金陵八家

 墨韵无穷的龚贤

"金陵八家"中首屈一指的是龚贤，江苏昆山人，生于万历十七年(公元1619年)，卒于康熙二十八年(公元1689年)。其早年正逢明王朝社会动乱频繁，内外交困的时期。此时民不聊生，生灵涂炭，所以其早年在外漂泊，居无定所。直至晚年，社会趋于稳定，龚贤开始在南京的清凉山隐居，专心于绘事，并开始卖画为生。龚贤最擅长的是山水画，他师从宋元诸家，并且能脱古人的窠臼，提倡写生，多游历见闻，所以他的作品有着清新的生气，并一改自董其昌以来的陈腐之气，山水又重归描绘真实的山川秀润的道路。他的作品内容也多取材于南京当地的风光或是游历所见，大多描述的都是真实景致。在现藏于北京故宫博物院的《溪山无尽图》跋文中曾说到，"非遍游五岳，行万里路者不知山有本支而水有源委"。充分阐明了他"造化为师"的艺术创作理念。

他的山水技法在吸收古人长处的基础上有了很大的突破，尤其是对墨色的把握，已臻化境。他用墨色的变化来表现远近、明暗之分，充分体现了事物的自然神态。他的这种技法主要来自于宋人的"积墨法"，并将其发挥到极致，第一遍以细点铺垫，第二遍再补点，细密繁厚而不失灵动，墨色浑厚而不呆滞;然后第三遍开始皴擦，也是以细点和短皴为主，过后待将干未干时再以浓点和淡点覆之，先后反复达六七遍之多(《柴丈画说》)。山石的画法就是先勾出轮廓然后干皴干点，之后加以湿皴湿点，反复之后山石的形态显得浑厚华滋，质感细密，层次丰富。树木的画法也是用墨层层烘染，显得枝叶繁茂，这样树木的远近疏密逼真，郁郁苍苍，具有苍茫感。他的这类作品通常显得墨色淋漓，后世多统称这一类的龚贤作品为"黑龚"，这类作品在龚贤的作品中比较常见，传世量较大，市场流通多，占了很大比重。例如现藏于南京博物院的《夏山过雨图》就是龚贤作品的典型代表，明显的细碎点皴加上层层晕染，形成了清新静谧的气质，具有一种静谧之美，丝毫感觉不到人间烟火气。而所谓的"白龚"是指以干笔淡墨勾描皴点，另加上星星点点的浓色，通幅明秀，较之于前者的墨色浑厚淋漓显得更加明快动人。如故宫博物院藏的《木叶丹黄图》。

穆然恬静的樊圻

除了龚贤之外，负有盛名的是樊圻(1616-1694)江宁人，字公会或洽公。他也以山水创作为主，师法董、巨及宋元诸家，间作花卉、人物。他的山水作品一般也有两路风格，一是带有青绿山水意思的细路，还有就是水墨山水粗简的一路。他的作品到处洋溢着自然的气息，若认为龚贤的山水能得自然的神韵的话，那么樊圻的作品则是写尽自然之"风韵"。他的作品更具自然气息，现藏上海博物馆的《江干风雨图》就是其典型的代表作品。描绘了一派江南水乡的美景，岸汀浮渚，层林远岫如诗境一般，从画面上看采用平远的布景手法，从画面的左下方一丛树开始向画面的右边中间延伸，有房屋、桥舍等，构成了画面主体形象。更远之，山脊曲延向画面左上角，组成画面的主体走向，也是气脉所在。这样中间一大片空白留出，就是江水荡漾，碧波万顷。从波浪的动向可见风是自左方向右吹，画下方的树木也在风吹之下向右方倾倒，画面这样显得动态十足。樊圻的技法与龚贤的有很大的不同，他多有细线长皴，而对于点与染的层次追求并不反复，他更多地借助于皴法和色彩，使画面显得更加贴合自然的真实，具有很强的艺术冲击力。樊圻在八家中的艺术造诣是仅次于龚贤的，所以他的传世作品相对于其他几位还是较多的，目前市场也比较常见，其中也不乏精品。

