What's the price of Dong Qichang landscape painting?

Dong Qichang (1555- 1636) was born in Songjiang, Shanghai. Dong Qichang was born in poverty, but rose to the top in his official career. In A.D. 1589, 34-year-old Dong Qichang was promoted to Jinshi and began his career in the following decades. I worked as an editor and an official. Later, I became an official in Nanjing, a minister in the Ministry of Rites, a prince and a Taibao. He is extremely sensitive to politics. Whenever there is a sign of trouble, he resolutely resigns his post and returns to his hometown.

Dong Qichang is a very learned man, proficient in Zen, fine collection, poetry and works, good at painting and calligraphy and theory. He is a literary school in China and has been an outstanding artist for decades. He was the most outstanding and influential painter in the late Ming Dynasty. Dong Qichang's paintings are good at landscapes, paying attention to the traditional techniques of imitating others, pursuing a simple and naive style, and paying attention to the ink and rhyme. The ink color is distinct, elegant and elegant. "Painting History and Painting Essentials" commented: "Dong Qichang's mountains and rivers are full of trees and stones, flowing clouds and flowing water, full of lofty sentiments. Because the pen is elegant, it is the first in this dynasty. " Dong's paintings had a great influence on the painting circles in the late Ming and early Qing dynasties, and spread to the modern painting circles. For a long time, Dong Qichang's works have been sought after by big collectors at home and abroad.

Dong Qichang has collected four landscapes of Dong Yuan, such as Xiaoxiang Map, Journey to the Western Hills, Su Long Suburb Map and Summer Mountain Map, and lent them in the name of Siyuantang, as well as Li Sixun's Shu, Qiu Jiang Waiting for Crossing, Dong Yuan's Business Travel Map, Yunshan Map and Travel Notes of Autumn Mountain. Zhao Danian's summer mountain map, Zhao Ziang's Dongting II map, mountain water map, Wang Meng's autumn mountain map, Song people's atlas, etc. 18. It can be seen that Dong Qichang's collection is enough to make him proud of the present age.

Dong Qichang's calligraphy achievement is also very high. Dong's calligraphy attainments are the highest in cursive script, and he is also quite conceited about his regular script, especially small script. Although Dong Qichang was in the era when calligraphy was popular in Zhao Mengfu and Wen Zhiming, his calligraphy was not blindly influenced by these two calligraphy masters. His calligraphy combines the calligraphy styles of Jin, Tang, Song and Yuan, and forms its own system. His calligraphy style is elegant and ethereal, elegant and self-sufficient. The brush strokes are elegant and plain. Use a pen accurately, always keep a positive face, and rarely use a pen that is depressed and dull; In terms of composition, word for word, line for line, branch layout, density symmetry, and strive to catch up with the ancient law. Ink is also very particular, dry and wet, wonderful. Calligraphy in Dong Qichang can be said to be a masterpiece of ancient methods, and the "six styles" and "eight styles" were all refined by him. At that time, it was "famous abroad, lacking in size, spreading among the people, and competing for beauty." (Biography of Wen Yuan in Ming Dynasty). Until the mid-Qing Dynasty, Kangxi and Qianlong regarded Dong Shu as the imperial clan system, and they admired it. They even copied Dong Shu personally, often listed it on the right and watched it in the morning and evening. Kangxi once wrote a long postscript praising his ink: "Hua Ting Dong Qichang's calligraphy is very different. Its elegance and roundness are popular between Chu and Mo, which is beyond the reach of many scholars. Every time you are not careful, you will be unique, such as a breeze blowing and Wei Yun winding, which is quite natural. Taste its structural fonts, all from the Jin people. Gai spent most of his life in Getie, in Lanting and Shengjiao, and he got the method of moving his wrist, but it was clumsy and clever to turn his pen to hide the front. ..... Yan Zhenqing, Su Shi and Mi Fei are all good at eliciting their talents with grandeur and preciseness, but they are all Jin people. Zhao Mengfu is the second largest king. Its prosperity and origin are integrated, so it is necessary to copy the ideas of various schools, and the spirit of beauty and embellishment is unique. Cursive scripts are also arranged vertically and horizontally, which I appreciate very much. Its use of ink is wonderful, and the shade is unique. I copied the most, and every time I said that Tian Zi had excellent skills, it was not easy. " It is said that Kangxi also wrote "Shu Dong" by himself, which made Shu Donghong popular for a while, and there was a craze for Manchu people to learn from Shu Dong. For a time, the pursuit of fame and fortune almost always took Shu Dong as a shortcut to official career. On the occasion of Kangxi and Yongzheng, his calligraphy had a far-reaching influence, which was unmatched by other calligraphers.

