The surging news reporter Li Mei sorted out
Today is the summer heat, the second solar term of autumn. Dealing with the heat, that is, "out of the heat", is the meaning of hot departure. This year's continued high temperatures have been looking forward to this festival for a long time. There are many traditional customs in the summer season, and the Fishing Festival is one of them, and China's coastal areas often hold various forms of activities during this festival to send fishermen out to sea and look forward to a bumper harvest.
Around the summer of 2022, the opening of the fishing festival has been opened in various coastal areas: in Yangjiang, Guangdong, with the release of the fishing order, more than 3,000 fishing boats have opened a new round of sea cultivation; In Lianjiang, Fuzhou, nearly a thousand fishing boats set sail at the fishing port of Moss Town; In Ningbo, Zhejiang, the Opening Fishing Festival will carry out activities through the main line of "Vientiane Mountains and Seas, Millennium Fishing Village, Baili Silver Beach, Ten Seafood, and One Song Fishing Light".
"The Paper, Ancient Art" specially sorts out the historical relics related to fishermen or fishing collected by the National Palace Museum and the National Palace Museum in Taipei, from Ma Yuan's "Qiupu Guiyu Chart Axis" of the Song Dynasty to Fu Baoshi's "Liuxi Fishing Boat Map", hoping to bring readers a cool.
Song Mayuan Qiupu Guiyu Chart Axis
Song Mayuan Qiupu Guiyu Chart Axis Collection of the National Palace Museum in Taipei
Song Mayuan Qiupu Guiyu Chart Axis (Partial) Collection of the National Palace Museum in Taipei
Ma Yuan (1140-1225), courtesy name Yao's father, was born in Hezhong (present-day Yongji, Shanxi), grew up in Lin'an (present-day Hangzhou, Zhejiang), and was a court painter of the Southern Song Dynasty. 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".
This painting has the imperial inscription of the Qianlong Xingshu: Guizhou that is tied to the reed bush, grabbing the flute is not empty. The bottom is idle, and the sideburns are drifting in the carp wind. Ding Hai (1767) Mid-Autumn Moon Imperial Inscription
(Biography) Song Yan Wengui Hanpu Fish Shaft
(Biography) Song Yan Wengui Hanpu Fish Scroll (Partial) Collection of the National Palace Museum in Taipei
This painting depicts the scene of twilight. Near the shore of a man sitting alone fishing, the shrinkage of the shape implies the cold of the weather; Across the flat and clear river surface, the distant sandbars and dry reeds surround the shore, and several geese and ducks dotted between them, adding to the sense of desolation and loneliness. This picture is the same as another painting in this courtyard labeled "Fisherman Father Figure" of the Song Dynasty, which was old and was written by Yan Wengui, but in terms of painting style, it should be from the hand of a late Ming painter.
(Biography) Song Yan Wengui Hanpu Yuyi Axis Collection of the National Palace Museum in Taipei
Yan Wengui (967-1044), a native of Wuxing, Zhejiang, was a painter during the reign of Emperor Renzong. Its landscapes and characters are excellent, and he is especially good at painting the scenery of the four seasons, elegant and lovely, and is called "Yanjia Scenery".
Song Ren Fisherman Father Diagram Axis
Song Ren Fisherman's Father Scroll Collection of the National Palace Museum in Taipei
The open and endless river surface is filled with smoke and cold. Reeds surround Tingzhu, wild geese dotted among them, and the other is empty and echoes those swimming on the river, adding business to the cold and silent river. The fisherman on the riverside sat in a grass canopy, crossed his hands in front of his chest, bent over and shrunk his neck, looking at the water in the cold, expecting fish to surf the net, and his expression was very vivid. This layout is simple in writing, the artistic conception is quaint and quiet, and the same composition as Song Yanwengui's "Hanpu Fishing Tree" in the National Palace Museum in Taipei, which is better with the brush and ink of this painting, but it is still composed on the occasion of the Yuan ming Dynasty.
Song people fishing chart axis
Song Ren Fishing Chart Axis Collection of the National Palace Museum in Taipei
Song Ren Fishing Chart Axis (Partial) Collection of the National Palace Museum in Taipei
Song Ren Fishing Chart Axis (Partial) Collection of the National Palace Museum in Taipei
Yuan Wuzhen Fisherman Father Diagram Axis
Yuan Wuzhen Fisherman's Father Chart Axis Collection of the Palace Museum
In ancient China, fishing, trees, ploughing, and reading were often regarded as an idealized way of life by literati and doctors, and were often used as the theme of literary and artistic works to express the author's desire to escape from the world, especially the material of "fishing hidden" was the most common. By the time of the Yuan Dynasty, the Han literati had no way to enter, and their social status plummeted, and the Jiangnan shi people suffered especially. As a result, "Yu Yin" appeared more frequently in paintings, of which Wu Zhen's "Fisher Father Diagram" was the most typical.
