Li Shimao

Li Shimao

Li Shimao (1687-1770) was named tianzhang, Hanzhang, Tiantao, Shishi Jushi, Taiping Zhuoli, Yiqi mountain people, qingzai haoguzhai, and Liuyuan, Xingya, Jushi, Fengtian (now Shenyang, Liaoning), yizuo Sanhan (now southwest of Kalaqin banner, Inner Mongolia), belonging to zhenghuang banner of Han army. Such as Longzi, nephew of Gao Qipei (1672-1734). From the official to the vice governor. Once served as Taichang, known as Li Taichang.

He is good at painting landscapes, figures, flowers and birds, and fruits. Shao traveled with his father in Jiangnan. He saw Wang Hui (1632-1717) and got his comments. Later, he traveled with Ma Yiyou, so his patriarchal system was pure and his writing style was also beautiful. His characters read the picture of Wu Daozi's water and land Daochang, and then realized his method. The freehand brushwork of flowers, birds and fruits is easy to use because it is covered by the ink of uncle's family, so it can be named as one family each. In his later years, he liked to use finger ink to make characters, flowers and birds, and to brush them with ink. Over 80 years old, he can still paint and write in regular script.

Life

His landscapes, characters, flowers and birds, and fruits are all wonderful. When he was young, he traveled with his father in Jiangnan and got the theory of Wang Hui's painting. Later, he traveled with Ma ang (retreating from the mountain). His landscape was beautiful and his strokes were honest. Wu Daozi's brushwork of figure learning, flowers and birds, fruits and all kinds of freehand brushwork are changed to his uncle's finger strokes, freehand vivid, quite interesting. In his later years, he wrote characters, flowers and birds, and sketches, which were carefully polished with ink. He got light and deep, and his charm doubled. He had his own style. Works handed down from generation to generation include miscellaneous picture album (1725) in the third year of Yongzheng reign and painting axis (finger painting) in the eleventh year of Yongzheng reign (1733), which are now collected in Liaoning Provincial Museum; painting axis of Xishan visiting friends and painting axis of Songzhu are collected in Shenyang Palace Museum; painting axis of Tinglin mountain and peony are collected in Shanghai Museum; painting axis of Qingshu mountain is collected in Palace Museum; painting axis of autumn rain is collected in Jiangnan Museum Guangzhou Art Museum.

Related anecdotes

When he was young, Li Shimao and his uncle Gao Qipei learned to draw fingertips, and he almost learned to a strange degree. Once, Gao Qipei was working on the painting of Sui Dynasty. When he was halfway through the painting, he suddenly reported that there was a visitor. Gao Qipei saw the visitor coming from a long distance, left the painting, washed his hands full of ink, and invited the guests to the reception hall to talk about the past. Li Shiluo was looking at the half unfinished painting, and he was very forgetful. I wanted to wait until the guests left to continue to see my uncle's painting, but when I saw that the guests and the host were very friendly, I'm afraid it won't be over for a while. Facing the painting, Li Shihao seemed to be in a state of mind. He dipped his fingers in ink and began to draw on his uncle's unfinished painting. As soon as he washed his hands after the painting, his uncle had already sent off the guests and came to the studio. After a careful look at the painting, he said to himself, "well, it's time to pay for it." Seeing that his uncle didn't recognize his sequel, Li Shihao was secretly happy. In fact, Gao Qipei had already seen it, but he pretended not to know it, and he was also secretly happy: "my nephew's painting skills have improved so fast, and I can teach you!" Later, he asked his nephew to finish the painting for him. It is said that Gao Qipei's large finger paintings were painted by Li Shiluo and others. In his later years, he was over 80 years old. His eyesight did not decrease. He could still write small regular script and paint. The technique of finger painting is more sophisticated. He once wrote "the painting of Sui Dynasty" by himself. He said: "the ink dip on the finger came from shaosikouqie's uncle yuan, which is nothing in ancient times. I can't tell if Yu Zhi's time is limited and my uncle's order is to be paid for it. " (for details, please refer to the collection of paintings of the state (Qing Dynasty), the theory of finger painting, the review of painting in the news, the current talk of the Mo Lin, the discussion of painting by Tong Yin, the continuation of famous paintings of the Xi Dynasty, the collection of elegant songs of the Xi Dynasty, the collection of reading paintings, the history of painters' poetry of the Qing Dynasty, and the collection of eight banners' paintings.) Li Shiluo's handed down works include miscellaneous picture album (1725) in the third year of Yongzheng, axis (finger painting) in the eleventh year of Yongzheng, axis (finger painting) in the painting of Zhong Kui CE Jian Zai Jiu (1733), axis of the painting of visiting friends in Xishan, volume of the painting of Song zhu, axis of the painting of Tinglin mountain color, axis of peony, axis of the painting of Qingshu mountain Pavilion, axis of the painting of autumn rain in Jiangnan, etc.

