Text / Yin Peng
Moderator's Message: Yin Peng takes the collection of paintings and calligraphy of several physician families in the Wumen area as the starting point, analyzes and examines the works, inscriptions and local chronicles and other materials, and presents the poetry, calligraphy and painting appreciation activities and exchanges of the doctors, a group with both special identity and general literacy of scholars, to effectively discuss their influence on the history of collecting and painting in the Wumen area in the Ming Dynasty, and also bring readers a deeper impression of the profound cultural accumulation in Wudi. Since the rise of the late Ming Dynasty, the retro trend of aesthetic fashion with the "Nanzong" literati painting as the mainstream has affected the aesthetic concepts and paths of artistic creation of a large number of painters, and Lan Ying, a professional painter living in the late Ming and early Qing dynasties, is one of the typical representatives. At present, most of the antique problems of Lan Ying are only discussed at the macro level in theory, and there is a lack of specific micro arguments. Based on this, Guan Yun analyzed and discussed the problem of Lan Ying's antique from three aspects: the expression, purpose and essence of Lan Ying's antiquity, and believed that the essence of Lan Ying's antique is an artistic practice activity that innovates and develops in inheritance. Taking the collection of Chinese paintings at the Harvard Art Museum as an example, Fu Huimin and Xu Runzhe cite a large number of documents to sort out the process of the collection of Chinese paintings by Edward Bruce, an American, who was a collector, an artist, and a public art project manager during Roosevelt's New Deal, into the Harvard Art Museum, and also describe the cultural and creative influences of Chinese painting and the Chinese painter Huang Binhong guiding him, and can also see the changes in the aesthetic perception and collection research of Chinese painting in the United States in the 20th century. (Xu Ling)
Abstract:The Wumen area of the Ming Dynasty was inhabited by many medical families. The healer community is also an important part of the patron community of the arts in the region. This paper takes the collection of calligraphy and painting of several medical families in the region as the starting point, and tries to explore the influence of the collection and painting activities of this group on the collection history and painting history of Wumen area in the Ming Dynasty through the analysis and research of related works and inscriptions, combined with the travel activities related to these collections and various literary, calligraphy and painting creations in historical materials.
Keywords: Wumen Physician Group, Painting and Calligraphy Collection, Travel, Collection History, Painting History
1. Start with the recipient of Huang Gongwang's "Tianchi Stone Wall Map".
The study of the recipients of Huang Gongwang's paintings was once one of the hot spots in the study of the history of painting in the Yuan Dynasty. Among them, the investigation of the "sexuality" of the recipient of the "Tianchi Stone Wall Map" has also attracted the attention of relevant scholars.
Today, there is a clear consensus in the academic community on the identity of "sex". The full name of "sex" should be Zhang Yuanshan, who was the son-in-law of Qian Liangyou (1278-1344), a famous scholar in Suzhou at the end of the Yuan Dynasty. At the time of obtaining the work, Zhang Yuanshan was serving as a provincial medical officer. Chen Ji (1314-1370), a contemporary of Zhang's generation, wrote the Preface to the Gift of Medicine. The text recorded: "In the south of the great river, scholars and famous doctors should not be prosperous in Wu, and the legend of Liu Li's second and third sons is also not prosperous today." Yu Duweifu and the prince will be a gentleman and a gangster who makes up a household, no matter whether they are wise and foolish, virtuous or not, and the language and medicine will be called Zhang Xingzhi. The provincial decree is to worship the official and sign it to promote medicine. ”〔1〕
"Tianchi Stone Wall Map" is not Zhang Yuanshan's only collection of paintings and calligraphy. Qian Liangyou once wrote a volume of "Four Bodies and Thousand Characters" for him, which was recorded in the sixth volume of "Zhao's Iron Net Coral" and the seventeenth volume of "Shigutang Calligraphy and Painting Collection". At the end of the volume, Wang Zemin (1285-1355) mentioned in a book: "This volume of Qian Junyi's work is to leave his son-in-law Zhang Xingzhi." [2] Combined with the remnants of Qian Liangyou's imprint "Liang Right Wing" in the lower right corner of Tianchi Stone Wall Map, it is speculated that Zhang Yuanshan invited Huang Gongwang to paint, perhaps through Qian Liangyou's introduction. Zhou Boqi, another inscription at the back of the volume, also lived in the Suzhou area, and according to his inscriptions, the work was still in the possession of Zhang Yuanshan as late as the eighteenth year of the reign of Zhizheng (1358). In addition to Huang Gongwang and Qian Liangyou, Zhang Yuanshan's friends with calligraphers and painters included Zhang Zhu (1287-1368) and Xu Ben (1335-1380), both of whom had poems presented to Zhang Yuanshan respectively. 〔3〕
Zhang Yuanshan's collection of paintings and calligraphy, as well as his interactions with fellow calligraphers and painters, are the epitome of the extensive participation of the Wumen physician community in cultural and artistic activities at that time. As Chen Ji said: "In the south of the great river, those who are famous doctors should not be prosperous in Wu, and the legend of Liu Li's second and third sons is also not prosperous today." If we look closely at the Gusu Chronicles, compiled by Wang Wei (1450-1524) during the Zhengde period (1506-1521), we will find that among the 20 figures recorded in the section "Art Biography" from the end of the Yuan Dynasty to the Zhengde period, ten were doctors, and half were calligraphers and painters. During the Yuan and Ming dynasties, the Wumen area was inhabited by many medical families. Many of the doctors' collections of paintings and calligraphy were once important cultural treasures of the region. These physicians interacted with calligraphers and painters, and also directly or indirectly participated in the dissemination and accumulation of the history of calligraphy and painting in the Wumen area in different ways. In a sense, the healer community was one of the most professional groups among the patrons of the arts in the Wumen region of the Ming Dynasty.
2. The calligraphy and painting inscriptions and collection activities of the Wumen physician group in the Ming Dynasty
Due to war and social turmoil, the Wumen area in the late Yuan Dynasty and early Ming Dynasty was home to many literati who lived in seclusion in the countryside and away from their official careers. Many of them were also proficient in medicine and had close contacts with local literary and artistic figures. Among them, the more well-known ones are Han Yi, Wang Bin, and Chen Mengfu.
"Gusu Zhi" "Yin Yi Biography" recorded: "Han Yizi Gongwang, after Song Zhong dedicated Wei Wangqi. He first came from Anyang, and then migrated to Wuzhile Bridge...... Hong Wuzhong and Wang Bin are both hidden in medicine. [4] The "Art Biography" of the book records his father Han Ning and his family history: "Han Ning's character Fuyang, which is derived from Wei Guozhong's dedication to Wang Qi, is good at medicine. Zhang's entry into Wu, the introduction of scholars, and the seclusion of the people. Zi Eryi, Yi. Yi in the hidden biography, Yi word Boyi, less loss of mother, after condensing the life of Yi Yuzhi, because of the name of the grandson, Hong Wuzhong is the county medicine. In the second year of Yongle, he was appointed from the Brother Tai Hospital, summoned the imperial doctor, changed his name to Yi, and the word Gongda. Given to the first and the street, following the judgment of the court. Yi pawn, Chen Qing has to be given leave to return to the funeral, and the funeral expenses are still paid. Yongle drove the northern tour in the eleventh year, and he couldn't go to the court when he returned to illness. On the hit, you see the disease, and send people to turtles. Neither, sigh and mourn the funeral, and sacrifice the three products. Zhengzi Gongmao, the son of Ning Di Chong, Hongwu is a good doctor in Yanfu. From the Confucian Temple, he was sentenced to the Tai Hospital, entered the hospital, and drove the northern tour. Yongle returned to Beijing in the ninth year and died, and was also buried with three products. The two brothers were met at the same time, and everyone was revealed. And the son of the Emperor is also an official imperial doctor, and Yizi You, Youzi Chong, and Yi Congzi Xiang all keep the world. ”〔5〕
As a famous scribe and doctor, Han Yi often had the opportunity to admire and inscribe the collections of calligraphy and painting of his fellow scholars. For example, after the "Song Yanlong Tuchu Jiang Qiuxiao Picture Scroll" recorded in "Zhao's Iron Net Coral", there is a poem inscribed by Han Yi. [6] Also included his close friend, Yu Zhenmu (1332-1401), another reclusive literati. When Han Yi wrote this volume, the work belonged to Chen Mengfu. [7] The works of contemporaneous painters in the Wumen area, Han Yi also has many allegories. For example, Wang Meng's "Listening to the Rain Tower" was made by Lu Shiheng when Wang lived in Suzhou. [8] The inscriptions at the back of the volume are all famous scholars in Wu, including Han Yi. [9] Among the people of the same title was his friend, Daoyan of Suzhou (Yao Guangxiao, 1335-1418), who later became an important adviser to Zhu Di, the emperor of the Ming Dynasty. [10] In addition, Han Yi also wrote Teng Yuan's "An Fenxuan Tu" written by Zhu Jingchun, a villager, which can be found in the sixteenth volume of "Zhao's Iron Net Coral". His "Hanshanren Poetry Collection" also includes several poems inscribed Tibetan paintings for others, such as "Zhao Wei Gongren Ma Tu is the Taoist Fu" and "The Song of Tibetan Landscapes with Inscription Gold". 〔11〕
In addition to writing about other people's collections, Han Yi also once had the Southern Song Dynasty painter Zheng Sixiao's "Melan Picture Scroll", and Du Mu's "Allegory" recorded: "Zheng Suo's South Molan, self-titled poems: the fragrance of a country, the death of a country." Huai Bi Huai Wang, Yu Chu has light. So, the Southern Song Dynasty is too student, not Shi Yuan. Its painting orchid is unique and does not paint soil, and people ask why. Answer: The soil is taken away by others. Near Zhu Yaomin and Yu Guan in Xiajiaqiao Shen. Yao Minyun is the old thing of Han Meng'an. [12] Du Mu's statement can be verified in Han Yi's poetry collection. The "Hanshanren Poetry Collection" includes the poem "Zheng Suonan Melantu", and the afterword in the poem also traces the interaction between his ancestors and Zheng Sixiao. This "Melan Picture Scroll" is now in the collection of the Yale University Art Museum in the United States, and the inscription of Han Yi on the back of the volume still exists. 〔13〕
Another famous reclusive doctor on the same level as Han Yi is Wang Bin. "Gusu Zhi" "Yin Yi Biography" records: "Wang Bin's first name is Guobin, the word Zhongguang, and he is from Changzhou...... Self-named Ko-an. [14] Qian Yu's "Sequel to Wudu Wencui" mentioned: "He is especially good at medicine, and he has many miraculous effects on medicine, but he has not been willing to be a doctor with a rich man." The poor people in the alleys and those from outside the square who come to seek medical treatment tend to go for medical treatment. Applying the bait to the medicine will not be rewarded. [15] Wang Bin had many contacts with fellow calligraphers, painters, and collectors, and wrote about many of their collections. For example, Zhao Mengfu's "Gao Shi Picture Scroll", which is recorded in "Zhao's Iron Net Coral", was written by Zhao Mengfu for the famous scholar Yuan Yi during his residence in Suzhou,[16] and the inscription at the back of the volume includes Wang Bin. According to the inscription of Wang Bin's contemporary, Wang Xing (1331-1395), the work was kept by the Yuan family for a long time, and later returned to Chen Mengfu. [17] Another work by Zhao Mengfu written by Wang Binbai is the Ancient Wood Scattered Horse Picture Scroll, which is now in the collection of the National Palace in Taipei, and is recorded in Zhang Chou's Qinghe Calligraphy and Painting Boat. [18] In addition, Wang Bin also inscribed poems for Gao Kegong's "Ink Bamboo" collected by Chen Mengfu, which can be found in the first volume of the Guang'an Collection.
