The permanent exhibition hall of the Hong Kong Museum of Art
Liu Zuochou (1911 ~ 1993), the word average, the name of the house "Xubai Zhai", a native of Chao'an, Guangdong. "Jun Liang" is the name given to him by Binlao when he was in Jinan.
Liu Zuochou's ancestors were official eunuch families, and they were elegant and good cultural relics for generations. Liu's ancestral home, Chao'an Longhu "Fang Bodi" is the former residence of the ancestor Liu Zixing, and Jiajing of the Ming Dynasty was the political envoy of Fujian. Honorable Weng Liu Zhengxing, a well-known overseas Chinese leader in Singapore, rebuilt his ancestral home in 1923. His father, Liu Kuiru, dealt in rice, sugar and textiles in Singapore, and also collected calligraphy, paintings, and porcelain. At the age of nine, Liu Gong came to Singapore with his mother, Mrs. Lam, and enrolled in Tuanmeng Primary School. After graduating from primary school in 1926, he went to Shanghai to study at the High School Affiliated to Jinan University. Later, he entered Jinan University to study. During this period, Liu Zuoti followed Huang Binhong to learn landscape painting, and the "Lotus Tao Pavilion" was from Binweng's painting practice. In the early autumn of 1933, Liu Zuochou, in his capacity as the president of the Chinese Painting Research Association of Jiji University, and Su Qianying, an assistant professor of the Faculty of Arts, hired Huang Binhong as the instructor of landscape painting of the association. Under the influence of Huang Binhong, Liu's interest in appreciating Chinese paintings and calligraphy grew, and he began to acquire Chinese paintings and calligraphy. In 1936, he obtained a bachelor's degree in economics from Jinan University, returned to Shantou to marry Ms. Zheng Junhua, and returned to Singapore the following year to do business. In 1945, Huang Binhong and Liu Zuochou resumed correspondence, and exchanged painting methods and appreciation in letters. In 1949, Liu Zuoqiao went to Hong Kong as a manager of Foursea Connect Bank, and retired in 1986. After the death of Binong, he led and organized many commemorative exhibitions of Huang Binhong, and became an important promoter of Binong's art. And inherit the ancestors, good ancient Min Qiu, in the Chinese dynasties of calligraphy and painting hard search. Due to the collection of Yi Bingshou's "Xubai" plaque, his collection of more than 1,000 pieces of Chinese calligraphy and painting was named "Xubaizhai". In 1990, Liu Zuochou donated his life's collection to the Hong Kong Museum of Art, turning private into public and passing on the story of the art industry. This collection is Liu's self-preserved Bin Weng Jia's eighteen pieces, which can be described as "virtual white pearls", each piece of pearls, ink and color, all of which are Bin Weng's finest works, and also prove that Bin Weng and a number of Cantonese supporters and collectors travel back and forth.
Liu Zuochou was born as a scholarly disciple and an official eunuch. Liu's ancestral residence is located in Longhu, Chaozhou, Guangdong, which was built in the middle of the Ming Dynasty and rebuilt by Liu Zhengxing in 1923. One into the "Jinshidi", two into the "Fang Bodi", three into the "Jichengtang", a total area of 1642 square meters, concentrated in the western architectural style in one.
Xubaizhai and Huang Binhong
Hong Kong Island Liu Zuo Tibetan Bin Weng Jia system
Text / Shen Gaogao
He returned to China, was served and lived, and was personally enticed. Huang Shi passed on the hand-taught, the law is auspicious, the return to the time of the former sages, the analysis of doubts, the exploration of understanding, the study of pain, the cold and summer do not waste, so gradually peep into the mystery of pen and ink, the beginning of the appreciation of the joy, enlighten the collection, the truth is from this.
——Liu Zuochou
Liu Zuochou and Huang Binhong, who are of different generations and are not limited to their age, but they have forgotten their friendship for many years, which can be called a good story. Liu Zuochou has preserved eighteen masterpieces by Binweng. It is on public display for the first time more than 30 years later. The content contains the various stages of the 40s and 50s, landscapes, flowers, and calligraphy. These warm works make people think about the past, and there are efforts to bring Bing Weng art to the world art forest, carry forward the charm of traditional culture, and entrust infinite feelings.
In 1933, Liu Zuo was appointed as the president of the Chinese Painting Research Association of Jinan University, and because of the introduction of Chen Zhongfan, the dean of literature, and Su Qianying, an assistant professor of the Faculty of Arts, he went to Mr. Huang's apartment on Saposai Road (now Tamsui Road) to invite Mr. Huang to be the landscape painting tutor of the school's Chinese Painting Research Association, and to give lectures at the Liantao Pavilion once a week, and Mr. Chen readily agreed. At that time, Bin Weng was seventy years old, and not long after Shu returned to Shanghai, he became a year-old friend with Liu Zuochoi, who was in his early twenties. Liu also began to follow Huang Binhong and learn the road of landscape painting. once recalled: When he returned to China, he was served and lived, and he was kind and seduced. Huang Shi passed on the hand-taught, the law is auspicious, the return to the time of the former sages, the analysis of doubts, the exploration of understanding, the study of pain, the cold and summer do not waste, so gradually peep into the mystery of pen and ink, the beginning of the appreciation of the joy, enlighten the collection, the truth is from this.
Liu Zuochou
In 1929, Liu Zuochou (first from right) was photographed with his classmates at the gate of Shanghai and Ji
Liu Zuo's word "Jun Liang", this is the number that Bin Weng gave him when he was in Jinan. At that time, Binong accepted the treatment of the faculty of Jida University: a monthly salary of 40 yuan, two hours a week, car pick-up, and the letter of appointment was written. The Liantao Museum is the location of the Chinese Painting Research Association of Jinan University. As the president and secretary of the Chinese Painting Research Association, Liu Zuochou has many specific daily contacts with Binweng, and he has been contaminated for a long time, so he has a deep yearning for Chinese art. Under the guidance of Bin Weng, Liu has achieved profound attainments in painting and poetry, studying the subtleties of calligraphy and painting, and collecting the fun of identification. This experience also laid a solid foundation for the friendship between the two later in life. In the 40s, Lau returned to Singapore to join his father in the business of local product cultivation and other transactions. The two also had a correspondence all the time, and Binong often sent them in the form of paintings.
In April 1947, Su Qianying was going to Nanyang to inspect education, and Liu Zuoqiao sent a letter to invite Binong to accompany him to Singapore. In the following year, Liu Zuoti sent the poem "Master Huang Binhong on Moro Island", and gave it "Spring Tree Picture in the South of the Yangtze River". In this nostalgic work from afar, Jun Liang fondly recalled the Tao Ran past with the teacher Bin Weng in the "Lotus Tao Pavilion". In the troubled times, the world is different, and the teacher's kindness is especially nostalgic:
"Moro Island Huaihuang Binhong Master":
The sea breeze blows my clothes, and the waves sound on my side. Reading my teacher, a long-term guest in Yanbei.
