The Wiki articles on Bada Shanren both English and Chinese are rather simple. As I am interested in this artist I checked the China version of Wiki, Baidu-Baike. The article is profound. If you check the links you can find a vast view of background of him and his works. Baidu-Baike is Chinese only but Google awkward and often laughing (especially Chinese -> English) translation available. I modified the Google translation for reasonable reading with no laughing.
Zhu Da （朱耷）
Zhu Da (1626 - about 1705), formerly known as Zhu Tong (朱統), styled Ren'an (刃庵), numbered Bada Shanren (八大山人) , Xuege (雪個), Geshan (個山), Renwu (人屋), Daolang (道朗), etc., when he became a monk (first Buddhism then changed Taoism)(1), he was named Chuanqi (傳綮), Han nationality, from Nanchang, Jiangxi. A painter in the late Ming and early Qing dynasties, a master of Chinese painting of a generation. Ming remnants .
- Chinese name
- Zhu Da
- foreign name
- Zhu Da
- alias
- Bada Shanren
Xue Ge - Ge Shan
Ren Wu
Dao Lang -
-
-
- Country of Citizenship
- China
- nationality
- Han nationality
- Origin
- Nanchang (南昌), Jiangxi (江西)
- date of birth
- 1626 ( six years of Tianqi 天啓 )
- date of death
- About 1705 ( forty-four years of Kangxi 康熙 )
- Profession
- Profession: painter
- Major achievements: Pushing the art of Chinese ink and wash painting to a peak, it has a great influence on later generation
- place of birth : Nanchang (now Jiangxi)
- Belief: Buddhism
- representative works: " Water Wood Tsinghua Picture ", " Lotus and Water Bird Picture ", "Pine Stone Picture", etc.
- People's Department: Jiangyou Ministries
- to die 80 years old
- Character: Toan (刃庵)
- Spectrum name: Zhu Tong 𨨗
- Era: Late Ming and early Qing
1. Biography
Zhu Da, (zhū dā) One of the " Four Monks " in the late Ming and early Qing dynasties . The genealogical name Zhu Tong (朱統)𨨗 is the ninth grandson of Ning Xian Wang Zhu Quan (寧獻王朱權), the seventeenth son of Ming Taizu Zhu Yuanzhang (明太祖朱元璋). After King Ning assigned to Nanchang(南昌), the descendants of successive generations lived in Nanchang and other places, and were divided into eight branches . His grandfather , Zhu Duogang , was a poet and painter with a well-known landscape painting style of Er Mi (二米) (5) . His father , Zhu Mouyan , was good at landscapes, flowers and birds, and was well-known in Jiangyou (江右) (6) . Unfortunately, he died of a unknown disease in middle age. His uncle Zhu Mouyan was also a painter and author of "The History of Painting ". Zhu Da grew up in a clan family, and was nurtured by his father's art since he was a child. In addition, he was smart and eager to learn. He could write poetry at the age of eight, paint mountains and rivers at the age of eleven, and write Mijia Xiaokai with his wrist hanging (7) from his childhood.
In the seventeenth year of Chongzhen (崇禎), the Ming Dynasty fell. When Zhu Da was nineteen years old, his father passed away not long ago, and his heart was extremely depressed and angry. He pretended to be deaf and dumb, hid himself in the mountains and fields in order to preserve himself. In Zhu Da's paintings, you can often see a strange signature , which looks like a crane-shaped symbol,
but
it is actually composed of the four characters "March 19", in order to
express the deep feelings of nostalgia for the motherland (Jiashen (甲申) March 19 is Ming Dynasty). The day of the demise of the dynasty was also the death day of Emperor Chongzhen ). All his life he lived as a Ming remnant . In the fifth year of Shunzhi (順治) (1648), when his wife died, Zhu Da followed his mother and led his younger brother to become a monk. He went to Gengxiang Temple (耕香寺) in Fengxin County (奉新縣) , where he shaved his hair and became a monk . Since then, he changed his name to Xuege (雪個) . At the age of twenty-four, he was called a mountain (個山) and a mountain donkey（個山驢）. In the tenth year of Shunzhi (1653), when Zhu Da was twenty-eight years old, he welcomed his mother to Hongya Temple (洪崖寺) in Xinjian County (新建縣) . (在耕庵老人處受戒稱宗師，住山講經，隨從學法的一百多人。This part is missing in English. ) According to research, from the age of twenty-eight to thirty-six, Zhu Da lived with his mother and younger brother near Shengjin (gold rope) Pagoda at Fuzhou Gate (撫州門繩金塔) (Jinxian Gate, 進賢門) in Nanchang City (南昌市). At that time, there were many tea houses and wine shops there, and it was a place where working people lived together. Zhu Da lived a poor, unkempt life, and roamed here and there. Often liked to drink, but not much, often drunk. When he was drunk, he swiped a large brush, more than a dozen pictures at a time. Mountain monks, poor men, butchers, orphans asked for pictures, and they responded to their requests and gave them generously. When Zhu Da was thirty-six years old, he wanted to "find a freer place " and found Tianning (Taoist) Temple (天寧觀), fifteen miles outside of Nanchang. In the same year, he rebuilt Tianning Temple and changed its name to "Qingyunpu (青雲圃)". The word "Qingyun (青雲)" originally means according to the Taoist myth " Lu Chunyang (呂純陽) descends on a blue cloud = Qingyun (青雲)". And there is a saying that "the flying sword is inserted into the ground, and the laurel tree is planted according to the old rule", which is also the origin of the existing Tang Gui (唐桂) in this place. In the 20th year of Jiaqing (嘉慶) in the Qing Dynasty (1815), the champion Dai Junyuan (狀元戴均元) changed "Pu (圃) " to "Pu (譜)" to show that "Qingyun" passed down the genealogy . Qingyunpu (青雲譜) was originally a Taoist temple with a long history . Legend has it that more than 2,500 years ago, Prince Jin (ziqiao) 晉(字子喬), Prince of Zhou Ling (周靈王) , came here to start alchemy and create a dojo. In the Western Han Dynasty , Meifu (梅福), a county magistrate of Nanchang, abandoned his official status and lived here in seclusion, and later built the Meixian Temple (梅仙祠). In the Jin Dynasty (晉朝) , Xu Xun (許遜) also opened a Taoist temple here, and started the "Jingming (淨明)Religion", which was renamed "Tai Chi Guan (太極觀)", which is official called Jingming (淨明) Taoism. In the fifth year of Tang Taihe (唐太和) (831), the provincial governor Zhou Xun (周遜) 又易名為“太乙觀”) again changed the name to "Taiyi Guan (太乙觀)". In the second year of Song (宋) Zhihe (至和) (1055), it was named Tianning View (天寧觀). In the eighteenth year of Shunzhi (順治) in the Qing Dynasty (1661), Zhu Da came to visit the ruins of the sages. He appreciated the mountains and rivers here, so he rebuilt the original Taoist temple and renamed it "Qingyunpu". Since then, Zhu Da has become the founder of Qingyunpu . Later generations also established the tablet of the Merit Hall (功德堂) of "Founder Daolang (道朗) Name Liangyuewen (良月文) Name Bada Shanren Zhu Zhenren (朱真人)". Works of Bada Shanren
From the age of thirty-six to thirty-eight, Zhu Da traveled back and forth between Nanchang City and Qingyunpu. The reconstruction of Qingyunpu was presided over by his younger brother Zhu Daoming. Zhu Da officially settled in Qingyunpu, from the age of thirty-nine to sixty-two. He painstakingly managed the temple for more than 20 years. After spending thirteen years as a Buddhist, Zhu Da became the founder of a Taoist school. His life as a monk and a Taoist is not mainly based on religious belief, but to escape the political persecution of the Ming Dynasty clan by the Manchu nobles of the Qing Dynasty, so as to conceal and preserve himself.In the seventeenth year of Kangxi's reign, when he was fifty-three years old, Hu Yitang, the magistrate of Linchuan County, heard of his name and invited him to accompany his chief monk Rao Yupu to the official residence of Linchuan for more than a year. This made him very distressed and angry, so he pretended to be insane, tore the monk's uniform, and walked back to Nanchang alone.
More than a year later, he returned to Qingyunpu and spent his "Sixtieth Birthday" (8) here. When he was sixty-two years old, he stopped being an abbot, and handed over the Taoist temple to his Taoist disciple, Tu Ruoyu (塗若愚) . When Zhu Da was 60 years old, he began to write poems and paintings with the signature of "Bada Shanren". When he signed the inscription, he often combined the four characters of "Ba (八) da (大) Shan (山) ren (人)" together, as if the words "crying （哭）" and "laughing（笑）", with Entrust him with the pain of crying and laughing. His younger brother Zhu Daoming（道）, courtesy name Qiuyue （秋月）, is also a painter, with a style similar to that of his brother, but also bold and unrestrained . His calligraphy and painting are signed Niu Shihui （牛石慧）, and these three characters are written together in cursive script, which is very similar to the four characters of "do not worship the king （生不拜君）", expressing the mood of swearing to the Manchu Qing Dynasty. At the beginning of their two brothers' signatures, the characters of Zhu （朱）were separated, one used the character "ox" and the other used the character "eight（八）". Such an incognito, can be described as well-intentioned. Bada Shanren flower and bird painting
Zhu Da lived in Beizhu Temple （北竺寺）and Puxian Temple （普賢寺）etc in Nanchang City in his later years . The monk Tan Xue (澹雪) was the abbot of Beizhu Temple and had a close friendship with Zhu Da. Dan Xue was also good at calligraphy and had a stubborn personality. Later, because he angered Fang E (方峨), the magistrate of Xinjian , he was arrested and died in prison, saying that he was "arrogant and unremarkable". After Tan Xue's death, Beizhu Temple was destroyed soon. During this period, Zhu Da went out to travel, visited friends and painted, and there were a lot of paintings. This was a period when Zhu Da's creation flourished. Finally, on Chaowangzhou (潮王洲) on the outskirts of Nanchang , a thatched hut was built, titled "Naoge Grass (寤歌草)" . At that time, the poet Ye Dan （葉丹）once wrote a poem " Bada Shanren ", describing his living conditions here, "In a room singing when wake-up, the seat is full of dust, desolate and bleak, Artemisia
grasses make the door dark, the poems and paintings become Zen, and he
escapes from the worldly ambition, the nation collapsed but remain
mountains and water, the old house and garden of Qingmen (青門) is in the secluded place, and there is a man who grows melons." (9)
It was in this thatched cottage that Zhu Da spent his lonely and poor old age until his death. It is said that Zhu Da was buried in Yingjia Mountain (英家山), Yaowan (窯灣), on the outskirts of Nanchang, but when the tomb was moved after liberation, only some dead wood and iron nails were seen, but no bones were found, which may be his Cloth and Crown Tomb . Niu Shihui's (牛石慧) tomb is located in the South General Ridge of Qingyunpu. There is a jar of ashes in the tomb. After liberation, it was also relocated to Tuzhu Mountain (吐珠山) in Qingyunpu. According to the " New Jian (新建) County Chronicle" and "Xishan (西山) Chronicle", Zhu Da's tomb is located thirty miles northwest of the county, that is, the area of Houling (猴嶺) in Huangxi (璜溪) Commune, Xishan (西山). The exact location of the tomb is difficult to find.
Bada Shanren , common surname Zhu, real name Zhu Tong𨨗, later name Da. He was the seventh grandson of Zhu Dianyu (朱奠壏), the king of Rongzhuang (榮莊) , Yiyang (弋陽), Jiangxi Province . Born in the fourth year of Ming Dynasty (1624 AD), died in the forty-fourth year of Emperor Kangxi of the Qing Dynasty (1705), at the age of 81. From childhood was extremely wise and was able to do many things in his early iife. When the Ming Dynasty collapsed, he was 20 years old (became an adult) he pretended to be dumb. At the age of thirty-nine (10), he escaped to Fengxinshan Farming Fragrance Institute (奉新山耕香院) in Jiangxi Province, where he learned from prominent Master Hongmin (弘敏) and became a monk. He was named as Chuanqi (傳綮) as a Buddhist. As he already mastered 八大人(Ba Da Ren) 覺經, or analogy of in the four directions and four corners (Eight Big - Ba da 八大) , I am the greatest, and nothing is greater than me.” He also called his signature, and liked to use cursive script with strokes. Look at it, the two characters of the eight （八, Ba) big (大, Da) are like crying and laughing, and the two characters of mountain (山, Shan) man (人, Ren) are similar, and they are read together. All of them, like crying and laughing, are vaguely cynical. Other nicknames include Xue Ge (雪個), Ge Shan (個山), Ge Shan Donkey(個山驢), Donkey House (驢屋), Donkey Man (驢漢), Man House (人屋), Ren’an (刃庵,= Sward House), Shide (拾得, this from the Chinese legendary), Heyuan (何園 = He Garden), Luoyuan (洛園= Luo Garden), Huangzhuyuan (黃竹園 = Yellew Bamboo Garden), Shunian (書年 = Bool Years), Shuji (書疾 = Book Illness), Bahui (八還 = Eight Returns, Buddhist term), etc. Numerous.