Most of the descendants of the Wang Bin family are good at medicine, and they also pay attention to the connoisseurs of calligraphy and painting. The most famous of these is Wang Weihao. [19] "Qinghe Calligraphy and Painting Boat" records: "Wang Weihao's collection of Yansu Chujiang autumn dawn map, Mi Youren Tiaoxi spring dawn map." Qingyi is two extremes, the inscription is good, and it is identified and recorded. However, the apricot garden, proficient in medicine, belongs to the Guangan family. [20] This statement can be found in the "Moral Edition": "Wang Yishi's family has the portraits of his predecessors, Tang Shuibu Lang Zhongdi, and Song Shushu's Mr. Ping. Writings, Cheng Men's younger brother also. It also hides Lao Mi's "Tiaoxi Spring Dawn Picture" and Yan Muzhi's "Chujiang Autumn Evening Picture", all of which are wonderful. [21] "Zhao's Iron Net Coral" recorded in the "Mi Yuanhui Tiaoxi Spring Dawn Map", there is a poem inscribed by Zhou Ding (1401-1487) in the year of Chenghua Yisi (1465), and the poem has the sentence "Flying down Wang Lang apricot flower garden, opening an account to get the joy of dancing". [22] Attached words: "The right volume is written by Qian Jizhong at the beginning of the country, and it has been seen in Wang Weihao's apricot garden pavilion for more than a hundred years." [23] It can be seen that when Zhou Ding made the painting, the painting was already owned by Wang Weihao. Wang Weihao's collection of calligraphy and painting is very large, and the epitaph written by Zhu Yunming for him records: "The collection of hundreds of years of relics from the Tang and Song dynasties, edicts, scriptures and interpretations, and Hanmo scrolls are full of boxes. [24] However, most of his collection was later scattered and was not found in the bibliographies.
Han Yi's "Chujiang Autumn Dawn Scroll" and Wang Binba's "Gao Shi Picture Scroll" were both owned by Chen Mengfu, and the collector was also a doctor. Wu Kuan (1435-1504) wrote the "Tomb Table of Mr. Chen, a Confucian Instructor in Yangwu County, Henan" for his deceased friend Chen Qi: "Mr. Chen's surname is Chen, and he first came from Yongjia. In the Song Dynasty, there were those who were obsessed with Wenji, and Shi Suzhou Tea and Salt Changping did office work, and began to live in Changzhou. Wen Ji gave birth to Zirong, and taught Confucianism in Yuanfenshui County. Zi Rong is blessed by God, God blesses Yuan Shan, and Juping Jianglu is medical. Yuan Shansheng Xiwu, Xiwu Shengmengfu, Mengfu Shengliangshao, all of them are not professional and the industry is endless. Liang Shao married the daughter of Gongda of the Han Tai Hospital, and then married the daughter of the Wang family's Hanlin attendant Ru Jia. Mr. Han is also out of the house, and the word is eternal. [25] In addition to the Chujiang Autumn Dawn Scroll and the Gaoshi Scroll, Yu's Calligraphy and Painting Inscriptions also contains another collection of Chen Mengfu's Bamboo Scrolls, Wang Mengduan's Bamboo Scroll. [26] This is material evidence of Chen's association with fellow countryman Wang Fu (1362-1416). Chen Mengfu's son is named Liangshao. Its main room is the daughter of Han Yi's brother Han Yi (Zigongda). Chen Ji is the son of Liang Shao and Han, and is called "Weizhi Jushi". Chen Ji inherited his family education, excelled in medical skills, and became friends with many fellow calligraphers and painters, including Shen Zhou and Wu Kuan. More on that later.
In addition to the Han Yi, Wang Bin, and Chen Mengfu families, another famous medical family in the Wumen area in the early Ming Dynasty was the Zhao family who moved from Zhejiang, and its representative figure was Zhao Youtong. "Gusu Zhi" recorded: "Zhao Youtong, the word Yanru, a native of Changzhou. Tied out of Song Nanyang Hou. Father Liangren, a doctor and a doctor, is in the art of biography. Friendship is deep and gentle, and there is friendship. Since childhood, I have learned from Song Yuyou. At the end of Hong Wu, he served as the instructor of Huating County. At the beginning of Yongle, the full examination should be moved. Hui Yao Guangxiao said that he was deep in medicine, so he was awarded the imperial doctor of Tai Hospital. ...... Brother Tai, Zi Ji Shi, and Sun Tonglu all learned from the world. [27] During his stay in Suzhou, Zhao Youtong became friends with many calligraphers, painters, and scribes. Zhao Mengjian's "Lan Hui Picture Scroll" recorded in "Zhao's Iron Net Coral" has a poem with the same title by Zhao You. Also inscribed on this volume were several famous people from the region at that time, such as Zhang Shi, Lu Xiong, and Chen Ji. [28] In addition, Zhao Youtong also had a relationship with Zhao Mengfu's grandson-in-law, the calligrapher and painter Tao Zongyi. Tao once wrote a poem entitled "The Painting Scroll Collected by Zhao Yanru in Jinhua",[29] which shows that Zhao Youtong paid attention to the appreciation of calligraphy and painting in addition to studying medical skills. Zhao Tonglu, the grandson of Zhao Youtong, the word "and philosophy", inherited the family school, and was also good at calligraphy and painting. Shen Zhou was guided by him in his early years. 〔30〕
Fig.1 [Yuan] Zhao Mengfu, Chongjiang Stacked Peaks, Scroll, ink on paper, 28.4×176.4 cm, Collection of the National Palace Museum, Taipei
In the late Yuan Dynasty and early Ming Dynasty, Zhao Mengfu's works have always received high attention. His masterpieces are often prized by collectors for generations. An example of this is the Picture Scroll of the Chongjiang Stacked Peaks, now in the collection of the National Palace in Taipei (fig. 1). The work is recorded in the "Volume 12" of Zhao's Iron Net Coral, and there is a text written by Chen Jingzong in the ninth year of Xuande (1434). Bazhong mentioned: "The right Zhao Wenmin Gong Chongjiang stacked mountain map, now for Li Chang Qiming's family collection." Chang, Gu Shu Shi Wenzi also. Shiwen is a good doctor, and he is good at reading, can recite poetry, and is good at law. The words are gentle, and the advance and retreat are moderate, which is commendable. In order to give it to its ancestors, because it is to ask for the question. [31] Chen Jingzong's article was followed by Chen Lian, and he also mentioned the action: "Li Chang Qiming's family collects old things. [32] In "Iron Net Coral", Chen Jingzong's inscription is immediately followed by Chen Jian's inscription, which mentions: "A volume of the right pine and snow heavy river stacked peaks, which is the collection of old things for the Li She's family, and occasionally shows them. [33] Chen Jian lived during the period from Orthodoxy to Chenghua (1436-1487), and the "Li Sheren" mentioned in his inscription is speculated to be the descendants of Li Shiwen and Li Chang's father and son. [34] Chen Jianba's text was followed by Wu Kuanba's text, signed "Yanling Wu Kuanguan Li Bingcao's Inscription". [35] The "Li Bingcao" here is speculated to be the descendants of Li Shiwen's father and son. Like Chen Jingzong's Bawen, it is also found in the "Chongjiang Stacked Mountains Picture Scroll" in the National Palace Museum in Taipei. Wu Kuan died in the Hongzhi period (1488-1505), although there is no specific time of the book, but the style of the book belongs to the mature state of Wu Kuan's later years, and it is speculated that it was probably from the late Chenghua period to the Hongzhi period. Combined with Chen Jingzong and Chen Lian's words in the nine years of Xuande, it is speculated that from Xuande to Chenghua and Hongzhi, the work should always be collected by the Li family.
Many physician families in the Wumen area were not only interested in the collection of paintings and calligraphy, but also many painters appeared among them. For example, in the early Ming Dynasty, Wang Lu, a physician who was as famous as Han Yi and Wang Bin, was good at landscape painting. [36] "Gusu Zhi" recorded: "Wang Luzi Andao, a native of Kunshan. studied medicine in Danxi Zhu Yanxiu, and did his best...... The painter Xia Gui is vigorous and densely arranged. Critics say that the morale of the writer is salty. Yuan Ji traveled to Huashan and made more than 40 pictures. The book is a poem on it, and it has been hiding good things so far. [37] The "more than 40 pictures" mentioned here are the "Huashan Atlas" now in the Palace Museum. It is good to seek, to save, to save more, and not to get tired of it, which is still not enough. The ...... of the Habit of Copying There are many kinds of paintings, and the paintings of landscapes are Yu Zhen. There were also many painters, and Ma Yuan, Ma Kui, Ma Lu, and Er Xia Guizhi were Yu Zhen ......"[38] It can be seen that he had invested a lot of energy in collecting ancient paintings, especially the paintings of the Ma Yuan and Xia Gui schools in the Southern Song Dynasty, and his creation was also influenced by these collections.