笔墨雄阔的吴宏

金陵八家中还有一位为大家所熟知的是吴宏(1615-1680)， 。他原籍是江西人，后来客居金陵。他也是以山水创作为主，并且也有宋元诸家入手，且画风与樊圻较近，但是他的用笔较之樊圻更显尖峭，凌厉。他多是以碎乱的直线造型山石，也正是这样的方法与晕染结合正好把山石凸凹、阴阳很好地描绘出来。其书法也如同山石皴法一样不拘一格，锋芒显露，飘逸自如。南京博物院藏的《柘溪草堂图》是他的代表作品，也是描绘的真实景物。从画的题跋中得知柘溪草堂是在宝应白马湖边上的一个水村。从现在画面上所反映的景物可以看出确实是一个湖边小水村，并且对景物处理与樊圻的作品用诸多相似之处，这并不是巧合，还有他的《负郭村居图》(现藏天津博物馆)、《江城秋访图》(现藏旅顺博物馆)可以看出是典型的"金陵风范"。

工稳高古的邹喆

邹喆是苏州人，字方鲁，随其父客寓金陵。画学其父，擅山水和花卉，他是"八家"中较粗简的一路，作品传世的也不太多，市场上还是可以见到的。他的作品首先从布局上打破了樊圻和吴宏的平远、深远的方式，多是高远、深远的方式，其山水画工稳而有古气，作零星山水小册，则有简淡清逸之趣。他的笔墨接近明人的气格，可能是受其父亲传派的影响，笔意刚劲凝练，色彩淡雅秀丽也是很为人们所称道的。他的两幅分别藏于沈阳博物馆和北京故宫博物院的《山水图》描绘的景致一样，只是不同时候的作品，他对真实景物的描绘已经达到了相当高的水平，从中可见一斑。这也是"金陵画派"在清初画坛上非常典型的风格，这也是他们的作品具有经久魅力的主要原因之一。

绣淡清微的叶欣

叶欣生卒年不详 ，字荣木，上海松江人。擅长山水，学宋人赵令穰法，师从明末姚允在。他的山水以布局最称道，用笔轻细着色淡雅，陆心源在其《穰梨馆过眼录》中记述说"绣澹精微四字，堪为荣老传神点睛"是非常贴切的。南京博物院藏《山水》扇面可见其作多以干笔淡墨皴擦着墨不多而深秀之情之毕现，可惜是传世作品至今已非常罕见。

超然尘外的胡慥

胡慥，字石公，金陵人。他跟叶欣、谢荪一样，目前传世作品已非常罕见，吴湖帆先生曾在自己所藏的胡扇面题跋上说道"其山水决无仅见，观画中九友之张尔唯尤为罕有"可见其作品之珍贵稀有，吴先生还说到这幅《山水图扇》(现藏南京博物院)之法与樊圻颇为相似，从中我们可以窥见他的特点，用笔也是粗简一路，较之樊圻有过，较之吴宏不及，其皴法也多细直线，但不如吴宏之硬挺，峻峭，多一些温和。

风格多样的高岑

高岑(1621-1691)，字善长，又字蔚生，杭州人，居金陵(今南京)。绘画初学七处和尚。他不仅善画山水，还精于水墨花卉。他早年倾慕朱翰，后学蓝瑛，又从宋人董源、巨然的笔墨中寻根求柢，乃至黄子久之空灵简朴，﹝黄公望﹞沈石田之粗服乱头，﹝沈周﹞他都潜心入手，融会贯通。高岑初以平实工稳为本，及至中年以后，崇尚写意，追求性灵与境界，其画渐至神采飞扬，晚年则愈发天马行空，一意孤行，其实这正是从必然步入自由的进程与归宿。

他的山水也有两路画风，一路是粗笔，有沈周的风范，例如《千里江山图》(现藏辽宁省博物馆)、《山水图》(现藏北京故宫博物院)。还有一种细笔的风格，也最常见，传世的也多是此类作品。他的这类作品也最具有"金陵风气"，和樊圻、吴宏的风格最为相近，如《青绿山水》(现藏北京故宫博物院)，但是他得用的比前两者沉稳得多，精细，细微处还透露着仇英的遗风，并且还具有深厚的自然情趣。