After living in the mountains for twenty years, he was called as a master, and there were more than 100 followers. Afterwards, the Qing court issued a decree of erudition, and Linchuan (臨川) Region Chief Hu Yitang (胡亦堂) heard his name and invited him into the official residence. Since he did not like it he pretended as a mad man and returned to Nanchang. He often wore a cloth cap and dragged a long robe. When he was in a market place, he wore worn out shoes and his heels were exposed, and he fluttered his sleeves. Boys followed him and ridiculed him but he did not care. In his later years, he retired to Qingyunpu (青雲圃) and built Kuoge (寤歌) thatched cottage to live in. After his death, he was buried in Zhongzhuang,Xinjian County (新建縣中莊).
(the above part is partly duplicated as <1. Biography> already shows these and confusing. Also the following part of this section has nothing to do with the Name definition- sptt)
Jiangyin Shao Changheng (江陰邵長蘅) wrote " Bada Shanren Biography ". According to the art documents of Wang Aijun of Junyouhui (君友會王愛君 ) Shanren is good at calligraphy and painting, and he is good at poetry. Paintings are good in landscapes, flowers and birds, bamboo and wood, all of which did not follow the established ways, and got out of them. The brush strokes are free and easy, the ink patterns are full of interest, vigorous and round, creating a full of unworldly atmosphere.
His paintings of pine tree, lotus and stones are called as Divine Drade (Superb) , Reeds, Wild Ducks at water front Lu Yan Futing, Diving fish, Flying fish, all have the characteristics of extraordinary creatures,
which are beyond the reach of others. He first learned calligraphy by following Huang Tingjian (黃庭堅, 1045年－1105年) and Dong Qichang (董其昌, 1555–1636) and then those in Wei (魏) and Jin (晉) Dynasties. His calligraphy is elegant and natural and has taste of Zhong Yao (鍾繇,151年－230年, Wei Dynasty) and Wang Xizhi (王羲之, 303年－361年,
Jin Dynasty). 狂草尤怪偉；詩原有集帙，惜未流傳，存世題跋如吉光片玉，古雅可誦。(This part is missing in English. Literally, curving scripts are very strange but great. Poems were gathered originally in books but regrettably missing. The remaining ones shown in the paintings are precious, rendering old elegance for reciting. )
Shanren's
complexion is slightly shaggy, plump but less beard, likes to drink but
shallow, poor people, mountain monks, market slaughter, who have wine
to invite to go, drink noir, drink noir, get drunk, and runny nose when
drunk, or prepare for it. With pen and paper, you can draw with a hand,
and the ink will be dripping with dripping ink. You will inadvertently
swipe your wine, and it will be a cloud and a mountain, and it will be a
bamboo stone. Therefore,
those who ask for their paintings are mostly drunk, and most of them
are bought by the disciples of the mountain monk Tugu. If the
dignitaries exchange a few pieces of gold for a piece of wood and stone,
Qi will not give it, and this is the temperament. In
addition, he was a man of great heart, sang generously, and resisted
festivals with high righteousness. He was a descendant of the Ming
Dynasty all his life. He suffered from the overthrow of the society and
the fall of the country. Traces, pretending to be dumb, crying, laughing
and drinking, playing with pen and ink, to kill the life after the
catastrophe, people are crazy, but they don't know the sadness in their
hearts, so they are called paintings and calligraphy. Impressive and
huge.
Song Lian Shi Gu is called a divine product, Lu Yan Futing, diving fish flying wings, all have the characteristics of extraordinary creatures, which are beyond the reach of others; Huang Tingjian , Dong Qichang , a beginner in calligraphy.
After entering and leaving the Wei and Jin Dynasties, it is elegant and scattered, and it has won the charm of Zhongwang, and the wild grass is especially strange. Shanren's complexion is slightly shaggy, plump but less beard, likes to drink but shallow, poor people, mountain monks, market slaughter, who have wine to invite to go, drink noir, drink noir, get drunk, and runny nose when drunk, or prepare for it. With pen and paper, you can draw with a hand, and the ink will be dripping with dripping ink. You will inadvertently swipe your wine, and it will be a cloud and a mountain, and it will be a bamboo stone. Therefore, those who ask for their paintings are mostly drunk, and most of them are bought by the disciples of the mountain monk Tugu. If the dignitaries exchange a few pieces of gold for a piece of wood and stone, Qi will not give it, and this is the temperament. In addition, he was a man of great heart, sang generously, and resisted festivals with high righteousness. He was a descendant of the Ming Dynasty all his life. He suffered from the overthrow of the society and the fall of the country. Traces, pretending to be dumb, crying, laughing and drinking, playing with pen and ink, to kill the life after the catastrophe, people are crazy, but they don't know the sadness in their hearts, so they are called paintings and calligraphy. Impressive and huge.
Shanren has a self-titled landscape book, the poem says: "There are not many ink spots but many tears, and the mountains and rivers are still old mountains and rivers. The cross-flowing rivers, irregulzr shaped rocks, crossed twigged trees are left to pondered carefully in the literary forest."(“墨點無多淚點多，山河仍是舊山河。橫流薍石枒杈樹，留得文林細揣摩。)It is a portrayal of the integration of his career and art.
3. Major achievements
edit
There is a poem inscribed by Bada Shanren saying: " There are not many ink spots bit many tears , the mountains and rivers are still the old mountains and rivers . The cross water flow, the turbulent times, the tangled coconut trees are left to trace them in details ." (墨點無多淚點多，山河仍是舊山河。橫流亂世杈椰 (=［杈枒］樹枝縱橫雜出貌樹)，留得文林細揣摹. slightly different from the above.) This first sentence "There are not many ink spots. There are a lot of tears.” The Master said to himself, most succinctly speaking of the artistic characteristics of his paintings and the thoughts and emotions he embodied. Only by following the clues suggested by him we can truly understand and appreciate this painter’s great works of art. Due to the special background of his Ming Dynasty clan and the background of the times, Bada Shanren made his paintings not as straightforward as other painters , but through his obscure inscription poems and strange deformation paintings to express. For example, in his paintings of fish and birds, he uses only a few strokes, or elongates his body or compresses it into a ball. Especially the pair of eyes, which are sometimes oval, are not the eyes of fish and birds that we see in our daily life. In our daily life, the eyes of fish and birds are round, and the eyeballs do not move in the center. Bada Shanren's fish and bird's eyes can turn, and sometimes they roll their eyes and stare at people. The mountains and rocks he painted were not like the paintings of ordinary painters. They were perfectly round, big at the top and small at the bottom, and top-heavy. The trees he painted, with old dry branches, just a few twigs and leaves, could not pick out such a tree among the tens of thousands of trees in the forest. The landscapes, mountains, and bare trees he painted were crooked and desolate. If there was such a place, I don't think anyone would come here to settle down. Also, the poems , signatures and seals on his paintings are strange. For example, he called himself " Bada Shanren ", and many people have explained it, and scholars still have different arguments. He has a seal on one side, and the seal is carved. Some people say that it is composed of the four characters "Bada Shanren", while others take a cautious attitude and call it "clog-shaped seal" because it is shaped like a clog. As for the inscription poems on his paintings, many sentences are incomprehensible. However, the Bada Shanren clearly told us: "The coconut trees in the turbulent times are left for Wenlin (文林 = Literati world) to ponder carefully." He also said: "I want to see people interpreting pictures when I see them." He hoped that people could understand the meaning of his paintings. Therefore, after careful research, many scholars have found out a lot of real news from his paintings and words. For example, he has a painting and writing, which has been called a turtle-shaped painting for a long time, because its shape is particularly like a turtle. It was later found out that it was originally composed of the words "March 19", which happened to be the day when the last emperor of the Ming Dynasty, Chongzhen (崇禎) , committed suicide, marking the demise of the Ming Dynasty . Then, this painting is also a commemoration of the subjugation of the country. Bada Shanren lotus
In the 21st year of Emperor Kangxi's reign, he once painted an " Old Plum Tree " 《
古梅圖》
(12). The trunk of the tree is hollow, the horned roots are exposed, the bare branches of tree are sparsely decorated with a few flowers, as if the rest of his life has been weathered by wind, frost and lightning. There are three poems inscribed on it, the first one reads:
"Plum Blossom Wu Daoren (吳道人), and Zhai Zhai Mo (翟翟莫) has a blind date. In the north and south of Nanshan Mountain, old enough to burn fish and sweep away the dust."
“分付梅花吳道人，幽幽翟翟莫相親。南山之南北山北，老得焚魚掃虜塵。”
"Plum Blossom Wu Daoren" refers to the Yuan Dynasty Painter Wu Zhen (吳鎮), self-titled "Daoren (吳道人) or Plum Blossom Taoist". The words in the box were obviously deliberately cut out by collectors at that time or later to avoid the disaster of words . It is not difficult to guess that this word is not "Hu(虜)", that is, " captive " . The founders of the Qing Dynasty ruled the Central Plains with the Manchus, and these two words were the most taboo. In order to eliminate "Hu Chen (胡塵)" in the "Southern Mountains and the South Mountains and North Mountains", Zhu Da clearly expressed his thoughts of anti-Qing and restoring Ming . The second poem wrote:
"It's not time to get the book back. There was no land thin and sky fat. In the plum blossom painting, Sisi Xiao (思思肖), how the monk is like picking Wei."
“得本還時末也非，曾無地瘦與天肥。梅花畫裏思思肖，和尚如何如采薇。”
Two allusions are used in the poem, one is the remnant of the early Yuan Dynasty The painter Zheng Sixiao (鄭思肖) , who lived in seclusion in Wuxia (吳下) after the demise of the Southern Song Dynasty , painted orchids with exposed roots and did not paint slope soil. When asked why, he replied: "The land has been robbed, don't you know?" After the Zhou eradication of Yin (殷), 伯夷(uncle Yi)、叔齊(uncle Qi) were ashamed not to eat Zhou Su (周粟 = Zhou grain), and lived in seclusion in Shouyang Mountain (首陽山) to eat marigolds (薇) until he died of starvation. It turns out that the " Old Plum Tree " has exposed qiu roots and does not paint slope soil. It imitates Zheng Sixiao (鄭思肖) 's intention to paint orchids, implying that the land was robbed by the Qing people. The reason why he, a descendant of the Ming Dynasty clan, became a monk is just like Boyi (伯夷) ., Shu Qi (叔齊) eating marigolds (薇) in Shouyang Mountain, refused to surrender to the new dynasty. The country is ruined and the country is destroyed, and there is no hope of recovering the country. 康熙二十一年他曾經畫了一幅《
古梅圖》，樹的主幹已空心，虯根露出，光禿的幾枝杈椰，寥寥的點綴幾個花朵，像是飽經風霜雷電劫後餘生的樣子。其上題了三首詩，第一首寫道：
“分付梅花吳道人，幽幽翟翟莫相親。南山之南北山北，老得焚魚掃虜塵。”
“梅花吳道人”是指元代畫家
吳鎮，自號“梅花道人”。方框內的字，顯然是被當時或稍後的收藏者有意剜去，以避免
文字獄災禍。不難猜測，這個字不是“胡”，即是
“虜”。清代統始者以滿族入主中原，最忌諱的也是這兩字。要在“南山之南北山北”掃除“胡塵”，朱耷非常明確地表達了他的
反清復明思想。
第二首詩寫道：
“得本還時末也非，曾無地瘦與天肥。梅花畫裏思思肖，和尚如何如采薇。”
詩中用了兩個典故，一是元初遺民畫家
鄭思肖，在
南宋滅亡之後隱居吳下，畫蘭花露根不畫坡土，人問何故，他回答説：“土地都被人搶奪去了，你難道不知嗎？”二是殷遺民
伯夷、
叔齊在周滅殷以後，恥不食周粟，隱居
首陽山采薇而食，直至餓死。原來八大這幅《
古梅圖》虯根外露，也不畫坡土，是仿照
鄭思肖畫蘭之意，暗含着國土被清人所搶奪，他這個明代宗室子孫，之所以成了和尚，正如
伯夷、叔齊采薇首陽山那樣，不肯臣服於新王朝。
國破家亡，復國無望，這使他不能不“苦淚交千點”了。
Bada Shanren's inscription and painting poems are the key to unlocking his painting meaning , but it is difficult to understand, like a fog, and many scholars have made great efforts to decipher them (13). For example, in the "Jiazi Flowers and Birds Book"(甲子花鳥冊) written in the 23rd year of Kangxi's reign, the seventh page depicts a starling standing on a dead branch, and the inscription reads: "The kingfisher calls for brother, and Yuanyuan has changed. Starling speaks Sanguo, south There are few flying partridges."