Wang Bin is also good at painting. "Peiwenzhai Calligraphy and Painting" quoted the "Wuzhong Character Chronicle" record: "Wang Bin is obscure, and he tastes the picture of Longmen Spring Dawn in Tianping Mountain, so he is well-known in painting. [39] Wang Bin's ethnicity, Wang Guan (Wei Hao), was a rich collector of paintings and calligraphy, and his son was Wang Yuxiang, an important member of the Wumen School. [40] Wang Yuxiang was close friends with many calligraphers and painters in his hometown, such as Wen Zhengming and others. Wen Zhengming's "Lin Xie Sencha Picture" in the Tianjin Museum is made by Wang Yuxiang. In 1527, Wang Yuxiang cooperated with more than 20 relatives, friends and disciples of Wen Zhengming to compose "Wumen Zhujiashou Yuan Fangzhai Three Absolute Volumes" for the 60th birthday of Wen Zhengming's in-law Yuan Mo. The "Washing Inkstone Pond" in the book was drawn by Wen Jia, the son of Wen Zhengming, and the poem on the opposite page was inscribed by Wang Yuxiang.
3. The literary friendship between the Wumen physicians and fellow calligraphers and painters in the Ming Dynasty
During the Ming Dynasty, many physicians in the Wumen area, as members of the scholar community, had close contacts with calligraphers and painters in the same township. There are many poems and literary gifts between each other. For example, the exchanges between Han Yi and Wang Bin, Wang Xing, Yao Guangxiao and other calligraphers and painters can be seen in Wang Xing's "Visiting the Qionglong Mountain with Han Gong Wangyan Sidao Leaving the Title of Xianzhong Temple", "Rewarding Han Meng'an" and Yao Guangxiao's "On August 20, I went out of the west of the city and looked at the Fengqiao and climbed the Tianping Baiyun Temple, and when the Venerable Master Gui arrived at the west foot the next day, the forest garden was beautiful, the garden was in full bloom, the sky was full of fragrance, and the house was lovely. [41] Zhao Youtong's friendship with painters such as Wang Fu and Wang Ruyu can be seen in Wang Fu's poems such as "Rhyme with Zhao Yanru in the Mid-Autumn Festival" and Wang Ruyu's "Two Songs on Songjiang for Zhao Youtong". [42] Shen Zhou had dealings with Wang Bin's ethnic group Wang Min (character Shi Mian), Wang Weihao, and Zhao Youtong's grandson, Zhao Tonglu. His poetry collection includes "Shou Wang Shi Mian Sixty", "He Wang Wei Hao Dezi" and "Shou Zhao and Zhe" and other works. [43] In addition, calligraphers and painters would write prefaces to the poetry collections of the healers. The preface to Han Yi's "Han Shanren Poems" was written by Yao Guangxiao, who was the young master of the crown prince at the time, in the seventh year of Yongle (1409).
(1) Inscriptions of calligraphy and painting works and collections
Healers often inscribed paintings of painters as friends. At least two of the extant Wang Fu paintings retain Han Yi's inscriptions. One is the "Qiulin Book House Scroll" in the Cleveland Museum of Art in the United States, and the other is the "Grass Pavilion Smoke Tree Scroll" in the National Palace Museum in Taipei. At the same time, painters are often invited to write about the collection of paintings and calligraphy of doctors. For example, in the "Zhao's Iron Net Coral", the "Mi Youren Da Yao Mountain Map" is recorded by the painter Wang Xingyi: "Mi Shiwen has traveled to the Qing capital, and the ruins are less and less in the world...... Wang Yunpu lost it again and regained it, so it is very gratifying. However, all things have impermanence, and they belong to the Shen family. The Shen family is a good doctor, and Rizhang knows how to play with the ancients. often make friends, and now die. Zixuan came out to ask for questions, and it was poignant to see. [44] According to the book, the name of the person who came to ask for the question was Shen Xuan, the son of Shen Rizhang, and both father and son were doctors. "Gusu Zhi" recorded: "Shen is known as Xuan with a hidden name, and he is known as a word." It was first given by Bianxi Wu, and the word good and good favor was given by the sect's own book. Zu Boxin and Father Rizhang both have medical names. With less potential, you can be self-motivated. At the beginning of Xuande, he was recruited as a doctor and was not very well-known. The Huiyuan sentenced Jiang Yongwen to be ill, and the envoy sent him to ask: Qing is dead, who can replace him? That is, he was promoted to the imperial doctor and entered the symmetry. It is said that people can be known with words, and they can live up to their potential. [45] From this, it can be seen that Shen Xuan was recommended by Jiang Yongwen to become an imperial physician because of his superb medical skills. The Shen family has been collecting paintings and calligraphy since Shen Xuan's grandfather, Shen Boxin. The aforementioned piece of Zheng Sixiao's "Melan Picture Scroll" from Han Yi's old collection was once in Shen Boxin's collection, and there is a script inscribed by Chen Ji at the end of the volume.
Another contemporary Wumen painter Wang Ruyu (Wang Pu) also had two famous doctors from his hometown among his friends. They are Liu Guan and Liu Pu, father and son, who were officials in the same dynasty as Wang Ruyu. "Gusu Zhi" recorded: "Liu Guanzi Shibin, a native of Changzhou, is famous as a doctor in the world. Father Yi is a good doctor in Yanfu, and he is not in trouble. At the beginning of Yongle, I remembered the minister. Summoning the view and returning to the imperial doctor. [46] "Liu Puzi Yuanbo, a native of Cheung Chau...... At the beginning of Xuande, he was a literary recruit, and there were people who said that he was a good doctor, so he thought that he was the deputy envoy of the Huimin Bureau. The change of oneself is not reported by those who know. Full rank, the officials of the hospital are not their ambitions. He is a doctor who knows both medicine and surgery, but he is ashamed of his name. Although the official is a doctor, the only thing in the day is to sing poetry...... At that time, Yan Duo, Wang Huai, Tang Yinji, and Su Ping were proud of their poems, and they were ten talents. Pu is the author of several volumes of the Grass Window Collection. [47] At least two pieces in Liu Guan's collection have been inscribed by Wang Ruyu, one is Wang Fu's "Bamboo and Wood Drawing" and the other is Zhou Fang's "Folding Flower Lady" in the Tang Dynasty. The two poems inscribed by Wang Ruyu are included in the "Qingcheng Shanren Collection". [48] Liu Pu's friends included Xu Youzhen, Du Qiong, Liu Jue, and Shen Zhou's grandfather, Shen Cheng (also Meng Yuan), and other calligraphers and painters. Du Qiong's "Dongyuan Collection" has a poem "Gift to Liu Cao's Window Painting and Inscription", which is a poem with the title when Du Qiong gave Liu Pu a painting. [49] The poem traces the history of the development of landscape painting from Wang Wei and Li Sixun to the early Ming Dynasty, and is considered to be the precursor of Dong Qichang's "North-South Sect Theory". Liu Pu also wrote two poems for Liu Jue and Shen Cheng, "Zhongnan Jinshi Acts as Liu Principal Tingmei Fu" and "Jiexuan is Shen Mengyuanfu for Changzhou", which are included in the "Grass Window Collection". 〔50〕
The collection of paintings and calligraphy of Wumen physicians is often passed down from generation to generation, and different calligraphers and painters are invited to work at different times. When Chen Mengfu collected "Yanlong Tu Chu River Autumn Dawn", he invited Wang Ruyuba to write this painting. Bazhong said: "Last autumn, my friend Xie Yanqi asked for Chu Jiang Qiuxiao for Meng Fu Chen Xiaolian, but it was not completed for a long time. Today, I happened to pass Xu Lanbo's reading room, when the summer rain was at the beginning of the day, and the windows were clear. Because of the aid of the pen, Lan Bo returned to Meng Fu, and he was ashamed not to work. [51] When Chen Ji collected the work, the texts of Du Qiong and Shen Zhou were added to the volume. Du Qiong's inscription in the sixth year of Chenghua (1470) describes the experience of the work being lost and returned from the Chen family: "Chen Junyongzhi has a landscape scroll of Song Yanlong, and poems by people in the early Yuan and Ji periods. Cover his eldest father Meng Fu hidden, occasionally for people to go, I don't know what to do. His father Liangshao is very sorry, and he can't get it in the end. Xishan Huazu Fang occasionally purchased it, and said: This Chen family's old thing, how can I keep it private? Yongzhi is like an arch, shown to give, and the reason for it. In the play! Hepu returned the pearl, and the country of Lu won the bow, which was very lucky, and it was especially fortunate if this volume. [52] Shen Zhou's "Manuscript of Ishida Poems" includes the "Three Poems of Chujiang Qiuxiao, Chen Weizhi Zang Yanlong Picture Scroll" written in the ninth year of Chenghua (1473) [53]. In addition, the collection of the Shen Zhou family has also invited Chen Qi to inscribe. In the previous article, Wang Meng made the "Listening to the Rain Tower Picture Scroll" for Lu Shiheng, which was later collected by Shen Zhou's grandfather Shen Cheng (Shen Mengyuan) and transferred to Shen Zhou. Chen Ji wrote a long inscription for it in the fourth year of Chenghua (1468): "The right listens to a volume of poems and paintings in Yulou, and the famous princes of the Yuan Dynasty and the beginning of the country are also made by the father and son of Wusu Lu Shanfu...... My Xiangcheng Shen Weng Meng Yuan is well-known and ancient, and if his son is virtuous and talented, he will be able to appreciate it, and this can be treasured in eternity. Not far away, hold it to serve Weng. Weng Nai was happy at first sight, and replied with a generous courtesy. It is a small building near the stream, flat to listen to the rain. Sitting on the right, playing and singing satirically, as if receiving the light of the public and listening to it...... Weng's grandson Qi Nan came out to show it, and he was arrogant to the left cloud. ”〔54〕
(2) Reward text
