Tell a collectible story
Pin mingjia calligraphy and painting
Old Shen invites you to join you in "Art Garden Notes"
Appreciate the famous calligraphy and paintings such as several family treasures...
Part 1
-THE FIRST PAPER-
The affection and interest of the literati
Chen Baochen and Pu Confucian calligraphy and paintings are combined into a fan to appreciate
The content of this calligraphy and painting is an excerpt from the Western Jin Dynasty Lu Ji's "WenFu" written by Chen Baochen: "If the husband should feel the meeting, the ji of the tongsai, the coming cannot be contained, the going cannot be stopped, the hiding is like the extinction, the action is still ringing." Fang Tianji's Junli, why don't you pay attention to it? The wind of thought originates in the chest, the spring of words flows in the lips and teeth; the chaos of the leaves is to be satisfied, only the imitation of Haosu; the emblem of the emblem is overflowing, and the sound is cold and full of ears. And its six emotions are stagnant, the ambition is to stay in the gods, like a dead wood, open as a stream; the soul of the camp to explore the zhao, suddenly refreshing and self-seeking; rational and more and more prostrate, Si Yi Yi is like a pump. ”
Chen Baochen (1848~1935), Zi BoQian, No. Han An, Don't Sign The Old Man of Listening to Water, Cangqu Landlord, etc. A native of Minxian County,Fujian (present-day Fuzhou), he was a scholar in the seventh year of Tongzhi (1868), and was awarded the posts of Jiangxi Scholar, Cabinet Scholar, Inspector of Shanxi, Attendant of the Ministry of Rites, and Taifu. This piece of Chen Baochen's line is based on the European body, which not only has a slight meaning of the Ming and Qing "pavilion body", but also soft into the bone power of the Song Dynasty Yellow Valley, and the literati are full of charm.
Chen Baochen
One side of this fan-shaped painting is Pu Ru's "Fishing alone in the Cold River", because it is inscribed with "The piece of water belt is lonely and clear, and the micro-cloud is far white", which can also be called the "Piece of Water Micro Cloud" figure.
Pu Ru (1896 ~ 1963), Ai Xin Jue Luo Shi, the character Pu, the Guangxu Emperor gave the name Ai Xin Jue Luo Pu Ru, zi Xin She, the number of Xishan Yishi, poetry, books, paintings have been accomplished. He is good at painting landscapes, people, flowers and birds. PuRu and Zhang Daqian have the reputation of "Southern Zhang Beipu"; together with Wu Hufan, they are called "Southern WuBei Pu"; and Huang Junbi and Zhang Daqian are known as "Three Families crossing the sea".
PuRu
The first time I saw this picture of "Fishing Alone in the Cold River", I subconsciously read it out in my mind: "Thousands of mountain birds fly to extinction, and thousands of people disappear." Lonely boat, fishing alone in the snow of the Cold River. Yes, this picture of "Fishing Alone in the Han River" is written in the poetry of Liu Zongyuan's "Jiang Xue" of the Tang Dynasty, and the poem uses twenty words, while Pu Ru depicts the winter scene of Xiao Ser in a few strokes. In the minimalist composition, a large area of white space represents the snow, and the curled up fisherman's body looks directly penetrate the cold and cold. This is not only the highest realm of the use of virtual reality in Chinese painting, but also an image realm that can create a million imaginary spaces. Enjoy Pu Ru's "Fishing alone in the Cold River", silently reciting Liu Zongyuan's "Jiang Xue", a poem and a painting, you can appreciate the artistic interest of "poetry is an invisible painting, painting is a tangible poem".
"Fishing Alone in the Cold River" into a fan (partial) Pu Ru composed
From the shape of the artwork, there is a difference between the fan and the fan, the fan is generally single-sided, single-piece, and the fan is not only double-sided, but also most of them carry the fan bone, which has the dual value of practicality and appreciation. Of course, the function of the fan cooling has always been secondary. From the Ming and Qing dynasties to the Republic of China, Cheng Fan has not only been a symbol of the identity of dignitaries and nobles, but also the embodiment of the sentiment, interest, taste and status of the scribes. In many of today's theatrical stages and silver screens, we can still see the old dignitaries and scribes appearing, always holding the fan in their hands, opening and closing, or showing the preciousness of the fan, or swaying the famous danqing, or showing off the famous sculpture of the fan bone.
