Wang Jian
Wang Jian
Wang Jian (1598-1677) was born in Taicang, south of the Yangtze River. He was a painter in the late Ming Dynasty and the early Qing Dynasty, one of the "four kings".
He was born in the 26th year of Wanli (1598) and was born in the 6th year of Chongzhen (1633). Later, he was the magistrate of Lianzhou Prefecture, known as "Wang Lianzhou". In his early years, Dong Qichang taught painting by himself. Dong Qichang said to Wang Jian that "learning painting only imitates the ancients", "when I traveled from Dong Zongbo and Wang Fengchang, I could see the ink of the famous Duke of song and Yuan Dynasties", which is as famous as Wang Shimin, a member of his family. Wang Shimin once wrote Wang Jian's painting: "when Lianzhou painting came in and out of song and Yuan Dynasties, there were all kinds of writers, and there were few rivals.".
Wu Weiye called Wang Shimin together with Dong Qichang, Wang Jian, Li Liufang, Yang Wenxiang, Zhang Xuezeng, Cheng jiasui, Bian Wenyu and Shao Mi as "nine friends in painting" and wrote "song of nine friends in painting". He died in 1677 at the age of 80.
Life of the characters
Early years
Wang Jian, whose name is Xuanzhao, avoided the taboo of Emperor Kangxi Xuanye in the Qing Dynasty, changed the character Yuanzhao, Yuanzhao, whose name is Xiangbi, the head of ranxiang nunnery, and his great grandfather Shizhen (1526-1590). He was a famous scholar, collector and official in the late Ming Dynasty. He was a minister of the Ministry of punishment in Nanjing, refined ancient poetry and prose, and was also known as the "post seven sons" with Li Panlong. He had a rich collection of books and paintings in Erya building He has written four manuscripts of Yanzhou mountain people and Houyan of Yiyuan, etc.
His father, Wang Shiji, was a Jinshi in the 17th year of Wanli (1589) and a member of the official department, wailang. Wang Jian was born in such a literary family and official family. He was well educated and influenced by art since he was a child. He also said to himself, "when he was a child, he was familiar with Dong Shuer." It shows that he first studied painting from Dong Yuan. Later, he traced the four schools of Juran and Yuan Dynasty, and the earliest source of painting can be proved by the imitation of Yunlin landscape axis in the 45th year of Wanli (1617) and the landscape painting of Juran in the first year of Tianqi (1621).
Painting style gradually
Wang Jian was elected at the age of 36 in 1633. At the age of 38, he served as the governor of the left government with his ancestral shadow, and then became the governor of Lianzhou in Guangdong Province He tried to strike out the bad policy of mining with an upright attitude, but he was nearly killed in prison, and he quit two years later. At the age of 40, his official life came to an end, similar to Wang Shimin. Before the death of Ming Dynasty, he changed from an official who "helped the world at the same time" to a literati who "spared himself". In the meantime, he also devoted himself to painting, as he said: "I have no hobbies in my life, but I can't forget my love in my life." As a nephew, he interacted with Wang Shimin, who was six years older, so his early painting was greatly influenced by him.
In 1636, he met Dong Qichang, and was able to see such famous works as the painting scroll of autumn scenery of Quehua by Zhao Mengfu of Yuan Dynasty and the painting scroll of autumn scenery of Guanshan by Wuzhen. Although Dong Qichang died soon, his painting theory and practice had a profound impact on Wang Jian. At that time, Wang Jian also had contacts with literati painters such as Yang Wenchi, Cheng jiasui, Zhang Xuezeng, Bian Wenyu, Shao MI and Li Liufang. Wu Weiye once wrote a "song of nine friends in painting" to praise their friendship and painting skills. After the age of 40, Wang Jian devoted himself to painting and became a professional scholar painter. Not long after he returned from office, the name of the painting has spread far and wide, such as the painting axis of autumn mountains (collected in Shanghai Museum) written by Xia in 1637, the tenth year of Chongzhen. Wang Shimin's postscript says: "Xuanzhao's painting road walks alone in the sea, and there are many exhibitions, not without sighs of fish's eyes mixed with pearls."
Wang Shimin wrote "imitating Huang Gongwang's landscape axis" in 1638, the 11th year of Chongzhen. He also wrote: "according to this picture, the location of the gully is deep in the samadhi of Mei daoren, and the level method goes in and out of Dong and Ju Today, painters have to put it first. If you don't feel like worshiping, you want to burn the inkstone. " Wang Shimin has become a leader of the painting world after Dong Gong's death. However, he praised Wang Jian as a "one-step domestic painter" and "today's painters have to be the first". He also sighed that he wanted to burn inkstones. We can imagine Wang Jian's reputation at that time.
Guili life
In fact, in the 40 years after Wang's return to Li, due to different subjective and objective conditions, he was more dedicated and hardworking than Wang Shimin in painting, and he was also better at artistic skills. Wang Zhuan, Wang Shimin's son, said when comparing the living conditions of his father and Wang Jian: "the ancestors were restrained by the world affairs, and the worries in their later years were numerous, and they were tired of peace. When the meeting came, they did not try to work in it day and night. And Xiang Weng is a Xiaoran, screen to cliff things, to more dedicated pan Ji It is pointed out that Wang Shimin has eight sons and several daughters because of the heavy burden of marriage, so he has no time to make a room day and night. However, Wang Jian's wife died early, did not marry again, and probably had no children. Although she was lonely in the evening, she was able to devote herself to art. These are undoubtedly two different objective environments and conditions. Secondly, their ideological state seems to be different. After the death of Ming Dynasty, the two kings both chose the road of protecting their lives and retiring from the forest. They were neither the patriots who fought against the Qing Dynasty and revived the Ming Dynasty, nor the second ministers who became officials in the new dynasty, but became the adherents of the painting. However, when Wang Shimin entered the Qing Dynasty, he made a move of "going out of the city to welcome his surrender". He often laughed at himself and said, "living secretly is called seclusion. I'm ashamed of beishanling." Wang Jian did not have such obvious dishonesty, and showed a normal mentality of adherents. As Wu Weiye said in his poem, "Bu Yilang entered the Marquis's gate, and his handwriting was handed down. Hearing that Xianggong talked about calligraphy, he wanted to imitate Zhao wangsun In fact, before the death of Ming Dynasty, Yuan Shu of Suiyang was more famous, and his painting industry was most valued by Dong Qichang and Wang Duo. Yuan Shu, who had been preparing for Suiyang road in the Qing Dynasty, followed his father's will and died of a melancholy hunger strike for several days. Like his father Yuan Keli, his works were banned and destroyed by the "literary prison" in the Qing Dynasty. Few people have passed on his works to the world.
