From September 27th to 28th, the "Color Pen Changchun - Zhou Zhimian "Hundred Flowers Picture Scroll", Yun Shouping's "Landscape and Flower Album", and Hongxu's "Songgui Changchun" Special Exhibition sponsored by China Guardian were held in Taikang International Building. On the afternoon of September 26th, the academic seminar "Color Pen Changchun - The Transmutation and Innovation of Ming and Qing Dynasty Flower and Bird Painting" was held in Beijing.
Zhou Zhimian and Yun Shouping, as ming and qing dynasty flower and bird painters, respectively, were the masters of "Wumen Flower Hook Flower Dot Leaf" and "Boneless Painting Method", which had a profound impact on the Chinese flower and bird painting world in the past five hundred years; Hongsheng, as a royal aristocratic painter, is an excellent case for studying the prosperity of the Qing Dynasty and the theme of flowers and birds.
With the special exhibition as the background, the seminar invited domestic scholars to discuss the hand scrolls of Zhou Zhimian, Yun Shouping album and Hongxu Li Axis, so as to explore the inheritance and innovation of Chinese flower and bird painting from the Ming and Qing dynasties.
Participating experts observed the works from left: Wan Xinhua, Tang Zheming, Huang Peng, Huang Xiaofeng, Li Li, Xiao Ping, and Hu Ying
Participating experts observe the works from left: Tang Zheming, Yang Danxia and Xie Xiaodong
Participating experts observe the works from left, including Guo Tong, Tang Zheming and Wan Xinhua
Zhou Zhimian "King of Flowers" "Hundred Flowers Picture Scroll"
Zhou Zhimian, an important painter of the Wumen School of painting who was active in the Ming Dynasty, was the master of the Ming Dynasty flower and bird "hook flower dot leaf" technique.
The Hundred Flowers Scroll presented in this special exhibition is the longest work in Zhou Zhimian's hand scroll, with a length of 32 centimeters and a length of 17.17 meters. The figure depicts nearly 80 species of folded branches of orchids, plum blossoms, Xinyi flowers, peach blossoms, pear blossoms, magnolia flowers, hydrangeas, chrysanthemums, lotuses, daffodils, peonies, ganoderma lucidum, and moon seasons.
This work was first compiled in the Shiqu Baodi and recorded as a high-class treasure: "Zhou Zhiguan Baihui Tu volume, superior, scale one, stored in the imperial study." "In the early Qing Dynasty, it was collected by the famous calligrapher and painter Zhang Chunxiu, and later it was included in the palace collection, and it has been treasured by the Qing Dynasty since Qianlong. According to statistics, there are 14 works of Zhou Zhimian in the initial compilation of the "Shiqu Baodi".
Zhou Zhimian (Ming Wanli, 16th-early 17th century) Hundred Flowers Scroll Hand-roll colored paper Size: 31.90×1717cm
Title: Crown of Ru'nan Zhou.
Seal: Fu Qing, Zhou Zhimian
Jianzang Seal: Shiqu Baodi, Qianlong Royal Treasure, Qianlong Appreciation, Sanxitang Jingjian Seal, Yi Descendants, Imperial Study Room Treasure, Jiaqing Imperial Treasure, Xuantong Imperial Treasure, Guyan Zhang Chunxiu Jianyang Book, Zhang Yi'an Family Collection, Treasure Of the Treasure of the World, See Yangzi, Descendants and Grandchildren Qiyong Baozhi
Bibliography: "Shiqu Baodi Preliminary Compilation , Royal Study", "Secret Temple Zhulin Shiqu Baodi Compilation", vol. 2, page 1041, Shanghai Bookstore, 1988 edition.
Publication: 1. "The Record of The Sinking and Floating of National Treasures: The Forbidden City Scattered Paintings and Calligraphy And Paintings", by Yang Renkai, pp. 312, 313, 387, Shanghai Ancient Books Publishing House, 2007 edition.
2. "Xu Bangda's Examination and Approval of Selected Works of Ancient Chinese Calligraphy and Painting (I)", pp. 174-185, Cultural Relics Publishing House, 2010.
