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Information on ancient poetry
Wang Mian (1287- 1359) was a famous painter and poet in the Yuan Dynasty, with the character stamp, such as Boiled Shishan Farmer, Cowherd Weng, Wai Shi of Huiji, Plum Blossom House Owner, etc. Zhuji, Zhejiang. Born in a farmer's family, he was young and herded cattle, and his family was poor, but he was eager to learn and tireless in reading. I often go to the temple to study under the ever-burning lamp, and my knowledge is getting deeper and deeper. His studious spirit touched Han Xing, a scholar in Huiji at that time. Han accepted him as a student and taught him to read and draw. In his youth, Wang Mian was once keen on fame, but he failed to get into the Jinshi exam. So he was full of anger and depression, burned his articles, wandered the Jianghu and never learned anything. He has been to Hangzhou and Jinling, crossed the Yangtze River and Huaihe River, passed through Xuzhou and Jinan to Dadu (now Beijing) and reached Juyongguan. Traveling thousands of miles has broadened his horizons and broadened his mind, and at the same time he has a clearer understanding of social reality and the ruling class. In Beijing, Taibuhua recommended to teach in the Academy. He had a premonition that the Yuan regime was in a precarious situation, but he did not accept it. Instead, he returned to the south alone and made a living by selling paintings.

He is good at painting plums, and he uses rouge as a "boneless body", especially Mo Mei. Painted plum inherits the tradition of upholding benevolence and advocating innocence in Song Dynasty, and has a new creation, which has a great influence on later generations. Plum blossoms are sparse, dense, or properly dense, especially dense. The branches are staggered, the calyx is distributed, the primary and secondary are distinct, the levels are clear, the density is sparse, and there are many but not numerous. He painted prunes with a pen, which was appropriate and rich in texture. Painting petals, or dot-dyeing with dark ink, or circle-painting with double lines, or both dot and circle, can vividly express the unique form of plum blossom, and express one's feelings and ambitions through the depiction of plum blossom charm. The book Mei Pu is handed down from generation to generation, which is an early theoretical work on painting Mei. He is also good at writing bamboo stone and engraving, and uses flower-milk stone as printing material, which is said to be his creation. Later, because an inscribed poem wrote, "The plum blossoms are all covered with ice and snow, and the Qiang flute can't blow it down", he was framed by officials, thinking that he was mocking the current politics and wanted to arrest him, so he fled to Jiuli Mountain in Huiji, where he cooked himself as a stone mountain farmer and lived in seclusion. Farming during the day, reading and painting at night, living a poor life. Wang Mian's life experience has a great influence on his poems and paintings, and his poor and simple mountain village life gives his poems and paintings a strong flavor of life. Make his poems and paintings different from ordinary people.

Wang Mian: Memetu Volume (collected by Beijing Palace Museum)

Wang Mian's poems are among the best in Yuan Dynasty. Most of his poems are included in the Collection of Poems of Zhu Zhai. Liu Ji once had a correct evaluation of Wang Mian's poems. He said: "When I was in Hangzhou, I heard that Wang Yuanzhang was good at poetry, and scholars praised it, but I hate not knowing it." It was only in the first day of Jiawu (1354) that the Ou Kuo Room was stolen, and it was necessary to take a look at the poems written by Yuan Zhang. The cover is straight but not twisted, the quality is not vulgar, the luxury is not birthday, the wonder is not strange, the knowledge is not excessive, the loyalty to the monarch and the love of the people, the ambition to eliminate evil, and the sincerity is seen in the meaning of the words, not the acts, because of the great respect. " ("The Original Preface of Zhu Zhai's Poems")

Judging from his "Send someone to the swallow", "Spring in Jinshui River" and "Lonely Song Tan", he had no special antipathy to the Yuan Dynasty in his early years. His poems mainly show sympathy for the hardships of people's lives, condemnation of corruption and arrogance of powerful people, and contempt for fame and wealth. Such as Sorrow, Wounded Pavilion Households, Jiangnan Women, etc. Wang Mian exposed the dissolute and shameless features of bureaucratic landlords, such as Duijing and Wuji Qu.

There are quite a few poems in Wang Mian that express the thought of unwilling to follow the fashion and pursuing lofty. He often compares himself with plum blossoms. In his early years, he used plum blossoms as a metaphor to refuse to accept official posts. In his later years, he showed his innocence by plum blossoms, saying, "Wild plum blossoms are still antique." (Return) His poems are simple and natural.

