Yuan Zhao Mengfu "Self-Written Portrait"
One.
Reviewing the "famous picture scrolls" of An Qi's "Ink Edge Huiguan", it can be read as a painting history of the "Nanzong" genealogy, which can be seen in the strong influence of Dong Qichang's "Southern and Northern Sects" theory. However, there are also "Fashu Scrolls" in the Ink Edge Huiguan, and since Dong Qichang has not outlined the development of the history of calligraphy, it is difficult to say that this part of the book is also "Dong Qichang-style".
In this way, there is an unequal structure in the two volumes of calligraphy and painting of "Ink Edge Huiguan". If You put Zhao Mengqian in this unequal structure, it must be interesting to see how the author of "Ink Edge Huiguan" handles and evaluates it.
In the "Famous Picture Scrolls", Zhao Mengfu has three records, the first of which is the "Double Pine Ping Yuantu" volume, which is now in the Metropolitan Museum of Art in New York, USA. Anqi commented:
Ink landscape, Fa He yang, with a clear pen, a brief set, two long pine plants, strange stone thorns, Poto sand moraine, each has its own magic. Across the shore, the remote mountains are flat and wild, and the middle stream fishing boat is interesting.
Yuan Zhao Mengfu "Double Song PingYuan Scroll"
An Qi pointed out that the style of this painting is derived from "Fa Heyang", which is both concise and accurate, and the "Tree Color Pingyuan Map" volume of Guo Xi (c. 1000-1090) in the Metropolitan Collection also provides the best comparison.
In terms of composition, Zhao Mengfu's works are very similar to Guo Xi's mirror images, except that the former weakens the figurative realism function of painting, highlights the importance and subtlety of brushwork, and transforms Guo Xi's landscape painting style into a work containing calligraphy style.
A passage in the Rongtai Beiji seems to have been issued for this purpose: "When a scholar paints, he should do it in the way of grass and strange characters." Trees are like iron, mountains are like picturesque sand, and it is for morale to get rid of sweet and vulgar paths. No, even if it passes, it has fallen into the painter's demon world, and it can no longer be saved. If you can free the rope, it is through the net scales."
This painting emphasizes the use of the pen to open the new face of the Yuan people, which helps the Yuan Sijia to get rid of the old law of the predecessors.
Northern Song Dynasty Guo Xi 《Tree Color Pingyuan Map》
From Dong Qichang's point of view, this is obviously a standard "Nanzong" painting, and in his Nanzong genealogy, there is Guo Xi's great name. One of the "Essays on Painting Zen Rooms" reads:
There are only two schools of painting by the gentlemen of the Yuan Dynasty, one is Dong Yuan and the other is Li Cheng. The painting is accompanied by Guo Heyang, and the painting is also accompanied by the monk Juran. Ran Huang, Ni, Wu and Wang were all famous for Dong and Ju, and they are still in the sea. As for those who studied Li Guo, Zhu Zemin, Tang Zihua, and Yao Yanqing were pressed by their predecessors and could not establish themselves. This is like the descendants of The Southern Sect, Linji is prosperous.
The Guo Heyang faction is the "Southern Sect", but it is not the main line. Dong Qichang probably also has this meaning when he looks at Zhao Mengfu, and sometimes it seems a little contradictory, on the one hand, he said: "Ni Yunlin is also from Guo Xi and Li Cheng, and he is slightly softer. For example, Zhao Wenmin is extremely impressed with this intention, covering the beauty of the ancients in the trees, not focusing on the stone, but the stone is beautiful and moist." At the same time, he also said: "Yuan Shi's painting is the most prosperous, but Dong Ju walks alone, and in addition, guo xi is spoken." His famous ones, Cao Yunxi, Tang Zihua, Yao Yanqing, and Zhu Zemin, could not be Huang and Ni Yi. Cover the fashion, but also by Zhao Wenmin reminded, character eyes are right ears." However, he also criticized Zhao Mengtian as qiu Ying: "Qiu Ying knows his fate, and Zhao Wuxing has stopped more than sixty years." Qiu is different from Zhao's character, they are all practitioners, and those who do not take pictures as their pleasure."
In fact, Dong Qichang always looked for opportunities to belittle Zhao Mengfu. For example, in a commentary, he first said that "Zhao Jixian painted the crown of the Yuanren", and then turned his pen sharply, saying that he "pushed Gao Yanjing alone, such as a famous artist in the later life". In another passage, Dong simply removed Zhao Meng from the position of crown and replaced it with someone else: "In the fourth yuan season, huang Gongwang was crowned, and Wang Meng, Ni Zhan, and Wu Zhonggui opposed it. This number of public appraisal paintings actually used Gao Yanjing to match Zhao Wenmin, which is probably not even."
Yuan Huang Gongwang 's Map of The Mountains of Fuchun' first half volume is a map of the remaining mountains
It is now in the collection of Zhejiang Provincial Museum
In Dong Qichang's remarks, Shi Ming secretly admired Gao Kegong, perhaps related to his great-grandmother being Gao Kegong's grandson, while his disparagement of Zhao Mengfu came from personal ambition, and his influence on the art world was only matched by a few people in art history, while in the late Ming and early Qing dynasties, it was shrouded.
An Qi was a collector who grew up under the influence of his ideas, and almost completely accepted Dong Qichang's theories and concepts, and arranged the collection according to the theories of the Southern and Northern Sects, but there was only one exception, that is, An Qi's attitude and evaluation of Zhao Mengfu.
The other two works of Zhao Mengfu in the "Ink Edge Huiguan" may be difficult to enter Dong Qichang's eyes, and the second painting, "The Statue of Shakyamuni Buddha", an Qi commented: "The color is ancient, the whole Law and Tang Dynasty, get its three ambiguities." It is not known whether this figure has been handed down. According to Anqi's description, Shakyamuni "was radiantly radiant, barefoot, with large rings of earrings, dressed in red, with a shoulder on one shoulder, holding a ruyi treasure basket in his hand, and sitting on a stone", reminiscent of The Red-Clothed Monk's Drawing of the Western Regions (i.e., the Red-Clothed Luohan Tu), painted by Zhao Mengfu in the eighth year of Dade (1304).
An Qi's comment is in line with Zhao Mengfu's saying, Zhao Baoyun: "This volume was written seventeen years ago, with a rough and ancient meaning, and it is unknown how the viewer thinks it is." The so-called ancient meaning of The Bazhong is the artistic ideal for which Zhao Mengfu struggled, and it is also an important concept that An Qi adhered to in compiling the Ink Yuanhui Guan.
In short, An Qi not only adhered to Dong Qichang's "Southern and Northern Sects" theory, but also injected the idea of ancient meaning on this basis.
Yuan Zhao Mengfu's "Red-Clothed Luohan Diagram"
Regarding Zhao Mengfu's kind of figure paintings, Dong Qichang rarely commented, and this volume only said that "the portraits of ancestors of the past were painted, hidden in the Beichan Monastery in Wu County, but they were all mixed with Sanskrit and Han, and they did not have colors, which was not as good as this picture." Therefore, according to the history of Dong's style, Zhao painting should be classified as He Zong.
