Hongren Youting Xiumu Picture Axis

[Hongren Youting Xiumu Picture Axis]

Youting Xiumu Picture Axis, Qing Dynasty, Hongren’s work, paper, ink, 68 cm vertical, 50.4 cm horizontal
The self-title in the picture is: “Xin Chou Jie Xia Cheng Guan Xuan is a beautiful wooden picture of a secluded pavilion. He is taught by Yue Sheng, a great monk. The scholar of Chienjiang is Hongren.” The seal is “Hongren” and “Chienjiang”
“Xinchou” is the 18th year of Shunzhi in the Qing Dynasty (1661). The recipient was named Luogunqi, whose name was Yue Sheng, who was born in Chengkan, She County, Anhui Province, and was a Buddhist Confucian scholar. On the picture, there is a small postscript of Luo Gun’s period: “The Enlightened Master has long admired the meaning of the writing of the river, which belongs to the request of the king, and then it is transferred to the person who sent it.” There is also a poem written by Hongren Nephew Jiang, which reads “My master writes the meaning of Ni roundabout, and the ancient wood stands alone, and the water and the stone are quiet. The Youbo Epiphyllum is inscribed on it, and the Zen Clan is precious and secret against the king. It is the master of the writing of the house of Qi Gong”
As a painter of the Ming Dynasty, Hongren once stood up in the time of national crisis and participated in anti-Qing activities. After the death of the Ming Dynasty, he fled the Jianghu and sent poems and paintings. He cherished his homeland and wrote a poem saying, “I left my pen and ink on the earth, and the beautiful towers were deleted after the chaos. I didn’t care about flowers and plants in the Wu Palace, but I wrote about Zhongshan.” Zhongshan is the site of the tomb of the former Yuanzhang, the Emperor Taizu of the Ming Dynasty. This poem is sad and profound, and expresses Hong Ren’s steadfastness and integrity of not forgetting his homeland. It is this sentiment that makes his paintings tend to the style of Ni Zan. The bleak and bleak artistic conception in Ni Zan’s paintings resonates with his soul. This picture was made by Hongren when he lived in Wuming Temple in She County in his later years. The painting style is Ni Zan’s transformation, and the layout is flat and distant. The pavilion is close to the slope bank, and there are pine and fir trees in front of and behind the pavilion. The shallow water and the distant sky are omitted, making the foreground an independent subject, strengthening the expression of the mountain and stone structure, and producing a relatively peaceful and cordial feeling. The brush used in the upper slope of the painting is Ni Zan’s unique folded band and chapped, which is as light as sparse, and has bone strength inside. The sketching and coloring of the trees are also based on the simple brushwork. The center strokes, and the repeated strokes are chapped and rubbed. It looks simple and moist. As Yang Han commented in “Gui Shi Xuan Painting Talk”, “see plumpness in extremely thin places, see vigor in extremely thin places, although light can not be light, but have lingering charm.” Hongren imitated Ni Zan, not for the purpose of pursuing Ni Zan’s painting method. He widely absorbed the achievements of predecessors, took its meaning, but not in the ink signs. He imitated Ni Zan and Huang Gongwang, and at the same time took nature as the teacher, expressed his own mind, thus forming the basic face of his landscape painting. This picture can also be seen
This painting is collected by Zhang Daqian, and the seal in the lower left corner is printed with the white text of “Great Wind Hall” and “Treasure of a Thousand”.