Three hundred years of one painting

More than 300 years later, an interesting story happened in Li Shiluo's ink and wash vertical scroll work the painting of Changsong Gaoshi. It's a picture with a poetic scene. The pines are long and dry, the branches are sparse and the leaves are scattered. An old man stands under a tree with a palm fan on his back, squinting at the water. His expression is between leisurely standing and thinking. It's very harmonious with the light and distant painting scene. This painting is only famous and leaves a large blank. There seems to be a mystery here. Sure enough, more than 300 years later, Pu Xinyu, the last king of the dynasty, and Zhang Daqian, another great painter, fell in love with the painting and wrote postscripts for it. Pu Xinyu saw the painting in 1956, and the postscript was: "Dong Wenmin (Dong Qichang) said that huaisu calligraphy was based on dangu, while the song of Li Chao seal script by Du Gong Bu said that" the book is precious, thin and hard, but the spirit is clear ", and the fat and plump pen is easy to be heavy and clumsy. Sheng zizhao is not as elegant as Wu Zhonggui, Li Cheng is as fond of ink as gold, and Ni Yunlin is as fond of frost as far shore. In the past, Li Guzhai's painting imitates pine, snow and green. Although it is delicate and skillful, it is not as simple and elegant as this one. For example, when reading Wang Mojie's and Mengshan's poems, he has the idea of leaving the dust behind. The so-called winner is few. In the painting, Gao Shi, with his short clothes on the top and his back fan on his back, can't be examined! In the early summer of bingshen, Xishan Yishi wrote the title of Pu Ru. More than 130 words, from calligraphy to painting, from Meticulous Brushwork to ink sparing, from painting to poetry, bring out ten historical celebrities in succession. They are not only knowledgeable but also imaginative. It is because Li Shimao's painting gives him too much space to enjoy beauty that Pu Ru's rich association is aroused, and he suddenly wonders whether this is Wang Youjun's Self portrait? Later, when Zhang Daqian saw Li Shiluo's painting, he wrote a poem with a vibration: "long song and Leiyi serve in the sky, and the shallow water meanders away. And let Lao Tzu whirl, the wind and the moon. He went on to write: "it is rare for Li Guzhai to cooperate in his whole life. His layout is more than that of his peers. Zhang Daqian, a native of Shu, knew it at the same time. " in the poem, two lines depict scenery, long pine, strange stone and shallow water, each with its own posture; two lines depict people, with a bit of Buddhism and Taoism. However, this "Lao Tzu" is not that Lao Tzu (the one who wrote Tao Te Ching in five thousand words), but an ordinary old man! Under the clear wind and bright moon, what a good night! At that time, Li Shimao seemed to have a heart. He knew that 300 years later, there would be a puru who would write a long postscript to the painting, and a Zhang Daqian who would write a poem to the painting. That's why he left a large amount of blank space on the painting. Otherwise, how can the two witticism inscriptions and postscripts of Pu Ru and Da Qian match the painting so naturally! As the saying goes: when Shiyao was young, his nephew and uncle kept a good story together, and three hundred years later, shuangba became a beautiful talk.

Chinese PinYin : Li Shi Zhuo