Zhao Mengfu's third volume of the Seven Sages of the Bamboo Forest (I don't know if it has been passed down) by "Ink Edge Huiguan" is also difficult to guess how Dong Qichang felt in his eyes. In Anqi's view, it is "a work of high ancient elegance, rarely seen in the world, for Weng's interest". An Qibao loved this volume and analyzed it in the tone of art history:
Those who saw the ancients who painted and painted color and ink, such as Zhang Xuan's "Itinerary Map of the Later Tang Dynasty", large coloring, bamboo trees with ink for it; Yan Liben's "Gong Tu", Xu Xi's "Young Pigeon Medicine Seedling Map", with large color, and its slope weeds, all made of light ink. Looking at these three pictures, we know the origin of Wen Min's painting.
Regarding the style of this painting, it may be possible to imagine a little picture of zhao Mengfu (collected by the Palace Museum) and the volume of "Young Youqiu And Valley" (from the Collection of the Princeton University Art Museum in the United States).
Yuan Zhao Mengfu,"Xie Youyu QiuQiu Tu"
Relatively speaking, Anqi's collection of Zhao Mengfu's scrolls is weak. Important works, such as the "Quehua Autumn Color Map" volume (Taipei National Palace Museum) and the "Water Village Map" volume (the collection of the National Palace Museum), Dong Qichang has been collected and highly evaluated. In the middle of the Ming Dynasty, a common orientation of Jiangnan painters, in the words of Du Qiong's poem, was: "The princes have done their best to extend the pulse of the river, and the remaining sons have not pushed enough", and the hub of which is Zhao Mengfu.
It was through Zhao Mengfu that the picture of Wang Wei jumped out of their minds. Moreover, "Zhao Wenmin painted figures, landscapes, kuramas, birds, and orchids, which were super magical and opened up a person." The posterity of the title of its painter cannot be hey-hee- Dong Qichang's close friend Chen Jiru's list of painters from the North and South Schools was not many, and Zhao Mengfu suddenly reigned:
Write to divide the north and south factions. The Southern Sect is based on Wang Youcheng as its sect, such as Dong Yuan, Juran, Fan Kuan, And Daxiaomi, as well as Song Xue, Yuan Zhen, and Shu Ming, all of whom are southern sects, and the so-called Shi Dafu paintings are also. The Northern Sect was headed by generals Ofe Li, such as Guo Xi, Li Tang, Yan Ciping, and even Ma Yuan and Xia Gui, all of whom were of the Northern Sect, the so-called Painting Garden Paintings. About in and out of the camp hill. Wen is south, hard is north. Not in the shape, but in pen and ink.
Yuan Zhao Mengfu "Quehua Autumn Color Map"
Therefore, although Dong Qichang's "Nanzong" genealogy is not included, it will not exclude such a giant as Zhao Mengfu. And Dong Qichang's ambition is precisely to compete with it. At first, Dong's strategy was to overtake Wumen, he said:
Painting Pingyuan master Zhao Danian, Heavy Mountain Diling division Jiang Guandao, The Method of Painting with Dongyuan Ma pi pi and "Xiaoxiang Tu" piping, trees using Beiyuan and Zi'ang Erjia method, Shi using General Li's "Qiu Jiang To Cross" and Guo Zhongshu's "Snow Scene", Li Cheng's painting method has small ink and colored turquoise, with Yi Zongzhi, set its great achievements, self-propelled axis. For another four or five years, Wen Shen Erjun could not walk alone.
This plan is specific and thoughtful, and there is no prejudice against the division of the "North and South Sects". The structure of the landscape that he praised was "only three or four divisions, so it was formed into chapters", and his so-called Ziang tree method must have originated from the pen and ink seen in the "Shuangsong Pingyuan Map".
This was probably Dong Qichang's early plan, and later more emphasis was placed on Dong Ju and the Yuan Sijia. And this plan of collecting Dacheng infused the later Wang Shigu with inspiration, reminding people of his ambition: "With the pen and ink of the Yuan people, the Song people are transported to the hills, and the Ze is rhymed with the popularity of the Tang Dynasty, which is Dacheng."
In a sense, this is also Dong Qichang's ideal. Sometimes we even wonder if An Qi's concept of Dong Qichang was instilled by Wang Shigu. On the other hand, however, as Malraux put it, "Every young man has a cemetery inscribed on his heart with the names of a thousand deceased artists inscribed on it." But among them are only a few powerful and often incompatible souls."
Yuan Zhao Mengfu "Water Village Map"
An Qi also knew that Dong Qichang had a soul in his heart that was incompatible with him, that was not Wen Shen of Wu Men, but Zhao Mengfu of Wu Xing. If dong qichang is hidden in the past, and An Qi has no chance to include the two hand scrolls in the basket, it is even more worth exploring, these two volumes are "Quehua Autumn Color Map" and "Water Village Map". In the Yuan Dynasty, the former had the reputation of the "Lan Ting" of The Combined Xi and the "Yuanchuan" of the Ma Jie, and Dong Qichang's admiration was aggressive, that is, the harvest of the drama Hongtang; the latter's Dong Shi Baowen was even more "This volume is Zi Ang's proud pen, on top of the "Quehua Tu", with its Xiao scattering rate, it is completely rid of Dong Ju's arrogance, directly right, so it is difficult to hear." It was from these two paintings that Dong Qichang glimpsed the appearance of Wang Wei, the first ancestor of The Southern Sect, in his mind, and also inspired him to take plainness in his paintings and calligraphy.
Two.
The works of Zhao Mengfu recorded under the "Fa Shu Scroll" of the "Ink Edge Huiguan" far exceed the "Famous Scrolls", and there are also ten pieces not counting the Letters. Anqi gave high praise to several of them, such as:
The volume of the "Zhengshu Gu Su XuanmiaoGuan Reconstruction of the Records of the Three Qing Temples" (this volume or the hand of the Tibetan private): "The penmanship is majestic, the view is shocking, and the first masterpiece in the Wenmin stele is also."
The Yin Rune Sutra (whereabouts unknown): "The penmanship is charming, the view is endless, and the calligraphy is so wonderful."
The volume of the "Little Book of Purity" (collection of the Freer Museum of Art, Washington, D.C.): "Calm and dignified, with a rich physique, can be called the best."
Cursive Thousand Character Text Volume (from the Collection of the Palace Museum): "This book is rounded, steep and grassy, although Zong Zhiyong is very different from what he saw in the past, but he is a change of pen." The commentator said that Wen Min was both highly talented and profound in learning, and there were no ungodly incarnated people.