Zhu Yuanzhang attacked Shaoxing, stationed troops in Jiulishan, found him and asked him to join the army. He died suddenly.

Wang Mian's poems:

Sorrow

The year before last, I was a big girl, and I sold children last year.

They are all forced by official taxes, not by hunger.

Cloth wears out grass and clothes, and there is no frost and snow in a winter.

This year, the young and the old are not in groups, and taxes are unknown.

Mo Mei

My Xiyan Lake Toushu,

Blossoming flowers are pale with ink marks.

Don't be boasted of good colors,

Just stay fresh and full of Kun.

Lonely sigh

Last night, frost fell in the South China Sea.

The vegetation in the mountains is disgraceful.

Get up and rub the house loose,

The color remains the same as usual.

You are generous when you linger,

This thing is a real pillar.

Alas,

Since it is a true pillar,

Son of heaven, why not use Fu Mingtang!

References:

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Respondent: UBee-probation period level 111-117: 58.

Wang Mian (1310-1359), Yu Yuanzhang, from Zhuji, Zhejiang. He was an influential poet in the literary world at the end of Yuan Dynasty, and also a flower-and-bird painter who created a new style of freehand brushwork by painting Mo Mei. His poems often show resentment towards the rule of the Yuan Dynasty, and his Mo Mei also expresses his feelings through things, believing that he prefers to write "wild plum" instead of "official plum" to despise those "pedantic and corrupt scholars" at that time. In his later years, he avoided living in Jiuli Mountain in Huiji, built his own plum blossom house, planted millet and raised fish, and lived in poverty for the rest of his life.

Mo Mei in Wang Mian

Mo mei

(1) Mo Mei school and his style.

The founding of Mo Mei has a close relationship with literature, including poems by Lin Hejing and Su Dongpo in the Northern Song Dynasty.

People enthusiastically praised the richness and character of plum blossoms, and the land people had an infinite treasure for plum blossoms.

Emotion, the painting of "silent poem" followed, and insulting flowers became the most popular in the painting world.

The theme. At that time, the most creative and contribution to painting plum should be explained by Zhong Renhe and supplemented by Yang. Nakayoshi

A famous Huaguang monk, one day, he was inspired by the moonlight reflected on the window paper and created a useful work.

The so-called ink plum is smudged by thick and light ink. When the great poet Huang Tingjian saw it, he praised it and said, "If it is tender, cold and clear, you can walk on a lonely hedge, but you don't have a sweet ear." At that time, Huaguang's ink plum became a new variety in painting. Zhao Mengfu's inscription on Mo Regret once said: "All those who talk about Mo Mei in the world take Huaguang as the first name." Yang Bu accepted the mantle of Huaguang, developed on this basis, and presented his own ink plum to Zhao Ji, Song Huizong. Zhao Ji said that he wrote "Village Plum", so he called himself "Feng Chi Village Plum". He created two ways to draw plum: one is to paint the silk with ink to set off the little white flowers of plum, and the other is to circle the white and fragrant characteristics of plum with ink pen. Jin Dongxin (agriculture) said: "Yang Bu is a child of Huaguang monk's room, and his thinness is like a heron standing in the cold, and he doesn't want to be a close friend." (Inscription of Plum Painting in Winter Heart) Later, Yang's two nephews, Tang Shuya and Tang Shuyong, were also good at this. "Inscription of Plum Painting in Winter Heart": "Yang Bu's nephew Tang Shuya, Song Kaixi and his younger brother and uncle both used ink plum, each with a new idea, which is called dizzy flowers. From time to time, Mao Jinshi, Ru Yuan, is also good at fame. Shu Ya painted plum, which was once seen in the Lins' home in Liang Shao Shi, my hometown, is worthy of escaping from Zen Buddhism. And the uncle's use and your thin branches and thin calyx have never been seen. "

In the Yuan Dynasty, it was said that Zhen Wu (Zhong Gui) and Wang Mian in Yuan Sijia were all experts in plum painting. Fan Chengda said: "In recent times, ink plums were painted, especially in Jiangxi, and their imitators were numerous. Both Gai Zhonggui and Wang Yuanzhang used their methods." (Fan Cun Mei Ju Pu) From this point of view, Wang Mian is the clique of this school.