Wu Zhen, zi Zhonggui, meihua daoren, Zhejiang Jiaxing Weitang town people. Together with Huang Gongwang, Ni Zhan, and Wang Meng, he was known as the Fourth Yuan. Wu Zhenshan made landscape paintings with the theme of "Fishing Hidden", and there are many paintings in the "Fisherman's Father Map", which is one of the more representative ones.
Yuan Wuzhen Fisherman Father Diagram Axis (partial) Collection of the Palace Museum
The picture depicts the scenery of Jiangnan Water Town, with flat hills and trees, and a fisherman driving a boat between the bends of the lake. The ink color of the whole picture is pale, and the mountains, trees, and branches and leaves all notice the alternating use of ink color to express the hierarchical relationship and highlight the main objects. The variety of penmanship and the rubbing and dyeing can show the author's superb pen control ability. The secluded and lonely mood between the lakes and mountains jumps out of the paper, giving people a sense of being far away from the world. Wu Zhen's "Fisher Father Diagram" is mostly matched with the beautiful cursive "Fisher Father Group", and the poems, books and paintings complement each other. That is, in the picture, the book reads: "The smoke and waves are blue or not, and the frost withers and the maple leaves are blurred." Thousand feet of waves, four gill perch, poetry tube relative to wine gourd. The poem is the finishing touch, truly expressing the hidden sentiment of "a leaf with the wind".
Yuan Wuzhen Fisherman Father Diagram Axis
Yuan Wuzhen Fisherman's Father Axis Collection of the National Palace Museum in Taipei
This picture takes the scenery of Jiangnan Mizusawa, close-up painting of the earthen hills on the banks of the river, two large trees standing in the wind, a hut under the tree, and a winding path to cross and reach the riverside. The vast river surface, the waves are clear: near the reeds on the shore, a flat leaf boat floats quietly in the middle; Two people on the boat, the former dressed as a scribe, overlooking the river, and then a child servant, sitting quietly and holding a pen. On the other side of the shore, there are several mountains, smoke trees are misty, and several houses are hidden in the forest, which is a beautiful landscape with a leisurely style and quiet. The mountain stone lines are softly outlined, and the method comes from the five generations of Juran Phi Ma All the Way, and the whole picture is covered with a layer of light ink, fully grasping the performance of the atmosphere and light.
Yuan Wuzhen Fisherman's Father Axis (partial) Collection of the National Palace Museum in Taipei
Yuan Wuzhen Fisherman's Father Axis (partial) Collection of the National Palace Museum in Taipei
Judging from the self-titled poem on the painting, the painting is a scene of the moon and the night. Wu Zhen is proficient in numerology, advocates the Taoist spirit, and has never been a master in his life. This picture and poem can be described as a portrayal of his happy landscape, the life of smiling and proud of the rivers and lakes, the gaoshi who supports the fisherman on the riverbank, or the sustenance of his smoke and wave anglers' self-condition and hidden feelings.
Yuan Wuzhen Dongting Fishing Hidden Axis
Yuan Wuzhen Dongting Yuyin Axis Collection of the National Palace Museum in Taipei
This painting is a sixty-two-year-old work of Wu Zhen, using a composition of "two banks of one river", the close-up painting is double pine standing tall, dead trees are sloping, and on the other side is a steep hillside, and a fishing boat swinging by the water, which faithfully presents the scene of the water town of Zeguo in Jiangnan. Although the layout is simple, the signatures on the corners and the inscriptions above add a quiet and elegant atmosphere.
Yuan Wuzhen Dongting Yuyin Axis (Partial) Collection of the National Palace Museum in Taipei
Yuan Wuzhen Dongting Yuyin Axis (Partial) Collection of the National Palace Museum in Taipei
This wuzhen cursive self-title: The wind is born in the evening on Dongting Lake, and the wind sweeps the heart of the lake with a leaf. Lan Zhuo is stable, the grass flowers are new, only fishing for sea bass and not fishing names. In the autumn of the first year of the first year (1341), the plum blossoms played ink.
