Huang Gongwang

Huang Gongwang

Huang Gongwang (September 12, 1269 - November 10, 1354) was a painter in Yuan Dynasty. He claimed to be from Pingyang, eastern Zhejiang. Tao Zongyi called his "original surname Lu" in his "record of stopping farming". He became the adopted son of the Huang family in Pingyang, Wenzhou. Because he changed his surname to Huang, his name was Gongwang, his word was Zijiu, and his name was Yifeng and daoren.

Huang Gongwang was once an official of the central Taiwan Chayuan. He was once in prison. Later, he joined Quanzhen religion and traveled to Hangzhou, Songjiang and other places to sell divination. He is good at calligraphy, music and prose. He is especially good at landscape painting. He was once instructed by Zhao Mengfu and had patriarchal clan system such as Dong Yuan, Ju ran, Jing Hao, Guan Tong and Li Cheng. It is composed of both ink and wash and light crimson. It is painted with the method of Cao Zhen's odd characters. It is magnificent and elegant. It has a simple and vivid brush. It has become a family of its own. It has been praised as "the mountains are thick and the plants are colorful". It ranks first among the "four yuan schools" (Huang Gongwang, Wu Zhen, Ni Zan, Wang Meng). Paintings handed down from generation to generation include the painting of mountain dwelling in Fuchun, the painting of quiet water Pavilion, the painting of stone wall in Tianchi, the painting of snow on nine peaks, and the painting of great mountains in Fuchun. He is the author of the theory of painting, the formula of landscape painting.

(the general picture is taken from Wang Tongyu's portrait of Huang Gonggong, a senior scholar of Yuan Dynasty.)

Life of the characters

Early adoptions

Huang Gongwang was born on the 15th day of the eighth lunar month (September 12, 1269) in the fifth year of duzong Xianchun in the Southern Song Dynasty. He lives in Ziyou Lane in Changshu County, Pingjiang prefecture (now Jiangsu Province).

Due to the death of both parents in his childhood and the poverty of his family, Huang Gongwang was born to the Huang family in Pingyang County, yongjiazhou (now Wenzhou, Zhejiang Province) at the head of Yushan Mountain when he was about 10 years old. He changed his surname to Huang and was named Gongwang for a long time.

Become an official

In 1294, Xu Yan was appointed as the official of Zhexian. He moved to Hangzhou at the end of the year and got to know Zhang Lu. Soon after, Xu Yan blamed Xu Yan for reporting his work in Taoist clothes, so he resigned as a scribe.

From the first year of Yuanzhen (1295) to the third year of yuanwuzong (1310), Huang Gongwang traveled in Hangzhou to seek his official career. He had a chance to appreciate Zhao Mengfu's painting skills and get some advice. He left a poem that "when I saw him, I was a student of songxuezhai" (Volume 30 of Shiqu Baoji). Huang Gongwang's "Tianchi Shibi Tu" collected in the Palace Museum has a poem written by Liu Guan, who is waiting to be made by the Imperial Academy. One of the lines is: "Wu Xing's indoor disciples, several of them have no blood fingers." There are not only Gao Kegong, Yan Fu and other dignitaries, but also many Taoist celebrities, such as Ni Wenguang, Zhang Yu and so on. Huang Gongwang and Ni Wenguang had a lot of contacts with Xu Yan as officials.

In 1311, Zhang Lu was appointed Pingzhang, the provincial governor of Jiangsu and Zhejiang Province. His government was stationed in Hangzhou. He helped Huang Gongwang, an old acquaintance, and "became a scribe.". In the first year of emperor Renzong's reign of the Yuan Dynasty (1312), Huang Gongwang accompanied Zhang Lu back to Beijing and became an official in the imperial censor. This is the only time that Huang Gongwang left Jiangnan and reached Dadu, the highest power center of Yuan Dynasty.

In the second year of Yanyou's reign (1315), Zhang Lu returned to Jiangsu and Zhejiang Province in the title of Zhongshu provincial Pingzhang political affairs, and Huang Gongwang followed him. At that time, Zhang Lu caused civil strife because of "greedy carving and using things", and he was sent by Renzong of Yuan Dynasty to be heard and punished, and Huang Gongwang was also jailed.

Living in seclusion

After Huang Gongwang was released from prison, his teacher was Jin Yueyan. He joined the Quanzhen school, which advocated the integration of Confucianism, Buddhism and Taoism. He had contacts with Zhang Sanfeng, Mo Yue, lengqian and other Taoist friends, and lived in seclusion in the small mountain of Changshu (now the Western foot of Yu). He was the abbot of the Longevity Palace and promoted the Kaiyuan palace. Later, he traveled to Songjiang, Hangzhou and other places, selling divination for a living.

Huang Gongwang lived in Songjiang, Suzhou and Changshu when he was 50 to 62 years old. As a result of long-term waves, he began to take an interest in rivers and rivers. In order to appreciate the charm of mountains and rivers, when he lived in Yushan, Changshu, he often observed the wonderful scenery of Yushan, which changed from day to night. He got it from his heart and used it in his pen. Some of his landscape painting materials come from these scenic spots. When he lived in Songjiang, he was obsessed with the scenery. Sometimes he sat in the mountains all day and forgot to eat and sleep.

When Huang Gongwang lived in Fuchunjiang, he always carried a leather bag and built-in painting tools. Whenever he saw the beautiful scenery in the mountains, he would take exhibition paper and copy it. There is Daling mountain in the north of Fuchun River. Huang Gongwang once lived in seclusion here in his later years and painted the picture of Fuchun Mountain Residence. Huang Gongwang was eighty-three years old when he began to draft the painting in 1347. After several years, Huang Gongwang was eighty-three years old. This painting is a masterpiece of Huang Gongwang's ink landscape painting, which was later burned into two sections and later named "the painting of remnant mountain" and "the volume of useless master". The volume of useless master is now in the Palace Museum in Taipei, and the painting of remnant mountain is now in the Zhejiang Museum.

