Without saying a word, directly suing for defeat - Tang Yin's "Kuang Lu Tu" study
The "Kuang Lu Tu" now in the Anhui Museum is a masterpiece of Tang Yin's landscape and water, and it is also the only collection of Tang Yin's original works in the Anhui Museum. Since its discovery in the 1960s, scholars have done relevant research on it. However, the current research is either vague on issues such as Tang Yin's mountaineering time, the time of creation of his works, and the circulation of his works, or lack of evidence, or mutual resistance. Because the issue of Tang Yin's tour of Lushan involves the creation background and creation period of "Kuang Lu Tu", the author intends to study and analyze the value and significance of "Kuang Lu Tu" with the entry point of Tang Yin's behavior research on Lushan Mountain.
Part of Tang Yin's "Kuang Lu Tu"
1. Tang YinLushan Trip
At present, the earliest record of Tang Yin's biographical literature about his Trip to Lushan is the "Tomb and Inscription of Tang Ziwei" written by Zhu Yunming of Jiajing (1523). It is said that after the hongzhi jiwei (1499) test, "let loose the traces of the waves, fly far away, flat boat solo Zhu Rong, Kuang Lu, Tiantai, Wuyi, Guan Hai in the southeast, floating cave court, Peng Li." (Ming, Zhu Yunming's "Collection of Huaixingtang" volume 17 Chuanzhi, Qing WenyuanGe Four Libraries Of complete books) and later the families inherited this theory. According to Xu Zhenqing's poem "There is a Huai Tang Bohu", "Autumn red used to resign, spring yan and now see the same" can be deduced, Tang Yin's long journey began in the autumn of Hongzhi Xin you (1501) and finally in the spring of Hongzhi Nongshu (1502). However, the breadth of this tour, the tightness of the tour, and the huge cost of the tour make the long tour in Zhu Wen quite suspicious. In view of this, Jiang Zhaoshen questioned it in the book "On Tang Yin". It is believed that Zhu Yunming has the meaning of Qu Yin here, and he is suspected of merging Tang Yin's life and travels to write. Based on historical data, Jiang Zhaoshen verified that Tang Yin's tour of Kuanglu should be completed in the autumn of Zhengde Jiashu (1514) on the way to the king of Ning. The most direct material confirming this view is the "Book to Jiang Long" written by Tang Yin Zhengde Yihai (1515): "The first meal of Yin Dun, the first meal of The Dream Bin Jiang Yibu Lord: Don't come to Jian Kuo, the servant goes to lushan mountain, wants to go to the west of the river, sees the famous places, does not intend to stay in Yuzhang, in mid-March he has to return to Wuzhongyi, so he returns to Wuzhongyi for the sake of prosperity and defeat." The husband's sloppy fall between the flowers and bamboo of the country also has its own charm. This can be said with mr. Dao, and it is difficult to speak with the layman. On the question of whether Tang Yin visited Lushan during his long trip to Hongzhi, the author agrees with Jiang Zhaoshen's point of view and believes that it is impossible. The author cites two more materials for citation.
Tang Yin's "Scroll of Prostitutes in Wang Shu Palace", collected by the Palace Museum in Beijing
First, Shen Zhou's "Kuangshan Xinji Tu" inscription (Ming, "Coral Net" volume 37, famous painting inscription volume 13 "Kuangshan Xinji Map"): Wushan Shen Zhou's "Kuangshan Xinji Map", with a huge brush stroke. Ink solid drama, mountains and rivers even manifold. Quit writing letters to people roll, Yan ugly I do not know. Imitation is also cloudy, and the gain is in temperament. Today in the 100-foot building, the pen is full of smoke. Put the wine weight opposite, short sideburns autumn wind life. Hongzhi Yi ugly Meng Dong eight days Shen Zhou heavy question.
Weng Xi was a teenager who first painted mountains, and the pines and yellow bamboo were mixed with babbling. I suspect that the accumulated rain is deep and moist, and there is no time for floating clouds to return to each other. The sky is blue and autumn, and the rock front is far away. The Crane and Deer on the rooftops are in the same realm, and Shang Fear Weng returns to this place. Tang Yin.
