catalogue of the Eight Eccentrics in Yangzhou
Factors of the formation of the Eight Eccentrics in Yangzhou
1. Who are the famous artists of the Eight Eccentrics in Yangzhou?
second, where is the "Eight Eccentrics of Yangzhou"?
1. Zheng Xie [Zheng Banqiao]
2. Gao Xiang
3. Jin Nong
4. Li Shan
5. Huang Shen
6. Li Fangying
7. Wang Shishen
8. Luo Pin
6. Li Fangying
. But the names of eight people are different from each other. According to Li Yu-bang's "A Survey of Painting and Calligraphy in Ou Bo Luo Shi", the eight eccentrics are Luo Pin, Li Fangying, Li Shan, Jin Nong, Huang Shen, Zheng Xie, Gao Xiang and Wang Shishen. In addition, Gao Fenghan, Bian Shoumin, Min Zhen, etc. are listed as "Eight Eccentrics" in various books, and their opinions are very inconsistent. Today, people take the number of "Eight" from Li Yu-bang.
[ Edit this paragraph] Factors of the formation of "Eight Eccentrics in Yangzhou"
Yangzhou has been famous for its economic prosperity since the Sui and Tang Dynasties. Although it experienced the disaster of replacing soldiers, it was always prosperous again after the war because of its strategic location, convenient transportation, fertile land and rich products. In the Qing Dynasty, although it was destroyed by the massacre on the 1th, it developed in Kangxi, Yongzheng and Qianlong dynasties and became a metropolis in the southeast coast of China and an important trade center in the whole country. Dajia, a wealthy businessman, is surrounded by many places, especially the salt industry, which is rich in the southeast.
economic prosperity also promotes the prosperity of culture and art. Scholars and celebrities from all over the world gather in Yangzhou. At the initiative of local officials, poetry receptions are often held. Poetry creation enjoys a good reputation all over the country. Some salt merchants, who are very rich and arty in themselves, attract more receptions to celebrities from all over the world who come to Yangzhou. Yangzhou has thus attracted many celebrities from all over the country, including many poets, writers and artists. Therefore, Yangzhou at that time was not only the economic center of the southeast, but also the center of culture and art.
In order to meet the needs of his luxurious life, dajia, a wealthy businessman, has a great demand for material and spiritual products, such as exquisite handicrafts, precious pearls and jade, fresh clothes and delicious food, especially in painting and calligraphy. As far as the wind is concerned, the middle-class family and even the slightly rich among the civilians also seek the room where calligraphy and painting hang to show elegance. As the folk proverb goes, "There is no calligraphy and painting at home, it is not an old family". The great demand for calligraphy and painting has attracted and produced a large number of painters. According to the Records of Yangzhou Painting Boats, there are more than a hundred local painters and painters from all over the world who are slightly famous, many of whom are famous at that time, and the "Eight Eccentrics of Yangzhou" is one of them.
The works of Yangzhou School of Painting, represented by "Eight Eccentrics of Yangzhou", have distinct personalities, both in terms of materials and ideas, and in terms of composition. The formation of this artistic style is closely related to the innovation trend in the painting world at that time and the change of people's aesthetic taste. From the end of Ming Dynasty to the beginning of Qing Dynasty, China's paintings were trapped by conservative thoughts, with copying as the mainstream, and the painting world lacked vitality. This flagging wind aroused the dissatisfaction of people of insight and talented painters, and in Yangzhou, there appeared Shi Tao, a great painter who advocated innovation. Shi Tao put forward the slogans of "pen and ink should keep pace with the times" and "can't get away with it", just like the footsteps in the empty valley, which shook the painting world. Shi Tao's theory and practice "opened a school of Yangzhou", and later, a group of innovative painters such as "Yangzhou Eight Eccentrics" was finally bred.
[ Edit this paragraph] 1. Who are the famous "Eight Eccentrics in Yangzhou"?
There are different opinions about which painters "Yangzhou Eight Eccentrics" refer to. Some people say it's eight, others say it's more than eight; Some people say these eight, others say the other eight. According to various writings, there are as many as fifteen people. Because Li Yubao's "A Survey of Paintings and Calligraphy in Oubo Luoshi" is the earliest and most complete record of "Eight Eccentrics", most people still take the Eight Eccentrics proposed by Li Yufen in the late Qing Dynasty as the standard. Namely: Wang Shishen, Zheng Xie, Gao Xiang, Jin Nong, Li Yi, Huang Shen, Li Fangying and Luo Pin. As for other painters mentioned by some people, such as Hua Yan, Min Zhen, Gao Fenghan, Li Mian, Chen Zhuan, Bian Shoumin, Yang Fa, etc., they can also be merged because of their similar painting styles. Because the word "eight" can be regarded as a numeral or a divisor.