Eight years on each side, the sound of the question is not available. Poor and lonely pitching, depressed and thinking!
There is a lot of sad wind in Yanbei, and the frost is severe in September. The yellow sand is flying, and the sideburns are red.
The war has been in turmoil for a long time, and the captivity has been trapped by the enemy for a long time. In the drift of distant imagination, the hardships are unpredictable.
The year before last, when I read the newspaper, I had to entrust myself with an ancient academic position. I am afraid that because of the elderly, the enemy will come to coerce.
After searching for it all his life, he had three habits in ancient times: stubborn stone calligraphy and painting, and treasures are all famous.
There are also wives and children, weak and childish. One by one, it must be supported, and everything is difficult.
Long Zhong is more than 80 years old, how can he support it? Reading these few times, tears are dripping.
Reminiscing about the past, I was obsessed with ink. Dripping graffiti, unsolved real dot painting.
and the crown to travel to the university, the beginning of the fortunate is the teacher's seat. There is a hall called Liantao, a deep fetish lecture room.
The ripples surround the museum, and the wood is at the level of the court. Every day, the teacher explained in detail.
The calligraphy and painting book have the same origin, and the pen and ink method is also the same. Pingliu round re-change, Si for the five wonderful pen.
It is also necessary to avoid the four diseases, the head and tail, and the waist and knees. The shade breaks the coke, and the ink method is seven.
The charm is self-generated, and the hypothetical qi comes out. It has been refined and should be returned to simplicity.
First enter the law tour, and finally surpass the law and the law. Oral and hand-taught, authentic for reference.
The origin of sectarian analysis, the evolution of ancient and modern Ming Dynasty. Don't dare or rest assured, boxing will always remember.
There are six or seven classmates, and Tao Ran studies together. Anger gradually soaked in lewdness, and I reached when I was old-eyed.
The average amount is the name of the word, and it is reluctant to cut deeply. In this way, it is subtly spread, and the painting is like hunger and thirst.
It is often in the ascendancy, and it is not felt that the inkstone is exhausted. The sound of birds falling from the trees, and the flowers breathe through the windows.
The good situation has suddenly moved, and the salary is lost. Geng Gengming Center, four years of spring breeze.
The storm is not over, and the meeting is safe. Looking back on the past and recovering the present, you can not worry about the collection.
In his later years, Bin Weng maintained frequent exchanges with the art markets in Guangdong, Hong Kong and even overseas, among which friends from the south such as Liu Zuochou, Huang Jusu, Weng Guiqing, and Zhang Hong were important promoters of Bin Weng's art. This is very important for the inheritance of traditional style, and it is also a lifeline that cannot be ignored for the development of Huang Binhong in his twilight years. During this period, the exchange with the South went beyond the scope of personal friendship and can be said to rise to the concern for Chinese painting as a whole. Since 1949, Liu Zuo has raised funds to print a collection of paintings for the 86-year-old Binong. In 1953, he asked Su Qianying to go to Hangzhou and send the first draft of the newly written "Painting Chapter" to Liu Zuochou and ask him to print it. Zhang Gu said: "The first draft of Huang Zhang's "Painting Chapter" was sent to Liu Junliang (for preparation), and then sent to the printed version, and the first draft was checked and corrected, with slight revisions. The long song of "Painting Chapter" is a masterpiece of the old man in his later years, which is intended to "pay tribute to the rise and fall of Chinese painting". Chen Shutong has the words "A piece of "Painting Studies" has a salary, open your eyes and look at the new world". In the spring and autumn of 2023, China Guardian released the "Painting Chapter" from his family collection and the "Painting Chapter" exhibited at the Hong Kong Museum of Art in 1995, which caused a strong market response.
In the autumn of 1935, Huang Binhong lived in Shuangshuping Pavilion, Huang Jusu's residence in Dongshantai, Hong Kong
In the summer of 1935, Deng Erya, Huang Binhong, and Huang Jusu were in Hong Kong
In 1935, Huang Binhong sketched in Victoria Shan in Hong Kong
Bin Weng, who is over 80 years old, is diligent in communicating Chinese and Western painting theories as his vocation, and claims to make painting a bright future. Here, Weng Yunqiu and Liu Zuochou have a lot of help and correspondence with him, and it is also in this dialogue and exchange that Bin Weng in his twilight years actively explores his painting experience and constantly broadens his horizons. Bin Weng once wrote: "Mo Tianyijun of Macao collects ancient books, calligraphy and paintings in the southeast, and Weng Qiujun of Shantou City is fond of ancient and modern calligraphy and painting, and is now the mayor, Nanyang Su Qianying and Liu Zuo are preparing to restore Jinan University in Shanghai. With the convenience of circulars, there are still many paintings". Weng Yunqiu, a former mayor of Shantou, was friendly with the painter and rich in collections. Huang Binhong once mentioned in a 1946 letter: "Weng Xunqiujun of Shanshi City is fond of ancient and modern calligraphy and painting, and is now the mayor." Later, he also mentioned Weng many times in his letter to Huang Jusu, which shows the deep friendship between the two. According to the chronology, in the summer of 1940, Bin Hong once made "Mountain Dwelling Qinghua Picture Scroll" and "Songlai Pavilion Picture Scroll" for Weng Yunqiu in the Jiaomo method.
