"The Biography of the Painter" ~ 251
<h1 class="pgc-h-arrow-right" data-track="2" > Zhang Feng of Jinling Liu, who did not remarry after his wife's death because of poverty. Ask the Buddha for thirty years! </h1>
Text/Lu Xiuhui
Zhang Feng, year of birth unknown, died in 1662, character Da Feng, Number Shengzhou Daoist, Shangyuan (present-day Nanjing) people. He signed "True Incense Buddha Void" and "True Incense Buddha Empty World", and called himself Shangyuan Old Man.
Zhang Feng's father, Zhang Keda, was a patriotic general at the end of the Ming Dynasty and a hereditary Nanjing Yulin Zuowei Qianhu. The twenty-ninth year of the Wanli Dynasty. Awarded the Zhejiang Capital Division, he has repeatedly made military achievements. He defeated the invading Wokou many times, and was promoted to the right governor of Nanjing, and also the governor of Chihe and Pukou. Before he took office, there was a "Wuqiao rebellion". In August of the fourth year of Chongzhen (1631), the Later Jin chief Huang Taiji led an army to besiege more than 30,000 soldiers and civilians in Dalinghe City on the Ming border, and Sun Yuanhua, the inspector of Denglai in Dengzhou, was ordered to send Kong Youde and others to support Liaodong by land. On November 28 of the same year, Kong Youde and others suddenly raised troops to rebel at Wuqiao, which was directly subordinate to the north, and the soldiers returned to the point, and even captured the counties of Shandong, and the Ming Dynasty mobilized various reinforcements, and it took 18 months to finally defeat this group of rebels. Zhang Keda was also defeated in leading his troops to suppress the rebellion, killed his concubine Chen Shi, and wrote on the wall of the Taiping Building of the official office: "In a certain year, month, and day, Zhang Keda, the chief soldier of Shandong, did his best here. Then, hanged himself.
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the Jinling School of painting was active in the painting world, and Gong Xian once said: "Today's painters take Jiangnan as the prosperity, the fourteen counties of Jiangnan take the capital (Nanjing) as the prosperity, and the famous people in the county are dozens of generations, but they can suck the author Xi Xi thousands of people!" There are many painters involved, including the "Eight Houses of Jinling", headed by Gong Xian, and the eight painters are Fan Xi, Gao Cen, Zou Zhe, Cai Ze, Li Youli, Wu Dan, and Gao Cen, representing the backbone of this school. The "Chronicle of Jiangning County" edited by Dai Benxiao put forward the "Six Houses of Jinling": Dai Benxiao, Shi Tao, Jia Yan, Gong Xian, Zhang Feng, and Cheng Zhengyi. In either case, the individual painting styles in the Jinling School are far apart and have their own origins, and they have no deep friendship with each other except for occasional pen meetings. They gathered in Nanjing, using the brushes in their hands to depict their own artistic world. Their artistic achievements vary, and the most famous and accomplished is Gong Xian.
Wang Yuanqi believes: "There are habitual evil schools in the paintings of the late Ming Dynasty, with the Zhejiang school as the most. In the Wumen clouds, everyone is like Wen and Shen, the masters are like Dong, and the fakes are confused, and they spread false rumors, which has become a fraud. Guangling and Baixia, their vices are no different from those of the Zhejiang school. Those who have the ambition to write and ink must abstain from it. "Wang Yuanqi is the grandson of Wang Shimin, who enshrines the inner court with paintings, inherits the family law, learns the four families of the Yuan, takes Huang Gongwang as the sect, likes to burn ink with a dry pen, rubs layer by layer, uses the pen to be calm, and claims that the pen has a vajra pestle. Together with Wang Shimin, Wang Jian, and Wang Yi, they were called the "Four Kings", forming the Loudong School of Painting, which was the 300-year painting circle of the Qing Dynasty and became the backbone of the Orthodox School. Advocate imitation of the ancient, uniform, no return to fresh weather.
Zhang Feng is one of the "Six Great Masters of Jinling", and Zhang Feng was a ming dynasty student when he was young. His elder brother Zhang Yi was also a Ming Dynasty student. The death of his father, the change of Jiashen, the fall of the Ming Dynasty and the establishment of the Qing Dynasty, the sudden change in current events, and the two brothers have undergone a major turning point in the road of life. From then on, Zhang Feng was desperate for his career and began to travel in all directions, "walking in the northern capital, out of Lulong and Shanggu, and out of changping and Tianshou mountains." Zhang Yi also became a "Baiyun Mountain Man" to live in the remnants.
