Peonies, famous for their "national color and heavenly fragrance", have bloomed, and when it comes to poems describing peonies, there are many famous sentences: Liu Yuxi of the Tang Dynasty has "the peony medicine demon before the court has no qualifications, and the pond is pure and less affectionate." Only the peony is the true national color, and the flowers move the capital when they bloom", Li Shangyin has "I am a color pen in my dreams, and I want to send flowers and leaves to the clouds." ”
It is said that in the Tang Dynasty, peony blossoms, the whole city of people went out to watch - Luoyang, famous for peonies, recently announced that because the epidemic postponed the Luoyang Peony Cultural Festival in China to next year, peonies are still flourishing, in fact, may wish to "appreciate peonies in the clouds": In the history of cultivation for thousands of years, the mainland has formed a unique peony culture, not only poetry and chanting are numerous, calligraphy and painting masterpieces are also countless, Song People's peony sketches, out of heavenly coincidence; Mingren's peony flowers and half leaves, light ink and hao The peony of the Qing Dynasty flower and bird painting yun Shouping not only brings the intricate flowers and leaves of the peony to life, but the viewer seems to be able to faintly smell a strong fragrance from the picture...
On the occasion of the blooming of peonies in April, the "Flower Letter of the Forbidden City" column of The Paper, Ancient Art, specially combs through the peony masterpieces in the collections of calligraphy, paintings and arts and crafts in the National Palace Museum and the National Palace Museum in Taipei for the benefit of readers.
Peony The image is from Luoyang Tourism
(Biography) Song Zhao Chang "Paint Peony" axis
(Biography) Song Zhao Chang "Painting Peony" Axis Collection of the National Palace Museum in Taipei
Zhao Chang (c. 10th century), also spelled Changzhi, was a Native of Guanghan, Sichuan. Good at folding flowers, vegetables and fruits, self-titled "sketching Zhao Chang". He cherished his paintings very much, never gave them to them easily, and even bought back works that had fallen into the hands of others in his later years, so few of his works were handed down.
(Biography) Song Zhao Chang "Painting Peony" Axis (Partial) Collection of the National Palace Museum in Taipei
This old legend is the work of Zhao Chang. There are irises, orchids, and reishi mushrooms under the lake stones, and there are peonies blooming behind the stones. Although the silk is yellow and old, it still has a gorgeous feeling. There is a "Zhao Chang" model print on the right side of the lake stone, which is suspected to be a counterfeit of posterity.
Song Zhao Tuo 《書牡丹诗》
Song Zhao Tuo "Book Peony Poems" Collection of the National Palace Museum in Taipei
Emperor Huizong of Song (1082-1135), surnamed Zhao Mingyi, was the eighth emperor of the Song Dynasty, the eleventh son of Emperor Shenzong, and his brother Zhezong was childless, so he succeeded to the throne. In order to favor Cai Jing, respect Taoism, create a Taoist temple in major events, and live in luxury, resulting in the state's financial resources being exhausted. After the Northern Jin Kingdom went south, he gave way to Emperor Qinzong and declared himself the Emperor of the Daoist Sect, but was eventually taken captive by Jin Bing and died in the Five Kingdoms City. Although Emperor Huizong was the king of the subjugated country, he was good at calligraphy and painting, and his endowment was extremely high. Calligraphy and painting are all exquisite, and good at physical feelings, flowers and birds are depicted and depicted in detail, and they are especially good at it. He led the late Northern Song Dynasty painting academy and influenced the Chinese descendants to paint to the drama.
Song Huizong calligraphy, do not become one, self-titled "Thin Golden Book", characterized by thin strokes, at the turn, the Tibetan Front Lufeng running Teton traces, preserved, that becomes the basic stroke structure of the Thin Golden Book. If you write a horizontal, the starting point is the tip, first obliquely, and then horizontally, and the pen has a point, which is one of the characteristics. Although the knot body is italic, the overall pen is mostly straight forward, fluttering and fast, like grass.
