Huang Gongwang's paintings are unique and are known as the first of the "Four Houses of the Yuan". In his lifetime, he painted a lot, but it was rarely seen, and now he sees many giants. For example, "Fuchun Mountain Residence Map" is extremely famous, and later generations of painting circles are highly respected, and they are regarded as "the gui of landscape painting", imitating the work endlessly.
In particular, the six families in the early Qing Dynasty, such as Wang Shimin, Wang Yi, Wang Yuanqi, etc., were influenced by Dong Qichang, with Huang Gongwang as the "Southern Sect" in the right vein, and his reputation was even worse, to the point of "the family is a big idiot, everyone is a peak". Dong Qichang's "Treatise on Painting" has a saying: "The fourth of the Yuan Dynasty takes Huang Gongwang as the crown. Wang Meng, Ni Zhan, and Wu Zhonggui confronted them. Wang Shimin also once said: "The four of the Four Dynasties of the Yuan Dynasty are all Sect Dong Ju, but the zijiu gods have changed, which means infinitely!" ”
In addition to "Fuchun Mountain Residence Map", Huang Gongwang's "Xiashan Map" is also a famous masterpiece, and its painting skills are exquisite, and it also has many important significance in the history of art. The Guangdong Provincial Museum has Wang Yuanqi imitating Huang Gongwang's "Xiashan Map", the second painting in the album "Small in Seeing Big" in the collection of the National Palace Museum in Taipei, which should also be Wang Shimin's imitation of Huang Gongwang's "Xiashan Map", and Wang Jian also has imitations, which can be glimpsed one or two.
Huang Gongwang's "Xiashan Tu" was composed by Dong Yuan, but it is now scattered, and Qin Qian's "Exposure painting Jiyu" recorded his painting with a self-inscription: "Dong Beiyuan's "Xiashan Tu" was in Wenmin Gongshou, and he saw it from time to time, and he looked into his heart, and then took it for the good deeds, and could not be seen again, but he tried his best to trace it, until he dreamed of it. He traveled to Gusu and his friends to do this, thinking of the model, doing it with all his heart, as if it were a little, hanging a leak. Uncle Ming, who is now returned, is in the collection, but you can see its meaning and imagine its roots. But now that he is old and dizzy, he can no longer do it! At noon (1342), the first summer looked at the day, and the book of the Great Fool Daoren. ”
▲Part of Dong Yuan's "Xiashan Map", shanghai museum collection
According to Huang Gongwang's inscription, he often saw Dong Yuan's "Xiashan Map" at Zhao Mengfu's place, but because the painting was asked for by others, it could not be seen again, and He was trying to copy it, and when he came to this "Xiashan Map", he was more than a rare year old.
Obsessed with Si, this man is everywhere. Dong Yuan's "Xiashan Map" is now in the Shanghai Museum, and the painting is a picture of heavy mountains and stacked hills and sanding smoke trees, which is vast and vast, and extremely unpredictable. Shen Kuoyu's "myopia is almost nothing like an object, and farsightedness is a sight to be".
This work was later collected by Dong Qichang, and in volume I of the Catalogue of Imaginary Paintings, the entry "Five Dynasties Dong Beiyuan Xiashan Map" (i.e., Dong Yuan's "Xiashan Map") contains Dong Qichang's original inscription: "Yu in Chang'an Sanjian DongYuan Picture Scroll, Ding Youde Tibetan "XiaoXiang Tu", Jia Zi see "Xiakou Waiting to Ferry Map", NongShen obtained this volume, Nai Jia like a Taoist object, with a long character seal." The three volumes of silk are equal in height and breadth and narrowness, and "Xiaoxiang Tu" is the most successful. The "To Be Du Tu" has the inscription of Ke Jingzhong, Emperor Wenzong of Yuan, and is now Dongchang Xiang Zhuzang. XiMi Yuanzhang did not go far to Dong Yuan, and ziyun saw that Yuan had painted five books of true people. Yu He was fortunate to receive two volumes, directly tracing back to Huang Zijiu's paintings, quite aware of the thin ears of the Yuan people! ”
Dong Qichang also tried his best to search for treasures, and there were four landscapes of Dong Yuan, namely "Xiaoxiang Map", "Xishan Travel Map", "Longsu Suburban People's Map", and "Xiashan Map", and they were named "Four Source Hall".
