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.
Early Qing Dynasty. During this period, literati landscape painting flourished and formed two distinct artistic pursuits. The Four Kings School of Painting, which inherited the mantle of Dong Qichang at the end of the Ming Dynasty, took the imitation of the ancients as its purpose, was valued by the imperial family, and occupied an orthodox position in the painting world. A group of Ming Dynasty relics painters who were active in the Jiangnan region sent love to the landscape and borrowed paintings to express their nostalgia, and had a pioneering and innovative spirit in art, represented by the Eight Houses of Jinling, the "Four Monks" and the Xin'an School. Wu Li, together with Wang Shimin, Wang Jian, Wang Yuanqi, Wang Yi and Yun Shouping, was collectively known as the "Qing Liujia", also known as the "Four Kings Wu Yun". In 2018, the 300th anniversary of Wu Li's death was exhibited in Macao. Here we share the fine paintings of Wu Li, a painter of the early Qing Dynasty.
Wu Li (1632-1718) was a calligrapher and painter of the early Qing Dynasty and a Catholic missionary. The character Yushan, mojing daoren, Taoxi resident, Jiangnan Changshu (now part of Jiangsu) people. When he was young, he studied poetry with Qian Qianyi and studied painting from Wang Jian and Wang Shimin. Kangxi joined the Catholic Church in 21 years, followed by Macao to enter the Jesuits, and preached in Jiading, Shanghai and other places for 30 years. He is the author of "Ink Well Poetry Banknote", "Sanba Collection", "Taoxi Collection", and "Ink Well Painting".
Wu Li's paintings evolved in this historical context. After joining the Catholic Jesuits, Wu Li devoted himself to the work of the church, and for about 20 years he rarely painted. Therefore, in the history of art, it is generally believed that the peak of Wu Li's life's creation was between the ages of 40 and 50, and many of his masterpieces were made during this period. For example, "Spring Sound Pine Color Map", "Autumn Landscape Map", "Xingfu An Sense Old Picture Scroll", "Bamboo Stone Map", "Hengshan Eye Mist Picture Scroll", "Quiet Late Autumn Xiao Map", "Foothill Fishing Boat Map", "Songting Fishing Map", "Landscape Vertical Axis", "Lake Sky Spring Color Map", "Yunbai Mountain Green Picture Scroll", "Bai Chuan Xiang River Picture Scroll", "Character Story Album", "Feng'a Mountain House Map", "Huai Rong Tang Map", "Shou Xu Qingyu Landscape", "Song Canyon Mingqin Map", "Quasi-Ancient Ancient Map", "Writing Yunlin Will", "Fengxi Huiqin Picture Scroll", "Sunset Autumn Shadow Map", "Mojing Caotang Summer Elimination Picture Scroll", "Sunset Autumn Shadow Map", "Mojing Caotang Summer Elimination Picture Scroll", "Sunset Autumn Shadow Map", "Summer Elimination Map" Rain Break Remote Sky Map", "Imitation of Zhao Danian Hejing Na Liang Map", "Lin Tang Shi Si Tu Fan Page", "Liucun Qiu Si Tu Axis", "Qingyun Cave Gully Map" and so on.
Early Qing Dynasty Wu Calendar "Spring Sound Pine Color Map" appreciation
"Spring Sound Pine Color Map" on paper, ink and pencil, length 64.8 cm, width 38 cm. Collection of the Palace Museum in Beijing.
This self-titled poem reads: "Spring sound pine color." Bi Lingxi east, Quan Fei recognized the white rainbow. Tourists are out of reach, and the pine green is dark and hazy. The idiot's pen is not unusual, and the game is directly created and vivid. The snow window is intended to do this, and the Han Zhao Dao Word Sect is good, and it is given away. Kangxi Jia Shen Zhengyue, Mojing Daoren and the title. "Under the plutonium " ink well " Zhu Wen square seal. In the lower right corner, the plutonium "Yanling" Zhu Wen square seal. Jia Shen was the forty-third year of the Kangxi Dynasty, and in 1704, Wu Ling was seventy-three years old. Xu Bangda's Chronology of Paintings Circulated through the Ages.
Appreciation of the Early Qing Dynasty Wu Calendar's "Autumn Landscape Map"
"Autumn Landscape Map" long volume, paper, color, length 29.7 cm, width 150.6 cm, (Japanese) Izumiya Bogu Collection.
This picture was painted by the author in the thirty-second year of the Kangxi Dynasty (1693) for the Maojin clan of The Ancient Pavilion. The painting is heavy and mountainous, and the trees on the hillside have the style of Tang Yin painting in the Ming Dynasty; at the same time, the use of the thick turquoise, ultramarine, and ochre colors on the picture makes people feel that there are bright colors in Western paintings.
