Man's house and donkey's house are used at the same time. Before the age of 60, the characters used were Yi Fa, Diandian, Han Chun, Yi Xueheng, Liefu and Hongxuan. Zhu Da is a monk's name, and "dang" is a vulgar word for "donkey". As for the name "Benevolence in Badashan", he chose it after he abandoned the monk and turned to the common customs. From the age of 59 until his death at the age of 80, all the previous words were abandoned.
The book "Badashanren" has profound implications. The Eighth National Congress of the Communist Party of China is closely related to Ren Shan, that is, "crying and laughing" is his hidden meaning. He has a poem "Laughter and crying are spreading" to express the feelings of national destruction and danger. Badashan people are good at painting landscapes and flowers and birds. His paintings are unrestrained, irregular, vigorous and beautiful, full of escape, and the composition is incomplete but complete.
His "one flower, one bird" lies not in quantity and size, but in the position and momentum in the layout. And whether it is used in a timely, surprising and ingenious way.
This is his "win-win" method. If the layout of the painting is flawed, sometimes books and clouds are used to fill its meaning.
Badashan people can write poems and have exquisite calligraphy, so even though his paintings are not many, with his poems, the artistic conception is enough, and his paintings make people feel small and numerous, which is the artistic ingenuity.
Most of his landscape paintings are ink and wash paintings, and he prefers boys to girls in Dong Qichang. He also painted landscapes with the brushwork of Huang, Ni Zan and Dong Qichang, but they were never elegant and peaceful.
The style is bright and elegant, but bleak and desolate, revealing a heroic and simple atmosphere in the desolate and lonely realm, reflecting his lonely and resentful mood and determined character.
His ink is different from Dong Qichang's, Dong Qichang's light ink can moisten Ming Jie, and Badashanren's dry grinding can moisten Ming Jie. Therefore, the paintings are all "unrestrained". Badashan people are different from others, and they are all "moist". Badashan people are different from others. A painter's artistic expression can be different from that of his predecessors, but it also lags behind others.
His flower-and-bird paintings are particularly outstanding and have the most personality. Most of his paintings are lyrical, expressing meaning by symbolic means, personalizing the image and pinning feelings. Such as fish and birds, once made the expression of "staring at people with white eyes" to express cynicism. His flower-and-bird painting style can be divided into three periods. Before the age of 50, he was a monk, especially in his early days. He spent a lot of money on "Carrying on the Family", "A Mountain", "A Donkey" and "A Man's House", painting fruits and vegetables, flowers and pine plums, mostly books.
The picture is more exquisite and powerful.
From the age of 50 to 65, the painting style gradually changed, and I like to paint fish, birds, grass insects and animals. The image is exaggerated, and the mouths and eyes of birds and animals are mostly square, with oval faces, large and small, and are on the verge of extinction. A bird lives with one foot and hangs with the other. After the age of 65, it will be late, and the art will become more and more mature. The brushwork became Park Mao Xiongwei, and the shape was extremely exaggerated. Fish and birds' eyes turn around a little, and their eyes lean against the rim of their eyes, looking like "supercilious" Some birds he painted seem to be stubborn. Even if there is not much pen and ink, they show the feathers of birds, which makes people feel untouchable and fly at the touch. Some birds shrink their necks with their fists and feet, which are both bullying and afraid of hard work, and are also concise in composition and pen and ink.
These images are undoubtedly the portrayal of the painter himself, that is, "the song of grief and indignation, worrying about the country and the people, expressing one's feelings with pen and ink." He wrote in a poem about Huang Shanshui: "Guo Jiayun is small, but Dong Laoma has many trees. People can understand if they want to see pictures. Yifeng is still with Song. Show his national consciousness. Badashanren's paintings had little influence at that time. Only Niu Shihui and Wan Wan spread the dharma, but they had a far-reaching influence on later paintings. His artistic achievements are mainly unconventional and created by himself.