Yuan Zhao Mengfu's "Yin Rune Sutra"
In addition, An Qi collected the calligraphy of his predecessors and attached great importance to xinzha, which was a tradition of the Jin and Song dynasties, but it was more likely to be guided by Gu Weiyue. Therefore, An Qi's most interesting comment was written in Zhao Mengfu's "With Zhongfeng ElevenThia Attached Lady and Zhongfeng One Post" (the collection of the Palace Museum), he first recorded dong Qichang's two passages for this book, and then wrote:
Looking at Dong Wenmin's second trek, Dong Gong's heart was lowered. This volume is collected by the Xiang clan and has the seals of "Huang Linmeizhi". Yu saw that Zhao Shu was very good, and when this volume and the "Thirteen Treks of The Lonely Ding Wulan Pavilion" (collection of the Tokyo National Museum in Japan) were the supreme wonders of the Zhao Book. As for the True, Kai, Xing, Cao, Zhangcao, and Seal Books, I have seen no less than dozens of books, and those who have been most appreciated have been recorded in the front, and those who have not yet recorded them, such as the seven-volume Lotus Sutra, the main books such as "Lingyin Dachuan Ji Zen Master Ta Ming" (shanghai museum collection), the xingshu such as "Zhongfeng Mian Xuefu" and "And Zhang Qingfu Shu LuoShenFu", all of which are of the highest grade. It can be said that the direct two kings sect, the heart understands the spirit, so far, especially at present. Such as "You Tianguan Mountain Poem" and "Baiyun Pure Land Words", it is also a famous volume in the sea, but it does not come out of the North Sea Rail Model, the knot is rich, the beauty is insufficient, and the two volumes are all books, and they are more injured than work, so they are not registered.
The names of the above works were all collected by An Qi, but when the Ink Edge Huiguan was written, some of them had already been sold, so there was a saying that "I have spoken so far, especially at present". The wealth of Zhao's calligraphy in Anqi is evident from this. After counting the family treasures, he turned his pen sharply and wrote the key words:
Yu tasted the Zhao and Dong Ergongshu, talented and learned, and could be called a beautiful person. However, Zhao Shu was very familiar with it, so he hid his talent; Dong Shu was far from familiar, as if he was losing his academic ability. If zhao shu is transformed, Dong Shu is mature. Who is the one who enters the chamber of sacrifice in the hereafter, who is not the second duke?
This comment is the most special text in the Ink Edge View. Of course, Anqi is not a momentary excitement, but he has a feeling after refining his works, especially after the intensive study of the "Rongtai Beiji".
Although Dong Qichang's view of painting has a collection of remarks, it is not the case in calligraphy. The reason is simple: the orthodoxy of the second king has long been established, and he is also nourished by this orthodoxy, so he does not dare to destroy, nor does he ever want to destroy.
Dong Qichang's understanding and interpretation of this tradition is also based on the Wei and Jin style rhymes, in his view, "The Jin people take the rhyme, the Tang people take the law, and the Song people take the meaning.". Both the Tang and Song dynasties left the rhyme of the Jin people, and Zhao Mengfu wanted to correct the shortcomings of the Song people, but it was in the orbit of the law, although he did not use it at his own will. He criticized Zhao Mengfu for being too conservative of the methods of his predecessors, and the "Lan Ting" reached a level where he could recite it, and he did not dare to cross the thunder pool one step, which was absolutely different from his copying:
Zi Ang's back to the "Lan Ting Ti", similar to the stone ben, counted and saw dozens of books. Yu Suo's book "Zen Thesis", the biography can not be ten strange, and there are differences in the size of the glyphs and the arrangement between the lines, not to mention that the Song people gathered between the front and the thief. To be a commentator, the government must have nine square eyes, not in the law.
Yuan Zhao Mengfu "The Thirteen Treks of The Lonely Ding Wu Lan Ting"
Dong Compares his orientation in "Lan Ting" with Zhao Mengfu, saying that his "glyph size and inter-line arrangement" have changed, which is his specific practice of "not making the right situation" and pursuing "book posture". Once, when he and Xing Zi were willing to discuss calligraphy, Xing said to him, "After the Right Army, Zhao Wenmin was the legal concubine, and everyone in the Tang and Song Dynasties came out of their ears." Dong Shi retorted: "The book of Wen Min is sick and powerless; the right army that has been learned is still outside the skeleton." The right army is majestic, Wen Min has no choice, how can he take over Wu ShanYinya!" Moreover, Dong Shi confidently believed: "Since the Yuan people, there is no way to know zhao Wuxing's illness. From the beginning of the yu its anointing, in the law does not change the ear. Zhao Wuxing's "On Passing the Qin", Zhang Boyu thought to learn the "Inner Scene Classic", and the actual study of "Le Yi Theory" also. Evenly round like an operator, the right army is cursed, Xu Hao and Li Yong cannot be avoided."
In Dong Qichang's view, "no potential" will lead to a uniform circle like an operator, and abiding by the law will inevitably make a correct situation, while the ancients will not: "When the ancients wrote books, they would not make the right situation. This Zhao Wuxing therefore did not enter the Jin Tang room also. "Lan Ting" is not incorrect, its vertical use of the pen, there is no trace to be found, if the shape is similar, turn away. Liu Gongquan Yun 'pen is right', and he must be good at learning from Liu Xia Hui." This so-called good learner, Like a Lu man, learns his essence and does not follow suit.
Dong Shi also used Mi Fu as an example to make a more specific and thorough explanation: "Mi Yuanzhangshu is calm and happy, and directly wins the god of Jin. Shao Zhuang failed to establish a family, one by one scale ancient thesis, and Qian Mu's father's portrayal is too much, when the power is the mainstay, it is the great enlightenment, take off the pen of the family, self-out of the axis, such as the Zen family enlightenment, dismantling the flesh and returning the mother, dismantling the bones and returning the father, he Buddha scolded the ancestors, the face is not the same. Although Su Huang saw each other, he was not without anger. In his later years, he said that he did not have any right-hand army tacky, and he was good and good."
On this basis, Dong Qichang took Mi Fu as the correct example and Zhao Mengfu as a counter-example, and clearly advocated: "The ancient books are mainly Qi Gong, and there is no such habit as fairness and integrity. The Ziyuan people lost this law. Yu wants to collect the most visible people in the "Ge Ti" to make a book score, the so-called 'words are like operators, they are not books', and when you shake your pen, you should read this, and naturally go up the multiplication."
From this, it can be determined that Dong's pursuit of Qi Gong and pursuit of no positive situation seems to be strange anyway. From his large number of calligraphy treatises, his most admired calligraphy style is Yan Zhenqing's xingshu and Yang Ning's cursive writing, which is similar to Huang Gu's vision. The valley looked at the ink marks between the walls of the monastery in Luoyang, and tasted: "Since the Jin Dynasty, it is rare to get rid of the two kings without wind and dust, but Yan Lugong and Yang Shaoshi seem to be the Great Linger; Lu Gongshu is now a common man who respects many people, and the Shaoshi Shukou is good and the belly is not." If you want to know the Yang's book deeply, you should be like the Jiufang Gao Soma, and leave it with Xuan Huang Mu Mu."
Dong Qichang also said: "The scholar is surprised by the danger, and this trick is only obtained by Lu Gong and Yang Shaoshi, and Zhao Wuxingfu is also xie. Today's eyes are obscured by Wu Xing." He also said, "Sun Guo Tingyun, if he is just and upright, he must pursue danger." The scribes take the danger as a merit, but the Yan Xing and the Jingdu Grass have obtained it. Jingdu is good at the temple wall, not very bookish, that is, the "Xuanhe" received, there are few. Sumi has studied his books, so he pushes it like this."
