age of eight, draw green landscapes at the age of eleven, and write Mijia regular script with his wrist hanging from his wrist when he was young. Weak crowns are for all living beings. After the fall of the Ming Dynasty, he became a monk in Gengxiang Temple in Fengxin County with an attitude of dissatisfaction with the Qing Dynasty. He was twenty-three years old. Later, he lived in seclusion in Jie Gang, Jinxian County, Mu Gang, Yongfeng County and other places. In the last years of Shunzhi, when he was thirty-six years old, he sneaked back to Nanchang and founded Qingyunpu Taoist Temple. It took him six or seven years to make the Taoist temple begin to take shape, and he lived a life of "nothing left" and "nothing left" here. My husband moved to farm fields and dig wells." He wanted to turn this place into a paradise in order to achieve his long-standing wish of "finding a place of freedom". But after all, this "freedom in the field" was established under the rule of the Qing Dynasty, and it was impossible to "don't have to have cars and horses outside the door". Because Qing Dynasty dignitaries often came here to harass him, he often traveled to other places.
When he was fifty-three years old in the seventeenth year of Kangxi, Hu Yitang, the magistrate of Linchuan County, heard of his name and invited him to stay with his chief monk Rao Yupu in the official residence of Linchuan for more than a year. This made him very distressed and angry, so he pretended to be crazy, tore his monk's robes, and walked back to Nanchang alone. More than a year later, he returned to Qingyunpu and spent his "60th birthday" here. When he was sixty-two years old, he stopped being the abbot and handed over the Taoist temple to his Taoist disciple Tu Ruoyu. Later, he hid in Beilan Temple, Kaiyuan Temple and other places near Nanchang. He often sells paintings to make ends meet. Later, he built a humble house named "Henggecao" hall. Ye Danju Zhangjiang wrote a poem "Crossing the Eight Mountains": "A room full of songs is filled with rustling dust and wormwood. The door is dark, and the poems and paintings are Zen-like. The old man who left behind the world and escaped is famous, and the mountains are left with water. The green body is green. The old business is still here, zero
Bada Shanren devoted his main energy to painting all his life. He was ambitious and generous. Due to the characteristics of the times and his life experience, he held an uncompromising attitude towards the Qing Dynasty. He vented his sorrow and anger in his paintings and calligraphy, so the birds with swollen bellies, glaring fish, and even birds with one foot on the ground appeared in the paintings to show that they were incompatible with the Qing Dynasty, with their eyes upward and white eyes pointing toward the sky. The four words "山人" are written together in cursive, resembling the words "cry" and "laugh". He also has many obscure and difficult poems and postscripts, expressing his extreme hatred and contempt for the Qing court.
His novels, poems and literary works express clear love and hatred, such as "The Peacock Picture" written by Wen Moxi and its title poem: "The famous peacock flowers rain on the bamboo screen, and the bamboo tops are half strong and half ink is born; how to draw three conclusions?" Er, it is the second watch in spring. "Poignantly satirizes the ugly behavior of the slaves of the Han landowners who wear black gauze hats with three eyes and feathers on their heads, begging for glory and surrendering to their new masters. There is a landscape album titled: "Guo Jiachuan's cloud head is small, but Dong Lao's hemp tree has more; I want to see people interpreting pictures at that time, and Yifeng also wrote Song Shanhe. "He admired Dong Yuan and Guo Xi, the painters of the Five Dynasties in Beining, who used their unique pen and ink to depict the country of the Song Dynasty that was not invaded by foreigners, which inspired thoughts and feelings of loving the motherland. "Magpie Stone Scroll" (currently in the collection of the painter Bada Shanren Memorial Hall), The painting depicts two magpies standing on a large rock. The meaning of the painting is that the magpies occupy the nest and gather in the pan. "Poem. Zhaonan. Magpie's Nest" says: "The magpies have nests and the doves live there." Of. "It is said that "the corpse dove does not make its own nest, but lives in the magpie's nest." "Bada Shanren made this metaphor to satirize the nobles who are not good at seeking their own benefit and forcibly occupy other people's landowners. He also deliberately showed the two magpies gathering on the rock, which cannot be occupied and shaken by corpse doves. He often painted lotus, lotus, pine and stone, Plum blossoms, orchids, bamboos and chrysanthemums, reeds, wild geese, cranes, fish, ducks, eagles, deer, etc., mostly symbolize his stubborn character and high integrity. Children can easily obtain his novels, poems and literary works. This spirit of not yielding to power has always been appreciated and praised by people.