Judging from the Shen Zhou inscription, the time of Tang Yin's inscription poem is not earlier than that of Hongzhi Yi ugly (1505). In terms of time, Tang Yin had completed the long journey mentioned in Zhu Wen at this time. However, carefully tasting Tang Yin's inscription poem, it seems that he did not see his personal feeling of visiting Lushan Mountain. This poem is actually born from the inscription poem of Zhao Ziang's "Qiu Shan Tu". The original poem reads:
Weng Xi was a teenager who first painted mountains, and Danfeng yellow bamboo was mixed with water. I suspect that the accumulated rain is deep, and the false floating clouds are returned to each other. The sky is blue and autumn, and the window is far away. Yingzhou chicken dog is the same as the human realm, and Still wants Weng to return to this place. (Yuan, Yu Ji, "Daoyuanxue Guzi", Daoyuanxue Ancient Gong Vol. 3, Four Series Jingming Jingtai Translation Yuan Small Characters)
It can be seen that Tang Yin only slightly modified the original poem according to the difference in the picture of the two works, and actually borrowed Zhao Shi to support his state of mind at that time. As we all know, Shen Zhousheng did not hike or visit Lushan Mountain, and his Lushan Mountain is the Lushan Mountain in the hearts of the literati. When Tang Yin viewed this map, he had the same state of mind as Zhao Ziang's "Qiushan Map", so he directly used Zhao Shi to express his intentions. If Tang Yin had been to Lushan during his long trip to Hongzhi and had seen the true water of Lushan Mountain, at this time, his landing time was not long ago, and with his bold personality and extraordinary talent, he should have expressed his chest and felt freely, rather than borrowing Zhao Poetry to express his intentions.
Second, Huang Yun's poem "Sending Tang Zi to Lushan Mountain" and "Bei Lushan" in Huang Yun's "Collection of Mr. Huang Danyan" and "Bei Lushan" poems. (Ming, Huang Yun, The Collected Works of Mr. Huang Danyan, Vol. 1, 4 Inventory Series, Vol. 60)
Send Tang Zi to lushan mountain
I used to travel to Lushan Mountain, and I returned to The Flowers in Spring. Ten years after his return, Lushan grew into a dream. Tang Zi Tianma is unruly, Feng Ge and Li Bai period. Suddenly, I didn't pan Peng Li, pointing directly to Lushan Fa Xingqi. Remember the old travels through the smoke, hate not to fly from the junzhong. Thousand peaks of purple jade moving clear light, nine stacks of screens sweep the air. Nine days of a pie hanging the Milky Way, pouring into the belly of the lake to turn over the snow waves. Brilliant as the hibiscus falling in the sky, the bells out of the temple green majestic. Zhaoming Shutai commissioned grass, and nei shi mochi scattered flocks of geese. The White Lotus Society is lonely, and nai this ape cries that the crane complains. Tang Zi has a long chest in his chest, throwing a whale or teaching shrew. Mulberry island should be led before, and this life does not swim double sideburns. Good with the mountain people to borrow white deer, search the ancient poor cave valley. Undressing plate thin bath heavenly pool, stone bed sleep Xia Stay Shinjuku. The immortals came to beckon, and the wind sang a long song. And with the jade pipe, the double jade scoop, the teasing does not make Zhu Yan wither. The mountain spirit opens a painting garden for the son, and it can be collected thousands of miles away. The monks' vegetables and bamboo shoots are full of white rice, and Wu Chujiangshan is appointed as Shu roll. The waves are too big like a boat lotus, and the top is like a boat lotus, and the top is the top of the south dipper. There are three mountains in the East China Sea sleeve, but the figure of the five elders for my birthday.
Don't lushan
The sea is misty, the sky is blue, the sun and the moon are flying. Looking at Lushan Mountain in the lake, it is far away from Lushan Mountain. The spirit of Lushan should laugh at me, and the waves are floating. The five old people have old acquaintances, begging for baskets of jade and mushrooms. Returning to Yushan Yuzhi, the spring breeze remembers the past travels. Peach Blossom Three Gorges Bridgehead Water, Waterfall Kaixian Temple poetry. There is no compound food Artemisia white deer sleeping in the cave, and Ande who Xianpo Xianfa is arrogant. Following Lai Youqian Feng, he came to sleep in the clouds and wind springs. Meng Kehan can also be found, Ling Fei or borrow Xian Jia Feng.