In the social culture of the Ming Dynasty, there were many ways to repay the doctor's kindness. In addition to paying for medical treatment, patients often invite celebrities of the time to write poems to praise the doctor's medical ethics and skills, and use the poems as a thank you gift to help the doctor improve his reputation. Many of these chapters were written by famous Wumen calligraphers and painters. In Wang Xing's "Banxuan Collection", there is an article "Voice" written for the doctor Han Gongmao at the invitation of the patient. This patient is Xu Lanbo, who handed over the inscription poem to Chen Mengfu on behalf of Wang Ruyu in the previous article. The article mentioned: "Gaoyang Xu Lanbo, give it over." Infant illness is getting worse day by day. Tell Gongmao, Gongmao is the ...... who tends to come to the clinic Lamber can afford it. Gongmao's eagerness for righteousness is also known, not because of Lan Bo, but because of Lan Bo, he is good to know. The depth of the Lambold Gongmao is not enough to make it sincere, and the words cannot be investigated for its meaning, so the rest of the text is sent to it. [55] The doctor Han Gongmao that Xu Lanbo wanted to reward was the son of Han Chong, Han Ning's younger brother, and Han Zheng, who served as the envoy of the Tai Hospital in the early years of Yongle. [56] After Han Zheng's death, he was also buried with Han Yi's brothers next to the tomb of his uncle Han Ning. [57] The "Voice" shows the reputation enjoyed by the Han family among the Wu people for their medical skills and virtues. Similar text can also be found in the poem "Doctor Han Xunxuan and Son" in Du Qiong's "Dongyuan Collection". [58] In the poem, he recounts his experience of being seriously ill and being treated by Han Xunxuan's father and son, and expressing his gratitude to the father and son. Judging from the sentence "Anyang's famous grandson, the doctor's name Zhen Changzhou", Xunxuan's father and son are also of the same clan as Han Zheng and Han Yi. The poem says: "Now that the future is reborn, both mother and son forget their worries." Compassion and filial piety are preserved. There is no reward for God's grace. Confidant pity me deeply, fortunately Peng Cheng Liu. Solicitation of words on behalf of the gift, Gao Wenyang Xiu. There are more than ten new poems, and the authors all travel together. Virtuous and re-friends□ □□ float with the world. For the rest of his life, he is lucky, and everything he meets is virtuous. Deep grace and high righteousness, no toothless center stays. It can be known that in order to thank Xun Xuan and his son, Du Qiong not only wrote poems for himself, but also asked his friend "Pengcheng Liu" to collect poems from other friends on his behalf. 〔59〕
Xu Youzhen, who was at the same time as Du Qiong, and Wu Kuan, who was a little later, were invited by patients to write articles of appreciation for doctors. Xu Youzhen's "Collection of Martial Arts" includes the article "The Preface to the Gift of Physician Sheng Wen", which was written at the request of his colleague, "County General Xie Hou", to cure his son's doctor Sheng Wen. The article recorded: "Sheng's doctor is also the world's business, and the imperial doctor Gong Qidong is the king of Mr. Zhongguang." Zhongguang took Confucianism as a doctor, and his learning was particularly good. Qidong personally accepted his instructions, so he was called a traditional Chinese doctor. He was conscripted from his younger uncle and his name to the imperial physician one after another. Zikan is also a county official, and a brother and son are all doctors. Therefore, today's doctors are many in Wuzhong. Since Wu Zhong, there are many Sheng clans. Wen Ji, Sheng's good also. With Qidong and Uncle as fathers and brothers. He is also just qualified, beautiful and beautiful, and Mo Xianyan, who entered after learning Wu medicine. [60] The "Imperial Physician Gong Qidong" in the text is the early Ming Dynasty physician Sheng Yin (1375-1441). The history of the Sheng family's practice of medicine began in the Sheng Yin era. "Gusu Zhi" recorded: "Sheng Yin's character Qidong, a native of Wujiang, studied medicine from Wang Bin. In the Yongle room, it has a miraculous effect in treating the internal servant Gu disease. Famous above, awarded the imperial doctor...... Brother Hong, the word uncle. He is also well-known with Yin, and he is also a royal doctor. ”〔61〕
Wu Kuan's "Collection of Family Collections" also includes the article "Preface to the Gift of Wang Weiyong", which was written by Wu Kuan to thank the physician Wang Wei for curing his father's illness. The article mentioned: "Mr. Dongzhuang, the gentleman of the family, is strong, and he is sick in the spring of this year. Kuan is both stealing from the court, and people from Wu are secret. After a long time, the family monarch has said since the beginning of the book: I have tasted the disease, and I can only use it to cure it. Gu Wu's illness is not only cured, but you should report it for the text. When Kuan Shi heard it, he was shocked. Surprised and happy, happy and grateful to the only user, self-conscious and shy words are not enough to repay. If the strict order is violated, the book is only used as a gift. [62] The "Mr. Jiajun Dongzhuang" here refers to Wu Rong, the father of Wu Kuan. The recipient of the article, Wang Weiyong, is the same as Wang Weihao, who collected Mi Youren's "Tiaoxi Spring Dawn", and is from the Wang Bin family: "The king is a Confucian, and his doctor is from his Xianguang Nunnery...... The third pass of Guangan is for Mr. Shi Mian. Shi Mian reads Confucian books, can follow his medicine, and save his benevolence. The name benefits from Wu Xia and extended to the two capitals, but the eldest son of Mr. Ze is also. [63] The "Mr. Shi Mian" in the text should refer to Wang Min, who studied medicine under Sheng Yin in his early years. "Gusu Zhi" recorded: "Wang Min is a young man, and Zhongguang is a grandson. Less orphans and poor, from Han Bocheng, Sheng Qidong to study medicine, famous ...... On weekdays, there are many scholars, and they are not retributed. Wang's doctor also focuses on preserving vitality, Min and Zhang Yi at the same time, and Min has little difference in age. Yi Yi Yi, Min Yi Yi, and all of them are famous in Wuxia. ”〔64〕
(3) Commemorative texts and commemorative texts
The friendship between the doctors and the calligraphers and painters is not only reflected in the poems written by the calligraphers and painters for the doctors, but also in the various mourning and commemorative texts they made for each other after their death.
At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, the Wumen area was inhabited by many immigrants from other places, including Wang Meng, Ni Zhan, Chen Weiyun and many other calligraphers and painters. After Ni Zhan's death, his epitaph was written by the physician Wang Bin, and can be found in the Qing Pavilion Collection [65]. After the death of some famous doctors, their lines or tomb tables were often made by fellow calligraphers and painters. For example, the Ming Dynasty "Epitaph of Li Sine, a Physician of the Tai Hospital", which is now in the Suzhou Museum, was written by Chen Xun (1385-1462), who was the head of the household at the time. The article mentioned: "Because of his brother-in-law Xu Yizhang, who is a scholar, he was invited to speak by Hanlin about Xu Yuanyu's deeds." [66] The "Hanlin attendant talks about Xu Yuanyu" mentioned in the text is Xu Youzhen. The epitaph recorded: "Li Shiwen, a native of Gusu, went to the doctor with fine medicine." He is elegant and loyal, not like □□□ practitioners, scholars and doctors. Not long, the scholars and cultural relics are so many people who make an elegiac speech. For more than ten years, the former military department gave □□ Yu Zuo and Liu Shizheng illnesses, and they were puzzled. There is a person who recommends Li Sine, and it is said that the nephew of the late Shiwen is also a doctor. To it, □□□ and sure enough. Yu □ is □ and has a relationship with him, and □ Shu is almost like Shiwen. From these texts, it can be seen that Li Siner was the nephew of Li Shiwen, the collector of Zhao Mengfu's "Chongjiang Stacked Peaks", and the epitaph was based on the lines written by Xu Youzhen for him. Li Sine was friendly with Xu Youzhen before his death, and Xu Youzhen also wrote a poem "Fun in the Pot for the Doctor Li Sinene", which can be seen in the "Martial Arts Collection". [67] After the death of Wang Weiyong's father, Wang Min, Wu Kuan also wrote a tomb table for him, which was included in the "Family Collection". [68] After the death of Wang Min's son Wang Guan, his epitaph was also written by the calligrapher Zhu Yunming. 〔69〕
Since the Hongwu period, many doctors have appeared in the Wumen area who worked in Tai Hospital. They had a prominent reputation among the scholars of Wudi. After their deaths, fellow villagers often wrote elegiac poems and memorial texts for them. When Liu Pu died of illness in Beijing, Shen Zhou wrote poems such as "Mr. Liu in the Grass Window" and "The Rhyme of the Tomb of Liu in the Grass Window of Tianquan Weng". [70] Liu Pu was not only known for his medical skills, but also for his literary achievements. The Shanghai Museum has Shen Zhou's Tianping Mountain Picture Scroll (fig. 2), and at the end of the volume there are three poems written by Shen Zhou. In the text, Shen Zhou also recalled Liu Pu's poems. The book of Bashu reads: "The old work of Shen Zhoushu in the autumn of Hongzhi Ji You, in the original Taiyi Mr. Banfang Zhai. ”
Fig.2 [Ming] Shen Zhou, Tianping Mountain, Ink on paper, size unknown, Collection of Shanghai Museum
"Hongzhi Jiyou" is in 1489, and the reason why Shen Zhou appeared at the residence of "Mr. Yuan Taiyi" at this time is probably because he is participating in the mourning activities of this deceased famous man. "Gusu Zhi" recorded: "Zhou Geng's character was original, his original name was Beijing, and he was from Wu County. The family is a doctor, and Geng likes to read, and he is an ancient Chinese word. Living in seclusion to raise relatives, there is no intention at first. Chenghua was recruited as a famous doctor, but he couldn't resign, so he reluctantly went to Beijing and simply entered the imperial pharmacy. Seeking the imperial doctor of Tai Hospital, he moved to Nanjing Tai Hospital and died. [71] In February of that year, Zhou Yuan died in Nanjing. Under the initiative of Wu Kuan, the scholar group of Wumen launched an elegant gathering activity to collectively compose a memorial text for it. [72] Shen Zhou, Wang Wei, Zhu Yunming, Chu Wei (1457-1513) and many other celebrities, as well as Wu Kuan and Shen Zhou's friend Li Dongyang, participated in the memorial. Shen Zhou wrote an elegy for him "Bang Zhou Yuan Has Been Judged" [73], Wang Wei wrote "Crying Zhou Yuan Has Been Times Kuangan Rhyme", and Zhu Yunming wrote "Crying Zhou Yuan Sentenced to September 20th, Fu Shi Gong returned to Xuanzhai to be sick and unable to be sent". [74] Among the memorial texts made by the people, only the works of Wu Kuan, Li Dongyang, and Chu Wei have been preserved. In addition, Wu Kuan's letter urging Wang Wei to write a memorial text for Zhou Yuan still exists, and it is now stored in the Jinmotang Calligraphy Research Foundation.
