Text/Zhu Wanzhang
Qing Shixi "Idle Tour in the Mountains" (Partial)
Shi Xi Fa (1612-1673), commonly known as Liu, the number of electric Resident Daoren, Tianyuan Remnant, etc., Hunan Changde people, long-term exile in Nanjing, Jiangsu. His paintings are known for their landscapes, and he is occasionally good at figures and flowers. Among the "Four Monks" (Yuan Ji, Zhu Yun, Hongren, and Stony Brook) in the early Qing Dynasty, Stony Brook was the only one who became a monk due to his religious beliefs. When I wrote the book "Stony Brook" [(1)], I did a comprehensive review and revision of his works, which can be regarded as an understanding of his heirloom works. Recently, it was learned that the National Museum of China has newly entered a collection of "Idle Travel in the Mountains" in recent years. At the same time, when the author participated in the compilation of the "Essence of Chinese Cultural Relics Collected Overseas: Volumes of the British Museum", he also learned that the museum also contained a Shixi "Landscape Album". Not long ago, in the Lingnan Weizhen Garden, I also got a "Kun Gong Ling Xiao Tu". These three Stony Brook landscapes were not alluded to when "Stony Brook" was written, and they were all masterpieces of the sheng nian, and it is now advisable to record their perceptions and feelings to Zhi Hong's claws.
Figure 1: Qing Shixi,"Diagram of Idle Travel in the Mountains", color on paper, 55.5x35.5 cm, National Museum of China
The National Museum of China's "Idle Travel in the Mountains" is colored on paper, 55.5 cm in length and 35.5 cm in width, and the author inscribed: "Xin Ugly October, When Gongyuan entered the mountain twice, with a volume of landscape and water, and left two small pieces, transcendent dust, can not be described as offering smoke clouds to the old monks, but quite unwilling to return empty-handed, Yu Yishan pen, can not be sprinkled on the guest, but searched for bad paper piles to get this, a little, the old monks lost a lot, looked at each other and laughed, stone Dao people questioned", Zhu Wen Lian Zhu seal "Jie" "Qiu" and Zhu Wenfang printed "Stony Brook". "Xin Ugly" is the eighteenth year of Qing Shunzhi (1661), when the author was fifty years old. This picture is densely composed, layered and mountainous, lush with grass and trees, with scorched ink rubbing, ochre and light ink rendering of mountain stones, thick ink dot moss. Although it is airtight, you can still see clear paths, flowing springs, mountain huts and streams. In the roughness of the pen, there is no lack of freedom in the strictness. According to the author's inscription, this painting was obtained in the mountains as a "bad paper pile", or as a game pen, but from the perspective of the picture and the rhyme, instead of being suspected of being sloppy, it was helped by the country and the mountains, and the qi in the mountains and the hills in the chest were integrated. Qian Du (1763-1844) of the Qing Dynasty commented in his "Songju Painting Memories" that the landscape of Shixi was "full of water, shocking, especially too demanding and horizontal, and it is inevitable to be close to the mountain"[(2)], in this picture, this rough face can be seen, which is also its characteristics. When the author wrote this painting, it was in his prime, and the painting was gradually maturing. In the same year, we can also see that he painted paintings such as "Zen Machine Painting Fun Chart Axis" and "Xianyuan Picture Axis" (both in the Palace Museum in Beijing), with very different styles. The composition of "Zen Machine Painting Fun Picture Axis" is sparse, purely based on light ink; "Xianyuan Map Axis" is also sparse, but mostly renders mountain stones in shallow light, while "Idle Tour in the Mountains" is closer to the late main style. The different painting styles displayed in the same year may show traces of their artistic evolution and exploration. The edge of the figure has the Jianzang seal "Han Zhai Secret" (Zhu WenfangYin), which is xu Shichang's Tibetan seal. Xu Shichang (1855-1939), Zi Bu Wu, Ju Ren, Han Zhai, Donghai, BeiShui Zhu Estate, Tianjin people, served as secretary of state and president of the Republic of China period, rich in ancient books and rare books, and also good at calligraphy and painting, and his common collections were printed with "Xu Shichang Longevity and Longevity Descendants", "Han Zhai", "Han Zhai Collection", "Book Marrow Lou Collection", "Han Zhai Secret", etc., compiled the "Bibliography of the Bibliography of the Qing Dynasty" and "Catalogue of the Collection of Qing Ren Collected by the Late Qing Dynasty".