Another Ming Ugly "Record of Authentic Deeds": "Huang Dayi Lindong Beiyuan Xiashan Map huge, light color on silk, majestic brushwork, also on Dong Taishijia's authentic artifacts." It can be seen that Huang Gongwang lined Dong Yuan's "Xiashan Map" and also entered the Tibetan painting meditation room.
In addition, in the album "Small in the Big" collected by the National Palace Museum in Taipei, Dong Qichang has the inscription "Huang Zijiu LinDong Beiyuan Painting two, one is "Floating Lan Nuancui", in Jiahe Xiang Xuandu. One is the "Summer Mountain Map", that is, this axis is also. Zi jiu learned Dong Yuan, and has his own Zi Jiu, which can be described as the best of the Song and Yuan dynasties. Yiyu Yun: Cold in the water, not empty ears. ", or should be Wang Shimin according to Dong Qichangzang Huang Gongwang "Xiashan Map".
▲ Wang Shimin's painting and Dong Qichang's title "Small in the Big" imitate Huang Gongwang's drawing of Dong Yuan's Xiashan, collected by the National Palace Museum in Taipei
Dong Qichang's imitation of Huang Gongwang's paintings are not lacking, and he once shouted the inscription "My master, my master, one hill and five mountains, all of which are complete." Wang Shimin, the leader of the painting circle in the early Qing Dynasty, claimed to have his essence, and once said: "The four families of the Yuan Dynasty, as a pusher for a long time." He who has obtained his god is only Dong Zongbo; those who have his form do not dare to give it up; if he has all the forms of gods, my grandson is almost. Among them, "My Grandson Qishu Almost", that is, praising Sun Tzu Wang Yuan Qi imitation Huang GongWang shape god.
Wang Yuanqi, Wang Shimin, Wang Jian, and Wang Yi were also called the "Four Kings", forming the Loudong School of Painting, which was known as the "Four Kings" and formed the Loudong School of Painting, which was left and right, and the north and south of Xuanhe were famous, and they were in the same vein and had a far-reaching influence. For example, Huang Dingshi's master, His Holiness Yuan Qi, and Zhang Zongcang, who "offered paintings to the palace court", also taught Huang Ding, who also admired the great fool, many imitations, and the paintings he painted had a profound artistic conception and a thick charm, washing away the sweet and tender habits of the court painting academy.
Before entering the palace, Zhang Zongcang had repeatedly imitated Huang Gongwang's "Xiashan Map", and after entering the palace, the Qianlong Emperor inscribed the "Xiashan Map" composed in his palace, and the poem Yun "The good mountains are thick as drops, and the shrubs are as green as streams." The clouds will rise and the rain will come, and the wind will come like autumn. The exhibition of books is only quiet guests, and the town sits on a tall building on the day. Why call Himself Wang Yue, who once had no worries about the world. ”
It is said that "the change of landscape painting in the Southern Song Dynasty began with Zhao Meng, became Huang Gongwang, and became a teacher of hundreds of generations." ", such as a piece of Zhang Zongcang's "Imitation of The Jiuxia Mountain Map", after knowing the "Four Kings", he learned to inherit the sages and taught Huang Gongwang, which can be described as an endless pulse.
▲ Zhang Zongcang (1686-1756) imitation of Jiuxia Mountain
Vertical shaft Colored silk
148×80cm
Inscription: Zhang Huang Estate light color landscape vertical axis. West Park. Seal: Cohabitation in the Wild (Zhu Bai)
Inscription: Huang Zijiu Fa Ben Jingguan, the crown of the Yuan Four Families, composed the "Xiashan Map", the mountains and rivers are thick, the grass and trees are Huazi, and the masterpieces of the idiot are also. Xiang Zang Chang'an Guiqi family, near the return to the Han Shang Fufeng Ma clan, every time you pass the Xiaolinglong Mountain Pavilion, you will borrow it. In the autumn of 1745, he traveled to Huaiyin Yuzhai with a refreshing atmosphere, Cong Ju Shuyan, and a rather leisurely meaning. This book in the chest jumped out of the eye, spilled it out, sat between but felt that the spirit came for a long time, so that the Linglong Mountain Pavilion would not be treasured as the only one in the cabinet. Wu Junzhang Zongcang knew both.
Seal: Zhang Zongcang Seal (White), Original Character Silent Cun (White), Huang Estate (Zhu), Guan Wa Gong Pan Ren (White)
Jianzang Seal: Yong'an Shen's Tibetan Calligraphy and Painting Seal (Zhu)
Publication: 1. Catalogue of Ancient Chinese Paintings and Calligraphy, vol. VIII, p. 252, Cultural Relics Publishing House, 1993.
