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.
Representative painters of the Hai School are Ren Xiong, Ren Yi, Wu Changshuo, Xu Gu, and Zhao Zhiqian. Zhao Zhiqian and Wu Changshuo, as literati painters, had major developments in freehand flower and bird painting. The Lingnan School of Painting was formed relatively late, and the late Qing Dynasty Juchao and Ju Lian brothers opened their forerunners, and later Gao Jianfu, Gao Qifeng, and Chen Shuren founded a new school. They drew on the combination of Chinese and Western painting styles formed by drawing and watercolor painting methods, and made useful attempts for the new development of Chinese painting. First of all, let's share Ren Kaoru's paintings.
Xugu (1823~ 1896), a famous painter of the Qing Dynasty, one of the four great masters on the sea, has the reputation of "the first painting garden in the late Qing Dynasty". Commonly known as Zhu, the name Huairen, the monk's name is vain, the character is virtual valley, alias Ziyang Shanmin, Tired Crane, room name Jue Fei An, Gubai Caotang, Thirty-Seven Peaks Caotang. He was born in Xin'an (present-day SheXian County, Anhui) and lived in Guangling (present-day Yangzhou, Jiangsu). The first General of the Qing Army fought against the Taiping Army, and he was touched, and later became a monk. Landscapes, flowers, animals, birds, especially squirrels and goldfish. He is also good at photography and works under the letter. The painting has a beautiful interest, fresh color, vivid shape, cold brush, unique style. The temperament is lonely, and those who do not get along deeply cannot get their pieces of paper. In his early years, he studied painting, and later became famous for painting flowers, fruits, poultry, fish, and landscapes. The style is cold and novel, the embroidery is elegant and fresh, there is no stagnation, the ingenuity is unique, and it is unique. Also able to write poems, there is the "Poetry of the Monk of the Void Valley".
His heirloom works include "Shanyin Caotang Map", "Flower and Fruit Diagram", "Wurui Diagram", "Chrysanthemum Diagram", "Peng Gong Statue Diagram", "Plum Crane Diagram", "Bottle Chrysanthemum Diagram", "Wisteria Goldfish Diagram", "Chrysanthemum Diagram", "Loquat Diagram", "Songhe Longevity Chart", "Xiaoqiao Flowing Water Map", "Flower and Bird Aquarium Album", "Plum Blossom Goldfish Diagram", "Qing Offering Map", "Autumn River Sail Shadow Map", "Songhe Yannian Chart", "Purple Silk Gold Medal Diagram", "Tide Viewing Map", "Yunshan Pagoda Shadow Map", "Ancient Temple Silver Makeup Map", "Double Crane Diagram Fan Page" and so on.
One of the great painters of the Late Qing Dynasty, Xugu, "Shanyin Caotang Tu" appreciation
In the middle of the Qing Dynasty, the "Shanyin Caotang Map" silk color 29cmx283 .6cm is now in the Guangzhou Museum.
The paintings of the Void Valley are interesting, good at cleverly exaggerating, and deformation is one of his major creations. At the same time, we can also appreciate his art from the three aspects of truth, shedding, and straightness. "Truth" is to boldly exaggerate subjectively on the basis of grasping the essential things, so as to achieve a more expressive and superb artistic realm. "She" is a bold choice of shape, a false valley of the house, to come fiercely, to give wonderful, clever techniques. "Straight" is also an obvious feature of the line used by the virtual valley with the pen, and its concise lines are solemn, see the combination of straight squares, so that it is similar to the gods and seeds, rather than similar. He paints lines with lines that are not round, suddenly see the power, see the edges and angles, and the next stroke is affirmative, with a strong personality.
The color of the virtual valley is light and elegant, and it attaches importance to the unity of tone and the simple beauty. He is also good at using white powder on colored paper ancient gold notes, making its white lotus flowers, crane hair pieces and white powder with stone green folded orchids, etc., appear vivid.
One of the great painters of the Late Qing Dynasty, Xugu," was an appreciation of the "Flower and Fruit Diagram"
QingXugu "Flower and Fruit Diagram" on paper 138.4cmx40cm is now in the Lushun Museum.