用笔工细的谢荪

谢荪(生卒年未详，约卒于康熙年间)，清代画家。字缃酉，又字天令，溧水人(也是金陵地区的)，常住南京。擅长画山水、花卉，与龚贤、樊圻齐名，为"金陵八家"之一。据很多画史记载，他的山水具有吴门画派的遗风，如他的《青绿山水图》(现藏北京故宫博物院)构图采用深远和高远方法，用笔非常工细，山石树木都以石青石绿染就具有典型的吴派遗风。

金陵八家

 清初"金陵八家"主要活动于明亡清兴的百余年间。这个时期开始从明末以来因战乱带来的萧条中好转过来，社会秩序趋于稳定，人们的生活也开始逐渐地进入正常化。但是，一部分汉族地主阶级对于满清的统治依然心怀不满，渴望于恢复明王朝的统治，在这种情况下出现了一批不愿与朝廷合作，隐居山林之中的"遗民士人"。"金陵八家"也在此时应运而生，他们身上或者说骨子里都多多少少的带有"遗民"色彩。他们多没有在仕途上谋求生机，而只是醉心于绘画，遁迹于山林，以诗画相酬唱，以此来缅怀逝去的"故国"，来描绘秀丽的山川，来排解心中亡国后的悲伤情怀。所以他们的作品都有一种清新静谧的气质，不染世尘，有着很强的艺术欣赏价值。所以他们的作品深受世人的喜爱，特别是近些年来，随着内地艺术品市场的觉醒，"金陵八家"的作品也开始受到瞩目，成为人们竞相追捧的宠儿。

 在现下艺术品市场空前高涨的时期，书画市场也繁荣起来了。越来越多的人走进了书画的收藏和投资中，中国书画的受关注程度也达到了空前的高度。并且随着市场经济的深入发展，当代画家的作品也可是引来投资者的兴趣，但是由于炒作的原因，当代画家的价位往往要高出古代画家。虽然如此，但是很多藏家心里明白这样的画价虚头太大，至于将来的市场如何现在无法肯定，等其百年之后，其艺术成就盖棺定论自然见分晓。所以对这些画家的投资还是具有相当的风险的。目前越来越多的人将目光移向了几千年的辉煌灿烂文化上，相比之下古代书画的收藏价值、升值潜力和保值能力是相对稳定的，很难有大的起伏。因为他们的艺术成就已经经历历史的考验，能留存至今的都是古代先人的艺术精华，可以永传百代而不朽的，且他们的艺术永恒性是不可再生的。并且随着人们文化艺术欣赏水平的提高，人们对这些先人艺术的认识只会更加深刻和全面，这些被尘封起来的古代艺术家们的作品必将会受到人们的青睐，市场必定走俏。

金陵画派的这些画家除了名头很响的龚贤在市场出现较多、较普遍地受到藏家们的认可外，其他的各家并没有受到我们的认知，他们的作品并没有受到藏家注意，对他们的作品重视程度不够。另外他们的传世作品少的也是造成的大多数人见了还是会把他们作为一般的小名头画家，没能真正认识其价值。自2000年至2006年出现在市场上的金陵画派的作品中，除了龚贤以外诸家的作品在市场上仅寥寥数件，远远没有形成市场的气候，并且市场的价位也都不高，大部分还是以小名头的画家的价位成交，甚至还要低。这就充分说明对于他们的艺术成就还没有充分的认识或是不够深入。

另外一方面，古代书画的历经百年甚至数百年的风雨保存至今数量稀少，经典的艺术精品更是凤毛麟角。清初金陵地区的这批画家，由于他们都隐居不仕，社会活动较少所以他们的作品普遍影响较小。并且在这批画家之后他们地传派没有很好的延续他们的创作理念和方法，所以他们的精华作品很快就消失了，以至于大部分画家在当时都默默无闻地逝去。他们的作品传世量相对较少。

