■ "Ancient and Modern Book Integration", a Qing Dynasty book, is the collection of ancient and modern books. Chen Menglei, the original compiler, was once commissioned by Xiyuan to teach yin zhi, the third son of the Kangxi Emperor, the prince of Cheng.
■ Imitation of Xu Wenchang's method
Introduction Liang Jiang Is a researcher at the National Art Museum of China, a researcher at the National Academy of Painting of China, and the director of the Institute of Modern and Contemporary Chinese Art at the Guangzhou Academy of Fine Arts
■ Peiwenzhai Calligraphy and Painting Notation, 100 volumes, compiled by Yuan Qi, King of the Qing Dynasty, etc., engraved by the Inner House in the forty-seventh year of the Qing Kangxi Dynasty (1708).
■ Mustard Garden Painting (Qing Liyu)
■Small flowered fine buds
The popularity of Qing carved books and books, the emergence of a large number of Chinese painting works, including classified painting records, technical atlases, etc., "Mustard Garden Painting Spectrum" (also known as "Mustard Garden Painting Biography", this article uniformly uses the previous name) is the product of this time, Liang Jiang, director of the Institute of Modern and Contemporary Art of the Guangzhou Academy of Fine Arts, believes that "the content of "Mustard Garden Painting Spectrum" is systematic and concise, simple and clear, quite suitable for beginners, has always been quite popular, and its role has not diminished so far. ”
■ Collector's Weekly reporter Liang Zhiqin
In ancient Chinese painting writings, the Qing Dynasty accounted for about 35%
Collecting Weekly: The trend of Qing carved books and printing books was once prevalent, what was the situation with the Chinese painting works published at that time?
Liang Jiang: In ancient Chinese painting writings, the Qing Dynasty accounted for about 35%. That's a lot of numbers. The wind of Qing carved books and printed books prevailed both in both the government and the public. On the other hand, by the Qing Dynasty, movable type printing was recognized by the imperial court. The printing of books, including fine art writings, appeared in large numbers and large scales.
Collector's Weekly: What kind of books were the fine art writings published at that time?
Liang Jiang: At that time, many summative and collected tome series were compiled, sorted out, and engraved. These books were both hosted by the imperial court and compiled and printed by private families, and their volume volume was often more extensive than ever. Most of the art books in the "Art Classics and Painting Department" in the "Integration of Ancient and Modern Books" and the art books in the History Department of the Sub-Department of the "Four Libraries Complete Book" belong to the painting works. The Kangxi Dynasty's "Pei Wen Zhai Calligraphy and Painting Notation", Chen Bangyan's "Pei Wen Zhai Past Inscribed Painting Poetry Examples", Bian Yongyu's "Style Gutang Calligraphy and Painting Examination", Peng Yuncan's "History of Painting History of Past Dynasties", Ni Tao's "One Record of the Six Arts" and so on, all belong to this list.
The number of historical writings in different categories is considerable
It reflects the characteristics of specialization and deepening
Collector's Weekly: In addition to compilations, have there been catalogues of paintings in different categories?
Liang Jiang: Yes, there are considerable numbers of historical works in different categories, which reflect the characteristics of specialization and deepening. These writings are either monographs in one discipline, or a generation, or only one place, with a concentrated scope and distinctive characteristics. For example, the album records a painter of a dynasty or period of time, including Zhang Geng's "Records of Paintings of the National Dynasty", Feng Jinbo's "Painting Knowledge of the National Dynasty", Dou Zhen's "Records of Painters and Painters of the National Dynasty", etc.; Li Yan's "History of Jade Painting" and Tang Shuyu's "History of Jade Painting" are dedicated to female calligraphers and painters in the past. Fish Wing's "Haiyu Painting Garden", Tao Yuanzao's "Yue Painting Seeing and Hearing", and Ji Chengxian's "Liangxi Calligraphy and Painting Expedition" are dedicated to recording a certain regional painter. Hu Jing's "Painting Catalogue of the National Dynasty Courtyard" and Li Yan's "Painting Catalogue of the Southern Song Dynasty Courtyard" are dedicated to the painting of the courtyard. Tong Yiju's "Directory of The Momei People" and Xu Rong's "Huaigu Tian Shemei Tong" only record the past generations of plum painters.
Collector's Weekly: There are also many technical atlases?
Liang Jiang: It is true that there are a lot of works on technical maps. Some focus on summarizing the author's personal experience, while others focus on beginners to emulate the needs of the practice. These writings take many forms, some are drawn as maps, some are compiled as songs, and some are summarized as law provisions.
The Republic of China's lithograph "Mustard Garden Painting Spectrum" was published in six episodes
It has nothing to do with the original "Mustard Garden Painting Spectrum"
Collection Weekly: The atlas books published at this time also included Wang Shuo's "Mustard Garden Painting Spectrum"?