(4) Genealogy
Calligraphers and painters not only write elegiac poems, lines, epitaphs and other mourning and commemorative texts for deceased physicians and friends, but also often write prefaces to their genealogies and genealogies at the invitation of their clansmen to publicize the prestige of their families. In Wu Kuan's "Collection of Family Collections", the article "Sheng's Reconstructed Genealogical Preface", written at the invitation of his friend Sheng Yongyang, is an example. Sheng Yongyang is a descendant of the Sheng Yin family. Wu Kuanwen said: "The Sheng clan is a big family in Wuzhong, and their descendants are scattered in the county, and most of them are engaged in medicine. When the emperor and the Ming Dynasty were used in the court, the imperial doctor Qidong and the second uncle of the Tai Hospital were especially authored. Secondly, most of them are county medical officers...... The Yan of the Sheng family said to use the yang, and try to repair the genealogy by hand, please order it. And to show his family history by himself, it is beneficial to get his details. [75] The article details the multiplication of the Sheng family in the land of Wu, and recalls the fame of the medical family founded by the Sheng Yin and Sheng Hong brothers, and the reputation accumulated for the family. At the end of the article, Wu Kuan praised Sheng Yongyang's filial piety: "This spectrum is regarded as an unacceptable one, and Yongyang is afraid of it and forgets its work." From the original branch, derived and different, such as the order of Zhao Mu between the temple, the rank is not chaotic, the good history of its Sheng clan! If you use the yang to ignore it, it will not only make future generations not think about its first, but it will make the family take advantage of the lack and the way of succession will decline. Then use the sage descendants of the Yang Qi Sheng clan!"
Fourth, the Ming Dynasty Wumen calligraphers and painters and the same countryside group of painters and scholars
The typical physical evidence of the friendship between the physician and the calligrapher and the painter is the works given by the calligrapher and the painter to the doctor. Among them, there are not only gifts from friends, but also thanks to the doctor's work in diagnosis and treatment, and a thank you gift for the doctor's fame.
As mentioned above, Han Yi and Wang Fu are friends. Wang Fu once gave several paintings to Han Yi. "Shigutang Calligraphy and Painting Collection" has a record of "Ming Landscape Character Book". Among them, the page of "Wang Mengduan Bamboo and Stone Map" has Wang Fu's own inscription: "From time to time, there is a mountain man Han Meng'an at the table, and he loves it when he sees it, so he returns to Han, and it has been 20 years now." And the younger brother of the mountain man sentenced the public to show it, and he was very grateful. All the relics of the predecessors seen in the past do not know what they exist after seeing them. And the clumsy and mediocre is the treasure of the Han family, if this, it is loved by the mountain people. And the servants went out of the mountains to visit the eunuch capital. When I first heard that the master of Song'an went to Tiger Hill to show his death, a few mountain people returned to immortality. Today, I and Gongda are in the same dynasty, reminiscing about the sense of the existence of the old tour, and I can't help but be saddened. [76] The inscription shows that the work was inscribed by his brother Han Yi when he was sentenced by the Tai Hospital after Han Yi's death, and it is the physical evidence of the friendship between Wang Fu and the two Han brothers. Shen Rizhang, who once collected Mi Youren's "Da Yao Mountain", was also friends with Ni Zan and other painters. The National Palace Museum in Taipei has a scroll of Ni Zhan's "Bamboo Branch", with a poem inscribed by Ni Zhan. Its donee is Shen Rizhang. In addition, the Palace Museum has Wang Meng's "Gezhichuan Migration Map" (picture 3), which has Wang Meng's own inscription: "It has been several years since Meng painted this picture in the past year and Rizhang." Let's look at it again and start with the topic. According to the identity of Ge Hong, the figure in the picture, as the distant ancestor of the Taoist medical school, combined with the existing historical materials, it is speculated that there are two possibilities for the recipient of this painting. One possibility is the physician Shen Rizhang. Another possibility is that the work was painted for the Suzhou scholar Zeng Ji (Zi Ri Zhang, 1345-1407). The characters and storyline in the painting are likely to be a metaphor for his father, Zeng Pu. "Gusu Zhi" recorded: "Zeng Ji character day chapter, with words, Wujiang people." His father, Pu Zhejiang Medicine, was promoted from Hangzhou to Suzhou. Zeng Yao's father, Zeng Puzi, "Yanlu", was also a famous doctor, who served as a medical promoter in Zhejiang, and later moved to Suzhou from Hangzhou. During his stay in the Soviet Union, Zeng Pu often traveled with celebrities in Wu, including Chen Ji, who once wrote the "Preface to the Gift of Medicine". Chen Ji also wrote an article entitled "Gift to Zeng Yanlu Preface", which can be found in the eighteenth volume of "Yibai Zhai Manuscript". In addition, Zeng Pu also had a lot of dealings with Ni Zhan's friend, Suzhou native Lu Min (Zhixue). Yi Jing, who used to be a Confucian scholar in Suzhou, once wrote a poem "Accompanying Lu Zhixue, Zeng Yanlu, Liu Zhongyuan, and Ascending Tiger Hill to Fu Cheng Zhongzhong". Moreover, Zeng Pu's son Zeng Ji was born around 1346, and Wang Meng was more than thirty years old. In the inscription of "Ge Zhichuan Migration Map", there is no honorific such as "Mr." after the word "Rizhang", which probably also indicates that the recipient of the work, "Rizhang", is Wang Meng's junior. This work, which depicts the story of Ge Hong's emigration, may have been given to Zeng by Wang Meng, and was intended to show the past of his father's migration to Wumen as a famous doctor through historical allusions.
Fig.3 [Yuan] Wang Meng, Ge Zhichuan's migration, ink and color on paper, 139.5×58 cm, Collection of the Palace Museum
When a doctor returns to his hometown or travels far away, calligraphers and painters often make pictures for him. Wang Fu's "Practicing Prayer in the Phoenix City" by the Cleveland Museum of Art in the United States was made for the imperial physician Zhao Youtong's homecoming trip. In the painting, there is a seven-character poem by Wang Fu, and the book is "Wang Mengduan, a native of Jiulong Mountain, wrote and inscribed for Yanru". The "Fengcheng" in the poem refers to Bianliang, the capital of the Northern Song Dynasty. Zhao Youtong's family came from the Marquis of Nanyang in the Song Dynasty, so the "Fengcheng" here also refers to the old hometown of the Zhao family. The people who inscribed the poems in the painting also include a number of Wu celebrities who were officials in the same dynasty as Zhao You, such as Yao Guangxiao and Wang Ruyu. In the autumn of the 15th year of Yongle (1417), Xie Jin, an early representative of the Wumen School, met his friend Sheng Yin, who was returning from Beijing, in Danyang, and presented him with the painting "Yunyang Morning Journey" (picture 4). The picture depicts a scribe on a pine-shaded path in the mountains, riding a horse. Then a servant took the burden and followed. There is a five-character poem by Xie Jin in the painting. [77] Among the other inscriptions on the paintings are two of Sheng Yin's colleagues, Liu Pu, and Jiang Yongwen, who recommended Shen Yiqian in the previous article. Liu and Jiang both have the word "Cheng'en" in their poems, which shows that Sheng Yin's return to his hometown this time was a "favor" specially approved by the emperor. The painting was in the collection of the Sheng Yin family for a long time, and was later lost. In the ninth year of Chongzhen (1636), it was regained by Sheng Yuzan, the seventh grandson of Sheng Yin, and there is an inscription of Sheng Yuzan in the lower right corner of the painting core.
Fig.4 [Ming] Xie Jin, Yunyang Morning Journey, ink and color on paper, 102.1×47.5 cm, Collection of Shanghai Museum
Paintings, like poems, are often used as gifts for the painter to thank the doctor for his treatment. Shen Zhou's poetry collection includes the work "Planting Apricot Picture for Shi Minggu Xie Chen Weizhi to Heal His Son's Disease". [78] "Chen Weizhi" is Chen Ji, and Wu Kuan wrote a tomb table for him: "Chen is a doctor, and if he is a little gentleman, he will be able to do his business and cure many diseases." and the old and the home, also self-sufficient, but not as good as the worldly doctors. [79] From this account, it can be seen that Chen Ji was not only skilled in medicine, but also treated diseases regardless of financial gain. This "apricot planting picture" should have been created by Shi Minggu and asked Shen Zhou to repay Chen Weizhi for saving his son. [80] Shen Zhou's disciple Tang Yin fell ill for a long time in his later years, and once asked the physician Lu Yue for diagnosis and treatment, and Tang Yin wrote a "Burnt Medicine Scroll" (fig. 5) to thank him. The picture was made around the age of forty-nine of Tang Yin, and Zhu Yunming wrote "Doctor Lu Junyue's Renxuan Ming" for him at the back of the volume. The painting depicts a healer sitting under an ancient pine in the valley, a boy in front of him holding a fan in front of the furnace to burn medicine, and at the end of the scroll there is a poem by Tang Yin himself. Judging from the last two sentences of the poem, Tang Yin was suffering from lung disease at that time, which may also be one of the reasons for his early death.