“衿翠鳥喚哥，吭圓哥換了。八哥語三虢，南飛鷓鴣少。
This poem and painting is to ridicule the death of the 'Guo' (referring to Ming Dynasty), and the loyal ministers are like partridges. See you." That is to say, in addition to the general emotional expression of the collapse of the country, the works of Shanren sometimes refer to specific things. 經過引經據典考釋後結論説：“此詩畫是譏‘虢’（指
明）亡後，忠臣如鷓鴣之志切懷南，殊不多見。”這就是説，八大的作品，除了一般的國破家亡的情緒表達之外，有時還具體有所指。
周代所建的國：(1) 西虢。周文王之弟虢仲的封地，故址約在今陝西省寶雞縣。平王東遷，西虢徙至上陽，稱為「南虢」，故址在今河南省陝縣東南。 (2) 東虢。周文王之弟虢叔的封地，故址在今河南省滎陽縣。 (3) 北虢。虢仲後裔的封地，故址在今山西省平陸縣
"Melon Moon Picture" is also a referenced work. After the poem was inscribed, he recorded: "Ji Sirun is the result of painting on the fifteenth night of the eighth lunar month". Facing the full moon in the sky and eating moon cakes with every household in the world, his heart was touched, so what did he "get"? A poem inscribed on the painting says: "Looking at the cake on one side, the watermelon is on the full moon. Each refers to the moon cake, and the melon is ripe in the year of the donkey." According to the custom of eating moon cakes, some people said that the custom of eating moon cakes originated from the folk tales that the anti-Qing rebels passed the code of rebellion. Bada Shanren is looking forward to this day. But how many years do we have to wait? "The year of the donkey and the month of the horse" is a common saying, which means that there is no definite time, long time far away. If this is the case, then the hearts of Bada Shanren's great minds are not just the pain of the country's loss.
High degree of Ink freehand
Zhu Da's "Simple Sketches of Flowers and Birds"
Bada Shanren is good at freehand brushwork and is an epoch-making figure. In ink and wash freehand painting, there are differences between those who specialize in landscapes and those who specialize in flowers and birds, while Bada Shanren is good at both. His landscape paintings are close to Dong Qichang 董其昌, and far to Dong Yuan 董源, Ju Ran 巨然, Guo Xi 郭熙 , Mi Fu 米芾, Huang Gongwang 黃公望 and Ni Zan 倪瓚 . For example, in the 41st year of Kangxi's " Calligraphy and Painting Album " (collected by the Shanghai Museum), there are six landscape sketches, which shows that he was deeply influenced by Dong Qichang. , the ink method refers to the cloud mountain of Mi Fu 米芾 (米氏雲山), and the combination of some trees and stones is obviously taken from Ni Zan. However, when we appreciate these works, we strongly feel Zhu Da's individuality. The above-mentioned ancient rules are just something that he used at will to serve himself. Those mountains, stones, trees, grasses, as well as thatched pavilions, houses, etc., ware made carelessly, seemingly carelessly, picking them up at will, but the dry and wet shades, the spacious and the dense, the virtual and the real, the far and the close,the brush strokes, and the full artistic conception.. This state of incomprehension is a high degree of combination of emotion and skill, which makes artistic creation enter a realm of freedomCompared with landscape paintings, Bada Shanren's flower and bird paintings are more typical of his style and personality. In the 16th year of Shunzhi(順治) 's reign, "The Book of Sketches from the Biography " (collected by the Palace Museum, Taipei), and the " Ink Flower Scroll " ( collected by the Palace Museum, Beijing ), made in the fifth year of Kangxi's reign, are the eight major early works, from which we can see his ink and wash freehand flower and bird paintings The creation is deeply influenced by Shen Zhou (沈周) , Chen Chun (沈周), and Xu Wei ( 徐渭). His brushwork is square and rigid, and the subject matter and layout are not out of the predecessors' stereotype. If you don't seek the integrity of the image, it has foreshadowed his future development. The most prominent feature of Bada Shanren's flower and bird paintings is "less", in his words "cheap". Less, one is that there are fewer objects depicted; the other is that a brush is less used when shaping objects. For example, "Book of Flowers, Fruits, Birds and Insects" in the 31st yea of Kangxi (康熙), in his " Affair ", only painted one petal, and a total of seven or eight strokes made a painting. In the Bada, every fish, bird, chick, tree, flower, fruit, or even no painting with only one seal, can form a complete picture. It can be said that less to the point of the maximum less being irresistible. The predecessors said that "cherishing ink is like gold", and also said that "a little wins a lot", only the Bada Shanren has really achieved this. Bada Shanren "Ink Plum Map"
Less, maybe someone can do it, but less is not thin, less is not poor, less is not monotonous, less has taste and attractiveness (pleasing feeling), and through less, it gives viewers an infinite space for thinking, (不薄，少而不貧，少而不單調，少而有味，少而有趣，透過少而給讀者一個無限的思想空間) (14) which is difficult for anyone to do. Yes, Bada Shanren has the above requirements, and there are hidden meanings (connotations). The first is his work on brush and ink. His brush has changed from square and hard to round and soft, and the combination of saturated ink and brush strokes gives people a rich feeling at one stroke. He was the first painter to take full advantage of the characteristics of raw rice paper to enhance artistic expression. Raw rice paper has a strong water absorption capacity, and it is easy to spread the ink (blemish), which was originally a disadvantage, but the Bada Shanren turned it into an advantage, which not only opens up a broad prospect for ink-wash freehand painting, but also creates people's interest in ink-wash freehand painting. The new concept, its merit is immortal.
The second is the shaping of the image. Bada Shanren's flower and bird shapes are not simple deformations, but a close combination of shape and feeling, skill, and intention, so when we appreciate it, we will not feel thin and lonely.
The third is his layout, which pays special attention to the placement of a few objects in a two-dimensional space. The trick is to make full use of the white space, the so-called "white and black". At the same time, the functions of balance, symmetry, density, virtual and real in the layout of inscriptions, signatures, and seals should be fully mobilized. He is not like ordinary painters, who first painted well, and then inscribed and stamped at the right position, but had a general planning idea, so that every point plays a pivotal role in the layout, no more, no less, no luxurious, not frugal. For example, in the 33rd year of Kangxi's "Landscape Book of Flowers and Birds" ( collected by Shanghai Museum ), the first painting only painted a chick. The chicken is placed in the lower right corner of the picture. The center of gravity at this position divides the picture into four pieces of space. The size of each piece of space is different, balanced and varied. Since the head of the chicken is facing left, the title poem is placed in the second large space on the right, which makes the empty background instantly active, which visually breaks the balance and enriches the content. The portrayal of the chick is vivid, like a child just learning to walk, and the waddle is very cute. He stared at the front with wide eyes, especially with three strokes behind his eyes, like an electric wave, as if there was a sound coming from the front, making the chicken scared and timid. We can understand this little chick as it just came out of the eggshell, expressing surprise and vigilance to the world; it can also be understood as being lost in the group, unable to find its mother, feeling lonely and afraid, how to understand it, let people gallop and imagine wings, so sometimes I draw less, but I have more capacity for thinking. Less is not an end but a means, otherwise the less the better, and art will go into another evil path. Less is relative. For example, in the 42nd year of Kangxi’s reign, the painting “ Poultry Bathing with Willows and Willows ” ( collected by the Palace Museum , Beijing) is “more” than the above-mentioned works. Much less. For example, his treatment of willow branches has about a dozen strokes, occupying the upper part of the whole picture, not only showing the quality of the willow's old stems and new branches, but also showing the branches facing the wind. In the midst of the spring breeze, the myna will flutter its wings while washing its feathers. This small scene of life shows infinite business. " Flowers on the River " ( collected by the Tianjin Art Museum ), painted in the 16th year of Kangxi's reign, is the only long-form masterpiece that Bada Shanren has seen in his lifetime, and it is also the one with the most brushstrokes and the most complicated layout. in principle. For example, there are no more than thirty strokes in total for a bunch of lotus flowers that are opened. Bada Shanren, who inherited the ancients in the past, and those who inspired the future. Baishi （齐白石）once wrote in a poem: "Qingteng 青藤 ( Xu Wei 徐渭) , 雪個 (Bada Shanren) are far from the fetus, and
Fou Lao 缶老（
吳昌碩）
was talented in those days. I an a running dog iunder these three artist." Today, with the exchange of Eastern and Western cultures, more and more people appreciate and understand his art.
Work style
artistic features
His paintings are famous for their freehand brushwork with large brushstrokes, and are good at splashing ink, especially in flower and bird paintings. In terms of creation, the method is natural, the brush and ink are concise, magnificent, and unique, creating a high and profound style.
Bada Shanren is good at painting landscapes , flowers and birds. In his paintings, the brushwork is unrestrained, not composed, vigorous and round, full of ease, and the rules and regulations are not complete. His flowers and birds are not calculated on how many or small / big, but focus on the status and momentum of the layout. And it is made by being spontaneous, making unexpected surprise, and skillfellness. This is his three-way winning method. If he finds inadequacies in the layout of his paintings, he sometimes makes up for them with the use of signature. Bada Shanren can write poetry, and his calligraphy is exquisite, so even if his painting is not much, with his poem or poems, the artistic conception is sufficient. His paintings make people feel small but much ad deep, which is artistic ingenuity.
Bada Shanren can moisturise and cleanse by dry rubbing. Therefore, the paintings are both "unrestrained", and the Bada Shanren are not the same as others, but the same is "moisturizing", and the Bada Shanren is different from others. Like picturesque fish and birds, he once made the appearance of "looking at people", expressing his cynicism. The painting style of flowers and birds can be divided into three periods.
Before the age of 50, when he was a monk, it belonged to the early period. The signatures "Chuanqi"傳綮, "Geshan"個山, "Donkey"驢 and "Man's House"人屋 were mostly painted on vegetables and fruits, flowers, pine and plums. A category of themes, with volumes as many. The pictures are finer and more precise, and very powerful.
From the age of 50 to 65 years old, the painting style gradually changes. He likes to paint fish, birds, grass and insects, and animals. The images are exaggerated and cut with straight strokes. The beaks and eyes of animals and birds are mostly square, and their faces are oval. The top is big and the bottom is small, and it is precarious. Birds and birds perch on one foot and hang one foot.
After the age of 65, it is the late period, and the art is becoming more and more mature. The brush strokes became Pu Mao (朴茂 = simple and strong ) and majestic, the shape is extremely exaggerated, the eyes of fish and birds are circled a little, and the eyeballs are over the eyes, a look of "white eyes to the sky". Some of the birds in his paintings are very stubborn, even if there is not much ink, they show the birds fluttering, making people feel that they cannot be touched, and they can fly when they are touched. Some birds shrank their fists and feet, showing a state of being bullied and unyielding, and they were more concise in composition and brushwork. These image formations are undoubtedly the portrayal of the painter himself, that is, "indignation and elegy, worry and indignation in the world, and one by one in the pen and ink". In his poem titled Huang Gongwang (黃公望) 's landscape poems, he wrote: "Guo Jiaxuan has a small cloud head 郭家皴法雲頭小 , and Dong Lao has a lot of bark trees 董老麻皮樹上多. He wants to see people's interpretation of pictures, and Yifeng is also with Songshan River 一峯還與宋山河. It shows his national consciousness.