This volume is selected from the "Song Dynasty Ink Treasure" volume, which is a masterpiece passed down from emperor Huizong.
Song Ren "Rich And Noble Flower Fox" axis
Song Ren "Rich And Noble Beaver" Axis Collection of the National Palace Museum in Taipei
Under the peony flowers in this painting, a flower beaver is tied with a stone bell, and the cat's eyes are round and staring, burning with god, as if there is a peeping. The peony is depicted in a fine way, the flowers and leaves are turned upwards, with a thin line double hook, the pen is calm, and the powder is colored, then it is quiet and thick. Dyeing cats and cats, combined with burnt ink and light powder, the ink color is dark, and the three-dimensional sense is full. Although the fur is extremely slender, it is also very strong and powerful. The author's meticulous efforts to visualize and sketch can be glimpsed from this.
Song Ren "Rich And Noble Beaver" axis (partial) Collection of the National Palace Museum in Taipei
The painting is not printed by the author, the old signature is marked as a Song dynasty, and in the "Xuanhe Painting Spectrum" (1120 book), the same type of paintings, such as "Peony Play Cat Diagram" and "Peony Cat Diagram", are quite numerous. If you look at it from the list alone, it is difficult to confirm which is most consistent with the content of "rich and noble fox". However, as far as the picture style is concerned, this painting is from the hands of famous artists in the late Northern Song Dynasty, and it should be irreconcilable.
Song Ren Peony Diagram page
Song Ren "Peony Map" page Collection of the Palace Museum
There is no paragraph on this page. The Seal of the Qianning Collection is "Prince Yongbaozhi of Qianning".
The picture depicts the peony flowers after Wei Purple, the corolla is huge, the heavy petals are stacked, delicate and luxurious, and the left and right are lined with green leaves. The petals are rich in layers and depicted in detail, first using a thin stroke of the center to outline the petals, and then rendering them with carmine layers, dotting the flower buds with light yellow, and dyeing the flowers and leaves with green juice. This picture page is rich and beautiful, the composition is plump, and the color is bright and vulgar.
Song Fa chang "Sketching" volume
Song Fachang ,Sketching Volume (Partial) Collection of the National Palace Museum in Taipei
Fa Chang (c. 13th century), a native of Sichuan, commonly known as Li (李), was born and died in an unknown year. Living in the Tiantai Mountain Wannian Temple, there are no prospective disciples, painting dragons and tigers, ape cranes, reed geese, landscapes, and figures, all of which are made of ink. The penmanship is simple, the decoration is not expensive, and the ruins are more flowing in Japan.
This huge volume is a Fa chang ink play flower, vegetable, fruit and feather, etc., its shape sketch, out of the heavens, a flower and a leaf, are extremely delicate and no trace of depiction. At the beginning, the painting is a boneless ink peony, and the petals and overlapping places of the leaves in the frame are left blank, and the brush and ink are taken, which is quite elegant, and can be innovative in addition to the Zhujia town. Department of Funds: "Xian Chun Changed Yuan (1265) Mu Yuan. "The tail is also marked by Xiang Yuanbian, Monk Yuanxin, Cha Shi Title, and the collection seals of Wu Kuan, Dong Di, Liang Zhangju and others.
Among them, Xiang Yuanbian dragged the tail of the book: Right Song Monk Fa Chang, nicknamed Mu Yuan, like to paint dragons, tigers, apes, cranes, luyan landscapes, trees and stones, all made of ink, simple meaning, no fake makeup. Yu only got the ink play flowers, vegetables and fruits feathered giant scroll, its shape sketch, out of the heavens, not only the shape of the shape, and its meaning. 京 (京字 to be checked) loves not to be put away, because it is described at the end of the book for reference. Merlin Xiangyuan book in Tianlai Pavilion.
