Zhao Mengfu's "Yanjiang Stacked Mountains Picture Poem Volume" has three titles
Author: Sheng Shilan
The Right Army was praised by Song Xue as "the merit of the total hundred families, the magic of the extreme multitude", and Zhao Mengfu inherited the pulse of the second king and became the greatest master of calligraphy in the Yuan Dynasty, thus opening a new page in the history of calligraphy. Yu Ji of the Yuan Dynasty once said: "Zhao Songxue's book is fluent in pen and profound in learning. Look at his book, handy, and will write. Kaifa was deeply impressed by the "Roselle Endowment" and took its standard, and entered its room by practicing the "Holy Order", and as for the cursive script, it was transformed by the "Seventeen Theses", which can be described as the combination of learning, talent, and mysteries of the book and the deification of the mysteries. ("Style Zhantang Calligraphy and Painting Examination" Volume 16) It can be seen that Zhao Mengfu collected many families and smelted them into his own style. His calligraphic style was fully mature, mr. Huang thought when he was around the age of forty. It is also believed that it was not until the fifth year of Dade (131O) that it began to form its own calligraphy characteristics until the third year of the university (131O). This latter statement seems a little late. Because Dade's five-year Chibi Erfu and six-year Wuxing Fu scrolls have various signs of the maturity of the Zhao Shu, his "Re-cultivation of the Three Doors of Xuanmiaoguan" is also a mature Zhao style. Liaoning Provincial Museum's "Poetry Scroll of The Stacked Mountains of the Yanjiang River", the last signed year. But this work should be a work of maturity without a doubt.
The "Yanjiang Stacked Mountains" is copied from Su Dongpo's "Book King Dingguo's Collection of Yanjiang Stacked Mountains" - the first seven ancients, "Yanjiang Stacked Mountains" was originally composed by Wang Yi. Wang Yi (王诜), courtesy name Jinqing, was the daughter of Emperor Yingzong of Shu and the official Ma Duwei (馬都尉). Neng poetry is good at painting, especially chang landscapes, and has contacts with Su Shi, Huang Tingjian, and Mi Fu. After he made this picture, the eastern slope has a poem title. This poem shows the scene of the picture in the language of poetry, and also implies the idea of Returning to the Field. Dongpo's poem is wonderful, and after the title of Dongpo's poem, Wang Yi also has a peace poem. And the "Yanjiang Stacked Mountains" figure has also gained a reputation. Later, Wang Yi also made many pieces of yanjiang stacked mountains with the same title. The "Stacked Mountains of the Yanjiang River" passed down to the world, the Shanghai Museum also has a collection of copies, silk. Yan Song of the Ming Dynasty once collected Wang Yi's "Yanjiang Stacked Mountains", which was purchased by Wang Shizhen after Yan Song's absence. The painting is separated from the inscription poem, and the painting is lost. Su Shi accompanied another picture. Because Su's poems did not match the artistic conception of the new picture, later even Su's inscription poems were gone. This book is a big work for Zhao Mengfu, who is accustomed to writing horizontal scrolls (generally only more than twenty centimeters - thirty centimeters). This Painting of the Zhao Book inscription of Liao Bozang is 49·8x413.9cm, which is about the same height as the core of the painting. From the perspective of the style of calligraphy, Zhao Mengfu at this time has fully demonstrated a mature calligraphy style, with a skillful pen, refreshing and clean, beautiful bones, beautiful knots, elegant and flowing, the overall gesture is unrestrained, swinging casually, and letting nature take its course.
Introduction: Song Xueweng True Manuscript (Ming Li Dongyang Seal Book)
(Ming Li Dongyang Seal Book)
Attached is Bozang's "Yanjiang Stacked Mountains" and an original poem
Book King Dingguo's collection of the Yanjiang Stacked Mountains
Su shi
On the river, A Thousand Stacks of Mountains,
Floating sky is like a cloud
smoke. Shanye Yunye
Far from knowing, smoke and clouds
Scattered mountains remain. But see you
The two cliffs are dark and dark
Wall, there are hundreds of ways to fly
Come to the spring. Haunting Network
Shi Yin saw him again and went down to the valley
The mouth is Ben Chuan. Kawahira
Mountains open forest foothills,
Kobashino shop is in front of the mountain.
