Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the ancient paintings truly reflect the way of life and scientific and technological level of the people at that time, combined with the record of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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Chinese Qing Dynasty painting, under the influence of politics, economy, ideology and culture at that time, presented a specific style of the times. Scroll painting continues the trend since the Yuan and Ming dynasties, literati painting is popular, landscape painting is flourishing, and ink freehand painting is prevalent. Literati painting presents two tendencies: sublime and innovative. In terms of subject matter content, ideological interest, pen and ink skills, etc., they have different pursuits, and form a variety of styles and genres. Court painting also achieved great development during the Kangxi and Qianlong periods, and presented a new style that was very different from the previous generation of courtyards. Folk painting is most prominent in the achievements of New Year paintings and prints, showing an unprecedented flourishing situation. The historical process of the development of painting in the Qing Dynasty is related to the development and changes of the whole society, and can also be divided into three periods: early, middle and late.
In the last years of the Qing Dynasty, with the decline of feudal society, new changes took place in the field of painting. For about 200 years in the Qing Dynasty, the authentic literati painting school and the imperial court paintings were gradually declining, and Shanghai and Guangzhou, which were opened as treaty ports, had become new painting centers, and the Hai school and lingnan school of painting appeared.
The factional forces of the Four Kings gradually declined during the Daoguang and Xianfeng years, and there were not many accomplished painters, only Tang Yifen and Dai Xi's landscapes had made breakthroughs, which were valued by the people of the time, and the landscapes of Qian Du, Hu Yuan, Wu Guxiang, Wu Qingyun and others were also praised for a while. We first share Wu Qingyun's landscape paintings.
Wu Qingyun (1845-1916) character Shi Qian, later with the character line, the number of the Ink Daoren, Shangyuan (now Nanjing) people, living in Shanghai. The landscape is strong, the hills and ravines are strange, the beginning is not heavy, both to Japan, is the long smoke and rain method, the ink halo, the smoke clouds vivid, the peaks and mountains, the yin and yang to the back, can be rendered into detail. Therefore, its obscure opportunities, the shape of wind and rain, all appeared one by one, and this cover used Western law, and was good at two ink plays of Mi Fu and Gao Kegong. However, the temperament is more vulgar, and there is no ethereal spirit. The Shu Dao travel map, the Yunfeng Trail, and the ink used for the pen are purely from Wang Meng's fetal breath, but not much. To those who look at his painters, in addition to the thick brush and heavy ink, I don't know that there is another organic zhu. Guangxu Thirty Years (1904) tasted as a picture of the Yanxi fishing boat.
Since the opening of the port in the late Qing Dynasty, with the continuous prosperity of Shanghai's commercial society, the Shanghai school of painters has sprung up and become a focus of the development of modern Chinese painting from tradition to modernity. The various families of the Hai School are good at rich themes, such as Wu Changshuo, who are good at flowers and birds, those who are good at characters such as Qian Hui'an, and ren Bonian, an all-round painter who is good at all kinds of subjects. In this group, there is a painter who is known for his landscape and water, whose works are distinctive and famous, but he has not been inked much in the writing of art history in later generations, so that few people know that this person is Wu Qingyun
His major works include: "Summer Mountain Smoke and Rain", "Mountain Residence Sunset", "Spring Mountain Immortal Yin", "Smoke and Rain Return to the Village", "Yuansi Xizhao Map", "Spring Landscape Landscape Map Axis", "Ink Rain Picture Page", "Imitation Rice Landscape Map Axis", "Painted Fish Algae Diagram Fan", "Spring River Smoke Cloud Map", "Rising Sun East", "Autumn Mountain Twilight Mist", "Spring Creek New Green Map Axis", "Jiang Estate Rain", "Xiqiao Smoke and Rain Map", "Autumn Mountain Sunset Picture Map", "Jiangcun Rain Intention Axis", "Idle Net Fish Map", etc.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated "Summer Mountain Smoke and Rain"
Qing Wu Qingyun", "Summer Mountain Smoke and Rain", 134.2cm×65.4cm, 1908 Collection, National Art Museum of China. Wu's work in 1908.
This painting depicts a small scene of the countryside in the rain, the boatman on the bank of the creek returns to the boat and stops the crossing, the Chinese people sit quietly and listen to the rain, and the farmer on the bridge moves forward against the rain, a long and plain Jiangnan scenery; the miscellaneous trees on the shore are written in large pieces with wet pens, which has a dripping and moist effect; the distant mountains and the sky are full of smoke and clouds, and the mountain body presents a contrast between yin and yang through the change of thick and light ink color.
