Fang Weiyi

Fang Weiyi

Fang Weiyi (1585-1668), whose name is Zhongxian, was born in Tongcheng, Anhui Province. At the end of Ming Dynasty, a famous poetess and painter wrote a collection of Qingfen Pavilion and a history of Gonggui poetry. Li Gonglin, the master of painting in Song Dynasty, is especially good at painting and interpreting Taoist figures. In particular, the painting of the great master of Guanyin has both form and spirit, and many people vie to collect it.

Life of the characters

Fang Weiyi (1585-1668), Zhongxian, born in Tongcheng, Anhui Province, is a famous poetess, calligrapher and painter in Ming Dynasty. She is the second daughter of Fang Dazhen and the second aunt of Fang Yizhi.

Fang Weiyi's elder sister, Fang Mengshi, also worked in poetry, calligraphy and painting. She married Zhang Bingwen, the governor of Shandong Province. After the Qing Dynasty, Zhang Bingwen invaded the southern city. Zhang Bingwen defended the southern city, died in the war, and Meng Shi died in the pool. There are "Zhilan Pavilion collection" and "Zhilan Pavilion poetry collection" handed down. Fang Weiyi's cousin, Fang Weize, is also a young widower and author of fusongge collection. Because the three sisters of Fang's family all keep the festival for their country and family, they are called "three festivals of Fang's family" by later generations, among which Fang Weiyi has the highest achievement.

He is a famous scholar in Ming Dynasty. Fang Weiyi is the daughter of Fang Dazhen, the Minister of Dali. At the age of 17, she married Yao Sunzhen. Shortly after her marriage, her husband died. So he went home to live alone, and together with his sister-in-law Wu Lingyi, he "used literature and history instead of weaving scriptures" to educate his nephew Fang Yizhi, just like a tutor. Fang Yizhi became a famous scholar later. Fang Weiyi inherited her family's learning from a young age, was erudite and versatile, and worked in poetry and painting. The works of ancient and modern women are selected and compiled as the history of Gonggui poetry, which is divided into two parts: Zhengji and Xie Ji. In addition, he wrote jingzhiju Shihua, which is also quite incisive on the theory of poetry. Moreover, she is "cool, refined, Zen, literary and historical, and also works in poetry and painting. He is not inferior to Li Gonglin. " His works include Chu Jiang Yin and return sigh, which are collected into seven volumes of Qingfen Pavilion collection. His poems are pure and straight. Eighty poems were recorded in longmianfengya, six in mingshizong, 22 in tongjiuji, three in mingshibiecai, ten in yuxuanmingshi and one in zhengshiji.

Fang Xuejian was a famous scholar in Ming Dynasty. His father was a Jinshi in Wanli of Fangda Town, and he was an official of Dali temple. Wei Yi inherited her family's learning from her childhood. She was brilliant, erudite and versatile. She worked in poetry and painting. At that time, people commented on her as "great in literature and history, concurrently working in poetry and painting" and "working in poetry, being good at painting". Her reading, poetry and painting creation is "Qingfen Pavilion", a word of "Fen", which indicates that the pavilion owner is a woman. He was a master of poetry in the past dynasties. His paintings were inherited from those of Li Gonglin, and he was good at white drawing. The portrait of Guan Yin, you gong, was once called "wonderful product" by Wang Shizhen, a famous poet in the Qing Dynasty. In Wu Xun's poem titled the painting of Qingfen Pavilion, there is a praise saying: "the ink flowers are cold, the autumn tide is empty, and the spring clouds smile lightly." At the age of 17, he married Yao sunfei, a scholar in Tongcheng who had been ill for six years. Shortly after his marriage, his husband died and his daughter died early. So he went back to his mother's home, devoted himself to the "Qingfen Pavilion" and devoted himself to poetry and painting.