Figure 2: Qing Shixi's "Map of The Ridge of the Mountains", color on paper, 230x38 cm, Lingnan Micro Treasure Garden Collection
Figure 2: Qing Shixi's "Turky Lingxiao Map" (partial)
"The Map of The Lingxiao of the Twins" is colored on paper, 230 centimeters in length and 38 centimeters in width, and the author inscribed: "The dragon is a lonely lingxiaohan, and the decadence is eager to climb." Pine and thousands of people, hidden and heavy. The green moss is ancient and the ochre is like a stone. The bottom of the fragrant spring peak comes out, and the bird stream is still at the edge. Knowing the meaning of futon, why seek overseas mountains. The spiritual platform should not be far away, and the end belongs to the human world. In the autumn of September, the leisurely spirit house wrote this in order to cherish its clouds. Tianliang Shishu Remnant Daoist", Zhu Wenlian Zhuyin "Jie", "Qiu" and Baiwen Fangyin "Shiyi". The "癸卯" is the second year of the Qing Kangxi Dynasty (1663), when the author was fifty-two years old. This picture shows the rolling hills in a narrow compositional mode, from far and near, which are rugged peaks, waterfalls and springs, pavilions and corners, people in the depths of white clouds and stream boats, etc., interspersed with lush trees and looming clouds. His painting method blends with its common light color and ochre color, and depicts mountains and stones and trees with scorched ink dry brushes, giving people a feeling of thick and lush. Its composition is dense and exquisite, the dense places are complex and delicate, and the sparse places are ethereal and rough, which conveys the landscapes seen in the author's eyes through its brushstrokes, which is extremely common in the landscape paintings of the mature period of Stony Brook.
Interestingly, in April of this year, Shi Xi Shangzuo had a "Lingxiao Tu" (Shanghai Museum collection) with the same theme, whose inscription is consistent with this picture, also colored on paper, 91.2 cm in length and 44.6 cm in width, and its composition is slightly different from this picture, which is a depiction of the deep mountain silence in the lofty mountains, a Gaoshi sitting alone in the ancient pavilion by the mountain stream, behind the pavilion is the majestic peak, the vast mountain and the inaccessible deep forest, the rugged peaks are cloudy and misty. Its composition and artistic conception are similar to this picture, which shows that Stony Brook has no shortage of stereotyped tendencies in the creation of landscape paintings in the mature period. In the Baiyun Hall of Huang Junbi (1898-1991) in Taipei, there is also a "Lingxiao Map of The Peak", the first half of the inscription is consistent with this picture, but the second half of the "First Understanding the Meaning of the Futon, He Seeks Overseas Mountains." The lingtai should not be far away, and Duanyuan is in the human world "sentence for" to understand this meaning, why seek overseas mountains. A staff with many interesting thoughts will come out of the world." The painting in the collection of Baiyuntang was written in the seventeenth year of Shunzhi (1660) when the author was forty-nine years old, and it belonged to a relatively early work, and the experience and perception of the world at that time were naturally not as good as when he made this painting three years later, so he changed the "meaning of this meaning" to "futon meaning", which shows that its "meaning" is realized from zen meditation, which also reflects what he called the idea of painting "obtained from futons". In this "Lingxiao Map" hidden by BaiyunTang, Shi Xi also inscribed: "... The earth is lined up with mountains, and the cliffs are half leaning on the sky. The ape cries outside the green barrier, and the crane whispers on the edge of the white cloud. Taikoo left relics, the altar of stars hidden old immortals. The waterfall spring is long and practicing, and the valley stream is warm and smokey. The ancient cave is full of dangers, and the high rock column is green moss. The Spirit Peak is in the distance, and the edge of the otherworld painting is in the middle. Xiao Fog opened far away, and the mountains and mountains broke off and resumed. The song is loud, and the valley birds are dancing. The side of the temple is hidden on the lone peak, and the peak of Songqi Erling. The fallen sandals were deeply intentional, and a smile was what year it was. Gengzi Midwinter is made under the south window of the Tianque Mountain House, and the Stony Brook Remnant Dao People" is an in-depth supplement to the meaning that has not been expressed earlier. Therefore, there