Bibliography: 1. Records of the Appraisal of Ancient Chinese Calligraphy and Painting, vol. 7, p. 3154, China Publishing Group, Oriental Publishing Center, 2011.
2. Notes on the Appraisal of Ancient Chinese Calligraphy and Painting, p. 2654, Liaoning People's Publishing House, 2014.
Description: Jianzang Seal "Yong'an Shen's Tibetan Calligraphy and Painting Seal" is a seal used by Tianjin Shen Jifu. This work was originally hidden in the Shen family, and later returned to the Tianjin Yangliuqing Painting Society.
Shen Jifu, during the Republic of China period in Tianjin opened a foreign firm, the Shen family collection of calligraphy and paintings is quite rich, most of them for the Ming and Qing dynasties, especially the four kings and other orthodox landscape paintings, Ai Xin Jue Luo Pu Dong (Pu Xi Yuan) is specifically responsible for sorting out the calligraphy and paintings for them, and inscription. Most of the calligraphy and paintings in the collection belong to the Tianjin Museum.
Zhang Zongcang was the 17th grandson of the Song Dynasty master Zhang Zai, who was a disciple of Wang Yuanqi, and the "Huangding Statue" in the collection of the Tianjin Art Museum has the inscription "Zungu Fuzi Lord Jade Photo." Qianlong Nine Years Jia Ziqing and Zhang Zongcang Supplement the Scenery", it can also be known that it inherits the right vein of the landscape and water in the painting world.
He was already famous in his twenties, and during the Kangxi Dynasty, when Song Zhi, the envoy of Hunan Province, asked Huang Ding to paint a huge production of "Ten Thousand Miles of the Yangtze River", Zhang Zongcang joined in this art as a high foot, and also copied Song Zhi's Wuzhen "G Wang Jinqing Yanjiang Dishan Map".
Zhang Zongcang (1686-1756)
Zhang Zongcang (1686-1756), zi mocun, a native of Suzhou, Jiangsu, was a painter. He inherited Huang Ding, a descendant of the Loudong school of painting in the Qing Dynasty. Good at landscape painting, representative works include "Sixteen Views of Wuzhong". In 1751, the Qianlong Emperor toured the south, Zhang Zongcangjin presented the album "Sixteen Views of Wuzhong", which was deeply appreciated by the Qianlong Emperor, and later entered the Qing Court Painting Academy to worship and paint for the court, and was an important court painter in the Qianlong period.
After that, he went to Hanshang (that is, Yangzhou) to plot, and at the Xiaolinglong Mountain Museum, he copied the Huang Gongwang "Xiashan Map" collected by the famous Qing Dynasty bibliophiles Ma Yuezhen and Ma Yuelu Kunzhong several times.
According to the "Imitation of The Map of Jiuxia Mountain", its inscription "Huangzi Jiufa Ben Jingguan, the crown of the Yuan Four Families, composed of "Xiashan Map", the mountains and rivers are thick, the grass and trees are Huazi, and the masterpiece of the idiot is also." Xiang Zang Chang'an Guiqi family, near the return to the Han Shang Fufeng Ma clan, every time you pass the Xiaolinglong Mountain Pavilion, you will borrow it. In the autumn of 1745, he traveled to Huaiyin Yuzhai with a refreshing atmosphere, Cong Ju Shuyan, and a rather leisurely meaning. This book in the chest jumped out of the eye, spilled it out, sat between but felt that the spirit came for a long time, so that the Linglong Mountain Pavilion would not be treasured as the only one in the cabinet. Wu Junzhang Zongcang knew both. ”
In the inscription, Zhang Zongcang said that "every time you pass through the Xiaolinglong Mountain Pavilion, you can borrow from the direction", which can be known as one or two. It was composed in 1745, when he was 59 years old. "Xiaolinglong Mountain Museum" is the name of the library building of the famous Qing Dynasty bibliophiles Ma Yuezhen and Ma Yuelu, this Kunzhongju is named after poetry, which is called "Yangzhou Erma" by people at the time, and its series of books has more than 100,000 books, which has the reputation of "Southeast of the Library".
