Sun Qingyan of Zhu Ya often signs such a name in his paintings and calligraphy works.
His surname is Sun, his first name is beautiful, his first name is beautiful, and there are many homophonic nicknames, such as Zhu Ya and Zhu Ya. Out of reverence for bamboo, the name "Zhu Ya" was put before the name.
Taking bamboo as a teacher, he expressed his literati ambition by virtue of its honest and frank, modesty and nobility. Later generations called him Sun Zhuya more directly.
18 19 was born in Chenggong, Yunnan. Influenced by several generations of books, he moved to Kunming as a teenager. His uncle Sun Zhu (without Zhou Tie, a writer of Daguanlou brand in Kunming) studied poetry and calligraphy with his brother. When he was young, he made a name for himself in Kunming. In the eighth year of Xianfeng (1858), Kunming was besieged by Hui rebels, and Sun joined Zhao Dechang's army as a literary officer. In nine years, Zhao Dechang entered Guizhou and moved westward. In the 12th year of Tongzhi (1873), he was appointed as a Taoist by the government and transferred to the provincial capital to settle down. In the first year of Guangxu (1875), he retired and amused himself with calligraphy and painting. He died in the 10th year of Guangxu (1884) at the age of 60.
Sun is a famous painter in Yunnan and Guizhou in the late Qing Dynasty, and a lifelong friend of calligraphy and painting. Its entries are recorded in the Dictionary of China Ancient Famous Painters published by Zhejiang People's Publishing House in 2005.
Sun is known as the "three wonders of poetry, calligraphy and painting" (excerpt from Sun's Epitaph). In his paintings, he is particularly good at drawing bamboo. His skill in painting bamboo is not only profound, but also deepens the artistic conception of the picture through poems or verses in the inscription, expressing his noble and indifferent interest.
When it comes to painting bamboo, it is necessary to say literati painting. We need to say more. In China's traditional painting, bamboo is regarded as an independent theme, expressed purely in ink, which may have started from literati painting in the Northern Song Dynasty. The Northern Song Dynasty was the most active time for literati, and literary talents came forth in large numbers, which stirred up the glory of literature and art. On the basis of Wang Wei's school of painting, Wen, Su Dongpo, Huang Tingjian and Mi Fei gradually changed from the description form of meticulous brushwork to freehand brushwork, paying attention to the skills of using pen and ink, painting with calligraphy, and then matching poems with self-made seals. Ah ah ah! In this way, poetry, books, paintings and seals are integrated, so that people can appreciate the artistic conception of poetry while watching paintings, books and seals, upgrade painting (calligraphy) to tangible poetry, and solidify poetry into intangible painting. They created the highest realm of artistic creation in this form of artistic wood, which is literati painting. This form of expression has become the most distinctive and unique artistic feature of Chinese painting and is unique in the world art. The Qing Dynasty was the heyday of literati painting. At this time, the themes of literati paintings are mostly plum, orchid, bamboo, chrysanthemum, mountains and rivers, and fishing. They all take painting as the body, poetry as the soul, books as the pulse and seals as the ornaments, forming the mainstream of Chinese painting. This special form of expression has become more mature, fashionable and gorgeous, and it has been followed and even influenced now.
It should be said that literati painting has a great influence on Sun's painting. He was born in a scholarly family for generations and was influenced by Danqing's context since childhood. He integrated the concept of painting and calligraphy into his heart, making his poems, books and paintings all successful. Therefore, in his paintings, there are the basic characteristics of the integration of poetry, calligraphy, painting and printing in literati paintings everywhere, especially the bamboo that he is good at painting.
There are also bamboos painted by Sun, many of which are bamboos with four screens painted in one breath. The author has seen Sun's four-screen bamboo slips in Guizhou Provincial Museum. Its specification is single screen 240㎝ and its width is 59cm. Four banner screens are hung side by side in a tall glass cabinet. It's really elegant and the ceiling is shining. Generally speaking, Siping Bamboo Painting depicts the four seasons of bamboo: wind, sunny, rainy and dew. Bamboo is an evergreen plant, which changes little throughout the year. In the four seasons of wind, sunny, rainy and dew, it presents different forms. It not only enhances the vivid effect of the picture, but also deepens the connotation and charm of the work.
The author is a descendant of Zhu Yagong, and he is also fortunate to have four bamboo screens painted by Gaozu: wind, sunny, rainy and dew. The four pictures are all ink pink, each with its own form.
The posture of wind bamboo, stone and bamboo root is against the wind, the pole in the middle section is bent into a bow shape, and the fine technique leans to one side with the wind. The bamboo flutters slightly with the bamboo leaves in the wind, as if it can hear the rustling of bamboo leaves in the wind. The bamboo in the picture is full of bows. The stronger the wind, the stronger the bamboo. It really has the feeling of "letting the east, west, north and south wind", showing a unique "high wind and bright festival" bearing. Painting a poem, saying:
Autumn sound stirs old Chai Men's dream, and writes about repairing roots. It is difficult for Stuart to discuss with the painter that the jade chopsticks are broken, and the hairpin is still broken.