In a letter with Liu Zuochou in 1953, Bin Weng also wrote about his work that changed slightly from studying the paintings of the Northern Song Dynasty, explored the Tao, and accumulated proudness: "Brother Yajian, Junliang." I met Brother Su Qianying, and I heard that I was happy and healthy, and I was like a heartfelt blessing and a consolation. Nanxuan Lulu, the cheap eyes near the internal cataract, hospitalized for treatment, for several months, fortunately can regain his sight, still in the adjustment, a little later or when the old calligraphy and painting manuscript. The clumsy book "Painting Chapter" was sent to the comrades of the North and South Federation of Literary and Art Circles, and there were many joys. The revival of painting in the Daoxian era, Xie Lifu, Wu Hewu, Song Guangbao, Meng Litang in central Guangdong, Bao Shenbo in Jiangnan, Zhao Yushu, Weng Songchan, Wu Suzhai, Jinshi calligraphy and painting are unique, and the categories are clustered, Zhuo Zhuo is marked, and there are more than 100 people. It is intended to be edited into a book, to illustrate anecdotes, and to also improve the small subsidy of culture. It is a pity that there have been a lot of devastation in the past few decades, and now only Beijing and Shanghai are slightly deaf. This year, the clumsy painting has changed slightly from the Northern Song Dynasty paintings, accumulating proud works, dyeing completion, and selecting the best postage. Bin Hong bowed. ”
Huang Binhong's international influence gradually opened up, and he enjoyed a high reputation in the Guangdong and Hong Kong art circles. His artistic practice has been continuously tested by the market, and overseas fixed parts have also become an important guarantee for Binong's living expenses. The laborious ones in the middle are Zhang Hong, Huang Jusu, and Liu Zuochou. He once said, "Friends have clumsy paintings between foreign countries, both north and south, and feel even more tired." There is still no shortage of school teachers in Hong Kong Island, Kwan Liang, Sin Chew King Chiu and our ethnic groups. The former lotus and your friends also inquired about the drawing. Although I don't want to paint my life, I smell that there are lovers and it, I am happy to have an ink edge, I should taste it, I see and hear more, and I am a good friend. "The purchase of Huang Binhong's calligraphy and paintings by Guangdong friends is the most specific in the letter to Huang Jusu, and there is the most tacit understanding between them. "Recently, there has been an increase in the number of people who have studied painting theory, and the paintings of the people of the time have been very popular, and some have been introduced to foreign countries. From Hong Kong to run gold, feel the lotus. In the early fifties, Huang Binhong's personal painting style was changing, in the process of painting, he found more resonance of bosom friends, and also paid more attention to the application of pen, ink and paper. New rice paper in the south, soybean milk alum, not suitable for ink, the old Xuan of the Forbidden City is gradually not easy to find, the factory in Lazhong is still sent, can be used for painting, teeth and moist examples are very much, recently canceled, not in vain to avoid taxes, for the day and night to see the lake and mountains Qingqi, thinking about changes, answering the sound of the ear. ”
After Binong's death, Liu Zuochou led and organized a number of Huang Binhong commemorative exhibitions, which can be summarized as follows:
Top Left: 1955 Exhibition of Huang Binhong's Posthumous Works Upper Right: 1958 "Huang Binhong's Works Appreciation Exhibition", Hong Kong Ta Kung Pao Below: 1955 Exhibition of Huang Binhong's Posthumous Works
In his later years, Huang Binhong practiced his open and inclusive attitude, "standing up, carrying forward the spirit of our folk studies, stretching out his arms to the world, and preparing to shake hands with anyone who comes" His life: editing, lecturing, appraisal, writing, creating, and dealing in antiques, colorful. He was a renowned banker, collector, painter, poet, connoisseur, honorary advisor to the Hong Kong Museum of Art for many years, and a recipient of the Order of the British Empire.
In 1949, Liu Zuochou went to Hong Kong as a manager of Sihaitong Bank and settled in Hong Kong. He retired in 1986, a period of 40 years, which shows that he is loyal to his duties and valued by his colleagues. During his tenure, he often had correspondence with Binong. It is also influenced by Huang Binhong, who saw the flow of Chinese literature out of foreign countries, and was deeply afraid of Oriental people, who wanted to study and appreciate traditional art in the future, and had to go to Europe and the United States. Because of his determination to purchase ancient masterpieces, he hoped to preserve some of them. Over the course of 40 years of collecting and spending countless money and energy, he has systematically collected a number of cultural relics from the mainland to Hong Kong and overseas, and the scale of the collection is considerable.
Due to fate, he was named after the word "Xubai" in Yi Bingshou's book in the Qing Dynasty, so he named his collection "Xubai Zhai Collection of Chinese Paintings and Calligraphy". This is also a true portrayal of Liu Zuochou, a humble gentleman with a humble heart, with a gentle temperament, an open mind, a warm heart, a courtesy, filial piety at home, both art and a careful guide to those who seek benefits in the future.
Liu Zuochou personally customized the couplet
Among the more than 500 treasures in his private collection, including works from the Six Dynasties period to the 20th century, the most abundant works of art from the major schools of art of the Ming and Qing dynasties, including the Wumen School, the Songjiang School, the Orthodox School and the "Eight Eccentrics of Yangzhou". Among them, he did not hesitate to "seize the treasure" with a lot of money. In 1990, he made a sensation by donating more than 300 pieces from his collection to the newly established Hong Kong Museum of Art. The scale of the museum is perfect, and the "Xubaizhai Collection of Chinese Calligraphy and Painting Museum" and storage rooms and research rooms are set up on the second floor for the exhibition and collection of cultural relics. The décor is said to be over HK$20 million. And the bronze statue of Liu Gong was placed in the museum, and the "virtual white" Zhai number was hung as a memorial, and the Queen of England also awarded the Order of the Order of Honor to Liu Gong for praise.
At 3 p.m. on December 20, 1989, the "Signing Ceremony of the Donation Agreement for the Collection of Chinese Paintings and Calligraphy from the Xubaizhai Collection" was held at the office of the Urban Council of Hong Kong. Liu Zuochou, the owner of Xubaizhai, and Liu Wenlong (left), Vice Chairman of the Urban Council of Hong Kong, signed the agreement.
Mr. Liu Zuocho, the owner of Xubai Zhai, photographed at the Hong Kong Museum of Art in August 1992
To this day, the Hong Kong Museum of Art still holds "Void White Zhai" as its permanent exhibition, and the exhibits are changed regularly. The recent "Love Letters" series of exhibitions divides the exhibits into five parts: "Love", "Family Affection", "Teacher-Student Affection", "Friendship" and "National Affection". The preface of the exhibition tells the story of Mr. Liu Zuochou, the owner of "Xubaizhai": "Calligraphy and painting have love", and there is another moving love letter here. In order to preserve these national treasures, Mr. Liu began to actively and systematically purchase them. Over the years, he spent a lot of savings, and even when he encountered an accident, he still clung to the protection of his paintings. In the end, it was possible to establish a pivotal and prestigious collection of Chinese paintings and calligraphy in Xubaizhai. Mr. Liu Chochoi has a passion for calligraphy and painting, and his selfless donation allows the public to appreciate this precious collection, which shows his great love and enthusiasm for the preservation of cultural relics.
Mr. Liu, who is active in Singapore and Hong Kong, has a rich collection of five cars. There is no large amount of property to buy a house, there is no car to travel, and he is a kind old man who looks ordinary on the road. Unpretentious, no astonishing rhetoric. Zhang Daqian's friend Feng Ruofei described him as "rich and rival the country, poor and unbeatable": he is rich because his collection of Chinese famous paintings and calligraphy is priceless. said that he was poor, and he worked hard all his life to collect and retain the essence of traditional Chinese cultural relics, and his life was very simple. Enriching the collection with one's own strength can be described as "a cloth cloth proud of the king", such a legend is unprecedented.
