Jiang Tingxi's Major Achievements
Jiang Tingxi was a famous flower-and-bird painter in Kang Yong period in Qing Dynasty. After the ups and downs of the cloud in flower-and-bird painting in the early Qing Dynasty, Jiang Tingxi learned his boneless painting skills, changed his delicate style, and created the "Jiangpai" flower-and-bird painting that took root in the south of the Yangtze River and flaunted the capital.
Born into an official family.
However, as the son of a noble family, Jiang Tingxi was born in an official's family. He was not only a famous painter, but also a feudal official who was well versed in being an official and caring for the people's feelings. He was also a learned scholar and a talented poet. Jiang Tingxi was a scholar in the forty-second year of Kangxi. During the Yongzheng period, he served as assistant minister of rites, minister of household affairs, college student of Wenhua Hall and teacher of Prince. He was promoted from editing, lecturing and other clerical posts and became a famous minister in Yongzheng period. At the age of 60, he not only served as a bachelor in Wenhua Hall, but also served as a prince, wife and president of Ming Dynasty, which shows that the court attached great importance to him. Sejong in Qing Dynasty ordered him to re-compile Chen Menglei's Original Collection of Ancient and Modern Books. All kinds of books were magnificent, showing his extensive and far-reaching academic talents. At the same time, in the poetry circle, he is one of the fifteen talented people in Jiangzuo praised by Luo Song, and he is called a rising star by a generation of long poet Qian Lucan as "omnipotent in learning", "good at learning" and "early in enlightenment".
The extant collection of his poems.
His existing poetry collections include six volumes of Bronze Xuan Poetry Collection, one volume of Collecting Wind Collection, three volumes of Xishan Shuangqi Collection, one volume of Broken Mountain Collection and one volume of Autumn Wind Collection. Among them, there are poems for answering questions, poems for painting, farewell poems, travel poems, leisure poems and ancient nostalgic poems. After reading them, we can see Jiang Tingfu's understanding of natural human feelings and his understanding of life on this basis.
Multiple identities
Jiang Tingxi's multiple identities as an official, a scholar, a poet and a painter are typical examples of China's feudal literati and painters' profound cultivation and their active participation in the WTO. It is very appropriate for Jiang Tingxi to be called a literati painter or a literati painter. However, few people associate Jiang Tingxi's paintings with literati paintings, and many people mistakenly think that he is a court painter. Because he does have works for the palace, such as "minister" style paintings. These paintings are generally elegant in theme, auspicious in meaning, large in format and magnificent in style. From the perspective of style, literati painters rarely set foot in it, and it was really made by court painters. This is Jiang Tingxi's familiar face. But we should see that Jiang Tingfu's painting features are more complicated. Among the numerous comments, Zhang Geng in Qing Dynasty gave him a comprehensive evaluation: "Sketching with Yi pen, whether it is odd or positive, whether it is rate or work, whether it is coloring or smudging, comes out of the ordinary." Zhang Geng pointed out the diversity of Jiang Tinghua's works, or the diversity of brushwork used in a work. According to the records of Jiang Tingxi's handed down works, although he was deeply influenced by the cloud and studied under Ma Yuanyu, a disciple of Qixia Road who swam in the cloud, his paintings were not only boneless, but also often sketched and painted. This painting is not only brightly colored, but also often written in ink. This makes his paintings sometimes dilute the charm of Yunjia with wealth and dignity, and sometimes they are like freehand flowers and birds in the Ming Dynasty, with flowers and leaves intertwined, elegant and romantic.
Historical evaluation of flower-and-bird painters
Jiang Tingxi's poem "Helping Zheng to present a flower scroll to Long song for a report" can well reflect his views on the tradition of flower-and-bird painting. In the first half of the poem, the brushwork of painting flowers is high, and in the second half, he writes his evaluation of the famous flower-and-bird painters in history: "Learn from each other with monk painters, and make up for it with Yang, the inheritor. Xu Xi's double hooks are wonderful, and his worship of heirs is particularly unique. Down to the grave and Qian Xuan, the light blue cuts the red. Although the dead seal of wood carving was engraved, it was not good enough and lively enough. Weng Shitian, a native of Shen Zhou, Wuzhong, has a spring breeze everywhere. Especially for the ancients, modern scholars call it authentic. My son should have been on Baoshan. Bravely carry the tripod-proof pen and think it out carefully. You gave me ten pictures and I sang a song for you. It's not light to draw a short gentleman in Long song. When you come back, you must write thousands of bamboos. " It can be seen that he is more convinced of Xu Xi's double hook method and Xu Chongsi's boneless method, but not interested in the flat painting method of Huang Quan and Qian Xuan. His favorite flower-and-bird painter is Shen Zhou, who thinks that Ma Yuanyu's techniques are not inferior to Lu Zhi's.