3. Anthology of Ancient Chinese Calligraphy and Painting of the Song, Yuan, Ming, and Qing Dynasties (II), pp. 265-268, 2010.
4. Exhibition Catalogue of the 2nd Beijing International Exposition of Chinese Cultural Relics and Artworks (2nd), pp. 58-59, 2010.
Exhibition: 1. Song, Yuan, Ming, Qing, and Ancient Chinese Calligraphy and Painting Exhibition", October 2010.
2. "The 2nd Beijing International Exposition of Chinese Cultural Relics and Artworks", sponsored by Beijing Municipal Bureau of Cultural Relics, Beijing Daily Newspaper Group, Beijing Television, October 22-25, 2010.
The participating experts observed and studied this "Hundred Flowers Picture Scroll" on the spot, and believed that it provided an important research model for understanding the status of Zhou Zhimian's art history and the history of Chinese flower and bird painting from the middle and late Ming Dynasties.
Xiao Ping, a famous calligrapher, painter and connoisseur, stressed that the academic community should pay attention to the status and influence of Zhou Zhimian in the Wumen School: "The 'Wumen School' flower painting is another clue in addition to landscape painting, which should be paid attention to by the academic community. The three most typical people in the Wumen flower tradition are Shen Zhou, Chen Chun and Zhou Zhimian. In the late Ming Dynasty, two styles extended from chen chun onwards, one was Xu Wei's large freehand, and the other was the small sketch of Zhou Zhi's crown. This small sketch that pays attention to sketching has a longer influence than that of the Wumen school of landscape painting. ”
Xiao Ping believes that this work is a masterpiece in the history of Chinese flower and bird painting. "First of all, in this hand-scroll of more than 17 meters, the layout of nearly 80 kinds of seasonal flowers is appropriate, both harmonious and rhythmic; second, Zhou Zhiguan's depiction of the 'business' and 'vitality' of flowers and trees is extremely full; third, flowers with such rich colors are rare in Zhou Zhimian's works, and Zhou Zhimian uses small freehand painting methods to achieve the goal of elegant and common appreciation."
Yang Danxia, a research librarian in the Calligraphy and Painting Department of the Palace Museum, examined the clues of the development of flower and bird paintings and said: "Shen Zhou rewrote his intentions and developed to Chen Baiyang (Chen Chun) pursuing pen and ink, jumping out of the shackles of shape. In fact, the Crown of Zhou is actually a correction of the reverse, through the emphasis on sketching to find the 'shape' of the depiction. It was a masterpiece in his place. ”
Yang Danxia spoke highly of this work: "Not only in the field of market circulation, but even in the works of Zhou Zhimian collected by cultural institutions at home and abroad, this "Hundred Flowers Picture Scroll" is a top work. And the ink pen "Hundred Flowers" treasured by the Palace Museum can be called 'double beauty'. ”
Zhou Zhimian was not only an important town of flower and bird painting in the Ming Dynasty, but also had a profound impact on the development of flower and bird painting in the next 400 years. According to the research of Zhu Wanzhang, director of the Institute of Calligraphy and Painting of the National Museum of China, the more famous people in Zhou Zhimian's school include Yu Qiaozhi, Liu Qi, Wang Weilie, Wang Weixin, Wang Li, Chen Jiayan, and Gu Bing. He also opened the forerunner of the Changzhou school of painting represented by Yun Shouping. After the Qing Dynasty and into modern times, painters influenced by Zhou Zhimian's 'hook flower dot leaf body' also included Wang Li, Ren Bonian, Zhang Shuxu, Wang Xuetao and so on. We put the Hundred Flowers Scroll into the context of the history of great art, and its significance will go far beyond the painting itself. ”
"Boneless Divine Product" Yun Shouping 1684 "Landscape and Flower Album"
Yun Shouping (1633-1690), also known as Zheng Shu (正叔), was one of the "Six Houses of the Early Qing Dynasty" and the same name as the "Four Kings". He revived the Northern Song Dynasty Xu Chongsi's "boneless technique" and pushed this technique to a new height, pioneering the "Changzhou School of Painting".