Pedestrians slightly shade the trees
Outside, fishing boats are a leaf river
Swallow the sky. Where the king is
Get this book, embellish it
The end is clear. ignorance
Where is this in the world?
Environment, just want to buy two
Isida. Jun did not see Wuchang
Fankou is in the middle of nowhere, east
Mr. Poe stayed for five years.
The spring breeze shakes the river and the desert,
Twilight clouds curling rain mountain Juanjuan.
Dan Maple Tumbling Crow Companion
Water lodge, long pine fall
Snow slept drunk. peach blossom
Flowing water in the world, martial
All the tombs will be gods
immortal. Emptied me
Dust, though there is a way to go
There is no reason to find out. Also this
Draw three sighs, mountains
The old man should recruit me
Return.
The right east slope of the smoke river stacked
A. About the time of writing of the poem scrolls of the Yanjiang Stacked Mountains
The "Yanjiang Stacked Mountains" is copied from Su Dongpo's "Book Wang Dingguo's Collection of Yanjiang Stacked Mountains" - the first seven ancients, and the "Yanjiang Stacked Mountains" was originally composed by Wang Yi (1O 37 - 1O93; or 1 O 48 - 11 O4). Wang Yi (王诜), courtesy name Jinqing, was the daughter of Emperor Yingzong of Shu and the official Ma Duwei (馬都尉). Neng poetry is good at painting, especially chang landscapes, and has contacts with Su Shi, Huang Tingjian, and Mi Fu. After he made this picture, the eastern slope has a poem title. This poem shows the scene of the picture in the language of poetry, and also implies the idea of Returning to the Field. Because of the wonderful and unusual poem of Dongpo, after the title of Dongpo's poem, Wang Yi also has a peace poem. And the "Yanjiang Stacked Mountains" figure has also gained a reputation. Later, Wang Yi also made many pieces of yanjiang stacked mountains with the same title. The "Yanjiang Stacked Mountains" passed down from generation to generation, collected by the Shanghai Museum, on silk, followed by Song Lianbao: "Wang Jinqing painted the "Yanjiang Stacked Mountains" and saw scattered copies. Its layout is different in width and narrowness. The inner book has a poem written by Dongpo himself, which is particularly exquisite. The inscription of this volume is the book of the Hui Temple. Gai tasted into the Song Inner Province, but bao also. Hanlin bachelor Song Lianzhi. From this, it can be seen that there are original traces of Dongpo poems on the original "Yanjiang Stacked Mountains". There is still a bibliography in volume 12 of the Shigutang Calligraphy and Painting Examination, and the time when Su Shi wrote: "On December 15 of the third year of the Yuan Dynasty (1088), Zi Zhan Shu. "The Yuan Dynasty is not far from the Song Dynasty, and Zhao Mengfu had the opportunity to see the figure and Su Shishi. Volume III of Liu Guan's Collected Writings to be Produced has the song "Song of the Songxue Old Man Linwang Jinqing's "Yanjiang Stacked Mountains", indicating the fact that Zhao Mengfu was old when he came to Wang's painting.
