If you pay attention to the calligraphy and painting auction market, in 2016, you must have been repeatedly brushed by the name "Wu Hufan", and major companies such as China Guardian, Xiling Auction, Duoyunxuan, and the price of Wu Hufan's works have reached tens of millions of good results.
Jiade Qiu auctioned Wu Hufan's "Splendid Qifeng" for 40.825 million yuan
Xiling Auction Autumn Auction Wu Hufan's "G Han Di Wu Niu Tu" sold 26.45 million yuan
But Wu Hufan is not only a calligrapher and painter, but also a calligraphy and painting expert, and a rich collector. In addition to the shadow of his ancestors, maternal grandfathers and fathers-in-law, he has accumulated nearly half of the antiquities collection, and he has also enriched and refined his own collection through various ways, and the stories of this are often talked about by people. However, he is not fighting alone, and beside and behind him, there are a number of characters who share the role of accompaniment and harmony.
Wu Hufan
In December 1946, Wu Hufan and his friends were photographed in Huangshan Art Garden (from right, Zheng Wuchang, Zhang Chongren, Zhang Daqian, Wu Hufan, Xu Shiqi, Wang Yachen, Yan Wenliang)
Wu Hufan's Meijing Bookstore was a "landmark" in the maritime painting world and the collection of calligraphy and painting for about two decades from the early 1930s to the late 1940s.
Flipping through Wu Hufan's diary, you will find that there are three main types of characters around the meijing bookstore's calligraphy and painting collection, one is that celebrities in the collection circles such as Pang Yuanji, Zhou Xiangyun, Di Pingzi, Tan Jing, Jiang Yusun, Zhang Liangyu, Sun Boyuan, Sun Bangrui and other collectors appear in wu hufan's daily activity records from time to time. Second, in addition to those who send wine, taste exchanges, and antique circulation, some people in the calligraphy and painting circles such as Shen Yinmo, Ye Gongqi, Zhang Daqian, Feng Chaoran, Shen Jianzhi, etc., will occasionally express some views on the concept of collection and fashion trends. Then there are things like Antique Dealer Wu Binchen, Cao Youqing, the owner of Jigu Pavilion, Liu Dingzhi, Zhou Guisheng... These three categories generally constitute the core and peripheral main force of meijing collection circle - Wu Hufan obtains information from them, explores the market, determines the advantages and disadvantages, accumulates strength, realizes transactions, and constantly enriches and completes his own systematic collection of Chinese art.
Only those who have "financial strength, energy and skill" can be the basis of collectors. On financial resources, Wu Hufan may not be able to compare with Pang Xuzhai, Zhou Xiangyun, Sun Bangrui and other people who have both real estate and enterprises, he mainly relies on his ancestral inheritance and his own all-out efforts, and he is persistently moving forward on the road of collection, and he is also inseparable from the assistance of famous calligraphers and painters like Shen Yinmo, Ye Gongqi, Zhang Daqian, and Feng Chaoran, who work day and night to save his own private collection.
Zhang Daqian
Part of Guo Xi's "Valley Map" of the Northern Song Dynasty
Part of wuzhen's "Fisherman's Father Diagram" in the Yuan Dynasty
For example, Zhang Daqian, who is both a calligrapher and a painter and a collector, has a wide range of knowledge, and a number of heirlooms such as Guo Xi's "Valley Map" scroll of the Northern Song Dynasty and Wu Zhen's "Fisherman's Father Map" volume in the Yuan Dynasty were collected by Meijing Bookstore through his bridge matchmaking. The previous collector of "The Valley Map" was Lushan Cai Jintai, who was carried to Shanghai by Daqian and recommended to Wu Hufan. In addition, the diary also records that Wu Hufan used the old gold Ren Junmo's "Gubai Xing", Wang Meng and Rao Jie's calligraphy and paintings to combine volumes, "by daqian hand Yi Wu Zhonggui's "Fisherman's Map" volume, also a happy thing! On May 29, 1931, through Cao Youqing's handling, Wu Hufan paid "thousands of gold" to obtain the "Rootless Orchid" that was passed down as the painting of Zheng Sonan of the Southern Song Dynasty, and Wu Hufan praised it as "the same treasure as the Plum Blossom Joy God Spectrum". However, three years later, on January 27, 1934, Wuhu Fanzang Zheng's "Orchid" was sold to Pang Yuanji for 5700 yuan through Xu Zhusun's intermediary. Soon, Cao Youqing brought Zhang Zhong's (Zizheng) "Furong Double Mandarin Diagram", and Wu Hufan took it for himself at a cost of 800 yuan.
Jiang Gusun
Part of Tang Yin's "Riding a Donkey to Xingtu"
Jiang Gusun (1902-1973) was a native of Huzhou, Zhejiang. His father, Jiang Ruzao, was an influential industrialist in Zhejiang and a bibliophile, famous for the Secret Yun Building. At the beginning of the 20th century, at the invitation of Lu Qinzhai, he presided over the Beijing Laiyuan Company, operating and acquiring antique calligraphy and paintings. During his stay in Shanghai, Gu Sun himself was famous for his exquisite collection of inscriptions, engravings, calligraphy and paintings, and in the late 1940s he traveled to Taiwan with his family, and was a professor at National Taiwan University, and authored "Si Shi Zhai Collection of Outer Books and Collections".