Fig.5 [Ming] Tang Yin, Scroll of Burning Medicine, ink and color on paper, 28.8×119.6 cm, Collection of the National Palace Museum, Taipei
"Zhai number picture" or "alias picture" was a common subject of painting by Wumen painters in the Ming Dynasty, and several famous doctors were also included among the recipients. Tang Yin's "Crane Scroll" is a typical example. There are two versions of the work, the first of which is recorded in the Shiqu Baoji, which states: "Song notebook, ink painting. Section Zhiyun: Hongzhi Renzi Zhongchun is looking forward, and the pen of Li Heyang is like Mr. Crane, who has not yet learned and cannot work, Tang Yin. [81] The recipient of the work, "Mr. Qian He", is Wang Guan (Wei Hao), the collector of the "Tiaoxi Spring Dawn Picture" mentioned several times above, and Wang Yuxiang's father. [82] Wang Weihao used to be called "Xingpu", but after receiving the white crane presented by Wu Lingwen Tianjue, he changed his name to "Crane". [83] At the end of the volume, there is Zhu Yunming's "Paragraph Crane Text", which explains in detail the origin of "Section Crane" No. 1 and praises the cultivation and knowledge of "Mr. Section Crane" who is also a Confucian and a doctor. Zhu Yunming has a lot of contacts with Wang Guan. Several of his letters to Wang Guan still survive. [84] Another version is Tang Yin's Crane Scroll, now in the Shanghai Museum. The volume is painted in light ink and color, depicting the bank of the mountain stream, and the ancient trees are hanging in the shade. A healer sat beside the stone case, and a crane came in front of it. On the left side of the healer, there is a boy leading the fire decoction. Like the Burnt Pills, this image is a metaphor for the recipient's doctor's identity. Like the version recorded in "The Treasure of the Stone Canal", this work is also an imitation of Li Tang's fine brush style. At the frontispiece, there is an inscription by Tang Yin, "Wu Trend Tang Yin is dedicated to Mr. Crane". Wang Weihao is friends with many calligraphers and painters such as Shen Zhou, Wu Kuan, and Li Yingzhen. In his epitaph, he said: "And the name of the world is very long and wide." As such, Wu Wending, Gongyuan Bo, Li Taifu, Zhenbo, and Mr. Shen Qinan...... It is especially good. [85] At the end of the volume, there is a poem by Shen Zhoushu in seven words. However, his book has no date, and the things described in the poem have nothing to do with "Crane No. 1". It is speculated that this poem was probably not written by Shen Zhou for the painting, but was forged or moved from elsewhere by later generations.
The "alias diagrams" drawn by the painters for the healers are often accompanied by poems written by calligraphers to explain the meaning of the "aliases" of the recipients. The paintings are often accompanied by inscriptions by many celebrities to show the prestige of the recipient. The "Yutian Map" cooperated by several Wumen calligraphers and painters during the Jiajing period is such an example. "Yutian" is the nickname of the Wumen physician Wang Laibin during the Jiajing period. Huangfu Huang's "Collection of Emperor's Honors" includes the article "The Biography of Wang Yinjun", which has a more detailed account of Wang Laibin's deeds. 〔86〕
There are several versions of the painting titled "Yutian", and there are more than one in the documents of the Ming and Qing dynasties, and there are two main types according to the title of the painting. One is "Yutian Tu", a name that has been published in three versions in the literature. The first edition is Lu Zhi's "Yutian Picture Scroll" recorded in the "Shiqu Baoji III". The work has the beginning of Zhou Tianqiu's seal book, and the attached text is a piece of "Yutian Ji", followed by Lu Shidao's poems. The second version is Qiu Ying's "Yutian Picture Scroll" recorded in the "Fifty-seven Volumes" of the "Shigutang Calligraphy and Painting Collection", and there is an article on Peng Nianshu's "Yutian Records" at the back of the volume, and there are poems by Wang Shou, Lu Shidao, and Zhou Tianqiu. The third version is Lu Zhi's "Yutian Picture Axis", which was recorded in the Qing dynasty Liang Zhangju's "Retreat to the Nunnery Jinshi Calligraphy and Painting". Above the core of the painting, there is a piece of Peng Nian's book "The Story of Yutian". In addition to the above three editions, the Nelson Museum of Art in the United States also has Lu Zhi's "Yutian Picture Scroll" (fig. 6). However, there is no article "The Story of Yutian" at the back of the volume, only a poem inscribed by Lu Zhi, so it is speculated that this work and the three versions in the bibliography are not the same thing. The second type is the "jade planting map". There is only one version of this name in the literature, that is, Lu Zhi's "Seed Jade Picture Scroll" recorded in the "Shiqu Baoji" "Volume 44". At the back of the volume, there is a poem with Wen Zhengming, accompanied by Peng Nian's book "Yutian Ji". In addition, at the 2022 autumn auction of an auction house in Beijing, there was a piece of Lu Zhi and Wen Zhengming's "Yutian Ji Calligraphy and Painting Volume". Lu Zhi made "Yutian Tu", followed by a text to clarify the "Yutian Chronicle", and there are inscriptions by Wang Shou, Huangfu Zhu, Lu Shidao, Zhou Tianqiu and others. In 2018, another auction in Beijing also featured a piece of Lu Zhi's "Seed Jade Picture Scroll". Above the core of the painting, there is a copy of Peng Nian's book "The Story of Yutian", but there is no seal of "Shiqu Baoji" recorded by Liang Zhangju in the painting, so it can be seen that this work and the version recorded by Liang Zhangju are not the same thing. These versions are clearly a mixed bag. However, their concentrated appearance proves the authenticity of Wang Laibin's friendship with fellow calligraphers and painters during his lifetime, as well as the related deeds of remuneration (in many versions, the year, month, and day of the signature of the "Tale of Yutian" after the painting are the same). Similar physical evidence also includes the Ming letter "Wang Yutian Za" [87], which is now in the collection of the Palace Museum, and the recipient is the painter Qian Yu. In the letter, Wang Laibin talked about Qian Wei's condition, and it can be seen that Wang had treated Qian Wei's spleen and stomach diseases.
Fig.6 [Ming] Lu Zhi, Yutian Scroll, ink and color on paper, 24.1×136 cm, Collection of the Nelson-Atkins Museum of Art, USA
Wang Laibin's interactions with fellow calligraphers and painters are likely to be related to his attention to the collection and appreciation of calligraphy and painting. Lu Zhi once wrote "Tianchi Stone Wall Diagram Axis" for him, which can be found in the "Seventeenth Volume of Shiqu Baoji". In addition, Wang Laibin has also asked painters to draw facsimiles of ancient paintings many times. Wang Yuxiang once copied Zhao Mengjian's "Narcissus Map" for him, and Wen Zhengming wrote "Daffodil Fu", which was recorded in the "36th volume" of "Shiqu Baoji". Qiu Ying's "Picture Scroll of the Book of Filial Piety", which is now in the National Palace Museum in Taipei, was also made for Wang Laibin. The work is a copy of the work of the same name by the Northern Song Dynasty painter Wang Duan. There is the full text of the book "Book of Filial Piety" in the small block of Wen Zhengming, and there is an inscription written by Wen Zhengming in "Jiajing Bingwu" at the back of the volume. It is worth noting that among the calligraphers and painters mentioned above, Qian Yu and Lu Zhi were both disciples of Wen Zhengming, and Wang Shou, Peng Nian, Lu Shidao, Zhou Tianqiu and others were closely associated with Wen Zhengming. Several editions of the "Jade Field Picture" and the works of Wang Yuxiang and Qiu Ying have Wen Zhengming as the title. Therefore, it is not difficult to speculate that most of Wang Laibin's friendship with these calligraphers and painters or their invitation to paint was realized by the introduction of scripture Zhengming. Wang's association with the above-mentioned calligraphers and painters or the collection of their works was actually a manifestation of Wen Zhengming's extensive influence among the Wumen scholars at that time. 〔88〕
The paintings and calligraphy collected by the healers are sometimes lost due to irresistible factors. The painter will copy a copy for the collector to make up for his regrets. As mentioned above, Mi Youren's "Da Yao Village Map" was once collected by Shen Rizhang and Shen Xuan's father and son. The work was later forcibly taken from Shen Rurong, a descendant of the Shen family, during the Chenghua period, and Shen Zhou was invited to make a copy of Shen Rurong. This event was recorded in the anthologies of many Wu scribes of the same era. As recorded in Du Mu's "Allegory Edition": "The Shen family in the city tastes a map of the Great Yao River, and also a millet pen." Chenghua Renyin, taken for the lieutenant. "Shen Zhou's disciple Wen Zhengming had witnessed this copy written by his teacher. The "Fields Collection" includes a poem entitled "The Picture of the Great Yao River in the Stone Field of the Shen Family", in which the inscription says: "The authentic works of the old collection of millet by the Shen family in Changzhou." In the Chenghua room, there is a tendency to take it from a fake lieutenant. Ishida is tracing this picture. [89] In the poem, Wen Zhengming praised the verisimilimide and brilliance of Shen Zhou's copy: "How can you blunt your eyes and wrong face mark, but you really become Sun Shuao." It is not a single model, but also a yellow outlet. At one point, the pen is very clear, so millet should be the predecessor. Art has always been a matter of character, and I dare to say that today's people are not ancients. The work is also recorded in the "Yu's Calligraphy and Painting Inscriptions". The painting is also accompanied by an inscription written by Shen Zhou in the autumn of the year of Hongzhi Renzi (1492): "Millet Dayao Village Map, Chengxintang Paper also." Poetry and calligraphy and painting are so moist that they are fatherly, and they are not easy to obtain, which is the collection of Wu Su Shen Rurong's family. At the end of Chenghua, Wang lame scraped Jiangdong. This volume belongs to its eagle grab. If you are worried about the people who eat and drink, you will taste the rest of the view, and seek to write down the memories of them, and you will be at a loss for a long time. Approaching Xu's nephew, out of Yuanhui Daxingshu three poems, that is, its copy of the ear. Then as soon as it passed, it was repeated to make up for this picture, and it began to stop its meaning. It is said that the gathering and dispersion of things has its own number, which does not make people tolerate it. For example, this volume is in Wang Yunpu's office, and it was transferred to Zi's house after two losses and two gains. Once the family is lost, what will happen to the rest of the day?" [90]
epilogue
Although a large number of historical materials have been combed, at the end of this article, the author still regrets to admit that many historical details about the collection of calligraphy and painting by the Wumen physicians in the Ming Dynasty still need to be studied in detail. For example, Zheng Sixiao's "Melan Picture Scroll" was collected by Shen Boxin and Han Yi. However, the specific process of the transfer in the middle is not yet clear. For another example, it is difficult to determine whether Wang Meng's "Gezhichuan Migration Map" was painted for Shen Rizhang or for Zeng Ji (Zeng Rizhang) and depicted the relocation of his father Zeng Pu. For example, Wang Yuxiang and Qiu Ying both copied ancient paintings of the Song Dynasty (Zhao Mengjian's "Narcissus" and Wang Duan's "Picture of Filial Piety") for Wang Laibin, and whether these ancient paintings were in Wang Laibin's own collection? If so, how did Wang Laibin, as a folk doctor, obtain these valuable monuments? In addition, in addition to family heirlooms, are the ways in which the physicians obtained ancient paintings related to their professional experience, just as they were rewarded with poems and paintings by calligraphers and painters for curing patients? These questions need to be further studied. At present, only based on the existing historical materials, the relevant historical facts are briefly summarized and summarized.
