319 "Qianlong Wash Elephant Map"
Qing Ding Guanpeng Color on paper Length 132.5 cm Width 62.6 cm Collection of the Palace Museum in Beijing
This is a painting with religious themes, but the Puxian Bodhisattva in the painting is clearly the image of the Qianlong Emperor. The crowd was watching the white elephant, and the white elephant was the mount of the Bodhisattva Puxian. In addition to the Qianlong Emperor, there are several other people with portrait characteristics, which should be painted by Lang Shining; and the characters' clothing patterns and lines are very distinctive, which should be written by Ding Guanpeng.
The painting only signs Ding Guanpeng's name, in fact, there should be European painters involved in it. The lower left corner of the canvas is signed: "Qianlong Fifteenth Year June Chen Ding Guan Peng Gong Painting".
320 Beggar Chart
Qing Ding Guanpeng Ink and pencil on paper Length 27.8 cm Width 384.5 cm Collection of Shanghai Museum
The Southern Dynasty Liang Zongyi's "Records of the Jingchu Years" says: "On the Qixi Festival, the woman pierced the seven-hole needle with colorful wisps, and Chen Guaguo begged in the court. If there is a happy net on the melon, it is thought to be obtained. ”
The scroll depicts in white the scene of women burning candles and fasting in the courtyard at night of Tanabata. Women's hair, fine and uniform ink, smooth fold lines, delicate ornamentation, and fluttering rings, get the posture of "Wu belt when the wind".
The whole picture is rich in color and the characters are quite dynamic, and it is one of the representative works of ensemble strokes in qing dynasty court painting.
321 Buddha Diagram of Infinite Life
Qing Ding Guanpeng Porcelain blue paper gold painting Length 99.3 cm Width 61.9 cm Collection of the Palace Museum in Beijing
Ding Guanpeng, born and died in an ominous year, was active in the 18th century AD, a native of Shuntian (present-day Beijing), yongzheng in the fourth year (1726), entered the court to become an enshrined painter, died about thirty-five years after Qianlong (1770). He was good at painting figures, Taoist interpretations, landscapes, and portraits, and his painting style was neat and meticulous, influenced by European painting, and his brother Ding Guanhe was also enshrined in the inner court.
Although this figure is titled The Infinite Life Buddha Chart, it should actually be the Rulai Buddha Chart. The eyebrows are kind and the golden light shines, giving the viewer a very eye-catching visual impact.
322 Butterfly Lady
Qing Chen Yu Color on paper Length 93 cm Width 30 cm Collection of the Palace Museum in Beijing
Chen Zi, born in 1634, died in unknown years. The original name was Ru Zhen, the word is nameless, also known as Ru, xiaolian, also known as wine Taoist, nicknamed Lutou, Zhejiang Zhuji people. Son of Chen Hongshou. Good at writing characters and flowers. He is also good at painting and learning, and is also good at books.
This picture of a lady has the legacy of Chen Hongshou, and the lines are twisted and delicate and expressive.
323 The Lady
Qing Chen Yu Silk Color Length 158 cm Width 45 cm Collection of Tsinghua University Academy of Fine Arts
This set of twelve female screens is based on the leisurely and comfortable life of aristocratic women. Here are four of them: one is "Wuye Frightening Autumn", the second is "Bamboo Shade Lead Tree", the third is "Langyuan Caifang", and the fourth is "Jade Bureau Knocking Idle". In the painting, the lady has a beautiful face, a coarse and simple square fold, and a light color.
324 "Xi Guan's Horse Drawing"
Qing Zhang Mu Silk Color Length 110.5 cm Width 57.8 cm Collection of the Palace Museum in Beijing
Zhang Mu, born in 1607, died in unknown year. Painter of the late Ming and early Qing dynasties. The character Muzhi, the number of iron bridge, Guangdong Dongguan people. He is good at painting horses and landscapes and orchid bamboo, and his pen and ink are fine and neat.
This figure depicts only one man and one horse in an empty background. The horse's posture is long and strong, and Xi Guan's expression is pleasant, leading the horse to walk.
325 Roselle
Qing Xiaochen Color on paper Length 18.8 cm Width 53.5 cm Collection of the Palace Museum in Beijing
Xiao Chen, year of birth unknown, died about the middle of the Kangxi Dynasty, character Zhongsu, number Lingxi, Yangzhou people, Gong poetry, also good at painting Gongbi landscapes, characters.
Xiao Chen's "Roselle Diagram" shows an elegant manner and a feminine posture. At the beginning of the Qing Dynasty, literati landscape painting was popular, and female painting was regarded as a work of "the flow of practitioners", which once fell silent. It gradually flourished after the middle of the Qing Dynasty.