Many of The fine works collected by Wu Hufan have been intermediaries by Jiang Gusun, such as the volume of Ming Wuwei's "Iron Flute Diagram" for 1800 yuan, which is the case. It was more common for Wu and Jiang to exchange collections between them, like Jiang Gusun took a fancy to Wu Hufan's collection of the Song carved "Tao Te Ching", so he traded it with his own collection of Tang Yin's "Riding a Donkey to Return to Xingtu" axis and Mao's copy of the "Panzhou Music Collection". The axis of Ming Lushidao's "Qiulin Guan Waterfall Map" and Li Liufang's "Landscape Map" axis, which later became Wu Hufan's collection, were also exchanged for Jiang Gusun with the Yuan carved "Picture Painting Treasure Book" from the Wu family's old collection. Usually, Wu Jiang traveled closely, or traveled to the painting shop together, admired the calligraphy and paintings, inscribed the collection, or went to the theater to listen to Ma Lianliang sing the whole book "Three Niangs and Godsons". Once, Jiang Gusun also invited the secretary of the French Embassy in China, Bo Xi, and his disciple Du Bosi to visit the Meijing Bookstore to see Wu's Tibetan paintings, and the old man was surprised by the extent to which the Frenchman loved Wang Yuanqi's paintings, and sighed that "his roots and insights can be imagined"!
At the end of 1929, Jiang Gusun received a rare copy of the Northern Song Dynasty's "Chunhua Ge Ti", overjoyed, and newly took the title of "Guan Ti Qi", and asked Wu Hufan to write the "Guan Ti Tu", Wu Finished painting and inscribed on the upper left: "Gu Sun Dao Brother collected three volumes of Song Tuo Chunhua Ancestral Books, Jia Shi Xian Yue Sheng Tang old things, Ming Ji returned to Sun Shi's idle Xuan, all 6783 volumes, all the Wang Right Army Book, the crown of the Hai Cabinet Post." The end of the atlas of the genus Winter. Wu Hufan is also recorded in Si Ou Tang. After Jiang moved to Taiwan, the post was dispersed overseas and was purchased by the Shanghai Museum in 2003.
Yuan Ni Zhan 《Jiangzhu Fenglin Map》
However, like ordinary people, Wu Jiang sometimes made some unpleasant noises during his interactions. For example, on June 26, 1938, Cao Youqing brought the two axes of the "Han Hou Zhi Stele", the two copies of Yuan Tuo's "Shi Chen's Before and After Stele", and the three stele of Ming Tuo's "Jing Jun", "Han Shu" and "Zheng Gu" and so on to the Wu family. The above five kinds of Han stele are all relics of Wu Hufan's grandfather Shen Gong, which were given to Jiang last year by Wu Hufan in order to entrust Jiang Gusun with liang Kai's paintings sold. As a result, Liang's painting was not completed, and Wu Hufan wanted to ask for it back, but Jiang refused, and repeatedly ignored it. Therefore, Wu Hufan once watched Jiang's "Jiangzhu Wind Forest Map" by Jiang Shizang Ni Zhan, and deliberately held the painting for nearly a month, and Jiang had to return the original object.
Wu Hufan/ Chu Mei Estate "Ruilian Miao, Panasonic Asks" into a fan
Sun Bangrui (1903-1972), the younger brother of Sun Yufeng, a maritime industrialist and a famous collector of ancient calligraphy and paintings, loved to collect, and had a family friendship with Wu Hufan, and his collection was mostly identified and inscribed by Wu. In April 1939, Wu Hufan planned an exhibition of Tongren's Tibetan ancient paintings, and Sun Bangrui sent exhibitions of Tibetan paintings such as: Chen Daofu's "Red Pear Scroll", Shen Hao (Shi Tian's) "Qiulin Dao Dialect Map", Wang Yi's early masterpieces "Hantang Partridge" and "Imitation of The Great Fool's Landscape", Xiao Yuncong's "Book and Picture Scroll", Cha Shibiao's "Nancun Caotang Map", Ni Yuanlu's scroll, Wang Yuanqi's "Imitation Songxue", Dong Bangda and Qian Weicheng's four-foot-to-width, in Wu Hufan's view, the name and quality of these collections are "true and very vulgar" compared to others (including Qianjingtang's) The benefits are superior. In Sun Bangrui's collection, the colored fine pen "Nancun Caotang Map" of the Cha Shi biao, the original paper was moldy, which was a pity, so he entrusted Wu Hufan to repair and supplement the pen.
Qing Wang Yi "Hantang Partridge"
Ming Li Liufang one of the "Landscape Albums"
Sun Bangrui is also a frequent visitor mentioned in Wu Hufan's "Diary of the Ugly Man". He often accompanied Wu Hufan to go shopping, and once gave Wu Glutinous Rice Lychee, and they cooperated to buy the "Four Kings" landscape and try out double-decker buses together. On the seventieth birthday of Wu Hufan in 1963, Sun Bangrui sent 400 blue peony brand cigarettes as a congratulatory gift. He once held the volume of Yang Ning's "Leek Flower Thesis" borrowed by Yang Ning, and asked Shen Yinmo to go to Wu Hufan's house to observe it together. With Wen Jia's "QushuiYuan" volume, Chen Daofu's "Red Pear" volume, Chen Jiru's book, Dong Qichang's "Xiaoshan Tu" volume and Mo Shi's "Dragon Scroll" recommended to Wu Hufan. Wu Hufan lost more than 20 years of treasures "Gong Zhai Gong Shu Jinshi Calligraphy and Painting Grass Thirty Six Leaves", in 1940 with a self-album two frames easy to recover, from which the person who became the meeting was Sun Bangrui. After Wu Hufan accepted Wang Wu's "Flower Album" gifted by Sun Bangrui, he returned the Favor by Li Liufang's Eight Open "Landscape Album" (now Shangbo Collection) that he had collected in his family. There is also a yun Shouping's "Carrying Zun Treading Snow Map" volume, using the boneless method, green and vermilion mirrored, which can be described as the only thing seen in Yun paintings, because of the literature related to Sun Bangrui's hometown of Jiangyin, Wu Hufan also transferred it to Sun Bangrui.