It should be pointed out in particular that the fan bone of this fan is made of ivory that is strictly forbidden to be hunted by people today, and it belongs to the ivory of the Qing Dynasty from the perspective of its production method and pulp coating. A fan to get started, the first contact is the fan bone, the fan bone can be divided into rosewood, ivory, agarwood, tortoiseshell, chicken wing wood, lacquer bone, bamboo and other materials; and is divided into monk head, straight head, square head. Are there any famous carvers? Is it thirteen gears? Fourteen gears? Fifteenth gears... What dynasty, what age? What color? Is there a pulp? Wait a minute. In many places in China, the fan bone can be enjoyed and exchanged as an independent art category.
Excerpt from the Wenfu Qing Chen Baochen book
This piece of fan is the texture of the hairpin. The fan surface has always had the distinction between good and bad textures, taking the folding fan as an example, there were gold notes, mica notes and so on during the Ming and Qing dynasties. Since the Republic of China, there have been mud gold notes, sprinkled gold notes, lapis lazuli notes, tiger skin notes, hair notes, plain white notes and so on.
The two sides of the fan can be combined with one book and one painting, or it can be divided into files evenly, and more books and more paintings. To judge the value of a fan's calligraphy and painting, we should look not only at the "famous head", that is, the popularity of the calligrapher and painter, but also at the "number of families", that is, the number of famous artists who write and paint in each file. The fan size is small, and most of them are smooth cooked paper, there is no pen and ink effect of rice paper, and the calligrapher and painter create on it, testing the ability to concentrate the essence and pen and ink skills. Therefore, compared with ordinary calligraphy and painting, fan painting and calligraphy are more artistic, interesting and playful.
This fan also has a fan outside the point of view, both works were created in the year of their own, according to the birth and death time of Chen Baochen and PuRu, it can be presumed to be made in 1929, Chen Baochen was already eighty-one years old when he wrote this fan, and Pu Ru was only thirty-four years old when he painted this fan, the age difference is so large, from a polite point of view, Pu Ru should not paint on the reverse side of an eighty-one-year-old emperor's work. But the point of view is here, Pu Ru may be "although Chen Baochen is an imperial master, I Pu Ru is the royal 'old king and grandson'" and calmly wrote. In the sense that Chen Baochen and Pu Ru are related to "emperor", this thing is extremely collectible!
Part 2
-THE SECOND PAPER-
Clear windows with chants
Wu Tianzhang's "Qing Offering" is read
Fold the north and south branches, jade bone ice posture to nourish the old magnet;
Only afraid to leave a sound blowing down, the clear window with chanting.
This drawing was made in the spring of Xin Wei, by Wu Tianzhang, zi weaving yun, Qing Xianfeng to Guangxu years of renshi, one of the early representative painters of the "Zhao'an School". Looking at the historical chronology, Xianfeng (1851-1861) through Tongzhi (1862-1874) to Guangxu (1875-1908), only 1871 is Xin Weinian, then, this map is made in the tenth year of Tongzhi.
I remember that the contemporary writer Mr. Wang Zengqi once said in one of his essays that he had seen an ancient painting in which the inscription said: "The mountain family Chinese New Year's Eve has nothing else to do, and the plum blossoms are inserted for the New Year." The kind of painting that Mr. Wang Zengqi said is "Qing Confession Map" or "Qing Confession of the Dynasty". Qing offerings, also known as "offerings of qingya", originated from flower arrangements in front of Buddha statues, which began in the Qin and Han dynasties and flourished in the Ming and Qing dynasties.
From the Song Dynasty onwards, the Qing offering became one of the elegant symbols of the scribes, and by the Ming Dynasty, the shape of the Qing offering map gradually took shape. In the Qing Dynasty, Qing dynasty painting developed to its peak, especially after the middle of the Qing Dynasty, the emperor's preferences promoted the development of Qing painting, people catered to fashion, the demand for Qing painting became increasingly popular, so many painters were keen on painting this subject, Xu Gu, Zhao Zhiqian, Ren Bonian, Wu Changshuo and other backbones of the maritime painting school have painted a large number of years of Qing dynasty Qing painting.
