Traditional Culture Encyclopedia - Traditional culture - What are the "Eight Monsters of Yangzhou" of the Qing Dynasty?
What are the "Eight Monsters of Yangzhou" of the Qing Dynasty?
Yangzhou Eight Monsters bold and innovative style, constantly for later generations of painters inherited. Modern painters, such as Wang Xiaomei, Wu, Zhao Zhiqian, Wu Changshuo, Ren Bonian, Ren Weichang, Wang Mengbai, Wang Xuetao, Tang Yun, Wang Yiting, Chen Shizeng, Qi Baishi, Xu Beihong, Huang Binhong, Pan Tianshou, etc., are each in some way by the "Eight Monsters of Yangzhou" works of the influence of their own family. Most of them spoke highly of the works of the "Eight Monsters of Yangzhou". Xu Beihong once in Zheng Xie's a "orchids and bamboo" painting on the inscription: "Mr. Banqiao for the last three hundred years in China, one of the most outstanding characters. His thought is strange, literature is strange, painting and calligraphy is especially strange. Viewing his poetry and calligraphy and painting, not only to see the high degree of sophistication, but also its benevolent sadness in the marvelous, especially for the ancient and modern genius of the rare one." In Yangzhou, there is also a saying that the "Eight Monsters of Yangzhou" refers to the "Eight Ugly Monsters" in Yangzhou. Since the art style of the Eight Yangzhou Monsters was not recognized by the so-called orthodox painting school at that time, and they pursued nature, truth and reality, they moved some of the living, common people into their paintings and calligraphy, and even exposed the dark side of society. This kind of behavior makes the ruler's interests damaged, said they are not in the painting world "ugly eight monsters", Yangzhou eight monsters and thus named. Literary theorists finally categorized the "Eight Monsters of Yangzhou" into 15 people. In Yangzhou, there is a local memorial hall with statues of 15 people. Zheng Xie Zheng Xie (1693 - 1765), the word Kerou, No. Banqiao, Jiangsu Xinghua people, should
Zheng Xie (Zheng Banqiao)
Correspondence for the Kangxi Xi Xiucai, Yongzheng ten years of lifts, Qianlong first year of the first degree. Shandong Fan County, Weixian County, there is a political sound to the yearly famine for the people, disobedience to the big officials, then begged to return to the sick. Before and after he became an official, he lived in Yangzhou and made his living by painting and calligraphy. He was good at painting orchids, bamboos, stones, pines and chrysanthemums, etc. He painted orchids and bamboos for more than fifty years, and his achievements were the most outstanding. He was inspired by Xu Wei, Shitao, and Bada Shanren, but developed his own method, with a sparse appearance and a strong style. He was a calligrapher, using the eight points of the Han Dynasty to mix in regular, running and cursive scripts, and called himself the Six and a Half Points Script. And the calligraphy brush is integrated into the painting. He advocated the inheritance of the traditional ten points to learn seven to throw three, not mud ancient method, and emphasized artistic originality and stylistic diversity, the so-called before painting, not to set up a pattern, and after painting, not to leave a pattern, which is still of reference significance to today. His poems and writings are sincere and interesting, and are popular among the people. He is also a seal maker. There are "Zheng Banqiao complete collection", "Mr. Banqiao seal album" and so on. His masterpiece is "Bamboo and Stone". Banqiao paintings of bamboo has "chest without bamboo" theory, he painted bamboo and no teacher, more than in the paper windows and walls of sunlight and moonlight, directly from nature. In response to Su Dongpo's claim of "having a bamboo in his chest", Banqiao emphasized the bamboo in his chest "without knowing what it is like", and to have "no bamboo in his chest". These two theories may seem contradictory, but the essence is similar, and at the same time emphasize the high degree of combination of conception and skillful technique, but Banqiao's method should be "like thunder and lightning, the grass and trees grow in fury". Banqiao this "bamboo and stone", bamboo painting hard thin and upright, section stands up, straight into the clouds, his leaves, each leaf has a different expression, ink color watery, intensity and light, realistic expression of the texture of bamboo. In terms of composition, Banqiao handles the positional relationship between the bamboo and the stone and the text of the inscribed poem in a very harmonious manner. The beauty of the bamboo's slenderness and valor set off the stone's