326 Dongpo Bogutu
Qing Xiaochen Color on paper
Xiao Chen's female paintings are between inheritance and innovation, not only paying attention to the expressiveness of long and beautiful lines, but also adding light and shadow to the paintings.
In "Dongpo Bogutu", the characters look forced, and the painter uses the square folded lines to express the external image of the characters, and further reflects the mental state of the characters.
327 "Treading snow in search of plums"
The picture depicts an elegant and beautiful lady walking in the snow in winter to find plums. The plum branches in the ice and snow crystal stand proudly in the cold winter, which also reflects the noble and calm demeanor of the plum seekers.
328 Wine Chart
Qing Zhou? Color on silk Length 147.4 cm Width 47 cm Collection of the National Art Museum of China
week? (1649-1729), also known as Kunlai, Songshan, shangyuan (present-day Nanjing) people. He is good at drawing figures, flowers and dragon horses, and dragons are especially good.
In the picture, a woman lifts a wine jug as a wine, bows her head and walks slowly, her expression is slow, and she seems to be humble. The eyebrows are beautiful, rich and elegant, the hair is hairpins, the waist wears a green leaf skirt, and the grass shoes are like a fairy.
The facial lines are slender, the rendering is subtle, the clothing is complicated, and it feels a little cumbersome, but the dry brush is wet and wet.
329 Kangxi Southern Tour Map
Qing Wang Fei Silk Color Length 67.8 cm Width 2313.5 cm Collection of the Palace Museum in Beijing
The "Southern Tour Map" was composed of Song Junye, a calligrapher and painter on the left side of the Duchayuan, and hired his teacher Wang Yijinjing as the overall designer, and gathered many painters to participate in the creation, and the painters who participated in the work included Yang Jin, Leng Ming, Wang Yun, Xu Mei and many others. In the 30th year of the Kangxi Dynasty (1691), Wang Yi was recommended by his disciple Song Junye to be the main painter of the Kangxi Southern Tour. After the picture was completed, the Kangxi Emperor was very satisfied, rewarded him, and gave the book "Shanshui Qinghui" four characters, from which wang Yi's name of "Qinghui Old Man" came from this.
There is no signature of the painter on the twelve volumes of the Kangxi Southern Tour, because such drawings were painted on the orders of the emperor, and in order to show respect and humility, the general author did not sign the money.
There are more than 10,000 characters in the painting, all of which are of all kinds, with more than a thousand cattle, horses and livestock, and different postures, all of which are very meticulous. The colors are complex and rich, and they can't be done in a short period of time.
330 Drunken Figure
Qing Huang Ding Silk Color Length 115.5 cm Width 57 cm
Huang Ding (1650-1730), zi zungu, kuangting, nickname Xianpu, lone guest, clean dirt old man, etc., Jiangsu Changshu people. Good at painting landscapes, a disciple of Wang Yuanqi.
Most of the content of the picture is the environment of towering pines, trees and slopes, which appear majestic and deep, and are the places of hermits. In the open space between the trees, a Confucian person sleeps naked on the ground, surrounded by several wine altars, and the unrestrained life and uninhibited personality of the hermits who return to the hidden mountains and forests are vividly expressed, and it is also a way of life that the author likes. In the picture, there is also a letter next to the wine altar, which shows that although the people in the painting love wine and become obsessed, they also take books as their lives, and they cannot but call it a "Confucian" word.
331 People Album
Qing Wang Shuyu Ink and pencil on paper 19 cm length 26 cm width Shanghai Museum collection
This volume is a masterpiece of Wang Shuyu's character sketches, poetry and painting blending, simple and simple. Each painting depicts one or two people, slightly exaggerated and deformed, but dynamic and vivid, and the appearance is vivid. The small scene next to the characters is also outlined with only a few strokes, which is simple but not ugly, giving people a long feeling of evocative taste.
In this volume, a painting on the theme of riding a donkey and leisurely travel, the poem occupies most of the area, entitled: "Twenty years of remembrance to Chang'an, across the street embankment like a dream, learn to paint to add good scenery, wicker white hair hanging spring wind." "As soon as the poem is added, it immediately adds to the meaning of the picture, and Chinese painters often have poems, books, and paintings, and the reason is that these three are inseparable in painting."
332 "The Huqin Diagram"
Qing Wang Shuyu Silk Color Length 90.5 cm Width 49.7 cm Collection of the Palace Museum in Beijing
The picture depicts the "Duyi Ji" quoted in volume VIII of the Chronicle of Tang Poetry, which tells the story of Chen Ziang's shattering of the Huqin in the Tang Dynasty. Chen Ziang had great ambitions and was full of talent, but he never got the opportunity to show it in his lifetime, so he used the smashing of Hu Qin to express his deep injustice and indignation in the contradiction between ideal and reality by shocking the world.