Yuan Tang Di Shuangpu Guiyu Chart Axis
Yuan Tang Di Shuangpu Guiyu Chart Axis Collection of the National Palace Museum in Taipei
Tang Di (c. 1287?) –1355), courtesy name Zihua (字子华), was a late scholar. WuXing people. Young and clever, young and weak, poetry and painting are all pushed by the townspeople. The first painting of landscape science Zhao Mengfu, won its Huarun Sen yu interesting. Following the glimpse of Guo Xi, the evening pen entered Wei Yan, and guo Xi was the most forceful.
Yuan Tang Di Fengpu Guiyu Map Axis (Partial) Collection of the National Palace Museum in Taipei
Paint two pine trees, standing up to the top, three dead trees are leaning forward and obliquely, and four autumn trees are intermingled in them. The three fishermen, carrying nets and carrying fishing gear, talked and laughed as they walked. The middle section is separated by mist, faint and distant. The stone is made of cloud head, the slope is slightly covered with hemp, the dry pen is more, although the pen is slightly used in the side posture, but most of them are out of the center, the contour line is uniform, so it feels round and thick. The lower edge of the boulder is not hooked near the water, forming a sharp upper and lower edge, and the water vapor is empty, which is Fa Guoxi's "early spring map". The background is dyed with light layers, and the ink color is rich, making the main scene more prominent.
Yuanren Fisherman Autumn Color Axis
Yuanren Yuzhuang Autumn Color Axis Collection of the National Palace Museum in Taipei
Yuanren Yuzhuang Autumn Color Axis (Partial) Collection of the National Palace Museum in Taipei
Autumn breeze on the willow bank, two boats go hand in hand. One person fished, one person read the book, and tied a fish basket on the side. Spectators and anglers are very relaxed, and their intention is not to fish. On the shore of the village square, hanging curtains to sell wine, behind the hills undulating, smoke trees are misty. A mountain stands tall and majestic. The full width is carefully written, and the composition is clumsy.
Ming Xuanzong Smoke Wave Fishing Axis
Ming Xuanzong Smoke Wave Fishing Axis Collection of the National Palace Museum in Taipei
Ming Xuanzong Smoke Wave Fishing Axis (Partial) Collection of the National Palace Museum in Taipei
Emperor Xuanzong of Ming, Zhu Zhanji, was the grandson of Emperor Mingchengzu Zhu Di, the eldest son of Emperor Mingrenzong Zhu Gaozi, the fifth emperor of the Ming Dynasty, a calligrapher and painter, and the era name "Xuande".
Zhu Zhanji was born in the Palace of the Yan Dynasty in Beiping. He was bright at an early age and was deeply loved by his grandfather Zhu Di. In the ninth year of Yongle (1411), he was made the emperor's grandson and followed Ming Chengzu Zhu Di on many occasions in his conquests of Mongolia. Hong Xi ascended the throne in the first year (1425). In the first year of Xuande (1426), the rebellion of Zhu Gaoxu, the King of Han, was quelled. Politically, it attached importance to rectifying the administration and finances of officials, enhancing the status of the cabinet, and appointing "Three Yangs", Jian Yi, xia yuan ji, and so on. Clean up the pre-revolutionary maladies, rectify the ruling organs, and implement measures to streamline and reduce redundant ones in order to invigorate the dynasty; Eunuchs were taught to study and participate in politics. Economically, measures to recuperate and alleviate social contradictions are implemented. In terms of foreign relations, the seventh Zheng He went to the West; Stopping the use of troops to fight with each other has saved a lot of manpower and financial resources, and it is also conducive to the exchanges between jiaotong and the people of all ethnic groups in China. In the third year of Xuande (1428), he went out of the fortress and built the cities of Yongning and Longqing. A series of measures by Emperor Mingxuanzong led to unprecedented socio-economic development, which was collectively known as the "Rule of Renxuan" during the reign of his father, Emperor Akihito.
Ming Xuanzong was extremely accomplished in calligraphy and painting, and the Hanmo books were extremely exquisite. "Dot ink sketching, so as to win with Xuanhe (Song Huizong)", calligraphy can be seen outside the circle. He works in painting, landscapes, figures, animals, flowers, birds, grass and insects, and has seals such as "Treasure of Guangyun", "Treasure of Wuying Temple" and "Yongxi World".
Ming Zhou Chen Fishing Music Picture Scroll
Yuan Zhou Chen Yule Picture Scroll (Partial) Collection of the Palace Museum
Zhou Chen (born and died unknown), courtesy name Shunqing, was a native of Wu County (present-day Suzhou, Jiangsu). The landscape painter Chen Xian (1405-1496), who was imitated by the Song dynasty li cheng, Guo Xi, Ma Yuan, and Xia Gui, was skilled in penmanship, and the so-called "connoisseur" means sheng'er. He Liangjun believed that he and Dai Jin (1388-1462) were mutually strong and were also a master of the courtyard. Part-time work figures, ancient and strange, slender and scattered, each with its own extreme ability.