Perusing the collection of paintings and calligraphy of Wumen physicians in the late Yuan and Ming dynasties, there are not only a large number of them, but also a rich variety. There are not only characters from the Tang and Song dynasties, but also landscapes, flowers and birds from the Song and Yuan dynasties. Among them, the literati landscape painters of the Northern Song Dynasty, the remnant painters of the Southern Song Dynasty and the literati painters of the Yuan Dynasty represented by Zhao Mengfu occupy the largest proportion. And these painters are the main objects of the Wumen School. The rise of the Wumen School in the middle of the Ming Dynasty not only depended on the artistic practice of painters, but also on the large collection of ancient paintings and calligraphy in this region, which provided superior conditions for calligraphers and painters to learn from the ancients. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, many famous paintings and calligraphy were enriched in the region, and many medical collectors played an important role. For example, Zhang Yuanshan, Chen Mengfu, Han Yi, Shen Boxin, Shen Rizhang, Wang Guan, Li Chang and others, they were the accumulators of cultural wealth in the Wumen area of the Ming Dynasty. The research on the collection of calligraphy and painting by the Wumen physician group during this period is of certain value to the study of the history of collecting and painting in the Ming Dynasty.
Because it once belonged to the rule of Zhang Shicheng's regime, in the political struggle during the Hongwu period in the early Ming Dynasty, the scholars in the Wumen area were once persecuted to varying degrees. Wang Meng, Gao Qi, Xu Ben, Wang Xing and many other calligraphers and painters died because they were involved in the political turmoil during the Hongwu period. But at the same time, the group of physicians in Wumen was increasingly valued by the royal family and the imperial court. From the beginning of Han Zheng, Han Yi, Sheng Yin, and Sheng Hong's brothers successively entering the Tai Hospital, Wumen physicians gradually became important members of the imperial medical group in the Ming Dynasty and held important positions in official medical institutions at all levels. As Xu Youzhen said in the article "The Preface to the Gift of Doctors": "There are more doctors in Wuzhong than in the world, and there are often hundreds of dozens of doctors. It is a burden to judge the imperial doctors and the officials of the pharmacies. [91] These healers held important positions not only in official institutions, but also among their fellow scholars. Like Xu Youzhen, Wu Kuan, Chen Xuan, Wang Wei and other officials, they were a special and important force in the Ming Dynasty bureaucracy. By collecting the works of fellow calligraphers and painters, or singing poems and harmony with calligraphers and painters, they are powerful promoters of the prestige of Wumen calligraphers and painters.
In the Ming Dynasty, the exchanges between the Wumen physicians and fellow calligraphers and painters, as well as the gifts of poetry, calligraphy and painting, accompanied the accumulation of cultural history and art history in the Wumen region. Many of these works fall under the category of "social art" (what Kruger calls Social Art). For example, Wang Weiyong treated Wu Rong, the father of Wu Kuan. Wu Kuan not only wrote an essay to thank him, but later wrote a tomb table for Wang Weiyong's father, Wang Min (Wang Yuzhai). Chen Ji wrote for Wang Meng's "Listening to the Rain Tower" of Shen Zhou's family biography, and Shen Zhou also wrote poems for Chen Qi's family biography "Chujiang Autumn Dawn Picture Scroll". These gifts and rewards in the form of literary and artistic works connect the emotional and spiritual world between the artist and the audience of art. Wen Zhengming, Wang Yuxiang and others collectively made a birthday album for Yuan Mo, as well as many Wumen calligraphers and painters jointly wrote elegiac poems and memorial texts for the deceased Zhou Yuan, which invisibly strengthened the identity and sense of belonging of the members of the Wumen scholar group to the identity of the "Wu people". And this sense of identity and belonging is also one of the important reasons for the enduring vitality of the Wumen School.
Exegesis:
[1] [Yuan] Chen Ji, "Yibai Zhai Manuscript", edited by Ji Yun and Lu Xixiong, "The Complete Book of the Four Libraries of the King James Dynasty", the 47th year of Qianlong in the Qing Dynasty (1782).
(2) Chen Lingdan, "Research on Issues Related to Tianchi Stone Wall Map", master's thesis of China Academy of Art, 2021.
[3] See [Yuan] Zhang Zhu's "Lifting of Zhang Xing" in volume 5 of "Episode of Shedding Nunnery" and Xu Ben's "Beiguo Collection" volume 4 in "Giving Washing Medicine and Giving Zhang Xing's Lifting" two poems.
[4] [Ming] Wang Wei's "Gusu Zhi" "Volume 55", the whole book of the four libraries.
[5] [Ming] Wang Wei's "Gusu Zhi" "Volume 56", the whole book of the four libraries of the King James Dynasty.
[6] [Ming] "Zhao's Iron Net Coral" "Volume 11", the whole book of the four libraries. The original author of the book "Iron Net Coral" should be Zhu Cunli, a native of Suzhou in the Ming Dynasty, but due to the complexity of the writing process and other reasons, there are several versions of the book. The "Iron Net Coral" cited in this article is a recompiled version of Zhao Qimei included in the Qing Dynasty's "Siku Quanshu". For an analysis of the copyright and volume of the book, see Han Jin and Zhu Chunfeng's proofreading, "Iron Net Coral Proof", Guangling Publishing House, 2012 edition, pp. 3-16.
[7] The content of this work and the inscription at the end of the volume is also recorded in detail in Yu Fengqing's "Yu's Calligraphy and Painting Inscriptions". However, there is a slight difference in the inscription and order in the two books, which is speculated to be the result of the later cutting and reloading of the work.
[8] Lu Shiheng had dealings with Wang Meng, Ni Zan and others. Ni Zhan's "Six Gentlemen" was made by Lu Shiheng. Li Cheng's "Maolin Yuanxiu Picture Scroll" in the Liaoning Museum is also in the Lu family's old collection, and the Ni Zan inscription at the back of the volume was inscribed in Lu's residence.
[9] "Zhao's Iron Net Coral", Volume 15, the whole book of the four libraries of the King James Dynasty.
[10] At the end of the volume, there is an article "Listening to the Sages of Yulou" written by Wang Da, a native of Wuxi, which says: "Han Yizi is a public hope, and Wu Zhiliang is also a good doctor, so he can travel with famous monks." Yao Guangxiao is also good at calligraphy and painting. "Peiwenzhai Calligraphy and Painting Spectrum" quoted from "Records of the History of Calligraphy": "Guangxiao calligraphy is ancient and elegant, and it is all won by tendons. Wang Keyu's "Coral Net" in the Ming Dynasty also recorded his bamboo paintings.
[11] See [Ming] Han Yi, "Han Shanren Poems", vol. 1.
[12] [Ming] Du Mu's "Allegory Edition", the whole book of the Four Libraries of the King James Dynasty. "Zhu Yaomin" is Zhu Kai, and "Meng'an" is Han Yi's nickname.
[13] There are two passages of Han Yi's poems preserved at the back of the volume, the second of which is the poem recorded in the "Han Shanren Poetry Collection".
[14] Ibid. [4].
[15] [Ming] Qian Yu's "Wudu Wencui Sequel" "Volume 40", the complete book of the four libraries.
[16] "Jiangnan Tongzhi" recorded: "Yuan Yizi Tongfu, a native of Changzhou, is the head of Shidong Academy. Retreat to the shore of Wusong. Zhao Mengfu is the most important, and he made a picture of lying in the snow as a gift. He is the author of the manuscript of Jingchun Hall. The "Lying Snow Picture" mentioned here is the "Coats Picture".
[17] "Zhao's Iron Net Coral", Volume 12.
[18] "Qinghe Calligraphy and Painting Boat", "Volume 10, II".
[19] According to Zhu Yunming's "Epitaph of King He" in the "Volume 40 of the Sequel to Wudu Wencui" by Qian Yu, Wang Wei's name is Wang Guan, and his great-ancestor Wang Yan is often the younger brother of Wang Bin.
[20] Ibid. [6].
[21] See Dumu's "Allegory". Du Mu here recorded a mistake, "Tiaoxi Spring Dawn" is not "old rice" (Mi Fu) works, is "millet" (Mi Youren) made.
[22] "Zhao's Iron Net Coral", Volume 11.
[23] Ibid.
[24] See Zhu Yunming's "Epitaph of King Crane King".
[25] [Ming] Wu Kuan's "Collection of Family Collections", Volume 70, the whole book of the Four Libraries of the King James Dynasty.
[26] [Ming] Yu Fengqing's "Yu's Calligraphy and Painting Inscriptions" "Volume 6", the whole book of the four libraries.
[27] "Gusu Zhi", "Volume 54".
[28] Ibid. [17].