Liang Jiang: The representative of the map should be Tui Wang's "Mustard Garden Painting Spectrum". The first collection of landscape and water genealogy was added by Wang Shu in the early Qing Dynasty with the paintings of Li Liufang's apprentices in the Ming Dynasty. The second episode of Meilan Zhuju is drawn by Zhu Sheng and Wang Qian, and discussed by Wang Zhi, Wang Shu, and Wang Zhen. Three collections of flowers, trees, grasses, insects, birds, and birds, compiled and painted by Wang Kunzhong. The content of the book is systematic and concise, simple and clear, quite suitable for beginners, coupled with the fact that it was a woodblock color overprint at that time, exquisite and novel, and it was popular in the world. In the twenty-third year of Jiaqing (1818), the bookstore combined the character atlases in Ding Gao's "Secret of Photography" and Shangguan Zhou's "Evening Laughing Hall Painting Biography" plus "Seal Compilation" into the fourth episode of character genealogy. During the period of Guangxu (1875-1908), Chao Xun added four more episodes and published them in Shanghai Shifa, which was widely circulated.
Collection Weekly: It is understood that the "Mustard Garden Painting Notation" is actually a collaboration of multiple compilers, what is the division of labor? Later it seems that there are multiple versions?
Liang Jiang: According to the preface of the first collection of Li Yuzhi in the "Mustard Garden Painting Notation", it is said that his son-in-law Shen Xinyou obtained the original 43 pages of Li Liufang's paintings, and the supplement was compiled by The King. The king summarizes the poor dynasties, the next series of celebrities, and the heads of the families, with 133 pages and 40 pages of drawings. It is a book for landscape painting, volume one summarizes the painting theory painting method, volume two is a tree spectrum, describing the different painting methods of trees, volume three mountain stone spectrum, volume four is a character house spectrum, volume five is a famous landscape painting spectrum, is a copy of the traces of the families, drawing and with instructions. The descriptions are all step-by-step, in-depth and simple, which is quite convenient for beginners. In the eighteenth year of the Kangxi Dynasty (1679), it was overprinted in color, which is the first episode of the "Mustard Garden Painting Spectrum". Subsequently, Shen Xinyou asked the famous Hangzhou master Zhu Sheng to make an orchid bamboo score, and Wang Yun'an to make a meiju score, which was 220 pages. After the death of Zhu and Wang, Shen shi also asked Wang Tokunzhong to add, delete, and compile a book, which was published in two volumes, color overprinting. Because of its popularity, the bookstore was repeatedly engraved and renamed as the second and third episodes of "The Tale of Mustard Garden". In the twenty-third year of Jiaqing (1818), there was a pseudo-Tuo Li biography "Four Collections of Mustard Garden Painting Notations", which included Ding Gao's "Secret Biography of Photographs" and "Beauty Figures", "Xianfo Tu" and "Xianjun Tu" in Jin Guliang's "Peerless Spectrum", and there was no explanation of the drawing method. It is worth noting that although the book is a forgery, the two volumes of Ding Gao's work were passed down.
At the end of the Qing Dynasty, Chao Xun (1852~1917) learned to paint at Zhang Xiong, and the landscapes, flowers and birds can be used. At that time, the first two episodes of the "Mustard Garden Painting Spectrum" were difficult to find, and there was a sense that the characters of the original book were not prepared, so Chao Xun began to search and compile the fourth episode. The book is divided into six volumes, one for each family on the character painting method, two and three for the secret of the divine portrait, four and five for the Chao family hand copy of the family figures, and finally for the Tongzhi and Guangxu years of the Shanghai family figure painting. A beginner in figure painting, Chao's compilation of materials is rich and concise, which is a good entry.
It should be noted that during the Republic of China period, there were six collections of lithographic copies of "Mustard Garden Painting Spectrum", which was compiled and illustrated by Wang Kun (1877~1946) of Wuyuan, Jiangxi. The 240 pages of this book are copied from the famous landscape figures of the Song and Yuan Dynasties, flowers and birds, and even the original inscription signature seal is included, which can be used as a reference for antique paintings, but it has nothing to do with the original "Mustard Garden Painting Notation".
Collection Weekly: What impact do you think "Mustard Garden Painting Notation" has had on the development of Chinese painting?
Liang Jiang: In terms of systematic induction and comprehensive introduction to the traditional painting techniques, the "Mustard Garden Painting Notation" is simple and clear, step-by-step, systematic and concise, and practical, and has always been quite popular, and its role has not diminished.
The Mustard Garden Notation got its name
"Mustard Garden Painting Spectrum" is engraved in Li Yu's Nanjing Villa Mustard Garden, hence the name. Although there are also mistakes. But the flaws are not hidden. After being re-copied by Chao Xun, it was widely circulated.