▲ Zhang Zongcang (1686-1756) Imitation of Jiuxia Mountain Diagram Inscription Partial Map
During the Yongzheng period, Zhang Zongcang served in the Waihe Department under the governor of Hehe, and in the eleventh year of Qianlong, he was transferred to the chief book of Lihe, during which time Huai'an was used as a place of residence, traveling to suzhou, Yangzhou and other places. In the sixteenth year of Qianlong, the emperor toured the south, and he was deeply loved by the album "Sixteen Views of Wuzhong", and then entered the palace painting academy to be enshrined.
On May 4, the "Chronicle" of the Sixteenth Chronicle of the Ministry of Internal Affairs of Qianlong was recorded: "Bai Shixiu, a member of the Yuanwai lang, and The General Dekui sent the university scholar General He Gaobin to paint a piece of Zhang Zongcang folded piece and painted a piece to hold it, and handed it over to the eunuch Hu Shijie to play." He was allowed to walk in the Ruyi Pavilion, and his paintings remained. ”
According to the "Archives of the Interior Affairs Office of the Qing Palace", "In the sixteenth year of Qianlong, Ruyiguan ... Nei Kai was for the second day of the first month of June, the member of the outer lang Lang Zhengpei was instructed: the painter Zhang Zongcang monthly money and grain public expenses to take care of Yu Province, Ding Guanpeng like the reward, from June onwards. Thanks. ”
and the Qing Ministry of Internal Affairs's "Each Work Is Done to Do the Work Plan" stated: "As far as treasurer Bai Shixiu is concerned, the eunuch Gao Yu passed on the instructions: The painters at the painting academy are of the same rank, and Jin Kun, Sun Hu, Ding Guanpeng, Zhang Yulin, Zhou Kun, Yu Sheng, Zhou Kun, and Zhou Kun are six people, and they will give food money and silver eight two and publicly funded silver three or two every month;
As soon as he entered the court, he was like Ding Guanpeng, a first-class painter, a saintly grace, and a deep treatment. In the eighteenth year of Qianlong, he was rewarded with an additional title of chief of the household department, and the next year, Zhang Zongcang returned due to illness, and the Qianlong Emperor always thought of it.
According to kao, although Zhang Zongcang had only been in the palace for four years, there were as many as a hundred pieces of the "Shiqu Baodi" alone. The "Shiqu Baodi • Continuation" has as many as 47 paintings of Qianlong Imperial Inscription Zhang Zongcang, of which the inscriptions are not stingy, such as "Who is the giant of the Art Garden today, the Middle Wu Zongcang is really a person." "Although Zong Cang is a relic, the painting has its own spirit." When he inscribed the sentence, he laughed and began to explain the treasure", "and to Zong Cang's painting, look at each other and belatedly." With quinoa only rhymes, bleak and not surprising "...
In the collection of the National Palace Museum in Taipei, "Shiqu Baodi , Three Editions" is written "Zhang Zongcang Paints Landscapes", and Qianlong even inscribed 13 times in many years, and wrote the word "God" to show Zhang Zongcang's paintings, worthy of the painting world. The latest was written at the age of 81, more than thirty years after Zhang Zongcang's death.
▲Zhang Zongcang Landscape Collection of the National Palace Museum in Taipei
Zhang Zongcang's paintings are lush and beautiful, rich in books and volumes, and have a dignified temple atmosphere, which is in line with the aesthetics of the literati. It is no wonder that the Qianlong Emperor praised him as "extravagant and partial to the ability to remove Chinese algae.". This "Imitation Zi Jiuxia Mountain Map" is deeply rooted in Huang Gongwang's legacy, and the spirit is impressive.
▲ Zhang Zongcang (1686-1756) imitation of Jiuxia Mountain Map Partial map
The mountains and mountains are lush and lush, the mountain stones are painted in a long and staggered manner, the blocks are dry and blurred, the peaks are folded with folding belts, the moss dots are lined up, the fine is dyed, the mountain houses are scattered and scattered, the clouds seem to be stacked from the peaks, the long and short brushes, and the dry, wet and thick brushes, at will, without a slack pen. The grand scenery of the summer mountain forest is vivid, jumping on the paper, seeing the depth of its pen and ink achievements.
Among them, folding the belt or the teacher Ni Zhan, it can be known that Zhang Zongcang imitated Huang Gongwang, but also learned from the side, which can be described as "in the long time, there is a zongcang".
In the painting, the seals "Zhang Zongcang Seal (White), The Original Character Silent Cun (White), Huang Estate (Zhu), and the Guan Wa Gong Pan Ren (White)" are all zhang Zongcang's own seals, and their original characters are silently preserved, and later changed to Mo Cen.