From this point of view, Dong Qichang's book theory probably has such a development process: first seek the book posture, that is, the pursuit of danger, not to be straight; then go to a higher level, put forward "familiar with the foreign student"; and finally take the blandness as the extreme. This is likely to benefit from Yang Ning's style, and the contrast as Yang is Zhao Mengfu. Dong went on to say: "The ten volumes of the "Official Theses" are like a great Tibetan religion, which is Rulai Zen, not Zushi Zen. My family Yang Shaoshi Ti Nai Zu Yiye. The four houses of the Song Dynasty shine here."
In the following year (1614), he explained with Zen principles: "The master of the book is wonderful in being able to unite, and God is in being able to leave." Those who want to leave, fei Ou, Yu, Chu, Xue and other famous masters tricks, in order to get rid of the habits of the right army Lao Tzu, so it is difficult to hear. If there is no flesh and bones, it is said that it is very empty, and it is shattered and revealed. After the Jin and Tang Dynasties, only Yang Ningshi solved this trick. Zhao Wuxing did not dream of being there."
Dong's clutch theory has been quite important in the academic circles in recent years, and we do not have to pursue the profound meaning of the Eight Laws of Leng Yan, we may as well understand it simply, that is, Dong's so-called "ripeness" when he was fifty years old, and "life".
Under this theoretical framework, not only did Dong Qichang's admiration for Mi Fu gradually fade away in his early years, but even Yan Zhenqing was snubbed, so he said: "After the Right Army, Yang Jingdu was deeply enlightened, and the Tang people went to Jin Fa Yuanyuan with secret wounds and bone charms. Su and Mi are both Emperor Yanxing, so they are combined."
At this time, Dong Shi was sixty-five years old and had entered the peak of his calligraphy. In volume III of the Rongtai Beiji, the above two principles are followed by a criticism of Zhao Mengfu, saying: "Yu Yi imitates Yang Shaoshi's book, and although the theory of Shanyang is not complete, it is slightly the meaning of breaking the square into a circle and cutting the complex into a simple meaning. Gai is the opposite of Zhao Jixian's books such as licorice and gansui, and also teaches other traditions."
Shanyang's theory refers to Ji Kang's "Theory of Health Maintenance", breaking the square is not a correct situation, and cutting the complex is simple. Licorice and sweet, the former taste sweet, the latter bitter taste. Dong Shi and Zhao Mengfu took the fa the opposite also.
Dong's shift from power to simple book theory can also be seen as a transformation from learning rice to learning Yang, and his early years were "thirty years ago, the rice book was not a real pen, and he claimed to be a skill." I can't practice it often, and I'm ashamed of myself." Once the experience is enhanced, it is a step ahead: "Mi Yun is dominated by the potential, the residual illness is weak, the light is brought by the heavenly bones, it is not learnable, the so-called no teacher wisdom in the inner classics, and the qi rhyme of the painter."
As far as Dong Qichang is concerned, the derivation of the word "light" has an understanding of Yang Ning's style, an understanding of painting, and obviously more practiced Zen practice, so there is such a conclusion:
The word "clutch" should be used in the book. Yang Ningshi is not unable to be the body of the Ou and Yu families, but is to take the ear of the momentum for separation. Mi Haiyue boasted all his life, taking the dryness of the king's half-mountain alone, and it seemed that he could not go further. The so-called spiritual flowers are full of eyes, and it is difficult to take them off and purify them. Zhao Ziang was immersed in this Xuan and felt the smell of the morning market. The Inner Scene Sutra says, "Indifferent and tasteless, the food of heaven and man." That's an idea.
Dong Shi was fifty-seven years old and had a self-description of the study book, which may be later. Interestingly, in the eyes of Dong Qichang's own connoisseurs at that time, it was not mainly strange or ancient, but just as Zhu Yizun said: "The book is to the right army, and the Han officials are in the vulgar characters." The letter is too much to be flattered. Near Dong Huating's inkblots are all over the sea, most of them are known for their posture, as if they hide their ribs in the middle, but the outside is extremely natural, especially not easy." This is a saying written by Zhu Shi when he was eighty years old, saying that the general impression given by Dong Shi is that of beauty.
In 1623, Dong Qichang crossed the Yu Mountain, visited Mr. Jiaxuan in Cultivating Shizhai and inscribed his 1616 book "On Painting" book Yun: "Re-examine this volume, read it again and again, feel the meaning of beauty, overflowing with nothing, knowing that it is far from the ancients." It can be seen that he also lamented that when he was about sixty years old, he had not yet returned to the flat.
Until he confidently said, "Yu's book is straight to the essence of jin people, and he does not dare to praise himself, and the book is like this, and all generations have been lost." It's seventy-five years old. Looking at Zhu Yizun's comments from this point, he said that Dong's book was both strong and natural, so he set it as Dong's later years, or not far away.
However, it may be biased to look at Dong Qichang in such a general way, because Dong Qichang's most proud works were difficult for people to see at that time, for the simple reason that, leaving aside a large number of fakes, Dong Qichang valued his own small letters the most, but he was lazy and did not do it. No one who cares about his book will forget this passage:
My book imitates everything, the most proud in the small letter, and lazy to pick up the pen, but in the grass of the world, but also mostly not as a free book, the first rate of socializing. If they were in a good place, they would not be able to track down Jin Wei, and they would not be able to take advantage of the Tang dynasty.
And his "contest" with Zhao Mengfu naturally will not fall into the small letter:
Yesterday, I saw that Xiang Obscure's family had Zhao Wenmin's book "The Biography of Ji Di" Xiao Kai, which was especially flattering and was not similar to this family's pen. Yuan Ren thought that Wen Min saw this stone carving of the Tang Dynasty Book, because it was imitated, it was Yi Tang and Jin. "Ji Chuan" is quite complicated, and it is difficult to freeze, so the book "Boyi Biography" does not know how to see Wen Minruo.
Yuan Zhao Mengfu's "The Legend of Ji Di"
Dong Qichang's heaviest Xiao Kai will also seek the ultimate in the Jin and Song dynasties, and in repeated comparisons, he ranks Wang Xian's "Thirteen Elements" as the first: "Wei Zi jing's "Thirteen Elements of Luoshen", Junyi Xiaodao, beautiful and edible, Jia Xiangdao's collection of sages, to Zhao Wenmin's Chen Hao collection of sages, is the first in the main book." Dong Qichang wrote this in "Five years of the Apocalypse, the age of the Ugly Twilight Spring, the book in Tianjin Zhouci". Three years later, he mentioned the Thirteen Elements again, and after writing it:
Zi Jing's "Thirteen Elements of Luoshen Endowment" was originally two, and it was merged into one since Jia Qiuyuan. Yuan Chen Hao gathered the sages to send Zhao Wenmin Gong. Later, the engravings were different, but the Jin ling Tang Jingchuan family collection Song Tuoben was the most distorted. Sun Zongbo was also engraved at home, and several so-called true first-class people. Yu set the sect of Xiao Kai this year, making this the first in the book of law. Every time you drop your pen, use your intentions.
