Recently, the Shanghai Museum's "Spring Breeze - Jiangnan Culture and Art Special Exhibition" has set off a wave of "Jiangnan Culture". When discussing the cultural relationship between Jiangnan culture and The Hai school, Mr. Xiong Yuezhi, a cultural scholar, believes that Shanghai was originally a part of Jiangnan, and 80% of Shanghai's population comes from Jiangnan. In modern times, The Haipai has inherited the Jiangnan culture, integrated other regional cultures in China, absorbed some elements of Western culture, and formed the Haipai culture through the agglomeration and sublimation of megacities.
On June 12, at 19:00 p.m., the Jiahe net auction of the thirteenth issue of the "Auction Site Treasures - Chinese Calligraphy and Painting Works Special" in a major auction Wu Hufan's "Book Migration Map" hand scroll, just tells the story of a chapter of the times when Jiangnan culture gathered and sublimated into Shanghai culture.
■ Long volume of "Danshu Migration Map"
Can the connotation of a work be so rich? If you don't believe it, look down.
Wu Hufan: After painting the "Danshu Migration Map", he also moved to Shanghai
"Danshu Migration Map" is not only Wu Hufan's personal work, but also includes the inscriptions of a number of former Qing relics with full personality after the painting. Their lives, and Wu Hufan constitute an up-down relationship, they are in the era of the ups and downs of the waves before and after the waves, as soon as they are not careful, they are thrown far away, and when they are lucky, they are pushed to the top of the waves.
Wu Hufan's volume, painted in late 1920 and early 1921, when he was 27 years old, was painted to congratulate a man named Pan Muxian on moving to a new home.
Pan Mu was first a well-known bibliophile, so Wu Hufan used the common story of "literati carrying books to move" into the painting. In the painting of Pinghu Mountain Residence, an old man with a book and a boy with a bunch of books are far away from the village with dense houses, crossing the bridge into the mountain, and walking towards a spacious courtyard covered by water and trees.
At that time, Wu Hufan was still living in his hometown in Suzhou, because of marriage, the important collections of the Wu family and the Pan family were inherited by him, so he was much luckier than his contemporaries, and he could enjoy and copy countless national treasure-level classic masterpieces at home, and therefore, his classical calligraphy and painting creation and appreciation foundation far exceeded that of his contemporaries.
■ Part of Wu Hufan's "Danshu Migration Map"
The first of the two and a half painters zhang Daqian admires the most in his life is Wu Hufan, because he has fully inherited the most orthodox context of Chinese art. In this "Map of the Migration of Danshu", Wu Hufan naturally uses the pen and ink characteristics of Zhao Mengfu and Dong Qichang, two previous generations of painting masters.
But at this time, Wu Hufan may not have realized that the torrent of the great era was beating the sand and pushing his back wave to a new situation. Three years later, in 1924, Wu Hufan, in order to avoid war, moved from his hometown in Suzhou to No. 88 Songshan Road in Shanghai, and opened a gallery-type calligraphy and painting office. Jiangnan culture began to evolve into a Haipai culture.
In 1927, Mr. Wu Changshuo, the leader of the Haipai art, died. Interestingly, Wu Changshuo once served as a military aide to Wu Hufan's grandfather Wu Daying, and Wu Changshuo also moved from Zhejiang to Suzhou, and then from Suzhou to Shanghai.
Everything seems to be determined, Wu Hufan moved to Shanghai, took over Wu Changshuo, and became the leader of a new generation of Shanghai art, and his paintings also began to shift from comprehensive inheritance to innovation in inheritance.
■ Portrait of Wu Hufan
Before and after the special work of "Danshu Migration Map", the various characters who left handwriting on the one-meter-long introduction and the inscription up to four or five meters long, their life experience is just like the vivid background of the big era in which the young Wu Hufan lived, and the connotation and sense of history of this work are extremely rich, and it is mixed to read.
