Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the ancient paintings truly reflect the way of life and scientific and technological level of the people at that time, combined with the record of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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Chinese Qing Dynasty painting, under the influence of politics, economy, ideology and culture at that time, presented a specific style of the times. Scroll painting continues the trend since the Yuan and Ming dynasties, literati painting is popular, landscape painting is flourishing, and ink freehand painting is prevalent. Literati painting presents two tendencies: sublime and innovative. In terms of subject matter content, ideological interest, pen and ink skills, etc., they have different pursuits, and form a variety of styles and genres. Court painting also achieved great development during the Kangxi and Qianlong periods, and presented a new style that was very different from the previous generation of courtyards. Folk painting is most prominent in the achievements of New Year paintings and prints, showing an unprecedented flourishing situation. The historical process of the development of painting in the Qing Dynasty is related to the development and changes of the whole society, and can also be divided into three periods: early, middle and late.
In the last years of the Qing Dynasty, with the decline of feudal society, new changes took place in the field of painting. For about 200 years in the Qing Dynasty, the authentic literati painting school and the imperial court paintings were gradually declining, and Shanghai and Guangzhou, which were opened as treaty ports, had become new painting centers, and the Hai school and lingnan school of painting appeared.
The factional forces of the Four Kings gradually declined during the Daoguang and Xianfeng years, and there were not many accomplished painters, only Tang Yifen and Dai Xi's landscapes had made breakthroughs, which were valued by the world, and the landscapes of Qian Du, Hu Yuan, Wu Yuxiang, Wu Qingyun and others were also praised for a while. Let's start by sharing Chandu's landscape paintings.
Chandu (1764-1845), a collection of essays by Bo Bo (1763-1844). The original name was Yu, the character Uncle Ming, the name was changed to Du, the character Shumei, the number of the song pot Xiaoyin, also known as the song pot, also known as the pot gong, the number of the resident, Qiantang (now Hangzhou, Zhejiang) people, Qian Shudi. Born as a eunuch, Jiaqing five years (1800) into the priesthood, the official chief. Sex is idle and free, easy to travel, and has traveled through Yunnan, Sichuan, Hubei, Henan, Hebei, Shanxi and other places in his life. In the ninth year of Jiaqing (1804), he lived in Jiading (now part of Shanghai), and in the twenty-second year of Daoguang (1842), the British army attacked Zhejiang, avoided Yangzhou, and died in Kexiang. He is the author of "Pine Pot Painting Tips", "Pine Pot Painting Memories", "Pine Pot Painting", etc.
His major works include: "Xixi Yuezhuo", "Zilang Xianguan Map", "Character Landscape Map", "Yushan Caotang Buyue Poetic Intention", "Plum Blossom Diagram", "Tianchi Stone Wall Diagram", "Xishan Boat", "Chen Wenshu Poetry Album" ("Canghai Spring Sail", "Great Wall Autumn Moon", "Oubo Secretary", "Lang Huan Carved Candle", "Painting Ship Inscription", "Yuan Pu Fangqiu", "Yunyuan Flower Banquet", "Spirit Hidden Book", "Rongguan Poetry League", "Daiyue Wangyun", "Jiangguo Stop", "Chang'an Listening to Rain", "Huahai Bianzhou", "Flower Sea Flat Boat", " Wu Song Chu hai", "Guan Shan Transfer", "Hengtang Paddle"), "Imitation Cloud Forest Landscape Map", "Sleepwalking Rooftop Map" and so on
Late Qing Dynasty landscape painting master Qian Du's "Xixi Yuetu Map" appreciation
"Xixi Moon Map" fan page, Qing, Qiandu painting, paper, color, length 18.2 cm, width 54 cm. Collection of the Palace Museum, Beijing.
The fan page has its own inscription: "Xixi Moon Tree." Lin Tang Zi Fear was originally observed by Xiao Mei Ren Brother. Ding Youzhongqiu, Qian Duji. "钤" Shumei "Zhu Wenyin."
"Ding You" is the seventeenth year of Qing Daoguang (1837), and Qian Du was 74 years old.
This picture is a painting fan given to a colleague by the author in his later years. The picture depicts the red-robed Coat sitting alone at the head of the boat and going down the river, showing the ideal secluded life of the literati. The characters and boats in the picture are meticulously and neatly arranged, revealing the beauty of lingxiu in the ancient clumsiness, with the style of "fine pen" of Wen Zhengming. The lush branches and leaves of the trees on both sides of the strait are free and unrestrained on the pen, and the lines and black and white ink dots are intertwined, with the beauty of chaotic and rough clothes. The free brush and ink and the delicate characters and boats formed an organic complement between the scales, complementing each other.