Huang Yun, a native of Kunshan, Zi Yinglong, Danyan, hongzhi Gengshen (1500), who was given the teachings of ruizhou prefecture at the age of tribute, wanted to resign from the government because he was ashamed of the court and the superintendent, and Shi Tixue and the county guard repeatedly comforted him, and returned from his hard work outside Ding, and he resigned from his official position and returned to Li, and had close relations with Shen Zhou, Wen Zhengming, Tang Yin, and so on. (Qing, Li Mingwan's "(Tongzhi) Suzhou Fuzhi" Suzhou Fuzhi Vol. 92, Qing Guangxu Ninth Year Edition) (Ming, Xiong Xiang", (Zhengde) Ruizhou Fuzhi, vol. 5, Ming Zhengde inscribed) Ruizhou Prefecture, then under the jurisdiction of Gao'an (present-day Gao'an City, Jiangxi Province) and Shanggao (present-day Shanggao County, Jiangxi Province) two counties; Xinchang (present-day Xinchang Town, Yifeng County, Jiangxi Province) a prefecture. According to Wen Zhengming Zhengde Gengwu (1510) poem "Title Huang Yinglong's Hidden Juran Lushan Map", "Yunyang Literature Tired of Official Duties, Returning to the Four Walls after Ten Years", it can be seen that Huang Yun should travel to Jiangxi between Hongzhi Gengshen (1500) and Zhengde Gengwu (1510), and during his tenure in Jiangxi, he climbed Lushan Mountain, "saying that it was really good to travel far away, and he had seen the true face of Lushan Mountain." (Ming, Wen Zhengming", "Futian Collection" volume III, Qing Wenyuange Siku Quanshu) From the poem "Sending Tang Zi to Visit Lushan", "It has been ten years since returning, Lushan has long fallen into a dream", it can be seen that this poem should be composed no earlier than Zhengde Gengwu (1510). At this time, Tang Yin had obviously completed the long journey in Zhu Wenzhong. However, from the analysis of the poems such as "suddenly coming", "pointing straight", "Fa Xingqi" and "long depression in the chest" and "not swimming in this life", it should be known that Tang Yin had not been to Lushan before. Because Tang Yin's visit to Lushan was in Zhengde Jiashu (1514), it can be inferred that Huang Yun's visit to Lushan should be in the spring of Hongzhi Jiazi (1504). Considering that Tang Yin went to Jiangxi this time at the invitation of king Yingning, it was not possible to arrange the itinerary and tour time arbitrarily. With the help of his long-term friend Huang Yun, Tang Yin's trip can be described as a favorable time and place. From the travel poems passed down from Tang Yin and Huang Yun, it is speculated that Huang Yundang provided Tang Yin with a complete set of travel routes, and the famous scenic spots of Lushan, Such as Jiudianping, Wulaofeng, Three Gorges Bridge, and Kaixian Temple, were all listed.
At this point, it can be determined that the time of Tang Yin's trip to Lushan should be the autumn of Zhengde Jiashu (1514), and the appointment of Zhu Chenhao, the king of Ning, was completed. In the following chapters, the author will discuss the state of mind of Tang Yin's visit to Lushan in the future.