 Gong Xian with Infinite Moyun

Gong Xian, a native of Kunshan, Jiangsu Province, was born in the 17th year of Wanli (1619 AD) and died in the 28th year of Kangxi (1689 AD). Its early years coincided with the period of frequent social unrest and internal and external difficulties in the Ming Dynasty. At this time, the people were not bored and their lives were covered with charcoal, so they wandered outside in their early years and had no settlements. In his later years, the society became stable. Gong Xian began to live in seclusion in Qingliangshan Mountain in Nanjing, concentrating on painting, and began to sell paintings for a living. Gong Xian is good at landscape painting. He learned from various schools in the Song and Yuan Dynasties, and was able to break away from the stereotypes of the ancients, advocate sketching and travel more. Therefore, his works have fresh vitality, and change the stale atmosphere since Dong Qichang. Landscape and water return to depicting the real road of beautiful mountains and rivers. His works are mostly based on the local scenery or travels in Nanjing, mostly describing the real scenery. In the postscript of "An Endless Map of Xishan", which is hidden in the Palace Museum of Beijing, it has been said that "without traveling all over the Five Mountains, those traveling thousands of miles do not know that the mountain has its own branch and the water has its own active committee". It fully expounds his artistic creation concept of "Creation as a Teacher".

His landscape techniques have made great breakthroughs on the basis of absorbing the strengths of the ancients, especially the grasp of ink color, which has already become a reality. He uses the change of ink to show the difference between far and near, light and shade, which fully reflects the natural attitude of things. His technique mainly comes from the Song Dynasty's "ink-accumulating method" and exerts it to the extreme. The first time is to pave with fine points, the second time is to fill in points, which are dense and thick without failing to move, and the ink is thick but not dull; then the third time is to start chafing, which is mainly to focus on fine points and short chafing, and then to cover with strong points and weak points when it is not dry. It has been repeated six or seven times (Chai Zhang Painting Theory). The painting method of the rocks is to draw the outline first, then dry and dry points, then wet and wet points. After repeated, the shape of the rocks appears thick and graceful, with fine texture and rich layers. Trees are also painted with ink layer by layer, showing lush branches and leaves, so that the trees are close and dense, lifelike, gloomy and pale, with a sense of vastness. His works of this kind are usually vivid in ink. Later generations generally call this kind of Gong Xian's works "Black Gong". This kind of works are common in Gong Xian's works. They are handed down in large quantities and have a large market circulation, which accounts for a large proportion. For example, the Xiashan Rainfall Map, which is now hidden in Nanjing Museum, is a typical representative of Gong Xian's works. The obvious fragments and layers of halo stain form a fresh and quiet temperament, with a quiet beauty, without the slightest sense of human fireworks. The so-called "white niche" refers to the use of dry brush to delineate the dots in light ink, plus the strong color of stars and dots, the whole picture is bright and beautiful, which is more lively and moving than the former's thick ink. Such as the Palace Museum collection of "Wood Leaf Danhuang Tu".

Quiet and quiet barrier

In addition to Gong Xian, Fan Ban (1616-1694) Jiangning people, the word association or Qie Gong are well-known. He was also a master of landscape creation. He was a teacher of Dong, Ju, Song and Yuan dynasties, and intercropped with flowers and figures. His landscape works generally have two styles, one is the subtle way with the meaning of green landscape, and the other is the rough way of ink landscape. His works are full of natural flavor. If Gong Xian's landscape can get natural charm, Fan Fan's works are full of natural charm. His works have a more natural flavor. The Drawing of Dry Wind and Rain in the Yangtze River is a typical representative work of the Shanghai Museum. It depicts the beautiful scenery of the south of the Yangtze River. The main image of the picture is composed of houses, bridges and so on. Further, the ridge curvature extends to the upper left corner of the picture, constituting the main direction of the picture, which is also where the pulse lies. In this way, a large gap is left in the middle, that is, the river is rippling and the blue waves are thousands of hectares. From the direction of the wave, we can see that the wind blows from left to right, and the trees under the picture also fall to the right under the wind, which makes the picture dynamic. Fan Ban's technique is quite different from Gong Xian's. He has many long and thin lines, but does not pursue the level of point and dyeing repeatedly. He relies more on the method and color to make the picture more natural and realistic, and has a strong artistic impact. Fan Ban's artistic attainments in eight schools are second only to Gong Xian's, so his handed-down works are more than others, and the market is more common at present, among which there are many fine works.