It is recorded that in the afternoon of one day, Sun Bangrui visited the Meijing Bookstore, carrying a small authentic copy of Wen Zhengming, as well as the Bada Shanren, Wang Yuanqi, and Zhang Yuanju painting fans, all of which were good. Especially the latter, the author Zhang Yuanju is Chen Daofu's grandson, and the paintings are rare. Wu Hufan entrusted Sun Bangrui to discuss it for inclusion in his specially edited "Wu Zhongmingxian Fan Album". On March 12, 1938, Sun Bangrui talked with Wu Hufan again, and yesterday he saw a volume of "Gongsun Qiao Monument" in Rongbaozhai and asked about this monument because he heard that Wu Hufan had paid back for it. Wu told him that he had not made a counteroffer, but the thing was very good. Sun Bangrui heard this and immediately went to the phone to ask: Is it still there? It turned out to be sold, and I was frustrated by it. Wu Hufan said that this stele was once held by someone to ask him for 1,000 yuan, and Rong Baozhai only asked Sun Bangrui for 150 yuan, and now he sold it for 180 yuan, so Sun Bangrui especially regretted it.
The losses and sorrows and joys in the collection of paintings and calligraphy are certainly interesting, and the complementary and mutual service on the road of life is more worthy of recounting. In the days when his wife Pan Jingshu died, it was Sun Bangrui and other friends who carefully accompanied him, sent funerals, and shared worries for Wu Hufan.
Wu Hufan and his wife Pan Jingshu
Feng Chaoran
Feng Chaoran (1882-1954), good at Danqing, excelled in women in his early years, and later specialized in landscapes, and also specialized in calligraphy and seal engraving, and shared the praise of "Three Wu and One Feng" in the maritime painting world with Wu Hufan, Wu Zhiqiu and Wu Zishen.
According to Zheng Yimei's recollection, when the 37-year-old Feng Chaoran settled on Songshan Road in Shanghai in 1919, Wu Hufan's family still lived in Suzhou and later wanted to move to Shanghai, and the place they found was "opposite to the Songshan Caotang, which was transcendent for Hufan.". The two families are on the same Songshan Road, Wujia No. 88 and Feng Chaoranjia No. 90, adjacent to each other for no more than a few minutes. "The front door of the Lake Sail family, the back door of the transcendent house, the same lane." The two are both celebrities in the Shanghai painting world "Three Wu and One Feng", and they also like to collect, often accepting guests and friends day and night, and the exchanges are very frequent. In Wu Hufan's diary, from time to time, you can read the records of "morning visits" or "night visits" to Feng Mansion.
At the beginning of 1932, Feng Chaoran watched Wu Hufan's newly acquired Lu Zhi's "Yuan Ye Yan Ji Tu" volume in meijing bookstore, and after viewing it, he was very excited and said: "This picture is the true handiwork of Bao Shanzi, the old Tibetan Hanbi Mountain Villa, and now it is obtained by ugly people." On this disturbing autumn, I can still talk about art day and night, entertain myself with antiquities, and enjoy myself. Polyester attachment. Perhaps too excited, when Zhu Wen "Songshan Resident" Fang Seal was printed, he accidentally took the seal down, and now he has left this real historical mark in the original work.
And when Feng Chaoran saw Wu Hufan surgeon-like surgery on the ancient calligraphy and paintings in his collection, cutting and reloading them, he couldn't help but sigh: "I can't get this kind of hot hand." ”
In Feng Chaoran's memory, he felt very happy to be able to enjoy ancient books and paintings with Wu Hufan and other confidants. After Pan Jingshu's death, Wu Hufan asked his friends to write poems and paintings to commemorate his deceased wife's famous sentence "Green All Over the Pond Grass", and the result was that "the first person to hand over the scroll in the painting was Mr. Feng Chaoran", "it is also the friendship of the rest of his life." ”
Huang Gongwang 'Nine Peaks Snow Ji Map' partial
Huang Zhongming (1893-1958), in 1949 sold his family collection of ancient paintings and cultural relics, founded the Popular Art Publishing House, and later joined the People's Fine Arts Publishing House as vice president, and had close contacts with Wu Hufan.
The "Diary of the Ugly" records many exchanges with Huang Zhongming, such as the diary of March 7, 1937: "Zhongming brought Song paintings in small pieces, a 'Kui' character, I don't know if it is a horse kui, it is indeed not a bonus, the painting is not good, the ears are very old, and the old fake horse kui is also covered." Diary of February 26, 1939: "Huang Zhongming came." Show the Yuan Zhang Kong Sun painting, just a vulgar pen, not enough to enjoy the play, persuade Zhongming to go. On the same day, he also remembered: "Zhongming borrowed Qiu Shifu's "White Depiction of Guanyin" and Liu Yanchong's "Sending Son Guanyin" two pictures, and the Commercial Bookstore wanted to take pictures and print the "Guanyin Portrait Album". ”
A diligent scholar like Huang Shi, who is both interested in the collection of ancient paintings and is not ashamed to ask questions, has increased his knowledge and expanded his collection in the process of asking for benefits with the master of the collection, and finally becomes a fruitful practitioner. Related to Wu Huang, I am afraid that it is more interesting to learn the experience of the axis of Huang Gongwang's late work "Nine Peaks Xueji Diagram" in the Yuan Dynasty.