other flavor. This clump of plants became the ideal phantom of Banqiao. Banqiao's bamboo, even "Yangzhou eight monsters," one of the Jin Nong exclaimed that, compared to the two paintings, their own paintings of bamboo is not as good as Banqiao have forest style ah. Where I paint orchids, bamboo, stone, to comfort the world's laborers, not for the world's peace of mind." Banqiao's calligraphy, which he called "six and a half minutes of calligraphy," was extremely elegant and natural, using orchids and grasses in his brushwork, and using seal script, clerical script, cursive script, and regular script to create a wide variety of styles. This inscription in running script, "Two breaks at the head of the east ferry in Yanglin," reflects the unique formal beauty of Zheng Banqiao's calligraphy, and the three words "Peach Blossom Bank" are especially bright and attractive between the tittings and the pauses. Zheng Banqiao's unique new style of calligraphy, creating a precedent in the history of calligraphy. Orchid and Stone Figure Shibi Orchid and Bamboo Figure Jiuwan Orchid Figure Gao Xiang Gao Xiang
Gao Xiang
(1688--1753), the word Fenggang, the number of Xitang, and the number of Xitang, Yangzhou, Jiangsu Province, a painter in the Qing Dynasty, one of the "Eight Monsters of Yangzhou". Lifelong cloth. Good at painting landscapes and flowers. His landscapes are based on Hongren and Shitao, and his garden scenes are mostly drawn from sketches, which are elegant and moist, forming a pattern of their own. His paintings of plums were all sparse and thin, winning in rhyme. He is also good at drawing portraits, the small portraits printed at the beginning of Jin Nong's and Wang Shishen's poetry collections are Gao Xiang's handwriting, with concise line drawings and realistic expressions. He was also good at engraving and printing, and learned from Cheng Profound. He was also good at poetry, and had the West Tang Poetry Notes. In his later years, because his right hand was crippled, he often painted with his left hand. He was friends with Shi Tao, Jin Nong and Wang Shishen. Li Dou of the Qing Dynasty in the "Yangzhou Boat Record" has this record: "Shi Tao died, Xitang every year in the spring to sweep his grave, until death never stop. Meaning, Shi
Gaoxiang seal
After the death of Tao, Gaoxiang every year in the spring to sweep his grave, until the death has not broken. It can also be seen from here that the friendship between them was very deep. In addition to being good at painting landscapes and flowers, Gao Xiang was also good at portraiture and engraving. Yangzhou Instant Scene I Bouncing Finger Pavilion II Yangzhou Instant Scene II Jin Nong Jin Nong (1687-1764), the word Shoumen, No.
Jin Nong
Dongxin, a native of Renhe, Zhejiang Province (present-day Hangzhou), lived in Yangzhou for a long time. Lifetime did not do the official, had been recommended to the erudite Hong word section, into the capital without trying to return. He is learned and versatile, after the age of fifty began to paint, lifelong poverty. He was good at painting birds and flowers, landscapes and figures, and was especially good at ink plums. His paintings are characterized by ancient and simple shapes, elaborate layouts, and original ideas, including Ink Plum and Moon Flowers. He created a unique style of clerical script, which he called "Lacquer Script", which is also known as Jinnong Style or Dongxin Style, with thick horizontal and thin vertical strokes, flowing skimmers and heavy presses, and the scripts are mostly rectangular in shape, with a heavy head and a light foot, which is very nice to look at. He is an expert in seal carving and appraisal, and is good at painting bamboo, plums, saddle horses, statues of Buddha, figures and landscapes. He is especially good at painting plum blossoms in ink. The plum blossoms he paints are full of flowers and branches, and they are full of vigor, and he also uses ancient jinshi brushwork in an elegant and simple style, such as "Ink Plum Painting" and "Moon Flower Painting". And long at the inscription, "every painting, there must be inscription, a touch of feeling". He is also good at calligraphy, taking the method from the Tianfa Divine Confession Stele, the Guoshan Stele, and the Gulang Stele. He writes simple and ancient official script, and creates his own style of regular script, which is called "Lacquer Book", with another interesting style, also known as Jinnong Style or Dongxin Style, with thick horizontal and thin vertical strokes, flowing skimmers and heavy presses, and the scripts are mostly in the form of rectangles, with a heavy head and a