Ming Zhou Chen Yule Picture Scroll (Partial) Collection of the Palace Museum
The picture depicts the scene of the fishermen's work and life in Jiangnan Water Town. The author delicately captures the various movements of fishermen, such as buckling fish, casting nets, fishing, fishing, shrimp fishing, weaving nets, etc., as well as their innocent and natural demeanor, showing their simple temperament and an attitude of life in search of fun in their livelihood, portrayed in detail, vivid and bright. At the same time, it conveys the return idea of Yu Yin in the minds of the literati. In terms of painting techniques, the figures are outlined and shaped, thin color is lightly dyed, the clothes are painted with a hammer head, the water painting waves show their dynamics, the slope stone is dyed with wet ink, and the brushwork is skillful and easy, which comes from the realistic painting style of the Song people.
Ming Wu Wei Yu Le Tu Axis
Ming Wu Wei Yu Le Tu Axis Collection of the Palace Museum
This picture is also known as "Xishan Fishing Boat Map", Yule Diagram is the subject of Wu Wei's frequent depiction, when he wandered the rivers and lakes as a professional painter, "Solo music and mountain people are wild and thick", familiar with the lower people, the painting of fishing music, perching, farming and reading, etc., but also taken from real life, the image is simple, the environment is real, the realm is natural, and very few literati are stable in the idealized colors in the paintings, this picture is an example.
Ming Wu Wei Yule Diagram Axis (Partial) Collection of the Palace Museum
The harbor where the lake and mountains meet the fishing boats, the scenery is simple, a few rugged mountain stones nearby, a few old trees, and three or five fishing boats; In the middle of the scene, there are rolling hills and a corner of sand moraines; In the distance is the peaks of the mountains. However, the layout is rich and changeable, and the S-shaped composition makes the near, medium and far three scenes appear to be tortuous and undulating and virtual reality, and the scenes are not only interconnected, but also not forced, rich in layering and far-reaching sense. The overall realm is open and majestic, vividly conveying the beauty of Jiangnan Fishing Port.
Ming Wu Wei Yule Diagram Axis (Partial) Collection of the Palace Museum
The fishing life shown in the work is real and credible, whether it is a perch, a fisherman, a gossiper, a simple-dressed and well-dressed mountain village fisherman, rather than a floating and idle literati. The fishing port environment is also a noisy place to work or live, rather than a secluded retreat that hermits aspire to. The painting exudes a strong secular atmosphere, reflecting Wu Wei's distinctive artistic characteristics.
This method of drawing is also eclectic. Jin Jian's pen and dripping ink are derived from Ma Yuan and Xia Gui in the Southern Song Dynasty; Intermittent and short mountain stone hooks are similar to wearing; The method of "phidding hemp" and the thick and orderly ink color are also influenced by the Yuanren; The rapid use of the pen and the majestic momentum reveal their true colors. Compared with other fishing music drawings he created, this one is more of a collection of characteristics, so it should be painted in the late years of skill.
Ming Wu Wei Songxi Fishing Cooking Chart Axis
Ming Wu Wei Songxi Fishing Cooking Chart Axis Collection of the Palace Museum
The picture depicts distant mountains like a screen, shisha is slim, close-up mountain cliffs, old pines and curves, brook bank mooring boats, a weng bowed down pipe to help ignite the fire, with a strong atmosphere of secular life.
Ming Wu Wei Songxi Fishing Cooker Axis (Partial) Collection of the Palace Museum
This drawing method mainly comes from the Southern Song Dynasty Ma Yuan and Xia Gui, taking a corner of the scene, a large axe splitting the mountain stone, a large piece of ink rendering the water surface, the characters' clothing patterns are concise and concise, and the pen edge is quickly exposed. The unique rough strength and indulgence of the pen and ink and lines, the wild and leisurely fun expressed in the whole painting, and the anti-elegant and humorous atmosphere revealed are Wu Wei's own characteristics.
Ming Ni Duan Fishing Chart Axis
Ming Ni Duan Fishing Chart Axis Collection of the National Palace Museum in Taipei
Ni Duan, during the reign of Emperor Xuanzong of Ming, was in the Hall of Renzhi. Jiaxing people, the beginning of the character, the work of photography, and good landscape. This painting depicts the fading reeds of the creekside, the fisherman climbing the tree, and the frost of the autumn pool, which is forced to chill.