Pan Muxian: Behind the relocation of the book is helplessness
Let's start with Pan Muxian, the owner of this work. Wu Hufan's volume is written to congratulate Pan Muxian on moving to the house, both Pan and Wu were born in a famous and prestigious family in Suzhou, and the two families have been good for generations. Pan Muxian's original wife was the daughter of Wu Hufan's grandfather Wu Dayi, while Wu Hufan's wife Pan Jingshu was Pan's boudoir, and the two sides were two-fold kinship, so in the painting, Wu Hufan respectfully called Pan Muxian "Uncle Yue".
In the 1920s, there were many wars and chaos, and many of the people who saved themselves had the idea of moving to escape the world and seeking a paradise. In 1920, at the age of 49, Pan Muxian composed the four laws of "Migration Poems" to Mingzhi, and Wu Yusheng, Lao Naixuan, Zou Jialai, Qin Shouzhang, Yang Zhongxi, and others who had complex minds and full personalities were all former Qing dynasty elders with complex minds and full personalities.
At that time, these widows had been helplessly thrown out of the core of history, so they could only entertain themselves with poetry and painting, and the content inscribed on the long scrolls also had the meaning of being tired and secluded, and it can be said that they all found an emotional entry point in the theme of the migration of the book.
Wu Yusheng: Living in Qingdao for 30 years, he kneels three times a day and knocks nine times a day
■ Wu Yusheng
Let's look at the lead Wu Yusheng, who is the great-grandfather of former Shenhua star Wu Chengying.
Wu Yusheng (1854-1940), a native of Wu County, Jiangsu Province. Wu Yusheng's grandfather Wu Yanchen was also powerful and was a leader of the Qing Dynasty. Wu Yusheng served as a cabinet scholar and a shangshu of the Ministry of Rites, a sichuan inspector, and the main examination in Guangdong, Kang Youwei came from his disciples. But also because of Kang Youwei, Wu Yusheng was not used by Cixi. It was not until after Cixi's death that Wu Yusheng became Shangshu of the Ministry of Posts and Communications and Minister of Military Aircraft.
After the Xinhai Revolution, Wu Yusheng lived in Qingdao because he "could return to the Qing Palace in one day", but his true mind did not seem to be so.
Wu Yusheng's calligraphy is very good, and the three words of Suzhou Garden "Lion Forest" are his handwriting. But he also did not write to people easily, leaving very few ink treasures. Wu Yusheng only talked about elegance in Qingdao, did not ask about the world, and even when Kang Youwei went to visit, he only met politely, which made both sides feel embarrassed. But in the nearly 30 years he lived in Qingdao, Wu Yusheng had to kneel three times and bow nine times a day to the south.
In 1917, Zhang Xun's restoration, the former ministers went to Beijing to receive positions, although Wu Yusheng was also appointed to a position, he buried his head in the courtyard to water flowers, compose poems, and taste tea, until Zhang Xun's restoration ended in a hurry, and when everyone was doing birds and beasts, he realized that Wu Yusheng was really a superior person.
The Japanese occupied Qingdao and launched a multi-pronged offensive to pull Wu Yu into the water, but he was bent on eating and praying to the Buddha, and the Japanese had to give up. Wu Yusheng was very fond of Laoshan and traveled to Laoshan several times in his later years, and he was the first to publish an atlas to promote Laoshan.
In this way, looking at the five words of Wu Yusheng's "Danshu Migration Map", does it have another meaning?
Chen Yaofu: Going abroad to investigate, but it is inevitable to leave the fate of the old
It was Chen Yaofu who copied the four laws of the Migration Poem for Pan Muxian. At the end of 1905, the Qing court sent five ministers, including Inspector Duanfang of Hunan, to investigate abroad, accompanied by 76 New Deal talents, pan Muxian and Chen Yaofu were all attachés in Duanfang's group.
Through investigation, they all saw the general trend of the world and underwent ideological baptism, but this self-help in the late Qing Dynasty was also powerless to save the great era from rushing forward. More than 10 years later, the widows who were thrown out by the torrent of the times can only express the meaning of retreat through "Migration Poems".