Chasi Biao dragged the tail of the book: Song monk pastoral, painting and multitude of wonders, and especially good at flower sketching. The history of painting is said to be made of ink, not fake makeup, and has not yet exhausted the pastoral. One flower and one leaf in the volume, one leaf and one solid, all are extremely delicate, have the magic of natural use, and there is no depiction of rigid labor. And the ghost bird Cui Yu, moving and flying, qu Xiao qi state, so that the viewer is relaxed and happy, forget about it. Yi Xiang Mo Lin Clan Zhen for the jia pin, inscription praise, if not allowed, Gai Nandu and then, Gao Xiao tired dynasty, Du Zhong Han Mo, a moment of character Xi Yong, lake and mountain to win, the rise of the atmosphere, that is, outside the fang is also a lot of flow, negative skills to fight for a long time. In the Ming Dynasty, The Lubao Mountains of the Wang Unitary Room were all sketched with flowers, which were valued by the world, and now look at this volume, the two public tools sleep and eat Muxi. Those who are deeply impressed, to the Shen Ishida flowers and birds, the dot dye can also come up with new ideas outside the Zhujia town. Seeing this volume as between clutches, and the work is not caught, it is viewed for a long time, because it is known later. Kangxi 癸酉上巳白岳逋客查士標。
Song Mayuan 《 Peony 》
Song Mayuan "Peony" This painting is selected from the "Sketches" volume
Ma Yuan came from a family of paintings, and the painting academies of the Southern Song Dynasty, Song Guangzong and Song Ningzong were to be edicted. Good at painting landscapes, figures, flowers and birds, landscapes and rivers to take the law of Li Tang, the pen strength is sharp and broad, the method is tough, the leaves are often sandwiched, the trunk is thick, and the state of more horizontal slopes. The pavilion boundary painting is exquisite, and it is lined and dyed. Hi as a small scene in the corner, known as "horse corner". The characters depict nature, and the flowers and birds often take the landscape as the scenery, and the feelings intersect and are full of fun. Together with Li Tang, Liu Songnian and Xia Gui, they are called the "Four Houses of the Southern Song Dynasty".
(Biography) Song Ren "Kao Tu" axis
(Biography) Song Ren "Kao Tu" Axis Collection of the National Palace Museum in Taipei
The whole peony in the painting garden occupies the entire picture, the front is dotted with lake stones, and the insects fly around it, which is a rather unique arrangement in the panoramic composition. The brilliant flowers of arbanic red, the green leaves and the hollowed-out lake stones, together with the wasps, butterflies, pink butterflies, phoenix butterflies, flying butterflies, etc. flying in the air and among the grass, as well as locusts and slugs walking on the ground, appear vibrant, rich and lively.
(Biography) Song Ren "Kao Tu" Axis (Partial) Collection of the National Palace Museum in Taipei
(Biography) Song Ren "Kao Map" axis (partial) Collection of the National Palace Museum in Taipei
The blooming peony, with its huge flowers, is not in line with the actual proportion of the lake stone, which has the meaning of strengthening the subjectivity of the peony. Although the full brush and ink are subtle, although slightly inferior to the meticulous and vividness of Song paintings, it is still a masterpiece that imitates the brushwork and simple charm of the Song people.
Song Qianxuan Painted Peony volume
Song Qianxuan Painting Peony Volume (Partial) Collection of the National Palace Museum in Taipei
Qian Xuan (1239-1301), a native of Wuxing, Zhejiang. The character Shunju, the number Yutan, also known as the Qing □ old man, Xi Yuanweng. Song Jing Dingjian Township Tribute Jinshi. At the beginning of the Yuan Dynasty, Wu Xing had the title of Eight Jun, Zhao Mengfu was the head, and Xuan Yi and Yan were also selected. His paintings of people, flowers and birds, and landscapes are all superb. The two branches of red and white peonies in this painting, the branches, leaf veins, and tendons are all hooked with a thin pen, and the pen is precise, the color is light and elegant, and it is fresh and vulgar. At the end of the volume, he still inscribed a poem of seven words. Department of Funds: "Xia Huo Weng Qian Xuan Shunju".