Zhang Fengsheng's appearance is xinwei, with a long beard, and he looks like an old Taoist monk in the deep mountains from a distance. In the harsh winter snow and ice, bare legs, standing and talking with people, only moving slightly. It was not until one day of exhaustion that he "dressed his old clothes" and rode back on a donkey. Zhang Feng married his wife, and after his wife died, because his life was very poor, he did not remarry. The place where he lived at that time could only accommodate his knees, which he himself called the "snail nest". He was reluctant to go back to live, and often lived in the monk's house or stayed in the Taoist temple. Zhang Feng learned to ask the Buddha for thirty years, not to ru meat blood, to be a vegan diet. There are people who cook Matsue perch, because of the big gimmick: "This is what my family Ji Ying thinks, and is it safe?" "I was so full that I never touched meat again."
Zhang Feng is also poor and casual, and often seems a little strange. Zhang Feng was good at wine, and after entering the Qing Dynasty, when he traveled in all directions, people rushed to greet him with wine. From the Secretary of State to the Doctor, down to the Ru Lin Tonghao, do not give wine to drink. Once, when a bureaucrat invited him to work in the museum, Zhang Feng stared at him and did not answer, and when he finished drinking, Zhang Feng got up and left, not only satisfying his good wine heart, but also retaining his attitude of not serving the Qing court. Zhang Feng presents himself as a widow, but does not show a tough attitude.
Zhang Feng's life has experienced major setbacks one after another, especially the shattering of his father's country, he has the depressed and bitter emotions that every remnant has, and he seems to be "sexually secluded", but when he gets along with people, he does not easily take advantage of the situation. He had a very good relationship with Zhou Lianggong, and in addition to Zhou Lianggong having served as an official in Nanjing, he took good care of poor friends like Zhang Feng as usual. When Zhou Lianggong was deposed and imprisoned, Zhang Feng specially gave him a painting. According to Zhou Lianggong's account: "Draw a man holding a sword, rubbing his hand, staring with both eyes, and wearing a gourd." Painting Zhang Feng's self-titled poem, Zhou Lianggong deeply felt its meaning and cherished it very much. Poetry Cloud:
Although the knife is unfavorable, it is not blunt.
Secretly, I know that there is great hatred.
When Zhou Lianggong was released to return to his hometown when the Kangxi Emperor granted amnesty to the world in the first year, he specially invited Zhang Feng to go to the Gaozuo Temple, where they met for five or six days to talk about painting and poetry in the temple, and Zhang Feng gave him a painting pamphlet. In Zhou Lianggong's "Reading Pictorial Record", it is said: "The Great Wind Testament has the Double Mirror Anshi Poem, the Shang Yaoting Poetry Yu, the Leng Yan Program, and the One Door Reverse Cutting, and the Illness Pays Zheng Ru to Hide It." From this, it can be seen that the relationship between Zhang Feng and the famous doctor and famous scholar Zheng Mo is extraordinary, and he confesses the aftermath during the illness and delivers his will to Zheng Mo, and Zhang Feng's sick body will also be faked by Zheng Mo's hands. Zhang Feng's book "With Zheng Ruqi" said: "Painting should be good to look at near, and good to see from a distance: this is the painting method of the servant's view, but in fact, the servant's heart seal." Cover up close to look at the small shows, and look at the big clips from a distance. Paintings are more good to see up close, and those who don't have to look good from a distance are difficult for him to see big clips. In the past, people said that the North Garden painting was embellished with grass and grass, slightly without rows, while from a distance, the fence of the tobacco village, the clouds and sand trees, were brilliant and distinct, which was organized in the rough clothes and chaos. Others do it, that is, they are not caught off guard. The magic of painting is all about it. It is not the tung that recent historians have referred to. ”
Zhang Feng said: "Paintings should be good to look closely, and it is good to look at them from a distance: this is the way I appreciate paintings, in fact, it is also the method in my heart." Look closely, look at the small details; look at the distance, look at the fragment as a whole. Painting, many of them are good to look at up close, but not good to see from a distance, it is difficult to paint the overall charm. In the past, people evaluated the paintings of Beiyuan (Southern Tang Dynasty painter Dong Yuan, guanzhi Beiyuan envoy) mostly looked like things were hastily embellished in the picture, as if there were no layers of rules; but from a distance, the fences of Yancun and the sand trees of Yunlan were brilliant and distinct, which is the level of organization and disorder. When others do this, they are at a loss. The mysteries of painting are all here. It is definitely not what recent historians call Dong Beiyuan. ”