Wu Hong with a magnificent pen and ink

One of the eight families in Jinling is known as Wu Hong (1615-1680). He was a native of Jiangxi Province and later settled in Jinling. He is also based on landscape creation, and there are Song and Yuan scholars to start with, and painting style and Fan Fan is closer, but his pen is more sharp and fierce than Fan Fan. He mostly modeled mountains and stones with broken straight lines. It is precisely this method combined with halo dyeing that depicts the convex and concave mountains and stones, Yin and Yang well. Its calligraphy is as informal as that of stone chains, showing its sharp edge and being elegant and free. The Grass Hall Picture of Zhexi, collected by Nanjing Museum, is his representative work as well as the real scenery depicted. From the inscriptions and postscripts, we know that Zhexi Caotang is a water village near Baima Lake in Baoying. It is no coincidence that the scenery reflected in the present picture is indeed a small lakeside water village and has many similarities with Fan Fan's works in the treatment of scenery. It can also be seen from his "Negative Guo Village Residence Map" (now Tibetan Tianjin Museum) and "Jiangcheng Autumn Visit Map" (now Tibetan Lushun Museum) that it is a typical "Jinling". Style.

Zou Zhe, an ancient and stable worker

Zou Chao, a native of Suzhou, lived in Jinling with his father and guest. His father is good at landscape and flowers. He is a relatively simple way in the "Eight Schools", and his works are not handed down very much, which can be seen in the market. Firstly, his works break the far-reaching and far-reaching way of Fan Fan and Wu Hong in layout. Most of them are far-reaching and far-reaching ways. Their landscape paintings are stable and antique, and they are simple and elegant when they are used as sporadic brochures. His style of writing is similar to that of the Ming Dynasty, probably influenced by his father's school. His style is strong and concise, and his color is elegant and beautiful. His two landscapes, one in the Shenyang Museum and the other in the Beijing Palace Museum, are the same, but at different times, his depiction of the real scenery has reached a fairly high level, which can be seen from them. This is also a very typical style of the Jinling School in the early Qing Dynasty, which is one of the main reasons why their works have enduring charm.

Ye Xin with light embroidery

Ye Xin's birth and death date is unknown. He is from Songjiang, Shanghai. He was good at landscapes and learned Zhao Lingzhu's method from the late Ming Dynasty. His landscape is most praised for its layout, light and elegant coloring with pen. Lu Xinyuan described in his "The Eye Record of Zhuli Guan" that "Embroidery Danjing is four words, which can be regarded as the glory of the old and the focus of life" is very appropriate. It can be seen from the fan of Landscape Collection in Nanjing Museum that most of them are brushing with dry brush and light ink to erase the deep and beautiful feelings. Unfortunately, it is very rare for them to be handed down from generation to generation.

Hu Tiao beyond the dust

Hu Ku, Zishigong, Jinling people. Like Ye Xin and Xie Sun, his handed down works are very rare at present. Mr. Wu Hufan once said in the postscript of Hu Fan in his collection that "his landscape is by no means unique. Zhang Erwei, a nine-friend in the painting, is especially rare." It shows that his works are precious and rare. Mr. Wu also mentioned the way and method of this painting "Landscape Picture Fan" (now in Nanjing Museum). Fan Fan is quite similar, from which we can see his characteristics. His pen is also a rough and simple way. Compared with Fan Fan, Fan Hong is inferior to Wu Hong, and his method of drawing is more fine and straight, but not as rigid, steep and gentle as Wu Hongzhi.

Gao Cen with various styles

Gao Cen (1621-1691), a native of Hangzhou, lives in Jinling (now Nanjing). There are seven monks in painting. He is not only good at painting landscapes, but also good at ink and flowers. In his early years, he admired Zhu Han and later learned Lan Ying. He also sought his roots from Dong Yuan, the magnificent pen and ink of the Song Dynasty, and even from Huang Zijiu's ethereal simplicity, [Huang Gongwang] Shen Shitian's rough clothes and chaotic head, [Shen Zhou] he all devoted himself to starting with and mastering them. In his early years, Gao Cen was based on plain work and stability, and in his middle age, he advocated freehand brushwork and pursued spirituality and realm. His paintings gradually became more and more vigorous, while in his later years, he became more and more free-spirited and determined. In fact, this is the process and destination of the inevitable step into freedom.

His landscape also has two painting styles, one is rough brush, with Shen Zhou's style, such as "Qianli River Mountain Map" (now Tibetan Liaoning Museum), and "Landscape Map" (now Tibetan Beijing Palace Museum). There is also a style of fine brushwork, which is the most common and handed down from generation to generation. His works of this kind are also the most "Jinling style". They are most similar to Fan Fan and Wu Hong's style, such as "Green Landscape" (now Tibet, Beijing Palace Museum), but they are much more calm, delicate and subtle than the former two. They also reveal Qiu Ying's legacy and have a deep natural interest.

