Zhu Da (1626-1706). The spectrum is unified, with nicknames such as Snow, Mountain, Renwu, Daolang and Badashanren. Nanchang people. An outstanding great painter in the late Ming and early Qing Dynasties. He is the ninth grandson of Zhu Quan, the sixteenth son of Zhu Yuanzhang, the founder of Ming Dynasty. Zhu Quan Fengning Wang was born in Nanchang, and eight branches were bred. Zhu Da was a branch of Yiyang Wang, and attacked the lieutenant of Fuguo. His parents were good at calligraphy and painting, so Zhu Da was cultivated by art from an early age. At the age of eight, I can write poetry, at the age of eleven, I can draw green mountains and rivers, and when I was young, I can write Mijia small letters by hanging my wrist. A weak crown is for all life. After the Ming Dynasty's death, he was dissatisfied with the Qing Dynasty and became a monk at Gengxiang Temple in Fengxin County at the age of 23. Later, he lived in seclusion in Jiegang, Jinxian County and Mugang, Yongfeng County. At the end of Shunzhi, when he was thirty-six years old, he sneaked back to Nanchang and founded Qingyunpu Daoyuan. It took six or seven years to make this Daoyuan take shape, and he lived a labor life of "nothing to spare" and "my wife moved to farm and dig wells" here. He wants to make this place a paradise, in order to achieve his long-cherished wish of "looking for a self-presence". However, this "self-presence" was established under the rule of the Qing dynasty, and it is impossible to "have no need to come outside the door." Because powerful people from the Qing Dynasty often came here to harass him, he often wandered about other places. When he was fifty-three years old in the seventeenth year of Kangxi, Hu Yitang, the county magistrate of Linchuan, heard his name and invited him to stay with his monk Rao Yupu until he was a guest in Linchuan official residence for more than years. This made him very upset and angry, so he pretended to be crazy, tore his robes and walked back to Nanchang alone. More than a year later, he returned to Qingyunpu Scenic Resort, where he spent his "Flower Birthday". When he was sixty-two years old, he stopped being an abbot and handed over the monastery to his disciple Tu Ruoyu. Later, he hid in Beilan Temple and Kaiyuan Temple near Nanchang. And often sell paintings for a living. Later, it came from the humble building, named "Gage Grass" Hall. Ye Danju in Zhangjiang has a poem "Crossing the Eight Mountain People": "A room is full of songs, and the rustling is full of dust and Artemisia is hidden in the dark, and poetry and painting are in Zen. The old man escaped from the world, and the remnant of the mountain was left with water. The old business of Qingmen is there, and people who grow melons are scattered. " He spent his old age lonely and poor in this deserted cottage. Badashanren devoted his life to painting. He was generous and sang generously. Due to the characteristics of the times and his life experience, he took an uncompromising attitude towards the Qing dynasty and vented his grief and anger in calligraphy and painting. Therefore, what appears in the painting is a bird with a bulging belly, a glaring fish, and even a bird landing on the ground to show that it is at odds with the Qing court, with its eyes up and its eyes turned to the sky. He often scribbles the words "Badashanren" together, which looks like the words "crying" and "laughing". He also has many obscure and difficult poems and postscript, expressing extreme hatred and contempt for the Qing court. His works show distinct love and hatred. Such as the "Peacock Map" of the moxibustion population and its inscription: "Peacock is famous for its flowers and rain on the bamboo screen, and the bamboo tip is strong and half-inked; How can you talk about three ears? It's just sitting on the second watch every spring. " Bitterly satirized the ugly behavior of the slaves of the big landlords of the Han nationality who wore three-eyed flowers and black hats and bowed their knees for glory and surrendered to their new masters. There is a landscape album title cloud: "Guo Jiabian's cloud is small, and Dong Laoma has many trees;" When I want to see it, people can understand the picture, and Yifeng also writes Song Shanhe. " He said that he admired Dong Yuan and Guo Xi, painters of Beining in the Five Dynasties, who used their unique brush and ink to describe the Song Dynasty without being invaded by foreigners, thus inspiring the thoughts and feelings of loving the motherland. "Magpie Stone Drawing Axis" (now the Badashanren Memorial Hall of Tibetan