is reason to believe that the Shanghai Museum collection and the Lingnan Micro Rare Garden collection are both evolution and change on this basis. In fact, the phenomenon of "same title and different paintings" in Stony Brook is not uncommon in its heirloom works, such as the "Huangfeng Qianling Tu Axis" collected by the Guangdong Provincial Museum in the eighteenth year of Shunzhi (1661), which is colored on paper, 281 cm, 128 cm in width, and the author inscribed a poem: "Huang Feng Qian Yu Ten Days Stay, Smoke Like a Barrier Hut." He hurriedly did not want to live up to The Thirty-Six of Lotus Peak. Suddenly, his heart opened, and he looked up at the peak and screamed. He Wuze dots space, and Yunjun plays with all the magic. Carrying will be a thousand miles of green, scattered into the green and dark five-color text. The Hong Kong Museum of Art also collects paintings of the same title, with the same inscription and time, and also sets colors on paper, but the size is 141 cm in length and 39 cm in width, which is only half of the former, and its composition and pen rules are very different; and then the Shanghai Museum has collected the "Cangshan Knot Mao Tu Axis" in the second year of Kangxi (1663), which is colored on paper, 89.8 cm in length and 33.8 cm horizontal, and the author inscribes a poem cloud: "Zhuo Zhiyi people are prosperous, and the knots are in Cangshan Road." The mountain color is still between the belts, and the mountain guests have entered the clouds. The tiantai Xianding white cloud is sealed, and the immortal bones can be followed by junding. XuanYi night whistle Qingxi Qu, white crane when relying on the sill outside the pine", and in the Palace Museum in Beijing also has a painting with the same inscription, called "Vertical Pole Diagram Axis", also colored on paper, 290 cm in length, 131.5 cm in width, the first half of the inscription poem is almost consistent with the "Cangshan Knot MaoTu", but the individual words are slightly different, and two sentences are added later, the whole poem is: "Zhuo Jieyi people are countless, and the vertical pole is spread into the deep pine road." The stream is still in the belt, and the mountaineer has entered the cloud. In this middle of the immortal ding white cloud seal, the fairy bone edge edge can be derived. Xuan Yu roared at night, and the red leopard perched in the morning and the bottom pine. Lotus Flower Cuidai Sunset Purple, Suo Pen Transmission God Jiner. Knowing that I am a former painter, the spirit of the ancient mountain should treat me", and the two paintings have no similarities in composition. In the Ming and Qing painting circles, this kind of phenomenon of "different paintings with the same theme" can be seen in many painters, and this will not be repeated.
Among the "Four Monks", Shi xi is the only one who specializes in landscape, and his landscape originates from the ancients and sketches, but he also writes about the landscape in his heart, so in his pen, the grass and trees displayed by the dry landscape of "Kun Di Ling Xiao Tu" are often the expression of his chest. As the Qing Dynasty Qin Zuyong (1825-1884) said, his "pen and ink are reckless and ancient, the realm is strange and strange, and there are fascinating wonders everywhere", "a lonely and strange atmosphere in the chest is revealed, and the Chengyuan people are victorious". Qin Zuyong believes that the reason why Shixi can have such a high and ancient painting style is that it is "derived from the futon" and uses pen and ink to do Buddhist things, which is the result of both internal and external cultivation, which is very reasonable. Because of this, Stony Brook "does not lightly do it, although it is dedicated to gold, it is impossible to obtain a sum of money" [(3)], so among the "four monks", his works are also the least passed down. It is worth noting that in the landscape of Stony Brook, it is often embellished with one or two figures as a background to inject vitality into its landscape paintings. In this picture, a coat of arms wearing a bucket hat, sitting on a fishing boat, leisurely fishing, the canopy and the side of the boat are painted in a light ochre color, in line with the style of the mountain stone, and the canopy is described in a crossed "#" shape. The light boat swayed with the water, and the coat stood still, calm and relaxed, as if to show a transcendent and distant scene of birth. Such a figure has a strikingly similar scene in Stony Brook's "Rain Washing Mountain Roots" (beijing Palace Museum collection), which shows that in its stereotyped composition, the character background is no