Xie Sun, a meticulous writer

Xie Sun, a painter of the Qing Dynasty, died in the reign of Kangxi. Word scroll, word heavenly decree, Lishui people (also in Jinling area), often live in Nanjing. He is good at painting landscapes and flowers, as well as Gong Xian and Fan Ban. He is one of the eight schools in Jinling. According to many painting histories, his landscape has Wumen School's legacy, such as his "Green Landscape Map" (now Tibetan Beijing Palace Museum) composition using far-reaching and far-reaching methods, with very meticulous brushwork, stone trees are stained with blue stone green has a typical Wu School legacy.

In the early Qing Dynasty, the "Eight Jinling Schools" mainly took place during the hundred years of the fall of the Ming Dynasty and the rise of the Qing Dynasty. This period began to recover from the depression caused by the war since the end of Ming Dynasty, social order tended to be stable, and people's lives began to gradually normalize. However, some Han landlord classes are still dissatisfied with the rule of the Manchu and Qing Dynasty and eager to restore the rule of the Ming Dynasty. In this case, a group of "adherents" who are reluctant to cooperate with the court and live in seclusion in the mountains and woods appeared. At this time, the "Eight Schools of Jinling" came into being. They have more or less the color of "survivors" on their bodies or in their bones. Most of them did not strive for life in their official career, but were absorbed in painting, fleeing in the mountains and woods, and singing with poems and paintings, in order to recall the lost "homeland", to depict beautiful mountains and rivers, to dispel the sad feelings of the hearts after the national demise. Therefore, their works have a fresh and quiet temperament, free from the world, and have a strong artistic appreciation value. Therefore, their works are deeply loved by the world. Especially in recent years, with the awakening of the mainland art market, the works of the "Eight Schools of Jinling" have begun to attract attention and become the favorite of people.

In the current period of unprecedented boom in the art market, the painting and calligraphy market has also flourished. More and more people have entered the collection and investment of calligraphy and painting, and the attention of Chinese calligraphy and painting has reached an unprecedented level. And with the further development of market economy, the works of contemporary painters can also attract the interest of investors, but because of hype, the price of contemporary painters is often higher than that of ancient painters. Nevertheless, many Tibetans know in their hearts that such paintings are too expensive. As for how the future market is uncertain now, after a hundred years, the final conclusion of their artistic achievements will be known naturally. So there is considerable risk in investing in these painters. At present, more and more people are turning their eyes to the brilliant culture of thousands of years. Compared with the collection value, appreciation potential and preservation ability of ancient paintings and calligraphy are relatively stable, and it is difficult to have great ups and downs. Because their artistic achievements have gone through the test of history. What remains to date is the artistic essence of ancient ancestors, which can be passed on for generations and immortal, and their artistic eternity is not renewable. And with the improvement of people's appreciation of culture and art, people's understanding of these ancestors'art will only be more profound and comprehensive. The works of these dusty ancient artists will be favored by people, and the market will certainly be popular.

Apart from Gong Xian, a famous painter of Jinling School, who is widely recognized by Tibetans in the market, other painters of Jinling School have not been recognized by us. Their works have not been paid attention to by Tibetans and their works have not been paid enough attention. In addition, their handed down works are few, which is also caused by the fact that most people will still regard them as ordinary little-known painters, failing to really recognize their value. From 2000 to 2006, there were only a few works of Jinling School in the market except Gong Xian, which did not form a market climate, and the market price was not high. Most of them were traded at the price of small-name painters, even lower. This fully shows that their artistic achievements have not been fully understood or in-depth.

On the other hand, ancient paintings and calligraphy have been preserved for hundreds of years or even hundreds of years, and the number of classical works of art is rare. In the early Qing Dynasty, these painters in Jinling area generally had less influence on their works because they lived in seclusion and had less social activities. And after these painters, their biography did not continue their creative ideas and methods very well, so their essence works soon disappeared, so that most of the artists died in obscurity at that time. Their works have been handed down relatively little.