Tang Yin, Chang'e ZhiGui Tu, Metropolitan Museum of Art, USA
A more detailed account of the appointment of the King of Ning is that he Liangjun of the Ming Dynasty wrote the "Four Friends Zhai Cong": Chen Hao admired Tang Liuru and tried to send people to hold hundreds of gold to Su Pingzhi. Even then, the annex was placed, and it was treated very thickly. If you live for more than half a year, you will see how many illegal things you have done, and you will turn back after you know it, so you will be mad and punished. When Chen Hao sent people to give things, he took the shape of a basket and made a humane gesture with his hands, mocking the messenger, and the messenger rebelled. Chen Hao said, "Tang Shengxian, straight to the ear!" "The repatriation soon turned out." Gai Liu is like a big festival, and can do so. (Ming, written by He Liangjun, Chronicle Notes Novel Daguan, Siyou Zai Cong Said[M]. 2012）
Zhu Chenhao's recruitment of talents in Suzhou this time is not only Ton Yin, Wen Zhengming, Xie Shichen, Zhang Wen, etc. are all invited, and Wen Zhengming resigned due to physical discomfort. For Tang Yin, after the humiliation of the Kechang case, King Ning's recruitment was undoubtedly a good opportunity for him to gain recognition in the mainstream society supported by the Confucian value system. As for Yuan Yuan's mention in the "Tang Bohu Collection Sequence", "Chenhao's conspiracy to rebel, in order to attract people with four famous talents, is to send people to move with thick coins, BoHu insists on resigning", the author believes that it is unlikely. (Ming, Qiangu "Wudu Wenzhi Sequel" volume 56 poetry collection preface, Qing Wenyuan Pavilion Siku Quanshu supplement Qing Wenjin Pavilion Siku Quanshu Ben) Yuan Yuan, Zi Yongzhi, Shao Negative Talent, Jiajing Yiyou (1525) Xie Yuan, Jiajing Bingshu (1526) Erjia First Rank First Jinshi, Granted Hanlin Shu Jishi, Bingbu Chief. (Ming, Niu Ruolin's "(Chongzhen) WuXian Zhi" vol. 46, Ming Chongzhen inscribed version) The statement of "BoHu Jianci" in the preface is actually consistent with the way Zhu Yunming wrote the merged travels, in order to weaken the voluntary color of Tang Yin's application. This is understandable from the perspective of maintaining Tang Yin's image. If Tang Yin had discovered King Ning's objections before his trip to Nanchang, he would not have ventured to hire him, Wen Zhengming could still be called ill, and it would not be difficult for Tang Yin to resign. Moreover, after experiencing the case of kechang, Tang Yin should be more cautious at this time, and he should know the stakes in applying for the anti-king. Therefore, the author believes that Tang Yin did not know that King Ning had the intention of rebellion when he was in Suzhou, and this application was his voluntary act. This time, he just took the opportunity to rush to Nanchang to climb the long-admired Kuang Lu Victory, coupled with the help of his friend Huang Yun, making him very happy, so his landing state of mind should be pleasant and comfortable.
Some scholars believe that this trip to Lushan was on the way back to Wu by Tang Yin, but the author believes that this is logically unworkable. It should be known that Tang Yin's return trip is "returning in a frenzy", so it is necessary to return to China quickly to ensure safety, and the longer he stays in Jiangxi, the greater the harm. In addition, from Yuan Yuan's "Tang Bohu Collection Sequence", "over-enriching Chunzhu, thinking of the wind of Ziling", it can be seen that Tang Yin's return route should start from Gandong and take the northwest of Zhejiang. Arranging the Lushan itinerary on the return trip is actually a move to defeat the taste of "Kuang Lu Tu".
Second, the analysis of "Kuang Lu Tu"
"Kuang Lu Tu" shaft, silk, shallow, length 148.5 cm, width 72.5 cm. This axis adopts the Beizong panoramic landscape composition, showing the landscape around the Lushan Three Gorges Bridge (now Guanyin Bridge). The picture mainly presents three levels: the left side of the foreground is painted with rugged rocks, there are several cold forests on it, standing against the wind, the right side depicts a bridge diagonally across the dangerous stream, and there are one straddle and a child on the bridge; the middle scene is dyed with light ink and mist, and in front of the main peak, there are lost trees and streams; the long view depicts the main peak, majestic and steep, and the lower right of the main peak is suspended and directly down, hidden into the clouds, and the distant mountains are dyed on both sides, echoing with it. The author's self-titled poem is in the upper left of the picture: "The Three Gorges Bridge in front of Kuanglu Mountain, the suspension current splashes the fish and dragon jumps." The strong strategy refused to be measured, and the ancient wood was miserable and the wind was xiaoxiao. Signature: "Tang Yinzi Fear". Seal: "Nanjing Xieyuan", "Liu ru layman".
Tang Yin's "Kuang Lu Tu", collection of Anhui Museum
From the analysis of the atmosphere of the picture of "Kuang Lu Tu" and the author's self-titled poem, when creating this picture, the author was in a state of defeat. This is inconsistent with his state of mind when he ascended Lushan Mountain, but it is consistent with his state of mind in his later years after returning to Wu. In addition, the overall painting style of the work is compatible with the north and south, and the method is mainly a representative fine brush line in its later period, so the author believes that the "Kuang Lu Tu" should be written after the author of Zhengde Yihai (1515) returned to Wu, which belongs to Tang Yin's landscape masterpieces in his later years.