Yan Song of the Ming Dynasty once collected Wang Yi's "Yanjiang Stacked Mountains", which was purchased by Wang Shizhen after Yan Song's absence. Wang Bao said, "... However, Jin Qing made two copies of this painting, and his survivor was Wang Dingguo's painting and Changgong's singer was also. When Xuan Zheng asked the emperor to cut off the official documents and inkblots into the imperial base, should the public song be retained in the back, and the first of the painting is a secret hall seal. Only public ink remains of the book of The Kingdom of Gaiding, and the painting has been lost. Mizo Jinqing Beiben, and there are Jiangshan Pingyuan and Qianli Jiangshan Map, an zhi does not fall behind the good deeds of the world to take the matching gong and so on as a volume, as an art Lynch play Yay? If you think that after Yanjin, I did not dare. Cover the lyrics and the painting scene are small to the ear. As for the distribution structure and the wonderful shape of the Silk Xu Cover, it is not recognizable to the Southern Song Dynasty, and Su Changgong's penmanship is pure and elegant, for the crown of ordinary life, and it is not appropriate to participate in the ephemera. "Shigutang Calligraphy and Painting Hui kao kao volume XII) This shows that the painting is separated from the inscription poem, and the painting is lost. Su Shi accompanied another picture. Because Su's poems did not match the artistic conception of this picture, later even Su's inscription poems were not there. During the Wanli Dynasty, Wen Jiaba said when he was on the map: "Wang Jinqing Yanjiang Stacked Mountains Yu Fan saw two books, one of which is in the Wei clan of Kunshan and the other is in the Yao clan of Jinling, neither of which has Su poems. Yao Hou found Song Xue's book and the scene was wonderfully in line with Su Shi. It has now been returned to the Secret House. Wei's original color line is the same as this. This book is elegant and elegant, and the magic of Po Shu is very different from his book, which is Ke Bao'er. Wanli Ding Ugly (1577) Xia, Wen Jiabao. "《Style Gutang Huikao" Exam XII)
According to this, it is certain that Zhao Mengfu once wrote a long title of a Su poem to accompany Wang Yi's "Stacked Mountains of the Yanjiang River". "Calligraphy and Painting Fang" Yun: "Yuanmei (Wang Shizhen) Gongzang Wang Jinqing Yanjiang Stacked Ridge Picture Scroll, the penmanship is quaint, the ink halo is subtle, and it is extremely popular with the ancient testament." There is a long song of the eastern slope. The dripping song is particularly harsh and dazzling. The original is a relic of Yan Fenyi (i.e., Yan Song), and the calligraphy and painting are excellent. The first does not know compared to Xu Kezhai old could have been jawed. (Shigutang Calligraphy and Painting Examination, vol. 12). The Su Shibao on Wang Shizhen's tibetan book is probably Zhao Mengfu's inscription. The size of Shangbo's Yanjiang Stacked Ridge Diagram is (45·2X66cm), so the height of Zhao Pei's book title should not be less than this. This is a big work for Zhao Mengfu, who is accustomed to writing horizontal scrolls (generally only more than twenty centimeters - thirty centimeters). The Zhao Shu inscription of LiaoBo now is 49·8x413.9cm, which is about the same height as the core of the painting. Only later, Shen Zhou and Wen Zhengming redrew this map, so Zhao Bao of Liaobo received Shen and Wen's map, not Wang Yi's original map.
So, when was Zhao Mengfu's Su poem inscription written? He was about fifty years old. The rationale for this is:
Zhao Mengfu once painted a painting of the "Stacked Mountains of the Heavy River" in the seventh year of Dade (13 O3) 28.4 cm high. The composition of this painting is similar to Wang Yi's "Yanjiang Stacked Mountains", which may be created by Zhao Mengfu after seeing Wang Yi's painting. This painting does not have Zhao's own inscription, but has the inscription of Yu Ji: "In the past, the Yangtze River was dangerous, and it could produce white hair and mourning." The century-old economy is exhausted, and the picture is opened in one day. The monk's temple is still faint, and the fishing boat is mighty back. Depression of several trees, sometimes there is a sea of water. "The inscription is very large, which is in line with the grandeur of the painting. Zhao Mengfu himself also hid Wang Xue's "Lianshan Absolute Valley Map" and was fond of Wang's paintings. In the third year of 130, Zhao Mengfu was promoted to Confucianism in Jiangsu and Zhejiang, so there was also a hidden meaning in his thinking, which was in line with Su Shi's poetry. Therefore, at this time, he inscribed Su Shi's poem on Wang Yi's "Stacked Mountains of the Yanjiang River" which is more in line with his ideological reality.
From the perspective of the style of calligraphy, Zhao Mengfu at this time has fully displayed a mature calligraphy style, and representative works such as Chibi Fu and Wu Xingfu are skillful with pens, beautiful and flowing, and the writing is very natural. The style of Zhao Shu in the Liaobo collection basically belongs to the stylistic characteristics of this period. The pen is refreshing and clean, and the bones are beautiful. The gestures are bold and the swing is very casual. Therefore, Zhao Mengfu wrote the inscription of Su Shi at about the same time as the time when he painted the "Heavy River Stacked Mountains", that is, when he was fifty years old.