The silk "Nine Peaks Xueji Diagram" of the Palace Museum in Tibet is a meticulous work given to his friend Ban Weizhi by the 81-year-old Huang Gongwang. Below the picture are the two seals of "Huang Lou" and "Huang Zhongming", which were once held by the Huang clan in 1938. Wu Hufan's diary on June 26, 1938, said: "Bunda brought the photo of the big idiot "Nine Peaks Snow Ji Tu" to think that it was the real thing, and he was very intoxicated. However, although this painting is not seen, it feels floaty and not composed, the pen is weak and weak, the style is not good, it is not true, although the Tang Estate seal is useless. It can be seen that when he first saw this picture, Wu Hufan's view. Less than a year later, I read from my diary: "Huang Da's true paintings, what he saw in the past years, are mostly unreliable, but the "Fuchun Daling Map" received by Pang Laiweng the year before and the "Fuchun Mountain Residence" that Yu obtained last year burned two fragments, both of which are famous drama traces." Yu is Huang Zhongming's silk copy of the Nine Peaks Snow Ji Tu, which was obtained by Huang Zhongming last year, which is an old object of the Liang Banana Forest, although it is not as good as the two "Fuchun". From this, we can see a transformation process of Wu's understanding of this ancient painting.
Later, it was learned that in order to develop his printing and publishing career, Huang Zhongming purchased machinery and made his own collection. One of the most famous of these, Huang Gongwang's "Nine Peaks of Snow Ji Map", is now in the Palace Museum in Beijing.
Wu Hufan painting theory
Nantian Wengsheng was a friend of the Qing Ding Revolution, and when he was a child, he entered the Buddhist gate as Shami, and his nature was clear, so there was no dust in the paintings and calligraphy. This "Ancient Wood Cold Smoke Diagram" is soft as gossamer on the side of the pen, as strong as flex iron, soft on the outside and rigid on the inside, it is the so-called cotton hidden needle, and the ink is covered with sand to alchemy, point and draw the essence, and the situation is extremely talented, and it is not shigu that can reach. Kangxi Renzi was forty years old at the time, and his poems and paintings were concentrated in the OuxiangGuan. Ding Hai winter Wu Hu Fan in the Meijing Bookstore (inscription Yun Shouping "Ancient Wood Cold Smoke Diagram Axis").
Cheng Songyuan's calligraphy and painting were influenced by Dong Siweng, so he used pen and ink to condense and develop smoothly, and both sides applied both sides, which was in the same track as Wang Yanke. Smokers are cotton needles, outer soft inner rigidity; songyuan is hundred steel, outer rigid and inner soft (easy to grow outside and mature inside), often layout is sparse and majestic. Yuan Ming can say this to Ni Gaoshi, although Si Weng may be deterred (inscription Cheng Jiaxuan "Landscape Axis").
Zi zhenggong flowers and birds, along with Wang Ruoshui, are the two giants of the Yuan Dynasty. According to the history of painting, huang Zijiu, his landscape sect, was also able to ink opera. Its landscape is also unseen. His sketches of flowers and birds are only the two pictures of "Peach Blossom Spring Bird" and "Dead Lotus Bird" and this authentic handwriting in the old collection of the Qing Palace, only three products. Many of the people who are watching are not credible. This frame has the "Treasure of the Imperial View", which is also known as the object in the "Stone Canal Treasure". On the basis of the authentic three products to study the calligraphy of Suo Zizheng, then Jian Guyuanmu is its true color. To "Peach Blossom Spring Bird" because of the large number of subjects and the heaviest name, but the facsimile is also very good. None of the five books in Yu's residence were authentic. This frame of the pen chapter "Dry Lotus Owl" is absolutely similar, can be set as a temporary work ("Lotus Mandarin Duck Diagram" in the title).
Sixth, as the lay patriarch Li Tang joined the Southern Sect, he opened the legal precursors of the two factions in the north and the south (titled "Dense Forest Steep Valley").
The vast high-level mountain law of the sea of clouds is also the most respected by Dong Wenmin (titled "Cuifeng Lanruo").
Ni Gaoshi's paintings are mostly based on the Pinglin Yuanxiu, while the two figures of Youyuan Hansong and Yushan Forest Are the heaviest, and there are not many Jean Zijiu and Zhongguiye (titled "Xishan Deep Show").
(Zhu Zemin) law comes from Guo Xi. Among the Yuan people, such as Cao Zhensu, Sheng Zizhao, Li Zimiao, and Ma Wenbi, this is also the case (titled "Ancient Wood Cold Spring").
The old man of Xilu has rich ink and can not be sweet, the gold is wrongly mined, the fall is generous, and the key to the Enlightenment is also clear.
The Idiot Weng Shallow Daifa method is the absolute tone of the ancient painting world, and only Lou Dong Taichang and Si Nong's grandson have their three ambiguities, which cannot be seen by the remaining sons.
It is not easy to learn from the ancients, such as Ni Yunlin's brushwork is the simplest, a few hundred strokes can be a frame; but although the imitators have one or two thousand strokes, they still feel that there is nowhere. Huang Heshan's brushwork is complex, and if a painting is completed, assuming that there are ten thousand strokes, the learners have less than four thousand strokes, and they have realized that there are many.
