The “Eight Great Mountainsmen Dialogue” Series: “All Mountains Resound—A Special Exhibition on the Study of the Yangzhou Eight Eccentrics”

Guiding Organization: Nanchang Municipal Bureau of Culture, Radio and Television, Press and Publication, and Tourism

Organizers: The Eight Great Mountains Memorial Hall, Yangzhou Museum

Co-organizer: Wuxi Museum

Exhibition Period: April 29, 2024 – August 1, 2024

Exhibition Venue: The Eight Great Mountains Man Memorial Hall

The “All Mountains Resonate—A Dialogue on the Yangzhou Eight Eccentrics” exhibition, part of the “Eight Great Masters Dialogue” series, organized by the Eight Great Masters Memorial Hall and the Yangzhou Museum, co-organized by the Wuxi Museum, and guided by the Nanchang Municipal Bureau of Culture, Radio, Television, News and Publication, will be held soon. 10:00 a.m. on April 29, 2024 Held at the Eight Great Mountains Man Memorial Hall. This exhibition focuses on the Ming and Qing dynasties. 26 Art Masters Using the works as a medium, the total number of cultural relics on display is 92 pieces (60-piece set) , among which Eight first-class cultural relics, It is divided into three parts: “Simple Brushwork Yet Full of Form,” “Drawing on the Past to Open Up the Present,” and “I Am Simply Myself.”

26 Art Masters

Contemporary Artists of Bada Shanren

Shen Zhou, Wang Xie, Wen Zhengming, Wen Peng, Zhu Duozheng, Zhu Da, Dai Benxiao, Yun Shouping, Gao Qipei, Luo Mu, Niu Shihui

The Eight Eccentrics of Yangzhou and Masters of the Shanghai School

Jin Nong, Zheng Xie, Huang Shen, Li Shan, Li Fangying, Wang Shishen, Luo Pin, Gao Xiang, Hua Yan, Min Zhen, Li Huan, Chen Zhuan, Bian Shoumin, Yang Fa, Xu Gu

Preface

In the painting circles of the Ming and Qing dynasties, as pioneering innovators, “Eight Great Masters of the Late Ming and Early Qing” and the “Eight Eccentrics of Yangzhou” dared to break free from conventional constraints, pouring their emotions into landscapes, flowers, birds, and other natural subjects. With a style that strikes a balance between simplicity and complexity, and masterfully blending dryness with wetness and varying shades of intensity, they expressed their inner sentiments through freehand brushwork.

Eight Greats of the Mountain, whose original name was Zhu Da, was a master of freehand brushwork during the Ming and Qing dynasties. His tumultuous life journey gave rise to his eccentric artistic style. His calligraphy and paintings stood apart from the mainstream, boldly innovative and deeply imbued with distinctive personal characteristics, making him uniquely prominent in the Chinese art world. In his later years, Eight Greats of the Mountain earned a living by selling his artworks. Merchants from Huizhou—such as Huang Yanlü, Cheng Jun, and Li Song’an—brought his art to regions including Huizhou and Yangzhou, ensuring that his paintings and artistic style spread widely. Indeed, a phenomenon emerged in which people eagerly competed to imitate Eight Greats of the Mountain’s style. The freehand aesthetic pioneered by Eight Greats of the Mountain profoundly influenced the Yangzhou literati’s appreciation of refined arts, thereby paving the way for the epoch-making brilliance of the “Eight Eccentrics of Yangzhou.”

In the early Qing dynasty, the Yangzhou region was the economic and cultural hub of the time, attracting a large number of calligraphers and painters. Among the prominent figures were Li Shuan, Gao Fenghan, Wang Shishen, Gao Xiang, Jin Nong, Luo Pin, Chen Zhuan, Li Fangying, Huang Shen, Min Zhen, Hua Yan, Bian Shoumin, and Li Hui. In the eleventh year of the Guangxu reign (1885), Wang Yun proposed the term “Eight Eccentrics” in his work “Record of the Yangzhou Painting Academy,” and later, Ling Xia composed the “Song of the Eight Eccentrics of Yangzhou” at the end of the Qing dynasty. As for what exactly the “Eight Eccentrics” referred to, opinions have varied widely. The number “eight” is actually symbolic, with the emphasis lying on the word “eccentric.” In the works of the Yangzhou Eight Eccentrics—marked by their simplicity and innovation, as well as their bold departure from conventional artistic norms—we can glimpse their true “eccentricity.” They formed a group of painters who deliberately distanced themselves from the mainstream “orthodox” school of art. At that time, in the Chinese painting world, the “Four Wangs” and their followers dominated as the orthodox faction, while the Yangzhou Eight Eccentrics refused to be bound by tradition and forged their own path in painting. They enriched the range of subject matter, revolutionized painting techniques, and further advanced the development of freehand ink painting. These innovative painters stood tall like towering peaks in the Chinese art scene, using their artistic language to echo the voice of their era—a voice that reverberated through the mountains, profoundly awakening and resonating deeply with audiences. The exhibition’s title, “All Mountains Resound,” captures precisely this spirit. It represents a realm of excellence, where masterpieces from renowned artists converge and celebrated masters come together. The artworks of Bada Shanren and the Yangzhou Eight Eccentrics are brought together here, guiding viewers beyond time and space, enabling them to enter a state of transcendence.