In the early Qing Dynasty, Wu Li's "Xingfu An Sense Old Picture Scroll" was appreciated
"Kofuku-an Sense Old Scroll" silk, color, length: 36.7 cm, width: 85.7 cm. Collection of the Palace Museum in Beijing
This self-title: "In my friend's pen and ink, only the silent bus is the deepest." Yu often as a guest, do not say goodbye, afraid of hurt and willow. Gengzhi Qinghe, swimming in Yan Ji, often transmitted letters from the outside of the fang to the south, meaning Yin Yin. In the autumn and winter of Xinhai, it will be endowed with desire, which means that it is cold and snowy at the same age, and before it has crossed huai, Wen Mogong has hung up on the peak, and the pain can be said. Self-shame waves, negative concentricity, summoning the soul to make a recitation, not enough to write a life, shaped in silk, and the pen is just a snot. But when he arrived at the land of The Temporal, the tears were hard to solve. The shadow of the snow garden pine is there, and the ink marks of the grass are melted. A few trees are remnants of spring, and a lamp door is red. His lifelong poetry and painting habits are mostly mistaken for the wind. The fish and geese have been separated several times, and they have returned to the deep remorse. Self-pity for the north and south, not exhausted. The butterflies are still suspicious of dreams, and the hungry birds are alone in the forest. The cloud looks infinitely, and everything is floating and sinking. Two days before Jia Yin ascended to the throne, Yu Ji wrote a book. Taoxi resident Wu Zi Calendar. "Plutonium" Wu Calendar" printed on the side. At the end of the volume, there are three inscriptions of Xu Zhiwei, Ji Meng, and Zhang Jingwei. Jia Yin was the thirteenth year of the Qing Kangxi Dynasty (1674), and Wu Ling was 43 years old.
This picture is made by the author to remember the silent appearance of his former friend, and a long title briefly describes the interaction between the two people, and the affection is deep. The painting depicts the scenery of The Xingfu Temple, the bamboo trees outside the temple, and the lone pine white crane inside the wall, which is originally a quiet place, but people go to the empty room, full of poignancy, revealing the author's state of mind with pen and ink to pin mourning. The combination of tree hooks, clear layers, interspersed with nature, the winding wall strengthens the depth of the picture, the mountain stones have wrinkles and dyes, and the large area of green and green colors show the real natural scenery, which is a unique masterpiece of the painter who takes both Song and Yuan painting methods.
Appreciation of the "Bamboo stone map" of the Wu calendar in the early Qing Dynasty
"Bamboo Stone Diagram" vertical axis, paper, ink and pencil, vertical 117. 2 cm, width 21. 1 cm. Collection of Nanjing Museum.
In this painting, the stone is drawn with a dry brush in burnt ink, and the pen is delicate and the light ink is blended. Write bamboo leaves in thick ink, one branch above and one above, and the bamboo leaves are crisscrossed, dense and beautiful, and the atmosphere is vivid. The title of the paragraph is seven words of poetry, and signed "poetry and painting sent to Mr. Zi Ji".
In the early Qing Dynasty, Wu Li's "Hengshan Eye Mist Picture Scroll" was appreciated
"Yokoyama Eye Mist Scroll" on paper, ink and pencil, 22 .8cm in length, 157.3 cm in width. Collection of the Palace Museum in Beijing.
In the upper corner of the opening, there is an author who says: "Yokoyama is misty." "Plutonium" ink well" print, the right corner of the banner "Yanling". The author of the end of the volume wrote himself: "The pen is writing about the mountains and horizontals, and the smoke clouds are chaotic and stone." Broken window banana rain passed, adding to the Yan pond flat. Ten days of painting, sea and sky rain, red sun window light, exhibition volume title. Kangxi Cheng, Qiu Zhong, a native of Mojing Province. "Plutonium" ink well " print.
"Chengjiao" is the forty-fifth year of the Qing Kangxi Dynasty (1706), and Wu Washi was 75 years old.
Wu Li at the end of the paper said: "Yu has painted in recent years, as if he is diligent and lazy, sometimes he does not quit freezing, forgets the summer and forgets his meal, and swings away from the disease; sometimes the spring warm sunny window, the ink is excellent, and he drowsiness." I don't know where this disease comes from, or why I am old. However, this is often the case with young people. A few days ago, yu felt that his wrist strength was strong, and he learned the mountain tree into a small volume, although he did not get his super ease, he could also spend a long summer. May Ink Road people again trek. "Xia Plutonium "Seal of wu calendar", "Mojing Daoren", greeting the head of the "Yanling".