"Kuang Lu Tu" mainly presents two characteristics to the viewer: "true" and "cold". "True" is because Tang Yin has observed the real mountains and real waters of Lushan Mountain, so he can accurately depict the geomorphological environment around the Three Gorges Bridge. "Cold" is because the picture depicts the autumn and winter scenery of Lushan Mountain (press: coincides with the time of Tang Yin's landing. and the cold feeling presented by the inscription poem.
"Kuang Lu Tu" inscription
The inscription poem is: Kuang Lu Mountain in front of the Three Gorges Bridge, the suspension of the splash fish dragon jump. The strong strategy refused to be measured, and the ancient wood was miserable and the wind was xiaoxiao. Tang Yinzi was afraid. Nanjing Xieyuan (Zhu Wenchangyin) Liuru Jushi (Zhu Wenfangyin)
The inscription calligraphy is mainly based on zhao characters, and has the fullness and subordination of Yanshu, the knot body is rich in changes, the whole is staggered, and there is the beauty of ups and downs. It is worth mentioning that the lack of writing of the "Kuang" character is inherited from Zhao Mengfu. Because Zhao Mengfu was a descendant of the Zhao and Song imperial families, in order to avoid Zhao Kuangyin," he often handled the character "Kuang" with a missing pen, which can be seen in Zhao Mengfu's "Du Fu Qiuxing Poetry Volume" (now in shanghai museum), "Kuang Heng resisted neglect and was famous, and Liu Xiang passed on the scriptures in violation of his heart".
The first two sentences of this poem are mainly written scenes, depicting the scenery around the Three Gorges Bridge. The Three Gorges Bridge, also known as the Guanyin Bridge, is named after the Three Gorges Stream. The peaks and streams around the Three Gorges Stream flow in one stream, and the rocks in the stream are precarious, the waves are like thunder, and the dangers are everywhere. Here Tang Yin's use of "suspension splashing fish and dragon jump" to describe its dangerous situation is extremely appropriate. The sentence "羸骖强策 refuses to degree", the author handles the "羸" character knot very largely, which is particularly eye-catching in the layout. Combined with the analysis of the author's state of mind in his later years, the word "羸" here should be the author's self-condition of trampling donkey, reflecting his state of physical and mental exhaustion. "Strong strategy" and "refusal" constitute a strong emotional tension. The image of riding a donkey is often seen in Tang Yin's works, and is now in the Shanghai Museum's "Thinking of Returning to the Donkey" and the "Journey to the South" of the Friar Art Museum in the United States. Riding a donkey was originally a mode of transportation for the ancients, and was later used to characterize different cultural meanings in works of art. Wu Sheng summarized it into four aspects: Bitter Yin, Luo Tuo, Ren Zhi and Sam Zen. The "zen" here does not refer to the act of worshiping the Buddha and practicing Buddhism in a narrow sense, but emphasizes the meaning of spiritual salvation. Traditional literati paintings are often used for realistic degrees or crossings, which are used to allude to spiritual degrees. Therefore, "The strong strategy of the donkey refuses to be degree", ostensibly understood to describe the scene of the donkey's difficulty in the picture. The deep understanding should be that the author draws a self-metaphor, and Tang Yin, who is physically and mentally troubled, desires spiritual self-sufficiency, but he cannot find this doorway. Because it is mentally difficult to self-discipline, the last sentence focuses on the real world. The real world is "the ancient trees are bleak, and the cold wind is cold." Falling into such a bleak atmosphere, and pitying his situation in his later years, gives the viewer a deep and cold feeling.
