The summer that has been delayed
It's finally over
Autumn in Shanghai
It is also in the sweet air full of osmanthus flowers in the city
Get the real feeling you deserve
The autumn colors of Jiangnan in reality
Fleeting
The clear autumn scene in the painting
But not afraid of time
Under the pen of Xu Wei, Lü Ji, Zhao Zhiqian, Xu Gu and other painters
The autumn ritual of folding the laurel and looking at the moon and putting wine on the fence
Always clear and clear, authentic and tangible
cassia
Ming Lu Ji Gui Ju Mountain Bird Diagram
Color on silk 192cm×107cm
It is now in the Palace Museum
In traditional Chinese paintings of flowers and birds
Osmanthus is unexpectedly not so "internet celebrity" theme
This may be because laurel trees are common in the south though
In northern China, there are very few reasons for it
This painting by the Ming Dynasty painter Lü Ji
《Guiju Mountain Bird Diagram》
It is one of the more representative ones of the osmanthus flower themes
Lü Ji himself is from Ningbo
Because of his painting name, he was conscripted into the palace
On the occasion of the Renzhi Hall, he was given the command of the Jinyi Guard
It is on a par with Bian Jingzhao and Lin Liang
Ming Dynasty courtyard body flower and bird painting master
Guiju mountain bird map part
The trunk of the laurel tree is thick and leafy, and the branches are full of flowers
The yellow golden laurel seems to be emitting a faint fragrance
Flowers, leaves, and birds are all used to outline and fill in the color
The pen is fine and the color is bright
It belongs to the typical brush heavy color painting method
Tree trunks and slope stones are made with coarser pen and ink
It is in stark contrast to the heavy colors of flowers and birds
And more often
Laurel and White Rabbit "make their debut in a group" together
Qing Li Shi Zhuo Osmanthus Moon Rabbit Diagram
On paper, light color, 16.7cm×49.4cm
A white rabbit resides in the main body of the picture
Through its upward gaze
Half moonlight hidden by laurel leaves can be seen
White rabbit, osmanthus flower, bright moon
It is the beauty of the Mid-Autumn Festival
Osmanthus moon rabbit figure partial
crab
Finished enjoying the osmanthus flowers
Come back and watch the crabs
Ming Xu Wei Huang Jia Tu
Pen and ink on paper 114.6cm× 29.7cm
The fat lotus leaves have begun to wither
A crab crawls slowly
Leave a large blank space to express autumn water
The painter paints lotus leaves in a dripping ink color
Painting crabs is a few strokes
It seems to be hastily done
In fact, it is thick, light, dry, wet, hooked, smeared, and dot
A variety of penmanship references
Although the shape is exaggerated, it is full of pen and ink
Yellow nail figure partial
Xu Wei, the originator of the Qingteng school, is a native of Shaoxing
River crab served with warm Shaoxing rice wine
It's a wonderful treat of autumn
Of course, this work has nothing to do with crab smell
But it is the work of The Trusted Word
The inscription on the painting reads:
Wu Ran has a material arrogance, do not ask whether the pearl has existed over the years
Raising an orphan standard person does not know, when the yellow armor alone passed on the neck
The painting is a crab
But it is said that the wall will be used
Literati are arrogant
Speaking of which
There are also works with similar themes in Song paintings
For example, the following "Lotus Crab Diagram"
Song Anon. Lotus crab diagram
Color on silk 28.4cm×28cm
The remnants of the lotus leaves are yellowish and mottled, half-immersed in water
A female crab flaps on the leaf
Flowing water of red indigo, grass, duckweed, algae, etc
The edges of the leaves have begun to yellow
The decline of the lotus leaves contrasts sharply with the liveness of the female crab
chrysanthemum
Zhao Zhiqian, one of the "Four Families of the Hai Sect", is also a shaoxing native
Pan Tianshou commented on him in the History of Chinese Painting:
Flowers are made with the fun of gold stone calligraphy and painting
Honghuang Guli, the first of the Former Hai Sect
This "Chrysanthemum Picture"
It is a more typical flower painting style of Zhao Zhiqian
Qing Zhao Zhiqian Chrysanthemum diagram
Color on paper 133.5cm×32 .6cm
It is now in the collection of the Shanghai Museum
Depicted chrysanthemums of various colors
Flowers are either outlined or spotted
The leaves are all boneless
Zhao Zhiqian in his floral paintings
Combined with the small freehand of "Yangzhou Eight Monsters"
With Yun Shouping's "boneless" painting method
It looks chic and doesn't lose its implications
Don't have a thick and mellow fun
Chrysanthemum plot partial
The representative work of the late Qing Dynasty painter Xugu Monk
In the Miscellaneous Album
There is also a chrysanthemum
It was his work when he was 73 years old
QingXugu Miscellaneous Album (Chrysanthemum)
Color on paper 34.7cm×40.6cm
Xugu was after Zhao Zhiqian
One of the representative figures of the "Haipai"
He was originally from Shexian County, Anhui Province
Lived in Yangzhou for a while
Later, it traveled to and from Shanghai and Suzhou
His painting style is cold and novel, elegant and fresh
Loved and respected by the people of the time
part
Chrysanthemum branches are interspersed
Orderly and hierarchical
And it has an imperceptible geometric regularity
This is also a major feature of the flower and bird paintings in the Virtual Valley
Clear but not dry, dense but not chaotic
Reverse pen and dry pen are used in combination
The thickness and thickness show the grandeur of the chrysanthemum
Gives a distinct sense of rhythm
Gui, crab, chrysanthemum
……
The representative of autumn in Gangnam
There's more
However, autumn is beautiful
It's the same as many things in life
It can be in front of the eyes, it can be at the end of the pen
Ultimately
In your heart and mine
Editor | Qinling
| He Yiping
source
Palace museum
Shanghai Museum
"Vitality and Elegance, the World of Chinese Flower and Bird Painting"