Qian Xuanxing's self-title: Wan Hui He can follow in the footsteps, and the bees and butterflies are also in love. Mo suspects that the opening is still twilight in the spring, and the long west is seen in Taiping.
Song Qianxuan Painting Peony Volume (Partial) Collection of the National Palace Museum in Taipei
Zhao Mengfu dragged his tail cursive: When raising flowers in the yin weather, several peonies bloom in the garden. Politics and spring light increased the charm, and Mo Jiao's wind and rain left the cloak. Zi Ang.
Ke Jiusi dragged his tail and wrote the book: The old garden home in the south of the shaku five cities, the peony is like a dou dazzle. The king feasted on the Kuizhang Pavilion, and the envoys did not buy flowers. Danchu Ke Jiu Si Fu.
(Recommended to enjoy landscape screen)
Song Qianxuan Painting Peony Volume Collection of the National Palace Museum in Taipei
Yuanren "Painting flowers will be chicks" axis
Yuan Ren "Painting Flowers Under the Chicks" Axis Collection of the National Palace Museum in Taipei
Between the peonies and bamboo stones, the rooster leads the chicks to forage. Chickens either peck at the grass or hide under the wings of the hen, and the shape is very cute, and the cover depicts the affection of raising children.
Ming Wen Zhengming 《Peony》
Ming Wen Zhengming "Peony" Collection of the National Palace Museum in Taipei
This painting is selected from the "Wen's Painting Fan Collection" volume. Wen Zhengming's book is self-titled: "Ink marks do not plant Luoyang flowers, as if the spring wind is the Wei family." For the master should forget the rich, so he will idle wash the lead. ”
Ming Chen Chun "Paint Peony Figure" axis
Chen Chun "Paint peony figure" axis, National Palace Museum, Taipei
Chen Chun (1438-1544), a native of Suzhou, Jiangsu Province. The character is repeated, followed by a line of characters, and then the word is changed to fufu, and the number is Baiyang Mountain. He studied under Wen Zhengming. Painting is good at freehand flowers, and posterity called him "Qingteng and Baiyang" with Xu Wei, and was a representative of the Wu school of freehand flower painters in the middle of the Ming Dynasty. In the middle of the painting, there is a branch of color peony, the ink color is elegant, and the pen is lively. The book was written in 1544 and is a late work. The inscription and the painting account for half of the painting, the book is deep and flying, and the poem conveys the meaning of "life is happy in time" through the song flowers.
Chen Chun "Paint Peony Figure" Axis (Partial) Collection of the National Palace Museum, Taipei
Chen Chun cursive self-title: The east wind flutters no longer cold, and the butterflies follow each other. The famous flowers are delicate and sunny, and the dark red and light white are mixed with the pool. The high hall is scattered and scattered, and the vermilion curtain hides the spring incomparable. The song was poured through the ears like wine, drunk in front of the flowers. Life should be happy and timely, and time is limited and there is no flooding period. Flowers blossom thanks to ordinary things, rather make the flower god laugh and get drunk. Kotatsu (1544) Chunwang lived in The White Sun Mountain. Daofu.
Ming Chen Chun "Peony Flower Diagram" axis
Chen Chun "Peony Flower Diagram" Axis Collection of the Palace Museum
The upper part of this painting is self-titled: "Spring is the season of flowers, and red and purple are given to each other." Don't say thin fat powder, suitable for epistymisol. Daofu. "Hou Zhao", "Chen Daofu", "Chen Chun's Seal" seal.
The work depicts the folded branches of peony flowers, outlines the blooming flower heads with light ink brushes, and describes the branches and leaves with different shades of ink, showing the beautiful posture of the peony swaying in the spring wind, and expressing through the inscription poems the mood of not admiring prosperity, being willing to be quiet, and being lonely and self-satisfied.
