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Tang Yin (1470— 1523) is an outstanding painter and writer in the history of China painting. Wuxian (now Suzhou, Jiangsu) people. The word "fear" at the beginning of the word "Bohu" is more obvious, and it is called "the Lord of the Peach Blossom Temple". In his later years, he believed in Buddhism and had six nicknames, such as lay man. Among several painters in China, Tang Yin is the most famous, and his name is well known to all women and children. "Tang Bohu Dianqiuxiang" and "San Xiao" are widely circulated among the people.
Tang Bohu is clever, but he is not romantic. His poems, books and paintings are called "three musts". In painting, Tang Yin is good at landscapes and figures, especially ladies. Its painting style is neat and beautiful, and it is called "Tang painting", which is highly praised by future generations. Calligraphy originated from the integration of Zhao Mengfu. It is beautiful and elegant, and it is quite kung fu. Besides, he can compose music and collect folk songs. So many talents are rare among the literati in the Ming Dynasty. Tang Yin is an outstanding representative of "Wu Pai", and he is as famous as Shen Zhou and Ming Sijia. He also exchanged poems with Zhu Yunming, Wen Zhiming and Xu Zhenqing, and became famous in Wuzhong, known as the "four gifted scholars in Wuzhong".
Tang Yin's early paintings include "Attacking Li Tang Far" and "Making Friends in China". In his early years, he worshipped Shen Zhou, the founder of Wu School. Shen Zhou and Zhou Chen were both famous painters in Suzhou at that time. Shen took Yuan painting as his ancestor, and Zhou took the Southern Song Dynasty college painting as his teacher. These are two schools in Paintings of Ming Dynasty. Although Tang Yin learns from Zhou Chen, he has the reputation of winning the blue. Tang Yin, who is also his strong point, has made great progress at one time, even surpassing his teacher Zhou Chen, and gained great fame by combining the brushwork of Yuan people with the style of Southern Song Dynasty.
Tang Yin painted the most landscape paintings and achieved the greatest success. Tang Yin's footprints are all over the mountains in Sichuan, and his chest is full of Qian Shan's mountains and valleys, which makes his poems and paintings have the vigor and vitality that Wu Shi people don't have, and turn them into chic. Most of his landscape paintings show majestic and steep mountains and rivers, pavilions and small bridges, beautiful mountains and rivers all the time, and some describe pavilions, gardens and the leisure life of literati. Landscape figure painting is magnificent, slightly beautiful and unique, with rich and diverse themes. Because Tang Yin seldom marks the year on his paintings and his painting style changes irregularly, it is difficult to infer the time when he painted, and it is also difficult to divide the changing process of his painting style by time.
After Zhou Chen, Tang Yinshi lived mainly in the Southern Song Dynasty, but sometimes his paintings were similar to those of Shen and Wen, such as the Southern Tour. This was given to Tang Yin by pianist Yang when he left Suzhou at the age of 36. Drawing figures, cars and donkeys is as delicate as hairspring on paper. There are three or four miscellaneous trees on the close-up slope. On the left side of the middle shot, in front of the rock, a noble man rode slowly on a donkey, followed by a boy servant with a negative piano. Just out of the rock mouth, the two pushers on the right hurried up. The winding mountain roads and undulating streams make the journey quite difficult. The whole painting is not colored, and the mountain is very gentle. One of the trees decorated its leaves with pepper, which is similar to Shen Hewen's leaf painting.
One of the representative works of Tang Yinxue's painting style in the Southern Song Dynasty is Snow Mountain Scroll. Although the painting is a snow scene, it is not appropriate to use a lot of pens, but from the combination of rocks, we can still see the shape of the cube painted by the Southern Song Academy. In the alpine thatched cottage, there are two Weng around the stove to drive out the cold, and there is a high earth riding a horse and carrying an umbrella of a boy servant, walking between Qiongshan and Yushu. The foreground of the painting is mainly three dead trees with straight, oblique and straight branches. The bright side is slightly white, while the dark side is particularly dark to show snow. In addition, the Hidden Fish in the Western Hills and the Shrubbery in Shinohara are also of this style, especially the Hidden Fish in the Western Hills is a long scroll divided into ten parts, which is a rare masterpiece in Tang Yin's works.
During the Southern Song Dynasty, the main styles of college sports paintings were Qingxi Map, Watching Spring and Listening to the Wind Map, and Holding the Piano and Going Home. These works are basically carved with a small axe, with thick brush strokes, and some of them also show some characteristics of the Southern Song Dynasty college paintings. Song Yintu in Qingxi is a typical work of chopping wood with a small axe, and it is a masterpiece of Tang Yinxue in Zhou and Chen Dynasties. The distant mountains on the screen are like huge monuments, and the hills are dense and sparse. The mountainside uses a cloud hook to compare the height of the mountain. This painting shows a Cosford sitting in the shade of a pine tree, holding his head high and thinking. Gao Shi's lines are dignified, quiet and lofty. And one of the pine trees is inserted between the rock walls. Gu Teng is around the mountain, and it often rises slightly with the wind, so it is sophisticated to use a pen.
The main part of Looking at Spring and Listening to the Wind is that two seniors sit side by side and watch the waterfall flow out of the cave. Although the waterfall is not big, it rushes and several streams leap out. Tang Yin painted water vividly, which is one of the characteristics of painters in Song Academy. This painting is characterized by abrupt mountains, clear light and dark, and marked with ink. The brush on the rock behind the tree is light and light, and gradually disappears into the clouds. The distant mountains are obvious, and the peaks are slightly seen. This implicit expression is the consistent painting style of Ma Yuan and Xia Jue. Bao Qin GUI Tu also has these remarkable characteristics.
Shen Wansan, famous and rich; The word Rong, commonly known as three thousand. Three thousand, three shows in ten thousand households, so it is also called three shows. As another name for the super rich, it was born in the late Yuan Dynasty and early Ming Dynasty.
In the middle of Yuan Dynasty, Shen Fang-san's father, Shen *, moved from Nanxun (now Huzhou, Zhejiang) to Shen Jiayang (hut), and then moved to Yinzibang. Shen Wansan made Suzhou an important place to do business after he became rich. He once supported Zhou regime in Pingjiang (Suzhou) Zhang Shicheng, and Zhang Shicheng once erected a monument for Shen Wansan. In the early Ming Dynasty, Zhu Yuanzhang made Nanjing his capital, Shen Wansan helped to build a third of the capital, and Zhu Yuanzhang sealed the officials of his two sons. In Nanjing, 1654 catkins and 4 restaurants have been built. Have a comfortable house; But soon; Shen Wansan was exiled by Zhu Yuanzhang and spent the rest of his life in Yunnan.
Shen Wansan has left footprints in Zhouzhuang, Suzhou, Nanjing and Yunnan. Shen Wansan always regards Zhouzhuang as his career; "Three thousand are in the northwest half of Kunming, that is, Dongzhuang, Yinzi Bang, Cang, Garden Pavilion and House are connected" (Volume 2 of Nian Zhen Zhi), "Three thousand are in Zhouzhuang, and dangerous houses still exist" (Yang Ming Xun Ji