八大山人乾擦而能滋潤明潔。所以在畫上同是“奔放”，八大山人與別人放得不一樣，同是“滋潤”，八大山人與別人潤得不一樣。如畫魚、鳥，曾作“白眼向人”之狀，抒發憤世嫉俗之情。其花鳥畫風，可分為三個時期，50歲以前為僧時屬早期，署款“傳綮”、“個山”、“驢”、“人屋”，多繪蔬果、花卉、松梅一類題材，以卷冊為多。畫面比較精細工緻，勁挺有力。50歲至65歲為中期，畫風逐漸變化，喜繪魚、鳥、草蟲、動物，形象有所誇張，用筆挺勁刻削，動物和鳥的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鳥多棲一足，懸一足。65歲以後為晚期、藝術日趨成熟。筆勢變為朴茂雄偉，造型極為誇張，魚、鳥之眼一圈一點，眼珠頂着眼圈，一幅“白眼向天”的神情。他畫的鳥有些顯得很倔強，即使落墨不多，卻表現出鳥兒振羽，使人有不可一觸，觸之即飛的感覺。有些禽鳥拳足縮頸，一副既受欺又不屈的情態，在構圖、筆墨上也更加簡略。這些形象塑造，無疑是畫家自的寫照，即“憤慨悲歌，憂憤於世，一一寄情於筆墨”。他在題黃公望山水詩中寫道：“郭家皴法雲頭小，董老麻皮樹上多。想見時人解圖畫，一峯還與宋山河。表現出他的民族意識。
The paintings of Bada Shanren had little influence at that time, and only Niu Shihui and Wan Ge were the ones who passed on their methods, but they had far-reaching influence on the paintings of later generations. His freehand brushwork is different from Xu Wei , Xu Wei is unrestrained and able to let go, and Bada Shanren is strict and able to let go. The "Eight Eccentrics of Yangzhou" in the mid-Qing Dynasty, the "Shanghai School" in the late period and the modern Qi Baishi , Zhang Daqian , Pan Tianshou , Li Kuchan and other great masters are all influenced by it. Scholar Huang Jinxiang praised it: "The writing skills are amazing!" Critic Wang Jinyu said: "If you really understand the Eight Great Eccentrics, you will find that although the Eight Eccentrics of Yangzhou have different styles and extraordinary achievements, they add up to the final result. It is no match for one of the Eighth Congress.” [10] 八大山人的畫在當時影響並不大，傳其法者僅牛石慧和萬個等人，但對後世繪畫影響是深遠的，他的藝術成就主要一點，不落常套，自有創造。他的大寫意，不同於徐渭，徐渭奔放而能放，八大山人嚴整而能放。清代中期的“揚州八怪”，晚期的“海派”以及現代的齊白石，張大千、潘天壽、李苦禪等巨匠，莫不受其薰陶。學者黃錦祥贊其：“筆筆精奇妙不言！”評論家王進玉説：“如果你真正讀懂了八大，你會發現雖然揚州八怪風貌各異，且成就非凡，但他們加在一起卻終究抵不過一個八大。”
[10]
The old man Hongya simmered the concubine, and plucked out the cold and gray hands to add the forehead.
Who knocked on the door in the snow, willing to hold a squatting owl to serve guests.
The world's most beautiful flower king, the picture pushes the distinguished guests.
If you don't meet the old flower teacher, Ander spends a moment.
"Lotus"
The lotus flower on the east bank is higher than the light boat.
The concubine's heart is like leaves and flowers, and the strange bottom of the galaxy refuses to flow.
artistic personality
Bada Shanren's poems are full of mystery and irony because of their quirky and austere style, and have always been puzzling. In general, all the inscriptions and poems written by the Bada Shanren before the age of 57 are characterized and tended to use calligraphy and painting to express their thoughts and moral integrity, often combining Zen language and historical allusions in the poems. Therefore, the poems are obscure and convoluted. For example , in the "Painting Lake Stones" in "The Book of Sketches from the Biography ": it takes a waist to break, but the tail of the lenga is broken: there is no axe chisel, which is not shocking. Another example is "Tips Broken Branches Plum" in the "Plum Blossom Atlas" written at the age of 52: for the past 30 years, the wine flag has shaken in the wind. The Broken Bridge Moss is unparalleled, its color is like apricot blossoms today. This poem describes the poet's character and integrity almost as if he were himself. However, after returning to the secular world at the age of 57, the style and characteristics of his poetry and prose showed the appearance of "winning without fear" and boldly surpassing his predecessors and himself. During this period, many insightful poems and prose emerged in the Eighth Congress. For example, in the inscriptions of "Calligraphy Landscape Album", there are two inscriptions on "Painting and Painting", and the clear proposal of "Calligraphy and painting" is unprecedented of.
It can be considered that the outstanding artistic achievements of Bada Shanren in his later years were closely related to the change of the style and characteristics of poetry and prose in the later period. Just as the Eighth Congress in the "Calligraphy Landscape Album" questioned the question: "Is the essay not the calligraphy and painting of the human world?" It is the quintessence of the poems of the Eighth Great Later Years.
literacy number
Zhu Da has many characters, names and aliases. He is named Zhu Tong, also known as Zhu Da . After becoming a Taoist priest, he lived in the " Qingyun Spectrum ". After entering the Qing Dynasty, his name was hidden, and when he cut his hair and became a monk, he took the legal name Chuanji, the word was Renian, and he was 55 years old in Kangxi Gengjia (1680). No. Snow began at 41 years old and ended at 55 years old. The name Geshan was first seen at the age of 46, and until the age of 59, he also had the names of donkey, donkey house, and human house. People's house and donkey house are used at the same time, and the characters used before the age of 60 still have the names of Fabori, Diandian, Chunhan, Qixuena, sleeping house, Hongxuan, etc. Zhu Da is a monk's name, "Da" is a common spelling of the word "donkey". As for the name of Bada Shanren, he took it after he abandoned the monk and returned to the secular world. From the age of 59 to his death at the age of 80, the previous characters were abandoned. Need not. When he signed his paintings, he often wrote "Eight Great" and "Shanren" together vertically. The first two characters are similar to the character "crying" and the character "laughing", and the last two characters are similar to the character "zhi". He was loyal to the Ming Dynasty all his life, regarded himself as a remnant of the Ming Dynasty, and refused to cooperate with the Qing Dynasty. He has a poem "boring, laughing and crying" to express the feeling of the loss of the motherland and the feeling of not knowing whether to laugh or cry.
monk period
The paintings of Bada Shanren during this period were mainly sketch paintings. For example, "Watermelon", "Taro", "Pomegranate", "Daffodils", "Insects" and so on. The general characteristic of Bada Shanren's works during this period is realism. A small insect, a leaf, are all drawn vividly. However, expressing emotions is not enough. Therefore, Bada Shanren is not satisfied with these works. He believed that too realism affected the expression of emotion, and he fell into deep depression for this.
period of conflict
Bada Shanren returned to Nanchang. Later, we don’t know what major changes have taken place in Bada Shanren’s life at this time. Bada Shanren went crazy. After more than a year of recuperation, he returned to normal and began to write and paint again. career. At this time, the life of Bada Shanren took a turning point. It is manifested in: First of all, he makes a living by selling paintings. Second, he began to use the name "Bada Shanren", referring to himself as "Donkey" or "Donkey House". Again, he didn't speak. In his big book, the word "dumb" was pasted on the door. In the end, he became even more hostile to the officials who took refuge in the Qing Dynasty.
The general characteristic of Bada Shanren's paintings during this period is the very explicit and straightforward expression of emotion, which is too straightforward.
artistic maturity
During this period, Bada Shanren painted many birds and birds, expressing contempt, hatred, contempt, contempt, glaring and other emotions. In short, as complicated emotions as Bada Shanren have, birds have as complicated emotions.
The ducks in "Fish and Duck" have wide-eyed eyes. The Chinese say that looking at people with green eyes means respect; looking at people with white eyes means hatred. "Lotus Kingfisher". This bird, with its head bowed and eyes closed, was standing on an isolated reed pole, but it was content and content, as if there was no one else around. That is contempt.
Today we look at Zhu Da's paintings, each of which is very individual. The blue and white eyes, the curled bird, and the proud lotus in the painting are all quite vivid. You can see the loneliness and arrogance of the Bada Shanren hidden in the painting. And cynicism , this kind of remnant feeling of a lost country and a foreign land is in his paintings. I think this is what differentiates him from all painters. After all, such family hatred and hatred can only be experienced by those who have experienced it.
Zhu Da's paintings are highly regarded in the East, especially in Japan, and have aroused great repercussions in the world painting circles, such as: " Peacock Bamboo and Stone ", " Lone Bird ", " Sleeping Duck ", " Cat Stone and Miscellaneous Flowers ", and "Lotus Pond Playing Birds", "Flowers on the River with Inscriptions", "Fish and Ducks", " Lotus and Fish Music ", " Miscellaneous Flowers ", " Willow Bathing Birds ", "Hibiscus and Reeds", "Dashi" Scroll of Swimming Fish, Scroll of Double Eagle, Scroll of Ancient Plum, Scroll of Mosong , Scroll of Autumn Lotus , Scroll of Banana , Bamboo, and Stone, Scroll of Deer , Scroll of Sunny in Fast Snow, Scroll of Quietness River Rafting Chart Axis", "Four Frames on Silk and Light Red Landscape Large Screen", etc., many banners, flowers, birds, fish and ducks, landscapes, trees, rocks, etc. in the album. In terms of calligraphy, there are "Linlan Pavilion Preface" and "Four Screens of "Linhe Narrative", as well as various Buddhist scriptures and cursive poetry scrolls, all of which are collected in museums and courtyards at home and abroad. Zhu Da's paintings and calligraphy, including few novels, poetry and literature, are no longer available. The "Lone Wild Goose" by Bada Shanren in Qing Dynasty The vertical scroll on paper is now in the collection of Jinling Tiandu Building The auction of some works of Zhu Da in the art investment market:
" Heron Stone ", 2008, sold for 33 million at the Bandung auction in Beijing. " Vase of Chrysanthemum ", 2008, China Guardian auction, the transaction price was 31.36 million yuan (excluding commission). In the early summer of 2018, a total of four seals, including the seals of "Xue Na" and "Chuan Tiao", the five-sided seal of Liu Yuanjian and the bronze seal of "Yuzhang Xijing Taoist" were accidentally discovered at the site of Gengxiangyuan (Temple) in Fengxin County, Jiangxi Province. , collected in Fengxin County Cultural Relics Management Office. It has been rated as a national first-class cultural relic. [18]
The ninth grandson of Zhu Quan, the seventeenth son of Zhu Yuanzhang , the first emperor of the Ming Dynasty ; his younger brother, Niu Shihui (Zhu Daoming is the Taoist name), is also a painter.
character controversy
editSome people say that Zhu Da is not the Bada Shanren, but Zhu Daolang
Bada Shanren, whose original name was Zhu Da, was the ninth grandson of Zhu Quan, the ninth generation of King Xian of Ming Ning. After the fall of the Ming Dynasty, he became a monk in Nanchang. In 1959, in order to commemorate Zhu Da, the Nanchang Municipal People 's Government established the predecessor of the Bada Shanren Memorial Hall - the Bada Shanren Painting and Calligraphy Exhibition Room. [11]
Bada Shanren Memorial Hall Qingyunpu is a garden with Jiangnan characteristics. In the park, hundreds of years old camphor trees, saffron trees, and Arhats pine with green leaves and green leaves are covered with green bricks, gray tiles, white walls and red pillars, making it very quiet. The skylight sifted by the dense leaves sprinkled on the path, the light and dark flickered, and the wildness was full of fun. A curved lotus pond is clear and clean, reflecting the cages of bamboo, the fish playing, and the shadows of flowers swaying. The clear stream outside the park meanders, the farmland beside the stream is vertical and horizontal, and the farmhouse smokes from the smoke, just like a fairyland on earth. The Bada Shanren Memorial Hall is located in Qingyunpu , beside the Dingshan Bridge of Meihu Lake, which is fifteen miles away in the southern suburb of Nanchang, Jiangxi with a long history and beautiful scenery. . At the end of the Western Han Dynasty, Nanchang Wei Meifu once abandoned his officials to fish here, and later generations built the " Mei Xian Temple" to worship it. During the Eastern Jin Dynasty, Xu Xun began to control the flood, and he started to advocate the Taoist " Jingming School " and built the "Tai Chi Temple". In the second year of Song Zhihe, it was renamed "Tianning View", and it was renamed "Qingyunpu" in the 18th year of Shunzhi in the Qing Dynasty. The layout of the houses in the spectrum is mainly composed of Guandi Hall, Luzu Hall and Xuzu Hall . In 1957, it was designated as a provincial key cultural relics protection unit. In 1959, it was turned into the Bada Shanren Memorial Hall , displaying the paintings and calligraphy works of the Bada Shanren. Bada Shanren was an outstanding painter in the late Ming and early Qing dynasties. His surname is Zhu and his name is Da, the monk's name is Geshan and Chuanqi, and his nickname is Bada Shanren . After the fall of the Ming Dynasty, he became a monk with an unyielding attitude towards the Qing Dynasty. After returning to the secular world, he built his own shabby house "Naoge Thatched Cottage" in Nanchang City, and spent his old age in loneliness and poverty. Bada Shanren has unique achievements in art. He is famous for his ink and wash freehand paintings, and is especially good at flower and bird painting. The composition of the picture is meticulous and the artistic conception is broad; the brush and ink are clear and pure, dripping and hearty; the object and shape are aimed at imagery, the brush is concise and comprehensive, and the form and spirit are both present, reflecting the thoughts and feelings of loneliness and loneliness. His calligraphy makes good use of light ink and bald pen, which is smooth, subtle and restrained, round and mellow, and also works in seal carving. His poems are mostly quiet and quaint. Over the past three hundred years, he has been well-known in the painting world, and painters such as "Eight Eccentrics of Yangzhou ", Wu Changshuo, and modern painters such as Qi Baishi , Zhang Daqian , Pan Tianshou , and Li Kuchan have all been influenced by him to varying degrees. Bada Shanren (Zhu Da) became a remnant from Prince Ming Dynasty, suffered the pain of the country's collapse and family collapse, and became a monk one after another. Characters and paintings have become a thought-provoking legend in the painting circle. The Bada Shanren, who love the country and their hometown, will stick to them all their lives, and their character is the highest, and they will become the demeanor of future generations. Bada Shanren's calligraphy and painting art, which spans time and space, releases huge artistic energy and radiates bright artistic light. Bada Shanren, who is well-rounded in art, has left us extremely precious poems. In addition to chanting, we take this opportunity to feel the eloquent words of poets three hundred years ago, and bring back the passing light. In 1985, Bada Shanren was named one of the top ten cultural celebrities in ancient China by UNESCO. In today's painting world, there are many schools of thought, competing with each other, and each exhibiting splendid splendor. The exhibition of contemporary flower and bird masters in this museum is a development of the artist's deviance at the level of feeling and intuition. A group of highly qualified experts and scholars have found themselves in the inheritance and innovation of the eight painting styles from a special epiphany, and many of their works are unforgettable.