The qing painting style is diverse, most of which are painted with common folk objects, and the techniques are mostly known for large freehand, small freehand and part-time work, and most of them are rich in pictures and texts.
Qing "Qing Offering Map" part Wu Tianzhang composed
Wu Tianzhang's figure clearly bears the imprint of the times. The folded branches of plum blossoms inserted on the ancient magnetic bottle are from left to right, the shadows are oblique, and the hair is stretched out; the plum blossom branches are old and spicy, the thickness and thinness are interspersed, the vertical and horizontal are wanton, and the denseness is exquisite; the flower buds are on the side, the virtual reality is born, the wind is proud of the frost, and the fragrance is wispy.
In the lower right blank of the ancient magnetic bottle, a pot of elegant calamus is still holding the pipa, but it is difficult to hide the green blue. Elegant calamus, together with orchids, chrysanthemums and daffodils, is known as the Four Flowers and Herbs, which has been loved by literati and scholars of all generations, and has not only become a must-have for desk offerings, but also a commonly written thing on the offering map.
Calamus is an indispensable cultural image written by Chinese literati, and the ancients said that there is no calamus and no literati. Calamus with poetic characteristics is painted here, subtracting a touch of loneliness for the ancient magnetic plum blossom as the main body, adding a little bit of charm, a bit of literary style and more purity, making the whole work more interesting.
Qing paintings belong to literati paintings, and literati paintings take poetry as the soul, and most of them have improvised poems. The content of the poem either expresses the author's feelings, or talks about artistic insights, or supports things and words. Inscription poems are part of the painting chapter method, which is expressed in painting through calligraphy, so that the beauty of poetry, books and paintings is skillfully combined, reflecting each other, enhancing the formal beauty of painting works, and constituting the artistic characteristics of Chinese painting.
The poem inscribed by Wu Tianzhang in this picture belongs to the self-composed poem of the aria picture mood, this poem is arranged in the blank space in the upper left corner together with the falling paragraph, the four-line book is slightly grassy, the chapter is skillful; the arrangement is uneven in length and length, dense and elegant; the overall is elegant and relaxed, the clouds flowing water, the beautiful and flowing; and the ancient bottle plum blossom echoes up and down, complementing each other, just into a natural fun, let people love it.
Part 3
-THE THIRD PAPER-
Confucian style, elegant rhyme, bookish
General Sa Zhenbing's book "Hospitality" poem appreciation reading
In 2015, when I retired from the army, I spent nearly a year visiting the former residences and mausoleums of Fuzhou's ancestors and celebrities, and went back and forth several times at the foot of Huofeng Mountain on Meifeng Road, before I found the mountaineering trail of the SaZhen Ice Mausoleum on the left side of the second backyard of the Fuzhou General Hospital, and smoothly saluted this Chinese naval predecessor!
Sa Zhenbing (1859-1952), courtesy name Dingming, was a famous admiral and second-class admiral of the modern Chinese navy. Born in Dai County, Shanxi, he entered the Mawei Ship Politics School in his early years, and was sent to the Royal Naval Command College in Greenwich, England in the third year of Guangxu (1877). After returning to China, he served as a teacher at the Tianjin Admiralty School, a beiyang admiral and a pipe belt for the Haixi ship, adjutant of the Guangdong Admiralty, and a naval commander of the Qing government. After 1917, he served as chief of the Navy, acting premier of the state, and from 1922 to 1927, he was the governor of Fujian Province. After the founding of New China, he successively served as a member of the National Committee of the Chinese People's Political Consultative Conference, a member of the Central People's Revolutionary Military Commission, a member of the Overseas Chinese Affairs Committee, and a member of the Fujian Provincial People's Government.
Sa Town Ice
In the winter of 2016, a close friend of mine had a new home and invited friends to a party. This book by General Sa Zhenbing hung in the middle of the dining room, and I was invited to appreciate this work, and I took the liberty and courage to set the title of this poem as "Hospitality".