One of the great painters of the Late Qing Dynasty, The Five Ruitu of The Five Ruitu, one of the great painters of the Hai School, was appreciated
"Wu Rui Tu" axis, Qing, Virtual Valley Painting, paper, color, length 177.8 cm, width 46.3 cm. Collection of the Palace Museum in Beijing.
This banner is signed: "Ding Ugly Summer Moon." Void Valley. "Plutonium" Virtual Valley Calligraphy and Painting " Zhu Wenyin.
"Ding Ugly" is the third year of Qing Guangxu (1877), and the age of Xugu is 55 years old.
Vase flowers are one of the subjects of Yuki's paintings. The peaches, loquats, lilies, etc. in the picture are common flowers and fruits in daily life, giving people a simple and intimate feeling. The porcelain vase and lily in the picture are depicted by the hook and dye method, the lines are concise and the shape is accurate; the flowers, peaches and loquat are expressed by the boneless method, and the layers are rendered layer by layer, adding the layering and texture of the flowers and fruits. The picture is moist and bright, full of light and fresh charm.
"Wurui" means Dragon Boat Festival. Peaches, loquats and lilies all have auspicious meanings. This picture was made to celebrate the Dragon Boat Festival.
Appreciation of "Chrysanthemum Figure" by One of the great painters of the Late Qing Dynasty, The Hai School
"Chrysanthemum Figure" fan page, Qing, Virtual Valley Painting, Gold Letter, Color, Length 19.6 cm, Width 52.3 Cm. Collection of the Palace Museum in Beijing.
The fan page has a self-title: "Mr. Boshan Brother Qing play." Void Valley. "钤"Virtual Valley" white text seal.
The picture depicts several autumn chrysanthemums blooming in front of a low hedge. The author is ingenious in the chapter and method, and the chrysanthemum is not accompanied by the commonly used block-like mounds and mountain stones, but the linear fence, the lines of the fence are intermittent and rhythmic, which enhances the spirituality of the picture, and also makes the painting closer to life and full of garden atmosphere. The petals of the chrysanthemum in the picture are colored with double hooks, first with a pen to outline the contour line, and then filled with white powder and aquafruit. The flowers look subtle and dignified under the constraint of the lines, with the beauty of ice muscles and jade bones. The leaves are directly stained with the boneless method, and the water-filled pen grass green and flower blue are directly stained on the paper, and the water and color are fully blended, and there is a taste of "moisturizing and containing spring". The author skillfully uses different pens and inks to express different objects, showing a more comprehensive painting technique.
One of the great painters of the Late Qing Dynasty, The Portrait of Peng Gong, is appreciated
"Peng Gong Portrait" axis, Qing, Virtual Valley Painting, paper, color, length 125.2 cm, width 63.6 cm. Collection of the Palace Museum in Beijing.
The picture depicts the front image of the lord Peng Gong sitting with a chrysanthemum holding a chrysanthemum and leaning on a stone. The depiction of the five facial features of the characters is delicate and clear, full of three-dimensional sense, showing the elegant style of "people are as light as chrysanthemums". Lake stone blocks, or white without painting, or with thick, light ink blending, its rich hue changes show the beauty of the lake stone "wrinkled, leaky, thin, transparent" structure. The tall double pines, the white cranes strolling in the picture, as well as the blooming chrysanthemums and autumn trees with green onions, are all carefully dyed with a neat brush, which is in stark contrast with the brushwork of Hushi, which shows that the author can write freely and be good at heavy colors, and the painting technique is comprehensive.
One of the great painters of the Late Qing Dynasty, Xugu", was analyzed in the "Plum Crane Diagram"
"Plum Crane Diagram" axis, Qing, Virtual Valley Painting, paper, color, length 248.7 cm, width 121.1 cm. Collection of the Palace Museum in Beijing.
Self-titled: "Xin JiaoChun February." Void Valley. "钤" Virtual Valley Calligraphy and Painting "Zhu Wenyin", "Geng Geng Qixin" Bai Wenyin. "Xin 卯" is the seventeenth year of Qing Guangxu (1891), and xugu was 69 years old.