Song Shi Juran's "Sea Wild Map" opens as a scene of Yungang, which is majestic and enough to seize Dong Yuan, Qi Mi, and Gao Nan Sect.
Dong Wenminyun: "In the Yuan Dynasty, everyone is Zong Beiyuan, Zhao Songxue has its essence, and Huang Zijiu has its bones." The marrow is condensed inside, and the bone is firm outside, so the pine snow contains the wind and glory, and the Zijiu elite is exposed, but it is called the painting garden sacred. Ming and Qing dynasties, Xian Xiang held the whip. ”
Since the Song and Yuan dynasties, the green and green method has not been called the Three Zhaos: the great year is luxurious, the thousand miles are beautiful, the pine snow is elegant, and each has its own charm. Ming Zhiwen and Shen still exist as if. At the beginning of the Qing Dynasty, only Lianzhou had a special knowledge, and Shigu Flea had also dabbled in it, but now it is depressed.
Wen's green method is thousands of miles, Tang's green method is pine and snow, and the later circle is a collection of dacheng.
Dong Wenmin copied Yang Sheng's true books all boneless. Lou Dong and Yu Shan did not have any copywriters. Yu Meng's remembrance of the slight reference to Qian Shun's stone lifting method did not know how to compare with the true face of the Yang family.
The real father gong three Zhao Qing green method, the capital boundary painting of the building platform, the occasional writing of the Yuanren, is between Liuru and Hengshan.
The ancients' paintings were still widely discussed, and the rest was still colored.
The Yuanren paintings are all from Dong Ju. Song Xue and Fang Shan each have a vein, Ruo Zijiu, Zhonggui, Yunlin, Guo Ji, and Fang Hu are one with Fang Shan; Zi Hua, Shu Ming, Zhu Zemin, Li Ziqi, Zhang Shikui, etc. are all from the Zhao family. Fangshan Shangmo and Songxue Shangbi, although both Nanzong are slightly different. Gai Gao, Huang Zhuandong, and Ju, while Song Xue yu Dong, Juzhong Ginseng Li (Cheng), Guo (Xi) Ear.
Shu Ming took the fa Fan Kuan, Ju but integrated with the Zhao family law, which was unique in its own way, but ni and Huang Weiyou.
Song Xue's penmanship is fully mastered by Guo Xi, and the qi rhyme is really from Li Chenglai.
Later Shu Huang Xiao and Northern Song Cui Bai were called masters of painting in the past; and the Xuanhe Painting Academy competed for excellence because of The Work of Emperor Huizong, and the talents were stacked for a while; the Southern Song Dynasty gradually declined; at the end of the painting, Qian Shunju and Zhao Songxue reorganized their ways, and the things that turned pens and were able to turn pens were Zhang Shouzhong and Wang Ruoshui's ink flowers and birds; in the Ming Dynasty, Bian Bian (Jing Zhao), Shen (Zhou), Lin (Liang), Lü (Ji) had their own unique qualities, and Qiu Shizhou was a god of skills; later, chen Laolian and Hua Qiuyue, although they were known for their vividness, were only partial teachers of the Qiu clan Yun Nantian flowers are super extreme and bird feathers are not their long; in modern times, the San'in Ren clan (Bo Nian) slightly picked up scales and claws, and the ancient method was destroyed.
(癸未) is the age, Yu first got the authentic copy of Zhonggui's "Fisher Father Scroll", and later you have obtained several copies of Zhonggui's true handwriting, which is the goku Xuanzhao, the right place of Shi Gu.
Over the years, the song and Yuan true works seen such as Li Cheng, Guan Tong, Fan Kuan, Guo Xi, Jiang Shen, Zhu Rui, Li Tang, Zhao Boju, and Yuan Zhi Zhao Mengfu, Zhu Derun, Tang Di, Sheng Mao, Xu Ben, etc. all came out of their nostrils (titled "Imitation of the Song People's Small Volume").
"Ten thousand ravines sound pine wind, a hundred beaches of flowing water", since the Northern Song Dynasty, Zhao Oubo generations of generations to write this poetry, fighting for beauty, each with its own scenery. Residual efficiency, I don't know how many points of novelty? Every time Yushan makes this scene, the pond spring dawns, and it is also born in the New Year. The Great Year was passed down from Hui chong. Hui Chong's true deeds no longer exist, but see Dongpo's poems in great detail (titled "Spring Dawn in the Lake").
Ishida Weng Yuanzong Dong Yuan, close to Wu Zhen, so Xiong Hun Junfa, for the Ming Crown (titled "Imitation of Shen Shitian Chunling Hengyun").
The more than ten books of the Stone Valley Scroll that I have seen in the rest of my life are not as wonderful as this volume. This volume was written in the seventy-first year of Shigu, stripped of juvenile scabies, not yet in his old age, and the Fang Shen Realm was combined when it was also (titled Wang Yi's "Jiangshan Lying Tour Map Scroll").
The world's first Yun Nantian painting (titled Yun Shouping's "Maolin Stone Wall Diagram Axis").
Zhao Oubo composed "Quehua Autumn Color Map" for Zhou Gongjin, using the Flying White Method as a tree stone, and Zhang Monk's Boneless Method as the Quehua Ershan, which has a far-reaching artistic conception and deserves the crown of the Yuan Dynasty (titled "Songjiang Pingyuan Map").