■ Chen Yaofu's transcription of Pan Muxian's "Migration Poem"
Lao Naixuan: An old and stubborn president of Peking University
Lao Naixuan, who wrote the poem inscription later, was the deputy minister of the Late Qing Dynasty School Department (equivalent to the vice minister of education). He served for several months as the governor of Kyoshi University, the president of Peking University. He was a former Qing dynasty veteran who was committed to maintaining the imperial system and was also regarded as an old stubborn. In his poem to Pan Muxian, he calls himself "tough", which means old stubbornness.
■ Lao Naixuan
When Zhang Xun was restored, he asked Lao Naixuan to leave the mountain, and while he asked for resignation on the grounds of old age and infirmity, he quietly bought the clothing for the promotion. He is such a complex figure in the midst of social upheavals, between old and new cultures. He also knew that he was complicated, so he left behind "a lifetime of heart will be greeted, through the rugged and uneven." The poem of asking oneself is neither Yi nor Hui, and the lonely nostalgia is left for future generations to comment", which is in line with the words left by Wu Hufan in the future, "To be determined after five hundred years".
In the inscription, Lau still shows his complexity. He not only expressed his nostalgia and nostalgia for Suzhou Wumen as the place where he played when he was a child, conveying the meaning of retreat; at the same time, he moved to Qingdao from 1913 until his death, indicating that he still had illusions about the former dynasty in his heart. In 1921, Lao Naixuan died and was buried in Suzhou, which also fulfilled his mentality when he inscribed this work.
■ Lau Nai Xuan Inscription
It is worth noting that Lao Naixuan, as a complex figure in the torrent of the great era, did not have much handwriting originally, and this inscription is that Lao Naixuan saw Pan Mu's first four laws and then the poem, Pan Shi was written in 1920, Lao Naixuan died in 1921, although this he did not indicate the date of creation, but as one of his masterpieces, it seems that it is not too much.
Zou Jialai: The inner heart of the late Qing Dynasty
Zou Jialai was also a late Qing dynasty widow. He was born into a family and served as a minister of foreign affairs and a shangshu in the Qing Dynasty. After the Republic of China, Yuan Shikai hired him as a diplomatic adviser, but he did not accept it and avoided living in Tianjin and Qingdao. During Zhang Xun's restoration, he served as an advisor to the Bide Yuan (the organ of state advisers), and after the failure of Zhang Xun's restoration, he went to Suzhou and Shanghai, where he died in 1921.
In the same way as above, although this poem does not indicate the time, it should also be regarded as one of Zou Jialai's masterpieces. The poem also reveals the inner monologue of "the people of Jielu are absolutely noisy, and the vicissitudes of the sea are endless".
■ Zou Jialai inscription
Qin Shuozhang: Published a bestseller in calligraphy
Qin Shouzhang, a native of Jiading, Shanghai, a cabinet scholar in the late Qing Dynasty, a scholar of Fujian Xuezheng, etc. When he wrote this inscription in 1920, he was also an old man of the Qing Dynasty.
It is said that Qin Shuozhang not only had high moral character and was trusted by the imperial court, but also his calligraphy was also very good, and at that time, the major bookstores in Shanghai competed to print The Qin Shuozhang Xiaokai "Before and After Chibi Fu", which became a model for learning characters. From this inscription, it is not difficult to see that Qin's calligraphy skills are profound.
■ Qin Shuozhang inscription
Yang Zhongxi: Wang Guowei also admires the "light person"
■ Yang Zhongxi
Yang Zhongxi is also a character with personality. He was a bannerman from Liaoyang, who devoted his life to the collation of the "Three Hundred Years and Eight Flags Script", and his learning was even admired by the master of traditional Chinese studies, Wang Guowei.
Yang Zhongxi was also a bibliophile with tens of thousands of volumes, and he also served as the prefect of Jiangning.
But he is a typical widow, trapped in the previous generation and unable to come out. After the Xinhai Revolution, Yang Zhongxi lived in Shanghai for 12 years, immersed himself in a study, lived a very poor life, and even when his parents died, he had to rely on the support of friends to fulfill his filial piety.
Yang Zhongxi is usually silent and taciturn, everything is still living according to the old etiquette, and friends have commented on him as a word "light". Looking at his words, there is really a kind of loose temperament.
■ Yang Zhongxi inscription