The picture depicts the scenery of the plum crane and the double qing. The thriving plum tree, with its interspersed twigs and dotted flowers, breaks the overall space of the picture. The author deliberately paints two cranes on the trunk of the plum tree, their calm and leisurely appearance adds a peaceful interest to the picture, and its flat shape unifies the originally too fine picture, which shows the author's skillful ability to conceive and turn the pieces into pieces.
One of the great painters of the Late Qing Dynasty, The Great Painters of the Hai School, Xu Gu," "Bottle Jutu" Appreciation
"Bottle Jutu" axis, Qing Guangxu Eight Years (1882), Virtual Valley Painting, paper, color, length 126.2 cm, width 57.7 cm. Collection of the Palace Museum in Beijing.
This picture shows a sketch of a bottle with autumn chrysanthemums. The composition is ingenious and ingenious in the setting, and the high and low bottles and pots, and the "S" shaped autumn chrysanthemum make the picture full of vitality and form a multi-layered rhythm change. The color is light and fresh, and the brushwork is flexible and skillful, which is a representative work of flower painting in the late years of Xugu.
This picture is signed: "The winter moon is written in the Ruilian Jingsha, The Void Valley." "Plutonium "Virtual Valley Calligraphy and Painting", "Thirty-Seven Peaks Grass Hall" Zhu Wenyin two parties. "Nongwu" is the eighth year of Qing Guangxu (1882), when Xugu was 60 years old.
One of the great painters of the Late Qing Dynasty, Xugu," "Wisteria Goldfish Diagram" appreciation
"Wisteria Goldfish Diagram" axis, Qing, Virtual Valley Painting, paper, color, length 125 cm, width 66 cm. Collection of the Palace Museum in Beijing.
It depicts several goldfish swimming comfortably during the blooming time of wisteria flowers. The wisteria goldfish in the Void Valley are all titled "Purple Silk Gold Chapter". The so-called "Purple Silk And Golden Chapter" comes from the sentence "Xiang Guo, Xiang Xiang, All Qin Officials, Golden Seal Purple Silk" in the Book of Han. Such paintings are deeply loved by the people for their auspicious meaning of official and noble. The flowers and leaves of the wisteria in the picture are directly dyed with color, and the full moisture shows its fresh vitality. The vines are represented by intermittent and frustrated flanks, and the pen is broken and the air is connected, forming a elegant pen and ink charm. The form of the goldfish is concise and exaggerated, although it is made of red colored grass, it does not lose its moving interest. This picture shows the author's unique artistic charm in a clean and cool style.
Department: "Purple Gold Medal." Write to lord Fang Bo. Void Valley. "Plutonium" Virtual Valley" Zhu Wenyin.
QingXugu "Chrysanthemum Diagram" vertical axis, paper, color, length 145. 1 cm, horizontal 80. 9 cm. Collection of Shanghai Museum.
In this painting, yellow and white chrysanthemums bloom obliquely in front of a low hedge. Pen and ink out of the magic, side peak reverse luck, pastel burnt ink, pen and pen delivery. The branches and leaves of the yellow chrysanthemum are written in ink, while the white chrysanthemum is contrasted with green leaves, which is more ochre. Although the two chrysanthemums are mixed with branches and leaves, they are dense and not chaotic, and the layers are clear. The dry pen is fast, the low hedge is outlined, and the white flower bush makes the picture stable and balanced. Although the background has nothing else, it is full of emptiness and silence. The whole painting is cold and steep, proud and clear, reflecting the personality of the painter himself.
One of the great painters of the Late Qing Dynasty, Xugu," an appreciation of the Loquat Diagram
Qingxugu "Loquat Diagram" vertical axis, paper, color, vertical 129. 8 cm, width 72. 1 cm. Collection of Nanjing Museum.
The drawing has several branches, straight branches, interspersed and layered. The composition stands on top of the sky, covered with full width, with reverse pen, dry pen, thick and thin, giving people a distinct sense of rhythm. The color is bright, showing that the loquat grows vigorously, and the texture is full, and the texture is vividly expressed. This painting was a work from before The Void Valley's death.