Recently from a friend, Mrs. Zhao drew a butterfly flower axis, and there was no bone method Xu Xi. Quaint and idyllic, people love to play, and it is worthy of everyone's handwriting. Jing Shu plays a copy, roughly still has a synopsis, and Yu Wei supplements Mo Shi (title Pan Jing Shu's "Purple Butterfly Flower Diagram").
In the autumn of July, I was given the money to enter the melon eggplant roll, the work was outstanding, and I couldn't bear to let go, but it was the first day of the lien desk. Jing Shu first copied the purple eggplant, and yu fu lin qiu melon, which was completed and retained in the pipe (title Pan Jingshu's "Purple Eggplant Diagram").
Dong Siweng tasted the words in his later years: when he was proud, he used a Goryeo mirror note to paint, and the person who survived with the inscription in italics did not have a seal, but made the external seal of Dong Shi Xuanzai and Zongbo Xueshi Eryu Seal, this picture is also. It has stripped off its yellow face and has its own unique characteristics. The winter of Wuhu Fanzhi. In his later years, he loved Dong Qichang's calligraphy and paintings, and received dozens of paintings, which were also written in his later years (titled Dong Qichang's "Cutting the River Caotang Chart Axis").
Obsessively orthodox. Zhang Guqu title Huang Zhi painting the mountains and rivers are thick, and the grass and trees are huazi. Lou Dong's second king studied for half a lifetime and passed on its positive vein. In his early years, Shi Guzi was a teacher of both the two kings and gods. This picture shows Shi Guzi's twenty-nine-year-old Linxiang Bi imitation of the idiot Weng Ben, not only the ink is exquisite, if the miscellaneous Xiangbi middle-aged paintings, feel no different. Peng Yin Winter Bang Rui Sun Brother was newly revealed, and he was quick to return to the place of this painting, because he knew its end (titled Wang Yi's "Landscape").
The mountains and rivers are thick and the grass and trees are beautiful. Painting The Ink Emperor. The first god of the great fool, Fuchun Mountain Map. The inscription of the verse song of the Yuan Day is above. Wu Hufan Secret Collection (titled Huang Gongwang", "Fragments of Fuchun Mountain").
The scenery of the three springs is included in the painting of Huichong, Da Nian and Songxue, Hengshan and do their best, Lianzhou Ye Song Yuanming family law in one furnace, so rich and magnificent, unique from the beauty (titled "Spring Cloud Smoke Willow Map").
Nan tian Weng landscape out of the sky, is on the stone valley, nonzi decay ugly and stone valley to participate in the painting Zen, mutual discussion, especially humble skills are not as good as ishigu and gradually devoted to flowers. Jia Yin and Yi Yi saw the great fool Qiu Shan Fu Chun zhu tu, and the landscape had entered the extreme. This frame is intended to be loose and snowy, rid of scabies, self-extrusion, can be called deification, not what Ishigaya can dream. The steep part of the pen tip is also tang zi's fearful rhyme, which can be known from non-idle works (titled Yun Shouping's "Cedar Fishing Cain").
Tang Ziwei used Li Xigu's pen to participate in the rhyme of Wang Shuming, combining the two factions of the north and the south in one furnace, and no one else could reach it ("The Sea of Clouds Is Vast and Strange Peak").
Fang Ju used a pen to wade wildly, although his name was as heavy as the god Yue Qionglin, but he was not exempt from this. It is a thick pencil, quite like a pine snow god, and the appearance is similar to That of Shu Ming, but it is enough to beat Zhao Yuandan. Peng Zi moved the eldest brother from Ping to return in the winter, and Kan Qing returned. It has been ugly spring in March Wu Hufan's false observation diary (inscription Fang Congyi "Yunshan Picture Scroll").
The Song people double hook green bamboo are applied to the flowers and birds to make up the map, and there is no special work. Until the beginning of the Ming Dynasty, Prince Yo and Kanemoto Kiyonai became a master of learning, and they were specially distinguished. Since then, only the monks of Luohua have done it occasionally, and they have also rarely been scholars.
When sheep flourished and calligraphy died, painting followed, rice paper flourished and painting died, and books followed. Try to see the former scholars of the Qianlong Dynasty such as Su, Huang, Mi, Cai, Yuan Zhi Zhao, Xian, Ming Zhizhu and Wang, all of whom used extremely hard pens. The paintings are Tang song shang silk, yuan six people (Gao, Zhao, Huang, Wu, Ni, Wang), ming four families (Shen, Tang, Wen, Qiu), Dong, Erwang (smokers, Xiangbi), all of them use cooked paper, and none of them use sheep to give birth to propagandists. The pen uses sheep, advocates The Liang Shanzhou, the painting uses Shengxuan, and the Shitao and the Eight Greats. Since then, scholars have become popular and fallen into the evil path, and they must not be asked! However, Shi Tao and The Eight Greats sometimes use excellent side management, not all of which are raw paper.
Dong Xiangguang every time he likes to learn from the Zhang monk Yang Sheng, there will be true deeds circulating. Dong's seer Wang Yuanzhao also used it, and suspected that he had transferred from Xuanzai. Yuan Zhao obeyed dong shi the deepest, and in his later years, the inscriptions were often called Xuan Zai and Song Yuan, which were unprecedented to others, and Yu had seen them several times.
