On this day, 470 years ago, on February 10, 1555 (January 19, 1555, the lunar calendar), Emperor Kangxi Qianlong praised Dong Qichang's calligraphy. Introduction to Dong Qichang Dong Qichang was born on the 19th day of the first month (February 10) of the 34th year of Jiajing of Emperor Shizong of the Ming Dynasty (1555) and died on September 28th (October 27) of the 9th year of Chongzhen (1636) of Emperor Yizong of the Ming Dynasty. He was also known as Xuanzai and was known as Sibai and Xiangguang Jushi. Han nationality, now from Maqiao, Minhang District, Shanghai, is a famous painter and painter in the Ming Dynasty. In the 17th year of Wanli, he was awarded the title of editor of the Hanlin Academy and served as a minister of the Ministry of Rites in Nanjing. After his death, he was posthumously named Wen Min. He is good at painting mountains and rivers, and learns from masters of traditional Chinese painting such as Dong Yuan, Ju Ran, Huang Gongwang, and Ni Zan. His writing is delicate and neutral, quiet and open; his ink is clear, clean and bright, and his green colors are simple and elegant. He used Buddhist Zen painting as metaphor, advocated the theory of "Northern and Southern sects", and was an outstanding representative of the "Huating Painting School". His paintings and painting theories had a great influence on the painting world in the late Ming and early Qing Dynasties. Calligraphy came and went into the Jin and Tang Dynasties, and it was unique and capable of poetry and prose. Existing works include "Rock Residence Picture","Eight Scenery Picture of Autumn Xing","Dayjin Hall Picture", etc. He is the author of "Essays on Painting Zen Room","Selected Works of Rongtai", etc., and is engraved with "Xi Hongtang Post". His calligraphy has the beauty of "Yan Gu Zhao Zi". Dong Qichang's calligraphy skills had a great influence on later calligraphy. His calligraphy and painting creation emphasizes imitating ancient people, and pursues the effect of being familiar first and later on in the use of pen and ink. It is clumsy and elegant, reflecting the plain and innocent personality of literati creation. Dong Qichang's talents are full of literary acumen. He is proficient in Zen theory, is proficient in collecting books, is proficient in poetry, is good at calligraphy, and is proficient in painting. He was an outstanding calligrapher in the late Ming Dynasty for decades. Dong Qichang's paintings pursue a plain and innocent style and pay attention to the charm of ink. Dong Qichang's Artistic Style Dong Qichang is one of the most influential calligraphers in the history of China's calligraphy. His calligraphy style and calligraphy theory have had a certain influence on later generations. He Sanwei, a book critic at the end of the Ming Dynasty, called Dong Qichang's calligraphy: "It is naive and has a dense structure. There are often books that cannot be written or written without meaning. Dragons, snakes, clouds, and objects that fly between the wrist and finger. This book writer is the best." Hundreds of years after Zhao Mengfu's charming and mature "Pine Snow Style" dominated the calligraphy world, Dong Qichang, with his elegant and elegant style, pioneered his own path and established his own family, which also led to the trend for a while. As a result,"each piece of paper is a piece of paper, and everyone is competing for treasures" and "famous abroad", adding glory to cultural exchanges between China and foreign countries. He particularly emphasizes the skills of using ink in "chic and vivid" landscape painting. Ink painting is also good at splashing and cherishing ink. The shade, dry and wet are naturally matched. There is not much ink, but the artistic conception is profound and the charm is endless; there is no need to dazzle and be strange, but the true qi fills the paper. Dong Qichang's coloring landscape either uses Yang Sheng's bone-removing method, replacing colorful pens with ink pens to complete lines, outlines, hooks, slings, chaps, and wipes, and is extremely beautiful and not for portraying; or imitates Huang Gongwang's shallow crimson method, and uses Zhao Danian and Zhao Mengfu's green method to build a separate grid, with clear layers, elegant and fresh, and full of vitality. Dong Qichang's paintings emphasize freehand brushwork, making the beautiful and colorful mountains and rivers seem somewhat stretched. However, he was also good at calligraphy and poetry. Every time he finished painting mountains and rivers, he wrote poems and poems. Xingji was clustered like silkworm rows and shone like fast flying electricity. The poems and books in the whole picture complemented each other, harmonious and consistent, and more lyrical. Dong's creation has thus become a model for literati painting to pursue artistic conception. For example, in "Painting of a Remote Peak Splashing Green", the whole picture is just a long-term perspective, and the pen and ink are also very simple, but they are full of charm and strength. The front of the picture is made with a slope foot and decorated with several pieces of barren stones. There are three old trees at the foot of the slope, standing staggered. The middle tree is a leaf-leafed tree, which is briefly outlined, but the branches and leaves are visible; the leaves of the two trees next to it give full play to the role of splashing ink, with straight strokes on the left to show the winding, and horizontal dots on the right to show the proud shore. The shade is alternating, giving a sense of vitality. The upper part of the picture is painted with light ink, and the distant mountains are traversed. Only the outline is hidden in