In the picture, it is written that two people sit on the carpet opposite each other, one holding a huqin playing, and the other listening sideways, looking lonely. Behind the two stood a boy, holding a bag in both hands, as if attracted by the sound of the piano, standing silently. On the ground next to the carpet, there are wine glasses and ou and cups for filtering wine, and the concise picture gives people sufficient imagination space, making people can't help but think of Tang Xian's elegant style of singing and singing.
This figure has no background, pure line drawing to express the content, the penmanship is fluent and handsome, and the color is extremely pale.
333 "Towards Makeup Slow Step"
Qing Wang Shuyu Silk Color Length 83.8 cm Width 30.1 cm Collection of Zhejiang Provincial Museum
Wang Shuyu (1649—?) The character Yuan Feng, the number no self, also known as Lu Gong, Fang Wai Cloth Yi, the late number Li Yuan Shuo, Renhe (present-day Hangzhou, Zhejiang) people. Chen Hongshou, a pen master who is good at painting characters, walking beasts, and character pens, has achieved its stability, especially proficient in white painting, and his clothes are beautiful and elegant, and the figures who work for a while are unsurpassed.
This painting is a light-colored lady with a simple and smooth line, close to the orchid leaf drawing of Ma Hezhi in the Song Dynasty.
334 "Wind Map"
Qing Wu Qiu Silk Color Length 26.5 cm Width 23.6 cm Collection of Nanjing Museum
Female painting is a branch of ancient figure painting with a long history. Since the Tang and Song dynasties, with the prosperity of figure painting, female painting has also shown a colorful appearance, producing many painters specializing in painting ladies, and becoming a relatively independent painting discipline. Figure painting in the Ming and Qing dynasties was relatively weak, but there were still new developments in female painting.
"Feng Feng" refers to the folk customs and customs of present-day Shaanxi and neighboring areas, and the author has painted many works with the atmosphere of life according to this.
Wu Qiu's "Feng Feng Tu" has a typical Qing Dynasty style, the statue is thin and beautiful, and the posture is beautiful and elegant.
335 Qiulin Shu XiaoTu
Qing Yan Yi Silk color Length 140 cm Width 81.8 cm
Yan Yi, birth and death year unknown, the word Qinglai. Yangzhou, Jiangsu, studied under Li Yin, landscape and figure painting song people, can be boundary painting, especially good at Mijia landscape, thick and light, melting without a trace, very exquisite, the Japanese are very heavy on its paintings.
The composition of the picture is exquisite and the color is clear. There is a Confucian sitting in the middle of the autumn forest, and the character is relaxed, like a nap. On the lower mountain road and by the stream, there are several foils for servant identities, including small book children and elderly people. There is also a car parked at the far right end.
The picture is extremely similar to the Northern Song Dynasty works, through the whole painting only a short, a print, and hidden in the mountain stone, it is difficult to find without looking closely, the characters also have ancient trench coat ornaments.
336 The Arhat Diagram
Qing Guizhuang Ink on paper Length 26 cm Width 35.3 cm Cleveland Museum of Art, USA
Guizhuang (1613-1673), formerly known as Zuo Ming (祚明), also spelled Erli, also spelled Xuangong, and numbered Hengxuan. A native of Kunshan, Jiangsu Province, he moved to Changshu. The ming are born to the grandsons of the light. It is also a long landscape, characters, flowers, ink and bamboo, simple and vigorous pen and ink, and has the charm of the Yuan people.
The Luohan in the picture is painted with a central pen, the brushwork is flying, twists and turns, the letter is handwritten, concise and clear, the demeanor is portrayed, ready to come out, laughing and scolding, Zen.
337 "Shadow Sitting"
Qing Yu Zhi Ding
This picture depicts a Yisco man sitting alone in a bamboo forest, dressed in robes and with long hair. The background is silent and secluded, and the sound of the wind can be heard. The characters have a lonely and sad expression, immersed in their own spiritual world.
Its composition is stable, the figure is the center of the whole painting, located in the middle slightly left position, the use of color is only for elegance, tightly clasping a "ghost" word. This kind of yearning for the mountains and forests, yearning for the quiet theme is often expressed in ancient Chinese art, the works are as varied as a sea of smoke, the real fine works are still a minority, this picture focuses on portraying the expressions of the characters, conveying the characters' thoughts, so that the whole painting is shrouded in a layer of long and intriguing artistic conception.
338 Wang Yuan Qi Yi Jutu
Qing Yu Zhi Ding Color on paper
Yu Zhiding was an artistically accomplished court painter in the Kangxi Dynasty of the Qing Dynasty, where he was enshrined in the Southern Kaoru Temple with good paintings. Landscape painter Fa Lanying, who also studied the Song and Yuan families, white depicts the truth, beautiful and quaint, for the contemporary first, a time celebrity portrait more than his hand.