Wang Mian accepted the tradition of Huaguang, Yang and Tang, and studied plum blossom spectrum and plum blossom articles tirelessly. On this basis, he developed his artistic talent. Wang Mian's Mo Mei is inseparable from his thoughts and feelings. As Zhu Fangyi of the Qing Dynasty said: "Painting plums needs to be superior, while non-human plums are vulgar. They can learn how to cook stone farmers and paint cold jade with wonderful pen." (Inscription of Painting Plums) This kind of consciousness is very prominent in Wang Mian's paintings, some of which reflect the sufferings of the people, some show aloof and upright character, some express the spirit of not cooperating with the ruling class, some show patriotic enthusiasm, and some show their extraordinary ambitions and optimistic feelings. He wants to pour his emotions into the garden of painting creation. Wang Mian loves to paint plum blossoms. According to Wu Zhonglun in Yixing, Qing Dynasty, he said in the book titled Zheng Xiaoying (Chun) plum blossoms: "Wang Yuanzhang likes to write wild plums, but does not paint official plums." (Zhu Bo Xuan Mei Book > ) He Wei Ye Mei? Where the plum grows in Shan Ye, it is called wild plum, and sometimes it is also called village plum. What is Guan Mei? Anyone who is artificially created, loses his innocence and does many songs is called Guan Mei, also known as Gong Mei. Some people often compare wild plums to "spacious and far-reaching" and official plums to "resplendent and dignified" to metaphor different personalities in different environments. Sun Changzhen in the Ming Dynasty often imitated Wang Mian's painting method, so he wrote a poem saying: "Plum blossoms are straight and not curved, which is a reason that many people in the world have not pushed. The poet is unique in Mei Qing, and he does not draw official plum blossoms and wild plum blossoms. " ("Drawing Plums to Distinguish Difficulties")

His "Mo Mei" style can be summed up in four words: "Charm and elegance". Try to analyze from the aspects of composition, branches and flowers. The composition of painted plum is mainly branches. Wang Mian's success in painting plum blossoms is inseparable from his composition. Composition can be divided into three types: sparse, dense and neither sparse nor dense. It is as sparse as a thin shadow, and it is better to be sparse and elegant. If it is not dense, it is appropriate to pitch properly, take care of affection, see it in the dense, and there is still gathering and dispersing in the sparse. As dense as flowers. The third method was initiated by Wang Mian. Zhu Fangyi said: "In the Song Dynasty, people painted plums, most of which were sparse and shallow. At the beginning of Yuan Dynasty, it was easy for farmers to cook rocky mountains with numerous flowers, which made them feel graceful and graceful, and the pearls were looming. For this reason, Chen Xianzhang often learned from them in the Ming Dynasty, and my friends Wang Chaolin and Jin Jijin followed them." (Inscription of Painting Plums) Wang Mian's composition is to win by density, and at the same time to be dense but not chaotic, complex and rhythmic. In the composition of branches, it can be sparse and dense, so that the strengths are sparse, the weaknesses are dense, the evacuation is sparse, the staggered place is dense, and the sparse can be used as a horse. He can grasp the virtual and the real, and has a clear hierarchy and everything. On the basis of Huaguang and Shangbai's theory of "more without complexity, less without loss" and Yang Bu's theory of "intersecting branches and numerous flowers, branching and sparse calyx", he has played a more important role. On the texture of the branches of the book, Tang Shuya's theory that "it is a tip, like bucket handle, like iron whip, like a crane knee, like a dragon horn, like antlers, like a bow tip, like a fishing rod" is used and put into practice, so he is as dry as a dragon and as strong as iron; Hair tip is like an arrow, short as a halberd. It is not easy for plum to be as dry as a dragon. When painting, you must bend strongly, make more twists with your pen, or paint it in vain. It's hard to do it, but it's hard to draw.

A proper setback makes a good turn. Painting plum tips is expensive and straight, but there is still charm in straightness, which is by no means like a ruler. The tip of his branch was stretched to several feet long, and the tip of the branch showed the tip of the pen, which highlighted Mei's lofty and refined style. Therefore, it makes people feel graceful and graceful. When painting flowers, he doesn't just draw the shape of a flower, but he can look beyond the shape, showing a posture that is delicate, elegant, brilliant, or sparse. In the form of flowering, Tang Shuya's theory that "it is a flower, with pepper seeds, crab eyes, a smile, a blooming thank you, and a falling English" is also applied, and the old branches are painted with strange flowers, while the young branches are densely flowered. In short, on the basis of careful observation, he mastered the skill of brush and ink washing and practiced, and concentrated on his new style. Ming Lu Zongxian said: "whoever paints plums in ancient and modern times is taller, and Wang Lao is after the former." ("Snow Lake Plum Spectrum") Zhao Lanzhou of Qing Dynasty said: "Yang Bu, Wang Yuanzhang is a fairy, and he washes the lead and creates a new face. Huaguang's old man is vivid in writing shadows, and the ability to draw plums is finished." (Zhu Bo Xuan Mei Album) His predecessors spoke highly of him.