Atlas of Begonia and Petunia collected in Nanjing
The Picture of Begonia and Petunia in Nanjing Museum is a work with boneless method and sketch method. The bamboo, morning glory and begonia in the painting are all outlined with ink lines, and each part has shades. After a little lighter color, it was washed away without seduction. According to the "Mo brushwork" in painting, the painter may intentionally adopt the methods of Chen Lin (Zhong Mei) and Ruoshui (Ruoshui) in Yuan Dynasty. Jiang Tinghua also wrote in two flower album pages: "You are not familiar with it, but you have to use a pen. You are just filled with ink, but you don't have enough skills. " "Sketch still has the wishes of the Southern Song Dynasty. Without Jiao Mo, I am afraid of falling into the ears of the Zhejiang school. " In fact, these two paintings are boneless sketches, with light colors and muddy handwriting, far from the delicate outline of the Southern Song Dynasty. The method of sketching petals with light ink is a little faint, and the method of writing the back of leaves with light ink is very similar to that of Zhong Zhang (Zizheng) in Yuan Dynasty. This is very close to Zhang Geng's description of the ginger works he saw: "I tried to draw a frost-proof branch on the fan of Yuchang Tea Party, with a brush and tassels, and a light and meticulous snack, which was full of clear analysis." The leaves were also dyed with ink, and a twig was dyed with three cores by Jiao Mo. A double hook on the pedicle is expensive. "
The flower ecology in his works is vivid.
Because ink tools are flexible and easy to play, not limited to work. Although the colors of flowers in Jiang Tinghua's works are simple, they are ecological and vivid. But for the flexibility of ink painting, he only takes advantage of it, is not arrogant and impetuous, and does not use pen and ink to play at will, but is quite restrained. His Mo Lian album "Imitation Tianchi Pen, a little disciplined, not crazy." His book Ink Peony puts forward that "writing peony should be neat and vivid, and if the pen is too loose, it is not peony." Although Jiang Tingxi likes to use pen and ink, it is absolutely different from the freehand brushwork of Qing Teng Bai Yang in Ming Dynasty. He pursues the principle of Song Dynasty and Mo Yun of Yuan Dynasty. Regarding the original works of Jiang Tingxi's paintings, there are many sayings in the history of painting: "Pan Lin did all the best coloring." ; "There are very few authentic works circulating in the world, and Ma Xi and his son can be confused on behalf of the author." ; "Your performance is both a pity and meticulous. Today's long axe is fake. " ; "About art design, most of them are done by apprentices, which is not authentic." These statements, as well as Zhang Geng's description of his chrysanthemum fan style, make people doubt Jiang Tinghua's graceful and gorgeous style. However, the author believes that Jiang Tingxi first entered the South Study as a juren, and later became a painter deeply loved by the emperor, and his original style definitely existed.
At the end of the Northern Song Dynasty, Song Huizong Painting Academy often used Tang poetry as an examination question, which made court painters learn Confucian classics, which was called "painting study", and incorporated aristocratic children into the "scholar class", which tended to make court painters literate. Xuanhe painting spectrum not only advocates that flower-and-bird painting should have the function of whitewashing and enlightening the world, so as to make the viewer's eyes harmonious, but also advocates understanding the names and principles of flowers and birds, so as to make painting flowers and birds interesting. The prosperity of flower-and-bird painting in the Palace Painting Academy in Song Dynasty seems to verify the importance of cultivating knowledge and poetry for flower-and-bird painters. So far, this kind of training for flower-and-bird painters and the discussion on the function of China's flower-and-bird painting seem to be quite effective and profound.
Responsible for re-editing the ancient and modern books, etc.
As a scholar, Jiang Tingxi is responsible for compiling ancient and modern masterpieces, paying special attention to the work of vegetation, birds and insects and years. The collection process of these materials is also a comprehensive arrangement of his knowledge of flowers and birds from science to art. The Meritorious Works of the Year has a total of 1 16 volumes, of which only Chunbu, Mengchunbu, beginning of spring Bu, New Year's Day Bu, People's Day Bu, Shangyuan Bu and Zhongchun Bu are available. In The Story of Birds and Insects, there are 60 birds. Besides the common phoenix, phoenix, crane, pigeon, eagle and swallow in the painting, there are also extremely rare departments such as Baitongbu, Hu Sang and Wren. The induction and accumulation of this knowledge is of great help to his poetry and painting. In his poems, he is particularly good at the seasonality of plants and the physiological characteristics of birds and insects. He has a poem about owls, several lines of which read: "There is no heavy snow in poor winter and no rain in March. Early gas produces grass, which is spread all over the grain and millet. One father is born every day, and one father every three days. Resurrection on the 4 th, Sun Jianzu on the 5 th. " Here, the abundance of owls is used to satirize corrupt officials, but owls are also a common bug in China's flower-and-bird paintings and are often painted. So if he knows so much about the appearance, reproductive ability and shape characteristics of owls, then he will definitely feel different when painting owls. The grass insects he painted in the village may be like this: "If you want to see the nest of ants in sunny weather, try to occupy abundance and not listen to the frogs." The painter himself noticed that "Tian Jia has heard frogs for more than three days." The plum fruit he painted should be like this: "The flowers have not fallen for a day, and they are full of spring." Like a bead, like a bean with new branches. Will grow up to be benevolent. The number of edges is easy to see, but it is difficult to tell the truth from the leaves. The color on the top of the mountain is heavy, and eggs are doubtful. "He also often uses seasons and flowers and birds to express his life consciousness, such as his Ten Poems to Send Spring, Ten Poems to Show Summer, and Poems on Autumn Five, etc. His knowledge, understanding and observation of vegetation, birds and insects and seasons have the perspectives of scholars, poets and painters. He once said that Chen Lin in Yuan Dynasty "painted poems in detail, fascinated by them. "This poem seems to suit him very well.
Jiang Tingxi once ordered Yong Zhengdi to approve 10,000 copies of The Integration of Ancient and Modern Books.