Li Yin

Last updated • 4 min readFrom Wikipedia, The Free Encyclopedia

Li Yin
He Niao Tu .jpg
Lotus flowers and birds, by Li Yin
BornC. 1610
Died1685
Haining, Zhejiang, Qing China
NationalityChinese
Known forPainting, calligraphy, poetry
SpouseGe Zhengqi

Li Yin (Chinese :李因; C. 1610 – 1685), also known by her courtesy name Jinsheng (今生) and her art names Shi'an (是庵) and Haichang Nüshi (海昌女史) or Kanshan Yishi (龛山逸史), [1] [2] was a Chinese calligrapher,courtesan, painter, and poet during the late Ming and early Qing dynasties. She was noted for her illustration of flowers and birds. Her artwork was highly sought after during her lifetime, resulting in fakes being produced by more than forty imitators. [3]

Contents

Early life

Li Yin was born in Kuaiji (Shaoxing), Zhejiang, during the late Ming dynasty. Various sources give her year of birth as 1610, 1611, or 1616. [1] Her family background is not known, but according to the biography by Huang Zongxi, her parents made her study poetry and painting from an early age. [3] Their financial circumstances were poor enough that she was said to have stored up liver mosses as paper and persimmon sticks to write with. [1] Later, she became a Geji performer to make extra money, [4] with Huang Zongxi comparing Li to her more famous contemporaries Wang Wei and Liu Rushi. [5] [6] She studied painting under an otherwise unknown master named Ye Danian (葉大年), who helped develop her style in the manner of Chen Chun and Xu Wei, two renowned painters of the previous century. [7] [3]

Marriage with Ge Zhengqi

By the time she was in her teens, Li's talent in both art and poetry was already recognized. At 17, the scholar-official and artist Ge Zhengqi, moved by a poem of Li's, married her as a concubine. [1] [8] They had a close relationship and spent much time together painting and composing calligraphy. [1]

During the reign of the Chongzhen Emperor, Ge served as an official in the imperial court in Beijing, where he and Li lived for more than ten years. [9] He travelled extensively for official business, with Li accompanying him to numerous places along the Yellow River and the Yangtze in their 15 years of marriage. She often composed poems about what she saw in her travels. [1]

Near the end of Chongzhen's reign, Ming China became increasingly unstable, leading Ge and Li to leave Beijing for Nanjing, the country's southern capital, in 1643. Upon reaching Suzhou in Anhui Province, they were attacked by members of a military rebellion. [9] Li, wounded in the chaos, stayed to search for her husband instead of fleeing the danger, abandoning all her belongings except her poems. Ge was greatly moved by her loyalty and bravery, and his disciple, Lu Chuan, later wrote prefaces to Li's poetry collections, in which he praised her as a loyal "minister" to Ge and compares her to the ancient beauty Xi Shi. [6]

Later life

After the fall of the Ming dynasty in 1644, the Manchu Qing dynasty took control of Beijing, and set about conquering the rest of China. In 1645, Nanjing fell, with Ge committing suicide rather than submitting. [9] For the next 40 years, Li Yin lived alone and in poverty at the Laughing Bamboo Studio in Haichang, Ge's hometown in the suburb of Haining. [6] In honor of Ge, she called herself "Weiwang Yin" (未亡人), or The Widow. Li found it hard to make ends meet, earning money through spinning and weaving, as well as painting professionally. Despite this, she still maintained her ambitions and interests, often sitting alone under a lonely lamp and reciting poems, which, due to the changes in her life, had a more profound and melancholy style than he earlier work. [3] [10] [11] The renowned scholar Huang Zongxi wrote her biography. [1]

On her 70th birthday, Li composed a poem expressing her mixed feelings on not having children: [6] :39

I have idled away seventy years of a floating life,
My true self has comprehended theravada.
Luckily I am spared from concerns for my children when I die.
Only cuckoos will cry on the ancient trees over my tomb.