Huang Binhong and Liu Zuochou have crossed time and space, shuttled through decades of friendship, teacher-student relationship, family affection, friendship, affection to sex, and touching heartstrings. In this collection, Liu's eighteen masterpieces can be described as "virtual white pearls", each piece of pearl, and the ink color is brilliant. Enter the immortal time and space of Xubaizhai, feel the powerful spiritual energy of Binweng, and the ancestors are especially there, endlessly.
Lot 2896
Huang Binhong (1865-1955)
Loose circle poetry
Mirror heart, ink and color on paper
70.5×40.5 cm. about 2.6 square feet
Title: Long-term customers are lazy, and a few days after spring return is the remnant of winter. There is no contact after the snow in Chang'an, and the pine is seen alone in front of the country. Loose circle poetry. Binhong painting.
钤印:宾弘
Collection seal: Jinglu approval, Yuanshan Hall
Signature: Huang Binhong landscape, middle-aged masterpiece. Seal: Jingqiu
Publication: "Famous Han Mo No. 15 Huang Binhong Special Collection", pp. 10-11, Hong Kong Han Mo Xuan, 1991 edition.
Source: Huang Jusu, Weng Guiqing, Liu Zuochou Collection.
Huang Jusu (1897-1986), an old man named Guanggang, was born in Shiqi, Xiangshan, Guangdong. He studied under Zheng Zheyuan and Huang Binhong. He followed the revolutions of Sun Yat-sen and Liao Zhongkai, served as director of the Political Department of the General Headquarters of the Guangdong Army, and a member of the Guangdong Provincial Government, and moved to Hong Kong in the early thirties of the 20th century. The calligraphy line is known for being in the center, Shen Xiong is vigorous, and rich in leisure and elegance, and the book has a good king tablet pen meaning. The painting is vigorous and simple, and it is very interesting. He has published "Huang Jusu Landscape Painting Collection" and "Guangganglou Poems". Librarian of the Central Museum of Culture and History.
Weng Guiqing (1894-1966), a native of Wanning, Hainan, studied in Guangdong School of Political Science and Law, Meiji University in Japan, was originally a subordinate of Chen Jiongming, after Chen lost power, Weng's business was another business, and his career in Guangdong Province officialdom was smooth, he served as the superintendent of Guangdong Customs, the director of the East Guangdong Salt Bureau, etc., and served as the mayor of Shantou in 1946. Friendly with painters, rich collection. Huang Binhong once mentioned in a letter with Bao Junbai in July 1946: "Weng Xunqiujun of Shantou City is fond of ancient and modern calligraphy and painting, and is now the mayor." Later, he also mentioned Weng many times in his letter to Huang Jusu, which shows the deep friendship between the two. According to the annals, in the summer of 1940, Bin Hong once made "Mountain Dwelling Qinghua Picture Scroll" and "Songlai Pavilion Picture Scroll" for Weng Yunqiu in the Jiaomo method.
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Huang Jusu Tibetan seal
Weng Guiqing's Tibetan seal
Published book shadows
Guest: Outside the number of martial arts, the messy ones are orderly, and the vague ones are brilliant. The black and white, the light and dark to the back ear, the light cloud and mist ear, the twilight ear, the rain ear.
Said: Viewing the painting is far away, but it is also possible. It is as interesting as it is to the king. From afar, we can look at the overall situation, distinguish the rhyme, play with the spirit, and close to observe the details and seek pen and ink. Far to appreciate, close to study.
Lot 2897
Huang Binhong (1865-1955)
Rose among the stones
Mirror heart, ink and color on paper
73.3×36.7 cm. About 2.4 square feet Inscription: Ming generation flower paintings, commentators think that Chen Baiyang is wonderful but not good, and Lu Baoshan is not good. It is proposed to adopt both strengths. Suo.
Seal: Bin Hong made after 80
Collector's Seal: Chao'an Li Si
The strength of the paper is through the back, carved into the silk, the soft place is twisted and turned, graceful, the longitudinal place is long and the tiger is lying, and the wind tends to be electric. Only he uses a pen to take off the sweetness and vulgarity, focusing on the backbone, so it is unpleasant to look at suddenly. I don't know that everyone is looking forward to it, this is detached from its dot painting, and everyone is careful about the image, and this is shedding its ordinary. Dating back to the Tang Dynasty, this principle has been understood.
Lot 2898
Huang Binhong (1865-1955)
Ren Yuan is poetic
Mirror heart, ink and color on paper
Xin Si (1941)
118.8×40.5 cm. about 4.3 square feet
Title: The blue sky is endless, and the 100-foot cloud sail hangs in the sunset. Where to send the sea road sound book, the west wind to march the geese on their own. Mr. Dezhao is a scumbag. Huang Binhong's painting, the spring of Xinsi.
Seal: Seal on the pond, green snow Xuan
Collection seal: Liu's Xubaizhai Collection, Yanghongtang
Seal of the Collection
Seal of the Collection
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Guest: What is the way of the pen?
Said: The clouds are cloudy, and the changes of the pen itself are also. When it comes to drawing, it is still about the role of the overall situation. It can be said that "from beginning to end, the pen has a direction, continuous and continuous, and the style is continuous", which is the vertical and horizontal strokes, all over the whole painting, as if the blood and nerves are permeated throughout the body. "The intention is to save the pen first, the pen is in the mind, the painting is all in the intention, and the image is complete", yes, it is not the only pen when you must see life, and when there is no pen, you must also have the inner meaning of the divine machine, and the rest of the meaning is inexhaustible. The finite shows the infinite, and this is also said.
Lot 2899
Huang Binhong (1865-1955)
Imitation of Li Tanyuan's brushwork
Mirror Heart, ink on paper
Painted in 1942
74.5×38.3 cm. About 1.9 square feet Inscription: Yu proposed Li Tanyuan pen, seeking it outside the path, it seems to feel that there is a place. In the early spring of Renwu, Huang Binhong.
Seal: Huangshan Yang
Publication: The Paintings of Mr. Huang Binhong, p. 54, Hong Kong Art Lam Hin, 1961 edition.
Description:
1. Huang Binhong Exhibition, Chronology of the Exhibition Catalogue, co-organized by the Hong Kong Arts Centre and the Department of Fine Arts, The University of Hong Kong, 1980 edition.
2. The Annals of the Painter Huang Binhong, p. 158, People's Fine Arts Publishing House, 1992 edition.
3. The Complete Works of Huang Binhong • 10, p. 242, Shandong Fine Arts Publishing House, 2006.
Description: This painting and Lot2900 "Xiao Shu Yuan" were originally the second of the four screens of Binweng landscape, and they were stored in two places during the circulation process. These two paintings were recorded in Huang Binhong's Paintings, published in 1961, and the other two were recorded in Huang Binhong's Ancient Road, published in 1995.