The Qingyun Spectrum , a famous garden in the south of the Yangtze River , has gone through the Zhou, Western Han, Eastern Jin, Tang, Song, Yuan, Ming, and Qing dynasties. It is the only well-preserved birthplace of Jingming Taoism in Jiangxi. The building shows the vicissitudes of the years, roaming through it, and feeling the profound connotation of the mysterious Taoist culture for more than 2,000 years. There are many desirable cultural relics in Qingyunpu Taoist Institute: Wanli Ancient Well, Xianren Bridge , Jingming Zhenjing, Hechao Milliju, Xizhimochi, Zhujingtongyou, Lingyunlai Pavilion, Eight Tombs, etc. The taste of secluded ancient times is unforgettable. The ancient Qingyun spectrum is a green pearl inlaid in the southern suburbs of the city. In the spring and spring, black tea and peach blossoms compete for beauty, the lotus is full in the summer, the osmanthus is fragrant in the three autumns, and the cold plums are in bloom in the severe winter. The tree has been praised as the treasure of the town courtyard by the literati and writers of all dynasties. The longest existing double-sided monument corridor in Nanchang. More than 120 paintings and calligraphy works created by the mind reveal the extraordinary pen and ink career of Bada Shanren. The corridors that change scenes and the ingenious stone carving craftsmanship bring the audience a refreshing aesthetic feeling. [12] The 2012 film " Bada Shanren " tells the story of Zhu Da, the "Bada Shanren", in the most cruel era of the " literary prison " in the Qing Dynasty, sticking to his painting personality, having the courage to fight against the powerful, and treating money as dung. The story of the noble sentiment . [13] In 2018, Nanchang City, Jiangxi held the "Bada Shanren Art Festival". [14-15]
"Without a donkey, a new-born rabbit. Ai broke through the door and was at a loss. Don't be sad for the people in the world, and don't know the way in the end. Now, let's go through the kudzu dew cloth, duh I! In the 13th year of Emperor Kangxi, Jiayin (1674), Bada Shanren was 49 years old. On the second day after the Pu Festival, Huang Anping, a friend of Bada Shanren, wrote a portrait for him. In the Mid-Autumn Festival of the 17th year of Emperor Kangxi's Wuwu (1678), he wrote "Small Statue of a Mountain", which is the poem quoted above, and there are five other topics. To understand the deep connotation of the emotions expressed in this group of self-titled poems titled "Small Statue of a Mountain", we need to think in a broad historical background, and then we can realize why he mostly used Zen language to express his mysterious emotions that are difficult to express. . The year before the completion of "Small Statue of a Mountain", that is, the 12th year of Kangxi (1673), the " San Francisco Rebellion " broke out. It was not until the 20th year of Kangxi (1681) that the 8-year war ended. In the middle, the Qing court sent a large number of troops to fight in several provinces to suppress. In the 13th year of Emperor Kangxi (1674), which is the year when "Small Statue of a Mountain" was completed, Geng Jingzhong and Shang Zhixin responded to Wu Sangui and raised troops one after another. Wu Sangui's troops entered Jiangxi and attacked Yuanzhou . Geng Jingzhong was defeated in Jinhua, Yazhou, Fuzhou and other places in August.
name change discussion
edit
The original name of Bada Shanren was Zhu Da. Note that Babie has one less ox than Zhu, and Dabie has one less ear. Niuer in ancient times refers to a person with power. If you remove the cow's ear, the power will disappear, and you will become a desperado. .
(1) he became a monk (first Buddhism then changed Taoism)
This changee was not serious. Even today most Chinese people are Buddhist as well as Taoist depending on the situation in their life except their funeral ceremony which is either Buddhism style or Taoism style , not both.
(2) Huang Tingjian (黃庭堅, 1045年－1105年)
Huang Tingjian is a well known calligrapher originated from Jianxi.
3) Flowers
and birds are mainly freehand brushwork with ink and wash, with
exaggerated and peculiar images, condensed brushstrokes and strong
chains (3)
The Biade-baike Chinese is much longer.
花鳥以水墨寫意為主，形象誇張奇特，筆墨凝鍊沉毅，風格雄奇雋永
<chains> is an error.
Flowers and birds are mainly freehand brushwork with ink and wash, with exaggerated and peculiar images, brushwork with ink / wash condensed (and refined), deep and strong，style majestic and timeless taste.
4) (landscape painting method adopted Dong Qichang (1555–1636) 山水師法 董其昌).
Google translation does not mention his landscape paintings.
(5) Er Mi (二米)
Mi Fu 米芾 (1051-1107), a calligrapher and painter in the Northern Song Dynasty and his son Mi You Ren 米友仁. Mi Fu 米芾 is a famous calligrapher and painter. If you see some his works you can find why he has so many many followers. Since this is about Bada Shanren I do not talk about him here.
The arts (calligraphy, paintings, pottery, etc) was at very high level in China history.
Roughly Jiangxi (江西) area with connotation of its culture.
Mijia is 米家, that is a Mi Fu 米芾 way (calligraphy). Xiaokai is 小楷 小楷 is small regular letter writing (calligraphy) and usually made a wrist on the table. Wrist Hanging is a wrist not touched on the table but hanging in the air. With a wrist hanging it is difficult to write small regular letters.
Wrist hanging - the right side
The other explanation - Pillow Wrist, Wrist Hanging, Elbow Hanging
Pillow Wrist - least powerful fro small letters, Wrist Hanging, Elbow Hanging
Wrist Hanging - in between Pillow Wrist and Elbow Hanging
Elbow Hanging - very powerful for large letters
Anyway Bada Shanren already mastered high technique of calligraphy in his childhood. His
flowers and birds paintings made by freehand brushwork with ink and wash, with exaggerated and peculiar images, were made after his age 60s. Quite a long time had passed. These paintings are based on his mastered high technique of calligraphy (brush stroke movements) and long experiences.
(8) "Sixtieth Birthday" is special birthday in China.
(9) Poem
It is very difficult to translate into English as it is made by / with a huge background of Chinese poetry culture.
"In a room singing when wake-up, the seat is full of dust, desolate and bleak, Artemisia
grasses make the door dark, the poems and paintings become Zen, and he
escapes from the worldly ambition, the nation collapsed but remain
mountains and water, the old house and garden of Qingmen (青門) is in the secluded place, and there is a man who grows melons."
“一室寤歌處，蕭蕭滿席塵，蓬蒿叢户暗，詩畫入禪真，遺世逃名志，殘山剩水身，青門舊業在，零落種瓜人。”
寤 (wù) wake up
Related very old poem (an hermit singing when wake up)
銅盤
澗水旁擊盤而歌，隱者無憂無懼。
獨言獨語，樂土樂土。
山坡上擊盤而歌，隱者無牽無掛。
獨飲獨飯，到處是家。
山丘上擊盤而歌，隱者自在從容。
獨睡獨醒，樂趣幾人能懂？
Translated by Fu-Shiang Chia
Singing alone beside a mountain creek, his brass gong keeps tempo.
The wise gentleman has no worry and no fear.
Talking to himself, answering himself.
Happy land, happy land.
Singing alone at the foot of a hill, accompanied by his brass gong.
The wise gentleman has left human affairs behind.
Cooking by himself, eating by himself, with no fixed abode.
Peace has found his soul.
Singing alone on a rocky mound, tapping his brass gong.
The wise gentleman steeps in tranquility.
Sleeping by himself, waking by himself.
This happiness: how many people can comprehend
寤 (wù) wake up (sober)
蓬蒿：Artemisia
叢 (cóng): bush
殘山剩水(cán shān shèng shuǐ) 意思是指國家領土大都淪陷後殘餘的部分；也比喻未被消除而剩下來的事物。出自《陪鄭廣文遊何將軍山林》。 - the nation collapsed but remain
mountains and water (this is a very well known phrase in China.)
舊業(jiù yè) Those made in the past / an old house with a garden
Qingmen (青門): Retired, secluded place
(10) At the age of thirty-nineThis is a mistake. He became a Buddhist monk when he was much younger (in the year 1648 = 20 -22 years old) as stated above. The name Bada Shanren first appeared in his works was about when he was
thirty-nine years old.
(11) “墨點無多淚點多，山河仍是舊山河。橫流薍石枒杈樹，留得文林細揣摩。
I have found a good modern painting showing this.
https://baike.baidu.hk/item/%E5%8F%A4%E6%A2%85%E5%9C%96
This is true and because Bada Shanren refers to the old (often not very polar) stories, Even the origial Chinese are difficult to understand it is impossible to translate them into English like this poems part shows.
less is not thin, less is not poor, less is not monotonous, less has taste and attractiveness (pleasing feeling), and through less, it gives viewers an infinite space for thinking, (不薄，少而不貧，少而不單調，少而有味，少而有趣，透過少而給讀者一個無限的思想空間)
趣(qu) is a key word for appreciating paintings in general. It is not <interest> but attractiveness (pleasing, fascinating feeling) raised by a painting as a whole.