Late Qing Dynasty landscape painting master Qian Du's "Purple Lang Xianguan Map" appreciation
"Purple Lang Xianguan Map" axis, Qing Qiandu painting, paper, color, length 132 cm, width 27.1 cm. Collection of the Palace Museum, Beijing.
This section is signed "He died in April and looked after Qian Du and inscribed". Plutonium "Qian Shumei" printed 1 side.
The "Purple Lang Xianguan Map" was originally composed by Zhao Mengfu, qian Du had seen the real handwriting in the capital, and later backed it for his friend Mr. Yueqiao. According to the inscription of the figure, it can be seen that this figure was made in the twenty-fourth year of Qing Jiaqing (1819), and the author was 56 years old at the time. More than 20 years later (Daoguang Twenty-second Year, 1842), this picture was obtained by the owner of Mei Lu, and Qian Du was asked to re-title it on the painting.
The picture of "Purple Lang Xianguan" is quiet and sparse, and the atmosphere is comfortable, showing the idealized secluded life of the literati. Through the description of the elegant and quiet living environment of the literati, the author reflects their ideals of life and their personal sentiments. Although this picture originates from Zhao's original work, it is meticulously and neatly written with a pen, the characters and buildings are delicately carved, and the spirit of the spirit is seen in the ancient clumsiness, which is the characteristic of Qian's own family. Its compositional form and coloring have the characteristics of the Wumen School, especially the influence of Wen Zhengming's "fine brush" painting method.
Late Qing Dynasty landscape painting master Qian Du's "Character Landscape Map" appreciation
Qing Qiandu "Character Landscape Map" album, paper, color, vertical 22. 8 cm, width 33. 5 cm. Collection of Shanghai Museum.
This volume consists of twelve pages, two pages of selected publications:
"Linju Festival Xixi Qingxue";
"Linshen Zhou Dantai Spring Dawn".
Although this volume is called a work of lingu, it actually has the author's own face and bones, and has the eternal charm of Juanxiu, which was composed by Qian Du at the age of 59 in the second year of Daoguang (1822).
Late Qing Dynasty landscape painting master Qian Du "Yushan Caotang Buyue Poetic Intention" appreciation
Qing Qiandu "Yushan Caotang Buyue Poetic Intention" ink, light color, length 138.2 cm, width 53 cm. (Japanese) Osaka Municipal Museum of Art Collection.
"Yushan Caotang Buyue Poetic Intention" has Zhu Zhuyuan inscription "Qian Song Ju Yu Shan Cao Tang Bu Yue Poetry Painting Yi Pin", and the Song Ju is Qian Du's number. In the upper left of the painting, Qian Du self-titled "The mountain moon wants to be born in autumn, and the east wall and the west port are singing." The host opened the door and wanted to go, and the figure faintly entered the deep tree. The tree-headed perch crowed several times, and looked up to see the moon gradually falling. Bamboo smoke was silent, and the cranes were dewy as rain. This poem, written down in the Yushan Caotang Buyue inscription small painting gift Zi Xiaozuo, decyl unitary long summer nothing, repeat this to send Xiangshan five brothers. Send it to the day, set a reward for many things, and when the tea is ripe, invite two or three binzos to chant together. Chandu knows nothing. "It was 1813, and Chandu was fifty years old.
From the picture, it is similar to the poetic mood of the inscription, but some details are not exactly the same. The first part of the "Yushan Caotang Buyue Poetic Intention" is omitted with slope stones, and there are three exquisite artificial mountain stones inside and outside the courtyard wall, with complex hooks and intricate lines, the trees in the garden are luxuriant, the grass is looming in the middle, and the red dots on the trees seem to be magnolias or wooden pen flowers. The distant mountains are painted with two shades of deep blue, the sky is dyed with light blue, and the clothes of the characters in the painting are also blue, which contains harmony in the richness. "Yushan Caotang Buyue Poetic Intention" features the contrast between the great density and the great sparseness. Layers of lush forests, with delicate point methods, cirrus-like mountain stones, written in dense and decorative interests, form a strong contrast with the empty world and white walls. The painting method combines the complexity of Wang Meng with the delicacy of Wen Zhengming.