Born into an official family, his grandfather Fang Xuejian was a famous scholar in Ming Dynasty. His father, Fang Dazhen, was a Jinshi in Wanli period, and an official to Shaoqing in Dali temple. Wei Yi inherited his family's learning, and "looked forward to Literature and history, and also worked on poetry and painting.". He married his fellow countryman Yao sunwei in 1977. His husband was terminally ill and soon died. After her husband died, Wei Yi gave birth to her daughter, who was less than one year old and was killed again. As for her miserable life experience, she wrote a story about the lives of the living, which was like crying: "I have been back to my master for 17 years, and he has been good at diseases for six years Next May, master will have a disease By September, the pain is overwhelming He didn't dare to die when he was alive; he didn't want to have a daughter, but stroked him in September. Oh, my God! Oh, my God! If you don't leave a single pulse, how can you rely on it? "

Wei Yi lost her husband and daughter when she was young, so she went back to her mother's home to keep her ambition of "Qingfen Pavilion" and study poetry and painting alone. His cousin Fang Weize, 16, was widowed. They had a close relationship in the past and exchanged views on the art of poetry and painting. His younger brother Fang Kongyuan's wife, Wu Lingyi, and his elder sister, Wu Lingze, were good at poetry and painting with her elder sister Fang Mengshi. The five sisters often gathered in the "Qingfen Pavilion" to recite poetry and painting, and deliberate on singing. Wei Yi's poetic style is delicate and touching, plain and easy to understand. Wei and Yi admire him and push him as a teacher.

After Wu Lingyi's early death, Kong Qiongguan was appointed as Huguang, and the important task of educating her nephew Fang Yizhi fell on Wei Yi. She gave careful guidance day by day, urged class reading, and encouraged Yi Zhi with integrity. Fang Yizhi became a cultural master and scientific celebrity, which was inseparable from his aunt Wei Yi's painstaking education. "Tongcheng Fang Shi Ji" contains: Fang Weiyi "teach his nephew wisdom, just like a teacher." Fang Yizhi himself described it like this: "Zhi 12 lost his mother and was entrusted by his aunt. "The book of Rites" and "Lisao" are all given by Gu

Wei Yi carefully studied literature and history, collected ancient and modern women's poems, compiled a history of Gongwei poetry, and wrote seven volumes of Qingfen Pavilion poetry, all of which are precious historical materials and poems of celebrities. When Fang Yizhi wrote the postscript to his collection of Qingfen Pavilion, he sighed: "Ho Fu! If a woman can write a book, if she's my aunt, isn't she a great man? " Weiyi's painting was imitated by Li Gonglin of Song Dynasty, especially the painting of Guanyin Dashi, which has both form and spirit. Wang Shizhen, a famous poet in Qing Dynasty, was called "miaoping". In Wu Xun's poem titled the painting of Qingfen Pavilion, there is a praise saying: "the ink flowers are cold, the autumn tide is empty, and the spring clouds smile lightly."

Fang Weiyi was widowed at the age of 17, and died at the age of 84. After her death, she was dedicated to the temple. The plaque in the temple said: "today's everyone.".

Life experience

Fang Weiyi's life experience is miserable. When she got married, Yao had been ill for six years. In her husband's illness, she personally "help the daily life, double the decoction, wave mosquitoes and flies, according to the sputum, around", head uneasy pillow. Unfortunately, her husband died early and gave birth to a posthumous daughter. After only nine months of raising her, she died. She sighed in the book Wei Sheng Shu of the undead: "all things are entrusted, but I have no one to depend on. I feel sad and depressed, and I feel sad and sad. Since now, I have become more and more decadent and less powerful." This sense of life experience is also reflected in some of her poems. "Death parting" is a representative poem, which says: "in the past, I read life parting, but I don't say death parting. I'll be alone, whether I live or die. The north wind blows dry mulberry, day and night for me sad.... " Sad atmosphere, sentimental color, thick to cover it, read to make people sad. According to Fang Mengshi, Fang Weiyi's "words of separation, sorrow and pain are often abandoned in the grass". Most of the works that express the sad mood are abandoned as they become, and only a small part of them remain.