From the perspective of the technique of wetting paper, this painting method is quite close to the wet bottom rendering method in Western watercolor paintings, which is characterized by the control of the chiaroscuro relationship of the picture through the action of water, forming a water-color blended, wet and subtle effect, making the painting flexible, so it is easier to shape the smoke and rain misty Jiangnan landscape.
From the aspects of composition and scenery in "Summer Mountain Smoke and Rain", it seems that the influence of Japanese painting can also be felt. However, it is difficult to verify the time and purpose of Wu's visit to Japan, and even whether he has been to Japan is difficult to further confirm, so it is not known whether his rendering skills were learned from Japan.
Late Qing Dynasty landscape painting master Wu Qingyun's "Mountain Residence Sunset" appreciation
Wu Qingyun Shanju Nippori 30.2cm×37.6cm 1901 Collection of the National Art Museum of China. Made in 1901.
"Mountain Residence Sunset" is self-proclaimed "Imitation of the Yellow Crane Mountain People", the picture is written in short strokes, and the brush that seeks to be dry in the fine has the style of Wang Meng's painting, but the gradual transition of the sunset scene from light flower blue to vermilion in the work is obviously very different from the Yuanren landscape tradition.
The picture layout adopts the Song people's panoramic landscape pattern, and the "three far" is both. The main mountain is majestic and lofty, the valley on the right is advancing in a deep trend, and the three groups of characters who enjoy autumn tea, fishing in the creek and returning late with their canes are represented in the near distance, and the treatment of the front and back scenes has a strong sense of spatial distance. The depiction of the sunset in the painting is eye-catching, and the lofty mountains are colorful under the background of the sprinkling warm sun, with some aesthetic meanings of Western Impressionist painting, the bells echo, the crows circle, and the shadow of the distant temple tower is still and moving, it seems that time and space are frozen, and the artistic conception is more distant.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated "Spring Mountain Immortals"
Wu Qingyun, "Spring Mountain Immortals", 149.3cm×81.1cm, 1910, National Art Museum of China.
Wu Qingyun's transition from the traditional landscape of pen and ink and charm to the artistic path of east-west compromise may be his personal spontaneous choice, or a passive choice in the external environment of fierce competition in the painting market. But what is certain is that this novel effect of borrowing Western painting techniques and a slightly vulgar painting style are indeed in line with the Shanghai art market. From "afraid of people's landscapes" to "painting very much", Wu's paintings marked an important historical change.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated "Smoke and Rain Returning to the Village"
Wu Qingyun, "Smoke and Rain Return to the Village", 32.5cm×33.3cm, 1913, National Art Museum of China.
Wu Qingyun's participation in Western law is considered to deviate from or even destroy this criterion that is deeply rooted in the tradition of literati painting, "the pen is full of vigor and vigor", "although the courage is majestic, it will not get rid of the writer's habits." No ancient smoke cloud change and extinction", this kind of behavior that is regarded as a reduction in style is intolerable to traditional literati painters.
Wu Qingyun's attempt to integrate the past and the present is not only a product of the social transformation of the late Qing Dynasty and the beginning of the People's Republic, but also a manifestation of the adaptation of traditional painting to the times.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated the "Yuansi XizhaoTu" and analyzed it
Wu Qingyun's "Yuansi XizhaoTu" Ink on paper color 104× 57.1cm Creation age: 1903.
This "Yuansi Xizhao Map" is a representative work of Wu Shixian's autumn scenery written in his later years. In the distance, the shadow of the ancient temple tower is quietly in the background of the slanting sun; the middle view of the mountain is majestic, the trees are lush, and the gulls and herons fly; in the near distance, the autumn is high, the literati sit in the pavilion to enjoy the autumn, the gaoshi takes the book boy to return with the piano, and the gentleman takes a flat boat to fish in the creek. The characters are depicted in detail and beautifully colored. Many scenery is harmonious in the picture, with a moist artistic effect.
Department: "The bells of the far temple urge many nights, and the shadow of the half-pole tower falls into the slanting sun." Respect for the third brother Yazheng. In winter, Wu Shixian. "Seal of Wu Xianyun (White Text), Shi Xian (Zhu Wen)".