Dong Qichang's calligraphy has always been evaluated differently. Praisers pour out their compliments. Wang Wenzhi, a famous scholar and calligrapher in Qing Dynasty, called Dong Qichang's calligraphy "a calligrapher's masterpiece". Xie Zhao called it "the pen of cooperation, which is often unprecedented." Zhou Zhi said that he was "invincible in six bodies and eight methods, surpassing the Soviet Union and entering the rice, while his style was forgetting me". But there are many critics of Dong Qichang, among which Bao Chen Shi and Kang Youwei are the most fierce. Bao Chen Shi said: "Writing is inevitable." . Kang Youwei's Two Ships in Guangyi sarcastically said: "Xiangguang (Dong Qichang), though famous, is like a Taoist priest who takes a break from food, indifferent and frugal. If the general's momentum is like a rainbow, the barrier is towering and the flag changes color, he will not dare to go down the mountain! "

Dong Qichang embarked on the road of calligraphy art in a very accidental opportunity. The reason is that my handwriting was not good during the exam, so I worked hard to become a famous artist. This is described in his "Essays on Painting a Zen Room", which also describes the process of learning books: he took the exam at the age of 17, and when Songjiang Magistrate Zhong marked the paper, he could have ranked him first because of his outstanding literary talent, but because of his poor handwriting on the paper, he changed the first place to the second place, and at the same time selected Dong Qichang's nephew Dong Wei as the first place, and his handwriting was better. This greatly stimulated Dong Qichang, who began to learn calligraphy. Dong Qichang recalled: "The county magistrate in Jiangxi put books in the second place and naturally became angry." Yan Pingyuan (Zhenqing) learned a lot of pagodas at first, and then changed to Yongxing (Shinan). He thought that the Tang Dynasty was not as good as the Wei and Jin Dynasties, so he copied Huang Tingjing's and Zhong Yuanchang's divination tables, Li Mingbiao's and Huan's and Bing Xie's posts. Every three years, I call myself forced to be ancient, and I am no longer put in the corner of my eye by Wen (Zheng Ming) and Zhu Xizhe (Yun Ming). "As can be seen from this passage, Dong Qichang has studied almost all the famous artists before, from Yan and Liu, from Huai Su to Mi Fei, until Zhao Mengfu in the Yuan Dynasty.

Dong Qichang did not leave a book on calligraphy, but his experience and opinions in practice and research are scattered in a large number of inscriptions and postscript. Dong Qichang has a famous saying: "Jin people's books take rhyme, Tang people's books take method, and Song people's books take meaning." This is the first time in history that calligraphy theorists defined the aesthetic orientation of calligraphy in Jin and Tang Dynasties with three concepts: rhyme, method and meaning. These viewpoints have played a good role in explaining and guiding people to understand and learn classical calligraphy. Dong Qichang was diligent in painting and calligraphy all his life and enjoyed a long life. Therefore, many works have been handed down, such as Pipa Xing by Bai Juyi, Imperial edicts of three generations, cursive poems, overlapping pictures and postscript of Yanhe River, Ni Kuanzan, and Fu Shu on the Red Wall before and after.