This painting is a portrait of Yu Zhiding's painting of the great Qing Dynasty painter Wang Yuanqi drinking wine and admiring chrysanthemums painted by Yu Zhiding. In addition to Wang Yuanqi and the blooming chrysanthemums, there are two children who are chatting. The image of Wang Yuanqi's wisdom and cheerfulness in appreciating the chrysanthemums with wine and overflowing with joy is very realistic.
339 "Wang Shizhen's Ostrich Diagram"
Qing Yu Zhi Ding Silk Color Length 26.1 cm Width 110.7 cm Collection of the Palace Museum in Beijing
Wang Shizhen (王世祯), a famous literary scholar of the early Qing Dynasty, was a fine poet who was known as the emperor along with Zhu Yizun and was an official of the Punishment Department Shangshu. When Yu Zhiding was enshrined in the inner court in Beijing, he befriended Wang Shizhen.
The upper right of this painting is self-titled "Let Goto Figure", and the upper left is self-titled: "Mr. Goyanagi was originally in the mountains, and he accidentally fell into the world as a guest." Autumn came to see the moon and think more, and opened the cage to release the white stork. After the long summer rain in Gengchen, the prince of the Great Sikou, because of the long-term guest of the Beijing Division, the title of the poem, ordered to paint a picture of the bird, as if the six like the pen of the layman, rambling the Qing government, afraid of idleness, with a pen elegant and elegant. Yu Zhiding. ”
The picture depicts the scene of Wang Shizhen sitting quietly and meditating, and the boy opening the cage to release the bird, moving and quiet, which strongly sets off the prince's homesickness. The quiet and beautiful environment atmosphere also renders the protagonist's homecoming mood at this time.
Wang Shizhen's portrait is exquisitely carved, and after the face is lightly inked, it is slightly baked, and then the shades of grease are blended with fat ochre, and the painting method shows the true color of Yu Zhiding.
340 Basho Lady
Qing Yu Zhiding Color on paper Length 87.5 cm Width 35.7 cm Collection of the Palace Museum in Beijing
Yu Zhiding is good at characters, especially fine portraits, likes to use orchid leaves to draw, take the Song Dynasty horse and the method, simple and ethereal.
"Basho Lady Picture" is to use orchid leaf depiction to depict the image of the lady. The brushstrokes are freehand and flexible, and the characters are very vivid
341 Double English Figure
Qing Yu Zhiding Silk Color Length 136 cm Width 56 cm Collection of Tsinghua University Academy of Fine Arts
Yu Zhiding (1647—?) ), the character Shangji, the number of Shen Zhai, Jiangdu (Yangzhou, Jiangsu) people, good at painting small portraits, can also be landscapes and flowers and birds, famous for a while.
"Double Ying Tu" also takes white depiction, the clothes are beautiful, and the color is light and elegant.
342 "Qiao Yuan's Three Good Pictures"
Qing Yu Zhiding Color on paper Length 107.1 cm Width 36.5 cm Collection of Nanjing Museum
In this painting, Yu Zhiding uses the portrait and female painting of the portrait method. The picture is delicately painted, and the female music and ladies use their pens more neatly, reflecting Yu Zhiding's other beautiful and quaint appearance. The book, the wine altar, and the female music, that is, the "three good" meaning of books, wine, and color, vividly show the owner's interest in life.
343 "Hao Jia Yi Le Tu"
Qing Yang Jin Silk color Length 56.2 cm Width 127.4 cm
Yang Jin (1644-1728), zihe, yizihe. No. Xi Ting, also known as Hedao Ren; Gu Lin QiaoKe, Jiangsu Changshu Ren, Wang Yi's disciple. He is good at painting landscapes, cattle and horses, and also includes figures, flowers and birds, and is quite skilled.
This volume depicts the four seasons of hedonistic life in the spring, summer, autumn and winter of the rich family, the pen and ink are neat and meticulous, the character layout is dense and decent, the colors are bright and bright, the characters' dresses and tunics are outlined and colored, and the styles and colors are typical of the Qing Dynasty.
The style of the picture is varied, and the depiction of characters, buildings, etc. is extremely neat and meticulous.
344 Stone Valley Bull Riding Diagram
Qing Yang Jin Color on paper Collection of the Palace Museum in Beijing
Yang Jin is a Court painter of the Qing Dynasty, known for his painting circles, he can give full play to the specialties of traditional Gongbijie painting, closely combine the pavilions and pavilions of artificial buildings and the behavior of the characters with the natural landscape scenery, and make an excellent cut in the structure, full but not stuffy, the painting style is meticulous and beautiful, Juanli fresh, and the layer transition is very natural.