Late Qing Dynasty landscape painting master Qian Du's "Plum Blossom Diagram" appreciation
Qing Qiandu's "Plum Blossom Diagram" is colored on silk, 204.4 cm in length and 97.3 cm in width. It is now in the collection of the Shanghai Museum. A masterpiece of flowers and birds for Chandu. The picture depicts a rugged old plum tree, the main trunk coiled up, rushing out of the painting, and then folded back at the treetops, echoing up and down, the qi pulse is connected, and the pen is broken and the intention is circumferential. The plum blossoms with dense branches are either budding, blooming, or remnants, and are leaning forward, in a variety of shapes, just like a thousand jade beads scattered on the silver branches. Or white, or pink plum blossoms and iron bones of the branches reflect each other, the breath is attacking, quite a bit of charm.
In the picture, the trunk of the plum tree is painted in light ink, and the moss is dotted with thick ink, which is old and clumsy; The branches are drawn with a center forward, straight and tough. The painter uses the "flying white method" of calligraphy, and the brush is sharp, suddenly frustrated, so that the turn is square, very vigorous, from the bottom up, in one go. Plum tip is straight. Chandu painted plum branches, pulling a stroke to a few feet long, so that the tips of the plum branches were sharp, or like iron whips, or like crane knees, or like bow tips, or like fishing rods, highlighting the lofty and vulgar beauty of the plum tree. The plum branches in the painting make people feel that the wind god is graceful and energetic. Yi Bingshou wrote the four words "HanXiang Eternity" in Qiandu's plum blossom album. It is also very appropriate to evaluate Qiandu's figure in these four words.
Late Qing Dynasty landscape painting master Qian Du's "Tianchi Stone Wall Map" appreciation
Qing Qiandu "Tianchi Stone Wall Map"
In terms of composition, Qian Du's narrow and long axis of "Tianchi Stone Wall" is used as the foreground by the lush pine forest between the slopes and rocks, and through a series of S-shaped surging waterways, it reaches the round and gentle peaks with yellow and light colors at the height of the picture. He used bushes of pines and cypresses to unify the landscape, and decorated it with bridges, gates, and monasteries. The upward momentum of the winding mountain road in the picture uses the stream hanging down from the mountain to meander through the cascading waterfalls, dams, and water gates to get a reverse balance, and finally returns to the foreground of the open creek where a scribe to be crossed.
The entire painting is stacked with clusters of light emerald greenstones, and its size does not differ from the front, middle and rear scenes. This confusion of size proportions causes objects from near and far to compress into an intimate and dizzying continuous space, and it seems that every part of the landscape can be seen clearly at once. But the man-made elements of the landscape, such as paths, walls, and monasteries, seem to be set open only to certain visitors; long stones separate the foreground from the other objects in the painting; and the robed scribe standing in the door frame looks at the boatman on the lake, who must cross the water to find the path to the residence of another scribe waiting for him. The door in the painting, the winding path, the slightly opened sluice gate, the scribes wandering by the door leading to another space... The movement of this landscape is demarcated. Inscription: Reminiscence of Jiaqing Yi Ugly (1805) Long Summer, in the Transcendent Hall throughout the moon, as if entering the Dragon Treasure also. Less Lanso painting, Uncle Qian Meiji.
Late Qing Dynasty landscape painting master Qian Du's "Xishan Boat" appreciation
Qing Qiandu 《溪山 Boat》
Faced with the fact that the painting world has become deeply dependent on the Yuanren style advocated by Dong Qichang, Qian Du selected some classic painters who are not in Dong's series of southern and northern sects. These include Wen Zhengming, whom he regards as the successor of Zhao Mengfu, who in turn regards him as the successor of Tang Dynasty painting. Qian Du believed that what made Wen Zhengming stand out was his "qingfu" trait, and once wrote: If the latter wants to stop the clouds, he must first understand the charm of his qingchao jingmu, and then the position of the hill is naturally qualified, and gradually shed the dregs and leaves the emptiness, then it is close to the road. If you intend to take the shape on the hook of the dye, it will eventually belong to the death sentence Han ye.
Late Qing Dynasty landscape painting master Qian Du's "Chen Wenshu Poetic Album" appreciation
This set of "Chen Wenshu Poetic Albums" is Qian Du's depiction of what he saw and heard during his travels with a paintbrush. A total of 16 kai, which was created by Qian Du when he was 36 years old, is now shared with you.