Ming Ni Duan Fishing Chart Axis (Partial) Collection of the National Palace Museum in Taipei
Most of the MingYuan paintings were painted from the Southern Song Dynasty, but with the use of pen drums for nu force, with mote more wet pen, there are not many levels of change, so there is a difference of thousands of miles, cover is also a temporary custom.
Ming Ye Guang Cong Di Idle Fishing Chart Axis
Ming Ye Guang Cong Di Idle Fishing Chart Axis Collection of the National Palace Museum in Taipei
Ye Guang, Ming Dynasty painter, ZiYuanbo, Haiyu, Chaoxian people. Ye Guang is a painter of the Rice (芾) School, who paints rice bodies and landscapes and large and small paintings, and his bones are far away from the gods, and the flow of time is beyond reach.
Qing Fan Xi Liu Village Fishing Music Picture Scroll
Qing Fan Xi Liucun Fishing Music Picture Scroll (Partial) Collection of the Palace Museum
The picture depicts the fisherman's music scene of "YangLiu Qingjiang Level, Smelling the Singing on the Lang River". Wang Shichen's "Chibei Occasional Talk" records: "Liucun is between Hengshan Mountains, and Liang Yemei makes Jun read among them, which belongs to Jinling Fan Xi's painting "Liucun Fishing Music Map". From this, it can be seen that Liucun did have its own land, in the territory of present-day Hebei Province. This picture was painted by Fan Xi at the invitation of his friend Liang Yemei (i.e. Liang Yunzhi, Zi Chengdu, Zhengdingren of Hebei, and the official to the prefect of Yanping) to relieve his eunuchs' homesickness. As a painter in the Jiangnan region, Fan Xi gave full play to his imagination and expressed the northern water town like a fishing village in Jiangnan, with smoke and fog, full of romantic poetry, and poetic life. This painting is concise in composition, prominent in theme, neat and rigorous with pen, meticulous in method, and elegant in color, which is Fan Xi's representative work.
The department is "己酉蒲月鐘陵樊圻画", 钤 "圻" 朱文印, "Huigong" white text seal. The "己酉" is the eighth year of the Kangxi Dynasty (1669), and the author was 54 years old at the time.
Modern Fu Baoshi Fishing Return Chart Axis
Modern Fu Baoshi Yugui Tu Axis Collection of the Palace Museum
This painting is self-titled: "Ugly March, written in Hongdu." New Yu Fu Baoshi. "Plutonium" Fu " Zhu Wenyuan Seal , "Bouldering Private Seal" White Text Square Seal, "Bouldering Heartmade Work" Zhu Wen Rectangular Seal, "Often Drunk" Zhu Wen Square Seal. Ugly for 1949.
This picture is fresh in style and elegant and light in style. The peaks are undulating, the pines are covered, and the red walls of the temple can be faintly seen in the mountains, as if the melodious bells can be heard floating between the valleys. Although the "bouldering" has not yet reached the state of the painter's late letter and pen, all of which have become magical, they have been freely wielded, retracted and released, and formed a subtle artistic effect contained in the extensive, with a unique face. In the corner of the picture, the fisherman carries a flat shoulder and walks in a hurry, completely ignoring the green mountains and green islands and endless mountain colors. The characters are not large, but they are also well-written, and they must be meticulous in their eyebrows, and the urgent mood of returning home jumps on the paper. This picture was donated by Fu Baoshi's wife, Luo Shihui.
Modern Fu Baoshi Liuxi Fishing Boat Diagram Axis
Modern Fu Baoshi Liuxi Fishing Boat Diagram Axis (Partial) Collection of the Palace Museum
This painting is self-titled: "Bouldering Writing." "Plutonium" bouldering private printing "white text square seal", "often drunk" Zhu Wen long square seal.
Between the vast waves of smoke, a leaf fishing boat is slowly propped out of the reeds, and the willows sway with the wind nearby, and the mood is quiet and peaceful. As far as the eye can see, the water and sky meet each other, and the breeze blows on the face, as if there is a strong sense of spring. Although there is not much ink, the idyllic scenery of the poem jumps on the paper. Since ancient times, rural life has often become the object of painters' depictions, in order to express the yearning for a peaceful life. Such subjects can often be seen in Fu Baoshi's paintings, which should be the external expression of his inner world.
This picture was donated by Fu Baoshi's wife, Luo Shihui.
(This article is based on the relevant information of the National Palace Museum and the National Palace Museum in Taipei.) ）
Editor-in-Charge: Weihua Gu
Proofreader: Yan Zhang