The signature is: Banqiao Fa Dumb. There are seals of "Purple Shi Mei Zhu Haoya" and "Zhu Jushi". Look! The poem is written in "Banqiao style", and the rich charm of "six books and a half" is elegant and rich. Only by appreciating poetry can we know the author's modesty. The first two sentences describe the feeling of bamboo in the wind, and the last two sentences mean that the brushwork of "folding hairpin" is still round and full, and the writing form of "upside down" has been exhausted. It's hard to compare with those great painters to draw such a wind bamboo.
Its clear bamboo, a clump of bamboo behind the Taihu stone, stands tall and straight in the bright sunshine, pointing directly at Lingyun, showing incomparable lofty; Green leaves are in full bloom, full of vitality. The word "person" leaves, the word "individual" leaves gather, and the word "intermediary" leaves overlap. Add a few bamboo shoots and tell a few strokes, which is elegant and serene. There is a poem that says:
? Dare to admire the old pen and gradually understand the spirit, write clearly and wash it with new ink. Zheng Jinru, the former generation, can make a difference, and knowing many people will not be thin today.
The inscription is: imitating the fine bamboo painting of Huang Hua's old man, with elegant architecture. Zhong "Sun Qingyan" seal. The author writes in running script. We can see from the poem that the author describes himself as "an old pen gradually understanding God". If Zheng Banqiao and Jinnong, the "Eight Eccentrics of Yangzhou" to be worshipped, were still here, they wouldn't abandon the present.
Rain is falling, falling. After the exquisite stone, count the diagonal bars, and the rain hits the bamboo leaves. Listening to the bleak rain at night, I am sad and sleepless. With a poem:
On the same day, Li Anlin left the Old Testament, and Xiaoyaotang Bamboo Forest fainted. It's raining at night, listening to the bleak leaves, saying that the long pole is dying.
Inscription: Mr. You Dongpo gave a poem to his disciples, and occasionally wrote about the rain leaves, which deeply impressed me. In the winter of Renwu, the vegetation is attached, and the bamboo and elegant old people know each other. The seals of Zhong are "Sun Qingyan" and "Handmade". According to Qian, this four-screen bamboo slip was made during the reign of Renwu, that is, the eighth year of Guangxu (1882). It is the year of bamboo elegance, sixty-two, which is hard to sigh. And this painting was planted for his descendants (word yi, number,). Knowing that I am old, I will feel sad when I hear the bleak voice on a rainy night, and I will sigh that "writing a long pole will kill my soul."
It is exposed to the bamboo, and the morning sunshine has just appeared, as if new leaf buds have squeaked upward from the branches, and bamboo poles and branches are towering upward, sucking the morning air, showing infinite vitality. With a poem:
The moon is full of grass, and the newly planted bamboo is half a forest. I remember sitting by the summer pool, sitting in the shade like a water skirt.
Description: Imitate the brushwork of Zhao Guanxin, the wife of Wei State. Shushu. The seals of "Shu Shi Zhai" and "Shu Shi Zhai" were made by Zhong. The painting is a dewy bamboo, full of vitality and high spirits, giving people a new joy. In the poem, Hsinchu, whose courtyard is half-forested, gathers new dew with Cao Mao in the moonlight, which is reminiscent of the interest of "Luo Shang sitting in the shade" by the pond in summer. At this time, the painter has a romantic artistic conception for you to ponder.
The four bamboo paintings are vivid, elegant, concise and interesting. The painter is skillful in writing, clean in pen and ink and simple in style. Its meaning is to write first, handy and wonderful, such as the expression of musical chords, expressing the author's lofty and elegant feelings. Poetry and painting are interlinked, there are paintings in poetry, there are poems in painting, and poetry is integrated into painting. With the emphasis, thickness, weight, lightness and clarity of ink, it depicts the subtle changes of vigor and moisture, and summarizes the splendor and nature of bamboo with simple ink color. It is elegant for painters to express their aspirations and feelings through such creation!
It should be noted that these four bamboo slips have inscriptions imitating the painting or brushwork of "XXX". In fact, the ancients learned Chinese characters from the beginning and also learned painting from imitation. After getting started, they will gradually get out of the routine by mastering the essentials. Sun's paintings and calligraphy at this time have their own styles. And "imitation" was just the fashion of advocating ancient masters at that time, just the fact that you made a fortune by yourself in the name of "imitation".
Sun Qingyan's four-screen bamboos are all carnations, with simple pen and ink, but different expressions, vivid images, appropriate ink color and elegant atmosphere; Look at his calligraphy, pay attention to rules, elegant and smart; His poems use quatrains, express his mind directly and pay attention to artistic conception; Its printing is simple and simple, and it follows the trend of Qin and Han dynasties. The combination of poetry, calligraphy and seal makes people feel the artistic foundation of his painting and calligraphy, and appreciate the soul and elegance of his literati painting.
It is said that Guan Yunchang loves painting bamboo and wrote a bamboo poem: Don't thank Dong Jun, Danqing is an independent name. Don't be too lonely and pale, never wither. I think, isn't Sun's four-screen bamboo the same pursuit?
Written in February 2020