(2) The ice flowers are all round as jade, and the Qiang flute can't blow it down.

After the efforts of Yang Buzhi, Tang Shuya and others, Mo Mei has made remarkable achievements since the creation of Hua Guang monk. But it can be inherited, or inseparable from Wang Mian's efforts. He has made various attempts at ink painting. The practice of brush and ink has made Mo Mei take a big step forward on the original basis. Wang Mian's skill in brush and ink washing is also worth noting. He is vigorous in writing and has both form and spirit, which he got from hard work and hard training. Only when the pen is straight can the pen be firm, and there is no problem of anticlimactic. The center and the wing are well used, and the branches are connected. Only when the strength is frustrated can they be broken and reconnected, and the junction is stopped without delay. His hand is too light, so he can do it in one go. This is his technique of refining qi to bones.

In the circle flower method, he also played a role. Yang made up for it with "the pen is divided into three parts, and the more it is saved, the more it is done". That is, flowers should be done like iron coils, and they should be painted in one stroke. Wang Mian changed this painting slightly, and changed it into a two-stroke setback, which is what Qianlong said: "Hook and loop are slightly different from family style". This is also created by him from practice, and some people call it "white-headed painting". This creation has a great influence on later generations, such as Chen Xianzhang in Ming Dynasty, Popular, Liu Shiru and Luo Liangfeng in Qing Dynasty. Later, Jin Dongxin, Tong Ershu and others came out and changed it to a circle flower more simply. Although Yuan and Ming were successful in three strokes and two strokes, their side work and small buds were still one stroke. Wang Mian's circle flower painting is not floating with a pen, which is rigorous and realistic.

In addition, Wang Mian played the "method of breaking the core". What is the method of breaking the core? Plum blossoms used to have flower whiskers, and there were dots on the whiskers called English. He painted flowers without English, which looked messy, unlike whiskers and English. This is called "the method of breaking the core". Yang Bu also has this painting method, which is the painting method of wild plum, which is different from that of official plum. Some people say that "the flowers are in chaos, and the wild plum blossoms and the official meishu" mean this.

In a word, the difficulty of painting plums lies not in the branches, but in the flowers. Wang Mian's most successful place is flowers. His "all-round picture" is full of flowers, full of smiles and Feng Ling fragrance, which shows optimism. Even the later Luo Liangfeng and Tong Ershu were out of reach.

Memetu

(3) The influence of Wang Mian Momei

Wang Mian's Mo Mei had a far-reaching influence on the Ming Dynasty. Especially through the development and enrichment of Xu Wei, Chen Chun and others, there has gradually emerged a situation in which freehand brushwork and boneless flowers flourish side by side.

Xu Wei admired Yuan Zhang's paintings, and he made great efforts to learn from Yuan Zhang's Mo Mei. He thought it was the most difficult to circle flowers, and said, "I spend less in circles and let Yuan Zhang write, but it is not like me to dry Yuan Zhang." Xu Wenchang, a genius, is always above me. He thinks that Yuan Zhang, whose hair is dry, is inferior to him, while Yuan Zhang, whose flowers are circled, is inferior to him. From this sentence, we can know his admiration for Yuan Zhang. Anyone who has painted plum blossoms knows that the difficulty of painting plum blossoms lies not in doing it, but in spending it; Painting flowers is difficult in the beard and pedicle. Lazy garden lay in Qing Dynasty said: "The green vine (that is, Xu Wei) painted plum, but the circle did not form a circle, and the branches did not form branches. It was a magical line, and its pen was lively and unpredictable, and its splashing ink was like clouds in the air, which was natural." This shows that Xu's painting style is freehand brushwork. Xu and Wang have different styles. From the kung fu point of view, the natural Yuanzhang is much deeper than the green vine.