"Stone Valley Riding Bull Diagram" depicts Shi Gu leisurely riding on the back of the ox, looking serene and peaceful, and writing a simple and elegant expression. Shi Gu is the great painter Wang Yi of the Qing Dynasty, who was also Yang Jin's teacher.
345 The Lady
Qing Jiao Bingzhen Silk color
The "Lady Album" is a "Royal Collection" book, and there is only one type of literacy in the painting, "Xiaochen Jiao Bingzhen Gong Painting", and its painting style is neat and meticulous, and the form and spirit are both.
For example, in one of the albums, "Swing Idle Play", the six ladies are divided into two groups, one stands on the swing, two women stand on its left side, and there are still three girls in the right sill or chatting, or watching.
The environment in which the characters are located is done in a full-fledged manner. The pavilions and trees are also craftsmanship, and the trunks are abstract and symbolized, which is exactly the opposite of the sketches. Although the facial features of the lady are abstract rather than completely realistic, the demeanor is very accurate, which is also the common condition of the characters in Chinese paintings, retransmitting the gods, regardless of the image of a single hair.
346 The Story of the Empress dowager of the Dynasties
Qing Jiao Bingzhen Color on paper Length 37.3 cm Width 30.6 cm Collection of the Palace Museum in Beijing
Jiao Bingzhen, date of birth and death unknown, a native of Jining, Shandong, enshrined in the "Inner Court", good at painting figures, landscapes, flowers, and western painting methods, with a unique face. This twelve-volume album is based on the story of ancient concubines.
Although this painting is based on the story of the ancient sages, the image is a typical slender beauty, and the painting method is also neat and gorgeous, highlighting the luxurious atmosphere.
347 The Sacred Relics of Confucius
Qing Jiao Bingzhen Silk Color Length 29.2 cm Width 35.7 cm Collection of the St. Louis Museum of Art, USA
This figure shows Confucius traveling around the world and lobbying the kings.
Jiao Bingzhen's painting method refers to the Western method, pays attention to light and dark blending and far and near perspective, so that the object has a three-dimensional sense and a sense of depth, and creates a new grid in the heavy color painting method of gongbi.
348 Miscellaneous Albums
Qing Gao Qipei Ink and pencil on paper Length 26.2 cm Width 32.5 cm Collection of Shanghai Museum
The "Miscellaneous Album" has a total of ten openings, five flowering trees, and five open characters. The composition is simple, the finger ink kung fu is deep, and the dot dyeing is quite interesting. Often with the pen to break the meaning of the connection, in the plain to see the charm.
The selected two opens, one is a praying mantis, climbing on dead wood, the image is vivid, the ink is dripping with pleasure, and the charm is produced from the thick and light; the characters, for the reading of the Bible, the character image is eclectic, the hair, the dots of the folds of the clothes, dyeing, outlining, splashing ink, vigorous and spicy, the character shape is exaggerated, vivid, the mood is simple, there is a strong folk flavor, deeply won the legacy of Wu Wei in the Ming Dynasty.
349 Beggar Figure
Qing Gao Qipei Ink and pencil on paper Length 90.5 cm Width 45.4 cm Collection of the National Palace Museum in Taipei
Gao Qipei (1672-1734), also known as Wei Zhi ,号和園,別号南村,etc., was a native of Tieling, Liaoning, who was appointed by his father as the official of Suzhou Zhizhou, and successively served as a member of the Ministry of Works, a sub-inspector of Wen chu Dao in Zhejiang, Yongning Dao in southern Sichuan, an envoy in Sichuan, a right attendant of the Punishment Department, and a commander of the Zhenghong Banner Han Army. When he was young, he studied traditional painting, landscapes and figures were influenced by Wu Wei, and after middle age, he began to paint with his fingers, painting flowers and trees, birds and beasts, fish, dragons and figures, all of which were simple and vivid, and the meaning was interesting. He is also the author of "And Garden Poetry Banknote".
"Qi'er Tu" is a masterpiece of finger painting by Gao Qipei, in which Qi'er is dressed in rags, his head is bare, and his face is extremely concise and general.
350 "Yin Chan Xing Le Tu"
Qing Anon. Silk Color Length 34.9 cm Width 31 cm Collection of the Palace Museum in Beijing
Emperor Yinchen of the Qing Dynasty, era name Yongzheng, fourth son of Kangxi, third emperor of the Qing Dynasty, reigned for thirteen years.
This album depicts the story of Yin Xingle in fourteen volumes. Yongzheng wore different costumes such as ancient costumes, Taoist costumes, Buddhist costumes, and military costumes to carry out various entertainment activities. This selection of scenery and playing the piano two.