[ Edit this paragraph] 2. Where is the "Eight Eccentric Men of Yangzhou"?
There are different opinions about where the "Eight Eccentrics in Yangzhou" is. Some people think they are strange, but in practice, they are not. The Eight Eccentrics themselves have experienced rough times. They are full of injustice and infinite anger, and they are deeply sympathetic to the poor class. With the keen insight and kind sympathy of intellectuals, they attack ugly things and people, either in poetry or in calligraphy and painting. This kind of thing is not uncommon in the history of China, but it is not uncommon. It is natural for people to treat it as "strange". However, their daily behavior did not go beyond the scope of ethics at that time, and they were not as indulgent as the literati in the Jin Dynasty-pretending to be stupid, crying and laughing. They communicate with officials and celebrities, attend poetry receptions, and behave like normal people. Therefore, it is unreasonable to identify their "weirdness" from their life behavior. Now we can only study them in their works.
"Eight Eccentrics" don't want to take the road that others have started, but want to find another way. They want to create "articles that lift the sky and expose the ground, words that shock the thunderstorm, and words that curse ghosts, and paintings that are ancient and have no present" to stand on their own feet, that is, they want to be different from the ancients, not follow the customs and be original in style. Their works go against people's appreciation habits, and people feel novel, so they feel a little "strange". As Zheng Xie himself said, "Writing is unique, and calligraphy and painting are unwilling to be praised by ordinary people. The Tang dynasty has its own state, and ordinary people laugh at me for being a Banqiao monster. " At that time, people gave them different opinions, and the most important one was that they deviated from the "authentic", which explained the main reason why they were called "strange". Yangzhou Eight Eccentric Painters broke through the shackles of "authenticity", and on the basis of inheriting the tradition, they focused on their own creation and play, and spent their lives trying to create a new painting style.
"Eight Eccentrics in Yangzhou" has extensive knowledge and is good at poetry. Most of my life has been bumpy, and I finally embarked on the road of selling paintings for a living. Although they sell paintings, they send their feelings with paintings, and they have higher pursuit in painting and calligraphy art, and they are unwilling to flow into the ranks of ordinary painters. Their knowledge, experience, artistic accomplishment, profound skill and artistic pursuit of innovative ideas are different from those of ordinary painters. They have reached the realm of new ideas, new compositions and new techniques, created a new generation of painting styles and made immortal achievements for the development of China's painting.
China's painting has a long history, in which literati painting flourished from the Tang and Song Dynasties, gradually enriched and developed, forming a complete theoretical system, leaving a large number of works, which is the pride of China's painting. Since the Ming and Qing Dynasties, there have been many schools of painting in various parts of China, each with its own characteristics. The school of Yushan and Loudong, headed by the "Four Kings", has the greatest influence, while in Yangzhou, the painting style of "Yangzhou Eight Eccentrics" headed by Jin Nong and Zheng Xie has been formed. These painters have inherited and carried forward the Chinese painting tradition, but they have different views on inheriting the tradition and creating methods. Yu Shan, Lou Dong and other painting schools emphasize copying and learning from the ancients, take observing the ancient laws as the principle, take strengthening the ancient laws as their own responsibility, and pretend to be "authentic". Their creative method, as the "authentic" painter Wang Hui said, is to "paint with the straight ink of the Yuan people, transport the hills and valleys of the Song people, and polish the charm of the Tang people, which is a great achievement". They followed the ancients and followed suit, and their works were mostly imitations of ancient masters (of course, they were also created in antique), which formed a rigid situation and bound the painter's hands and feet.