This painting and the collection of self-paper are printed with "Lu Tingyi Seal", "Plain Lu Manting Pavilion Jianzang Seal" and so on. The back panel has three inscriptions: Dai Zhaofen, Gong Wang, and Gu Wenbin.
The author said in the tail paper that this picture is the pen of Wang Meng of the Yuan Dynasty, and indeed has the meaning of vastness and transcendence. The whole picture is mostly outlined with a dry pen, and the thick pen is rubbed, simple and thick, and the veins are clear. Because the painter lived in Macao in his early years and came into contact with some Western paintings, the mountains in the painting showed a yin and yang to the back, as if there was a sense of a sunny day in the sky, and the peaks were pushed into the distance layer by layer, quite a bit of spatial consciousness. Wu Li was the earliest painter in the history of Chinese landscape painting to integrate Western painting, and this picture naturally and appropriately absorbs the modeling techniques of Western painting that emphasize light and shade and emphasize perspective, which is a must.
In the early Qing Dynasty, Wu Li's "Jing Late Autumn Xiaotu" was appreciated
Wu Li imitates Wang Meng's "Quiet Late Autumn Dawn Map". Colored on paper, 95.3 cm in length and 24 cm in width. It is now in the Nanjing Museum. Plutonium has such seals as "Virtual Zhai Collection" and "Essence of Virtual Fasting". It is painted in the "Shangyang" and "Yihai" of "YihaiChun", that is, the thirty-fourth year of the Kangxi Dynasty (1697), when the Wu calendar was sixty-six years old. It is laid in three sections, near, middle and far, with an orderly and reasonable layout, showing the beautiful scenery of jiangnan landscape in the golden autumn season. Up close, the beautiful pine cypress, the grassy mountain stone, the curved ancient pine, the branches and leaves are "bent" above the stream; the stream is bent and curved from above; on the boulder flat on the right bank deep into the stream, there is an old man sitting on the ground, watching the autumn scenery in the deep mountains, quietly and peacefully, staring at it, showing the old man's attachment to the autumn scenery in the mountains. In the middle scene, on both sides of the curved stream, there are extremely sparsely scattered grass pavilions supported by four trees, low huts, majestic Buddhist temples and lofty pagodas. Above the stream, there are huge bridges made of wood and stone, connecting the two banks. On the beach under the cliff, someone is fishing with a rod, and someone in the hut looks out through the window to see the view. It presents a harmonious and harmonious realm between human beings and nature. In the distance, the peaks are towering, and the main peak is stacked with strange stones, with a vivid image of thickness and infinity, laying its central position as the center of the mountains. The whole picture shows an incomparably far-reaching, elegant and contoured natural image, giving people a three-dimensional perception of real mountains and real waters.
In the upper right corner of the painting, there is the artist's line book inscription "Wang Shuming is quiet in the late autumn dawn, what he saw in the suburbs of Beijing, he did not forget, Yi Haichun recalled his coloring method in Shangyang, brought it to Lianchuan, the people's reputation saw and booed, now on its flower armor, it is a picture of pine and cypress, appropriate to live." Signed "壬午年 Autumn Ink Well Road Man". Plutonium "ink well" Zhu yin. In the lower right corner of the painting, there is a seal of "Virtual Fasting to Fine" collection seal. The four characters of "The Most Refined Product" represent the precious artistic value of Wu Lizhi's paintings.
Early Qing Dynasty Wu Calendar "Yulu Fishing Boat Map" appreciation
Qing Wu Li Youlu Fishing Boat Chart Axis Silk Ink Pen 119.2×61.5cm Collection of the Palace Museum, Beijing
This self-titled seven-word poem is also recognized: "The foothills are paved with ten miles of smoke, and the willow bridge turns to the west of the fishing boat." White flowers are small, and gulls bathe flat sand sunset round. Gengji Xiaochun, titled like Yan Weng Xu Old Mr. Zheng. Yushan Yushan Wu Calendar. "Plutonium" Wu Li", "Yushan", "Mojing" Zhu Wenyin 3 parties. There are 3 parties in the collection: "Taizhou Gong Clan Treasure Collection" and "Gongzi Xing Zhou Di Yu Father Treasure". "庚戌" is the ninth year of the Qing Kangxi Dynasty (1670), and Wu lasted for 39 years.
The picture depicts the scenery of Jiangnan Water Town. The right side of the frame depicts steep rocks and various types of miscellaneous wood. The left side is painted with calm lakes and drifting smoke clouds. Through the mountains on both sides, the outstretched wooden bridges, the trees that slope on the sides, and the mountain and stone paths, the author connects the left and right scenery into a whole, so that the picture achieves a visual balance in the contrast between the left and the right, showing the author's ability to set the scene. This picture should be made by Wu Li when his mood gradually calmed down after suffering the pain of losing his mother and wife one after another.