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"Imitation of Li Tanyuan's Brushwork" and "Xiao Shuyuan" were originally one of the four screens
Publishing, writing, and recording
Guest: Huang Gong's painting, landscape is the sect. Gu Mountain is not like a mountain, the tree is not like a tree, it is scattered vertically and horizontally, and there is nothing to be found. Why?
Said: To view the painting within a short distance, it is the way to rub the broken monument and the remnants, not the way to view the painting. Overlooking the distance. "I don't see the true face of Lushan, only because I am in this mountain", the mountains and rivers between heaven and earth are not a hundred miles away, and the mountains and rivers on the Susu are not as similar as a few cases.
Lot 2900
Huang Binhong (1865-1955)
Xiao Shuyuan is far away
Mirror Heart, ink on paper
Painted in 1942
74.5×38.3 cm. About 2.6 square feet Inscription: Xiao Xuan is far away, and he occasionally gets it outside the pen and ink. In the early spring of Renwu, Huang Binhong wrote.
Seal: Huangshan Yang
Publication: The Paintings of Mr. Huang Binhong, p. 53, Hong Kong Art Lam Hin, 1961 edition.
Description:
1. Huang Binhong Exhibition, Chronology of the Exhibition Catalogue, co-organized by the Hong Kong Arts Centre and the Department of Fine Arts, The University of Hong Kong, 1980 edition.
2. The Annals of the Painter Huang Binhong, p. 158, People's Fine Arts Publishing House, 1992 edition.
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Publishing, writing, and recording
Guest: Vertical and horizontal, if there is a mess of firewood, that is, the so-called pen and ink of the son?
Said: The path of the husband's pen and ink is deep and mysterious, and it is not foolish and shallow to know. In other words: calligraphy and painting have the same origin, and the law is also the same. The preface uses the pen, the strength of the pen, the flexibility of the wrist, the change of posture, the arrangement of the pattern, the emphasis on the spirit, and the balance of calligraphy and painting. Therefore, the ancients were good at painting and good at books.
Lot 2901
Huang Binhong (1865-1955)
Jin Wen Seven Words Couplet
Mirror Heart, ink on paper
149×26.1 cm. about 3.5 square feet (each) Inscription: Huang Bin Hongseal on the pond.
Seal: Binhong, the original name quality, the ancient seal
Commentary: Songbird Jiangshu because of seeking friends, painting as a teacher of leisure.
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Liu Zuochou personally customized the couplet
Lot 2902
Huang Binhong (1865-1955)
Qingcheng Mountain Color
Mirror heart, ink and color on paper
25.5×33 cm. about 0.8 square feet
Inscription: Tang Liuru is clumsy in color, and there are many Northern Song Dynasty paintings. Go to the East Village to catch a knife, that is, into the fierce. Hereby imitate its meaning, in order to write the mountains of Qingcheng. Eighty-three Binhong. Mr. Tingqiu.
Seal: Huang Binhong, Huang Shan Yuxiang
Seal of the Collection: Void White Zhai, Average Quantity
Huang Binhong is a landscape made by "Mr. Tingqiu".
Huang Binhong took a group photo with friends
Liu Zuochou is one of the main promoters of Huang Binhong's art, and also serves as a channel for customizing Huang Binhong's works on behalf of other village sages. In Huang Binhong's letter to Su Qianying, it was mentioned that Liu Zuochou "introduced" more than 20 paintings, and "it is not easy to get the old Jiayi in the capital". This piece of "Qingcheng Mountain" made for "Tingqiu" can be used as a proof. Combined with the other two works of "Tingqiu", the creation time is also in 1946~1947.
Those who see the light and heavy, the back, and the obscure are the ink, the one who expresses the vigor of the air, the ink, and the one who looks bright and beautiful, the ink. The pen shows the character of the painting, and the ink does not fail to express the character of the painting, and the ink sees the abundance of the painting, and the pen does not fail to taste the abundance of the painting. Although there is a distinction between inside and outside, the spiritual atmosphere is the same at the beginning. Dry, black, thick, light, wet, it is said to be the color of ink; And only those who are good at using ink are good at applying color, and their reason is also one.
Lot 2903
Huang Binhong (1865-1955)
Hwangsan Taoyuan Cave
Mirror heart, ink and color on paper
Ji Chou (1949).
81.5×27.7 cm. About 2.0 square feet Inscription: The pond water drags the blue and the light red, and the falling Ying is light and the wind is a stream. Return to the cultivation and calculate the poverty, and write the spiritual source into the painting. Huangshan Peach Blossom Spring. Ji ugly, eighty-six years of Hongsuo.
Seal: Huang Binhong, a native of the mountains of Huangshan
Exhibition: "Huang Binhong's Appreciation Session", Auditorium, 9/F, Chinese General Chamber of Commerce, 29 May – 31 May 1958.
Publication: Hong Kong Ta Kung Pao, 2nd Edition, 8th Edition, "Special Collection of Huang Binhong's Works", May 29, 1958.
Description: In 1949, Liu Zuochou planned to gather funds for Huang Binhong to publish a collection of paintings, and then Su Qianying wrote a letter, mentioning that Liu Zuochou had prepared the money for the publication of the album, and begged Huang Binhong to select thirty or forty frames of wonderful paintings over the years for the photographic plate making of the album. "Taoyuan Cave of Huangshan" was made in this issue.
label
Publishing, writing, and recording
Guest: Mountains and rivers are not based on heaven and earth?
The painting is not realistic?
Said: Mountains and rivers are natural nature, not plagiarism of their shape.
Painting does not depict the appearance of all things, but conveys the spirit of its connotation.
If the shape is precious, then the famous mountains and rivers, the viewing is not to be missed, the real is there, why not write the picture?
Not only is the giant fiber exhaustive, but it is continuous, and the words are realistic, so far, why is it more expensive to dye the danqing?
Lot 2904
Huang Binhong (1865-1955)
Panlong pine of Huangshan
Mirror heart, ink and color on paper
80.3×34.8 cm. about 2.5 square feet Inscription: Panlong pine of Huangshan. Writes Mr. Bong Suqiu. Directional.
Seals: Huang Binhong, Muyun Pavilion
This painting Weng Guiqing (1887-1968) title: Gift to Brother Save. Weng Guiqing. Seal: Weng Guiqing
Source: Weng Guiqing, Liu Zuoti handed over the collection.