One of the "Poetic Albums of Chen Wenshu", "Spring Sail of the Canghai Sea". Thanks to The Laborers also. In the spring of 1808, Yu Chongming went to Haimen and traveled to and from the sea for two decades. The long wind is full of sails, and the return to spring is more than halfway over. Spring is full of heaven and earth, and it is a unique sea tour. The vicissitudes are infinite, and I am born in this flat boat. The night is quiet and the dragon is anxious, and the clouds are open and the geese are in autumn. Lu Ao yin a volume, returned to the Little Red Chamber. It is the most dynamic and imposing in the whole set of works, and QianDu got rid of the stylized creation of water waves and waves of his predecessors in this frame of work. There are many ways in which traditional landscape painting depicts a quiet landscape, but it is a bit of a constraint in the face of dynamic scenes. Chandhu uses hook and dye, uses the dry pen center to outline the fine waves, uses light ink to render the gaps between the waves, and the large waves are rendered without color, and the color changes reflect the surging water of the sea. Imitation of Wang Guyun. Shumei.
"Chen Wenshu Poetry Album" No. 2 "Autumn Moon of the Great Wall". Ji Yuanyou also. 癸 ugly (1793) autumn from LangHuan Zhongcheng Rehe also, Sugu North Mouth. Night and moon out of the city, if the ancient mirror is out of the box. The blue sky is a bright moon, and the shadow shines on the Great Wall. The old colors of the bright moon, the ancient love of the Great Wall. Hu Ji Qinghai complained, Qiang Di Yu Guan sheng. Looking back at the YinShan Road, the Expedition of Cool Autumn Affairs. Chandhoo drew a frame. The Great Wall he painted was very different from what we see today, and he focused on the mountainous terrain, and the Great Wall was only a side scene in the painting. This also shows that Qian Du is still constrained by traditional techniques in the process of transforming sketching into works, and he is handy in creating the content he has painted before, and he has a hard time creating it without painting before. It can also be seen from Chandu's attempt that he is very lonely on the road of sketching and transforming into works. Wu Zhongguiyi. Shumei.
The Third Book of Chen Wenshu's Poetics, Secretary of Oubo. Comfort sustenance also. Guan Ji Xiangyu interprets poetry books, and loves Han Mo. He is the secretary of Yu Zhao, and his residence is known as the Ozawa Hall. Beauty Yi's pipe, small gull wave outside the flower. Painting cabinet smoke cloud offering, book immortal Han Moduo. The sound of the piano is late at night, and the curtain is rolling in the autumn river. Water pavilion makeup place, near the pool point daisy. It is a work of Chandu's sketching, although it is still a little immature in terms of technique, but it can show Qiandu's attempts in creation. Imitation of the owner of The Wave.
"Chen Wenshu Poetry Album" No. 4 "Lang Huan Carved Candle". Perceive yourself also. Knowing Huainan, looking back on the past ten years, he was taught the scriptures and half with Jiaman. Jade Tent Tan Bing Day, Yunting Wine Year. The first is Lang Huan. The garden trees are singing at night, and the pond flowers are wet and twilight. Because of the dream of the yin yinguan, the wind and rain sleep on the bed. Legend has it that the place where the Heavenly Emperor hid his books was called Lang Huan. In the eyes of the world, the Heavenly Emperor must have lived in the Immortal Mountains and Blessed Land, and Qian Du depicted the Worldly Bookstore, and he expanded the meaning of Lang Huan into the scholar's bookstore. Qian Du himself said that his work was imitating the famous Song Dynasty artist Zhao Lingyong, and at first glance it still looked like the style of Wen Zhengming of the Ming Dynasty. Qian Du is not wrong to say this, he did not imitate Zhao Lingyong's pen and ink technique, he imitated the charm of Zhao Lingyong's paintings. This frame of work presents Qian Du's speculation about Zhao Lingyong's works, ancient painting theory can not achieve both pictures and texts, Qian Du can only understand the style of Zhao Lingyong's works through text introduction, he speculates through Wen Zhengming's works, and can only paint such a look. Imitation of Zhao Lingyong.
"Chen Wenshu Poetic Album" No. 5 "Painting Ship Inscription". Ji Ye tour also. Dong Zhuyun made a record of Wumen paintings, covered the bridge miscellaneous records, and recorded many poems. Where Magnolia Radius, Spring City Four Hundred Bridges. The curtains are light and the water cabinet is rainy. The Old Testament left a golden pillow, and the new voice complained about the jade. Dripping ink in, feeling old times the soul is sold. Qian Tang Chen Wen Shu System, Qian Du Shu. Imitation of the text to be edicted. In April. Qian Shumei.