351 Snow Map of the Tianshan Mountains
Qing Hua Yao Color on paper Length 159 cm Width 53 cm Collection of the Palace Museum in Beijing
The picture depicts a dark and gloomy sky, with clouds hanging low, as if a new snowstorm is brewing. The snow peaks overlap steeply and twinkle with a white crystal cold light. On the slippery ice saka, a minority traveler dressed in red trunks led a skinny camel forward. In the sky, a big goose roared and flew into the distance, and the tired people and camels looked up, which made people think of their homeland.
The most prominent feature of this figure is that the composition is simple and bold, and the color contrast is strong. It not only shows the natural scenery of the snowy area of the Tianshan Mountains, which is rarely involved in ancient traditional literati paintings, organically combines themes such as landscapes, figures and animals, which has a strong readability, but also creates a lonely and sad mood with condensed and beautiful brush and ink, with a strong artistic shock.
352 White Painting of a Lady
Qing Hua Yao Ink color on paper Length 81.4 cm Width 32 cm Collection of the Palace Museum in Beijing
Hua Zhao's grain paintings depict ordinary and rich real life and social phenomena. He studied far away from Li Gonglin and the Ming Dynasty, and after middle age, he took Chen Hongshou, observed meticulously in his creation, and paid attention to the use of character inner portrayal and line drawing, so that the work was endowed with strong artistic expression and appeal.
"White Drawing of Ladies" belongs to the early years of white depictions of women, meticulous and meticulous.
353 West Garden
Qing Hua Yao Color on paper Length 100.8 cm Width 58.4 cm Collection of Shanghai Museum
Hua Zhao was a painter during the Qianlong period, who sold paintings for a living in Yangzhou, and was famous for his work figures, landscapes, flowers and birds. Figure painting appeared in white in the early years, took the turbid Chen Hongshou in middle age, and became a stick figure of his own style in his later years.
The West Garden was the residence of the Northern Song Dynasty's Ma Du Wei Wang, and the literati of the time, Mo Ke Duoya, gathered here. At the beginning of the first year, Wang Yi invited Sixteen people from Su Shi, Su Rui, Huang Tingjian, Chen Jingyuan, Wang Qinchen, Zheng Jiahui, and Master Yuantong to visit the garden. At that time, Mi Fuweiji and Li Gonglin made a map to record this grand event. This picture depicts this scene.
354 Warbler Chart
Qing Wang Xuehao Silk color Length 100.3 cm Width 39.4 cm Collection of Wuxi Museum
Due to the changes in the aesthetic fashion of the times, the image of a lady who is fat and beautiful, which is admired by the Tang and Song dynasties, is gradually replaced by the image of a beautiful and thin lady, and in the process of changing the image of a lady from fat to thin, Jiao Bingzhen, Leng Ming, Wang Xuehao and other painters are the most representative.
The ladies in "The Warbler" have thin faces and slender figures, and have new artistic characteristics.
355 Little Green Shadow
Qing Gu Luo Silk color Length 99 cm Width 39 cm Collection of Wuxi City Museum
Gu Luo (1763 – c. 1837), also spelled Ximei, was a native of Qiantang (present-day Hangzhou), Zhejiang. Good at calligraphy and painting. The figures, landscapes, and figures are quaint, and the landscapes are lush; flowers and feathers are also vivid. The female worker Zhi Yanli is particularly famous. He did not try to rewrite his life and painted, nor did he teach a disciple.
Xiao Qing, it is rumored to be a woman of the Ming Dynasty, a concubine of Feng Mou, the Prince of Hangzhou. Can poetry good rhythm. For the sake of the eldest woman, she was put into a lonely mountain and died of depression. In the painting, Feng Xiaoqing, Qingxiu is thin and weak, Gu Ying is self-pitying, sitting alone next to the case, with a sad face, depressed and unhappy, quite the charm of the character.
This painting uses light ink to paint the trees and bamboo stones in the courtyard, which are casual and have a cool charm.
356 Plum Side Chanting Diagram
Qing Gu Luo Color on paper Length 134.3 cm Width 33.2 cm Collection of Nanjing Museum
Gu Luo was a painter during the Qianlong period and was known for painting ladies. Painting Fazong Song Dynasty Chen centered, beautiful shape, complementing the scenery Qingxiu, falling pen Qingxiu, simple style.
"Meibian Yinsitu" reflects the typical appearance of Gu Luoshi's female paintings.
357 Portrait of Li Qingzhao
Qing Jiang Yu Color on paper Length 115.8 cm Width 26.7 cm Collection of Wuxi City Museum
Jiang Yu was a painter during the Qianlong period and was famous for his paintings of ladies.