The exhibits in this exhibition are provided by three institutions: the Yangzhou Museum, the Wuxi Museum, and the Eight Great Masters Memorial Hall. In total, there are 92 cultural relics (60 sets), including 8 first-grade relics. The exhibition is divided into three sections: “Simple Brushstrokes Yet Full of Form,” “Drawing on the Past to Open Up the Present,” and “I Am Who I Am.” First, the exhibition introduces the calligraphers and painters contemporary with the Eight Great Masters, as well as their artistic origins, and explores the artistic trends of the Ming and Qing dynasties. Second, various artists engage in a dialogue through their artistic languages, showcasing the artistic fusion and spiritual collisions among master calligraphers and painters of the Ming and Qing periods. Finally, by displaying works featuring themes favored by these masters, the exhibition highlights the innovative spirit of the Yangzhou Eight Eccentrics art group.

We hope this exhibition will allow you to appreciate the artistic charm and cultural depth of calligraphers and painters from the Ming and Qing dynasties. We would like to take this opportunity to express our heartfelt gratitude to the Yangzhou Museum, the Wuxi Museum, and our colleagues for their support and assistance in making this exhibition a resounding success!

Simple in writing yet fully formed.
Literati painters regarded painting as a tool for delighting the heart and dispelling boredom, placing great emphasis on its lyrical function and advocating that paintings should embody and express the painter’s subtle emotions and refined interests. Consequently, “simple brushwork yet fully capturing the essence,” “transcending form to grasp the spirit,” and “free and casual brushstrokes” became aesthetic preferences highly esteemed by literati painters. Figures such as Bada Shanren and the “Eight Eccentrics of Yangzhou”—innovative painters active during the Ming and Qing dynasties—blended poetry, calligraphy, and painting into a single artistic medium, emphasizing the expressive and lyrical nature of painting and paying close attention to the charm of brush and ink.

 

■ Shen Zhou, Painting of a Withered Tree and a Magpie on a Branch

 

■ Wen Zhengming, Painting of Cangzhou Poetry, Hanging Scroll

 

■ Wen Peng, Seven-Character Regulated Verse on a Folding Fan

 

■ Dai Benxiao, Landscape Painting Scroll

 

■ Gao Qipei, Hand-Painted Scroll: Mountain Pavilion and Cloud-Viewing Scene

 

■ Zhu Da’s Five-Character Poem in Running and Cursive Scripts on a Folding Fan

 

■ Zhu Da, Painting of a Pine and Eagle on a Scroll

Drawing on the past to illuminate the present.

The Eight Eccentrics of Yangzhou, epitomized by Bada Shanren—whose motto was “I wash my eyes in autumn waters, and throughout my life I refuse to be deceived by the ancients”—stand as a quintessential example of innovating tradition. The Yangzhou School not only studied the masters of the past but also advocated that brushwork and ink techniques should evolve with the times. Even within the same school, artists merely observed and learned from one another, firmly opposing mere imitation. Jin Nong once highly praised Wang Shishen and Gao Xiang’s skills in painting plum blossoms, noting that Wang excelled in depicting profuse branches. Yet, when it came to his own plum blossom paintings, Bada Shanren never followed in the footsteps of Wang Shishen or Gao Xiang; instead, he forged his own unique style “neither overly sparse nor excessively dense.” The “Eight Eccentrics of Yangzhou” also championed taking nature itself as their teacher and using objects to express their emotions. In their artistic portrayals of flowers, birds, insects, fish, plum blossoms, orchids, bamboo, and rocks, they infused their works with ideals of the perfect personality. At times, they even employed colophons and poems inscribed on their paintings to freely express their joys, sorrows, anger, and happiness, thereby conveying their deepest thoughts and feelings.

■ Luo Peng, Ink Bamboo Painting Scroll

 

■ Zheng Xie: Hanging Scroll of Fragrant Orchid and Buddha’s Hand 🛡

 

■ Huang Shen, Painting of Wild Geese among Reeds (scroll)

 

■ Li Shuo, Painting of Rice and Fish Scroll

I have my own self.

The reason why the “Eight Eccentrics of Yangzhou” were considered “eccentric” lies in their bold willingness to break free from the constraints of the “Four Wangs’” retrogressive style and bring about a major innovation in their choice of subject matter. In addition to depicting plum blossoms, orchids, bamboo, and chrysanthemums, the Yangzhou School particularly favored themes that resonated with common citizens and working people—for instance, Huang Shen often painted beggars and folk performers who sang for a living. Not only did they revolutionize the subjects of their paintings, but they also dared to challenge prevailing conventions, boldly explored new artistic paths, and forged their own unique artistic journey. They could “follow my own methods” without being enslaved by any rigid “rules,” ultimately reaching the state of “having no rules yet achieving the highest form of art.” Once a painter attained this state, his brushwork became as free and flowing as clouds, pouring forth from his wrist with effortless ease—“acting according to his heart’s desire without transgressing established boundaries”—thus entering a brand-new realm of creative freedom. As a revolutionary artistic movement, the art of the “Eight Eccentrics of Yangzhou” profoundly influenced Chinese art in the 20th century.

■ Hua Yan, Painting of Loving Cranes (Hanging Scroll)

 

■ Xugu – Fan Leaf Painting of Ammonites and Two Birds

 

■ Jin Nong, Regular Script Ink Talk Scroll

 

■ Huang Shen, Painting of Magu Presenting Wine, Hanging Scroll

 

This exhibition is being held at the Eight Great Masters of the Ming Dynasty Memorial Hall, running from April 29 to August 1. It is open to the public free of charge (closed every Monday, except on statutory holidays). We hope this exhibition will allow everyone to appreciate the artistic charm and cultural depth of Ming and Qing dynasty calligraphy and painting.