The "Landscape and Flower Album" in this special exhibition is the most wonderful work of Yun Shouping's collection of landscapes and flowers seen in the market. This album contains 5 flowers, and 5 landscapes, each page has an inscription poem or picture name, and the poems, calligraphy and painting are complete. The 5 blooming flowers include peony, peach blossom, butterfly flower, hydrangea, plum and other four-hour flowers; the landscape part covers the green landscape and ink landscape, which can be described as a masterpiece.
Yun Shouping (1633-1690) Landscape and Flower Album (ten open) Ink and colored paper Nail (1684) Size: 23.50×36.50cm (each)
Inscription: (1) A thousand trees of red light a fishing wire, lonely yin only biyun knows. But he laughed at the non-Bear Creek Shangsuo, and the white head was like an imperial master. Quasi-Zhao Boju Flower Creek fishing boat.
(2) Linchi fish algae. Pro Liu Yu Ben.
(3) Delicate spring and double beauty. Amaranth Museum System.
(4) The square pot is sprinkled with intent, rotten and innocent, stripped of the machi, beyond the image, and the dragon of the painter is also a change. Nantianke.
(5) Blow off qiong zhen throat phoenix dust, powder marks dark mirror spring. Low-hanging green sleeves red makeup side, dancing tired dragon silk a beauty. Shouping.
(6) Nephrite jade fell before the wind, and the long strip was powerless to tie the residual spring. The brocade machine is not a melancholy weaving, empty convection Huang Yi beauty. Shouping.
(7) If you listen to it after the rain on an empty mountain, the wind blows down half a curtain of green. Wait for him to be three feet of liang garden snow, transformed into Yaotian white phoenix plume. Lin'ou Bo old man Lang Yue spring color.
(8) Linxu Chongsi Spring Wind Map. Nantian.
(ix) The black magpie will perch, and the smoke of the stream will go up. Where the sound of autumn rises, the wind is on the highest branches. Olive Cao Yun West Wind Forest Evening Crow. Shouping.
(10) Ten kinds of Koshi Spring March Nantian Shouping Quasi-Ancient.
Seals: Nantian Caoyi (second time), Shouping (three times), Shuzi (second time), Shou Ping, Zheng Shu (second time), Shou Ping, Nan Tian Xiao Yin, Yun Zheng Shu (second time), Shou Ping No Yin, Yun Shou Ping
Jianzang Seal: The Collection of Song Ge (Ten Times), Tao An Jing Eye Golden Stone Calligraphy and Painting, Love Painting into the Bone Marrow, Tao An Heart Appreciation
Wu Hufan title back page: Yi Hai (1935) autumn day, borrowed from Mr. Tao An to meijing bookstore. Wu Hufan Pan Jingshu came together with a book and was blessed with eyes. Seal: Wu Hufan, Jing Shu Calligraphy and Painting, Meijing Bookstore
Chu Deyi inscription: Yun Nantian landscape flower divine product. Tao An Treasure Secret. Xin Wei (1941) summer, pine window. Plutonium Seal: Chu De Yi Seal
Published: 1. "The Orthodox School of Painting in the Early Qing Dynasty", Figure 126, Figure 127, Art Book Company, 1985.
2. "Yun Nantian Painting Style", Figure 71, Figure 72, Chongqing Publishing House, 1995.
3. "The Art of Watermarking on The Woodblock of Duoyunxuan", Figure 195, Shanghai Calligraphy and Painting Publishing House, 1997.
4. "Catalogue of Ancient Calligraphy and Paintings" (III), pp. 214-234, Great Wall Publishing House, 2003.
5. "Yunnantian Landscape and Flower Divine Products", Xiling Printing Press, 2008.
6. "Chinese Flower and Bird Painting Tongjian and Sketching Authentic", pp. 46-49, Shanghai Calligraphy and Painting Publishing House, 2008.