In the text, Dong Shi also talks about the "LuoshenFu" collected by the librarian Han Shineng (528-1598), which he appreciated as the first in his life. After writing these things, he still had no end to his thoughts, and he also stressed: "The second king Xiao Kai, Yu quite doubtful that the various theories passed down through the generations have been copied by the Tang and Song dynasties, and there is no conclusive conclusion. If Zi Jing's "Thirteen Elements" seem to be out of the ordinary, there is no doubt, and scholars should think that it is extreme."
Therefore, Dong Qichanglin wrote the "Thirteen Elements" with the intention of setting a benchmark, when Dong Shi was already old, he confidently said: "Li Boshi paintings, every time accompanied by letters, are exquisite, although Mi Yuanzhang is incomparable, but the Jin people's charm is far away." The Remaining Thirteen Elements are deliberately designed for connoisseurs to comment on. On the twenty-fifth day of February, Si Weng, he was seventy-four years old."
Dong's beginner study of the book, taking Yan Lugong's "Many Pagodas" as a ladder, and twenty years later, he discovered the Mi YuanZhang and understood the "book posture". At the age of fifty, he realized from Yang Ning's style that he was dangerous, and then he was simple. Seventy also established the "Thirteen Elements" as the Jin people's Xiao Kai Shu Ji. He even said that he "Yu was not very close to the Le Yi Theory, and every time he entered the Thirteen Elements of Luoshen Endowment into the Zong ji'er". Since Dong Shi learned to read at the age of seventeen, the journey he has traveled has been roughly like this.
Looking back at the cause of Dong Qichang and the "Thirteen Elements", around the time of his study at the Hanlin Academy, the librarian Han Shineng often brought the ancient calligraphy and paintings to the office, and in addition to teaching the supervision class, he played with the same disciples. It was during this period that Dong Qichang borrowed Yang Xi's (330-386) Huangsu Huangting Neijing Jing of the Jin Dynasty, and also borrowed the Thirteen Elements of Luoshen. Since then, he has been seeking a good copy of the "Thirteen Elements", but he has not met it for twenty years, and once he gets Song Tuo's satisfaction, Bao Ruo's mood of taking the pearl jumps on the paper:
Yu de right army Xiao Kai four kinds, Song Tuo finally, asked for the "Thirteen Elements of Luoshen Endowment", twenty years did not have a perfect one, only with Bao Jin Zhai Song Tuo ben attached. However, the words are long, and it is not enough to be completed. This copy was purchased from Chu Liu Jinwu, which is no different from the family collection of Tang Shaoqing in Jinling, but is protected by two kinds of front and back of the carved rice and Chu Xiaokai. The ancients painted on the wall, and they must be hung on the wall first by the person in the lower middle, which is also the meaning. On March 2, 1618, Lou Ting Dao Zhongzhi, Xuan Zai.
This is the year of 1618, thirteen years later, in the fourth year of Chongzhen, dong shi was seventy-seven years old, and his deeds did not forget the "Thirteen Elements", and he was in the clouds after Linyan Zhenqing's "Battle for the Seat": "Xin Wei October, at the call of Zhan Zhan, will examine the ancient thesis, leaving only the "Battle for the Seat" and the "Thirteen Elements of Luoshen Endowment" in the Line."
In Dong Qichang's time, the "Thirteen Elements" took the Jinling Tang Jingchuan de Song Tuoben as the first in the sea. The Qing dynasty entered the "Thirteen Lines of the Jade Edition" produced by Ge Ling of the Inner Province during the Kangxi Dynasty. However, the second book written by Wang Shu (1668-1743), also known as the First Miracle, is: "The treasure obtained by Yu Ying Qiao Zhengjun is complete, and the truth, line, grass, and chapter are available, and the ancients are unique." The "Thirteen Elements" circulated in the world are not of the same category, and it is suspected that it is the right army book, or the book written by the Great Order, but it is undecided. Since it is the first miracle of the supreme taikoo, it is not necessary to chisel a person as the main name."
Another one: "Tang Lin's inkblots, which were hidden by Liang Xi'an's clan, Shao Zengxun molded a piece of paper with oil notes, and Yu saw it from The Beijing Master." Although it is far away from the square and round, it does not keep the rope ink, but it is self-victorious, all of which are the wonderful points of "Zen Thesis" and "Inner Scene", and they must be obtained from the true model. The Tang people were embarrassed by the law and could not reach it. Or the eyes of Chu Gong, Chu Gong genius chaoyi, its model "Zen Order" can be described as specific and subtle, and its self-transportation but has a right army body. This change is strange, intended to be outside the law, it is possible to say that the Chu Gong is modeled, and it is not possible to say that the Chu Gong is pro. The "Thirteen Elements" are not the same, and if there is no one who has not come out of this world, there is such a heavenly work, and no one can strive for it."
Wang Shu saw these two kinds, but now he doesn't know where they are. Dong Qichang's own book is the same as Tang Jingchuan's ben, which is naturally the best in his mind, so he uses this as a criterion to evaluate the several "Luoshen Endowments" that he has passed on:
The Second King of the Wen Dynasty has the "Luoshen Endowment", called Zi Jing, Fei Ye; this Li Long Sleep Book. The "Xuanhe Spectrum" is "in and out of Jin wei", which is not false. Also, Longmian Ggu uses silk, and the Luoshen scroll is silk, or the Tang Dynasty book, Li Linfangzhi, Nair Junye? It must be weighed in the Thirteen Elements.
Jin Wang Xianzhi's "Jade Edition of Roselle Endowment Thirteen Lines"
Dong Shi so admired the "Thirteen Elements", of course, he was envious of the original "Thirteen Elements" that had been obtained by Zhao Mengfu, and he also knew that Zhao's praise for the "Thirteen Elements" was beautiful. However, the gentleness and idleness of the "Thirteen Elements", the high spirit, the natural flow, and the non-academic ability to reach, it is Dong's criticism of Zhao's fa binding, position and so on, and such as a word:
Zhao Wenmin obtained Song Siling's "Thirteen Elements" purchased by Chen Hao and Gai Jia Xiangdao, the first nine lines, the last four lines, and printed it with "Yuesheng", which is the true deed. To my dynasty, only Tang G ear remains. Regardless of the brilliance, that is, the shape of the mold is no longer matched. However, the Jin Ling Tang Tai Chang family collection Song Tuo is the first today, and it was once seen in Chang'an. Before writing the stone carving, I hate Zhao Wuxing for having this inkblot, and I am not full of fun. Gai Wuxing has few, just "Roselle" is the law of the dragon, so that I can get it, so it should be nothing less.
Three.
Dong Qichang's conceit is bound to be criticized by people today. But in fact, Dong Shi is not all the same. As Yuan Xianyu Shuba Zhao Xiaokai's "Treatise on Passing the Qin": "Zi Ang Seal, Li, Zheng, Xing, and Qiang Cao are the first of our time, and Xiao Kai is also the first of the Zi Ang Zhushu." This volume is feminine and feminine."
Dong Qichang also praised Zhao's "Theory of Passing the Qin" and returned the treasure to Zangyi. Unfortunately, this volume does not know whether it exists in the world, and it has not even seen a good takumi today. Chen Yuanrui was once engraved in the "Jade Smoke Hall Thesis" in the 40th year of the Wanli Calendar, which Dong Qichang made a trek, and the "Treatise on Passing qin" was not wonderful. The Zhao Shi Zhu Xiao Shu mentioned by Dong Shi, in terms of allegories, first reminds of the Yuan Tuo ben "Seven Views".