2. The stylistic characteristics and significance of Zhao Mengfu's poems
Liao Bozang's Zhao Mengfu inscription Su Shibao is very different from the common Zhao Shu's gentle and gentle style. Therefore, it is worth combing and pursuing the style characteristics of the work.
Zhao Mengfu's early writings, with a handsome body, gentle and gentle writing, and a dancing posture, are the result of his long-term copying of the "Two Kings" style of writing. Early writings such as "Return to the Word" and "Baotu Spring Poetry Scroll" are rich in pens, flattened in posture, heavier in foot, and relatively lack of bone strength. By the first year of Dade's "Roselle Fu Scroll" and the five-year "Chibi Erfu", although the posture is still handsome and the lines are still rounded, the setbacks with the pen have been greatly enhanced, so the muscles and bones are more robust, and the details of some techniques are more exquisite. As Mr. Pan Boying pointed out: "For example, the left and right characters in the "Orchid Preface", the upper one is horizontal and then the left is picked, and the pen at the end is turned upwards into a small circle, which is not very obvious in the "Lan Ting Thesis". Because of his careful learning, he deliberately emphasized that the circle of the pen should be written larger. (Brief Treatise on Chinese Calligraphy, p. 132) The words "have", "right", and "xiong" all have this characteristic. In the sixth year of Dade, the pen of "Wu Xingfu" was more refreshing, powerful, and the muscles and postures reached new heights. Therefore, the seven years of Dade's Zhao Shu poems came along this turn of the book style. Its style characteristics have the following characteristics: First, the pen is cheerful and unrestrained, the horizontal painting is strong, the skimming is crisp, and even there are more exaggerated lines, such as the vertical pen of the third row of two "Ya", which is not only extremely imposing, but also has strong bone strength. The word "broken" in the seventh line occupies the position of several words, which is extremely rare in the Zhao book; second, the knot body develops to a vertical trend and is no longer flat. This change in posture also reflects the change from a feminine book style to a majestic and vigorous book style; the third is the strengthening of the rhythm and strength, and also changes the situation of uniform weight and weak writing in the past. Because the paper width is larger than the banner that Zhao Mengfu used to write, the glyph shape of each word is also very large, and it is the size of a child's fist. Therefore, there have been new changes in the size of the glyph and the thickness of the stroke. The size of the intricacies is very large, alternating with dryness, so the rhythm is strong. There is a bold and enthusiastic rhythm in the whole width, the first line is seven words, the third line is only four words, and there are many dry pens, which are astringent and powerful, so there is a pain in composure. This distances itself from the works of the past, similar to the "Books and Scrolls of Renunciation with The Mountain Juyuan" in the late years. Because of these characteristics of Zhao Shu, let us see another face of Zhao Mengfu's calligraphy.
Zhao Mengfu is a soft bone with incomplete integrity in the eyes of ordinary people, and it is his personality to be submissive. In fact, Zhao is also a straightforward person. He has a poem that says, "I am true and spontaneous, and I do not know how to be angry." Pitching desires to conform to the world, and Xia Qi works with hardships. Xu Fuguan said: "Zhao Songxue's spiritual purity comes from his reclusive character in the rich and noble and his heart in the rivers and lakes. (The Spirit of Chinese Art, p. 384) he also said: "The "Heavy River Stacked Mountains" is a famous relic of Song Xuexuan, and Wang Shizhen called it 'Chong Chuan Jian Yuan, which is intended to be outside the pen. But Yu Ji's poem is "In the past, the Yangtze River was dangerous, and it could produce white hair and mourning." The century-old economy is exhausted, and the picture is opened in one day. Yu Ji could truly understand Zhao Songxue; and he was also able to appreciate the lofty value of this scroll. But he knew better that behind this rush was the author of a 'white-haired mourning'. Since then, Shen Zhou, a great painter of the Ming Dynasty, can also say the words of 'still seeing old things from bleakness, as if there are tears with lonely loyalty'. (Ibid., p. 379) This passage thoroughly analyzes why Zhao Mengfu painted "The Stacked Mountains of the Heavy River" and the hidden thoughts he pinned on in the paintings. Zhao Mengfu's ideological personality is complex, but his copying of Dongpo poems and Linwang Jinqing's paintings conveys his true disposition. His paintings are rushing to Jane Yuan, and his inscriptions are also free and unrestrained, and Jian Yi is far away. Therefore, this work of Zhao Mengfu is indeed a rare masterpiece, which not only allows us to see the diversity of Zhao Shu's style and the turn of style, but also to see the true and frank side of Zhao Mengfu's personality.