According to the jianzang seal on the album page, this is a copy of the literati's collection and orderly circulation. The album contains "Song Ge Collection", "Tao An Heart Appreciation", "Love Painting into the Bone Marrow", "Tao An Jing Eye Golden Stone Calligraphy and Painting", and the inscription "Yi Hai (1935) Borrowed from Mr. Tao An in autumn to the Meijing Book House, Wu Hu Fan Pan Jingshu came together with a book and zhi eye blessing". Among them, "Song Ge" is Xu Qi's zigzag, which is the first year of the Qing Tongzhi Dynasty, and the official to the assistant university scholar and Rebbe Shangshu; Tao An refers to Xu Junqing, a Shanghai collector in the Republic of China period who was friendly with Pang Xuzhai and Wu Hufan; Wu Hufan is an important painter in the modern and contemporary Chinese painting world. Wu Hufan and his wife came together on this album to prove from the side that it is a model in Yun Shouping's model.
Yun Shouping returned to his hometown of Changzhou in 1683 and lived there until his death in 1690 at the age of 58. This album was created in 1684 when Yun Shouping was 52 years old. Huang Peng, a researcher at the Jiangsu Provincial Academy of Chinese Painting, believes that "52 to 58 years old is the peak period of Yun Shouping's creation, and at this stage he is full of energy and his painting style is very mature, which is the time when he creates the most good works." ”
Yu Hui, a research librarian at the Palace Museum, also believes that "Yun Shouping's main painting objects are fully expressed in this album, which makes the value of this album different from other albums."
Wu Hufan has handled many works of Yun Shouping in the history of appraisal, and there are already public opinions in the academic circles. The album page has Wu Hufan's inscription written in 1935, and the scholar Huang Peng also found Wu Hufan's inscription in a Yun Shouping flower album in the Shanghai Museum, and compared with the analysis, she believes that the inscription of Wu Hufan in 1935 is indeed true, Wu Hufan has always wanted to collect a good Yun Shouping album, but he has been unable to ask for it for many years. That's why I borrowed this album from my friend Tao An.
Wu Hufan's admiration and love for Yun Shouping has reached the level of "fan brother", and he even believes that Yun Shouping's achievements in the history of flower and bird painting have surpassed Xu Xi and Huang Xiao. Wu Hufan has a very high evaluation of Yun Shouping, believing that his paintings are very beautiful to the Song people. Yun Shouping's outstanding feature is that he first emphasizes the shape, which is known as 'sketching authentic', and then talks about 'writing god in shape', and finally makes his flowers both colorful and elegant, elegant and unworldly. Such an art form is truly appreciated by both the common good and the common, and I believe that even without the promotion of the later court, Yun painting has super vitality. Huang Peng said.
Tang Zheming, a well-known art historian, believes that in addition to technique, the academic community should understand Yun Shouping from the perspective of the character of "flowers to be vulgar and elegant in temperament". He said: "Even if this work is placed in the museum, it is a heavy weapon, especially the artistic level of the five-opened flower, one of which is a peony, which was selected as the cover by the Shanghai Calligraphy and Painting Publishing House's "General Guide to Flower and Bird Painting".
Yun Nantian's flowers are not vulgar; he dares to paint big red and green, but the style is high, which is what distinguishes him from his contemporaries. Tang Zheming believes that he pushed the style of literati painting Gao Yi to an extreme.
Qingzong's painter masterpiece Hongsheng "Songgui Changchun"
Hongsheng (1743-1811) was qianlong's younger brother and was a representative of the outstanding figure in the calligraphy and painting circle of the Qing Dynasty. He can poetry, painting, calligraphy, seal carving, artistic accomplishment is comprehensive and profound, by the times known as poetry, painting, printing "three absolute".
This vertical scroll on paper is Hongsheng's "Chenzi style" work, a rare flower boutique in the market. The author signed himself "Songgui Changchun", "Chen Hongsheng Jinghua", and there are stamps "Chen, Sheng". The picture depicts pine trees, osmanthus flowers, moon seasons, ganoderma lucidum, orchids and other symbolic plants, with elegant colors, magnificent weather, and meaning auspicious and rich.