exception. As for the mao pavilion, ancient trees and waterfalls in the paintings, similar compositions can be found in other masterpieces, regardless of their brushwork and color, there is a tendency to stylize. This phenomenon can be found in many surviving Works of Shixi, such as the two people sitting opposite each other in the Mao Pavilion in the "Stratumine Rock Stacking And Ravine Map" (the collection of the Palace Museum in Beijing) in the second year of the Kangxi Dynasty (1663), which is the same as the two people in the Wuyin Basho Under the Mao Pavilion in the "Landscape Atlas" (Shanghai Museum Collection) composed in the ninth year of the Kangxi Dynasty (1670). Nevertheless, this does not prevent us from praising Stony Brook's unique landscape painting style. The inscriptions of this map are: "Zhongchi Examination and Approval" (Baiwen Fangyin), "Zengzang Zhenze Xu Zhongchi Family" (Baiwen Fangyin), "Xu Wangzhi Song Ci Father Kaozang Seal" (Zhu Wenfangyin), "Zhuang Jing Appreciation" (Zhu WenFangyin), "Zibo Secret Play" (Zhuwen Circular Square Hole Seal) and "Zhang's Zibo Appreciation" (Zhu Wenfangyin), etc. Among them, "Zhongchi Examination and Approval" (Bai Wen Fangyin), "Zengzang Zhenze Xu Zhongchi Family" (Bai Wen Fangyin), "Xu Wangzhi Song Ci Father Kao Tibetan Seal" (Zhu Wen Fangyin) are Xu Zhongchi Tibetan Seals. Xu Zhongchi (1862-?), zi wangzhi, lumin, lemin, Jiangsu Wujiang people, rich Tibetan calligraphy and painting. The two seals of "Zhongchi Approval" and "Zengzang Zhenze Xu ZhongchiJia" were engraved by Xu Sangeng (1826-1890) and appeared in the "Seal of Xu Sangeng" [(4)], and "Xu Wangzhi's Praise to the Loving Father's Examination of The Seal of Tibet" is not found in the "Encyclopedia of Seals of Chinese Connoisseurs" [(5)], or may make up for the shortcomings of this book; "Zi Bo Secret Play" and "Zhang's Zi Bo Appreciation" are the Seal of Zhang Shuo. Zhang Shou (1804-1875) was a Qing Dynasty calligraphy and painting connoisseur, zi zi bo, zi bo, number Xin Fu, other name claw perch foreign history, Zhejiang Gui'an people, good at calligraphy, rich in calligraphy and paintings and classics, the collection of calligraphy and paintings in the Ming Dynasty works are many and exquisite, Zeng Jianzang Wang's "Plum Blossom", Jin Nong's Codex, Wang Jun's "Xingshu ShouLu YinWeng Seventy Birthday Prelumension Preamble Volume", Zhang Xuezeng's "Autumn Xing Poetry Picture Album", Wang Yi's "Landscape Scroll", Zhang Geng's "Xishan Travel Map Axis", Qian Chenqun's "Ruler Scroll", etc., author of "Mo Du Jian Room Calligraphy and Painting Record", Mo Du Jian Room Poetry Transcription". Most of the calligraphy and paintings in Zhang Shouguan's collection later went to Lu Xinyuan's (1834-1894) Zhaizhong, but after checking Lu's "Records of the Passing Eyes of the Yongliguan" and "Continuation", there was no such stony brook landscape, which shows that before the Zhang collection was transferred to Lu's family, this Stony Brook landscape had flowed out of his home. The other side of the "Zhuang Jing Appreciation" seal, not known who hid the seal, its age should be after the Xu and Zhang clans.
Figure 3: Qing Shixi's "Landscape Album" (one), color on paper, 31.8 ×65 cm, British Museum collection
Figure 4: Qing Shixi's "Landscape Album" (Part 2), color on paper, 31.8 ×65 cm, Collection of the British Museum
The Stony Brook Landscape Album in the British Museum is a two-page, colored on paper, each 31.8 cm long and 65 cm wide, framed into a hand-scrolled scroll. His painting style is similar to his usual dry brush, old and spicy and pale atmosphere. The inscription on the first page reads: "In the late autumn of the first afternoon, the Great Resident of Qingxi drove in the middle of the mountain and stayed on the throne for ten years." Jing Tan Zen purpose and the micro of the six laws, on the essence of painting must read more books and history, climb the mountain poorly, in order to create meaning, but the great layman is a contemporary famous Confucian, to the point of being cruel but a lazy man between heaven and earth, do you know what painting comes from? Yu Xiang tasted the Huangshan Mountains, saw the clouds and smoke of the morning and evening, the forest was beautiful, and the non-human world was also. The layman then produced four paper books in the end of the hall, randomly belonging to the map, and chatting about the flavor of yun'er. Lay people should teach me when they drink. Stony Brook Remnant Road Zhi Claw", Zhu Wen Lian Zhu Yin "Jie" "Qiu", Zhu Wen Fang Yin "Shi Xi" and Bai Wen Fang Yin "Remnant Dao". From the inscription, it can be seen