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated the "Spring Landscape Landscape Map Axis"
Qing Wu Qingyun's "Spring Landscape And Water Map Axis" is a painting collected by the China Three Gorges Museum in Chongqing at 134.7 in length and 32.3 in width.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated the "Ink and Rain Landscape Picture Page"
Wu Qingyun's "Ink and Rain Landscape Page" in the late Qing Dynasty is 31.4 centimeters long and 43.7 centimeters wide, which is a painting collected by the China Three Gorges Museum in Chongqing.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated the "Imitation Rice Landscape Map Axis"
Qing Wu Qingyun's "Imitation Rice Landscape Scroll" is 44.1 cm long and 32.3 cm wide, which is a calligraphy (painting) work collected by the China Three Gorges Museum in Chongqing.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated and analyzed "Painting Fish and Algae Diagrams and Fans"
In the Qing Dynasty, Wu Qingyun's "Painting Fish algae figure fan", collected by the Palace Museum.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated the "Smoke and Clouds of the Spring River"
Qing Wu Qingyun 'Chunjiang Smoke Cloud Map' axis coloring paper 88 length 46 cm in width. Collection of the Palace Museum in Shenyang.
The picture depicts the beautiful scenery of the Spring River in Jiangnan, which is full of smoke and rain. Up close, a grove of miscellaneous trees, inky, a leaf boat, a banqiao, a village covered by dense forests; an artemisia braces, a walker with a hat. In the distance, the smoke clouds are misty, the peaks and ridges of the desert, the fishing sails are standing, and the rivers and skies are colorful. This painting imitates the rice ink method, thick brush heavy ink, rendering into detail. The top left is self-titled: "Spring River Smoke and Rain Quasi-Mi Xiangyang Brushwork Shi Xian". Wu Qingyun once went to Japan to learn Western painting methods, landscape painting is longer than the smoke and rain method, the ink is dizzy, the smoke clouds are vivid, but the qi rhyme lacks an illusory spirit, and there are tacky drawbacks.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated "The Rising Sun Rises in the East"
Qing Wu Qingyun "The Rising Sun Rises"
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated "Autumn Mountain Twilight Mist"
Qing Wu Qingyun "Autumn Mountain Twilight Mist" Prop shen spring march.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated the "New Green Map Axis of Spring Creek"
Qing Wu Qingyun "Spring Creek New Green Map Axis" Changzhou Museum.
Wu Qingyun is good at depicting the natural scenery of smoke and rain, combining the painting methods of rice and Gao Kegong, and mixing with Western watercolor painting techniques, the landscape is more inky, the clouds and smoke are vivid, and he is especially good at expressing the shape of wind and rain.
Late Qing Dynasty landscape painting master Wu Qingyun's "Rain In Jiang Estate" appreciation
Wu Qingyun (Wu Shiqian) "Jiang Estate Rain" ink vertical axis screen size: 60x45 cm, vertical shaft size: 144x75 cm.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated the "Smoke and Rain Map of Xiqiao"
Wu Qingyun's "Xiqiao Smoke and Rain Map" is lightly colored on paper, 136 cm in length and 67 cm in width, and is stored in the Shanghai Cultural Relics Store.
"Xiqiao Smoke and Rain Map", the painting is the Jiangnan Mountainous Area near the end of the water, when the rain is in full swing, the forest is wet, and one person stands up to the rain and an oil paper broken umbrella to cross the wooden bridge, which is quite difficult. Near the river beach, there is a flat boat with a black canopy and a basket, the port side is sheltered from the rain, the shore is overgrown with weeds, the big trees are jagged, and the trunk is repainted, and the ink dots are clustered with large mixed dots, and the water vapor is thick and thick. There are several rafters built along the river and in the mountains. In the distance, there are two boats sailing on the big river, and on the other side of the big river is a village, and the roof of the building is exposed to the treetops, and there is a towering tower, standing outside the village. High in the distance, the number of green mountains is heavy, the remote cen floating dai, immersed in the rain of the mountain, the farthest wiped out of the distant mountains, in the faint, the foothills of the rain clouds are misty, separating the flat land and the high mountains, with the open terrain and the high mountains, adding to the momentum of the whole map structure. The skyline space accounts for one-third of the picture, all rendered with light ink, appearing to be hazy and cloudy, and the trend of tuotuo is not stopping, and the theme of "Smoke and Rain on the Creek Bridge" is pointed out in many ways.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated "Autumn Mountain Sunset Illumination"
Qing Wu Qingyun's "Autumn Mountain Sunset Photo" Shanghai Museum Collection.
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated the "Jiangcun Rain Intention Axis"
Qing Wu Qingyun "Jiangcun Rain Intention Axis" 124.6×57.3
Wu Qingyun, a master of landscape painting in the late Qing Dynasty, appreciated and analyzed the "Fish Diagram of idle nets"
Qing Wu Qingyun "Idle Fish Map"