Always summon guests, and where there is food, there will be wine.
Drink in groups and alone, who has no cup in hand.
In the eyes of ordinary people, the poems written by the general are naturally sword-breathing and full of pride, but unexpectedly, General Sa Zhenbing's poem "Hospitality" reveals a burst of wine between the lines, which contains Chinese traditional hospitality and wine table culture.
This poem, on the surface, seems bland, but with careful consideration, it has a source. I remember that Su Shi once sighed in "Hou Chibi Fu": "There are guests without wine, there is wine without food; the moon is white and the wind is clear, what is such a good night?" And the "group drinking and drinking alone..." sentence in the poem "Hospitality" is easy to think of the ugliness and elegance of the wine table culture, ugly is not expressed, and the style of "group drinking" is nothing more than the Lanting Yaji of the most famous Eastern Jin Dynasty Yong and the Ninth Year Wang Xizhi in Chinese history.
At the beginning of the late spring of that year, the group of sages and the young chiefs were gathered in Shaoxing Lanting, in the Maolin Cultivation Bamboo, sitting on the side of the Turbulence of the QingLiu, sending the stream with curved water, and whoever went to him had to recite a poem and drink this cup, and what is even more wonderful is that after the poetry collected by the "group drink" this time, the "Orchid Pavilion Collection" written by Wang Xizhi was recognized as "the first line of books under the heavens" and has been passed down to this day. "Group drinking" to drink this, is there anything more elegant than it? As for "drinking alone", throughout the ages, literati and inkers have either "raised a glass to invite the bright moon and made three people into a shadow"; or put the wine in the wind, raise a glass and chant, accompany poetry and wine, and never be alone. The result is that no poetry wine is indecent, no wine poetry is not god, fighting wine poems hundreds, and countless poetry and wine flow have been achieved. In short, through this poem "Hospitality", it can be seen that the battle-hardened General Sa Zhenbing is not only familiar with the characteristics of traditional Chinese wine culture, but also familiar with the indissoluble relationship between poetry and wine.
Various literary and historical materials show that although General Sa Zhenbing was good at navigational combat, in addition to his military service, he also liked to splash ink and entertain himself with calligraphy. From the calligraphy work of this "Hospitality" poem, we can appreciate the old soldier's Confucian style, elegant rhyme, and calligraphy; we can feel that the old general has successfully completed the role transformation from a soldier to a literati when he picks up the pen, and the next pen has completely converged on the sky and the fierce sword qi.
You see that his pen is slow and steady, the thickness of his strokes is symmetrical; the words are gentle and delicate, calm and elegant; the whole work is beautiful and healthy, dignified and subtle, and full.
Looking more closely, General Sa Zhenbing's calligraphy and pen have provenance, and the characters have a source, which is full of Han Dynasty canonical books and Tang Kai charm. In my collection over the past few decades, I have been fortunate to see that most of the calligraphy of General Sa is in calligraphy, so I feel that his calligraphy is mainly reflected in the calligraphy, and his calligraphy style is mainly reflected in the characteristics of the Eastern Han Dynasty Zhong Xuan and the Tang Dynasty Ouyang Qing. Therefore, I thought that by appreciating General Sa's calligraphy, we could taste the beauty of the structure of the Han and Tang Dynasty calligraphy, the beauty of neatness but not rigidity, and the beauty of the harmony between the words of the whole work.
The poem "Hospitality" (partial) Sa ZhenBing book
This work was written by General Sa Zhenbing when he was 91 years old, and those who have seen this work are amazed that the 91-year-old man can still write such a neat and meticulous and profound calligraphy. I think that this kind of calligraphy, which not only maintains the beauty and simplicity of the main book, but also derives the beauty of childishness, is not something that ordinary elderly writers can write.
It is difficult for those who are not consistently calm and calm to write such books; those who have not had amazing wrist strength and have worked hard are difficult to write; and only those who have cultivated to a very high level and have cultivated in place can they achieve it.
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The domestic unified issue number | CN35-0042
New Media Editor-in-Charge | Wang Mingquan
Editor-in-Chief of New Media | Zou Lu