Weng Guiqing (1887-1968), the word Suqiu, a native of Wanning, Hainan, studied in Guangdong School of Political Science and Law, Meiji University in Japan, was originally a subordinate of Chen Jiongming, after Chen lost power, Weng's other business, in Guangdong Province officialdom smoothly, once served as the supervisor of Guangdong Customs, director of the East Guangdong Salt Bureau, etc., in 1946 as the mayor of Shantou. Friendly with painters, rich collection. Huang Binhong once mentioned in a letter with Bao Junbai in July 1946: "Weng Xunqiujun of Shantou City is fond of ancient and modern calligraphy and painting, and is now the mayor." Later, he also mentioned Weng many times in his letter to Huang Jusu, which shows the deep friendship between the two. According to the annals, in the summer of 1940, Bin Hong once made "Mountain Dwelling Qinghua Picture Scroll" and "Songlai Pavilion Picture Scroll" for Weng Yunqiu in the Jiaomo method.
If it is different from the vertical and horizontal scattering, then don't you hear Zhao Wenmin's saying that "the stone is like flying and the white wood is like a tree"?
Guest: If you do your best to paint your brushwork, you can do your best to paint.
Said: Letter. The strange and steep mountains of Fushan are towering, thick and reckless, the water is deep and silky, the ocean is turbulent, the smoke is rippling, and the grass and trees are glorious and withered. The more strange the pen and ink, the more strange the landscape is.
Lot 2905
Huang Binhong (1865-1955)
Boat trip on the Fuchun River
Mirror heart, ink and color on paper
Geng Yin (1950).
67.5×31.2 cm. about 1.9 square feet Inscription: The mountains on the Fuchun River, are written in ink. Geng Yin, eighty-seven Binhong.
Seals: Huang Binhong, Pian Shiju
Publication: "Famous Han Mo No. 15 Huang Binhong Special Collection", pp. 69-70, Hong Kong Han Mo Xuan, 1991 edition.
label
Published book shadows
The husband writes about the appearance of things, which is thought-provoking and lyrical.
However, it is not the ambition of smoke and haze, and the hidden bosom of the fisherman is difficult to speak.
If you don't read thousands of books, you can't travel thousands of miles, and it's hard to talk about the realm.
The bosom is ugly, the realm is cramped, and it is difficult to speak.
Painting is true, and so is painting.
If you can carefully figure it out and understand it carefully;
You will be able to see that the form is like a hasty, but in fact the rules are strict,
The shape of the object or the unfinished, physics is always in hand,
It's sloppy and work.
Lot 2906
Huang Binhong (1865-1955)
Lin'an Mountains
Mirror heart, ink and color on paper
Geng Yin (1950)
78×41 cm. about 2.9 square feet Inscription: The Northern Song Dynasty painted a rich Huazi, a wash of the traces of the Tang Dynasty. Hereby to Lin'an Mountain color slightly imitate its meaning. Geng Yin winter, eighty-seven Binhong.
Seals: Huang Binhong, Pian Shiju
Publication: The Paintings of Mr. Huang Binhong, p. 84, Hong Kong Art Lam Hin, 1961 edition.
Description:
1. Huang Binhong Exhibition, Chronology of the Exhibition Catalogue, co-organized by the Hong Kong Arts Centre and the Department of Fine Arts, The University of Hong Kong, 1980 edition.
2. The Annals of the Painter Huang Binhong, p. 174, People's Fine Arts Publishing House, 1992 edition.
Publishing, writing, and recording
Guest: Why should you be hasty and then see the pen?
Said: Ziyu does not know the pen and ink, and he does not know the painting.
This path is not something that can be understood overnight, and it is not possible to distinguish it in Russia.
And what does it mean to be hasty? If it means that it is not neat, it is necessary to know that the clumsiness of the painting has nothing to do with the neatness of the form.
If the words seem to be at a loss, it is necessary to know that the painting is not realistic.
Thanks to the gradual progress of civilization, the increasing intelligence, and the ability to do so, Si writes about his mind and sends his feelings to him.
Painting is realistic and lyrical, which is the path of human evolution.
Lot 2907
Huang Binhong (1865-1955)
Yellow Mountain Shixin Peak looks west
Mirror heart, ink and color on paper
109.4×35.8 cm. about 3.5 square feet
Inscription: The first letter peak of Huangshan looks at the West Sea Gate. Eighty-seven Binhong is re-inscribed in Xiling Lake House.
Seal: Huang Binhong
label
Guest: What is the pen and ink?
Said: Brush and ink are to painting, and cells are to living things.
Everything in the world, the state of things, and the state of things, appear outside the pen and ink.
Six words and bones with the brush, the painter is not accustomed to outlining and rubbing, all of which are said to be pen and ink.
Lot 2908
Huang Binhong (1865-1955)
Hushan Qiuxiao
Mirror heart, ink and color on paper
Xin Mao (1951).
58×38 cm. about 2.0 square feet
Title: Lakes and mountains in autumn. Xin Mao, eighty-eight bin hong.
Seals: Huang Binhong, Pian Shiju
Publication: "Famous Han Mo No. 15 Huang Binhong Special Collection", p. 99, Hong Kong Han Mo Xuan, 1991 edition.
Description: In 1951, Hangzhou Art School continued to hire a professor, during which Huang Binhong often went out to sketch lakes and mountains, and the painter Fang Zengxian had recorded that Huang Binhong often "sketched lakes and mountains not far from the school gate". In the same year, there was a work "Autumn Ji in Lakes and Mountains".
Published book shadows
What does an artist write? The real thing is cloudy, the introduction is just the introduction, and the sustenance is just that. The ancients had a saying: The scenery is on the surface of the haze, and the excitement is on the top of the deep mountains. The scenery is also, the excitement is also, the table is also, the top is also, the solution can save the painting, and you can understand the reason that the painter does not aim at realism.
Artists, natural plus artificial, large pieces of repetition and refining. Artificial refining, the technology is still good. The scenery is exciting, and the mind is still open. The two complement each other, and the party is perfect. Foolish foreword technology, afterword spirit; one thing and two bodies, there is no contradiction. And only the true understanding of technology is used. The importance of the realm of temperament.