painters) depicts two magpies standing on a big stone, which has the meaning of a magpie's nest occupying another's nest and gathering together to huanpan. "Poetry. Calling South. Magpie Nest" says: "Wei Magpie has a nest, and Wei Dui lives in it." As the saying goes, "A corpse dove is not a nest for itself, but a nest for a magpie." Badashan people made this metaphor to satirize the noble and poor self-seeking and seize other landlords. And deliberately show that the two magpies live on the rock, which is not something that the resin dove can occupy and shake. He often painted lotus turquoise, plum blossom, bamboo chrysanthemum, luyan crane, fish, duck, eagle and deer, etc., which mostly symbolized his stubbornness and integrity. Throughout his life, he never painted a flower and a stone for the powerful people in the Qing court, but ordinary farmers, poor people, mountain monks and children easily got his works. This unyielding spirit has always been appreciated and praised by people. Badashan people have made outstanding achievements in art. He takes painting as the center, and also has high attainments in calligraphy, poetry postscript and seal cutting. In painting, he is famous for his freehand brushwork in ink and wash, and he is good at splashing ink, especially the flower-and-bird painting, which is beautiful in the world. In his creation, he took a natural approach, concise pen and ink, thin atmosphere, unique and innovative, and created a broad and vertical style. For 300 years, all the large freehand brushwork schools have been influenced by him to some extent. In the Qing Dynasty, Zhang Geng commented that his paintings had reached the realm of "clumsy rules in the countryside, contemptuous research in painting". He advocates "saving" in painting, and sometimes only a bird or a stone is painted on a large piece of paper, with only a few strokes, and his expression is perfect. His calligraphy has a vigorous and smooth style. The seal cutting form is simple and unique. In the process of forming his own style, Zhu Da inherited the fine traditions of the previous generation and found his own way. His flower-and-bird paintings, which lived far away in Xu Xi in the Five Dynasties and Lanzhu Momei, a literati painter in the Song Dynasty, were also influenced by the techniques of Lin Liang, Lv Ji and Lu Zhi in the Ming Dynasty, especially paying tribute to the extensive painting style of Qingteng Baiyang. His landscape paintings are as far away as Zong Bing in the Southern Dynasties, and he also learned from Dong, Ju, Mi Fei, Ni, Huang and Dong Qichang. In terms of calligraphy, he studied Shi Guwen intensively and deliberately wrote various calligraphy posts since the Han, Wei, Jin and Tang Dynasties, especially Wang Xizhi's. Generally speaking, the characteristics of Zhu Da's painting art are to express feelings in form and to take the spirit out of deformation; The ink is simple and light, and the pen is unrestrained; The layout is sparse and the artistic conception is empty; Full of energy and imposing manner. His form and technique are the best expression of his true feelings. Zhu Da forged his artistic accomplishment and skill, as he himself said: "There is no doubt about reading ten thousand volumes;" If you travel to Wan Li, you will see a big hand. " He thinks that painting is like climbing a mountain, "you must climb it frequently and then you can be fearless", which shows his spirit of constantly tempering art. In the confrontation between innovation and conservatism in the early Qing dynasty, Badashan people played a prominent role among the "four great painting monks" of the reformist school. In memory of this great painter, after liberation, the "Painter Badashan Museum of Human History" was established in Qingyunpu Scenic Resort, Nanchang. Zhu Da's art has aroused great reflection in the East, especially in Japanese painting circles and even in the world. There are a few paintings and calligraphy works of Badashan people, which are no longer seen. Such as: Bird Picture Scroll of the Lotus Pond Opera, Flower Picture Scroll of the River, Fish and Duck Picture Scroll, Fish Music Picture Scroll, Miscellaneous Flower Picture Scroll, Willow Bathing Bird Picture Axis, Furong Luyan Picture Axis, Dashi Swimming Fish Picture Axis, Double Eagle Picture Axis, Gu Mei Picture Axis and Mosong Picture Axis. In calligraphy, there are Preface to the Orchid Pavilion, Four Screens to the Riverside Narration, as well as scrolls of famous calligraphy posts and cursive poems, all of which are treasured in museums and courtyards at home and abroad.