Nantian painted more landscapes in his early years (before forty-five years ago), occasionally making flowers that were not one in ten, and writing more flowers in his later years, and landscapes were also indispensable. In the early years of the inscription to learn Zhong Taifu, Fang Kuobei was calm, and in his later years he attended Henan and "Lanting", flying fluently, everyone thought that yunshu was good here, and Yu thought that it was better than the early years. His protégé Fan Mou (who lost his name) specialized in a kind of book in the later years of yun shi, which was very small and could not but be carefully observed. Before the age of forty, the landscape was like learning stone valleys, and at that time, he was still the most intimate with the Wang clan, and the heart was also the most obedient to the Wang clan, often the two cooperated, the pen and ink were harmonious, and it was impossible to distinguish it.
Shi Tao paints the best characters, far better than landscapes; landscapes are more delicate and more wonderful. The latter scholar, from the tyranny of the stone master, far away!
Luo Liangfeng learned from Shi Tao's Silla Two Families, and the Fa Du was more meticulous.
Jin Dongxin personally painted to be clumsy, using a pen pure to subordinate to the law, and its ability to work all out of the two peaks of ghostwriting also.
Wang Chaolin's painting of plums is all obtained from Wang Yuanzhang, but the enemies of fashion are all involved in impetuousness, so they are next to the next class.
Emperor Gaozong of the Song Dynasty studied the second king of calligraphy, the early Tang Dynasty, Fang Zhenyuanjin, and now sees a thousand-character booklet, which is suddenly like the "Huairen Sacred Order", fluent and beautiful, and the divine skill, which can crown the emperors of all dynasties, that is, the Jixue scribes are also rare.
Shu Ming's paintings take "Qingbian Hermitage" and "Ge Zhichuan Migration Map" as two masterpieces of his life, and the authentic works of the Wang family that he saw could not be shown on this. It is such as Pang's "Summer Mountain Residence", "Danshan Yinghai", the Forbidden City's "Spring Cultivation of Gukou", "Yayi Mountain Zhai", Shunde Deng's "Wind and Rain Building Boiling Tea Map", Yanguan Xu's XinyuanTang "Holly Hut Map", Siming Zhou's Baomi Zhai "Spring Mountain Reading Map", fellow villager Xu's "Western Suburbs Caotang Map", my family's "Pine Window Reading Easy Map", and all of them are wonderful products. If the "Lin Quan Qing Ji Tu", although it declares Xuan He, but also has three books, it can be discussed. My family's pine window scroll has a small seal called "Heavenly Ascension", the first name of the uncle, without the previous humanity, can fill the gap of the Wang family's small biography.
Chen Xiaodiyun, "Huang Ting Jing" is just a seven-word ancient poem, is the style of the Tang Dynasty, not only does not have two Jin Qi, and the Six Dynasties are not enough, why decide it to be Yi Shaoshu, fixed because of the matter of the mountain vagina, so it will be attached to the ear.
There are many other names in Yun Nantian, one is the nest maple guest, see the early years of the landscape booklet; one is the snow valley grass coat, see the Forbidden City "Nine Peaks Map"; and the Hangshi Xixi passerby, see the Ponzi Tibetan antique silk booklet.
Huang Zijiu's "Sand Trace Map", Xiang's Tianlai Pavilion Old Collection, later returned to Wang Yanke, the family is highly respected, should be Zijiu's best, Yu did not see the real handwriting, only on the Forbidden City film view, very weak and godless, is not Xiang, Wang Handing Zang's Benye? Dong Wenmin's "Painting Zen Room Essay" cloud, "Sand Trace Diagram" has no spirit. It can be seen that Dong Shi also does not think so, and it is not the real thing.
Zhao Songxue painted horses, all learned Li Boshi, qingnei province old collection of Li Boshi "five horse figures", there are Huang Lu zhibi speakers, now go to Dongying, and Zhao's brushwork several hands.
Wang Yanke made an ink flower festival every year in Duanyang, quite a Bita brushwork, but not as good as Ishida Gujin, every time he felt shy and uncomfortable, but even the book was very bookish. Smokers flowers, in addition to nothing else see it also.
After the smoker was seventy-nine years old in the winter, due to wind disease, his paintings were often written by Lutai and Shigu, and only Wuxing Pang's collection album pages were opened, one imitating Ni Yunlin, one imitating Mijiashan, disguised into a small volume, and then there was a Nantian inscription, which was the true handwriting of the smoker at the age of eighty-four, and the pen was more ancient than before the illness, the hand was slightly shocked, the two words of Shen Yun, zhen reached the highest peak, no one could match it. Other imitation idiots light green, duolutai (lutai was about thirty years old at the time), occasionally self-decorated. Another of his flowing and extremely capable brushwork is Ishitani Daisakuya (Ishitani was about forty years old). These two kinds of paintings have been circulated a lot, and they cannot be printed with false books. As far as Yu saw, there were four or five Shigu daisy books, and there were sixteen or seven lutai daisy books.
In the later years of the smokers, many books and Han Li, after the eighties, often out of the public ghostwriting. Heterogeneous dolls are also painted, but they are far less than Shigu and Lutai. However, the paintings made by the public are also substitute books. It has been seen that there is a volume of the old collection of Qi Shangshu at the duan of Huyang, and later returned to Pei Boqian, and there are Liang Baolin, Gong Zhilu, and Cheng Zhouliang' princes, that is, the works of the Heterogeneous Gong Dynasty Nai Weng, citing this as evidence.