"Chen Wenshu Poetry Album" No. 6 "Yuan Pu Defending Autumn". Zhihe Canal also. In 1796, bing chen (1796) tried to be an official in Anhui, and the Tiemei'an Palace was protected by the river. In the following year, chunjun River and Yuntiguan River, Fuxu Lao, changed to Guan Jiangnan. One roll of anti-autumn, three more candles. Laosheng jiu hebei, official traces and jiangnan. The diversion is frequently discussed, and the propaganda room is not fully understood. The ladder closes the road, and the willow is still ugly. Mu Du is afraid of men. Shumei.
"Chen Wenshu Poetry Album" No. 7 "Cloud Garden Flower Feast". Nostalgic rain also. Traveling to Jinghua, Yusun Guyun attacked Boyun to paint the garden for three years. On the eve of the flower moon, the wine is given to poetry for fun. Three years of Spring Ming live, Qin Zun knows the old home. Gaotai autumn moon, Xiao Xie late evaluation of flowers. Scrap the spring swallow, empty court scattered twilight crows. Therefore, hou hou has not been obtained, and he remembers the end of the world. Gju Valley.
The Poetic Book of Chen Wenshu, No. 8, The Hidden Book of Spirits. Thoughts on writings also. The books in Lang Huanzhong were hidden in Lingyin, because they were hidden by the books. Thousand autumns are unmatched, a roll of famous mountains. Graphite monk protection, green lantern ancient Buddha room. The name is half the world, and the copy is out of the world. There are very few authors, and he is a class. Imitation of Cao Zhibai.
The ninth of the Chen Wenshu Poetry Book, "Rongguan Poetry League". Reminiscences also. Rong Hu Yang Nongbu poetry school and Yu Tong out of the plum village sacrifice wine, the world known as Yang Chen. Chasing Yuan Bai, Xiong Qi hugged Du Han. The poets pushed the sacrificial wine, and my generations complained about the altar. Fear of the spring flowers, chant late at night moon remnants. In the old days, the land was full of fallen leaves. Use the Yellow Crane Mountain Tree Method.
"Chen Wenshu Poetry Album" No. 10 "Daiyue Wangyun". Si Kin also. Xin Youchun and Pan Black Tea Kings went north, passing through Mount Tai, looking south at the white clouds, and feeling like a wanderer. Thinking of relatives and remembering the house, looking south at the white clouds. Yun Fei is out of reach, when will the wanderer return. The sun is clear at dawn, and the gate of heaven is open. What a floating name, hard work to collect clothes. It seems that the idiot is absurd in his old age. Shumei.
Chen Wenshu Poetic Album No. 11 "JiangGuo Stops". Sense Ping trace also. On the nineteenth day of the trial, the old man remembered me, and could not be without poetry. The river traveled three hundred miles, and it was over to wanfengqing. The old rain had listened to it together, and the idle clouds had stopped. Koike Akira thin moon, tall tree blue horizontal star. Looking back at Ru Xiang Pavilion, the loose fence sat on the fluttering firefly. The pen is like a Kowloon Mountain person.
Chen Wenshu Poetic Album, Xi'an Listening to the Rain. Memories of the brother also. Zhongdi Shou Su was sick through autumn, Yu was in the Beijing Division, smelling the night rain and remembering it, and now the next ten years will be completed. What happens when it rains at night, makes life far away from mourning. Unbearable (sad) insects cut, the situation has the sound of geese coming. The pond grass is even more dreamless, and the garden flowers have not bloomed. A lump of earth in the shade of the lake, lonely and cold moss. Xu Youwenyi. Shumei.
The Thirteenth Book of Chen Wenshu's Poetic Works, "Flower Sea Flat Boat". Mu KaiYin also. Neizi Yuchen and Yu Youyin Xixi made a covenant. The sea of flowers is in Xixi, plum blossoms are thousands of trees, and the sea of incense is fragrant. When the day came, the sea of flowers flattened the boat. Idle ancient plum tree, far away double white gulls. The green mountains hide fragrant snow, and the green feather dreams of Luofu. If you want to take your home with you, you can't stay for a long time. Shumei imitates Tang Ziwei.