The "Seven Views" imitate the "Seven Hairs", showing that the Han Wei, Chao Yi Ban Yang, calligraphy must also be matched, in order to both with beauty, therefore, Zhao Meng bowed to the "Thirteen Elements" of the wind god luck pen. This "Seven Views" seems to appear only once in Dong's large number of inscriptions, and it is also hastily taken.
Since the original stele was already defective during the Jiajing period and was no longer written, Dong Qichang himself probably did not see the original Tuo. Most of the copies seen now are tan's copies, and its origin Feng Daosheng said very clearly in the trek:
Zhao Ziang won the country with the name of the book, and the body was wonderful, and Xiao Kai was particularly into the gods. The first master, Jiang Kui, the second scholar Chu Dengshan and Zhong Shaojing, died in the room of the second king. Hundreds of stone carvings have been handed down from generation to generation, but the "Seven Views" and "Duren Jing" really compete with "Huang Ting" and "Luoshen". At this moment in Qingyuan County, the years are long and shallow, and the former Shou Sun Huaixi made Xue Chen wash it, and he made a peck at the peck, and did not repeat the word. Erhua Tan Gong deeply mourned. Yu Nai out of the Yuan Tuo ben to pay Wu Nai father and son on the stone, such as Jian Chuanying, unhappy. Between the two and three years that Tan Gong was under the command of the army, tens of thousands of elite soldiers were killed, not only the Eastern Yi was annihilated, but the great thieves of Jiangyou, Fujian, and Guangdong also used this to level it. Gong Qingjie was widowed and paid attention to literary affairs alone, which could be described as a branch of the original, and the outline was wide-eyed, so he □ cloud. Jiajing Nongzhi (1562) July Wangri Nanyu disease Shi Feng Daosheng Zhenzhi.
This poem proposes the calligraphic value of the Seven Views, that is, "it really competes with the Huang Ting and Therass". This is exactly the jin standard that Dong Qichang values most. Since Feng Daosheng first made this treatise, due to the rarity of the original "Seven Views", the number of engraved copies has not been passed down, and the critics have rarely seen it, so there is a regret that the pearl is covered with dust. But allegoricals praise. Liang Wei said, "Song Xue's Seven Views of the Seven Treatises has several copies of the Jade Edition of the Thirteen Lines."
Wang Wenzhi associated the Seven Views with the Treatise on Le Yi and discussed the shortcomings of the times: "Zhao Chengzhi's book is often better than fun from Tang into Jin, and at this moment, the elegant place is full of Tang law, and the thick and steep place is the essence of "Le Yi". Those who have studied Zhao Shu in recent times have asked for it in the posture system and gone far away."
Wang Wenzhi's book inherits Dong Qichang's lineage and is a master of learning From Dong, so his comments are worth noting. And Qian Daxin is also similar to it: "Seven Guan Ti" Song Xue's book of triumph in his later years, with a thick pen, straight into the room of the Jin people, after the middle of the Ming Dynasty for the county guard, now rare. When Tai Ding carved the stone, the pine snow had already returned to the Dao Mountain, and Qing Rong Bao was composed of characters in the collection of posts, and The Mole was not different, and the carving was also out of Mao Shao's hand."
Because the "Seven Views" has no original traces, it can only be carved in stone, so Qian Daxin specially carved his name. Mao Shaozhi is a yuan dynasty engraver, and the glegor is exquisite. In the second year of the second year (1309), the Inscription of Zhao Mengfu Shushan Zhugong Shinto was engraved, the fifth year of Yanyou (1318) was engraved with the "Leshan Tang Thesis" (this post is mostly the Zhao Zhi Gu Shanfu Shuzha), and in the second year of the Tianli calendar (1329), the Zhao Stele was engraved with the Zhao Clan Fengshu Shu Zhang Liusun Stele, and the Zhao Stele was more than his hand.
It is said that those who ask for the Zhao clan's stele are not mao Shao's carvings. However, there seem to be not many people who can see Yuan Tuo like Qian Daxin, so Wang Wenzhi criticized: "The re-engraving of ben is weak and weak, and the roots of the feet cannot be determined.
However, although what Weng Fanggang saw was a re-engraved version, he still gave a good evaluation, saying: "This re-engraving has the Jiajing Nong shu Feng Dao Sheng Record, then the taiding initial engraving is rare." However, in the case of Zhao Zi'ang and Daya Seal, the distortion of the re-engraving can be seen. And this xiao kai still has the meaning of the teacher's law "Huang Ting", and the letter is Zhao Kai's first graphite."
In the same year, the collector Chen Jide, the owner of Zeng Dingshan's house, also inscribed after re-engraving the "Seven Views": "This book is vain and elegant, with the wind and purpose of "Huang Ting" and "Thirteen Elements", it is a deliberate imitation of the ancient works of Song Xue, and it is ten times more virtuous than self-transport."
The author guesses that Dong Qichang will probably have such an opinion. The famous inscription expert Zhang Boying also wrote a reprint, and his appreciation is the same as Chen Jide's: "Songxue Xiaokai has been passed down from generation to generation, but this has the remains of "Huang Ting" and "Luoshen", and there is no usual side-flattering habit, allowing cooperation."
After saying this, he also evaluated the value of the re-engraving in disguise, saying: "Yuan Tuo is no longer visible, and Nanyu is called Wu Nai's father and son." At this moment, it is like taking pictures, and I am not happy. Nai and Ying Qi, known as Jingle, are especially known as stunts. Wen Hengshan's late book is more than his hand. Weng Qinxi commented on this Zhao Kai first."
The Palace Museum has another volume, which is also a reprint, with the inscription of collector Xu Zonghao (1880-1957):
Wen Ming Gong Xiao Kai "Seven Views", Yan You four years of the year of the 60th year of the four years, Shi Shu with pen knots and "Ji Di Zhuan" and so on. The inkblot of "The Legend of Ji Di" is still in the human world, and compared with it, the engraving is not enough to do its best, and Wu Nai's famous hand can still get its eleven. Yuan Tuo is now unobtainable, and it is also a blessing to be seen, and it is also a blessing to have no ears. On the twenty-fifth day of november, Shi Xue's resident shi xue knew the Guiyun Jingshe, who was seventy-two years old.
In fact, Tan Erhua's re-engraving is not easy to obtain, and Xu Zonghao's saying that "I have this for viewing, but also comfort is better than earless" is not a false statement. Due to its rarity, just as the "Treatise on Passing the Qin" cannot find a good book, it is rare that anyone will now pay attention to the "Seven Views". However, the inscription expert Mr. Wang Zhuanghong is an exception, and in his "Thesis Study" he listed eighteen kinds of inscriptions, the last of which is the "Seven Views of the Post", he said:
Yuan Taiding 2nd year Le Shi, Shi Jiuyou. Ming Jiajing forty-one years fengfang re-engraving, re-engraved stone in Ningbo, Zhejiang, fine examination is not as good as yuan carving. The stone was also destroyed during the Qianlong period. Yuanming and Ming dynasty two engravings are rare. Ming An Shifeng's "Merlin Quick Affair" Yun, Wen Min Kai has a lot of books, and "Seven Views" is unique, with Wang Daling's will, and the bone strength is especially victorious.