One of the great painters of the Late Qing Dynasty, Xugu," an appreciation of the Songhe Yannian Map
Qingxugu "Songhe Yannian Chart", on paper, color, 184.5 cm in length and 98.3 cm in width. It is now in the suzhou museum.
The picture is full of yellow chrysanthemums, flowers and leaves, pines and trees, and vines and roses. There is a majestic red-crowned crane standing proudly on the side of the pine side chrysanthemum, one claw raised forward, leisurely, and one claw on the ground, standing still. Pine needles are dense and loose, chrysanthemums are colorful and fragrant, as the center of the picture, the red-crowned crane seems to be the master of this small world, looking at the distance, looking serene. The whole painting gives people a kind of happiness and satisfaction, and fully embodies the theme of "Songhe Longevity".
In the late Qing Dynasty, one of the great painters of the Shanghai School, XuGu's "Small Bridge Flowing Water Map" was analyzed
Qingxu Valley "Small Bridge Flowing Water Map" vertical axis, paper, ink, color, length 83 cm, width 50 cm. Collection of Lee Gang Gan Museum of Art, National University (Singapore).
The landscape painting, with the pen and its flowers and birds, with small brushes, flanking, thirsty ink for it, has a humble interest, while painting leaves and peaks is lying down, and the same is true for this picture. The landscapes painted are many small, and this painting is not large, which is convenient for exerting its techniques and strengths. The scenery of this painting seems to be sketched or observed from the nature of his hometown of Huangshan In Huizhou, and the composition is influenced by the perspective method of Western painting, which is different from the traditional landscape painting style. The astringency of the lines and the elegance of the color show the meaning of the scenery and the tranquility, just right, unique.
One of the great painters of the Late Qing Dynasty, Xugu, was an appreciation of the "Atlas of Flowers, Birds and Aquatic Tribes"
Bamboo shoot flat fish in Qingxugu's "Album of Flowers, Birds and Aquariums" (Ten Kai) 31.4cm×24.5cm Collection of Nanjing Museum.
Although it has passed a hundred years, the painting of the virtual valley still has a common point with the modern aesthetic, the virtual valley is the representative of the transformation of traditional Chinese literati painting to modern painting, and the flower and bird painting of the virtual valley has the innovative significance of transcending tradition and is the prelude to modern Chinese flower and bird painting. The unique style of flower and bird painting in the virtual valley has a distinct personality, ethereal, deformed, cold, thin is the first feeling that gives people, which is unforgettable, especially the beauty of the otherworldly, ethereal and clumsy, empty and cold artistic conception is revealed in the picture, as if in nature, so that people's hearts are clear, get a kind of cultivation, make people feel relaxed.
One of the great painters of the Late Qing Dynasty, Xugu," an appreciation of the Plum Blossom Goldfish Diagram
Qing Xugu Plum Blossom Goldfish Diagram, 39cm×146cm, 1887, Tianjin People's Fine Arts Publishing House.
One of the great painters of the Late Qing Dynasty, Xu Gu," was an appreciation of the Qing Dynasty's "Qing Offerings"
QingXugu "Qing Offering" 127.5 cm in length and 59 cm in width. Collection of Hunan Provincial Museum.
In the late Qing Dynasty, one of the great painters of the Hai School, Xu Gu's "Autumn River Sail Shadow Map" was appreciated
QingXugu, Qiujiang Fan Shadow, 35.9x91.1cm, Metropolitan Museum of Art, USA.
QingXugu "Songhe Yannian Map" 98.3cm×184.5cm 1887 Collection of Suzhou Museum.
One of the great painters of the Late Qing Dynasty, XuGu, "Purple Silk Gold Chapter Map" appreciation
Qingxugu 'Purple Silk Gold Medallion Map' axis length 129.5 cm Width 48 cm is a cultural relics of the Qing Dynasty, now in the Hebei Museum.