Li Yin

Works

Pine and Eagle (1669) Song Ying .jpg
Pine and Eagle (1669)

Li Yin wrote 260 long and short poems, as well as the collections Zhuxiaoxuan Yincao (竹笑轩吟草) and Xu Zhuxiaoxuan Yincao (续竹笑轩吟草). Li Yin often compared herself to fellow poets Wang Wei of the Tang Dynasty, [1] [12] and Li Qingzhao of the Song Dynasty. [3]

Li Yin was chiefly noted for her paintings of flowers and birds, typically in ink monochrome with fluid brushstrokes. Her reputation was such that her paintings were considered an essential souvenir from Haichang, and it is estimated there were over forty imitators in the area producing fakes for gullible tourists. [3] She painted with a flowing ink style reminiscent of the Ming dynasty painter Chen Chun (1483–1544), and was considered to be the finest female painter by critic Qin Zuyong. [1] [3] Many of her paintings are in the collection of the Palace Museum, including: [1]

Her other paintings include: [3]

Related Research Articles

<span class="mw-page-title-main">Ink wash painting</span> Chinese painting style using black ink

Ink wash painting ; is a type of Chinese ink brush painting which uses washes of black ink, such as that used in East Asian calligraphy, in different concentrations. It emerged during the Tang dynasty of China (618–907), and overturned earlier, more realistic techniques. It is typically monochrome, using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of a subject over direct imitation. Ink wash painting flourished from the Song dynasty in China (960–1279) onwards, as well as in Japan after it was introduced by Zen Buddhist monks in the 14th century. Some Western scholars divide Chinese painting into three periods: times of representation, times of expression, and historical Oriental art. Chinese scholars have their own views which may be different; they believe that contemporary Chinese ink wash paintings are the pluralistic continuation of multiple historical traditions.

<span class="mw-page-title-main">Bada Shanren</span> Chinese painter and calligraphist (1626–1705)


Zhu Da (朱耷), also known by his pen name Bada Shanren (八大山人), was a late-Ming and early-Qing dynasty Chinese painter, calligrapher, and poet. He was born in Nanchang, Jiangxi, in 1626, at during the Ming-Qing Transition. Zhu was mentally ill and displayed erratic behavior. He was related to the House of Zhu, which was destroyed and executed by the new Qing dynasty. Fearing that he would also be purged and executed, he fled to a Buddhist temple and learned the teachings of Chan (Zen) Buddhism, becoming a monk for 30 years.

Wáng Wēi, also known by her courtesy name Xiūwēi, was a Chinese Gējì, poet, and traveller during the late Ming dynasty.

Wei Zhongxian, born Wei Si (魏四), was a Chinese court eunuch who lived in the late Ming dynasty. As a eunuch he used the name Li Jinzhong (李进忠). He is considered by most historians as the most notorious eunuch in Chinese history. He is best known for his service in the court of the Tianqi Emperor Zhu Youjiao, when his power eventually appeared to rival that of the emperor.

<span class="mw-page-title-main">Liu Rushi</span> Chinese Ming Dynasty artist and poet

Liu Rushi, also known as Yang Ai (楊愛), Liu Shi (柳是), Liu Yin (柳隱),Yang Yinlian (楊影憐) and Hedong Jun (河東君), was a Chinese courtesan, poet and writer in the late Ming dynasty and early Qing dynasty.

<span class="mw-page-title-main">Huang Zongxi</span> Chinese naturalist, political theorist, philosopher, poet and soldier

Huang Zongxi, courtesy name Taichong (太冲), was a Chinese naturalist, political theorist, philosopher, and soldier during the latter part of the Ming dynasty into the early part of the Qing.

<span class="mw-page-title-main">Daming Lake</span> Natural freshwater lake in Jinan

Daming Lake (Chinese: ; pinyin: Dàmíng Hú; Wade–Giles: Ta4-ming2 Hu2; lit. 'Lake of the Great Splendour') is the largest lake in the city of Jinan, Shandong, China and one of city's main natural and cultural landmarks. Located to the north of the historical city center, the lake is fed by the artesian karst springs of the area and hence retains a fairly constant water level through the entire year.