The "Seven Views" "has the will of the king's great order", which coincides with the so-called "Thirteen Elements" of the previous article. The post was written by Zhao Shi at the age of sixty-four, and Dong Shi's "Thirteen Elements" was also around the age of seventy. They all eventually went to the "Thirteen Elements" and the "Yellow Court Classic", which can be described as the same destination.
Reading the annals of Zhao Mengfu, I know that emperor Qing's second year of decay (1313) was summoned back to Beijing in the spring, when he was sixty years old. Yanyou did not return home in 1319 for six years and lived in Wuxing. One of the rewards of his time in Dadu was to see the original manuscript of the Thirteen Elements. When Yan You was seven years old, when he received this post brought by Chen Haotuo, he wrote down this strange relationship: "Meng Fu stole Lu Hanyuan a few years ago, because he saw this sacred object under the capital, Chen Gongxian, a scholar of Theojixian University, commissioned qu to buy it. In the meanwhile, Meng bowed down. Yanyou Gengshen (1320), a monk suddenly broke into the door and held the Chen Gongshu and this volume, thousands of miles to see the remains."
The time of writing of the Seven Views coincides with the time when he saw the Thirteen Elements in Dadu. Several of Zhao's exquisite xiaokai were written after the age of sixty during the Yanyou period, such as the "Xiaokai Shu QingjingJing" volume, the "Kaishu Ji Di Di Biography" volume, and the "Shu Ji Shu Ye Ren Ren Shu" volume, from which it can be seen that during this period, Zhao Mengfu paid more and more attention to the study of Xiao Kai, and made great efforts to study the "Thirteen Elements", just as Zhang Yu said: "The true deeds of the Great Order of the Gongzang, where the Nine Elements, taste the remaining hands are in SongXuezhai ." This also made him abandon his penmanship more and more.
Yuan Zhao Mengfu's "Shu Ji Uncle Night Renunciation Book"
And Dong Qichang also repeatedly said that Xiao Kai shu is the most difficult, and his own best work is also Xiao Kai. This obviously has both a lofty evaluation of Zhao and an affirmation and statement of his ambition to surpass Zhao. Starting from Xiao Kaishu, we have found the common foundation of Zhao and Dong, and it is interesting to look at some of Dong's comparative statements. Here is a pair of Dong's concepts: raw and cooked. Dong's words: "Painting and writing, each has a door." Words can be raw, paintings cannot be cooked. Words must be cooked after maturity, and paintings must be cooked outside."
Raw and cooked are used in different art disciplines, with different requirements. The "familiarity" here can be understood as dong's statement that Ni Yunlin "concentrated on painting, changed the ancient method, took innocence and gloom as the sect, and wanted to be called "ripe" in his later years. It is not old and ripe, and when it is old, it is ripe, that is, it changes the ancient law. Calligraphy is not the case, and the Xiao San Gu Tan of the Jin and Song Dynasties has always been a model for his lifelong pursuit. Some versions change the phrase "painting must be cooked" to "raw and cooked", which may be contrary to the original meaning. With this premise, look at the comparison between Dong himself and Zhao:
I am in the book, it seems that I can directly Zhao Wenmin, the first few ears. And the maturity of Zi Ang is not as good as my beautiful temperament. However, we can't write more books to make Wu Xing a move. The painting is concrete and subtle, and it is necessary to have an eye man for three hundred years.
The painting is specific and subtle, so it does not survive, and the person with eyes seems to refer to Zhao Mengfu. This passage is still more polite, although he wants to go beyond the ride, but he still has respect for Zhao, and in his comparison of fifty-seven years old, that is, in 1611, he is a bit reserved:
Yu studied books at the age of seventeen, learned to paint at the age of twenty-two, and is now fifty-seven. There are false claims, Yu self-proofreading, quite unlike Mi Qiang's deceitful language. Most of the paintings are compared with the history of Wen Taishi, each with a short and long length. The essence of the text is not as good as the instrumental body; as for the quaint and elegant, it is even more advanced. Compared with Zhao Wenmin, each has a short and long length. The lines are dense, a thousand words together, I am not as good as Zhao; if I imitate the past, Zhao gets its eleven, and I get its seventeen. Moreover, Zhao Shu is vulgar because of its familiarity, and Wu Shu is born beautiful; Zhao Shu has no intentions, and My Books are often intended. When I make my intentions, Zhao Shu also loses a bit, and the first intention is less eared. Ancient Man Yun: "The right army is near the pool, and the pool is full of ink." If it is delayed, it should be won." Yu Yu Zhao was the same.
This is Dong Qichang left a deep impression on future generations, this article quoted An Qi comment is precisely for this, but An Qi felt that Dong Shi did not "therefore should win" said, the two played a draw, both are deficient, only Zhao Shu became born, Dong Shu is familiar, in order to enter the room of Xi Xian. As a collector, Anqi likes Ergong's calligraphy, so he is not biased. But calligraphers are not, they have a stylistic orientation when they write, so Zang does not praise or disparage, and it is issued by people.
Wang Wenzhi is an admirer of Dong Qichang, and the "Fast Rain Hall Inscription" is full of praise for Dong. When he compared Dong Zhao, he said, "Dong Wenmin is familiar with lisheng, and Zhao Wenmin is familiar with lili." However, he also said that "Zhao Dong and Dong Wenmin both wrote with Li Beihai, but Zhao got his skin, and Dong got his essence", he still thought that Dong shi was smart. The later calligrapher Weng Fanggang was particularly impressed by the "Huadu Temple Stele", and his appreciation for the Zhao Shu was: "Those who taste the Zhao Shu are the most important people in Cangjin Guhou, and those who specialize in yuanxiu are not the choice of knowing the words." And criticizing Dong's emptiness and abuses said:
When Dong Wenmin was at the end of the Ming Dynasty, when he was familiar with the Thesis, his Heavenly Bone Divine Show, as well as the Zen View of Painting Theory, came out of the Theory of Calligraphy and Poetry. In fact, in the past, there was Song Zhongwen, and at the same time there was Sun Xueju, Lou Zirou, and Studied Kai, is it better to walk grass? Today, scholars, the study of scriptures is becoming more and more prosperous, and everyone knows that if they study the precepts and precepts in order to seek truth, then the calligraphy will be a poor seal, study the number of physiques since the Jin and Tang Dynasties, do not be confused by empty words and virtual machines, cannot transport away the ethereal and forget the structure, cannot correct the gods and signs and abolish the copy, and the italic body will be set up in a square frame, and then it can be said to be beautiful. All these meanings are said to be disliked by those who are disgusted by Dong Shu, and it is appropriate for Shiwu scholars to speak of it, and it is not a fine reason for the scholars to hold the plant products.