light foot, which is very nice to look at. Seal carving is based on the Qin and Han methods. His poems and writings include The Collection of Mr. Dongxin and Miscellaneous Writings of Mr. Dongxin, and his calligraphy and painting inscriptions have been compiled into a series of inscriptions for Dongxin's paintings of bamboo, plums, horses, self-written portraits, and miscellaneous paintings, and so on. Ink Plum Doufang Figure Chrysanthemum Figure Gaowu Yulitu Li eel Li eel (1686--1762), the word Zongyang, the number of Fudang, also known as the chagrin Taoist, Jiangsu Xinghua . Kangxi fifty years in the examination, fifty-three years to painting called for the internal court offerings, because of the reluctance to be bound by the orthodox school of painting style and was sidelined out. Qianlong three years to check the selection of Teng County, Shandong Province, to disobedience to the big officials to return. After the two reforms and a devaluation, he went to Yangzhou to sell paintings for a living. The closest relationship with Zheng Xie, Zheng has sold paintings in Yangzhou, and Li with the old saying. In his early years, he had learned to paint landscapes from his fellow countryman Wei Lingcang, inherited Huang Gongwang all the way, served in the inner court when he studied painting with Jiang Ting, the painting method is exquisite; and then to the master of the finger paintings Gao Qipei to seek guidance, and then advocate the writing. In Yangzhou, he was inspired by Shi Tao's brushwork, so he used broken brushes and splashed ink to paint, and his style changed greatly, forming his own unique style of waving at will and melting ink and water into curiosity, and he liked to make a long inscription on his paintings, and his handwriting was strewn all over the place, making the picture very rich, and his works had a great influence on the flower and bird paintings of the Late Qing Dynasty. Sanyangkaitaitou banana goose banana daylily stone figure Huang Shen
Huang Shen writing figures
Huang Shen (1687-1770 after), the word Gongmao, bow Mao, a word Gongshou, Juzhuang, the number of gall bladder, East China Sea, such as cloth, Ninghua people in Fujian. He was a native of Ninghua, Fujian Province. He was good at writing figures and birds and landscapes, and his brushwork was absurd and his colors were bold. He was one of the "Eight Monsters of Yangzhou" painters. When he was young, he studied hard, and because of his family's difficulties, he lived in the Xiao Temple, and "he wrote books for paintings, and he did not get any wax at night, and he read from the bright light of the Buddha Hall. Huang Shen was good at painting figures. In his early years, he studied under Shangguan Zhou, and mostly made brushstrokes, but later he was inspired by the real works of the Tang calligrapher Huaisu, and entered painting with wild cursive strokes, which changed into rough brushstrokes in the sense of writing. Huang Shen's realistic characters created a unique style of incorporating cursive writing into his paintings. When Huai Su's cursive writing came to Huang Shen, it became "broken and bald", turning continuous into intermittent, and the brushwork became even more turbulent and wild, and the style even more bold and strange. With such a wild and cursive brushwork into the painting, the strokes "swinging swiftly like the wind," the weather is majestic, points and drawings such as the wind rolled leaves. Huang Shen's figure painting, more fairy stories, historical figures and real-life woodcutters, fishermen, beggars, and other depictions of civilian life, to the Qing dynasty figure painting has brought a new breath. Huang Shen's figures of the album page "flower viewing lady" depicts a beautiful woman's indulgence in flowers. While the West Mountain Crane Recruitment is taken from Su Shi's "Crane Pavilion", the right side of the picture stands a crane, the old man seems to be looking up at the crane flying in the air, the child holding a basket of flowers, but the self-concerned cheeky and happy. "I dreamed of Yangzhou Road in my life, and came and went with empty white cranes" (Huang Shen, "Inscribed Lin Bu taming the cranes"), Huang Shen lived in Yangzhou twice, successively for 17 years, ten miles of Yangzhou, which became his lifelong attachment. His figure paintings are the most distinctive, including Silk Spandex Figure, Group Beggar Figure, and Fisherman's Father Figure. His poems were collected by Lei Hong, a fellow villager, and compiled into Jiao Hu Poetry Copy. Li Fangying (1695-1755) was a Chinese poet and painter of the Qing Dynasty, known as Qiuzhong (虬仲), Qingjiang (晴江), Qiuchi (秋池), Yuyuan (抑園), and Baiyi Shanren (白衣山人), etc. He lived in Jinling Borrowed Garden (金陵借园), and lived in Jinling Borrowed Garden. He was a native of Tongzhou (present-day Nantong, Jiangsu Province). He lived in the Borrowed Garden in Jinling and called himself the Master of the Borrowed Garden. He was one of the "Eight Monsters of Yangzhou". Born in an official family, served as Le'an county magistrate, Lanshan county magistrate, Qianshan county magistrate, acting as governor of Chuzhou, etc., as an official, "there is a favorable government, people de," and was dismissed from office due to false accusations, after the official apartment in Nanjing Borrowed Garden, self-proclaimed Borrowed Garden Master, often traveled to and from Yangzhou to sell paintings. With Li Li, Jin Nong, Zheng Xie and other exchanges, poetry, calligraphy and painting, specializing in plum, orchids, bamboo, chrysanthemums, pine, fish, etc., focusing on the master of the tradition and the master of the method of creation, can be self-contained, the painting brushwork of the old and strong thick, cut simple, unconcerned with the shape of the lively and vivid. He was listed as one of the Eight Monsters of Yangzhou. There are "Windy Bamboo Picture", "Swimming Fish Picture", "Ink Plum Picture" and so on passed down to the world. Author of "Plum Blossom House Poems". He was good at painting pines, bamboos, orchids, chrysanthemums, plums, flowers, insects and fishes, as well as figures and landscapes, and was especially good at painting plums. His works are bold and unrestrained, with a lot of ink, rough and messy, not sticking to the rules of ink and ink, and are meant to be between the green vine, the white sun, and the bamboo and the simple bamboo. Plum painting is known for its thinness and hardness, with old trunks and new branches, interjections and curves. With between the prints of the means of plum blossom〗, the famous title of the poem of painting plum has the sentence of "do not meet with the destruction of the strange". He also likes to paint the pine and bamboo in the gale. He was a good calligrapher. Able to poetry, later compiled a "Plum Blossom Building Poetry Grass", only twenty-six, most of which are scattered on the painting.
Wang Shishen (1686--1759), the word near
Wang Shishen
people, the number of Chao Lin, alias Xidong foreign history, the late spring old man, etc., is originally from Shexian County, Anhui Province, living in Yangzhou to sell paintings for a living. He worked on flowers, and his brush strokes were so free-flowing that they were very colorful. He was especially good at painting plums, and often went to the Plum Blossom Ridge outside Yangzhou to enjoy and write about plums. The plum blossoms he painted were famous for their dense stamens and branches, which were light and elegant. Jin Nong said that the best way to paint plum blossoms was to get two friends in Guangling: Wang Chaolin painted the busy branches, and Gao Xitang painted the sparse branches. (Inscription on the Painting of Plums) However, from his surviving works of painting plums, not all of them are complicated branches, but also often paint sparse branches. Regardless of their complexity or simplicity, all of them are characterized by an airy fragrance and a sense of wind and snow in the mountains and forests. At the age of fifty-four, he was blind in his left eye, but he was still able to paint plum blossoms, and when he showed his blindness, he engraved a seal that reads: "The left blind student still has one eye to paint plum blossoms. At the age of sixty-seven, he was blind in both eyes, but he was still able to write large cursive characters and sign his name Xin Guan, which means "blind to the eye, but not to the heart. He was good at poetry, and was the author of "The Collected Poems of Chao Lin". Snow and Plum Blossoms White Peach Blossoms Spring Breeze Leaks Fragrance Luo Hire
Luo Hire Luo Hire (1733-1799), the word recluse, the number two peaks, also known as Yi Yun, alias the monk of the Temple of Flowers, the Jinniu mountain man, Chau fisherman, the old man of the Shilian. He was a famous painter in the Qing Dynasty, one of the "Eight Monsters of Yangzhou". Ancestral origin is from Shexian County, Anhui Province, and later resided in Yangzhou, where he used to live in Mida Lane of Caiyi Street and called himself "Zhu Cao Poetry Forest". He was a disciple of Jin Nong, not an official, but a good traveler. Painting figures, Buddha, landscapes, flowers and fruits, plums, orchids, bamboos, etc., everything. He had a unique style of painting with a strange and creative