Li Shishi (?-?) was a courtesan(Chinese: 歌妓 / 歌伎; pinyin: Jiǎojì) from Bianjing, the capital of the Song Empire. At the time,courtesan refers to women who engaged in the performing arts for a living, and their scope of work included: singing, dancing, reciting poetry and painting during the Northern Song dynasty. According to Gui Er Ji written by Zhang Duanyi, Emperor Huizong was a regular patron of hers. She fled to Zhejiang or Hunan after the Jingkang Incident of the Jin–Song wars occurred in year 1127 AD, as recorded in Mo Man Lu by Zhang Bangji.

<span class="mw-page-title-main">Ming dynasty painting</span> Overview of Ming dynasty painting

During the Ming dynasty (1368–1644), Chinese painting progressed further basing on the achievements in painted art during the earlier Song dynasty and Yuan dynasty. The painting techniques which were invented and developed before the Ming period became classical during this period. More colours were used in painting during the Ming dynasty. Seal brown became much more widely used, and even over-used during this period. Many new painting skills or techniques were innovated and developed, calligraphy was much more closely and perfectly combined with the art of painting. Chinese painting reached another climax in the mid and late Ming. The painting was derived in a broad scale, many new schools were born, and many outstanding masters emerged.

Bird-and-flower painting, called Huaniaohua in Chinese, is a kind of Chinese painting with a long tradition in China and is considered one of the treasures of Chinese culture. The huaniaohua was named after its subject matter. It originated in the Tang dynasty where it gained popularity, matured by the end of that period and during the Five Dynasties and Ten Kingdoms period, and fully reached its peak during the Song dynasty. Most huaniaohua paintings belong to the scholar-artist style of Chinese painting. In the coming centuries, the genre gained popularity and spread throughout the East Asian cultural sphere. It also had an influence on Iranian painting in the golomorgh genre of illustration for book covers and illuminated manuscripts.

<span class="mw-page-title-main">Four Masters of the Ming dynasty</span> Grouping of major Chinese painters during the Ming dynasty period (1368–1644)

The Four Masters of the Ming dynasty are a traditional grouping in Chinese art history of four famous Chinese painters that lived during the Ming dynasty. The group consists of Shen Zhou (1427–1509), Wen Zhengming (1470–1559), Tang Yin (1470–1523), and Qiu Ying (c.1494–c.1552). They were contemporaries, with Shen being the teacher of Wen, while Tang and Qiu was taught by Zhou Chen (1460–1535). All five of the aforementioned painters were part of the Wu School. Their styles and subject matter were varied. Qiu was solely a painter, while the other three developed distinct styles of painting, calligraphy, and poetry.

<i>The Affaire in the Swing Age</i> Chinese TV series or program

The Affaire in the Swing Age, also known as The Dynasty or Love Against Kingship, is a 2003 Chinese television series based on the novel Jiangshan Fengyu Qing by Zhu Sujin, who was also the screenwriter for the series. The series depicts the events in the transition of the Ming dynasty to the Qing dynasty in China, focusing on the lives of historical figures such as Li Zicheng, Wu Sangui, Chen Yuanyuan, the Chongzhen Emperor and Huangtaiji.

<span class="mw-page-title-main">Ming poetry</span>

Ming poetry refers to the poetry of or typical of the Ming dynasty (1368–1644). With over one million specimens of Ming poetry surviving today, the poetry of the Ming dynasty represents one of the major periods of Classical Chinese poetry, as well as an area of active modern academic research. Ming poetry is marked by 2 transitional phases, the transition between the Yuan dynasty which was the predecessor to the Ming, and the Qing-Ming transition which eventually resulted in the succeeding Qing dynasty. Although in politico-dynastic terms, the dynastic leadership of China is historically relatively clear-cut, the poetic periods involved encompass the lifespans and works of poets whose lives and poetic output transcend both the end of one dynasty and the initiatory period of the next.

Xue Susu was a Chinese courtesan during the Ming Dynasty. She was an accomplished painter and poet who was particularly noted for her figure paintings, which included many Buddhist subjects. Her works are held in a number of museums both in China and elsewhere. Her skill at mounted archery was commented upon by a number of contemporary writers, as were her masculine, martial tendencies; these were regarded as an attractive feature by the literati of the period.