The "Eight Eccentrics in Yangzhou" also respect tradition, but they are different from the "authentic". They inherited the creative methods of Shi Tao, Xu Wei, Zhu Da, etc., and did not copy the ancient laws. For example, Zheng Banqiao admired Shi Tao, and he learned from Shi Tao. He also "left half, learned half and never learned all". Shi Tao has an important influence on the formation of the artistic style of "Yangzhou Eight Eccentrics". He put forward "learning from nature" and "using my own method", opposed "muddying", asked painters to absorb creative materials in nature, and emphasized that works should have strong personality. He believes that "the ancients could not bear my face; The ancient people's hearts can't enter my stomach and intestines. I spontaneously feel my heart and expose my eyebrows. " Shi Tao's painting thought laid a theoretical foundation for the appearance of "Eight Eccentrics in Yangzhou" and applied it in practice. "Eight Eccentrics of Yangzhou" explored inspiration from nature, searched for themes from life, and wrote their own books, unwilling to be the same as others, which was refreshing at that time. People often regard their rare things as weird, so they feel strange about the works of "Eight Eccentrics" that express their hearts and gallop freely, and call them weird. There are also some painters who are used to tradition. They think that the paintings of "Eight Eccentrics" are beyond the statute, so they belittle the Eight Eccentrics, saying that they are partial teachers and belong to the heresy, saying that they "show novelty and only prevail in thyme". Admirers praised their works for their bold and unrestrained brushwork, which was free from the constraints of the established method and the ancient method, broke the rigid situation at that time, brought new vitality to China's painting, and influenced and nurtured later artists such as Zhao Zhiqian, Wu Changshuo and Qi Baishi.
[ Edit this paragraph ]1. Zheng Xie [Zheng Banqiao], the head of the Eight Eccentrics
Zheng Banqiao and his "Bamboo Stone Map"
Banqiao in the Kangxi period of the Qing Dynasty, sitting opposite the paper window and painting his favorite bamboo. "Autumn wind passed by the window last night." He saw the breeze passing through the bamboo leaves and the bamboo swaying. Banqiao painted bamboo with the theory of "nothing can be done in the chest". He painted bamboo without a teacher's inheritance, and he got more from the sunlight and moon shadow on the powder wall of the paper window, so he took the natural method directly. In response to Su Dongpo's statement that he has a well-thought-out plan, Banqiao emphasized that he should have a well-thought-out plan. These two theories seem to be contradictory, but their essence is similar. At the same time, they emphasize the high combination of conception and skilled skills, but the method of Banqiao should be "like thunder and lightning, and the vegetation is angry". Banqiao's "Bamboo Stone Map" shows that bamboo stands tall and straight, rising to the sky one after another. His leaves, each with a different expression, are dark and watery, with a strong shade, which vividly shows the texture of bamboo. In terms of composition, Banqiao handled the positional relationship between bamboo and stone and the words of poems in a very harmonious way. The slender and quiet beauty of bamboo sets off another style of stone. This tufted plant has become an ideal illusion of Banqiao. The bamboo in Banqiao, even Jin Nong, the head of "Eight Eccentrics in Yangzhou", lamented that compared with their paintings, the bamboo he painted was not as elegant as Banqiao.
[ Edit this paragraph ]2. Gaoxiang
Its flower-and-bird fan is created with fingers. Gao Qipei refers to painting a fan, and the shape of two birds is natural and unrestrained, while the poem on the peony flower says, "It is also like rouge painting peony, and the sunrise is three poles when painting. It turns out that flowers are from Fusang country, and people are not allowed to spend the moon to see them. "The poem is quite interesting. Surprisingly, the picture suddenly presents a gorgeous peony, which is extremely beautiful. On the contrary, it has the self-abandonment after its beautiful scenery and the withering atmosphere that it can't bear to see. The peony blooming in the tea garden exudes decadent beauty in the spring breeze. Gao Qipei (1672-1734), whose names were Wei Zhi and Wei San, was also a Taoist priest. Ancestors moved from Shandong to Tieling, Liaoning Province, and the Li-Han army was decorated with yellow flags, and once served as assistant minister of punishments. He was the teacher of Luo Pin, the Eight Eccentrics of Yangzhou. Gao Qipei is good at painting with his fingers, and his "finger painting" has become an important school in painting. In his later years, Gao Qipei's reputation for finger painting spread far and wide in North Korea, but he still painted "A nail is so crippled that it sucks blood, and the candle burns frequently every day". In the eighth year of Yongzheng (A.D. 173), he was asked to paint in Ruyi Hall of Yuanmingyuan for three years, and he created fine silk meticulous paintings such as The Wan Li Map of the Yangtze River. According to Gao Bing's Theory of Finger Painting, Gao Qipei once painted a portrait of Lu Shuntu, the minister of the Ministry of War, and drew a portrait, which was as high as the real person. After the painting was finished, Lu Shun's disciples were overjoyed and said, "What a skill! Into the Tao! "
[ Edit this paragraph ]3. Jin Nong
Jin Nong (1687—1764), whose name was Shoumen, was named Dongxin, a native of Hangzhou, and was called the head of the Eight Eccentrics. He is well-read and versatile, and began to paint after the age of 5, and he was poor all his life. He is good at flowers, birds, landscapes and figures, especially at ink and plum blossoms. His paintings are quaint and simple in shape, elegant in layout and innovative in conception. His works include "Meme Map" and "Moon Flower Map". He created a kind of official script, calling himself "lacquer script", which has another interest.