[29] [Ming] Tao Zongyi's "Nancun Poetry Collection" "Volume 4", the whole book of the four libraries of the King James Dynasty.
[30] [Ming] Dong Qichang, "Painting Purpose", in Pan Yunxuan, ed., Ming Dynasty Painting Theory, Hunan Fine Arts Publishing House, 1997, p. 184.
[31] Ibid. [17].
[32] This is not found in the description of Zhao's Iron Net Coral, either because Zhao's compilation is incomplete, or because it was later added.
[33] Ibid. [17].
[34] The bak is not found in the "Chongjiang Stacked Peaks Picture Scroll" in the collection of the National Palace Museum in Taipei, and it is suspected that it was cut by someone.
[35] Ibid. [17].
[36] [Ming] Huang Yuji's "Qianqingtang Bibliography" "Volume 17" records: "(Han Yi) the character Gongwang, Wu people, Wang Bin, Wang Lu are all hidden in medicine, called the three masters of Wuzhong. ”
[37] Ibid. [5].
[38] "Zhao's Iron Net Coral", Volume 16.
[39] "Imperial Peiwen Calligraphy and Painting Spectrum", Volume 55, the whole book of the four libraries of the King James Dynasty.
[40] For the situation of Wang Guan's heirs, see Zhu Yunming's "Epitaph of King Wangjun of the Crane".
[41] Included in Wang Xing's "Banxuan Collection", "Volume 10", and Yao Guangxiao's "Escape from the Void" Poems, "Volume 4" and "Volume 6", respectively.
[42] See Wang Fu's "Wang Sheren's Poetry Collection" and Wang Ruyu's "Qingcheng Shanren Collection", "Volume 8".
[43] [Ming] Shen Zhou, Tang Zhibo, Shen Zhouji (Volume I), Zhejiang People's Fine Arts Publishing House, 2019, p. 200, p. 508, p. 536.
[44] Ibid. [22].
[45] Ibid. (5).
[46] Ibid.
[47] Ibid. [27].
[48] In Wang Ruyu's "Qingcheng Shanren Collection", volume 1, "Wang Mengduan wrote a bamboo and wood picture for the court to judge Liu Shibin's title" and in volume 2, "The title Zhou Fang folded the flower lady for Liu Shibinfu".
[49] [Ming] Zhang Chou, Xu Deming, Qinghe Calligraphy and Painting Boat, Shanghai Ancient Books Publishing House, 2011, p. 430.
[50] See Liu Pu, "Collection of Grass Windows", "Volume 2" and "Volume 4".
[51] Ibid. [22].
[52] Same as [22]. Du Qiong's statement is wrong, Chen Mengfu is not Chen Yongzhi's "eldest father", but his grandfather. See Wu Kuanzuo's "Tomb Table of Mr. Chen, Confucian Instructor in Yangwu County, Henan".
[53] [Ming] Shen Zhou, Tang Zhibo, Shen Zhouji (Volume I), p. 200.
[54] "Zhao's Iron Net Coral", Volume 15.
[55] [Ming] Wang Xing's "Banxuan Collection", Volume 2, the whole book of the Four Libraries. The patient, Xu Lanbo, was also a painter according to historical records. He had a lot of dealings with the aforementioned Chen Mengshi. The poetry collections of many calligraphers and painters of the same era include poems inscribed on Xu's paintings. For example, Wang Ruyu's "Qingcheng Shanren Collection" has "Inscription Leaves Farewell to Xu Lanbo", and Gao Qi's "Great Collection" has "Title Xu Lanbo Painting", "Inscription Painting Gift to Xu Lanbo" and "Title Xu Lanbo Three Insect Pictures" and so on.
[56] Same as [5]. "Gusu Zhi" recorded: "The word Gongmao, the son of Ning Di Chong, was a good doctor in Yanfu at the end of Hongwu. From the Temple of Literature, he was sentenced to the Tai Hospital, and he was admitted to the hospital. ”
[57] "Gusu Zhi" "Volume 34" records: "Han Fuyang's tomb is under the Bilin Spring in Zhiji Mountain. The hermit Gongwang, the Tai Hospital made the Gongda, and the hospital sentenced the Gongmao to the throne. ”
[58] Seen in [Ming] Du Qiong's "Dongyuan Collection", "Volume 1".
[59] The "Pengcheng Liu" here is speculated to be Liu Min. "Gusu Zhi" recorded: "Liu Min's character Meng Gong, learning and practicing pure ...... Those who come and return from the cold will never get tired of it. There is a division to hear its sage, recommend the Deqing County Order. The hoe is strong and the people cherish it. Later, he was recruited into Hanlin with good books. Promote the scholars, and the courtiers will pay more attention to them. In addition to Du Qiong, Liu Min also had many contacts with other calligraphers and painters in Wudi, such as Wang Fu and Xie Jin. Wang Fu's "Wang Sheren Poetry Collection" includes the poem "The Bamboo Depths for Liu Menggong". After the Palace Museum's collection of money selected "Mountain Dwelling Picture Scroll", there are poems inscribed by Xie Jin and Liu Min, and the signature of Liu Shi is "Pengcheng Liu Min".
[60] [Ming] Xu Youzhen's "Collection of Martial Arts" "Volume 3", the whole book of the Four Libraries of the King James Dynasty.
[61] Ibid. [5].
[62] "Family Collection", "Volume 40".
[63] Ibid.
[64] Ibid. [5].
[65] [Ming] Ni Zhan, "Qing Pavilion Collection", "Volume 11", the whole book of the four libraries of the King James Dynasty.
[66] Yan Jianwei and Yao Chenchen, "Ming 'Tai Hospital Physician Li Sine's Epitaph' Interpretation", Suzhou Wenbo Essays, 2010 edition. The "Xu Yuanyu" in the text is Xu Youzhen. Xu Youzhen's original name was Xu Hui, the word Yuanyu, and he was renamed Xu Youzhen during the Jingtai period.
[67] [Ming] Xu Youzhen's "Collection of Martial Arts" "Volume 5", the whole book of the four libraries of the King James Dynasty.
[68] See "Family Collections", "Volume 71 Physician Wang Yuzhai Tomb Table".
[69] See "The Sequel to Wudu Wencui" written by Zhu Yunming in "The Epitaph of the King of the Crane".
[70] [Ming] Shen Zhou, Tang Zhibo, Shen Zhouji (Volume I), pp. 19, 138. The "Tianquan Weng" here is also Xu Youzhen.
[71] Ibid. [27].
[72] Zhou Yuan was already Wu Kuan's cousin and had a close relationship with Wu Kuan during his lifetime.
[73] [Ming] Shen Zhou, Tang Zhibo, Shen Zhouji (middle volume), p. 837.
[74] [Ming] Zhu Yunming's "Huaixingtang Collection" "Volume 7", the whole book of the four libraries.
[75] "Collection of Family Collections", vol. 43.
[76] [Ming] Bian Yongyu's "Examination of Shigutang Calligraphy and Painting" "Volume 37", the whole book of the four libraries of the King James Dynasty.
[77] There are several other send-off poems written by Xie Jin for Sheng Yin, such as "Ke Jinling Sends Sheng Yin to Wu" and "Sending Sheng Medicine to the Capital of Qidong", which can be found in Xie Jin's "Lanting Collection" (Volume I).
[78] [Ming] Shen Zhou, Tang Zhibo, Shen Zhouji (Volume I), p. 398.
[79] Ibid. [25].
[80] "Shi Minggu" is Shi Jian, a friend of Shen Zhou, and a collector of calligraphy and painting in the Wumen area at that time.
[81] "Shiqu Baoji", "Volume 6", the whole book of the four libraries of the King James Dynasty.
[82] In the "Yu's Calligraphy and Painting Inscriptions" volume 10, the "Wen Xiu Cheng Imitation Mi's Yunshan Volume" later Wen Jiabawen recorded: "Mi's Yunshan, the one who sees the remainder...... Tiaoxi Spring Dawn is the collection of the royal minister's unitary room and the public money crane. ”
[83] See Zhu Yunming's "Epitaph of the Crane Wangjun" in the "Sequel to Wudu Wencui".
[84] Xue Longchun, ed., "Three Wu Mo Miao: Jiangnan Calligraphy of the Ming Dynasty in the Collection of Jinmotang", Zhejiang University Press, 2020, pp. 110-111.
[85] See Zhu Yunming's "Epitaph of the Crane Wangjun".
[86] [Ming] Huangfu Zhu, "Huangfu Si Xun Collection", Volume 51, collection of Hanhe Library, Harvard University.
[87] Xu Bangda, "Ancient Calligraphy and Painting Passing Eyes: Yuan, Ming and Qing Calligraphy: 3", Forbidden City Publishing House, 2006, p. 1123.
[88] There is a precedent of Wu Kuan's inscription in front of the core of the painting. Kao Wu Kuan died in 1504. According to Zhou Daozhen's research, Qiu Ying is only in his twenties and is not yet famous for painting. Moreover, considering that the inscription at the end of the volume was written in 1546, it can be seen that the painting was completed not too long before this time. Therefore, it is impossible for Wu Kuan to have seen this work, and its introduction should be a forgery.
[89] Wen Zhengming's "Futian Collection", "Volume 6", the whole book of the four libraries.
[90] "Yu's Calligraphy and Painting Inscriptions, Continuation of Calligraphy and Painting Inscriptions", "Volume 4". The "Wang lame" mentioned by Shen Zhoubazhong refers to Wang Chen, who is a henchman of the eunuch Wang Jing. The "Supplement to the Chronicle of the Ming History" records: "The demon king was a traitor, and he was injured by Chu, and he was called the king lame. and every thing that passes through his eyes can be stolen, or he may take a man's property and throw it into the water, and come out of his sleeve. The king of Neizhu coerced his ministers to collect medicine in Jiangnan, and the treasures were sought, and the people of Chu were poisoned. ”
[91] "Collection of Martial Arts", "Volume 3".
Yin Peng is an assistant professor in the Department of Chinese Painting, School of Fine Arts, Beijing Institute of Fashion Technology
(This article was originally published in Art Observation, Issue 3, 2024)