The Fourteenth Book of Poetry of Chen Wenshu, Wu Song Chu Hai. Shibube also. Wusong Haikou of Baoshan Mountain, seven miles from the city, Yangjie Town Building Ship is in Yan. A piece of Wu Song water, the waves down to the sea gate. Ge Chuan sent Han said, Beacon said Sun En. Rhinoceros Generals, see Lietun in the flag. Sitting idly in the bright moon, the same is true of the sword narrative. Zhang Boyu Wu Song Spring Rain Diagram, as if it were. Shumei.
Chen Wenshu Poetry Album No. 15 "Guan Shan Transfers". Mercy also. On the River, through the Clear Stream Pass, sheltered from the rain under the trees. The seven peaks are divided into shores, and thousands of trees hug the mountains. The carriages and horses are on the clouds, and the Guanshan mountains are in the rain. The wet clothes pity the tired servants, and Hua Fa feels tired. The front road Chuyang ferry, the clear stream is clear. Imitate the five peaks of the text and change its method less. Shumei.
Chen Wenshu Poetic Album No. 16 "Hengtang Paddle". The Old Testament also. Dong Ji Shuangting, there is a series of covenants. For the remaining three years, he will paddle and greet him. For three years of this one heart to have a chain covenant. The moon and the light were once photographed, and the river was deep. Flower shadow autumn horizontal flute, galactic night drum piano. In the old days, the paddle road, the cool rain moved slightly. History of The Outer Reaches of The Olive Creek.
Late Qing Dynasty landscape painting master Qian Du's "Imitation of Yunlin Landscape Map" appreciation
Qian Du's "Imitation Of Cloud Forest Landscape Map"
In his lifetime, the author has been particularly fond of traveling the Range Rover, walking the world several times, and writing poems and paintings every time he encounters scenic spots. The charm of nature has greatly enriched his painting landscape, broadened his mind, and broadened his horizons. He did not leave any great achievements in political affairs, but in art he became a famous painter during the Jia and Dao dynasties, and the history of painting said that he founded the "Songju School". Probably under his influence, the eldest brother Qian Shu (Zi Mei), who did not have a high official position, was also a master of poetry, books, and paintings, and his painter Fa Da Da (Huang Gongwang) loved to imitate the paintings of Huang Heshan Qiao (Wang Meng), from his brother Qian Dong (Zi Zhi Hai), books and paintings to Nan Tian (Yun Shouping), imitating Nan Tian's works, so that it was difficult for people to distinguish between true and false; His fifth brother Qian Xie'an and his sister Qian Linjun worked on poetry and painting; Qian Sheng, his son Qian Sheng, his daughter Qian Pei, and his nephew Qian Tingxi, who traveled the world, are all experts in calligraphy and painting, and it can be said that the entire Qian family is almost an important part of the "Songju Painting School". His seventy-five-year-old disciple painter Jiang Baoling, as well as Jiang's son, can also be called the successor of the "Songju School".
Late Qing Dynasty landscape painting master Qian Du "Sleepwalking Rooftop Picture Scroll" appreciation
Qing Qiandu "Sleepwalking Rooftop Picture Scroll" Ink and Pencil on Paper 29.8X130.96cm Collection of cleveland Museum of Art", "Sleepwalking Roof Picture Scroll" is a representative work of Chandhu landscape painting, and the delicate and elegant painting style derived from Wen Zhengming is fully reflected in this pure ink landscape work.
This volume was written in March of the nineteenth year of Jiaqing (1814), when Qian Du was 50 years old. The above paragraph "Yunbo" is the Qing Dynasty poet Chen Wenshu. Chen Wenshu (1771 ~ 1843) was originally named Wenjie, ZiPuxiang, also spelled Junfu, Yunbo, Yingbai, and later renamed Wenshu, alias Yuanlong, Hui'an, Yunbo, also known as Bicheng Waishi, Yidao Jushi, LiankeJushi, etc., Qiantang (now Hangzhou, Zhejiang). Jiaqing Shi raised people, officials Zhaowen, Quan Jiao and other zhi county. Poetics Wu Meicun, Qian Muzhai, Boya Qili, in the Beijing division and Yang Fangcan, then known as "Yang Chen", author of "Bicheng Poetry Museum Poetry Banknote", "Yi Dao Tang Collection" and so on. According to the Chronology of Chen Hongshou, this year the painter should be in Liyang with Chen Wenshu. According to the inscription on the scroll, Qian Du painted this painting in the spring, and in the autumn of July, Qian Du went to wuzhong Guiye Shutang to display the "Sleepwalking Rooftop Picture Scroll" that had been framed into a volume, and improvised a poem at the back of the volume.