Qing Yun Shou Ping Landscape Flower bird album out of the water hibiscus
27.5×35.2cm color on paper
Collection of the Palace Museum
Text/Hsui Hsien Loong
Opening this album, it seems like the scene of the dance, two groups of flowers and leaves, one before and one after, dumped left and right, as if they are still together, want to say goodbye, as if thousands of styles are swinging.
The lotus flower in the front right, "Punching Mud And Pulling Handle" (see inscription poem), obliquely slants out the elegant figure at the bottom of the picture, and suddenly stretches out the dance posture. Her petals reflect the light of the sun, round and full, there are crimson shyness of cheeks, there is also the unbearable heat, it is the red makeup water sleeves that stretch and ripple with sorrow, it is the flaming red lips, and it is also the lover's belly pocket in the dim candlelight... In the brushstrokes on the lotus petals, there was a gentleness like water. The painter gently drew with a brush, at that moment, whether he would transform into Zhang Chang, who was the wife of the Han Dynasty, and was carrying out perseverance and cultivation in the red dust of a chaotic world.
The lotus leaf leaned on the waves, clinging to the surface of the water, stretching out its arms. In the eyes of the ancients, the round lotus leaves can be compared to the appearance of casting money - "The spring water of the Yangtze River is green, and the lotus leaves are as big as money." (Tang Zhang's "Spring Farewell Song"); "Lotus money floats in the front stream." (Song Zhao Changqing's "Chao Zhongzhuo"); "The April Round Lotus Coin Learns to Cast." Scale wave warm Mandarin duck language. (Song Hongshi, "Fisherman's Pride"). This coinage, because it is used to describe lotus leaves, does not have a copper smell, but reminds people of childhood, the grandmother put a copper coin, put into a wool rope, solemnly hung on the child's chest, exorcism and peace. Perhaps in the painter's view, the "coined money" next to the lotus flower can also be used as armor, shield, and flower protectors- he wrote slowly: "The west wind cannot blow in, and the beauty clothes are protected." ”
On the lotus leaves, the dew is rolling, the water vapor is rising, the light is rippling, and the swaying is transformed into a speckled light and shadow in the brushstrokes. Lotus leaf is pouring out her love and listening to the flower language.
Behind him, there was another set of flowers and leaves, the petals had metamorphosed, the small lotus canopy, the vulture with the buds, glowing childish, facing the vast world, revealing a timid surprise, like the "rogue child" Xitou peeling the lotus canopy. The lotus leaves beside you have not yet stretched, is it not yet awake from the deep sleep in the summer morning?
On the album page, Yun Shouping self-titled, "Quasi-Northern Song Dynasty Boneless Painting Method". His definition of bonelessness is, "No pen and ink, all dyed in multicolor." He believes that the boneless xu chongsi of the Northern Song Dynasty "is called a saint". But this is purely "old bottle of new wine". "Boneless" is actually Yun Shouping's own innovation, which is installed on Xu Chongsi's head and pushed Xu Chongsi's status, "is to find a way for himself to make his painting more convincing when facing the audience." Yun Shouping believes: "There is no bone in the sketching, there is zhong Lu in Judean music, and there is a dragon in the clothes, which can cast the spirit of sex, participate in the machine, and the source of true painting." So he considered the present and the past himself, and set the direction of creation on boneless painting. His basic position in boneless sketching is "the meaning of creation" and "not to portray".
Yun Shouping loves nature and takes the Law to create. He wrote in the "Nantian Painting": "The North Guo Water Pavilion is full of lotus flowers. Sit back on it and enjoy yourself. Residual ink decadent pen, slightly stretched paper, so more fun also. "What a beautiful picture of a summer day, but is this album painted by the painter?"
In this painting, the flowers, leaves and leaves are all dynamic, and the painter guides you to naturally spread your gaze to the whole picture, and to lead the line of sight to the blank space and even beyond the frame. With a natural anger, as if humbly telling you that the true Creator is the creation of the void.
How Nai, Ling Kong added a Qianlong imperial poem: "The first hair of hibiscus comes out of fresh water, and the fine dust is not stained and pure." Shi Fang Mingyuan's comments on the poems should lead to the natural shame of the years. ”
Yun Shouping was in the Ming and Qing Dynasties, and he joined his father and brother in the anti-Qing struggle. Later, the eldest brother was martyred, the second brother was separated, and the father avoided disaster and left the family. He was trapped in a cage, but he was adopted as a righteous son by the governor of Fujian and Zhejiang. In Hangzhou Lingyin Temple, he happened to meet his father, so he abandoned Ronghua and designed a reunion. After that, he did not live a long life, hidden in the well of Changzhou City, selling paintings for the rest of his life. Perhaps, in this work, the painter is praising the lotus flower of "the virginity and the most beautiful person", and he is also expressing his feelings- since Qu Yuan, there have been people who have compared their integrity to beauty. A hundred years later, the paintings were hidden in the Jade Mansion for the emperor to play with, and the "Ten Perfect Old Men" could not be read or understood.
Yun Shouping Other works in the Atlas of Landscapes, Flowers and Birds:
Source: Fine Arts Newspaper