Chen Chun has created many paintings with peony as the theme or containing the image of peony, such as the Palace Museum's "Peony Picture Scroll", "Tianxiang Picture Fan", "Luoyang Spring Color Picture Scroll", "Twelve Kinds of Ink Flower Picture Scroll", and the Shanghai Museum's "Luoyang Spring Color Picture Scroll", "Yulou Spring Color Picture Scroll" and so on. Most of these works are ink pen or light color freehand paintings, which fully demonstrate the painter's superb skills in the shape of objects and the flexible use of ink, as Li Rihua, a great connoisseur of the late Ming Dynasty, wrote for this work: "Break a drop of ink and make all kinds of demons." Change the view of twilight and prepare for the breath of the four hours."
Ming Chen Chun "Flowers" volume
Ming Chen Chun "Flowers" volume (partial) Collection of the National Palace Museum in Taipei
This volume is written in ink and ink, and the sections depict folded branches of peonies, hydrangeas, xinyi, lilies, orchids, chrysanthemums, daffodils, white plums, etc., each paragraph is accompanied by cursive inscriptions. The brushwork is varied and full of fresh and elegant atmosphere. The Book of Works (1542) is a masterpiece by Chen Chun at the age of sixty. Chen Chunxing's book is self-titled: Spring color on the flowers, red and purple are good. The imitation is tireless, and the pen and ink are even thick.
Ming Chen Chun "Sketching" volume
Ming Chen Chun "Sketching" volume (partial) Collection of the National Palace Museum in Taipei
Several kinds of flowers in the four seasons are interspersed in the form of folded branches and placed in hand scrolls, which is a common expression method used by Ming Dynasty painters to depict flowers. The volume was written in 1538 at the age of 55. The folded branches of peony, orchid, bamboo, tree, lotus, daffodil and camellia are not placed on the same horizontal line, and the high and low and near echo each other's ornaments make the composition lively and vivid. The peony flowers in the middle of the painting are in the front, and the ink is thick and light, although there is no color, there is a colorful and beautiful feeling.
After the painting, a piece of the painter's cursive seven-word ancient poem was received, with a dashing brushstroke and a pen flying ink dance posture. The poetry and picture can be regarded as one of the representatives of the painter's painting style in his later years.
Ming Xu Wei "Ink Peony Diagram" axis
Ming Xu Wei "Ink Peony Diagram" Axis Collection of the Palace Museum
This self-knowledge: "On April 9, Xiao Bozi visited my generation in the Lanting Pavilion of the New Restoration, Mr. Shi Fei showed his father to Zi Lead Mountain, and Brother Li followed his father to Zi Jianyang, and did it. Yu Mian composed a poem, and the book was small and dyed like an uncle. Life is a thousand miles, and the flow is repeated nine times. The horse hissed out of the valley, and the bird shadow repeatedly crossed the cup. Divide the water adjacent to the sealing meeting, double pearl bright moon tire. This dynasty repairs the land, and it is beneficial to see Yonghecai. The gargler in the heavenly pool is Wei. Lead builds two lanes, end to end, a total of water and one pass, so the neck is connected to the clouds. "钤:" Wen Changshi " ( 白文 ) , "Tianchi Shuxian " ( 白文 ) ) , " Qingteng Daoist " ( 白文 ) seal. Jianzang Seal: "Su Shi Bo'an Treasure" (Zhu Wen), "Zhengyi Zhai Appreciation Seal" (White Text).
Peony is one of Xu Wei's favorite flowers. Xu Wei's large brushstroke peony has never been ancient. He does not use color, only splashes of ink, both the flower head and the leaves are dyed with large strokes, and only the branches and veins are drawn with lines. The head of the peony is dipped in ink to dot the petals, the inner end of the petal is deep and the outer end is shallow, and the middle of the flower head is shallow and the periphery is deep. After the flower head is lit, use heavy ink to dot the flower bud while wet. Regardless of the layout and pen and ink, the whole work is spicy and bold, imposing, clear in intention, moist in ink, and very commercial. Although it is painted in ink, it has a rich and solemn appearance, which is one of Xu Wei's representative works.
