【Name】Yu Gu Listen to the Fountain Chart Axis
【Age】 Yuan
[Author] Wang Meng
【Collection】Old collection of the Qing Palace
Audio copywriting: There are more than a dozen paintings by Wang Meng, a famous painter of the Yuan Dynasty. Most of them are the old collections of the Qing Palace, which were stored in the Sanxi Hall of the Forbidden City and the Chunhua Xuan of the Yuanmingyuan. The "Scroll of the Fountain of The Fountain" was painted by Wang Meng himself "to september 3, 1346", that is, painted in 1346. On the map, there are seals such as "Qianlong Chenhan", "Xintian Master", "Chunhua Xuan", "Shiqu Baodi", "Xijiang Jianyu", "Qianlong Royal Treasure" and so on. Above the seal of the "Treasure of the Qianlong Imperial Palace", there is still a clear "footprint" - this is another ironclad evidence left by the British and French allies when they burned the Yuanmingyuan. It is speculated that the painting was hanging on the wall and was rudely dragged off the wall by the unscrupulous British and French soldiers. The pole of heaven is torn, the head of the pole is different, and then a sinful iron hoof steps on the picture.
Yuan Wang Meng's "Youyuan Listening to the Fountain Chart Axis" partial
There are more than a dozen paintings by Wang Meng, a famous painter of the Yuan Dynasty, most of which are from the old collection of the Qing Palace, which were collected in the Sanxi Hall of the Forbidden City and the Chunhua Xuan of the Yuanmingyuan. This picture was painted by Wang Meng himself "to september 3, 1346", that is, painted in 1346. On the map, there are "Qianlong Chenhan", "Xintian Master", "Chunhua Xuan", "Shiqu Baodi", "Xijiang Jianyu", "Treasure of Qianlong Imperial Collection", "Chunhuaxuan Book Treasure", "Qianlong Appreciation", "Sanxiantang Jingjian Seal", "Yi Descendants", "Qian", "Long" and other Qing Dynasty Qing Palace jade seals, which are the same as the Qing Palace Jade Seals on the "Floating Jade Mountain Residence Scroll" selected by the Palace Museum. Above the seal of the "Treasure of the Qianlong Imperial Palace", there is still a clear "footprint" - this is another ironclad evidence left by the British and French allies when they burned the Yuanmingyuan. It is speculated that the painting was hanging on the wall and was rudely dragged off the wall by the unscrupulous British and French soldiers. The heavenly pole is torn apart, the earth pole is in a different place, and then, a sinful iron hoof steps on the picture...
The two-sided print of this picture, "Chunhuaxuan" and "Chunhuaxuan Book Treasure", indicate that they are collected in Chunhuaxuan in the Yuanmingyuan. Chunhuaxuan is the main building of Changchun Garden, located in the east of the Yuanmingyuan, was built in the fourteenth year of Qianlong (1749), the main hall and side hall of Changchun Garden are a group of Western-style palaces, collectively known as Western-style buildings, which is the first European-style building in The Chinese Imperial Garden, mainly including Chunhuaxuan, Haiyue Kai, Lion Forest, Ruyuan, Western-style Building, etc. On October 18-19 of the Xianfeng Decade (1860), more than 3,000 invaders of the Anglo-French army broke into the garden and began to loot, followed by arson. The Anglo-French coalition army "burning the Yuanmingyuan" is a tragic page of China's modern history, this beautiful "Garden of Ten Thousand Gardens" suffered unprecedented catastrophe and humiliation, and what remains is not only the historical starlight above the ruins, but also deep sadness and indignation...
At the top right of this picture, he signed himself "Yellow Crane Mountain Tree", and after investigation, Wang Meng returned to The Yellow Crane Mountain (located in the northeast of present-day Yuhang County, Zhejiang Province) at the time of the turmoil at the end of the Yuan Dynasty, so he also called himself "Yellow Crane Mountain Tree", which was his prime year and concentrated on painting. The painting of Takamatsu Nagarjuna, the mountain dock people," depicts The secluded life of Gao Shi - containing the secluded life he longs for in his heart - and also reveals the painter's own birth complex. The Qianlong Emperor personally inscribed a royal inscription poem in the upper left of the painting: "Falling under the pine, Bu ju is a neighbor." The breeze is eternal today, and the bright moon is the predecessor. There is water separated from the world, there is no bridge degree guests, the mountain tree is high, and the bottom is distinguished and true. Spring Moon Imperial Title. Qianlong wrote the imperial inscription poem in the thirty-third year of Qianlong (1768) and was recorded in the Complete Collection of Imperial Poetry.
When the scroll is all unfolded, there is a line of inscription in the lower left: "Tongzhi Nongshen (1872) Midwinter, Li Jishou supplemented the pen." "Carefully reviewing the picture, the bottom of this painting has indeed been re-written and repaired. Li Jishou [4] (1815~1896), zixing, tongjiang, Guangxi Yongfu people. He was the eldest son of landscape painter Li Xiyuan. Daoguang twenty-three years (1843) raised people. Worker writes MoMei, teacher Fa Jinnong. He works in landscapes and rivers, and his ancient works are very realistic, and in his later years, he integrated the Yuan and Ming families in one furnace, and the characters of trees, stones, flowers, birds and insects were all exquisite. This shows that the painting was supplemented by Li Jishou in 1872.
Although a small part of the lower part of the figure is supplemented by Li Jishou, he also completes the painting with Wang Meng's painting method - the painting of the mountain is applied to the fine and short cow hair and lotus leaf, the pen is small and inky at the convex and edges, and the pen is more and thicker in the concave and dark places, so as to show the layer and volume of the mountain. Pine trees are shaped with light ink, occasionally heavy ink is applied, the tree body is circled with dry pens, and the pine needles are written in light ink first, and the thick burnt ink is applied repeatedly to make it layered, and it is integrated with the mountain dyeing, complementing each other, and adding to the texture of thick and thick Huazi.
Yuan Wang Meng's "Youyuan Listening to the Fountain Chart Axis"