Like many female painters (such as Qiu Zhu in Ming Dynasty, Xing Cijing in Qing Dynasty, Zhao Zhao in Qing Dynasty) who used paintbrush or needle embroidery, she drew Guanyin and Luohan statues with great compassion and salvation doctrine with devout heart to seek spiritual sustenance. In terms of painting techniques, she highly praised the works of Wu Daozi in Tang Dynasty and Li Gonglin in Song Dynasty. In addition to Guanyin and Luohan in Jiaoxing collected by Beijing Palace Museum, there are also Luohan and Dali in Anhui Provincial Museum and Luohan in Liaoning Fushun Museum, with a total of no more than ten paintings.

Born in a family of officials

Fang Weiyi was born in an official family. Her father, Fang Dazhen, was a Jinshi in the Wanli period of the Ming Dynasty and an official to a Shaoqing in Dali temple. My elder sister, Meng Shi, and my younger brother, Kong Ting, are erudite and talented. Fang Weiyi grew up in such a family with a strong cultural and academic atmosphere. She was deeply influenced by her childhood. She dabbled in poetry, calligraphy and painting. With her own talent and academic ability, she later made outstanding achievements in literature and art.

Widowhood after marriage still works hard to make a life

When Fang Weiyi was 17 years old, she married Yao sunqi, a young man in Tongli. Shortly after her marriage, her husband died of illness. The next year, she gave birth to a posthumous daughter and died one after another. As a result, she had to return to her mother's home alone and keep her ambition to "Qingfen Pavilion". After Fang Weiyi lived in her mother's family, her life was no longer comparable with her carefree childhood. In a complex family, she respects the elderly, treats her peers and servants well, and harmonizes all aspects of relations. Although it was extremely difficult, she always insisted on reading the classics and history, learning hard, reciting poems and writing in her spare time to influence her family. The bumpy life experience did not trip Wei Yi. The higher level of cultural literacy determines that Weiyi has a higher pursuit of life ideal. She is determined to stay in Qingfen Pavilion. With her indomitable will, she reads extensively and writes diligently. She has taken a different way of life from ordinary women.

knowledge

Because of her profound knowledge and amiability, Fang Weiyi is deeply respected by people. Her brothers, sisters and nephews of the same generation were all convinced of her and treated her with teacher's courtesy. Qingfen pavilion has become a school, and Fang Weiyi has become the female teacher of Qingfen Pavilion. Her sister-in-law, Wu Lingyi, studied in Xiaofen Pavilion and made great progress in calligraphy, poetry and prose. When Wu Lingyi died at 30, Fang Weiyi wrote the manuscript of Qiu peiju for her and handed it down to the world. Fang Weiyi also personally raised his nieces and nephews, inculcated and cared for them. Later, his niece Fang ziyao became a talented woman with excellent calligraphy and painting skills. Fang Yizhi, his nephew, can be compared with Gu Yanwu, Huang Zongxi, and Wang Fuzhi in his early education and influence.

Time temperament

Fang Weiyi lived in an era when the Ming and Qing Dynasties were in transition. Class and ethnic conflicts became more and more acute. The barbaric burning and killing of the Qing soldiers after entering the pass made the mountains and rivers broken and the lives destroyed. Fang Weiyi has a stronger feeling of real life because of her unique sharpness and rich emotion. She has always been concerned about the fate and future of the country and deeply sympathized with the people's livelihood. The cruel social reality always arouses her resentment for the troubled times and nostalgia for her motherland. She reflects all kinds of feelings about the country and the people in her works. She has a good character and excellent talent, but it does not show itself. Her poems never show others easily, "leaving the words of sorrow and pain, the grass becomes more, burning and abandoning them" (preface to the collection of Qingfen Pavilion in Fang Meng style). Among the poems handed down from generation to generation, the most representative one is the one to be read

Chinese PinYin : Fang Wei Yi