The "Yong'an Shen's Tibetan Calligraphy and Painting Seal" is mostly mistaken for the Fujian Yong'an Wang clan in the late Qing Dynasty, and Liu Guangqi, a member of the State Cultural Relics Appraisal Committee, has designated it as a well-known private collector during the Republic of China period, Shen Jifu.
▲ Zhang Zongcang (1686-1756) Imitation of Jiuxia Mountain Partial map
"Yunfeng Tree Color" has two seals on it, "Yong'an Shen Family", which was once collected by the Shen family in Tianjin (Shen Jifu, who opened a foreign firm in Tianjin). Because the Shen family collected many paintings and calligraphy, the erudite, artistic and martial dramatist Ai Xinjueluo Pudong (Pu Xi Yuan) was specially responsible for sorting out the paintings and calligraphy for them. The set is always blue, with white signs on it. After I arrived in Tianjin, the calligraphy and paintings that I bought from the Shen family were all collected in the Tianjin Museum. Today, in the calligraphy and paintings collected by the Tianjin Museum, we can often see seals such as "Yong'an Shen's Family".
— "Liu Guangqi's Self-Description (Eyesight)", edited by Tianjin Academy of Culture and Literature
It is the same inscription as Pu "Zhang Huang Estate Light Color Landscape Vertical Axis." West Park. 钤印: Cohabitation in the wild (Zhu Bai)", in line with Liu Guangqi's description.
▲ Zhang Zongcang (1686-1756) Imitation of Jiuxia Mountain Tu Pu tong inscription
Ming and Qing paintings commonly have this imprint, such as the Zeng Whale "Ge Yilong Statue" in the Palace Museum and the Wenjia "Jiangnan Spring Color Map" in the Collection of the Former Officials Museum in Taipei.
▲ Wen Jia's "Jiangnan Spring Color Map" Taipei Former Officials Museum
▲ Zeng Whale "Ge Yilong Statue" Palace Museum
▲Zeng Whale "Ge Yilong Statue" Partial Map The Palace Museum Seal "Yong'an Shen's Tibetan Calligraphy and Painting Seal"
Zhang Zongcang once said: "Today's painters, who have no confidence in their hearts, smear at will, do not follow the ancient laws, use them selfishly, and make up their own minds, is for the sake of the devil, not my authenticity, and must not make a single offender under my wrist." ", know that he adheres to the ancient law.
In the poem annotation of Qianlong's title Zhang Zongcang's "Supplementary Huiquan Tu", it is said: "In the past, Zong Cang discussed the painting method, and every title should be based on qi rhyme. "Another cloud" used to look at zong cang paintings, ask whether it is cheng? If the qi rhyme has not arrived, the less swirling qi rhyme comes, then the painting will be complete. This is the most beautiful way to draw three ambiguities, and yongshi does not know this. "Knowing that his paintings take qi rhyme as the first.
This "Imitation of The Jiuxia Mountain Map" is a masterpiece that abides by ancient laws and has also gained charm, and it was also published in the "Catalogue of Ancient Chinese Calligraphy and Paintings", which is particularly valuable.
At the spring auction of the 25th anniversary of Zhongmao Shengjia, among the special topics of ancient calligraphy and painting, there are also Li Liufang's "Golden Notes and Landscapes", Zhang Yushu's "Xingshu Zhi Stone Mountain Greenstone Poetry", Pan Gongshou's paintings, and Wang Wenzhi's "Imitation of Money And Zhong Kui Tu", which are also published in a number of books.
▲ Li Liufang (1575-1629) Jinji Landscape
Mirror heart Ink clay
Poetry Hall: 22.5 ×29cm
Center: 90×29cm
Poetry Hall: Tanyuan This frame is high and open, the ink is clear, the essay is a little, like a young woman in the boudoir, slightly drunk after drinking, messy and rough clothes, with a natural charm, wonderful! Kangxi Bingchen Winter, Zhou Rong inscribed in Chun han tang.
Inscription: Gengshen (1620) Winter Night, made of wine, Li Liufang.
Seals: Li Liufangyin (White), Chang Yu (Zhu)
Publication: 1. Catalogue of Ancient Chinese Paintings and Calligraphy, vol. 6, p. 181, Cultural Relics Publishing House, 1993.
Bibliography: 1. Records of the Appraisal of Ancient Chinese Calligraphy and Painting, vol. 4, p. 2057, China Publishing Group, Oriental Publishing Center, 2011.