Graph axis, color painting, wisteria goldfish, wisteria leaves and flowers, water waves, duckweed dots, two red goldfish in the water, leisurely play. The whole work is beautiful and elegant, interesting, and self-aware of "Purple Ribbon Gold Medal, Three Brothers of Dingfeng Yinke, Gengchen, Spring Moon, And Void Valley." "Plutonium White Text Square Seal" "Virtual Valley" Lower Right Plutonium Oval Zhu WenYin "Thirty-Seven Peaks Grass Hall" "Purple Ribbon Gold Medal" is a purple ribbon tied on the gold seal. During the Qin Dynasty, Xiang Guoxiang used a golden seal purple silk, which means that success and fame are achieved.
In the late Qing Dynasty, one of the great painters of the Hai School, Xugu "Guan Chao Tu" was analyzed
"Guan Chao Tu" Qing Xu Gu Color on paper Length 40.5 cm width 39.4 cm Beijing Palace Museum collection.
On the picture, the vast sea surface, the water and sky are colorful, the waves are flying, and the waves are terrifying. On the seashore, a pavilion of rocky trees stands, and two idlers in the pavilion are preparing to look at the sea, guiding people to turn their eyes to the center of the picture. The mountain stone is outlined with heavy ink, and the water is dyed with light ink, there are virtual and real, thick and light, and cleverly leave blank space as clouds, making the picture realm appear very far-reaching and vast. Self-titled: "Guan Chao Tu is written as Mr. Jingyan Five Brothers Ya belongs to the virtual valley".
In the late Qing Dynasty, one of the great painters of the Hai School, Xu Gu's "Shadow Map of The Tower of Yunshan" was appreciated
"Shadow Map of Yunshan Pagoda" QingXugu Color on paper Length 34.7 cm Width 70.9 cm Collection of the Palace Museum in Beijing.
The distant mountains in the picture are graceful, the clouds are full of mist, the peaks of the near mountains are steep, majestic and green, the mountain stream has a temple, the forest in front of the mountain is a piece, lush, the houses are hidden in it, and a pagoda on the left side of the picture stands, echoing with the mountain temple, making the quiet and silent picture scroll, suddenly full of life. This map is drawn in a far-reaching way, the scenery from near and far, virtual and real, layer by layer, the artistic conception is long. The peaks and trees are dyed with horizontal pen dots commonly found in the Mijia landscape, and the pen is wet and full of ink, and the vitality is dripping.
One of the great painters of the Late Qing Dynasty, Xugu," an appreciation of the "Silver Makeup Of the Ancient Temple"
"Silver Makeup Of the Ancient Temple" QingXugu Length 38.3 cm Width 52.5 cm Collection of Shanghai Museum.
This is one of the paintings in the "Landscape Book" of the Void Valley, called the Ancient Temple Silver Makeup. The others are Maolin Xiuzhu, Lin She Chu Shu, Yun Wu Ji Cui, Liu Wu Shu Shu, Hedge House Mulberry Branch, Ancient Temple Fan Yin, Qiu Lin Yi Shi, Ye Yin Leisure, Lonely Pu Yuan, BiHu Slow Boat, Early Cold Stream Basket and other 12 paintings, the scenery theme is concentrated, the realm is quiet, the mood is smooth, and it is full of poetic feelings. In the painting, there are seals of "Void Valley" and "Thirty-Seven Peaks Caotang". Among them, "Ancient Temple Silver Makeup" is light in color, the pen is sloppy, and there is a feeling of hurrying. The picture is light and long.
One of the great painters of the Late Qing Dynasty, Xugu," an appreciation of the "Double Crane Figure Fan Page"
Qingxugu "Double Crane Figure Fan Page" 28.2cm vertical and 28.5cm horizontal, Qing Dynasty cultural relics, now in the Collection of Hangzhou Museum.
In this work, the old pine ring is on the screen, and the pine needle is inserted into the tree body to form a round; the double crane stands still, and the long beak is slightly open, making a desire to sing. The red crane uses light ink to lightly hook, white powder dot the back, thick ink to wave the tail. The whole pastel dry ink, with a simple pen, the flanking is sent backwards. While expressing the artistic conception of "Crane Ming Jiu Oh Gao, Sound smelling in the sky", it also reflects the author's artistic level of writing and ink.