Bada Shanren has outstanding achievements in art.
Focusing on painting, he also has high attainments in calligraphy, poetry, postscripts, and seal cutting. In painting, he is famous for his large-scale freehand ink paintings and is good at splashing ink. He is especially famous for his flower and bird paintings. In his creation, he adopts natural methods, concise pen and ink, majestic and unique, creating a high and vertical style. Over the past three hundred years, all major freehand painting schools have been more or less influenced by him. Zhang Geng in the Qing Dynasty commented that his paintings had reached the realm of "clumsiness in the rules of the square and circle, and despicable study in color painting". He advocates "sparing" in painting. Sometimes he only paints a bird or a stone on a large paper, with a few strokes and a unique expression. His calligraphy has a vigorous and graceful style. The seal carving has a simple shape and a unique pattern.
In the process of developing his own style, Zhu Da inherited the fine traditions of the previous generation and found his own path. His flower and bird paintings, the wild style of Xu Xi of the Five Dynasties of the distant dynasty, and the orchid, bamboo, ink and plum blossoms of the literati painters of the Song Dynasty were also influenced by the techniques of Linliang, Lu Ji and Lu Zhi of the Ming Dynasty, and he especially paid tribute to the extensive painting style of Qingteng Baiyang. His landscape paintings were as far back as Zong Bing of the Southern Dynasty, and he also learned from the Jiangnan landscapes of Dong, Ju, Mi Fu, Ni, Huang and even Dong Qichang. In terms of calligraphy, he studied stone drum inscriptions carefully and deliberately copied the dharma calligraphy of various schools since the Han, Wei, Jin and Tang Dynasties, especially those of Wang Xizhi.
Generally speaking, the characteristics of Zhu Da's painting art are that he uses form to express emotions and deform to capture the spirit; the ink is simple and light, and the brushstrokes are unrestrained; the layout is sparse and the artistic conception is spacious; he is energetic and majestic. His form and technique are the best expression of his true feelings.
Zhu Da’s artistic accomplishment and skill are forged, as he said: “If you read thousands of volumes, your mind will be clear of confusion; if you travel thousands of miles, you will encounter great masters.” He believes that painting is like this When climbing high, "you must climb frequently and then you will be fearless", which illustrates his spirit of continuous refinement of art. In the confrontation between innovation and conservatism in the painting world of the early Qing Dynasty, Bada Shanren played a prominent role among the "Four Great Painting Monks" of the reformist group. In order to commemorate this great painter, the "Painter Bada Shanren Memorial Hall" was established in Qingyunpu, Nanchang City after liberation. Zhu Da's art has aroused great repercussions in the East, especially in Japan and even the world's painting circles. Bada Shanren’s calligraphy, painting, and novels, poems, and literary works are no longer available. For example: "Powl Playing in the Lotus Pond", "Flowers on the River with Inscriptions", "Fish and Duck", "Fish and Music", "Miscellaneous Flowers", "Willows Bathing Birds", "Hibiscus" "Reed Goose Scroll", "Big Stone Fish Scroll", "Double Eagle Scroll", "Ancient Plum Scroll", "Moss Pine Scroll", "Autumn Lotus Scroll", "Panjiao Bamboo and Stone Scroll", "Chun "Deer Scroll", "Quick Snow and Sunny Scroll", "River Boating Scroll", "Four Frames of Silk Light Crimson Landscape Screen", as well as many banners, flowers, birds, fish, ducks, landscapes, trees and rocks in the album. In terms of calligraphy, there are "Linlan Pavilion Preface Scroll", "Linhe Narrative Four Screens", as well as various masters' dharma calligraphy and cursive poetry scrolls, etc., all of which are collected in museums and courtyards at home and abroad.