Lot 2909
Huang Binhong (1865-1955)
Xishan Qinghua Xingshu seven-word poem
Fan color on paper, ink on paper
23.5×51.2 cm. about 1.1 square feet (each) Inscription: (1) Outside the sparse willow causeway, between the scarlet peach curved water. The wind in Xiling is beautiful, and you can see the distant mountains at a glance. My brother has a way. Geng Yin (1950), 87 Bin Hong re-titled. Seal: Huang Binhong
(2) The reeds and Xiao Xiao geese are fascinated, and the wind and rain are dark. Returning to the village boat, the barren bamboo partridge is still crying. Bamboo branches are low pressure Shiraishioka. Gangtou berry moss pale, so he called Yanmo to write this meaning, wanting to forget the world. Jun Liang my brother has a way, Binhong. Seal: Huang Binhong's seal
Above: "Jun Liang" is Liu Zuo Chip (1911-1993), the word Jun Liang, a native of Chao'an, Guangdong, a famous collector, and the name "Xubai Zhai". During his studies at Jinan University, he studied landscape painting with Huang Binhong. After graduation, he went to Sin Chew to do business, and since 1945, he has been with Huang Binhong to exchange painting techniques and appreciation. He returned to Hong Kong in 1949 and became the manager of Sihaitong Bank. He has led the organization of Huang Binhong's commemorative exhibitions in Hong Kong for many times, and is an important promoter of Huang Binhong's art. In 1990, Liu Zuochoi donated more than 300 pieces of his life's collection to the Hong Kong Museum of Art, which became a good story in the art world.
Both technology and spirit depend on long-term cultivation.
Learning from the ancients, also cultivating a stage,
Indispensable, especially not clinging!
The painting tradition has been around for 2,000 years, and the technical tools are generally detailed, just like other arts.
Accept the ancient method, so as not to grope in secret;
It is convenient for scholars, not for scholars.
Lot 2910
Huang Binhong (1865-1955)
Koyama Hatsuhaku
Mirror heart, ink and color on paper
Painted in 1953
111.5×38.5 cm. about 3.9 square feet
Title: The beginning of the lake and the mountain. 癸巳, Binhong is ninety years old.
Seal: Huang Binhong
Exhibition: "Huang Binhong's Appreciation Session", Auditorium, 9/F, Chinese General Chamber of Commerce, 29 May – 31 May 1958.
Publication:
1. Hong Kong Ta Kung Pao - Huang Binhong Special Edition, 8th edition, May 29, 1958.
2. Quotations from Huang Binhong's Paintings, Plate 23, Hongkong and Shanghai Book Company, 1961 edition.
3. "Famous Han Mo, Issue 15: Huang Binhong's Special Collection", pp. 107-111, Hong Kong Han Mo Xuan, 1991 edition.
Description:
1. Huang Binhong Exhibition, Chronology of the Exhibition Catalogue, co-organized by the Hong Kong Arts Centre and the Department of Fine Arts, The University of Hong Kong, 1980 edition.
2. The Annals of Painter Huang Binhong, p. 179, People's Fine Arts Publishing House, 1992 edition.
Description: In 1953, Su Qianying came to Hangzhou, and Huang Binhong asked Su Qianying to send a letter to Liu Zuoqiu, and attached the first draft of "Painting Chapter" to Liu Zuoqiao to print it on his behalf. In the winter of the same year, Huang Binhong sent a letter to Liu Zuochou to express his gratitude for the publication of "Painting Studies". And the work that he painted proudly at that time was "selected and posted". The two masterpieces of "The First Ji of Lakes and Mountains" (Lot 2910) and "Spring Mountain" (Lot 2911) by Zhu Si should be the works of the time.
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Publishing, writing, and recording
The "Lakes and Mountains of the First Glow" (Lot 2910) and "Spring Mountains" (Lot 2911) by Huang Binhong and Su Qianying should both be sent to Liu Zuochou in 1953
China Guardian Spring Auction 2023, Lot 753, Huang Binhong's Manuscript of Painting, realised for RMB 23 million
In the past, people said: Look at paintings like people.
Its wind god bone phase, there are those outside the body.
Today, when people look at historic sites, they must first seek the likeness, the second and the infection, and the facts, which is not the method of appreciation.
In fact, there is no distinction between modern and ancient works, and this theory can be universal.
It is good at first sight, and gradually looks tired, and this product is also.
At first sight, it is getting better, and this wonderful product is also.
If it is difficult and incompatible at the beginning, it will gradually be led over time, and the more time it will be loved, this divine product is also a good product.
The same is true for looking at paintings, and the same is true for looking at people.
Lot 2911
Huang Binhong (1865-1955)
Spring Hill Diagram
Mirror heart, ink and color on paper
Painted in 1953
112×38.4 cm. about 3.9 square feet
Inscription: 癸巳 springday, Binhong year ninety.
Seal: Huang Binhong
Description: In 1953, Su Qianying came to Hangzhou, and Huang Binhong asked Su Qianying to send a letter to Liu Zuoqiu, and attached the first draft of "Painting Chapter" to Liu Zuoqiao to print it on his behalf. In the winter of the same year, Huang Binhong sent a letter to Liu Zuochou to express his gratitude for the publication of "Painting Studies". And the work that he painted proudly at that time was "selected and posted". The two masterpieces of "The First Ji of Lakes and Mountains" (Lot 2910) and "Spring Mountain" (Lot 2911) by Zhu Si should be the works of the time.
China Guardian Autumn Auction 2023, Lot 2182, Huang Binhong's book Painting Studies, realised for RMB 10.12 million
However, the true meaning of the Dharma's creation must be further developed:
Look at the treasures of the universe, the common sense of the poor world,
Glimpse the harmony of nature and realize the vitality of all things;
Full of travel, meditative reverie, poor years,
There is a miracle in the chest, and the creation is my own.
It is a matter of teaching the law and creation, not for the sake of technology,
It is especially a lifelong coursework for cultivating personality.
And then don't seek the rhyme and the rhyme is self-contained,
The law is in it, not the law.
← Press and hold the image and swipe left and right to view the full →
Lot 2912
Huang Binhong (1865-1955)
Small peaks in the north and south
Mirror heart, ink and color on paper
Ji Chou (1949).
25.8×130.7 cm. about 3.0 square feet
Inscription: At the beginning of the spring rain, looking at the north and south peaks on the Xiling Bridge, Mr. Feng Yunqiu was written to laugh. Ji ugly, Bin Hong was eighty and six years old.
Seal: Huang Bin Hongyin, Huangshan Mountain People
The previous paragraph: "Mr. Su Qiu" is Weng Guiqing (1894-1966), the word Su Qiu, a native of Wanning, Hainan, successively studied in Guangdong Political Science and Law School, Meiji University in Japan, was originally a subordinate of Chen Jiongming, after Chen lost power, Weng Shi ran another business, in Guangdong Province officialdom career smoothly, once served as the supervisor of Guangdong Customs, director of the East Guangdong Salt Bureau, etc., in 1946 as the mayor of Shantou. Friendly with painters, rich collection. Huang Binhong once mentioned in a letter with Bao Junbai in July 1946: "Weng Xunqiujun of Shantou City is fond of ancient and modern calligraphy and painting, and is now the mayor." Later, he also mentioned Weng many times in his letter to Huang Jusu, which shows the deep friendship between the two. According to the annals, in the summer of 1940, Bin Hong once made "Mountain Dwelling Qinghua Picture Scroll" and "Songlai Pavilion Picture Scroll" for Weng Yunqiu in the Jiaomo method.