[ Edit this paragraph ]4. Li Shan
Li Shan (1686-1762), CheungYueng, also known as Futang, was born in Xinghua, Jiangsu. Kangxi was promoted in fifty years, and in fifty-three years, painting was called as a sacrifice for the imperial court. Because he didn't want to be bound by the orthodox painting style, he was excluded. In the third year of Qianlong, he was elected as the magistrate of Tengxian County, Shandong Province, and returned to the provincial government. After two different titles and one demotion, he went to Yangzhou to sell paintings for a living. He has the closest relationship with Zheng Xie, so Zheng has the saying that he sells paintings in Yangzhou and is old with Li. In his early years, he learned to paint landscapes from his fellow countryman Wei Lingcang, inherited Huang Gongwang all the way, and studied painting with Jiang Ting when worshiping the imperial court. Later, he sought advice from Gao Qipei, a master of finger painting, and advocated freehand brushwork. In Yangzhou, he was inspired by Shi Tao's brushwork, so he painted with broken pens and splashed ink, and his style changed greatly, forming his own unique style, in which ink and ink blended into a strange interest. He was fond of painting long essays and writing uneven level, which made the picture very rich, and his works had a great influence on flower-and-bird painting in the late Qing Dynasty.
[ Edit this paragraph ]5. Huang Shen
Huang Shen (after 1687-177) was born in Ninghua, Fujian. He is good at freehand brushwork of figures, intercropping flowers and birds, landscapes, and bold colors. There is a collection of poems of Jiaohu Lake. As one of the "Eight Eccentrics of Yangzhou", he is an all-round painter. Huang Shen's freehand brushwork figures create a unique style of putting cursive script into painting. When Huai Su's cursive script arrived in Huang Shen, it became "broken and bald, and the continuous combination of cotton was intermittent", with more bold brushwork and more bold style. With such a wild brushwork, the brushwork is "swift and swift as the wind," and the weather is magnificent, and the stippling is like a wind and leaves. Huang Shen's figure paintings, which mostly take fairy tales, depict historical figures and the lives of ordinary people such as woodcutters, fishermen, vagrants and beggars in real life, bringing a new breath to figure paintings in the Qing Dynasty. Huang Shen's portrait album "The Picture of a Beautiful Woman Appreciating Flowers" depicts a beautiful woman's obsession with flowers. The picture of the crane in the Western Hills is based on Su Shi's "Flying Crane Pavilion". On the right side of the picture, there is a white crane. The old man seems to be looking up at the crane flying in the air, and the boy is holding a flower basket, but he is happy. "I dreamed of Yangzhou Road all my life, and the empty cranes came back" (Huang Shen's "The picture of Lin Bu's training cranes"), Huang Shen lived in Yangzhou twice for 17 years, which became his lifelong attachment. His figure paintings are the most distinctive, including Silun Map, Group Begging Map, Fisherman Map and so on.
[ Edit this paragraph ]6. Li Fangying
Li Fangying (1695-1755), whose name is Qingjiang, also known as Qiuchi, Yibaishan, Zhiyuan and the owner of the borrowed garden, was born in Nantong, Jiangsu. Yongzheng eight years as Shandong country-specific ones (now Linyi) magistrate of a county, arrested and imprisoned for offending the boss, released in the first year of Qianlong, the official reinstated. Later, he was appointed as a magistrate of a county in Anhui Qianshan and Hefei, and was still convicted and dismissed from office for failing to please. When you are an official, you have a benevolent government and people are virtuous. After going to the official, I stayed in Nanjing to borrow the garden and often traveled to Yangzhou to sell paintings. He is good at painting pines, bamboos, orchids, chrysanthemums, plums, miscellaneous flowers and insects and fish, as well as people and landscapes, especially plum. The works are bold and unconstrained, full of ink, coarse and careless, and informal, which is intended to be between ivy, Baiyang and Zhuhan. Plum painting is known for its thinness and hardness, old stem and new branches, and its side is curved. With the method of occasionally printing plum blossoms, the famous inscribed plum poems have sentences that are not frustrating or bizarre. I also like to draw pine and bamboo in the gale.