2. Notes on the Appraisal of Ancient Chinese Calligraphy and Painting, p. 1731, Liaoning People's Publishing House, 2014.
Description: Zhou Rong inscription poetry hall. Zhou Rong (1619-1692), also known as Maoshan,躄堂. A native of Yin County (present-day Ningbo, Zhejiang) in the late Ming and early Qing dynasties. Ming Dynasty students, negative talent, chivalrous. After Ming's death, Zhou Rong became a monk, but later returned to the world because his mother was still in need of filial piety. In the eighteenth year of the Kangxi Dynasty (1679), the Qing court opened a lexicography department and summoned Zhou Rong to Beijing, but he insisted on resigning. Zhou Rong was diligent in poetry, calligraphy and painting, and people said that "painting is better than literature, poetry is better than painting, and books are better than poetry". He is the author of "Chun Han Tang Collection".
Li Liufang (李流芳), courtesy name Changyu (長蘅), was a ming dynasty poet, calligrapher and painter from She County, Huizhou (present-day Shexian County, Anhui). Thirty-two years old, after the desperate career. The poems are mostly written in scenery and gifts, and the style is fresh and natural. Together with Tang Shisheng, Lou Jian and Cheng Jiaxuan, he was called "Mr. Jiading Four". Good at painting landscapes, learning Wu Zhen and Huang Gongwang, Jun Shuang and fluent, one of the "Nine Friends in Painting", also works calligraphy. His son Li Hangzhi (李杭之), a monk raft, inherited his father's painting style.
▲Mr. JiadingSi
At the beginning of the Qing Dynasty, Wu Weiye's "Song of Nine Friends in Painting" praised Dong Qichang, Yang Wencong, Cheng Jiaxuan, Zhang Xuezeng, Bian Wenyu, Shao Mi, Li Liufang, Wang Shimin, Wang Jian and others as "nine friends in the painting".
Among them, Li Liufang was also influenced by Dong Qichang's painting theory of the Southern and Northern Sects, taking the quiet and distant wind of the Southern Sect as the right vein of the painter, and the "Mustard Garden Painting Spectrum" (Shangshui part) that has been popular for hundreds of years is based on its apprentice paintings imitating the styles of the ancients.
This landscape map, a golden note paper, according to the inscription "Gengshen (1620) Winter Night, was made of wine", known to be made for drunkenness. It combines with flat and far-reaching techniques to form a typical broad and far-reaching composition, near the riverbank, huts, forests, distant mountains are towering, hidden undulating pen, the middle water surface is wide, the mountain stone is light ink rubbing, dot moss is applied with thick ink, handwritten scenery, the pen end is not conventional, there is the wind of Wuzhen. The "Ming Painting Record" records that he "painted landscapes in and out of the Song and Yuan dynasties, while Yu Wu Zhonggui was a master, bamboo and stone flowers, and yiqi flew".
Zhou Rong inscription poetry hall. He is diligent in poetry, calligraphy and painting, and is said by people at the time that "painting is better than literature, poetry is better than painting, and books are better than poetry". He is the author of "Chun Han Tang Collection". The title of his poem also praises that "this frame has a high artistic conception, clear ink, and a pen, like a young woman in a boudoir, slightly drunk after drinking, messy and rough clothes, and has a natural charm."
Li Liufang once said: "The real mountains and real waters of the painting meeting are always not similar, the ancients of the painting meeting are always different, and the poems of the painting meeting are always not similar." "Extract creation, ancients, poetry in one game, not like seeking truth." For his painting thought, the "three unlikeness" theory, and according to the painting inscription of his paintings, the "Tanyuan On Painting" is also a valuable material for Chinese painting theory.
This work is also recorded in Shanghai Artist P190, Tibetan Truth Volume P100, and Baiyuantang P136.
▲ Zhang Yushu (1642-1711) wrote a book to give the stone mountain green stone poem
Vertical axis Ink Ayamoto
202×47.5cm
Inscription: Zhang Yushu's original handwriting. Seals: 挐云轩 (朱), Zhi Shame Zhai (白)
Knowledge: Give the stone mountain green stone stone, Gong Ji please DingHou old Mr. Zhengzhi. Jingjiang Zhang Yushu manuscript.