Source: Weng Guiqing, Liu Zuoti handed over the collection.
The beauty is in it, it contains many and intriguing, and the painting is full of intention, so it is mediocre at the beginning, and finally sees the wonderland. If the husband is rugged, forested, majestic, such as a monk hermit, if he suddenly rejects people thousands of miles away, or plain and natural, empty as nothing, such as a wooden person, ordinary people will turn their heads and look around: Si will be single-minded, humble and calm, serious and contemplative, in order to see the magnificent in the rugged, and distinguish the eternal in the plain. Only its hidden depth, so it is not easy to taste, but its thickness is thick, so the exploration is endless, knocking is inexhaustible.
Guest: However, the Huang family's strength is due to the Song and Yuan dynasties, what is the result?
Said: No more than the word charm. The air is clear and solid, the bones are clear, and the demeanor of the non-Yuan people is very good, but it is heroic and lively, and it is out of the way of the Yuan people. Use the pen to indulge and make your own law. The mountains are majestic, lush and green, like thorns and grandeur. However, the complexity and simplicity are very different, the predecessors are realistic, and Huang's freehand. The pen and ink are round and smooth, and the Hua is rich and moist, how can it be restored to the norms of the Northern Song Dynasty? All these styles of truncating and complementing each other's weaknesses are everywhere, and it is difficult to enumerate. The pen is concise and concise like a golden stone, lively like a dragon and snake, the color is beautiful but not glamorous, beautiful but not charming, the outline is clear, and harmless to the charm is diffuse, especially the face of Huang Gong.
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Lot 2913
Huang Binhong (1865-1955)
Xishan argued
Mirror heart, ink and color on paper
Wuzi (1948).
31.2×153 cm. about 4.3 square feet
Title: Cracked autumn wind, moist spring rain. Painting is a combination of law and qi to be a clear guide. The rest of the day is the old Jia, taking advantage of the excitement and dyeing, accumulating the cold and heat. Now live on the lake, try to make it happen. Brother Ji Feng Jun smiled with a smile. Wuzi, eighty-five bin hong.
Seals: Huang Binhong, Hongfei Hall on Ice
The previous paragraph: "Jun Liang" is Liu Zuo Chip (1911-1993), the word Jun Liang, a native of Chao'an, Guangdong, a famous collector, and the name "Xubai Zhai". During his studies at Jinan University, he studied landscape painting with Huang Binhong. After graduation, he went to Sin Chew to do business, and since 1945, he has been with Huang Binhong to exchange painting techniques and appreciation. He returned to Hong Kong in 1949 and became the manager of Sihaitong Bank. He has led the organization of Huang Binhong's commemorative exhibitions in Hong Kong for many times, and is an important promoter of Huang Binhong's art. In 1990, Liu Zuochoi donated more than 300 pieces of his life's collection to the Hong Kong Museum of Art, which became a good story in the art world.
Exhibition: "Huang Binhong's Appreciation Session", Auditorium, 9/F, Chinese General Chamber of Commerce, 29 May – 31 May 1958.
Publication:
1. Hong Kong Ta Kung Pao - Huang Binhong's Works Special, 8th edition, May 29, 1958.
2. The Collected Works of Mr. Huang Binhong, p. 78, Hong Kong Art Lam Hin, 1961 edition.
3. "Famous Han Mo, Issue 15: Huang Binhong Special Collection", pp. 12-19, Hong Kong Han Mo Xuan, 1991 edition.
Bibliography: Exhibition of Huang Binhong's Works, Chronology of Exhibition Catalogue, co-organized by the Hong Kong Arts Centre and the Department of Fine Arts, The University of Hong Kong, 1980 edition.
label
Publishing, writing, and recording
Ordinary people specialize in one family, so the appearance is often the same.
The Huang family has taken advantage of the strengths of others, and has entered the realm of transformation, so the number of families is endless.
Ordinary people do not go out of a hundred miles, day and night with the ancients a faction and a family, so a hill and a ravine, pure like seven treasures of the tower, piled up.
Or it is like a puzzle play, inspecting a mountain in the east and a water in the west, and patching it together.
Huang Gong traveled to the mountains to visit the ancients, reading dozens of cold and summer.
The smoke and mist surround the chest, and the magic of creation is contained at the bottom of the wrist.
Therefore, put the pen for it, or collect thousands of miles at hand, or draw a corner for a huge banner, or write twilight, or like a rainy scene, or the brightness of the Wing Chun Dynasty, or the autumn of the West Mountain, cloudy and sunny days, vary at any time, dilute the comfort, depressed and generous, and change according to the situation.
The difference in the picture and the multifaceted structure are the result of the unavoidable.
In 1985, Qi Gong first visited Xubaizhai (in the Four Seas Chase Bank, Bonham Street West, Hong Kong) and Liu Zuozhui
In 1990, Liu Zuochou and Xie Zhiliu appraised paintings and calligraphy in Hong Kong
In October 1991, when Liu Zuo was visiting Beijing, he watched paintings at Liu Jiu'an's apartment
In 1991, Luo Suizu (left) accompanied Liu Zuochou to visit Wu Guanzhong's new residence (Beijing).
In the summer of 1991, Liu Zuochou talked with Zheng Yimei about "Famous Hanmo" in Shanghai
In 1991, Liu Zuochou viewed the painting in Cheng Shifa's (right) apartment. Zhu Jinluan on the left and Zhou Kewen on the right
In 1991, Liu Zuochou was photographed with Yang Sisheng (left) and Xu Bangda (second from right) when they visited the National Palace in Taipei, Li Lincan (right) and Chu Ge (middle).
During his visit to Taipei in 1991, Liu Zuo-chou was photographed with Jiang Zhaoshen (left), Chang Tim-gen (second from right) and Tsai Yi-ming (right) at Lailai Hotel
Mr. Liu Zuochoi, the owner of Xubaizhai, was photographed at the Palace Museum in Beijing in October 1991
In 1991, Zhu Chuzhu (left) accompanied Xie Zhiliu to visit Xubaizhai
In 1991, Liu Zuochou and Xu Liping visited the Shanghai Museum with Yang Xin (left) and Liu Jiu'an (second from left).
In August 1992, Liu Zuochou accompanied Huang Miaozi and Yu Feng to observe paintings in the research room of the Xubaizhai Collection of Chinese Calligraphy and Painting
In 1992, Liu Zuochou admired paintings and discussed art at the Kobayashi Doan (right) studio in Tokyo
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