His freehand brushwork is different from Xu Wei's bold and unconstrained, and Badashan people's rigor can be released. The Eight Eccentrics in Yangzhou in the middle of Qing Dynasty, the Shanghai School in the later period and modern masters such as Qi Baishi, Zhang Daqian, Pan Tianshou and Li Kuchan were all influenced by it. 1, Badashan people devoted their lives to painting. He is generous, and so is singing.
Due to the characteristics of the times and his life experience, he took an uncompromising attitude towards the Qing dynasty and vented his grief and indignation in his paintings and calligraphy.
Therefore, what appears in the painting is a bird with a bulging belly, a fish that glows, and even a bird that falls to the ground to show its disagreement with the Qing court, with its eyes up and turned to the sky.
He often scribbles the words "Badashanren" together, which looks like "crying" and "laughing".
He also has many obscure poems and postscript, expressing his extreme hatred and contempt for the Qing court.
His novels, poems and literary works show distinct love and hate.
For example, the well-known "Peacock Map" and its poem: "Peacock is famous for the rain on the bamboo screen, and the bamboo tip is stronger than half ink. How to say three ears is just sitting on the second watch every spring.
Bitterly satirized the ugly behavior of the slaves of the big landlords of the Han nationality, wearing dazzling and black hats, kneeling down to surrender to their new masters for glory.
There is a landscape picture book with the title cloud: "The cloud on the edge of the country is small, and there are many Dong Shu;" People can understand if they want to see pictures. Yifeng also wrote Song He Shan.
He said that he admired Dong Yuan and Guo, painters in the Beining period of the Five Dynasties, who painted the Song Dynasty free from foreign aggression with unique pen and ink, thus inspiring the thoughts and feelings of loving the motherland.
2. Magpie Stone (now the Badashanren Memorial Hall of Tibetan painter) depicts two magpies standing on a big stone, which means that a magpie's nest occupies a nest and a hundred birds gather together. "Poetry Zhao Nan Quechao" says: "Wei Que has a nest, and Wei Dui lives in it." As the saying goes, "Dead pigeons don't build nests for themselves, but for magpies.
"Eight mountain people do this metaphor to satirize landlords who are not good at making profits for themselves and usurping others. And deliberately show that two magpies live on the rocks, which is not something that resin pigeons can occupy and shake.
The lotus turquoise, Mei Lan, bamboo chrysanthemum, heron crane, fish, duck, eagle and deer he often painted mostly symbolize his stubbornness and integrity. Throughout his life, he never painted a flower and a stone for the dignitaries of the Qing court, but ordinary farmers, poor people, monks and children in the mountains easily got his novels, poems and literary works. This indomitable spirit has always been appreciated and praised by people.
achievements of art
4. Badashan people have made outstanding achievements in art, focusing on painting, and also have high attainments in calligraphy, poetry postscript and seal cutting.
In painting, he is famous for his freehand brushwork in ink and wash, and he is good at splashing ink, especially flower-and-bird painting, which is beautiful in the world. In his creation, he is natural, concise, magnificent and novel, creating a broad and vertical style. For 300 years, all the great freehand brushwork schools have been influenced by him to some extent. In the Qing Dynasty, Zhang Geng commented that his paintings had reached the realm of "being clumsy in the countryside and neglecting painting". He advocates "economy" in painting. Sometimes he only draws a bird or a stone on a big piece of paper and only draws a few strokes, and his expression is perfect. His calligraphy style is vigorous and fluent. Seal cutting is simple and unique.
In the process of forming his own style, Zhu Da inherited the fine traditions of the previous generation and found his own way.
His flower-and-bird paintings, Xu Xi's wild painting style in the Five Dynasties, and Zhu Lan Mo Mei, a literati painter in the Song Dynasty, were also influenced by the techniques of Lin Liang, Lv Ji and Lu Zhi in the Ming Dynasty.
Special tribute to the extensive painting style of Qingteng Baiyang.
