Zheng Banqiao Collection

Author: Wu Zeshun (Compiler and Annotation)
Publisher:
Publishing Date: 2002-09-01
Features: Two hundred years ago, in the ancient city of Yangzhou, a new artistic force emerged, like a cluster of morning stars shining on the. This was the historically renowned "Eight (Unconventional Artists) of Yangzhou." Among them, Zheng Banqiao was the most celebrated painter. Zheng Banqiao, one of the famous "Eight," was named Xie, styled Kerou, and styled Banqiao. He was from Xinghua, Jiangsu. Born on the fifth day of the tenth month in the 32nd year of the Kangxi reign of the Qing Dynasty (1693 AD), he died on the twelfth day of the twelfth month in the 30th year of the Qianlong reign (1765 AD), at the age of 72.
Zheng Banqiao was born into a "scholarly family" and lived in Suzhou. His father was an excellent and scholarly stipendiary, and his mother passed away when he was three years old. Originally, his family owned three hundred acres of pawned property, but after Zheng Banqiao's birth, the family's fortunes declined, and several family members lived a relatively impoverished life. Due to the loss of his mother in childhood, he was raised by Fei, the attendant of his grandmother, Lady Cai. Fei's diligent and kind life left an extraordinary impression on Zheng Banqiao, exposing him to the thoughts of the working class from an early age, which played a significant role in his healthy development.
In his youth, Zheng Banqiao was deeply influenced by his father, studying diligently and thinking critically. Because he studied day and night, devoted himself to learning, and read extensively, by his mid-twenties, he had become a well-known local scholar. In the 10th year of the Yongzheng reign (1732 AD), at the age of 40, he passed the provincial examination and, in the first year of the Qianlong reign (1736 AD), at the age of 44, he passed the imperial examination, thus embarking on a career in officialdom. In the sixth year of the Qianlong reign (1741 AD), at the age of 49, he was appointed as the magistrate of Fanxian County in Shandong. Five years later, he was transferred to Zhang County in Shandong, where he served as a county magistrate for seven years, spending a total of 12 years in official posts in Shandong.
During his tenure in Fanxian, the people regarded him as fair and caring, concerned with the well-being of the. He did many beneficial things for the. There was once a young monk and nun who fell in love, and the local people, believing they had violated "monastic rules," had them arrested and brought before the authorities. Zheng Banqiao, seeing that they were of similar age and deeply in love, ordered them to "revert to lay life and marry," and he wrote a poem for them, showing that he had already broken free from the constraints of feudal ethics at that time.
Another time, Zheng Banqiao was sent on official business to the provincial capital, Jinan. His superiors highly regarded him and invited him to the Baotu Spring for a banquet. While drinking and admiring the spring, they asked him to compose a poem. Zheng Banqiao immediately replied:
"Original original, not in vain;
In quietness, observing waves, feeling the passage of time;
Flowing to the sea, all brine,
Harder still for men to distinguish the clear spring."
The people present were displeased, thinking he was mocking his superiors. In reality, the poem was full of courage and greatly satirized the corrupt officials. In the 11th year of the Qianlong reign (1746 AD), at the age of 54, he was transferred to Weixian County as a county magistrate. During the 11th and 12th years of the Qianlong reign, Weixian and surrounding areas suffered consecutive years of famine, and the people were starving. Witnessing the situation, Zheng Banqiao was deeply moved and decided to open the granaries for loans, asking the people to write IOUs, saving the lives of thousands. Since there was still no harvest after the autumn, he publicly burned the IOUs. The people of Weixian were grateful, but this incident led to him being accused of corruption and dismissed from office. As he left Weixian in disgrace, the people wept and begged him to stay.
In the spring of 1753, Zheng Banqiao retired and returned home, living in Yangzhou and supporting himself by selling paintings for the last part of his life.
Zheng Banqiao was skilled in painting orchids, bamboo, and stones, with a particular expertise in ink bamboo. These symbols represented resilience, perseverance, selflessness, and integrity. Bamboo, in particular, not only embodied uprightness and vitality but also carried the spirit of vigor, boldness, and an upward-seeking attitude. This aligned perfectly with Zheng Banqiao's "stubborn and unyielding nature." Therefore, he dedicated himself to painting orchids and bamboo. For over fifty years, he painted nothing else. He spent two-thirds of his life solely focused on capturing the essence of bamboo, comparing the character of orchids and bamboo to his own and saying, "Orchids and bamboo are me, and I am orchids and bamboo." He fell in love with painting, growing, and cherishing bamboo, spending his days and nights in its company. He planted many lush bamboo groves near his home, and bamboo branches from neighboring gardens also drew his attention. He often visited bamboo forests for appreciation, even when traveling, always choosing places with bamboo to rest. Thus, there was a folk saying, "No home is complete without bamboo for Banqiao."
He never ceased to observe the diverse transformations of bamboo under different climates and environments, using these observations to fuel his brush. His love for bamboo was so profound that he even personified it, treating it as a companion and confidant in his life. His ink bamboo paintings, whether of young or old bamboo, bamboo in wind and rain, bamboo in water towns, or bamboo in the mountains, all possessed unique personalities and vitality. Through his direct praise of orchids and bamboo, Zheng Banqiao expressed his life ideals and attitudes of love and disdain.
In terms of creative method, Zheng Banqiao proposed three stages: "the bamboo in the eye," "the bamboo in the heart," and "the bamboo in the hand." "The bamboo in the eye" refers to the impression gained from observing objective objects; "the bamboo in the heart" refers to the artistic conception during creation, including the analysis of objective objects, personal unique feelings, and the specific artistic form of how to express "this idea"; "the bamboo in the hand" refers to the visual image formed on the silk. These three stages are interconnected yet distinct, with Zheng Banqiao particularly emphasizing the expression of "true nature" and "true spirit."
In terms of artistic technique, he emphasized "intention before brush." The bamboo in his paintings was often slender, upright, and elastic, with simple branches and leaves, achieving more with less, focusing on creating an artistic conception. In terms of brushwork, he used a balance of light and dark ink, creating a bold and expressive effect, with no trace of meticulous outlining or coloring. Zheng Banqiao's bamboo paintings succeeded in capturing the essence, embodying a vibrant, flourishing energy and an unyielding spirit of struggle. His bamboo paintings were endlessly varied, each unique, giving the impression of vitality and fighting spirit. Despite painting only one species, he explored countless transformations, avoiding monotony and stiffness. He also emphasized the integration of poetry, calligraphy, and painting. He used poetry to annotate his works, interweaving calligraphy into the visual elements, creating an inseparable unity.
Zheng Banqiao, renowned for his "three perfections" of poetry, calligraphy, and painting, walked a tortuous path of 72 years. Through his genuine feelings, he created works rooted in life and reality, imbued with profound meaning, leaving behind an extremely rich and precious legacy for future generations.