In the course of my research, I also found that Tang Yin had the habit of using the "Nanjing Xieyuan" seal and the "Liuru Jushi" seal in combination. For example, the Palace Museum's collection of "Tang Yin MoMei Tu", the Shanghai Museum's collection of "Oriental Shuo Statue" and "Peony Lady Figure", Taipei's National Palace Museum collection "Xizhou Dialect Old Map", the Metropolitan Museum of Art's collection "Chang'e Zhi Gui Tu" and so on. And generally "Nanjing Xieyuan" is on the top, "six like a layman" on the bottom. "Xie Yuan" and "Lay Shi" represented two completely different ideologies in the feudal social system. "Xie Yuan" represents the idea of actively entering the world with the Confucian spirit, and "lay people" represents the negative hidden thought of interpreting The Taoist philosophy. For Tang Yin, one represents a positive and brilliant past, and the other represents a depressed and depressed present. The double seals are used together to form a strong contrasting relationship, thus forming an artistic tension. The reasons for this contrast undoubtedly point to the case of Koji Yiwei (1499). The two seals also used what seemed to be an indictment of their injustices and a satire of realpolitik. As for the arrangement of the order of the upper and lower levels, the author believes that this is considered by the author from the timing of his identity transformation. Wang Zhongxu believes that the "Nanjing Xieyuan" seal is often used in conjunction with the "Liuru Jushi" and other Expository Thought Seals, explaining that Confucianism is the basis for the integration of Tang Yin's three religions. Examining the process of transformation of Tang Yin's thought, in fact, Confucianism only dominates certain stages of its thought, and the habit of double printing and using it runs through the later years. Therefore, it seems inappropriate to interpret the double seal from the perspective of Tang Yin's intellectual history and use habits. The author believes that Tang Yin's move is to highlight the contrast relationship between them, so as to reveal the reasons for this contrast.
Judging from the existing literature, in addition to the Kuang Lu Tu, Tang Yin also painted many landscapes with Lushan themes. The author has compiled a little, and the statistics are as follows:
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Draw the name
Description of the work
derivation
Kuang Lu Shan chart axis
Silk, five feet two inches high and two feet seven inches wide. Ink pen, the characters are slightly colored, the pen is delicate, like Li Yingqiu. The jungle house on the right, the dangerous stream across the bridge on the left. There is one person who strategizes and one person who crosses the bridge. The main peak is on the left, and the hanging waterfall is on the right, and the view is endless. The title is in the upper right: "How high is Kuang Lu Mountain?" Mountain rain and mountain smoke are thick. Moving home without living on the screen stack, riding a donkey to see the incense burner peak. The black hat on the river who crosses the water, the white-clad people in the rocks pick pine. The ancient sentence grinds the cliff to leave the years, and the reading is diffuse for the contour. Tang Yin wrote for Mengbin Jiang Yibu.
(Qing) Li Zuoxian, author of "Calligraphy and Painting", vol. 21, p13-14
Inscription poem: Three Gorges Bridge in front of Donglin Temple, the mountain spring is surging with water and waves; when I came here, I joined hands, and the cold color is now full of cloth robes.
(Note: The author here may be mistaken, the Three Gorges Bridge is near the Qixian Temple.) ）
(Ming) Tang Yin, Liu ruju Shi Ji, 2012, p94
Mountain Creek Fun Chart Axis
Silk, three feet one inch high and one foot two inches wide. Ink pen, micro-coloring, meticulous and freehand. Secluded by the water stream, left through the bridge, one person crossing the bridge, one person sitting indoors, and a boy side attendant. Jungle bushes around the house, outside the thick shade of the forest, lone peaks rise, hanging waterfalls hanging gentry. The title is in the upper left: the Three Gorges Bridge has rained heavily, and the bamboo bridge is like a brocade on the slope; Mr. Wants to go to the bridge and scatter the poems and intestines a few times.
(Qing) Li Zuoxian Wrote Calligraphy and Painting, Volume 21 p14
View of the waterfall
Inscription poem: A school of milky way fell blue, and the ear roots washed the dust here. To know the end of the day branch, the Three Gorges Bridge in front of the Five Old Peaks.
(Ming) Tang Yin, The Complete Works of Tang Bohu, 2002, p433
Inscription painting poem: green yin clear painting white ape crying, three gorges bridge side road desire. The sound of Lai Dequan led the way back, and several times the throat road was high and low.