(2) Landscape painting reached as far away as the Southern Dynasties, and studied under Dong, Ju, Mi Fei, Ni, Huang and Dong Qichang.
(3) In calligraphy, he studied Shi Guwen intensively and deliberately wrote various calligraphy posts since the Han, Wei, Jin and Tang Dynasties, especially Wang Xizhi.
④ Generally speaking, Zhu Da's painting art is characterized by expressing feelings in form and drawing inspiration from deformation; The pen and ink are simple and light, and the pen is bold and unrestrained; Sparse layout and empty artistic conception; Full of energy and momentum. His form and skills are the best expression of his true feelings. Zhu Da forged his artistic accomplishment and skills, as he himself said: "There is no doubt about reading thousands of books;" If you travel to Wan Li, you will see a big hand. "He thinks that painting is like climbing a mountain," you must climb diligently to be fearless ",which shows his spirit of constantly tempering art. In the confrontation between innovation and conservatism in the early Qing Dynasty, Badashan people played a prominent role among the" four great painting monks "of the reformists.
Whether it is flowers and birds or landscapes in his works, it can be said that he cherishes ink like gold, and there are few redundant strokes in the image structure of a few strokes, which is the most noteworthy feature that makes him unique.
However, when we examine the personal style created by Badashan people, it still contains extremely profound historical and traditional origins, and it is by no means a superficial and naive "anti-tradition" theorist who thinks that "innovation" will inevitably exclude "tradition".
Badashanren's flower-and-bird paintings inherited the works of Bai Yang (Chen Chun) and Qingteng (Xu Wei) in Ming Dynasty, but after his "simplified" pen and ink innovation; And his landscape paintings,
It comes directly from Dong Qichang's painting method, so it is still a descendant of "Nanzong"-ancestors are still Dong (source) and Ju (natural), but after Dong Qichang's innovation,
Then spread to Badashan people, the process of constant "innovation" still contains a profound tradition, and the two never contradict each other. As Badashanren said in the inscription "Imitating Dong Juzhi's Landscape": Dong Jumo still hates his pollution, so why should others protect themselves? Knowing that the ancients were elegant, people today think they can't. ...
"Tudao" refers to Ni Zan, which means that although he comes from Dong Ju's tradition, he has his own unique innovation, so Dong Ju's calligraphy is "disrespectful" to him. This was approved by the Eighth National Congress. He also believes that learning from the past cannot die, but must be able to change. As Dong Qichang once said, "To learn from the ancients without changing is to block things.
Ju Ran studied Beiyuan (Dongyuan), Huang Zijiu studied Beiyuan, Ni Yuxue studied Beiyuan, and Yi Beiyuan's ear, but they were different. Others did the same as Lin Ben's.
If so, how was it passed down from generation to generation? "
Wang, who has always been regarded as a "school of learning from ancient prose", even said: "Painting must be its own, and antiques can be borrowed from the environment." It can be seen that many painters in the Ming and Qing Dynasties liked to "imitate" the ancients, and their central idea only emphasized the inheritance of tradition, instead of "just copying and not creating their own works" as Chen Duxiu said. This paper introduces the painting Imitating Dong Jushan by Badashan people. Although it is called "near" Dong Jushan, if we compare Dong Jushan's works with them, we can see that the difference between them is very big.
As a matter of fact, the gully structure and brush and ink form of this work are closer to Dong Qichang's style, but more concise and refined, which completely belongs to the "family" of Badashan people.
Badashanren lived in the Ming and Qing Dynasties, and he personally suffered the loss of his home country. This real life experience will naturally be deeply imprinted in his mind and revealed in his aesthetic feelings and artistic creation. The artistic images in his works are pregnant with a kind of withdrawn, indifferent and sad emotional content, which is rooted in his bumpy life experience. As Zheng Banqiao said when he wrote his paintings, "There is no more ink than tears".
Sincerity is an evaluation of Ken.