Weng's emphasis on writing and calligraphy is very different from Dong Qichang's time, revealing that calligraphy is the true beginning of calligraphy in the history of calligraphy, and calligraphers should study philology from this point on. However, this does not solve the stylistic preference for "raw" and "cooked", which can be interpreted here in modern terms, that is, "raw" can be defined as a preference for primitiveness, while "cooked" is classical.
Yuan Zhao Mengfu "Roselle Endowment"
Wang Wenzhi and Weng Fanggang are both calligraphers, and their road to success is not only to be familiar with the history of calligraphy for many years, but also to discuss the advantages and disadvantages of the two Wenmin. The modern calligrapher Shen Yinmo is also roughly similar, he studied the use of the two kings with a pen and blood, and the two Wenmin were also under his observation. Seeing his manuscript commentary on Liang Wei's Commentary on the Book Ofe, two of them are precisely on this point, quoted as follows:
Liang Wei: Zi Ang Shu Customs, Xiangguang Shu Weak, Hengshan Shu List.
Yin Mo commented: The world is Yun Zi Ang Shu Customs, Zi Ang Shu Fan four kinds, one Juan Xiu is like a string of seven treasures, and line, and Kai, and grass, pen fine ink, exquisite, exquisite, "Roselle Endowment" is also. A simple thick, with the LuGong Beihai method, the pen force is heavy, the style is stretched, the scale is rigorous, the law is solemn, and the "Bold Tablet" is also. Lang Yun returned to Wei Jin, the pen was calm and sharp, and he fought against the right army, that is, to the so-called late years of the virtual boat trapped in the Jane pair, the pen strength was slightly softer, the structure was slightly delayed, and its long short writings were more common. Yin Moyue: Zi Ang's skills are profound, his books have the appearance of Buddhas and Bodhisattvas, they are upright and solemn, and they are rare in ancient and modern times.
Liang Wei: Learning Dong is not as good as learning Zhao has walls, covering Zhao Is careful in the structure and Dong Duo is also careless.
Yin Mo commented: Yangqu Fu Qing Lord Mr. Yun: Weak crown learning Jin Tang People Kai method is not similar, and see Song Xue, Huating ink, love its circle and flowing beauty, a little bit of chaos its truth. At the beginning of the study of the book, it is not appropriate to be ancient and cannot be like the people of the time, the ancient is difficult to know, and the recent is vulgar and difficult to taste the character. Kai Ze Zi Ang, Xing Ze Hua Ting, just as it should be. However, it must not be too similar, and if it is too similar, it does not know the way out. Only to wait for the book theory of Xi Kaixing, the structure of the test and enlightenment is continuous, the pen is arbitrary, and then the Jin and Tang Dynasties are traced back, and then suddenly enlightened.
Shen Yinmo was one of the most influential calligraphers of the twentieth century, and his attitude is worth studying. Look at the two giants of the twentieth century appraisal circle, one is Mr. Xu Bangda, who loves Dong Qichang, and the "Ancient Calligraphy and Paintings over the Eye" has carefully recorded many pieces. The other is Mr. Zhang Heng, who probably prefers Zhao Mengfu and has repeatedly discussed Dong Shi in terms of raw familiarity, and here he is also quoted as commenting on the axis of Dong Qichang's book "LangGuanbi Ji", Yun: "This axis can be seen in life, and it is a first-class book of Wen Min. Yu yu Dong Shu, but the big Kai and the grass can be toileted by the ancients, the small line book is the second, and the world is more pushed, it is really different."
Dong's book is often not deliberately a book of work. In his later years, he may have also fully realized this, and sincerely felt that his hypothetical opponent Zhao Mengfu controlled the overall situation, not just to get the right situation. He said, "After studying the Book of The Jin Dynasty for more than eighteen years, when I got its shape, I saw no Wu Xing. Now old, I know the magic of Wuxing calligraphy. Every time I see a lonely short scroll, I love to play all day long. Wu Xing Yiyun, the common man Chao Xue wrote, Xi has boasted. Now I know nothing."
Ming Dong Qichang's "Boat Rising Mountain Map"
Dong Shi was old and disabled, and the depths of his soul may have increasingly felt the artistic influence of the previous masters, although this shocked and pained him, but also made him happy and made him forge ahead. He seemed destined to understand his own deep desires and pursuits only through the consciousness of his predecessor masters.
Calligraphy and painting were in his heart, but he experienced the inferiority and glory brought about by the discovery of great calligraphy and painting outside of himself, and finally reconciled with Zhao Mengfu. Unfortunately, this sentence quoted above is not included in the "Rongtai Beiji", nor is it included in the "Painting Zen Room Essay", which is rarely valued. Probably, Anqi can intimately understand his mind, so he made a pertinent comment in "Ink Edge Huiguan".
An Qi's "Ink Edge Huiguan" is a book of the nature of the history of "Nanzong" painting that is full of Dong Qichang's spirit, and he seems to have been secretly guided by Dong Qichang, sometimes he asked Dong Qichang to help, and sometimes he would argue with Dong Qichang, and the focus of which was Zhao Mengfu.
An Qi attaches great importance to Zhao Mengfu's label that "painting has ancient meanings", and emphasizes the theory of "Southern and Northern Sects" with ancient meanings in the "Ink Edge Huiguan", and his works are pictorial interpretations of this theory. At this point, I turned back to the manuscript and felt that the pen and ink of this article on calligraphy were far greater than painting. The only reasons that can be blamed are the following two reasons: First, the text on calligraphy in the Rongtai Beiji is far more than painting; second, there are far more calligraphy works written by Zhao Shi than paintings in the "Ink Edge Huiguan".
The original title of this article:
Fan Jingzhong | From An Qi to Dong Qichang on Zhao Mengfu
Published in the Bulletin of the Palace Museum
Issue 6, 2018
Dong Qichang biography
Author: Sun Wei
Publisher: Guangxi Normal University Press
Publication date: 2020-09
This is a panoramic biographical work about the art master Dong Qichang. After years of study, analysis and research, the author Sun Wei has made a comprehensive depiction and interpretation of this landmark art master nearly 400 years ago.
This book takes Dong Qichang's life experience as the main line, starting from the rather difficult eunuch road in his youth, telling the story of many bittersweet and bitter experiences in his "North Drift" experience, from the downfall of the poor to the bookish business spirit of "Lianzhong Sanyuan", and then to the master who became the eldest son of the emperor, Dong Qichang became the mainstay of the late Ming Dynasty literary circle with his extraordinary talent and unremitting efforts. Since then, in the complicated political affairs of the late Ming Dynasty, Dong Qichang has had several ups and downs, experienced quite difficult eunuchs and ups and downs, and finally relied on artistic creation and management of the rich side, becoming the great patriarch of the official residence in the late Ming Dynasty...
This book not only describes Dong Qichang's life deeds, but also puts his achievements and achievements in the fields of calligraphy and painting, art, history, and even his eunuchs, seas, and seas into the political, economic, and cultural background at that time, closely related the direction of individual destiny with the times, so that readers can clearly see Dong Qichang's ups and downs in life, and present readers with a flesh-and-blood calligraphy and painting master.
The source | under the sign of Saturn
Editor| Fangzhou Tong Gexin Zhao Yucen Xing Ke Qiu Yun Zhang Zhuoran
Review and | Ding Hongqi
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