Dong Wenmin's pen is very strong, calligraphy and painting are diligent but do not like long scrolls and large scrolls, often sporadic pamphlets, four pages and six pages are the most, if the huge production, the rate is to catch the knife. I have seen that the Yang clan has a large scroll with a tall head and a long head, and it is Wang Xuanzhao who is also acting on his behalf. It is also written by Xuan Zhao (there are three pieces of Xuan Zhao paintings seen by Yu). It is rare to know this. Xuanzhao is also sometimes composed for smokers.
Wang Xuanzhao wrote late, ghostwriting and forged copies, including Xue Chen Lingxuan, Zhu Linghe Rong. Wang Gengyan gao yu you sons, Wang Gao du did it. Xue Zhu is more than a fake book, Xue Painting is rugged and has no rhyme, Zhu Painting is weak and breathless, high painting is round, and it is lost thin, but the cultivation smoke is the most beautiful, but it is less majestic. The reason why this mysterious illumination is out of reach.
Chen Meigong is good at falsification, often asking Zhao Wendu and Shen Ziju to paint, not to pay the money, but to hold the beggar incense light inscription, so it is circulated Dong paintings, and many Shen Zhao forged and signed the book of the true, all meigong cunning also.
Zhang Erwei's paintings are not very good, but Shang Ya tamed his ears, and was praised by the Nine Friends Song of Mei Estate, and was among the two kings of The Toilet Xiangguang (smokers and Xuan Zhao), and the number of trumpets was very fortunate, but there were very few rumors, so in recent times, he felt more and more noble.
The multi-talented painters after Qing Yongzheng are Fang Huan Shan Shishu, the pen is elegant and elegant, the work is profound, everywhere can enter the ancient, the pen can be new, and the middle way is lost, and the dacheng is not conquered. Second, Hua Silla, who was particularly talented, and Zhao Jing, who was slightly left, failed to be in the Middle of the Fang clan and Chia Tai, but enjoyed his old age, so he was extremely skilled, so his reputation was out of the ring mountain.
The paintings around the mountains can combine the two sects of the north and the south, there are Dong and Ju, there are Ni and Huang, there are horses, Xia, there are Wen and Shen, and they are not bound by the law, and they are not bound by the law, and even the characters and flowers are not on the song and snow, Hengshan, and the exquisite Mobi. Regarding his teacher Huang Zungu as a villager with Zhang Huang, he could not be rationalized.
Dong Bangda's father and son, Qian Weicheng, Zou Yigui, Huang Yigui, Huang Liuzi, etc., are all written by lay craftsmen, which are completely different from their daily self-paintings. Higashiyama has excellent products, above the people of Huangcun and Pengxin. Qian Zou also has his own strengths, not all evil pens.
Sixth, if the layman is endowed with relaxation, the calligraphy and paintings he has composed are all wavy and standing, which is different from the operation of Wenheng Mountain, and his nature likes to paint silk, so the paper people are not one, and the paper paintings are often absurd essays, and the deliberate ones never see it, and yu sees the "Spring Mountain Companion Map", which is a good existence (title Tang Yin's "Snow Mountain Huiqin").
In his early years, the Mojing Daoist specialized in Xuan Zhao, and in his later years, he went straight from Zijiu and Shuming to Dong and Ju, and became a realm of his own. The Taoist learned to learn Macao at the age of fifty, and returned to Jiading and Shanghai at the age of sixty-five, and did not come out again, and his painting YiQiyi (titled Wu Li "Deep Hidden in the Mountain Village").
Ishida Weng studied Yunlin painting in his early years, and his teacher Zhao Tonglu said that the pen was too complicated, and when he saw through the idiot Weng in his later years, he did not realize its complexity (title Shen Zhou's "CeZhang Xing Yin").
In the Qing Dynasty, no one could paint the Northern Sect, but Wang Shigu and Fang Huanshan had a few strokes.
Cultivating tobacco in the early years of learning is very good, and in the later years of imitation of the idiot is the most tasteless, somehow. Although Zhao Qianli and Liu Songnian actually only stopped at Tang Ziwei, covering his early years and effective ways, he could not get rid of it.
ShiGu paintings from thirty to forty, quite charming, and absolutely similar to Nantian; after forty to sixty, it is the most capable time in middle age; after sixty, it gradually becomes relaxed; to about seventy, for the most degraded period, only dross remains, where long scrolls and large scrolls are often made by disciples, slightly self-polishing, neatly stopped, there is no far rhyme, people denigrate Shigu, most of this; after eighty, the old pen is covered, reverted to a good state, the simpler and more spicy. This kind of work cannot be reached by others.
Fa Huangshi painting, quite lack of structure, do not pay attention to brushwork, the use of ink is especially fatherly, somehow some people praise it as superior. Occasional painting of turquoise sketches, still playful, large landscapes, the more complex and inferior, the more dense and vulgar, it can be known that it is not easy to be dense.
Zhang Yuchuan tasted ghostwriting for Qian Weicheng, and Yu saw one or two axes.
Dong Bangda's authentic handwriting, learning Xilu, dyeing incense, stone master, the penmanship is round and thick and spicy, and the fine one, very different. There is also a kind of dry old man, who looks like Pengxin, and I don't know if Pengxin was once a representative of the Dong clan.
Yuanren calligraphy can be described as a full study of pine snow, that is, it is rare in taichang, and it is also stained by pine snow.
Xu Tianchi's calligraphy is exquisite, with pen and ink are exquisite, although wild hair, and contain a degree, not rambling. If you don't see a good book in your own paintings, won't you have a true one? However, the Forbidden City has two axes of "Snow Banana" and "Pomegranate", and the axis of Liu Haisu's landscape is still good.
(Transferred from Chinese Art)