Seal: Zhang Yushuyin (White), Su Cun (Zhu), Chenhan Songyintang (Zhu)
Jianzang Seal: Xiao Yunxuan (Zhu), Zhi Shame Zhai (White)
Interpretation: Liu Du Dong refers to the accumulation of qi, and the river goes to the Songhuafu Mountains. The stone saga is cut into a type, and the smoke of the mountain mist river contains strange stones. The root of the cloud is covered with the root of the vine, and the moraine is jagged and lying on the moraine. The North Rock of the West Pit is full of imitation, and the dragon's tail Chiji is difficult to compare. The solid jade contains warm ferns, and the red violet vein is deep blue. How many years of desolation? In vain, it is a knife blade. The Holy Lord encountered a special search, and the stone was not allowed to be thrown lightly! Fate gong Gong Zhen texture see, Yingbi Qing ice out of the cold. The square circle phase degree is quasi-ancient, and the dragon rings are mutually drained. Kumai tried to polish the pen and spit out the man, and loaded the box to refine the light mat. A heavenly mansion was built from a stone, for example, a cold and a luan. Daizai Kuiwen is hidden (there is a saying of the Imperial Writings) in order to make the relics as if they were yan. Recruiting the young minister Mu Mu to read, Chenzao deep celebration gong zhenlai. This Yan should only be listed in the jade case, and it is better to be pengxun and celebrate the night. Specially awarded to the courtiers and close subjects, Hua Xing scattered over the arch bi. Decay and decay have been learned and fallen since the beginning, and decay is dull and incompetent. Dan Huang's testament was bound to three pieces, and he studied a painting in a small way. The head white is still thinking about the use of reason, and the phosphorus is never prudent.
Bibliography: 1. Catalogue of Ancient Chinese Paintings and Calligraphy, vol. XII, p. 349, Cultural Relics Publishing House, 1993.
2. Records of the Appraisal of Ancient Chinese Calligraphy and Painting, vol. 4, p. 1858, China Publishing Group, Oriental Publishing Center, 2011.
3. Notes on the Appraisal of Ancient Chinese Calligraphy and Painting, p. 1551, Liaoning People's Publishing House, 2014.
Zhang Yushu (張Yushu), courtesy name Sucun , was a native of Jiangsu (present-day Zhenjiang, Jiangsu). He was born in the fifteenth year of Emperor Mingsizong's chongzhen. Studying hard since childhood, Shunzhi Eighteenth Year (1661) Jinshi, JingChunqiu Three Transmissions, deep in historiography.
He successively served as the editor of Hanlin Academy, the superintendent of Guozi, and the bachelor of teaching. Twenty-three years (1684) was conferred the Shangshu of the Punishment Department and the Shangshu of the Military Mobilization Department. Twenty-nine years of worship at Wenhuadian University and Hubu Shangshu. In the thirty-fifth year of the Kangxi Dynasty (1696), he accompanied the emperor in the rebellion of Gardan. Fifty years of officialdom, twenty years of taiping prime minister. Long-term aircraft maintenance, straight and clear, the imperial court relied heavily, and the nickname Wenzhen.
His father, Zhang Jiuzheng, was known as "the first minister in the world" because of his prosperity in learning and educating people and his godson. His brother Zhang Yujie (張玉舍), also spelled Li Cun (字礼存), retired from the secret, was a first-class and two-member jinshi in the sixth year of the Kangxi Dynasty (1667), and was edited by the National History Museum of the Guanhanlin Academy.
After Zhang Yushu was twenty-nine years old, he became a Shu Ji Shi, and according to the Qing Dynasty Hanlin Yuan Shu Chang Guan regulations: "Any new Jin shi who is good at literary calligraphy is called Shu Ji Shi when he enters the museum to study. ", knowing that it may benefit from family learning, calligraphy is already quite profound when he was young.
The Zhenjiang Museum has Zhang Yushu's "You Xishan Temple", which is majestic and graceful, and it is very atmospheric. The book has the inscription of Light Ink Tanhua Wang Wenzhi, Yun "Wuyi Former Xiang Zhang Wenzhen Gong Handwriting, a total size of sixty-three characters, three feet long, Shugong self-composed poems on the West Mountain, hidden in the Crystal Temple of Jiaoshan Mountain. According to the public reason, the title of the book is not used, but the calligraphy and painting gu juan, which is full of vigor, cannot be reached by those who study the day and night linchi, but they know that the predecessors are in calligraphy together, and there is no one who does not pay attention. Over time, the poor monks will be lost, and the friend BaoGentang will frame it, and give the poem two chapters after it, that is, use the poem rhymed with the public office, and the mountain monk knows what he cherishes. Sparkling through the sea, Lin Cuiji mountain tops. Love this crystal domain, awe-inspiring ice and snow hanging. The eagle squats on the rock, and the eagle sweeps the autumn. Ink is still new, and the human world has been a hundred years old. On the day of the sound price, Penglai rose straight to the top. Rock corridor Xie Anshi, forbidden garden suppressed sincerity hanging. The first zen place of silence, the vast and devastating sky. However, it is necessary to leave a post and should remember the year of eternity. Qianlong thirty-five years gengyin spring march, after learning Wang Wenzhi. It can be seen that he is very respectful of it, and praises it as "radiant, which is beyond the reach of those who come to the pool after school days and nights".