Li Qingzhao in the painting is powdered and colored, the texture is delicate, the brushwork is clear, and the style is elegant, showing the female lyricist's sentiments of cherishing flowers and hurting spring.
358 The Shadow Map
Qing hair residue color Length 20.5 cm Width 32.7 cm Shanghai Museum collection
Jia Ren (1612 - about 1692), commonly known as Liu, Zi Jieqiu, bai bald, stone Daoist, remnant Daoist, electric dwelling Daoist, etc., Hunan Wuling (now Changde), long lived in Nanjing Niushoushan Youlou Temple as a monk. He is good at painting landscapes and is influenced by the "Four Greats of the Yuan Dynasty", especially wang Meng's brushwork is the most powerful. He also studied Ming Ji Shen Zhou Ji Wen Zheng Ming, and the painting has a literati atmosphere. Happy thirst pen or bald pen autumn scenery landscape, the layer of rubbing is rich and thick, the pen and ink is barren and cangxiong, "rough head and chaotic clothes", its own style, and Shi Tao and other people called "the four painting monks of the early Qing Dynasty".
This painting represents the typical style of the painting of the crippled figure.
359 "Playing the Piano to the Cow"
Qing Shitao Ink and pencil on paper Length 132.5 cm Width 53.4 cm Collection of the Palace Museum in Beijing
The term "playing the piano to the cow" was originally used to ridicule the person who speaks without looking at the object. However, through the author's self-titled poems such as "The sound of the piano in the world is full of lies, not so cattle can hear the truth", this picture reflects that the author is difficult to meet zhiyin, but can only be pinned on "the sound of the cow is a real and wonderful solution", reflecting the author's lonely and lonely state of mind.
The composition of this painting is strange and dangerous, the pen and ink are sophisticated, and the artistic conception is prominent, which is a masterpiece of Shi Tao's figure painting.
360 《 Mountain Bridge Sitting Map 》
Qing Shitao Ink and pen on paper, Nanjing Museum Collection
In the picture, the pines are tall and colorful, and an old man sits quietly on an ancient stone arch bridge.
The lines of this figure are sparse and dense, but they are integrated with the scenery of the space. Shi Tao sketched the pattern of the clothes with a dry pen, and all of them flew quickly with the pen, and the meaning was free. The hair is painted with a sharp pen root, and the spirit is full of vitality; with thick ink, the eyes are shining, and the momentum is extraordinary.
361 People
Qing Shitao Ink on paper Length 193.6 cm Width 81.3 cm Collection of Shanghai Museum
Shi Tao (1642-1715), painter of the Qing Dynasty. Commonly known as Zhu, the name Ruoji, small characters A long. A native of Jeonju, Guangxi. A descendant of Zhu Shouqian, king of Jingjiang in the Ming Dynasty. After the fall of the Ming Dynasty, his family suffered the unfortunate loss of relatives, and at the age of 5, he cut his hair and became a monk, and was able to survive. The legal name is Yuan Ji, Yi Zuo Yuan Ji, the character Shi Tao, the number of the Great Dizi, the old man of Qingxiang, the blind Venerable, the old man of Zero Ding, and so on. He also called himself a bitter melon monk. He once visited the temple as a teacher this month, taught Buddhism, and traveled in all directions. Yuan Jishan painted landscapes and worked on orchid bamboo.
The figures in the painting are outlined in very simple and ancient ink lines, almost all of which are line drawings, and the seemingly letter pen is made of light and elegant colors, clothing patterns, etc., which is actually a deep skill, and the pen is sent.
362 People
Qing Shitao Ink on paper Length 69.5 cm Width 33.5 cm Collection of Shanghai Museum
When Shi Tao painted the figures, his expression was revealing, and some of the shapes were extremely exaggerated. The characters in the painting are clumsy, interesting, and quite cold and interesting.
The pen is meticulous, calm and painful, and at the same time, the ink is muddy and light and thick. Compared with the treatment of its scenes, the characters use thin pens, the so-called "fine pen stone tao", which is compelling.
363 Statue of Qianlong Dynasty Costume
Qing Anon. Silk Color Length 220 cm Width 183 cm Collection of the Palace Museum in Beijing
Ai Xin Jue Luo Hongli, the fourth son of Sejong Yinchen, era name Qianlong, reigned for sixty years, Jiaqing four years (1799) died, at the age of eighty-nine.
In the picture, the Qianlong Emperor is dressed in full imperial clothes and sitting on a dragon chair, not angry but threatening, and the solemn and untouchable temperament of the Heavenly Son's nobles is fully revealed.