朱耷
朱耷（1626年—約1705年），原名朱統，字刃庵，號
八大山人、雪個、個山、人屋、道朗等，出家時釋名傳綮，漢族，
江西南昌人
。明末清初畫家，中國畫一代宗師。
明遺民。
朱耷是明太祖
朱元璋第十七子
朱權的九世孫，明亡後削髮為僧，後改信道教，住南昌
青雲譜道院。擅書畫，早年書法取
法黃庭堅 。花鳥以水墨寫意為主，形象誇張奇特，筆墨凝鍊沉毅，風格雄奇雋永；山水師法
董其昌，筆致簡潔，有靜穆之趣，得疏曠之韻。擅書法，能詩文，用墨極少。
- 中文名
-
朱耷
- 外文名
-
Zhu Da
- 別 名
-
八大山人
雪個
個山
人屋
道朗
- 國 籍
-
中國
- 民 族
-
漢族
- 籍 貫
-
江西南昌
- 出生日期
-
1626年（天啓六年）
- 逝世日期
-
約1705年（康熙四十四年）
- 職 業
-
畫家
- 主要成就
-
將中國水墨寫意畫藝術推向高峯，對後世影響極大
- 出生地
-
南昌（今屬江西）人
- 信 仰
-
佛教
- 代表作品
-
《水木清華圖》《荷花水鳥圖》《松石圖》等
- 民 系
-
江右民系
- 享 年
-
80歲
- 字
-
刃庵
- 譜 名
-
朱統𨨗
- 所處時代
-
明末清初
人物生平
朱耷（zhū dā）
明末清初畫壇“
四僧”之一。譜名朱統𨨗，為
明太祖朱元璋的第十七子寧獻王
朱權的九世孫子。寧王改封
南昌後，歷代子孫世居南昌等地，共分八支，
八大山人是
弋陽王七世孫。其祖父
朱多炡是一位詩人兼畫家，山水畫風多宗法
二米，頗有名氣。父親
朱謀覲，擅長山水花鳥，名噪
江右，可惜中年患暗疾去世，叔父
朱謀垔也是一位畫家，著有《
畫史會要》。朱耷生長在
宗室家庭，從小受到父輩的藝術陶冶，加上聰明好學，八歲時便能作詩，十一歲能畫青山綠水，小時候還能懸腕寫米家
小楷。
八大山人“三月十九”鶴形簽押
崇禎十七年，
明朝滅亡。朱耷時年十九，不久父親去世，內心極度憂鬱、悲憤，他便假裝聾啞，隱姓埋名
遁跡空門，潛居山野，以保存自己。在朱耷的畫幅上常常可以看到一種奇特的
簽押，彷彿像一鶴形符號，其實是以“三月十九”四字組成，藉以寄託懷念故國的深情（甲申三月十九日是明朝滅亡的日子，亦是
崇禎帝忌日）。
[8]
一生以
明遺民自居。
順治五年（1648年），他妻子亡故，朱耷便奉母帶弟“出家”，至
奉新縣耕香寺，剃髮為
僧，自此改名
雪個。
[3]
二十四歲時，更號個山和個山驢。順治十年（1653年），朱耷二十八歲時，又迎母至
新建縣洪崖寺，在耕庵老人處受戒稱宗師，住山講經，隨從學法的一百多人。有人考證，朱耷從二十八歲到三十六，曾帶着母親和弟弟住在南昌市
撫州門（進賢門）外
繩金塔附近。當時此地茶室酒肆甚多，是
勞動人民聚居之處。朱耷生活清貧，蓬頭垢面，徜徉於此。常喜飲酒，但不滿升，動輒酒醉。醉時，大筆揮毫，一揮十多幅，山僧、貧士、屠夫、孤兒，向其索畫，有求必應，慷慨相贈。
朱耷三十六歲時，想“覓一個自在場頭”，找到南昌城郊十五里的天寧觀。就在這一年，他改建天寧觀，並更名為“青雲圃”。“青雲”兩字原是根據道家神話“
呂純陽駕青雲來降”的意思。並有用“飛劍插地，植桂樹規定舊基”的説法，這也是該處現存
唐桂的由來。清嘉慶二十年（1815年），狀元
戴均元將“圃”改為“譜”，以示“青雲”傳譜，有牒可據，從此改稱“
青雲譜”。
青雲譜原是一處歷史悠久的
道院。相傳在二千五百多年前，
周靈王太子晉（字子喬）到此開基煉丹，創建道場，“煉丹成仙”。
西漢時南昌縣尉梅福棄官隱居於此，後建
梅仙祠。晉朝
許遜治水也在此開闢道場，始創“淨明宗教”，易名為“太極觀”，從此正式形成道統，屬淨明道派。唐太和五年（831年），刺史周遜又易名為“太乙觀”。宋至和二年（1055年），又敕賜名為天寧觀。清
順治十八年（1661年），朱耷前來訪求先賢遺蹟，很賞識這裏的山川風景，於是在原有道院基礎上進行重建，並改名為“青雲圃”。從此，朱耷便成了青雲圃的
開山祖師。後人還建立了“正開山祖道朗號良月文號
八大山人朱真人”功德堂的牌位。
八大山人作品
朱耷從三十六歲至三十八歲時，往返於南昌城與青雲譜之間，青雲譜的重建由其弟朱道明主持。朱耷正式定居青雲譜，約在三十九歲以後至六十二歲。他苦心孤詣經營這所
道院，歷時二十多年。朱耷在度過了十三年的佛教徒生涯後，又成了一所道院的開山祖師。他的亦僧亦道的生活，主要不在於宗教信仰，而是為了逃避清朝滿洲貴族對
明朝宗室的政治迫害，藉以隱蔽和保存自己。
康熙十七年他五十三歲時，臨川縣令胡亦堂聞其名，便延請他隨其僧長饒宇樸等到臨川官舍作客年餘。這使他十分苦惱鬱憤，遂佯為瘋癲，撕裂僧服，獨自走回南昌。
一年多後，他又回到
青雲譜，並在這裏度過“花甲華誕”。當他六十二歲時，不再做住持，便把道院交給他的道徒
塗若愚主持。
朱耷六十歲時開始用“八大山人”署名題詩作畫，他在署款時，常把“八大山人”四字連綴起來，彷彿象“哭之”、“笑之”字樣，以寄託他哭笑皆非的痛苦心情。其弟朱道明，字秋月，也是一位畫家，風格與乃兄相近，而且還要
粗獷豪放。他的書畫署名為
牛石慧，把這三個字草書連寫起來，很象“生不拜君”四字，表示了對滿清王朝誓不屈服的心情。他們兩兄弟署名的開頭，把個朱字拆開，一個用“牛”字，一個用“八”字。這樣隱姓埋名，可謂用心良苦。
八大山人花鳥畫
朱耷晚年常住在南昌城內北竺寺、
普賢寺等地。僧友澹雪為北竺寺
方丈，與朱耷交誼很深。澹雪亦善書法，性格倔強，後來因觸怒了
新建縣令方峨，説他“狂大無狀”、被抓進監獄，死在獄中。澹雪死後，北竺寺不久被毀。這段時間，朱耷外出雲遊，訪友作畫，畫作頗多，這是朱耷創作旺盛時期。最後在南昌城郊潮
王洲上，搭蓋了一所草房，題名為“寤歌草”。當時詩人
葉丹曾作《
八大山人》詩一首，描寫他在這裏的生活情況，“一室寤歌處，蕭蕭滿席塵，蓬蒿叢户暗，詩畫入禪真，遺世逃名志，殘山剩水身，青門舊業在，零落種瓜人。”
朱耷就是在這所草屋中度過了他孤寂、貧困的晚年，直至去世。一説朱耷葬於南昌城郊窯灣了英家山，但解放後遷墓時，僅見一些朽木鐵釘，未見骸骨，可能是他的
衣冠冢。牛石慧墓在青雲譜南將軍嶺，墓中有骨灰一罐，解放後亦遷葬於青雲譜內吐珠山。另據《
新建縣志》《西山志》載：朱耷墓在縣西北三十里即今西山璜溪公社的猴嶺一帶。墓葬確在何處，已難查考了。
八大山人
八大山人，俗姓朱，本名朱統𨨗，後名耷。為明江西
弋陽榮莊王
朱奠壏七世孫。生於明
天啓四年（公元一六二四年），卒於清康熙四十四年（一七○五），享年八十一歲。幼負性絕慧，早事諸生業。明亡，甫弱冠，佯裝喑啞。三十九歲，遯跡江西奉新山耕香院，從穎學弘敏大師學，薙髮為僧，釋名傳綮，曾藏八大人覺經，遂自號八大山人，或謂寓“四方四隅，皆我為大，而無大於我也”；又謂其署名，喜以草書連綴筆畫，視之，八大二字有似哭字笑字，山人二字有似之字，合而讀之，類哭之笑之，皆隱約有玩世之意。其它別號，尚有雪個、個山、個山驢、驢屋、驢漢、人屋、刃庵、拾得、何園、洛園、黃竹園、書年、書疾、八還等，不一而足。居山二十年，稱宗師，從學者百餘人。其後，清廷詔舉博學鴻詞，臨川令胡亦堂聞其名，迎入官舍，心不願就，佯發狂疾，走還南昌。自是常戴布帽，曳長袍，倘佯市肆間，履穿踵決，拂袖蹁躚，兒童後隨譁笑，亦不之顧，與人不言不語。晚年，歸隱青雲譜，築寤歌草堂以居。死後，葬於新建縣中莊。江陰邵長蘅為撰“
八大山人傳”。依君友會王愛君美術文獻載，山人精書畫，又善詩。畫長於山水、花鳥與竹木，皆能不泥成法，脱出蹊徑，山水皴筆無多，意境幽邃，花鳥竹木水墨點漬，形象奇特，俱得古之破墨法，以簡省勝，筆情縱恣，墨趣橫溢，蒼勁圓晬，逸氣迥出。松蓮石固稱神品，蘆雁鳧汀、潛魚飛翼，亦無不極生物之致，洵非他人所可企及；書法初學
黃庭堅、
董其昌，後出入魏晉，典雅蕭散，深得鐘王氣韻，狂草尤怪偉；詩原有集帙，惜未流傳，存世題跋如吉光片玉，古雅可誦。山人面色微頳，豐下而少髭，好飲而量淺，貧士山僧、市井屠沽、有具酒邀請輒往，往輒飲，飲輒醉，醉輒歔欷流涕，或備紙筆，牽袂捉矜索畫，則墨瀋淋漓，不經意揮酒，忽作雲山，忽作竹石，無所愛惜。故求其畫者，多索之醉中，且多就山僧屠沽之徒購得，若顯貴以數金易一木石，蘄不予，性情如此。又其為人襟懷浩落，慷概嘯歌，抗節高義，一生以明室宗裔，痛遭社稷顛覆、國土淪亡之變，悲憤慷概，汨浡鬱結，無所發泄，於是蹈隱高蹤，佯狂裝啞，哭笑杯酒，遊戲筆墨，以消磨劫後生涯，人目為狂，而不知其內心之悲苦，故發為書畫，正西人所謂血淚之交逬，感情之昇華者，感人至深且巨。
山人有自題山水冊，詩云：“墨點無多淚點多，山河仍是舊山河。橫流薍石枒杈樹，留得文林細揣摩。”足為其生涯與藝術交融之寫照。
八大山人有一首題畫詩説：“
墨點無多淚點多，山河仍是舊山
河。橫流亂世杈椰樹，留得
文林細揣摹。”這第一句“墨點無多淚點多”，夫子自道，最言簡意賅地説出了他繪畫藝術特色和所寄寓的思想情感，只有沿着他所提示的這條線索，我們才能真正地理解和欣賞這位畫家的偉大藝術作品。
晦澀的痛苦
八大山人書畫(19張)
八大山人由於他明朝宗室的特殊身世，和所處的時代背景，使他的畫作不能像其它畫家那樣
直抒胸臆，而是通過他那
晦澀難解的題畫詩和那種怪怪奇奇的變形畫來表現。例如他所畫的魚和鳥，寥寥數筆，或拉長身子，或緊縮一團，傾是而非。特別是那對眼睛，有時是個橢圓形，都不是我們生活中所看的魚、鳥的眼睛，生活中魚、鳥的眼睛都是圓圓的，眼珠子在中央也不會轉動。八大山人的魚、鳥的眼珠子都能轉動，有時還會
翻白眼瞪人哩。他畫的山石也不像平常畫家畫那個樣子，渾渾圓圓，上大下小，頭重腳輕，他想擱在哪裏就在哪裏，也不管它是不是穩當，立不立得住。他畫的樹，老幹枯枝，僅僅幾個杈椰，幾片樹葉，在森林中幾萬棵樹也挑不出這樣一棵樹來。他畫的風景、山、光禿禿的樹，東倒西歪，荒荒涼涼，果真有這麼個地方，我想誰也不肯到這裏來安家落户。
還有，他畫上的題詩、簽名和印章，也是怪怪的。例如他自號“
八大山人”，解釋的人很多，至今學者們還有不同爭論。他有一方印章，印文刻作 ，有人説它是由“八大山人”四字組成，有的人則持慎重態度，稱之為“屐形印”，因為它的形狀像只木屐。至於他畫上的題詩，許多句子更是令人難解。
然而，八大山人明確地告訴我們：“橫流亂世杈椰樹，留得文林細揣摩”。又説：“想見時人解圖畫”。他是很希望人們能夠理解他的畫中之意的。因此許多學者經細心的研究，從他的畫意和字裏字間，探聽出許多真消息。例如他有一個畫押寫作