3. Is the Liaobo ben a genuine manuscript or a hook-filled copy
Wang Jinqing's "Yanjiang Stacked Mountains" is also more chaotic due to the many versions. According to volume XIII of the Xuanhe Pictorial Notation, it was once collected by the Inner House. The collection of the Inner House, according to the "Shaoxing decoration" unified mounting, before reinstallation, first cut away all the old traces of the predecessors such as inscriptions, inscriptions, and marks. Therefore, the Dongpo inscription is among the first cuts. Resulting in the separation of painting and title. Because Wang Jinqing painted many paintings with the same title, there will be more mixed costumes in the future. There are three or four kinds of "Yanjiang Stacked Mountains" written in the "Shigutang Calligraphy and Painting Examination" alone, and Su Shiba has three years of YuanYou and four years of Yuanyou, indicating that false inscriptions are also mixed in. Zhao Mengfu's poem title was once loaded into Yao's original figure. However, after the picture title was divided, there are records of Shen Zhou and Wen Zhengming re-painting the picture. It is unknown when Zhao Bao was separated from the painting. Zhao Mengfu's calligraphy has a lot of facsimiles, so whether Liaobo is the real book has been questioned in the past. The title of the volume has the words "Double Hook Forgery Masterpiece", which is the result of Qianlong's appraisal. The author carefully looked at the Liaobo ben and felt that it should be a hook-filled book, for the following reasons:
(1) There are many penmanships. Zhao Mengfu's title "Yanjiang Stacked Mountains" is about fifty years old, and he is absolutely pure in the use of pen. However, some of Liao Boben's pens have obvious shortcomings. For example, the two "no" characters in the poem, the "no" horizontal painting of the former "unknown" is pressed lightly and is extremely uneven; the horizontal painting of the latter "not seen" "no" moves too fast and the middle section is too thin, and the two horizontal paintings of "one" have the disease of hollowness and timidity, and are by no means similar to the "no" character of Zhao Shu. (Reference can be made to the word "no" in Wu Xingfu in the same period.) There are many more cases like this. Such as "fishing boat one leaf": "one", no closing pen, incredible. The left part of the second line of "floating" is also stiff, unlike Zhao Pen. The word "shi" of "human life", the horizontal pen is definitely a failure.
(2) Neglect of certain writing details. For example, the three "have" characters in the poem, the circle of "turning pen" on the Liao ben is too large, and one and two strokes are connected into one stroke, which is not in line with the writing habits of The Book of Zhao. (Although there are also links in the Zhao Book, but not many) Zhao Mengfu paid great attention to the details of this kind of writing. The last "right" in liaobo is slightly similar. Another example is the footing of the words "man" and "heaven", which are too exaggerated and do not conform to the situation of Zhao Shu when he was fifty years old.
(3) The stroke order of individual characters is also different from that of Zhao Shu. For example, the character "must", the stroke order of liaoboben is different from that of zhao shu (such as "Wuxing Fu scroll"), and the high point of Liaoben is the last stroke. And Zhao Shu must first descend the "point", and the left and right "points" must be symmetrical. This is not imitatable.
However, even if it is a hook-filled book, Liaobo Ben still has its cultural relics value and artistic value. Because its shadow appearance is generally good, the level of the hook filler is not low, or there are some Zhao Shu wind gods.
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