Hongxun (1743-1811) Songgui Changchun Colored Paper Vertical Scroll Size: 126.5×55.5cm
Title: Songgui Changchun. Shōshō Shōjō shōnen shōshū shōshū shō
Plutonium Seal: Chen, Sheng
Jianzang Seal: Treasure of Qianlong Imperial Collection, Qianlong Appreciation, Sanxitang Jingjian Seal, Yi Descendants, Shiqu Baoji, Shiqu Dingjian, Baodi Recompile, Treasure of Yangxin Hall, Treasure of Jiaqing Imperial Collection, Treasure of Xuantong Imperial Collection
Bibliography: Shiqu Baodi Continuation Ii: "Secret Temple Zhulin Shiqu Baodi Compilation", vol. 4, p. 1137, Shanghai Bookstore, 1988 edition.
Songgui Changchun is a sequel to the Shiqu Baodi. Hongsheng's paintings have always been appreciated by the Qianlong Emperor, and many of his works have been given imperial inscriptions. According to statistics, a total of 39 paintings by Hongxun were recorded in the "Shiqu Baodi". There are 10 Tibetan seals on the vertical axis of this piece, namely: "Treasure of Qianlong Imperial Collection", "Qianlong Appreciation", "Sanxitang Jingjian Seal", "Yi Descendants", "Shiqu Baoji", "Shiqu Dingjian", "Baodi Recompile", "Yangxin Hall Treasure Collection", "Treasure of Jiaqing Imperial Collection", "Treasure of Xuantong Imperial Collection". It can be seen that since Qianlong, this work has been treasured by the Qing Palace.
From Qianlong to the late Qing Dynasty, it was collected in the Forbidden City for the emperor to appreciate. In addition to Yang Danxia's "Shiqu Baodi" bibliography, she also found relevant records in the Qing Dynasty court archives. According to her research, from the Qianlong period to the end of the Qing Dynasty, "Songgui Changchun" was hung and placed in different palaces such as the Yangxin Hall and the Qianqing Palace in the Forbidden City. In addition to the auspicious meaning, the style quality of this work's pen and ink coloring and lyrical aspects of the work has been liked by the emperors of successive dynasties.
Hongsheng is an important representative of the "Zhu Di" calligraphy and painting circle in the Qing Palace with members of the clan as the main body. Members of the imperial family participated in the creation and appreciation of poetry, calligraphy and painting, and reached their peak in the Qianlong period, and a large number of famous poets, painters and calligraphy seal engravers emerged. Hongsheng had both the dual identities of a royal aristocrat and a scholar, and his contacts in the literary circles and calligraphy circles of the Qianjia period were more extensive and in-depth than those of ordinary clan aristocrats. With his personal cultural and artistic connotation and achievements, he has won the admiration and praise of a large number of Manchu and Han literati. The famous poet Yuan Ming also had a high evaluation of him: "Yaohua's master can paint poetry, and he can taste his "Listening to the Fountain Map", the brush is high and wonderful, straight to the cloud forest, and the author of the three masterpieces." (Yuan Ming's "Poetry with the Garden")
Hongsheng's paintings inherit the elegant, rich, elegant and elegant style of court art. According to historical records, Hongsheng was influenced by the famous painter Dong Bangda (1696-1769) in the Qianlong period, and took the "Loudong School" landscape as his sect. According to Yang Danxia, "From Dong Bangda and Dong Bangda's son Dong Yu to Hongsheng and Qianlong's son Yong Yao, they were all influenced by Jiang Tingxi's new style. It inherits the heavy colors of the Song Dynasty's courtyard body, and integrates the boneless paintings of Yun Shouping in the early Qing Dynasty, and evolves into a new style that the royal court is happy to appreciate: it is both graceful and rich, with a literati charm, elegant and elegant. This kind of calm and noble atmosphere is not available to folk painters and other literati painters. ”
It is reported that the three Pieces of Chinese Flower and Bird Painting "Divine Products" exhibited this time will jointly appear in China Guardian's 2021 Autumn Auction.