that this painting was written by the author after visiting Huangshan Mountain, and the scenery in the mountains, or the sketch for Huangshan Mountain, is to describe the autumn scenery. The painting was made in the fifth year of the Kangxi Dynasty (1666), when the author was fifty-five years old, so the painting is his heyday, reflecting the style of his mature period; the second page is inscribed: "Smoke waves often pan boat, stone caves hanging cloud scoops." Do not know the meaning of this, who sings the tree. Stony Brook Remnant Road People Made in Tianque Mountain House", Plutonium Zhu Wen Oval Seal "Good Dream". This painting depicts the scenery of winter, and its painting and poetry are integrated, and they are jagged with each other, and there is poetry in the painting and painting in the poem. The inscription of the painting was written by The Closeman Fu Zhu (1886-1947): "The Album of Four Landscapes of the People on Stony Brook is closed." Five Clouds Double Star Yan Zhai Treasure. Bing Yin October Symbol Casting Inscription", its collection is printed: "WuXian Collection Seal" (Zhu Wen Chang Fang Seal), "Wu Family Collection" (Zhu Wen Fang Yin) and "Hou Shitai Appraisal" (Zhu Wen Chang Fang Yin). Fu Zhu (1886-1947) was the son of Fu Qi, the character Tie Nian, the number of the Lady Temple, the other office of the idle resident, the signature of his room is De Jinglu, originally from Hengyang, Hunan, born in Chaozhou, Guangdong, late living in Shanghai, good at poetry, calligraphy and painting, together with Tang Dingzhi, Xie Gongzhan, Wang Shizi, Zheng Wuchang, Lu Danlin, Xie Yucen, Zhang Daqian, Zhang Shanzi jointly established the "Nine Societies", known as the "Nine Friends of the Republic of China". Among them, "Wuyun Double Star Yanzhai" is The Shanghai Xushi Zhai, the details of which cannot be examined; The "Wuxian Collection Seal" and the "Wu Family Collection" should be the seal of the modern connoisseur Wu Puxin. Wu Puxin (1897-1987), no. Tingxiang, a native of Nantong, Jiangsu, rich in calligraphy and paintings, his room name is Si Xuezhai ( Si Xuezhai ) , and the paintings and calligraphy in his collection are often printed with "Nantong Wu's Collection of Calligraphy and Painting Prints", "Chongchuan Wu's Collection", "Wu's Treasures", "Wu Ting XiangYin", "Pu Xin", "Si Xue Zhai", "Si Xue Zhai Jian Collection Seal", etc., and a Ming Dynasty Tang Yin's "Rainbow Farewell Intention Scroll" in the Metropolitan Museum of Art in New York, USA, has two seals: "Wu Waiting For The Collection Seal" and "Wu Family Collection"; The "Hoist Identification" was printed by the German collector Hostay (1914-2007). Hou Shitai has a wealth of Chinese paintings and calligraphy, and in addition to this Shixi landscape, there are also Wu Zongyuan's "Chaoyuan Xian Zhan Tu" and Ren Renfa's "Five Kings Drunken Return Map", etc., and his commonly used collections are printed with "Tianmu Shanren", "Hou Shitai Jianzang", "Zungutang True Reward". According to this, the painting was circulated in an orderly manner, and was collected by Xu's Wuyun Double Star Yanzhai in Shanghai, Wu Puxin and Hou Shitai, and was collected in the British Museum in 1963.
The three landscapes were all made in the heyday of Shixi, representing its typical style, which is when his art gradually became independent and gradually entered a better state from the teachers of the Song and Yuan dynasties. What is significant is that none of the three works have appeared in previous art history studies, and they have also been lost in Hu Yi's "Annals of The Remnants of the Skull", which is undoubtedly a beautiful thing for us to deeply understand and fully understand the painting style and artistic transformation of Stony Brook, and it is also a beautiful thing to add to the icing on the cake.
(The author of this article, Zhu Wanzhang, is a researcher at the National Museum of China, and this article was originally published in Literature and History Knowledge, No. 8, 2017)
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exegesis:
[(1)] Zhu Wanzhang, Stony Brook, Hebei Education Press, 2006.
[(2)] Qian Du, "Memories of Songju Paintings", vol. 173, Xiling Printing Press, 2008.
[(3)] Qin Zuyong, "Tong Yin on Painting", 20 pp., Shanghai Ancient Books Publishing House, 2015.
[(4)] Xu Sangeng's Notation, pp. 124-125, Shanghai Bookstore Publishing House, 1993.
[(5)] Zhong Yinlan, editor-in-chief, The Complete Book of Chinese Connoisseurs' Seals, Jiangxi Fine Arts Publishing House, 2008.
(This article only represents the author's personal views, all rights reserved, please indicate the author and source)