364 Portrait of Empress Xiaozhuangwen
Qing Anon. Silk Color Length 155.5 cm Width 116.8 cm Collection of the Palace Museum in Beijing
Empress Xiaozhuangwen, surnamed Boxi Jigit, daughter of Horqin Belle Zhaisang, was born in the forty-first year of the Ming Dynasty (1613). In February of the tenth year of the Later Jin Mandate of Heaven (1625), he was hired by Emperor Taiji, the eighth son of Taizu Ai Xinjueluo Nurhaci, as a side Fujin. In the first year of Chongde (1636), the yuan was changed, and the five palaces were built together, and she was crowned as the princess of Yongfu Palace. In the first year of Shunzhi, she was honored as the Empress Dowager, and participated in political affairs for many years in the Shunzhi and Kangxi dynasties in the early Qing Dynasty.
In the picture, Empress Xiaozhuangwen is dignified and solemn, dressed in a magnificent costume, sitting on the throne and with a pink face.
365 Lotus Pond Na Liang Tu
Qing Jin Tingbiao Silk Color Length 56.9 cm Width 65.1 cm Collection of Shanghai Museum
"Liantang Na Liang Tu" writes the poetry of one of the two poems of Tang DuFu's Five Laws of "Accompanying the Noble Prince Zhangbagou with the Prostitute Na Liang in the Evening Rain". The original verse has "Bamboo deep stay in the guest place, when the lotus is cool." Gongzi mixes ice water, beautiful snow lotus silk" two sentences, the scene in the picture and poetry combined.
This brush and ink are finely crafted, the characters are dynamic and leisurely, and the folds of the clothes are outlined with thick ink, slightly resembling the folding reeds, the ups and downs, the intestines are swinging, and the brush gestures are smooth. Its set is simple, the color is elegant, the mountain stone seems to be split with a small axe, the edge is colorful, and the ink color is rich in layers, which is unique.
366 Burden Chart
Qing Jin Ting specimen Color on paper Length 140.9 cm Width 55.5 cm Collection of the Palace Museum in Beijing
"Burden Map" color painting a woodcutter burden, night return to knock on the door, a woman's tile lamp inside the door should come out, the mangrove tree has a sound, and the mountain moon is on the way.
On the painting is emperor Gaozong's imperial inscription poem: "Returning from the burden and knocking on the door alone, the family opens the evening with candles, and the poorer see Ye Wengzi, respecting the high wind and foot theory." B did not midsummer down Han, imperial title". 钤 "Qian", "Long", "Treasure of the Qianlong Imperial Collection", "Three Editions of the Treasure Flute" and the Five Directions of the Treasure Seal.
367 Tuastu
Qing Jin Ting specimen Color on paper Length 168 cm Width 81 cm Collection of Shenyang Museum
For Jin Tingbiao's paintings, Hu Jing of the Qing Dynasty said in his "Catalogue of Paintings of the State Dynasty": The Tingbiao pen is not yet workmanlike, and it is sketched with a mobile machine, and the cheeks are added to the cheeks, and they are vivid. Its sect is from Lan Ying, Dong Xu, Xie Bin's generation, and can not be contaminated with its habits, ingenuity, divine understanding transcendence, there is a sacred heart, good to the character gui to convey the gods, Wu belt Cao Yi, no Wu A block between the small Samadhi also.
368 "Jie Yu Block Bear Diagram"
Qing Jin Ting specimen Color on paper Length 149.4 cm Width 75.2 cm Collection of the Palace Museum in Beijing
Jin Tingbiao, year of birth and death unknown, Wucheng people. The son of the painter Jin Hong, Qianlongzhong enshrined the inner court, good at painting landscapes, figures, Buddha statues, especially white paintings, painting style fine.
This painting is based on Han Liu Xiang's "Biography of the Daughters of Lie", showing the historical story of Feng Jieyu's blocking of bears. Feng Jieyu was a concubine of emperor Han Yuan, once accompanied the emperor to watch the beast, the bear jumped out of the beast circle, the left and right attendants were frightened away, Feng Jieyu was not afraid of danger, and blocked the bear with her body.
369 "Blind Rap Chart"
Qing Jin Tingbiao Silk Color Length 88.5 cm Width 62.2 cm Collection of the Palace Museum in Beijing
Jin Tingbiao is very in tune with the popular painting style of the court in terms of art form, or the courtyard style of the Zong song Dynasty, or the orthodoxy of learning the "four kings", the creative attitude is rigorous, the next pen is meticulous, the image is more realistic, full of certain momentum, with a pleasing sense of beauty, and its artistic style reflects the aesthetic concept of Qing Dynasty court painting.
This picture depicts a rural field, where old men, young children, teenagers, and farmers are quietly listening to a blind man rapping under a big tree, which attracts the old woman of the peasant woman holding a baby and a child across the creek.