brushwork, which was superb and unique. He was also good at painting "Ghosts", depicting all kinds of ugly ghosts, all of which were very skillful, in order to satirize the social scandals at that time. He was also good at poetry, and was the author of The Collection of the Fragrant Leaf Cao Tang. He was also a good seal engraver, and authored "Biography of Guang Yin Ren" (广印人傳). After Jin Nong's death, he searched for his manuscripts and financed the engraving of the plates, so that Jin Nong's writings could be passed on to future generations. His wife, Fang Wan-yi, with the character Bailian, was also good at painting plums, orchids, bamboo and rocks, and was also good at poetry. Her sons, Yunshao and Yunsugar, were both good at painting plums, and were known as the "Luo Family School of Plums". His masterpieces include: "Outside of the world wind standard" (album page), "two peaks Demoiselle hats", "Dan Gui Autumn High", "into the yin barricade day", "Valley Qing Yin Figure", "painting bamboo sound Figure" and so on. Taming the bird drawing finger painting gourd drawing finger painting lady drawing editing section where the strange "Yangzhou eight monsters" in the "strange" where, the argument is not the same. Some people think they are strange, from the actual point of view, not so. The eight monsters themselves, the experience of ups and downs, they have an unfair gas, unlimited anger, deep sympathy for the poor class. With their intellectual insight and kind sympathy, the ugly things and people, to attack, or written in poetry and literature, or the table of paintings and calligraphy. This kind of thing in Chinese history, although not uncommon, but also not common, people to "strange" to see, it is also very natural. But their daily behavior, are not beyond the scope of the rituals of the time, and not as indulgent as the literati of the Jin Dynasty - playing the fool, crying and laughing. They communicated with officials and celebrities, participated in poetry and wine parties, and behaved as some normal people. Therefore, it is not reasonable to identify them as "strange" from their behavior in life. Now we only have to study their works. A unique way to the intention of the "eight monsters" (Jin Nong, Wang Shishen, Huang Shen, Li Shi, Zheng Xie, Li Fangying, Gao Xiang, Luo Hire) do not want to go down the road that has been created by others, but to find another way. They want to create a "heaven and earth of the text, shocked by the word of thunderstorms, God cursed the talk of ghosts, no ancient and modern painting", to set up their own, that is, to be different from the ancients, do not follow the times, style originality. Their works are against the habit of people's appreciation, people feel novelty, also feel some "strange". As Zheng Xie himself said: "the pen do not form a family, long in poetry and literature." Most of them have experienced difficulties in life, and finally embarked on the road of selling paintings for a living. Although they sell paintings, but to paint sentimental, in the art of painting and calligraphy have a higher pursuit, do not want to flow into the ranks of the general painter. Their knowledge, experience, artistic cultivation, profound strength and creative artistic pursuit, has been different from the average painter, to achieve a new idea, new composition, new techniques of the realm. The technique of not falling into the mold Chinese painting has a long history, a long history, in which the literati painting since the Tang and Song Dynasty flourished, and gradually enriched and developed, forming a complete theoretical system, leaving a large number of works, which is the pride of Chinese painting. Since the Ming and Qing dynasties, numerous schools of painting have emerged in different parts of China, each with its own characteristics, competing for supremacy in the painting world. The most influential was the Yushan and Loudong schools of painting, headed by the Four Kings, while in Yangzhou, the "Eight Monsters of Yangzhou" style of painting, headed by Jin Nong and Zheng Xie, was formed. All these painters inherited and carried forward the tradition of painting in China, but they had different opinions on the inheritance of tradition and creative methods. Yushan, Loudong and other schools of painting, the school of copying and learning from the ancients, in order to comply with the ancient law as the principle, in order to revitalize the ancient law as its own responsibility, and to "authentic" self-appointed. Their creative methods, such as the "authentic" painter Wang Huen said, painting to "yuan pen straight