Bright red double layer peony pattern disc
Bright red double-layer peony pattern disc Collection of the Palace Museum
This plate is yellow lacquered, and the plate is carved with double overlapping peonies, piercing through the branches and stems, each into a chapter, or exposed or hidden, complex but not chaotic, fully demonstrating the superb technique of carving lacquer in the orchard factory during the Ming Yongle period. The 6 characters of the "Daming Yongle Year System" are engraved in the foot, and the "Qianlong Antique of the Great Qing Dynasty" section is engraved later.
In the early Ming Dynasty, most of the works with such floral themes were yellow lacquer plain land, not engraved brocade, which belonged to the category of "those who have brocade patterns or not, yellow land is similar" in the "Records of Decoration", which is the inheritance of the characteristics of Zhang Cheng and Yang Mao carved lacquer at the end of the Yuan Dynasty. This floral theme of the work, usually based on a number of large blooming flowers, surrounded by buds with buds, this composition style is a prominent feature of Ming Yongle carving lacquer. This plate has a solid lacquer, pure color, thick carving, delicate and round grinding, and is a fine product of carved lacquer for the orchard factory in the Yongle period of the Ming Dynasty.
Ming Yongle peony flower carved lacquer round box
Ming Yongle Peony flower carving lacquer round box Collection of the National Palace Museum in Taipei
Ming Yongle Peony flower carving lacquer round box (partial) Collection of the National Palace Museum in Taipei
Ming Yongle Peony flower carving lacquer round box (partial) Collection of the National Palace Museum, Taipei
Cane segment round box, straight wall, flat cover, flat bottom concave. The watch is decorated with red. The lid is carved with a cluster of peony flowers, a blooming peony in the center, four on the periphery, and the lush leaves stretch out in all directions at will, arranged in close layers, revealing less paint. The lid and the side wall of the body are used as turning branches and leaves, a total of five kinds of flowers, ten flowers, which are peonies, lotuses, chrysanthemums and other seasonal flowers. The knife method hides the edge, and the modification is rounded. Dark brown paint on the inside and bottom of the vessel. Gai Nei carved qianlong forty-seven years (1782) imperial inscription poem. The bottom edge of the instrument is engraved with the "Daming Yongle Year" needle engraving.
Ming 16th to 17th centuries Lacquered peony round box
Ming 16th-17th centuries Lacquered peony round box (partial)
Cane segment type box, thin tire, flat bottom without feet, bottom and box red brown paint. The side of the box is decorated with eight echoes, and the branches and leaves between the words seem to be wavy and scattered. The surface of the box is paved with flower-shaped hexagonal grid, a branch of peony enters the center of the picture from the bottom left, after being divided into two stems, the branches are overlapped before and after, the back side of the branch is tall and upright, the rightmost branch is oblique to the leftmost, and each of the four branches opens a peony, each with a posture, or front or side or back, the leaf configuration is balanced, and the picture is coordinated. The change of the weight of the contour lines of the flowers and leaves, the lifting and pressing of the brush lines, the pattern of the red and yellow lines and the white flowers and green leaves, the color is prominent and elegant.