Ma Shouzhen, also known by her courtesy name Ma Xianglan and pen name Yuejiao, was a Chinese courtesan and artist born in Nanjing during the late Ming dynasty (1550–1644). She was a renowned painter, poet, and composer, receiving the name Xianglan because her most favored paintings were of orchids.

Gu Mei, better known by her art name Gu Hengbo, also known as Xu Shanchi(徐善持) and Xu Zhizhu(徐智珠) after her marriage, was a Chinese Gējì, poet and painter. She received the title "Lady (furen)" from the early Qing court, and often addressed as "Lady Hengbo" in Qing writings.

<span class="mw-page-title-main">Eight Beauties of Qinhuai</span>

The Eight Beauties of Qinhuai, also called the Eight Beauties of Jinling, were eight famous Yiji or Geji during the Ming-Qing transition period who resided along the Qinhuai River in Nankin. As well as possessing great beauty, they were all skilled in literature, poetry, fine arts, dancing and music.

<span class="mw-page-title-main">Chang Lee Te-he</span>

Chang Lee Te-he was a poet and artist active in Chiayi City, Taiwan. She was born in Xiluo, Yunlin. She was a member of the Xiluo Tan Society (西螺菼社) and Chiayi Luoshanyin Society (嘉義羅山吟社). She also founded the Linlang Mountain Pavilion Poetry Society (琳瑯山閣詩會), the Yaque Calligraphy and Painting Society (鴉雀書畫會), the Tijing Pavilion Lyric Writing Society (題襟亭填詞會), the Lianyu Poetry Society (連玉詩鐘社), and the Xiaoti Yin Society (小題吟會), among other literary gatherings. She also achieved success in the painting field, and her works were exhibited several times. In 1942, she was honored with the titles of "Recommended Painter" and "review waiver".

Li Pingxiang (李苹香), whose original name was Huang Zhen (黄箴), was also known as Huang Biyi (黄碧漪) and Xie Wenyi (谢文漪). Her courtesy name was Huanyin (鬟因) and she called herself Yuanhu Nushi (鸳湖女史). She was a Gējì, painter and poet in the late Qing Dynasty and early Republic of China.

References

  1. 1 2 3 4 5 6 7 8 9 10 Lee, Lily Xiao Hong; Lau, Clara; Stefanowska, A.D. (2015). Biographical Dictionary of Chinese Women: v. 1: The Qing Period, 1644-1911. Routledge. pp. 124–5. ISBN   978-1-317-47588-0.
  2. "The smart emotions and free souls revealed in the paintings of women in the Ming Dynasty".
  3. 1 2 3 4 5 6 7 8 9 Weidner, Marsha (1988). "catalogue". In Weidner, Marsha (ed.). Views from Jade Terrace : Chinese women artists, 1300–1912. Indianapolis Museum of Art. pp.  102–105. ISBN   0847810038.
  4. "Talented girl Li Yin's ink peonies".
  5. "CUHK exhibits works by female painters of Ming Dynasty".
  6. 1 2 3 4 Yang, Haihong (2017). Women's Poetry and Poetics in Late Imperial China: A Dialogic Engagement. Lexington Books. pp. 34–36. ISBN   978-1-4985-3787-2.
  7. Sun Lisheng 孙黎生 (27 March 2018). "才女李因的水墨牡丹". Guangming Daily. Retrieved 16 October 2019.
  8. "Her Distinguished Brushwork: An Exhibition Featuring Paintings by the Seventeenth-Century Artist Li Yin". Chinese University of Hong Kong. 2017. Retrieved 18 November 2019.
  9. 1 2 3 Wu Lin 吴琳 (August 2013). "明清易代与才媛李因诗风之变". Journal of Suzhou College of Education (in Chinese). 30 (4): 40–42. ISSN   1008-7931.
  10. Arcano, Katherine (12 May 2014). "The Artful Recluse: Painting, Poetry and Politics in 17th Century China". Artes Magazine. Retrieved 10 October 2019.
  11. "Li Yin".
  12. "Li Yin".