ink, transport the Song people hill and dale, and ze to the Tang people rhyme, is a great success. They follow the ancients, also follow suit, works mostly imitation of ancient masterpieces (of course, in the imitation of the ancient also have to create), the formation of a stagnant situation, binding the painter's hands and feet. Brush stroke freely "Yangzhou eight monsters" family also respect the tradition, but they are different from the "authentic". They inherited the Shi Tao, Xu Wei, Zhu Da and other people's creative methods, "the division of its intention is not between the signs", not rigidly adhere to copy the ancient method. Such as Zheng Banqiao respected Shitao, he learned from Shitao, but also "skim half, learn half not taste all learning". Shi Tao had an important influence on the formation of the artistic style of the "Eight Monsters of Yangzhou". He put forward the idea of "mastering creation" and "using my method", opposed to the "mud of antiquity", required painters to go into nature to absorb creative materials, and emphasized the need for works to have a strong personality. He believes that "the ancients beard and eyebrows, can not give birth to my face; the ancients lungs, can not enter my abdomen and intestines. I have sent my lungs, uncovering my eyebrows". Shi Tao's painting ideas, for the emergence of "Yangzhou Eight Monsters", laid the theoretical foundation, and for the "Yangzhou Eight Monsters" in practice to use. The "Eight Monsters of Yangzhou" were inspired by nature and sought subjects from life, and they were refreshing at the time because they were not willing to be the same as the others, but they created their own style. People often see their own rare things, regarded as strange, and therefore the "eight strange" kind of expression of their own minds, gallop across the works, feel the novelty, called strange. There are also some accustomed to the traditional painters, that "eight strange" painting beyond the law, on the eight monsters to be depreciated, said they are partial teacher, belong to the left-hand path, said they "show new in a moment, only prevalent in a hundred miles". Appreciation of their works are praised for the pen free, free, not into the law and the ancient law of the constraints, breaking the rigidity of the situation at that time, to bring new life to the Chinese painting, influence and nurture later like Zhao Zhiqian, Wu Changshuo, Qi Baishi, Xu Beihong and other masters of the arts. They abhorred the meanness, wickedness, power, flattery and other styles that prevailed in the officialdom at that time. Eight people in addition to Zheng Banqiao, Li Fangying has done a small county, the other life to "Lulian", "Jiezhitui" as a model, to the death do not want to be an official. Zheng Banqiao, who was an official, is also different from the regular officials. He went to Shandong when he took office, first of all, in the old Yamen wall dug a hundred and ten holes, through to the street, that is "out of the former official vulgarity", said to be clean. "Yangzhou eight monsters" life interests are mostly blended in poetry, calligraphy and painting, never whitewash. They used poems and paintings to reflect the plight of the people, to vent their inner anger and bitterness, and to express their pursuit of and yearning for better ideals. Zheng Banqiao's "Hum Category", "Fugitive", "fleeing" is so. The "Eight Monsters" liked to paint plum, bamboo, stone and orchid. They expressed their interests with the pride of plum, the stone's cold, the bamboo's noble, the orchid's fragrance. Among them, Luo Hire also loved to paint ghosts, his ghosts in all shapes and colors, and explained that "wherever there are people, there are ghosts", and ghosts are characterized by "when the rich and noble people, they will follow the walls and snakes, when they meet the poor and lowly people, they will be patting and tiptoeing, and ridicule a hundred times". This is not painting ghosts, but clearly tearing off the human skin on those corrupt officials who tend to be powerful and oppress the poor through the ghostly state, and returning their true colors. In the feudal system of extreme cruelty and the times of the word prison, but they dare to be different, new and different, no wonder a governor shook his head at the time and said "strange, strange". Deng Tuo in the Qing dynasty famous painter Zheng Banqiao had written "song blowing Yangzhou to cause strange name, orchid bamboo shadow with the sound of the book", can be regarded as their "strange" characteristics of the summary of it.
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