，很長時間人們一直稱它為龜形畫押，因為其形狀特別像一隻烏龜。後來才看出，原來是由“三月十九日”幾個字變形組成，這恰好是明代最末一個皇帝
崇禎自殺的日子，標誌着
明朝的滅亡。那麼這個畫押，也就表示對
亡國的紀念。
八大山人荷花
康熙二十一年他曾經畫了一幅《
古梅圖》，樹的主幹已空心，虯根露出，光禿的幾枝杈椰，寥寥的點綴幾個花朵，像是飽經風霜雷電劫後餘生的樣子。其上題了三首詩，第一首寫道：“分付梅花吳道人，幽幽翟翟莫相親。南山之南北山北，老得焚魚掃虜塵。”“梅花吳道人”是指元代畫家
吳鎮，自號“梅花道人”。方框內的字，顯然是被當時或稍後的收藏者有意剜去，以避免
文字獄災禍。不難猜測，這個字不是“胡”，即是
“虜”。清代統始者以滿族入主中原，最忌諱的也是這兩字。要在“南山之南北山北”掃除“胡塵”，朱耷非常明確地表達了他的
反清復明思想。第二首詩寫道：“得本還時末也非，曾無地瘦與天肥。梅花畫裏思思肖，和尚如何如采薇。”詩中用了兩個典故，一是元初遺民畫家
鄭思肖，在
南宋滅亡之後隱居吳下，畫蘭花露根不畫坡土，人問何故，他回答説：“土地都被人搶奪去了，你難道不知嗎？”二是殷遺民
伯夷、
叔齊在周滅殷以後，恥不食周粟，隱居
首陽山采薇而食，直至餓死。原來八大這幅《
古梅圖》虯根外露，也不畫坡土，是仿照
鄭思肖畫蘭之意，暗含着國土被清人所搶奪，他這個明代宗室子孫，之所以成了和尚，正如
伯夷、叔齊采薇首陽山那樣，不肯臣服於新王朝。
國破家亡，復國無望，這使他不能不“苦淚交千點”了。
八大山人題畫詩，是解開他畫意的
鑰匙，然幽澀難解，如迷如霧，許多學者都下過一番功夫進行破釋。例如康熙二十三年所作《甲子花鳥冊》，其中第七頁畫一隻八哥站在枯枝上，題詩曰：“衿翠鳥喚哥，吭圓哥換了。八哥語三虢，南飛鷓鴣少。”此詩之意，
香港中文大學饒宗頤教授經過引經據典考釋後結論説：“此詩畫是譏‘虢’（指
明）亡後，忠臣如鷓鴣之志切懷南，殊不多見。”這就是説，八大的作品，除了一般的國破家亡的情緒表達之外，有時還具體有所指。《瓜月圖》亦是件有所指的作品，在題詩之後他記錄説：“己巳潤八月十五夜畫所得”。面對着天上的圓月，和人間家家户户吃月餅，他的心被觸動了，那麼他“所得”是什麼呢？畫上題詩曰：“眼光餅子一面，月圓西瓜上時。個個指月餅子，驢年瓜熟為期。”有人根據吃月餅的風俗來源於反清義軍傳遞起事暗號的民間故事，説八大在期盼着這一天到來。然而卻要等到何年（驢年）呢？“驢年馬月”是俗語，表示遙無定期。果真如此，則八大的心跡，就不只是徒有國亡餘痛了。
水墨寫意高峯
朱耷《簡筆花鳥》
八大山人長於
水墨寫意，為其劃時代的人物。 在水墨寫意畫中，又有專擅山水和專擅花鳥之別，八大山人則兩者兼而善之。他的山水畫，近師
董其昌，遠法
董源、
巨然、
郭熙、
米芾、
黃公望、
倪瓚諸家。例如康熙四十一年所作《
書畫冊》（上海博物館藏）共畫了六幅山水小品，就可以看出深受董其昌的影響，其遠筆的圓潤則有着董、巨和黃公望的遺蹤，墨法參照了
米氏雲山，而某些樹石的組合形式，顯然取自倪瓚。但是，我們在欣賞這些作品時，卻又強烈地感覺到朱耷的個性，上述那些古人的法則，不過是他隨手拈來為自己服務的。那些山、石、樹、草，以及茅亭、房舍等，逸筆草草，看似漫不經心，隨手拾掇，而乾濕濃淡、疏密虛實、遠近高低，筆筆無出法度之外，意境全在法度之中。這種無法而法的境界，是情感與技巧的高度結合，使藝術創作進入到一個自由王國。
比起山水畫來，八大山人的
花鳥畫創作，更具有他風格個性的典型性。
順治十六年所作《
傳綮寫生冊》（台北故宮博物院藏），和康熙五年作的《
墨花捲》（
北京故宮博物院藏），是八大早期作品，從中可以看到他的水墨寫意花鳥畫創作，深受
沈周、
陳淳、
徐渭的影響，其用筆較方硬，題材、佈局也未脱離前人窠臼，但是畫中所表現出的兀傲之氣，以及不拘一格的大膽剪裁，如不求物象的完整性，卻已預示着他的未來的發展。
八大山人花鳥畫最突出特點是“少”，用他的話説是“廉”。少，一是描繪的對象少；二是塑造對象時用筆少。如康熙三十一年所作《花果鳥蟲冊》，其《
涉事》一幅，只畫一朵花瓣，總共不過七、八筆便成一幅畫。在八大那裏，每每一條魚，一隻鳥，一隻雛雞，一棵樹，一朵花，一個果，甚至一筆不畫，只蓋一方印章，便都可以構成一幅完整的畫面，可以説少到不可再少了的程度。前人所云“惜墨如金”，又説“以少少許勝多多許”，只有八大才真正做到了這點，可謂前無古人，後難繼者。
八大山人《墨梅圖》
少，也許能有人作到，但是少而不薄，少而不貧，少而不單調，少而有味，少而有趣，透過少而給讀者一個無限的思想空間，這是難有人作到的，八大山人卻具備瞭如上的要求，這裏大有文章。首先是他在用筆用墨上的功夫。他的用筆由方硬變圓潤，飽和墨汁與運筆的方法相結合，一下筆就給人以渾厚豐富之感。他是第一個充分主動利用生宣紙特性以加強藝術表現力的畫家。生宣紙的吸水能力強，容易使墨汁擴散（洇），這本來是缺點，而八大卻把它變為優點，不但為水墨寫意畫開闢了一個廣闊的前景，而且也創造了人們對水墨寫意畫的新觀念，其功不朽。
其次是形象的塑造。八大山人的花鳥造型，不是簡單的變形，而是形與趣、與巧、與意的緊密結合，所以我們在欣賞時，就不會感到單薄和寂寞。再次是他的佈局，特別講究少許物象在二維空間中擺放的位置。其訣竅是充分利用空白，即前人所謂“計白當黑”。與此同時，並充分調動題跋、署款、印章在佈局中的均衡、對稱、疏密、虛實等的作用。他不像一般畫家那樣，先畫好畫，然後在恰當的位置題款和押印，而是有總體的規劃設想，使每一點都在佈局中起到舉足輕重的作用，不多，不少，不奢侈，不節約。例如康熙三十三年所作《花鳥山水冊》（
上海博物館藏），第一幅僅畫一隻雛雞。小雞置於畫面中右偏下，這一位置的重心，將畫面分割成四大塊空間，每塊空間的大小都不一樣，平衡而有變化。由於小雞頭部方向朝左，故題詩在右第二大塊空間中，使空蕩的背景頓時活躍起來，視覺上起到突破平衡和內容豐富的作用。小雞的刻畫生動傳神，動態像小孩剛學走路，
蹣跚得十分可愛。瞪着大眼警惕着前方，特別是眼後加三撇，像電波一樣，好似前方有什麼聲響傳來，使小雞心驚膽怯。這隻小雛雞我們可以理解為它剛出蛋殼，表示出對這個世界的驚異與警惕；也可以理解為走失了羣體，找不到媽媽，感到孤獨而害怕，如何理解，任人們馳騁想象的翅膀，所以有時候少畫，反而思想的容量更大。
朱耷作品
少，不是目的而是手段，否則越少越好，藝術又會走入另一條邪徑。少是相對的，例如康熙四十二年所作的《
楊柳浴禽圖》（
北京故宮博物院藏），相對上述作品來説是“多”了，但比起一般畫家處理同類題材的作品來，卻少了許多許多。例如他對柳枝的處理，約有十二筆，就佔住了整個畫面上部的空間，不但表現出楊柳的老幹新枝的質，也表現了枝條迎風的勢。在春風料峭之中，八哥在洗刷自己的羽毛將振翅欲飛。這一生活小景，表現出無限的生意。康熙十六年所作的《
河上花圖》（
天津藝術博物館藏），是八大山人一生作品中僅見的長篇鉅製，也是他筆墨最多、佈局最複雜的一幅，但他仍然體現着少的原則。例如開卷的一叢荷花，總共超不出三十筆，筆減而意繁，一開卷便引人入勝。
八大山人，前承古人，後啓來者。
白石老人曾有詩曰：“青藤（
徐渭）雪個（八大山人）遠凡胎，缶老（
吳昌碩）當年別有才。我原九泉為走狗，三家門下轉輪來。”其傾倒如此。今天隨着東西方文化的交流，欣賞和理解他藝術的人越來越多。
作品風格
藝術特色
繪畫以大筆水墨寫意著稱，並擅於潑墨，尤以花鳥畫稱美於世。在創作上取法自然，筆墨簡煉，大氣磅礴，獨具新意，創造了高曠縱橫的風格。
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八大山人作品
八大山人善畫
山水和花鳥。他的畫，筆情恣縱，不構成法，蒼勁圓秀，逸氣橫生，章法不求完整而得完整。他的一花一鳥不是盤算多少、大小，而是着眼於佈置上的地位與氣勢。及是否用得適時，用得出奇，用得巧妙。這就是他的三者取勝法，如在繪畫布局上發現有不足之處，有時用款書雲補其意。八大山人能詩，書法精妙，所以他的畫即使畫得不多，有了他的題詩，意境就充足了，他的畫，使人感到小而不少，這就是藝術上的巧妙。
八大山人乾擦而能滋潤明潔。所以在畫上同是“奔放”，八大山人與別人放得不一樣，同是“滋潤”，八大山人與別人潤得不一樣。如畫魚、鳥，曾作“白眼向人”之狀，抒發憤世嫉俗之情。其花鳥畫風，可分為三個時期，50歲以前為僧時屬早期，署款“傳綮”、“個山”、“驢”、“人屋”，多繪蔬果、花卉、松梅一類題材，以卷冊為多。畫面比較精細工緻，勁挺有力。50歲至65歲為中期，畫風逐漸變化，喜繪魚、鳥、草蟲、動物，形象有所誇張，用筆挺勁刻削，動物和鳥的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鳥多棲一足，懸一足。65歲以後為晚期、藝術日趨成熟。筆勢變為朴茂雄偉，造型極為誇張，魚、鳥之眼一圈一點，眼珠頂着眼圈，一幅“白眼向天”的神情。他畫的鳥有些顯得很倔強，即使落墨不多，卻表現出鳥兒振羽，使人有不可一觸，觸之即飛的感覺。有些禽鳥拳足縮頸，一副既受欺又不屈的情態，在構圖、筆墨上也更加簡略。這些形象塑造，無疑是畫家自的寫照，即“憤慨悲歌，憂憤於世，一一寄情於筆墨”。他在題黃公望山水詩中寫道：“郭家皴法雲頭小，董老麻皮樹上多。想見時人解圖畫，一峯還與宋山河。表現出他的民族意識。
八大山人的畫在當時影響並不大，傳其法者僅牛石慧和萬個等人，但對後世繪畫影響是深遠的，他的藝術成就主要一點，不落常套，自有創造。他的大寫意，不同於
徐渭，徐渭奔放而能放，八大山人嚴整而能放。清代中期的“揚州八怪”，晚期的“海派”以及現代的
齊白石，
張大千、
潘天壽、
李苦禪等巨匠，莫不受其薰陶。學者
黃錦祥贊其：“筆筆精奇妙不言！”評論家
王進玉説：“如果你真正讀懂了八大，你會發現雖然揚州八怪風貌各異，且成就非凡，但他們加在一起卻終究抵不過一個八大。”
[10]
詩詞作品
洪崖老夫煨榾柮，撥盡寒灰手加額。
是誰敲破雪中門，願舉蹲鴟以奉客。
天下豔花王，圖中推貴客。
不遇老花師，安得花頃刻。
《荷花》
東畔荷花高出頭，西家荷葉比輕舟。
妾心如葉花如葉，怪底銀河不肯流。
藝術個性
八大山人
八大山人的詩文因其古怪
幽澀的格調而充滿了神秘性和諷刺性，向來為人所費解。
總的來説，八大山人57歲以前所有書畫作品上的題畫詩文，總體特徵和傾向是借書畫抒發自己的遺民思想、人品氣節，往往將