Xu Wei not only learns from Wang Mian to paint plum blossoms, but also learns from him as a human being, and learns from him to paint plum blossoms for rice. Xu Wei once paid tribute to Wang Mian's tomb and laughed at some rich and powerful families at that time. His poem says: "You painted plum blossoms in exchange for rice, and now you can exchange rice for plum blossoms. An Neng aroused Wang Jushi and smiled at Hua Jia and Mi Jia. " ("Xu Wenchang Collection") Xu also sympathized with Wang Mian's hard life, guessing how many buckets of rice he had, and changing a plum blossom: "I want to see Yuan Zhang worrying about rice day, but I don't know how many buckets to change ice branches." After seeing Wang Mian's plum blossom, Xu wanted to copy it, but he felt at a loss. He wrote in the painting titled Wang Yuanzhang's inverted plum blossom: "I am so lonely that I can't copy the clouds." Everything is always too high, so don't blame the plum blossom for falling to the ground. "

Several masters of plum painting in Ming Dynasty, such as Liu Shiru, Chen Xianzhang, Wang Qian and Popular Capital, are the heirs of Wang Mian. When Liu Shiru was young, he saw plum blossoms in Yuanzhang on the stone wall of his hometown, which was greatly encouraged. Since then, he has been particularly fond of mechanics and painted plum blossoms. It is said that he loved Wang Yuanzhang's notice very much, and he tried his best to do experiments: one of the painting methods was that when he alum silk, he cut off the pieces of oily paper first, and the painting was done. It looked like snow spots were falling, competing with flowers, and the effect was very good. At that time, the painter Xie Shichen praised it as a "masterpiece". Wang Mian painted branches beautifully. It is said that he first painted bamboo hands, so Liu Xuehu painted plums from bamboo. Xu Wenchang wrote about his poems about Mo Mei, saying, "Liu Zi in the snowy lake is not vulgar, so he wrote bamboo before painting plum blossoms. Flowers, plums, bamboos and bamboos are in two phases, and the iron is not as good as the iron. " Zhu Duo's poem has the sentence "Chen Chun is dead, Shen Shi: old, late to get Liu Shiru from Shanyin". Wen Zhiming also praised: "The snow lake is dry and vigorous, with natural features and flowers; Ya said that the future should be the first cloud. " In fact, Liu Shiru's achievements are not as good as those of Wang Mian and Xu Wei. Xu Wenchang wrote a poem about Mo Mei in Xuehu, saying, "I visited Jinling to paint Mei, and Mo Miao did it. Liu Jun can't escape, and one Liu Yisheng has no male or female. " (Distinguishing the Difficulties in Painting Plums) There are still Bathen Chow, Sun Congji, Wang Renzuo, Yuan Zichu, Lin Hongxian and others who studied Wang Mian in the Ming Dynasty. It can be seen that imitating Wang Mian's brushwork is all the rage. Eight eccentrics in Yangzhou in Qing Dynasty, such as Luo Pin, Jin Nong, Li Fangying and Wang Shishen, were deeply influenced by him. For example, Luo Pin learned from his flowers, Jin Nong and Wang Shishen learned from his flowers and flowers, and Li Fangying learned from his ink and wash. Although the styles of each family are different, they are still degenerated from him. Other Tong Ershu, who is famous for painting plum blossoms, also learned the brushwork of Yuan Zhang. Jiang Ziyan said that the plum blossoms painted by Tong Ershu in Luoyang can attract bees and butterflies. "Bixi Poetry" records: "When Ershu was born, its mother, Mrs. Li Tai, dreamed of a beard, drove a cow, and came to the plum blossom, and the more she was born. His beard is Wang Mian, a farmer who cooks stone mountains, and his painting cover is also given. " It's nonsense, of course, but it can be seen that Wang Mian's paintings are also very influential among the people.

Regarding the characteristics of painters painting plums in the Ming and Qing Dynasties, the lazy gardener in the Qing Dynasty said: "We should learn from Wang Yuanzhang's elegance, Liu Xuehu's aging, Xu Qingteng's deification, Tong Ershu's grandeur and lack of deification, while Jin Dongxin's twigs are firm and thick-rooted." This statement does make sense.

Wang Mian's paintings have a far-reaching influence on the painting circles in Ming and Qing Dynasties. He laid a solid foundation for ink painting, guided Xu Wen's elders to jump out of a set of rules and regulations of imitating ancient times and created a new life. He used his poems and paintings to resist the rule of the Yuan and Mongolian nobles, sympathized with the people's sufferings, and profoundly exposed the dark side of society at that time, which had its positive significance. Because of this, he was loved and respected by the broad masses of the people, and was praised as "a man with a strange ambition and an open chest, and it is a flower that never dies."

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