Qing Yun Shouping 《Peony》
Qing Yun Shouping "Peony" is selected from the "Sketch Flowers" book
Yun Shouping not only taught the ancients, but also learned from nature, that is, to paint with a sketching attitude. His flower paintings, almost all of which are common flowers and plants around him, such as peonies, peach blossoms, chrysanthemums, etc., have endless business at their fingertips, and the most painted of them, the most distinctive is peony. His peonies have used bright and bright colors, or only ink to paint the flowers and leaves of peonies. Although the color of the peony is beautiful, the color used is pure and bright, and the peony is painted elegantly and brightly; if the ink alone is used, the ink color change is used to paint the peony clean and dusty. In addition, Yun Shouping once said: "Whoever paints flowers is extremely vivid, straightens his back, bakes the sun and exposes it to the wind, and does his best to change, but he feels that Qingfen is blowing, and from then on he writes Nai Jia'er." In order to present the perfect image of flowers, not only use color to paint the yin and yang of the flowers, show the delicate and realistic flowers and leaves, but also allow the viewer to smell the flowers from the picture, and can show the "clear fragrance" he emphasizes, which is the best work.
Qing Yun Shouping "Peony" (partial) is selected from the "Sketch Flowers" volume
For example, this ink peony, the composition is bold, the flowers are concentrated in the upper right corner, the petals are only drawn with dry brushes, and then the light and shade are wiped out with more thirsty pen and ink, and the flower buds are drawn in the way of dot ink, which is quite casual with the pen, and the branches and leaves are expressed with wet pens. The ink color of the whole width is varied, rich in calligraphy, in addition to the intricate flowers and leaves of the peony are vividly expressed, and a rich fragrance can be faintly smelled from the picture.
Qing Yun Shou Ping Ou Xiang Guan Freehand Book "Peony"
Qing Yun Shouping Ouxiangguan Freehand Album "Peony" Collection of the National Palace Museum in Taipei
Yun Shou parallel book self-knowledge: color borrowed from the robe on the purple, incense points in the Taiji Hall.
Qing Yun Shouping "Peony" book
This painting is selected from Qing Yun Shouping's "Peony" album Collected by the National Palace Museum in Taipei
Clear red peony small round box
Small round box of red peony in Taipei National Palace Museum
Red box, red color. Mother-daughter mouth, curved wall, shallow circle foot. The whole body is carved with branches of peony, the lacquer layer is thick, and the petals and leaves are rich and delicate. Inside the vessel with a black lacquer.
Qing Jiang Tingxi "Ink Peony" axis
Qing Jiang Tingxi "Ink Peony" Axis Collection of the National Palace Museum in Taipei
Jiang Tingxi (1669-1732), a native of Changshu, Jiangsu, was a Chinese poet, a character of Yangsun, a character of Youjun, a number of Xigu and Nansha. He has been a scholar of the Wenhuadian University and has a political voice. When not the first time to swim with Gu Xue slope, good at sketching. After becoming an official in the dynasty, he was dignified and unscrupulous, occasionally one or two, and was treasured by the palace, and there were very few traces of circulation. Two branches of peony, one ink dyeing, one pair of hooks, lined with light ink after the flower, so that the paper surface is prominent, quite spiritual. The young leaves and the back of the leaves are made of light ink and slightly ochre, which is the creation method of ink painting.
Republic of China Wu Changshuo "Peony Daffodil Diagram" axis
Republic of China Wu Changshuo "Peony Daffodil Diagram" Axis Collection of the Palace Museum
This section is signed: "Mei Sheng Shen Old Uncle De with Aunt Zhou Lady Seventy Pairs of Birthday." Junqing respectfully painted. ”
In the picture, the peony is depicted by the boneless staining method, the pen is elegant and elegant, and the water, ink and color are organically blended, showing the vigorous vitality of the peony and the charm of the peony, which is expensive but not proud, colorful and vulgar. Daffodils are depicted in a white-painted double-hook method, and their inconspicuous leaves have a light and elegant beauty compared to the rich peony. The vibrant peonies and daffodils create a festive and peaceful atmosphere, successfully expressing the author's theme of blessing the health and longevity of the elders with this picture, which is one of the representative works of Wu Changshuo's flower paintings.
(This article is compiled from the relevant materials of the National Palace Museum and the National Palace Museum in Taipei.) ）