Main achievements
Wang Jian was born in a scholarly family. He was the great grandson of Wang Shizhen, a famous scholar in Ming Dynasty. His family collection is very rich in ancient and modern works. The rich family collection provides good conditions for Wang Jian to learn to copy the authentic paintings of past dynasties. He is good at landscape painting. He was as famous as Wang Shimin, Wang Hui, Wang Yuanqi, Yun Shouping and Wu Li, and was also known as Wu Yun, the fourth king, or the Sixth Family in the early Qing Dynasty. It is one of the six schools in the early Qing Dynasty.
He had a close relationship with Yuan Shu (yuan kelizi), a famous northern painting and calligraphy collector in the late Ming Dynasty. Yuan collected Dong Yuan's and Ju Ran's works most, and Wang Jian benefited a lot from them. He presented calligraphy and painting to each other. Wang Jian's imitation of the original painting of Juran: "the original painting of Juran collected by Dong Zongbo belongs to the envoy of Yuan Huanzhong (Yuan Shu), which was shown in his department yesterday."
Wang Jian, like Wang Shimin and Yuan Shu, had been personally taught by Dong Qichang in his early years. His whole life's painting industry was developing along the direction of Dong Qichang's emphasis on imitating the ancient. He continued to ponder the strokes of Dong Yuan, Juran, Wuzhen, Huang Gongwang and many other predecessors, absorbed and transformed the ancient brush and ink structure, and formed his own rich landscape painting language.
Wang Jian's paintings are based on Huang Gongwang's method of slope stone, and he learns from Wu Zhen's method of point moss and Ni Zan's method of ink. In particular, his green landscape paintings are meticulous, beautiful, charming and bright. They combine the clean and clean painting styles of Shen Zhou and Wen Zhengming, and their elegant style is always praised by later generations. Good at landscape, far from Dong (source), Ju (RAN), near Wang Meng, Huang Gongwang. The painting is full of ink, the trees are thick, the back gully is deep, the texturing method is bright and ethereal, and the rendering is ingenious. It can also be beautiful and harmonious when it is mixed with green and green. The landscape of xinyunlin is very dense. It imitates Shanqiao landscape, Meigu landscape in spring scenery of Zhao Danian, and hongguzi landscape. It is dense and neat, and its outline is written in seal script. It imitates Zijiu's painting of autumn wood mountain, Huang Gongwang's painting of smoke floating far away, Shen Shitian's painting of mountains and waters, Dong Yuan's painting of autumn mountain, Fan Hua's painting of mountains and waters, and Juran's painting of mountains and waters. Most of his works are imitative of the ancients, faithful to famous artists, lack of originality, and have a strong retro thinking and formalism style.
personal works
His representative works include the painting of Changsong immortal Pavilion, the painting of imitating Juran mountains and waters, and the painting of imitating Wangmeng autumn mountains. His works include the collection of Ran Xiang'an and the postscript of Ran Xiang'an painting. The paintings handed down from generation to generation include the ten scenes of Yushan Mountain and the picture of dreams.
Family members
Great ancestor: Wang Shizhen
Grandfather: Wang Shiqi
Father: Wang Qingchang
Historical status
Wang Jian, one of the leaders of the orthodox school in the early Qing Dynasty, was called "the four kings of the early Qing Dynasty" together with Wang Shimin, Wang Hui and Wang Yuanqi; Wu Li and Yun Shouping were added, which was also called "the four kings Wu Yun", and they also belonged to "Loudong school" together with Wang Shimin and Wang Yuanqi. He was famous at that time and had a great influence. However, due to the lack of records of his life, his artistic origin was similar to that of Wang Shimin, who was also known as the "former two kings", and his style had a lot in common. Therefore, there is a lack of case study on Wang Jian, which is often mentioned in passing when discussing Wang Shimin and regards "two Wangs" as a whole. Some scholars even think that "Wang Jian's works of the same era with Wang Shimin are often similar to each other, and if they do not have a pair of eyes, they cannot be distinguished." In fact, although Wang Jian and Wang Shimin are in the same historical period, their life experiences are not the same, and their ways of painting study are also different. Although they are both influenced by Dong Qichang's painting thoughts and advocate the tradition of "Nanzong", their scope and focus are different, and their ink styles are also different. Although they belong to the "Loudong school", Wang Jian has more direct influence on Wang Hui of the "Yushan school" Wu Li was also instructed by Wang Shimin, so the one-day history has the reputation of "later learning Jinliang". Therefore, a detailed analysis of Wang Jian's life experience and painting learning path, the scope of his learning and the style of his brush and ink, as well as his influence and status in the painting world, and a comparative analysis of the two kings can reveal the meaning of Wang Jian
Chinese PinYin : Wang Jian
Wang Jian