Suzhou Literature and History, Vol. 25, Tang Bohu Inscription And Painting Poems, Tang Bohu Annals, 1998, p30
Here we focus on the "Kuang Lu Mountain Map" written in the "Calligraphy and Painting Appreciation". Judging from the description of the work, this figure is very similar to the "Kuang Lu Tu" that has been handed down. Both figures are silk, shallow, and large vertical axis landscapes, and there are many similarities in composition and technique. What is valuable is that Tang Yin clarified the intention of making this painting in the "Book to Jiang Long": "The husband is scrawled between the flowers and bamboo of the rivers and mountains, and he also has his own charm." This can be said with mr. Dao, and it is difficult to speak with the layman. It can be seen that although Tang Yin made this painting, although he was up and down, he also wanted to use this picture to illustrate the charm he felt when he fell. Compared with "Kuang Lu Shan Tu", Tang Yin directly complained about the taste of his life failure in "Kuang Lu Tu" and did not talk about the literary charm.
Tang Yin's "Crane Diagram", Shanghai Museum Collection
3. The "Kuang Lu Tu" is delivered to the collection
Since it was painted, the Kuang Lu Tu should have been treasured by collectors, so it was once not recorded by various families. It was not until 1964, when it was accidentally discovered in Xiuning County, Anhui Province, that it was able to re-enter the public eye. At that time, several scavengers bought the "Kuang Lu Tu" at a low price from an illiterate old man in Xiuning, and Mr. Yu Tingguang of the Tunxi Cultural Relics Store bought the painting back. In 1966, the Huizhou District Cultural Bureau handed it over to the Anhui Provincial Museum and reframed it in the "Xiling Printing Society" in Hangzhou, so that "Kuang Lu Tu" could be saved from the doom of wandering. Because there are no records from various families, when entering Tibet, the "Kuang Lu Tu" was temporarily named "Tang Bohu Landscape Painting Axis". In 1987, when the ancient Chinese calligraphy and painting appraisal team came to the Anhui Provincial Museum to appraise the collection of calligraphy and paintings, Mr. Qi Gong named it "Kuang Lu Tu" according to the intention of the painting, which is still used today.
Tang Yin, "Peitai Real Scene Page", beijing Palace Museum collection
It is uncertain when the Kuang Lu Tu was collected in Huizhou, but its appearance in Huizhou seems reasonable. In the Ming and Qing dynasties, Huishang flourished in Jiangnan, Huiren Chongwen re-taught, rich in collection, Xin'an Shangjia is an important customer resource in the Wudi calligraphy and painting market. Before his death, Tang Yin also maintained a calligraphy and painting trading relationship with friends of Hui nationality. The author excerpts three materials to supplement the discussion: first, Hongzhi Gengshen (1500) In March, Tang Bohu wrote the "Autumn Frost Map of the Tsubaki Tree" for the Wu brothers of Xin'an, Zhu Yunming wrote the preface and inscription poems, and Du Mu and Shen Zhou both had inscriptions; second, Tang Yin yu Hongzhi Yi ugly (1505) went to Shexiu Wen, and the last cloud of the "Records of the Ancestral Hall of Wang's Zefu Ancestral Hall": "Hongzhi Yi ugly, Yu Xing traveled through the emblem, and Youge exchanged money, so it was to remember his affairs"; third, Zhengde Jidi (1519) On the December Shuo Day, Tang Bohu wrote the "Double Jian Xing Nest Map" for Xin'an Fuxi Wang Shi. The map is now in the Palace Museum, which is another name map he made for Wang Rong.
Due to the lack of documentary support, the collection of the Kuang Lu Tu is no longer confirmed. But what is certain is that successive generations of collectors have cherished it. In order to maintain its complete appearance, it is even reluctant to stamp any collection seal. This is also rare in Chinese famous paintings. Although the seal has certain cultural value for the information handed over by research works, the act of not printing is more worthy of praise and praise.
IV. Conclusion
In summary, Tang Yin Kuang Lu's trip should be completed on the way to Nanchang in the autumn of Zhengde Jiashu (1514). Combined with the comprehensive analysis of Tang Yin's mountaineering time, painting style and poetic inscription, the author believes that "Kuang Lu Tu" was composed after Tang Yin returned to Wu in Zhengde Yihai (1515) and belonged to his later years of fine landscapes. "Kuang Lu Tu" is a rare work in Chinese famous paintings that has not been stamped with any seal of collection, thanks to the careful care and proper preservation of collectors of successive generations. In view of the rich cultural connotation of "Kuang Lu Tu", on May 19, 1987, the National Cultural Relics Appraisal Group designated it as a national first-class cultural relic.
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