the sky, but the mountain is blank, as if the haze is lingering and extremely powerful. The author then used thick ink to dye several scattered leaves in a distant scenery, ranging from far to far, with rich layers, and smoke flowing and filling the shores of the lake. There is a small slope painted on the left side, and several straight trees are painted on the slope with horizontal ink. There is water in the middle, without writing or writing, but the boundless momentum of the vast lake is evident on the paper. Some people think that this is what Dong Qichang learned from the structure of the book, which is "broad and capable of moving horses, but is dense and unventilated". This is not unreasonable. For example, the "Painting of Snow on Mountain" written by him in his late years, mountains, forests and ravines stretch endlessly. There are mountains on the right, giving you a strong momentum. There are many deep ravines in the middle, with towering cliffs. Villages, jungles, flowing springs, and mountain paths are scattered and mixed but not chaotic; the river twists and turns, although there are dry rocks and thousands of ravines, there is no feeling of obstruction. On the left, clouds and clouds fill the sky, immersed in trees and rocks, the road is far away and the mountains are heavy, and the people are hidden, profound and unpredictable, with endless meaning. In the picture, a thirsty pen is used to hook the mountains and rocks. The use of chafing is extremely accurate and flexible, and the lines flow quickly and are appropriately dense. The uneven light and dark of the mountains and mausoleum stones are completed with horizontal dots of giant moss and layers of light ink and straight chapped rendering. The technique is skillful and impeccable. The artistic conception is simple and profound, with the poetic meaning of "birds fly across thousands of mountains, and people disappear across thousands of paths." The pen in the whole picture is old and sharp, with strong bones, fresh and moist ink, and devoid of sweet customs. With a sparse pen, it draws a cold and distant scenery. The mantissa of the volume is lined with script and the calligraphy is beautiful and vigorous, which makes this picture bookish, cheerful and elegant, and has its own style. Just as China contemporary painter and painter Nanshan Leshan commented on Dong Qichang's artistic characteristics: Dong Xiangguang (Dong Qichang) is full of wisdom, so he can write clear ink, the mountains are as clean, peaceful and profound, and there is no dust. Dong Qichang's calligraphy Dong Qichang's artistic achievements Dong Qichang was known as "Xing Zhang Mi Dong" in calligraphy at that time, that is, he was juxtaposed with Linyi Xing Dong, Jinjiang Zhang Ruitu, and Xutian Mi Zhong; in painting, there is a saying of "Nan Dong and Bei Mi." Mo Shilong and Chen Jiru advocated the theory of "Northern and Southern sects", which divided "courty-style" landscape painting and "literati painting" into the north and south schools. Dong Qichang created countless calligraphy and painting works throughout his life, of which paintings and poem manuscripts by ancient people are an important part. What he said about "reading thousands of books" in "Essays on Painting Zen Room" means that if a person wants to become an artist, he must learn from traditions and the ancients. When he began to learn calligraphy at the age of 17, he wrote Yan Zhenqing's "Duo Pagoda". When he studied painting at the age of 22, he studied from Huang Gongwang, and later studied from various schools. This practice of taking the ancients as a teacher continued throughout his life. He extensively drew on the strengths of the Tang, Song and Yuan families, and explored the essence, making his calligraphy and painting achieve artistic achievements that surpassed the ancients. Dong Qichang emphasized taking the ancients as teachers, but opposed purely mechanical simulations of actions. As his experience increased and his thoughts matured, when inheriting the techniques of his predecessors, he did not rely on others to "create a platform", but selectively made choices and incorporated his own creativity. He believed that without his own creativity, the spirit of the ancients would be difficult to express, so he should reproduce the ancient "wind god" in his own original form. Relying on his deep understanding of the gains and losses of ancient calligraphy and painting techniques, he absorbed the methods of many families, used the pen according to his own wishes, and integrated changes to achieve the transformation of his own family methods. Dong Qichang's landscape paintings generally have two aspects. One is ink and wash or a combination of light crimson, which is relatively common; the other is green and green, which is sometimes seen to be disembodied, which is relatively rare. He attached great importance to learning from the traditional techniques of the ancients, and his subject matter changed little, but he had unique attainments in the use of pen and ink. His paintings often imitate the painting techniques of famous artists in the Song and Yuan Dynasties, and flaunt them in their titles. Although they talk about imitating the past everywhere, they are not unrefined, but can break away from the stereotypes and form their own style. The characteristics of his painting techniques are based on the learning of ancient famous artists, and are integrated into the chapping, wiping, and dotting of paintings with the cultivation of calligraphy. Therefore, his paintings, mountains, trees, and rocks, and smoke flow, have bone power in softness, and are flexible in turning