▲ Zhang Yushu (1642-1711) wrote a poem on the stone mountain greenstone stone poem partially
▲ Zhang Yushu (1642-1711) Xingshu Zhishi Stone Mountain Greenstone Yan Poem Inscription Partial
The person in the above paragraph "Dinghou", Jianzang seal "Tu Yunxuan (Zhu), Zhi Shame Zhai (White)" is temporarily untestable. The writing gestures of this book are elegant and vigorous, rigid and soft, and full of charm. The whole line is consistent, between the lines, the clouds flowing, the dot painting is rigorous, the gesture is steady, the pen rules are vertical and horizontal, the majesty and the elegance are integrated, in and out of Su Huang, there is a graceful temperament, and it is a rare masterpiece.
▲ Pan Gongshou (1741-1794) painting, Wang Wenzhi (1730-1802) inscription Imitation Qian Shu Zhong Kui diagram
Mirror heart Colored silk book
107×47cm
Seal: Pan Gongshou Seal (White)
Inscription: Who returned from last night in the spring, and finally the south mountain was old. Yusheng blew away the peach blossom pieces and tried to send a son to the spring wind. Wang Baiyu inscribed Qian Shu painting. Zhong Kui did not see the history of painting, but the painter did it every time, this money sequence painting Wang Baiyu title, quite interesting, lotus nest imitation, more ■ morale, can also be saved. Bunji. Seals: Wang Yuqing (Zhu), Menglou (Zhu)
Bibliography: 1. Catalogue of Ancient Chinese Calligraphy and Paintings, vol. XII, p. 330, Cultural Relics Publishing House, 1993.
2. "Records of the Appraisal of Ancient Chinese Calligraphy and Painting", vol. 4, p. 1776, China Publishing Group and Oriental Publishing Center, 2011.
3. Notes on the Appraisal of Ancient Chinese Calligraphy and Painting, p. 1485, Liaoning People's Publishing House, 2014.
Pan Gongshou of the Jingjiang School of Painting and Wang Wenzhi, the "Light Ink Exploring Flowers", had a deep friendship, Wang Wenzhi was more than ten years older, and the two were both friends and neighbors, teachers and friends, and had similar interests. According to the "Yangzhou Painting Record", Pan Gongshou "every painting must be the king's dream building inscription", singing peace with each other until his death. "Pan Painting King Title", Shiyou Baozhi, can be called a good story in the painting world.
Pan Gongshou landscape at the beginning of the master,Wang Wenzhi taught it in the way of a calligrapher's pen, and his paintings progressed day by day. Since then, the landscape has been dong qichang, mi youren ink halo, qing yan yan cold, and good bone law. Lin Luan is beautiful, the flowers take the law Yun Shouping, and the part-time work sketches. It's like windward condensation. The Buddha statue went in and out between Ding Yunpeng and Wu Wenzhong. Characters, ladies, and bamboo stones also rhyme.
According to Wang Wenzhi's inscription, this is Pan Gongshou's imitation of the "Wang Gongdeng Inscription Qian Shu Painting" Zhong Kui diagram, the pen is exquisite, the picture is witty and vivid, a baby sits on Zhong Kui's shoulder, making a blowing sheng shape, Zhong Kui looks back sideways, holding a sword in one hand, clutching the baby's calf with the other, full of fun. The color is also light and elegant, the character expression is delicate, the beard is full of hair, and the clothing and decoration style are also very exquisite, and the charm is quite quite large.
Wang Wenzhi is a calligrapher, together with Liu Yong, Liang Tongshu, weng Fanggang and called the Qing Si. The strokes of this book are flowing, the knots are even, the flow of no traditional thesis is round and smooth, the view is handsome and luxurious, and the wind god is scattered. The two men's calligraphy and painting complement each other.