Zhang Feng is good at painting, but he is "not taught by any teacher", purely self-taught, self-understanding, did not specifically learn painting from the people of the time, "even with his own will", so he reached the realm of transformation, he has a talent for painting. Zhang Feng is not only good at painting, but also works on seal carving poetry. In Zhang Feng's posthumous work "The Collection of Double Mirrors", he received a letter he wrote to Cheng Youhong, Zhang Feng used the chess method of Go to explain the painting theory of painting, he commented on the painting: "The good chess player falls off the cloth, the sound of the east strikes the west, and gradually cleans up, so that the duan is won, and the good use of this yi family is Song ye." The painting is also wonderful to use pine, dry arrangement, and gradually dye layer by layer, so that it can be dashing and deep. ”
In the Jinling School, Zhang Feng's painting style is quite unique, and he is a "lone walker who drops his arm". Zhang Feng's paintings are mostly landscapes and figures. His landscape paintings overlap and crisscross the peaks, the mountains are outlined with dry brushes, and the peaks echo each other, and the shape is slightly distorted. His early works were idyllic and laid-back, with a slightly blunt pen. After the death of Ming, Zhang Feng began to travel far, and the painting style turned to Shen Xiong's rough and strong, and the character portrayal was also much more vivid. However, his fans and albums still retain the quiet and comfortable taste of the early days. His large paintings adopt a panoramic composition of the Landscape of the Northern Song Dynasty, and the contours of the mountains and stones are lightly brushed out of some blurred edges, which appear softer. The shadow between the mountains, taken from the Fa Song people, is a fusion of the Painting Methods of the Yuan and Ming Dynasties. In Zhang Feng's method, the mountain stone is woven out with a thin line, with dots in the middle, and the shape resembles a tadpole. The whole picture looks disorganized up close, but it is quite dynamic from a distance. Zhang Feng's landscape as a whole presents the composition of the Song painting meaning, the rubbing line is more fine and complex, the ink is drier, and the ink color of the picture is also heavier. His simplified landscape draws on the composition and brushwork of the Yuan people, and adopts the painting method of painting with books, the technique is more smudged, the ink is more moist, and the picture effect is relatively fresh.
Zhang Feng's figure paintings either place the figures in small landscapes, or are quite similar to the stick figures of Liang Kai in the Southern Song Dynasty, or specialize in characters. That is, one type is a work with a background to flatter the character of the character; the other is a background blank, only depicting the creation of the protagonist's image. When he shapes characters, he sometimes sketches with stick figures, sometimes with thin lines, most of the characters do not apply color, but there are also works of baking and dyeing, and the appearance of character paintings is also very rich.
In 1654, An Zhiyuan was promoted by Dai Jing, the governor of Shandong Province, and entered the Guozijian (太学). An Zhiyuan entered Beijing in the spring of Yi Weichun, that is, went to the Guozi prison to study. Seeing Zhang Feng's "Landscape Album", he inscribed on it: "Yu Yiyi went to Yanjing in the spring and stayed overnight at Shanqiao. Pick up the lamp to read the poem on the wall, see a book "Bodhisattva Man" a word, the word is greater than the rise, drunken Xu upside down the pen meaning is as it is. Yu is reconciled according to its rhyme, and now it will not be ten years. Although the inscription on the wall is surnamed, Yu Yi is isolated on the sea, and he does not know why the wind is like a person. Now in the old master's office, I learned of the life of the wind, and I saw it with the handwriting of the wind, and the old spirit was covered with chaos, and on the paper, I felt that between the scales, I saw Zhang Hao's eyebrows. ”
Zhang Feng was a well-printed literati of poetry, calligraphy and painting, who excelled in landscapes, figures, flowers, and portraits. Without a teacher, it is all by one's own will, and the Yuanren Fa is obtained. In the early years, the style was quiet and leisurely, the charm was leisurely, and there was no feminine habit. In his later years, his pen and ink became thin and arrogant. Proficient in painting theory, engraving and printing, able to poetry. He is the author of "Double Mirror AnShi Banknote" and "Shang Yao Ting Poetry". And there is a treatise on the picture book Jane Four Tong into Zhou Lianggong's "Ruler New Banknote".
Lu Xiuhui has a song "Song for Zhang Dafeng", a poem cloud:
No money to buy a flat boat, there is a singing heart.
The sideburns are weeping for a lifetime, and a pot is left to stay.
Hate not to attract white cranes, follow the waves to chase sand gulls.
Angle of view Old Moon,Disease Bone Shinoka.
The painting is read near and far, and the chess needs to be up and down the week.
Plum blossoms spread all over the four mountains, and the water of Xiao'er Creek flows.