and changing in spirit. The ink color is clearly layered, clumsy and beautiful, and elegant. When he was sixty-seven years old in the second year of Tianqi, he copied Fan Kuan's "Journey to the Mountains" of the Northern Song Dynasty and adopted a comprehensive painting technique of green color setting and ink merging with light crimson, which fully demonstrated his superb characters 'meticulous brushwork and unique landscape style. The charm of a master born in the art of the painting world. His painting style was very famous at that time and became the leader of the "Huating School". Dong Qichang's calligraphy achievements are also very high. Dong's calligraphy attainments are the highest. He is also quite conceited about his regular script, especially small script. Although Dong Qichang was in the era when calligraphy by Zhao Mengfu and Wen Zhengming was popular, his calligraphy was not blindly influenced by these two calligraphy masters. His calligraphy integrates the calligraphy styles of each family in the Jin, Tang, Song and Yuan Dynasties and becomes a single entity. His calligraphy style is elegant and ethereal, and self-sufficient. The strokes are elegant, plain and simple. The pen is precise and always maintains a straight edge, and there are few strokes that are slacken or sluggish. In terms of rules and regulations, the branches are arranged between words and lines, and the layout is sparse and balanced, and we strive to follow the ancient methods. The use of ink is also very particular about it. It is dry and thick, and it is wonderful. To Dong Qichang, calligraphy can be said to be a great achievement of ancient methods. The "six bodies" and "eight methods" were proficient in everything under his hands. At that time, it was already "famous abroad, with simple and short notes, spreading throughout the world and competing for treasures." Until the middle of the Qing Dynasty, Kangxi and Qianlong regarded Dong's books as a patriarchal clan, and they respected and favored them. They even copied Dong's books in person, often listed on the right side of the seat and viewed them in the morning and evening. Dong Qichang did not leave a monograph on calligraphy, but the insights and opinions he gained in practice and research are scattered in his large number of inscriptions and postscripts. Dong Qichang has a famous saying: "Jin people follow the rhyme, Tang people follow the law, and Song people follow the meaning." This is the first time in history that calligraphy theorists used the three concepts of rhyme, method and meaning to define the aesthetic orientation of calligraphy in the Jin, Tang and Song dynasties. These views have played a good role in explaining and guiding people in understanding and learning classical calligraphy. Dong Qichang was diligent in calligraphy and painting all his life and enjoyed a long life. Therefore, he has many works passed down from generation to generation. His representative works include "Bai Juyi's Pipa Xing","Yuan Keli's Poetry on the Sea Market","Three Dynasties Imperial Orders","Cursive Book of Poetry","Postscript to the Pieces of the Yanjiang River","Ni Kuanzan","Fu Book on the Front and Back Chibi", etc. Dong Qichang's representative paintings include "Painting of Pine Peak in the Nine Summer","Painting of Rock Residence","Painting of Eight Scenes in Autumn Prosperity","Painting of Dayjin Hall","Painting of Gao Yi","Painting of Snow and Rain in Guanshan","Painting of Water Village","Painting of Cliffs and Riversides","Painting of Empty Mountains and Clouds","Painting of Mountains and Waters","Painting of Mountains and Waters","Painting of Mountains and Waters" Heart of Mountains and Waters Mirror "," Painting of Mountains and Waters "," Heart of Mountains and Waters"," Painting of Mountains and Waters"," Heart of Mountains and Waters"," Painting of Mountains and Rivers and Waters". Extended reading: Kangxi Qianlong praised Dong Qichang's calligraphy Extended reading: Kangxi Qianlong praised Dong Qichang's calligraphy Dong Qichang (1555--1636) was a great calligrapher in the late Ming Dynasty, ranging from official to Minister of Rites. The plain and simple style of his calligraphy formed a generation of calligraphy styles and had a great influence on later calligraphy. Both Emperor Kangxi and Emperor Qianlong praised Dong Qichang's calligraphy, and used Dong Qichang's calligraphy as a script to practice it repeatedly. Emperor Kangxi praised: "Huating Dong Qichang's calligraphy is very different in appearance. Its high beauty and roundness are beyond the reach of many families..."Kangxi's calligraphy is almost entirely based on Dong Qichang's approach. Qianlong also often copied Dong Qichang's calligraphy, and there are still surviving works today. When Dong Qichang was young, he was not good at writing with calligraphy. At the age of 17, he took the exam with others and ranked second because of his poor handwriting. After suffering this setback, Dong Qichang secretly made up his mind, worked hard, practiced calligraphy diligently, and finally achieved success. Looking at Dong Qichang's calligraphy throughout his life, he mainly consisted of regular script, running script, and cursive script, among which running script was the highest attainments. He studied hard before the age of 50 and was influenced by the two kings and Huai Su. Personal style gradually develops between the ages of 50 and 70. After the age of 70, he integrated all families into one, simple and natural, embodying change and simplicity, and became his own family and became a master of a generation. Dong Qichang calligraphy Kangxi calligraphy Qianlong calligraphy