In the second generation of the Ming and Qing dynasties, a number of female painters who were good at painting female figures emerged, and their identities were different, including both everyone's bridesmaids and famous prostitutes in Qinglou. The reason why female painters of the Ming and Qing dynasties painted paintings with female themes varied in intention, most of them out of self-amusement.
The Paper has learned that following the special exhibition of bronze civilization in the Yangtze River Basin, "Heart Ying: The Emotional World in Women's Painting in the Ming Dynasty" was launched at the Sichuan Museum on January 16, 2022, and the exhibition will exhibit the works of Wen Li, Ye Xiaoluan, Ma Shouzhen, Wu Xiu, Liu Ruyi, Huang Yuanjie and Li Yin, seven female painters in the late Ming and early Qing dynasties, supplemented by relevant cultural relics, documents and historical materials, to present the encounters, emotions and thoughts of female painters in that era.
Ming Plum Blossom Fan Noodles Liu Ru is collected by the Sichuan Museum
The exhibition site of "Heart And Ying: The Emotional World in Women's Painting in the Ming Dynasty"
Looking back at history, the figure of women is often hidden behind the curtain of subordination and inferiority. It is difficult for female painters to appear in the public eye, leaving in vain the feeling of "Danqingzhi is in the boudoir, more hidden and prominent". At the time of the Ming and Qing dynasties, with the prosperity of cultural customs, women's self-awareness gradually increased, which made the talents of a group of women "seen". Pen and ink Danqing is like a mirror, they reflect the natural things through painting, but also reflect their own emotional world.
According to Zhao Yanzhe, an associate researcher at the Theoretical Research Department of the Beijing Academy of Painting, a number of female painters who were good at painting female figures emerged in the second generation of the Ming and Qing dynasties, and their identities were different, including both everyone such as Fang Weiyi, Xing Cijing, Huang Yuanjie, Jin Liyi and others, as well as famous prostitutes in the Qinglou Building such as Xue Susu and Li Xiangjun. The reason why female painters of the Ming and Qing dynasties painted paintings with female themes varied in intention, most of them out of self-amusement. Self-entertainment painting, the way is different. Among them, there are Xing Cijing, Fang Weiyi and others who have lost their loved ones in real life and painted Guanyin to seek comfort, xue Susu has drawn self-portraits to send sentiments, and other paintings are used to give away to others. For example, Huang Yuanjie's "Lady Picture" was given to Shen Shulan, reflecting the friendship between the talented women of the Ming and Qing dynasties.
The artistic cultivation of female painters in the Ming and Qing dynasties was more influenced by the male literati painters at that time. Everyone with a good background has a good reputation, and most of the nourishment of their calligraphy and painting is drawn from the family. They or hereditary family learning, less than the court training, by the father who is good at painting to promote the teachings, embarked on the road of painting, such as Qiu Zhu, Gu Shao, Ren Xia and other people, their characters are mostly with their father's style; or married to famous scholars with rich calligraphy and painting as wives, husbands sing women with, study and music together, such as Jin Liyi and others; or rely on the female elders in the family to practice Danqing, after the changes of the world, with family members Ya ji singing and sustenance, such as Fang Weiyi and others. Of course, there are also people who carry out activities independently on their own, such as Huang Yuanjie. But on the whole, the influence of the family on the boudoir painter is enormous. Most Ming and Qing dynasty boudoir painters relied on their families to carry out painting activities, which was also determined by the environment in which they were in the boudoir.
Ming Guyan Begonia Fan Noodles Wu Xiu Collection of Sichuan Museum
Compared with the Ming and Qing dynasties, famous prostitute painters who are good at painting women have a broader experience and space for display. They are less hindered by etiquette, physically and mentally independent, can freely enter and exit male spaces and public places, and use their talents to sing and pay with literati and celebrities. Although there was no family bondage, for the purpose of socializing with the scribes of the time, the famous prostitute painters intended to move closer to the literati's interests. For example, Xue Susu's self-portrait "Blowing Lady Figure" rendered in ink color emphasizes his own musical talent. Compared with the self-portraits of male literati painters who leisurely travel through forest springs and express their hearts, they are no different in the way of pictorial presentation and expression.
Ming Zhulantu fan surface Ma Shouzhen Collection of Sichuan Museum
According to the organizers, "Heart Ying: The Emotional World in Women's Painting in the Ming Dynasty" will exhibit the works of Wen Li, Ye Xiaoluan, Ma Shouzhen, Wu Xiu, Liu Ruyi, Huang Yuanjie and Li Yin, seven female painters in the late Ming and early Qing dynasties, supplemented by relevant cultural relics, documents and historical materials, to present the encounters, emotions and thoughts of female painters in that era.
Among them, Huang Yuanjie, whose words are all orders, is called Cain, Ruozhi, ruyiren and so on. Zhejiang Xiushui (Jiaxing) people. Born in a Confucian family, he is known for his poetry, and his calligraphy and paintings are also appreciated by people, and after the death of the Ming Dynasty, he painted on the shores of Xizi Lake. Huang Yuanjie is not only good at painting landscapes, but also has a lot of detailed paintings.
Ming Shanshui Fan huang Yuanjie Collection of Sichuan Museum
Liu Ruyi, the number of Hedong Jun, in his early years, there were two poetry collections of "Peng Yin Cao" and "Grass on the Lake". In the fourteenth year of Chongzhen (1641), he married Qian Qianyi as a concubine and accompanied him for more than twenty years. In the thirteenth year of Shunzhi (1656), Qian and Liu moved to Baimao Hongdou Mountain Villa. In the third year of the Kangxi Dynasty (1664), Qian and Liu died one after another. Liu Ru is good at poetry and has a very high realm. In "Spring Day I Smell the Room", Liu Ru wrote: "The red halo and blue tears are long, and the spring in the southern country is thin and cold." This willow flower is like a dream, and the smoke moon has always been a sad end. Who knows the news of the painting hall, Cui Tent looks at it alone. Cherish the Junjia Lan Gui Room, and the East Wind takes the second one. Chen Yinke pointed out: "There are many works of singing and harmony with Muzhai in the "Beginner's Collection" of this view, which are quite different and meaningful, and cannot be reached by Fu Muzhai . ”
Qing Gao's title "Liu Ru is a Portrait" axis (partial) is not this exhibit
Xin Ying: The Emotional World in Women's Painting in the Ming Dynasty
Exhibition period: January 16, 2022 - April 17, 2022
Venue: Hall 4 of the Temporary Exhibition of Sichuan Museum (3rd Floor)
(Some of the content of this article is compiled from the Sichuan Museum, SichuanGuan News and other related materials.) ）