Life in old age

In his later years, Huang Gongwang lived in shaujiquan, Hangzhou. He died on October 25, 1354, at the age of 86 and was buried in the West foot of Yuxi.

Main impact

Painting creation

style

In terms of painting style, Huang Gongwang advocates nature and emphasizes freehand brushwork. He paid attention to learning from nature, often went deep into nature, carefully observed the changes of nature in the wind, fog, rain, snow, air and sunshine, captured the different scenery of the four seasons, and explored the spirituality of the deep mountains and ancient wood springs. He attaches great importance to landscape sketching, emphasizes the observation of the actual scenery and the real feelings in life, so his landscape painting has a strong vitality. He lived in the Fuchun mountain area of Yushan all the year round, often carrying pen and paper to depict the natural scenery of Yushan, Sanmao, Jiufeng, Fuchunjiang and other places. He took pen and paper with him, and wrote down the scenery that excited him. Because his creation comes from his personal feeling of natural scenery, and combines the indifferent and peaceful emotion with the charm of landscape, he has reached the most beautiful realm of nature. His brushwork is simple and elegant, his style is vigorous and broad-minded, and his momentum is magnificent. He created a shallow Jiangshan painting style, which was majestic, simple and bright, and had a great influence on the landscape painting of Ming and Qing Dynasties.

Huang Gongwang, who has been living in the south of the Yangtze River for many years, is deeply influenced by the unique natural landscape in the south. He has made some modifications and innovations in comparison with the "three distances" of Guo Xi of Song Dynasty. According to the formula of writing mountains and waters, "the three distances are connected from the bottom, which is called Pingyuan; the distance is separated from the near, which is called kuanyuan; and the distance is called Gaoyuan." He replaced Guo Xi's "profound" with "broad and far", reflecting his new pursuit of the artistic conception of landscape painting. His works emphasize the emptiness of the waters, the emptiness of the open space, and the friendly and peaceful visual feeling of people. This idea of flourishing and falling to see innocence is just the correction of the rich landscape painting style of the Southern Song Dynasty, which has a far-reaching impact on later generations. From his works handed down from generation to generation, we can see that this kind of painting style, which seems ordinary and simple but has strong feelings, especially after the reform in his later years, brought this spirit into full play and reached the realm of "intentionally or unintentionally, if light, if sparse".

Since Huang Gongwang's spiritual sustenance turned to art and religion, he has devoted himself to cultivation, "to welcome calm Qi, to eliminate irritability", "to be calm means to be light, to be light means to have no desire, to be clear without desire, to be clear means to be empty, and to be able to accept all kinds of circumstances". His artistic accomplishment and mental state are reflected in his paintings, which are pure and natural, without the complexity and diversity pursued in the landscape of the Northern Song Dynasty and the landscape of the Southern Song Dynasty Exquisite carving, less sword pulling and crossbow stretching, more plain and innocent beauty. This is the place where he developed on the basis of teacher education and teacher tradition. He attached great importance to the observation of nature, but had a different observation method from his predecessors. His creation of "shallow Jiangshan" goes beyond the traditional theory of "color according to category", and is in sharp contrast with "green landscape" in Song Dynasty. He only uses light ochre to show gorgeous colors, and is praised by later generations as "the mountains are thick, the plants are gorgeous". He was able to get out of the confines of the Song Dynasty. Although he learned from the tradition, he was not limited by the so-called "reason and law". He paid more attention to the "source of law" and stressed "interest, interest and freehand brushwork".

Plain and innocent is the main feature of Huang Gongwang's painting. Huang Gongwang is the master of Dong Yuan, whose painting style is plain and naive. On the one hand, the formation of this style is related to the painter's mood. The "light" praised by Zhuangzi is a kind of natural and ordinary heart without seeking fame and wealth, which is the highest realm pursued by Chinese scholars, and Huang Gongwang's thought is influenced by this aspect. On the other hand, it also has something to do with the use of pen and ink: bearing and neutralization, Pen Center. Huang Gongwang is mainly a center, and he also uses a side front. He is calm and calm. He is either dressed in hemp or long or short. He is implicit and has no trace of carving and dew. In addition, his composition of Pingyuan is simple and natural, with no danger of crags and rocks, and no strength of mountains. The painting of Fu Chun Shan Ju is the representative of this style, and also the most representative of Huang Gongwang's painting achievement.

skill

In painting skills, Huang Gongwang is very particular about using pen and ink. He drew with the method of Cao Zhen in calligraphy. Zhang Chou's Qinghe painting boat says: "there are two styles of dafi painting: one is light crimson, with many rocks on the top of the mountain and majestic brushwork; the other is water ink, with few textured brushwork, especially simple brushwork." The so-called light purple landscape is to use light ochre and cyan to render the picture layer by layer after the painting. Ochre can be used to show the bare rocks, and cyan can be used to show the vegetation on the mountain, especially suitable for the light and beautiful scenery of Jiangnan landscape, and also suitable for the simple aesthetic taste pursued by most scholars at that time. Such as "fuchunshanju", "Tianchi Shibi", "Danya Yushu" and so on. Water and ink landscape, less textured, simple pen sparse light, in the soft to see the strength, texturing method is mostly slightly curved Pima Cun, the shady side of the mountain or concave sometimes slightly with light ink rendering, in order to separate the Yin and yang to the back, so that the whole picture retains both elegant and heavy feeling. Such as the "Water Pavilion"

Chinese PinYin : Huang Gong Wang