禪家遏語和歷史典故雜糅在詩文之中，因而詩文隱晦曲澀。如《
傳綮寫生冊》中的《題畫湖石》：擊碎需彌腰，折卻楞伽尾：渾無斧鑿痕，不是驚鬼神。又如52歲作的《梅花圖冊》中的《題折枝梅》：三十年來處士家，酒旗風裏一枝抖。斷橋荒蘚無人間，顏色於今似杏花。這首詩，幾乎像作自似的描述了詩人的人品和氣節。
而八大57歲還俗後,其詩文的風格特點則呈現出以“無懼為勝”，大膽超越前人和自我的面貌。這一時期八大有許多真知灼見的詩文湧現，如《書法山水冊》的題識之中，就有“畫法兼之畫法”兩節題文，而“書法兼之畫法”的明確提出，則是前無古人的。
可以認為八大山人晚年藝術上的傑出成就，在很大程度上與後期詩文風格特點的轉變是密切相關的。正如八大在《書法山水冊》中一節題識反問：“文章非人間世之書畫也耶？”八大晚年詩文的突出特點，就是建立在其藝術觀與人生觀相互統一的基礎上，這也正是八大晚年詩文的精髓。
款識字號
八大山人《山水畫》
朱耷的字、號、別名特別多，他譜名朱統，又名朱耷，號八大山人、
雪個、個山、個山驢、人屋、良月、道朗等。後做道士，居“
青雲譜”。入清後隱其姓名，削髮為僧時取法名傳綮，字刃庵，用到康熙庚甲（1680年）55歲。號雪個始於41歲，用到55歲。號個山始見於46歲，直到59歲，他還有驢、驢屋、人屋等號，驢款最早見於56歲，最晚是58歲。人屋、驢屋同時使用，60歲以前使用的字，號尚有法堀、掣顛、純漢、綮雪衲、卧屋子、弘選等。朱耷為僧名，“耷”乃“驢”字的俗寫，至於八大山人號，乃是他棄僧還俗後所取，始自59歲，直至80歲去世，以前的字均棄而不用。其於畫作上署名時，常把“八大”和“山人”豎着連寫。前二字又似“哭”字，又似“笑”字，而後二字則類似“之”字，哭之笑之即哭笑不得之意。他一生對明忠心耿耿，以
明朝遺民自居，不肯與清合作。他有詩“無聊笑哭漫流傳”之句，以表達故國淪亡，哭笑不得的心情。
出家為僧時期
八大山人在這個時期的繪畫，主要是寫生畫。例如，《西瓜》《芋頭》《石榴》《水仙》《草蟲》等等。八大山人這個時期作品的總的特點就是
寫實
。一個小蟲，一片葉子，都畫得栩栩如生。但是，對情感的表現是不夠的。所以，八大山人對這些作品是不滿意的。他認為，太過於寫實，影響了情感的表現，他為此陷入深深的苦悶之中。
還俗矛盾期
八大山人回到了南昌，以後，我們不知道八大山人這時的生活發生了什麼重大的變化，八大山人瘋了，後來經過一年多的調養，才恢復正常，又開始了作書作畫的生涯。
這時，八大山人生活發生了轉折。表現在：首先，他靠賣畫維持生計。其次，他開始使用"八大山人"這個名字，稱自己為"驢"或"驢屋"。再次，他不説話了。他大書一個“啞”字貼在門上。最後，他對投靠清朝的官吏更仇視了。
八大山人在這個時期繪畫的總的特點是 對情感十分露骨、率直的表現，過於直白 。
藝術成熟期
八大山人 《孤雁》 紙本立軸金陵天渡樓收藏
這個時期，八大山人畫了許多禽鳥圖，表達了蔑視，仇視，傲視，逼視，怒視等情感。總之，八大山人有多麼複雜的情感，鳥兒就有多麼複雜的情感。
《魚鴨圖》那些鴨子，睜着大大的白眼。中國人説，
青眼看人，是表示尊重；而
白眼看人，是表示仇視。
《荷花翠鳥圖》。這隻鳥，低着頭，閉着眼，雖然立在孤立的蘆葦杆上，但怡然自得，旁若無人，不管不顧，好像在養神。那是蔑視。
今天我們看朱耷的畫，每一幅都極具個性，畫中的青白眼、蜷縮的鳥、傲然屹立的荷花，都相當傳神，你看得出八大山人藏在畫中的孤寂、高傲和憤世嫉俗，這種亡國異鄉的遺民之情在他的畫中，想來這就是他區別於所有畫家的地方，畢竟這樣的家仇國恨只有經歷過的人才能體會。
朱耷作品
朱耷的畫作在東方尤其在日本備受推崇，並在世界畫壇引起了很大的反響，如：《
孔雀竹石圖》《
孤禽圖》《
眠鴨圖》《
貓石雜卉圖》，以及《荷塘戲禽圖卷》《河上花並題圖卷》《魚鴨圖卷》《
蓮花魚樂圖卷》《
雜花圖卷》《
楊柳浴禽圖軸》《芙蓉蘆雁圖軸》《大石游魚圖軸》《
雙鷹圖軸》《
古梅圖軸》《
墨松圖軸》《
秋荷圖軸》《
芭蕉竹石圖軸》《
椿鹿圖軸》《
快雪時晴圖軸》《幽溪泛舟圖軸》《四幀絹本淺絳山水大屏》等，許多條幅，冊頁中的花鳥魚鴨，山水樹石等。書法方面有《臨蘭亭序軸》《臨“臨河敍”四屏》，以及各大家法帖和
行草詩書軸冊等，都在國內外的博物館、院中珍藏。朱耷的書畫有少小説詩歌文學作品，已不復得見。
清八大山人 《孤雁》 紙本立軸 現為金陵
天渡樓收藏
朱耷部分作品藝術品投資市場拍賣情況：
《
個山雜畫冊》，2008，西泠印社拍場，成交價2352萬元。
《
鷺石圖》，2008，北京萬隆拍場，成交價3300萬。
《
瓶菊圖》，2008，中國嘉德拍場，成交價3136萬元（不含佣金）。
2018年初夏，“雪衲”“傳綮”印章和劉元鍵五面印以及“豫章西靖道人”瓦鈕銅印共計四枚印章在江西省奉新縣耕香院（寺）遺址被偶然發現，收藏於奉新縣文物管理所。現已被評定為國家一級文物。
[18]
明太祖
朱元璋第十七子朱權的九世孫；其弟牛石慧 (朱道明是道名），也是一位畫家。
也有人説，朱耷不是八大山人，而是朱道朗
八大山人原名朱耷，是明寧獻王朱權九世孫，明朝滅亡後，在南昌落髮為僧。1959年，為紀念朱耷，
南昌市人民政府成立了八大山人紀念館的前身——八大山人書畫陳列室。
[11]
八大山人紀念館
八大山人紀念館青雲譜是一座極具
江南特色的園林。園內，數百年的古樟樹、苦楮樹、羅漢松青葉蒼幹，繁蔭廣被，覆護着青磚灰瓦白牆紅柱的殿宇，顯得格外靜謐。密葉篩過的天光灑在小徑上，明暗閃爍，野趣橫生。一彎荷池清澈明淨，倒映着籠籠修竹，魚兒嬉戲，花影搖曳。園外清溪蜿蜒，溪畔農田阡陌縱橫，農舍炊煙裊裊，恰似人間仙境。
八大山人紀念館坐落在歷史修久、風景優美的江西南昌南郊十五華里處的梅湖定山橋畔
青雲譜內，相傳二千五百多年前，周靈王之子王子晉到此開基煉丹。西漢末年，南昌尉梅福曾棄官隱釣於此，後人建“
梅仙祠”祀之。東晉年間
許遜治水至此，始倡道教“
淨明派”，並建“太極觀”，唐大和五年易名“太乙觀”。宋至和二年復易名“天寧觀”、至清順治十八年始定名“青雲圃”，後易“圃”為“譜”。譜內屋宇佈局以關帝殿、
呂祖殿、許祖殿為主體，三殿逐次遞進，曲廊相通，甚是幽雅。一九五七年被定為省級重點文物保護單位。一九五九年闢為
八大山人紀念館，陳列八大山人書畫作品。
八大山人紀念館（青雲譜）
八大山人是我國明末清初的傑出畫家，生於明天啓六年，卒於清康熙四十四年（公元一六二六——一七0五），享年八十歲。他姓朱名耷，僧名個山、傳啓 ，別號八大山人，是
明太祖朱元璋第十六子
朱權的九世孫。明亡後，他抱着對清王朝不屈的態度出家為僧。後還俗，自築陋室“寤歌草堂”於南昌城效，孤寂貧寒地度過了晚年。八大山人在藝術上有獨特的建樹。他以水墨寫意畫著稱，尤擅長花鳥畫。其畫面構圖縝密、意境空闊；其筆墨清脱純淨、淋漓酣暢；取物造形旨在意象，筆簡意賅，形神兼備，體現出其孤傲落寞清空出世的思想情感。其書法善用淡墨禿筆，猶盡流暢，含蓄內斂，圓渾醇厚，亦工篆刻。其詩文多為幽澀古雅。三百年來他飲譽畫壇，“
揚州八怪”、吳昌碩，近代
齊白石、
張大千、
潘天壽、
李苦禪等畫家都不同程度受其影響。八大山人（朱耷）從明王爺成為遺民，承受國亡家破之痛，先後淪為僧道，巧妙應付"臨川之變"，繩金塔下為民揮毫，其“哭之、笑之”的人品和畫品成為發人深思的畫壇傳奇。愛國、愛鄉的八大山人，終身苦守不阿，人品至上，成為後世為人的風範。跨越時空的八大山人書畫藝術，釋放出巨大藝術能量，輻射璀璨的藝術之光。藝術修養全面的八大山人給我們留下了極為珍貴的詩作，吟詠之餘，我們藉此心靈轍音，感受三百年前詩人的娓娓獨言，將已逝去的流光重新喚回眼前。
85年八大山人被聯合國科教文組織命名為中國古代十大文化名人之一。當今畫壇，流派紛呈，相互競技，各展異彩，本館展出當代花鳥高手之作，是藝術家
離經叛道在感覺和直覺水平的一個發展。一批資質精深的專家、學者在八大畫風的繼承與創新方面從特殊的頓悟中找到了自我，許多作品讓人回味無窮。
朱耷墓
江南名園
青雲譜，歷經周、西漢、東晉、唐、宋、元、明、清數朝，系唯一保存完好環境的江西
淨明道教發源地，院內殿宇堂閣，丹桂碧池，涼亭月樓，展示歲月的滄桑，漫遊其間，感受二千多年神秘道教文化深藴的內涵。青雲譜道院現存許多令人嚮往的文化遺蹟：萬曆古井、
仙人橋、淨明真境、鶴巢黍居、羲之墨池、竹經通幽、嶺雲來閣、八大墓等為觀眾提供了尋幽覓古的情趣，令人流連忘返。
古青雲譜是鑲嵌在市南郊一顆綠色明珠，陽春季節，紅茶、桃花爭奇鬥豔，盛夏荷滿十里，三秋桂子飄香，嚴冬寒梅競放，四、五百年的參天古木香樟、羅漢松、苦樹被歷代文人墨客譽為鎮院之寶。南昌現存最長的雙面碑廊。120多幅因心造境的書畫作品揭示了八大山人非凡的筆墨生涯。
移步換景的迴廊與巧奪天工的石刻工藝帶給了觀眾沁人心脾的美感。
[12]
2012年《
八大山人》電影，講述了“八大山人”朱耷在清朝“
文字獄”最殘酷的時代，堅守自己的畫品人格，勇於與權貴作鬥爭、視金錢如糞土的高尚情操的故事。
[13]
2018年，江西南昌市舉辦“八大山人藝術節”。
[14-15]
八大山人畫像
“沒毛驢,初生兔。 嫠破面門,手足無措。 莫是悲他世上人, 到頭不識來時路。 今朝且喜當行, 穿過葛藤露布,咄I！戊午中秋自題。”
康熙13年甲寅(1674年),八大山人49歲。蒲節後二日,八大山人的好友黃安平為他寫像。康熙17年戊午(1678年)中秋,自題《個山小像》,即是上面所引的這首詩,其餘還有五題。
要了解這組自題《個山小像》詩所表現的情感的深層內涵,需要在廣闊的歷史背景下思考,方可悟出,為什麼他大多用禪語曲折地表達他難以明言的神秘情感。
《個山小像》完成的前一年,即康熙12年(1673),爆發了“
三藩之亂”,直到康熙20年(1681年)才結束為時8年的戰爭,在這場戰爭中,清廷派大批軍隊,轉戰數省鎮壓。 康熙13年(1674年),也即是《個山小像》完成的這一年,
耿精忠、
尚之信響應
吳三桂,紛紛起兵,吳三桂兵入
江西,攻
袁州。耿精忠玫寧都,不克,8月,兵敗於金華、衙州、
撫州等地。
朱耷
八大山人原來叫朱耷，注意看八比朱少了個牛，大比耷少了個耳，牛耳在古代指有權力的人，把牛耳去掉，權力就消失了，從而成了亡命之徒。
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