Early Qing Dynasty Wu Calendar "Songting Fishing Map" appreciation
Wu Li's "Songting Fishing Chart", on paper, ink landscape, 148.7 cm in length and 30.2 cm in width. Collection of Sichuan Museum. "Jiayin", when it was the thirteenth year of the Kangxi Dynasty (1674), it can be seen that this painting was the work of Wu Li forty-four years old. The whole picture is laid out in a long distance, with a pen calm and rigorous, the near, medium and far green pine gradually fades away, giving people a deep and deep sense of depth, and the mountain stone is full of three-dimensional sense. Mountain stream, rushing down, above the stream, there is a large flat building connecting the two banks of the stream, which is not only a pavilion in the mountains for people to rest, but also serves as a bridge, because it is under the shade of the pine, so it is called "Pine Pavilion". This kind of pavilion and bridge architecture still exists in some Jiangnan areas, commonly known as "covered bridges"; in the corner of the quiet pine pavilion, a man with a bun of hair is fishing with a rod, and the angler does not squint at the movement of the fishing rod; the path between the mountains and forests, twisting and turning, like a snake to the peak of the main peak, presents an infinite extreme. It is an elegant, bright and quiet landscape of Jiangnan, which makes people think deeply, give people reverie, and make people intoxicated.
In the upper right corner of the picture, there is a painter writing a book with a slogan and a sign. The saying is "Reading has gained, and after seeing the mountains and seeing the water." Touch the object in the chest, write self-style pen with the ancients. Please take the quality, Mr. Lantau.". Fall on the "Jia Yin June 10 Wu Calendar". The "Wu Calendar" fang seal, followed by Xu Zhi gradually signed "Yi Di Xiao Chun, Brother Xu Zhi gradually sent to the liang old door brother Qing Jian". On and under the words "Yi Di" and "Xu Zhi gradually", they are printed.
Appreciation of the Wu Calendar 'Vertical Axis of Landscape and Water' in the early Qing Dynasty
Qing Wu Li Landscape Vertical Axis, Collection of brooklyn Museum, USA
The author of the painting heart titled himself: "Xiao Zhen ancient wood leans on the riverside, and the stone foot Phi Sha blows the waves new." The distant mountains in the area set in the sunset, and the autumn shadow of the grass pavilion is unmanned. The painting of the winter moon resembles the jisheng meng brother Zheng Mojing Daoren Wu Li "钤印: Mojing Daoren (白文), Wu Lizhiyin (白文). In 1706, he was 75 years old. The Ayabian inscription is as follows in chronological order: the National Dynasty painted landscapes, and the four kings, Yun, and Wu were the first to be promoted, while Yun and Wu were particularly expensive. There are many people who love Yun and few people who pass on Wu. Each of the houses in the capital is hidden, and the five are all available, while the fishing mountain is lacking. This figure of the spiny monkey is not enough to describe its work, the bean horse is not enough to say its fineness, the Tianxia Cloud Crane is not square to its qi, and the Jingxing Qingyun is more expensive than its products. Thick green and shallow ochre, ink dry, grid preparation also. Crazy yellow lazy, wet rain dense clouds, body of the zhao also. It will make Xu Qiao trace, and the wendu sweep away the dust. And the ink is like lacquer, the paper is like skin, the eyes are big, the holes are small and straight, and I don't know what can be compared to two hundred years. At the beginning of the Spring Festival in Jiaqing, the owner of the Lingfen Pavilion, Wujiang Guo Lubao.
Qing Dynasty painter Wu Li landscape painting "Lake Sky Spring Color Map" appreciation
Qing Dynasty painter Wu Li landscape painting "Lake Sky Spring Color Map" Vertical Scroll Color on Paper 123.5x62.5cm 1675 Collection of Shanghai Museum
Knowledge: Recall the beginning of the Ping traces of Lou Dong, tilt the cover to see the Beihai Tong. It is the silkworm sleeping flower that is not old, drunkenly listening to the warbler swallow language east wind. Return to the three paths of solo high sleep, sick thirst new spring hand frying. Cong Ju was not proud, and Duo Jun first sent pot money. Mr. Youdao lived in seclusion in Loushui and attempted to visit for a long time. Bing Chenchun from Mr. Youyuan Xilu, to the Hall of gentlemen, poetry and wine tired of days, cover the North Sea wind is not too much. When I returned from the rain, I did not feel that three days after the middle of the Yuan, and Mr. Zhao thought of me attentively, sent fragrant tea and wine money in the mountains, gave Man a seven words and two words, and tu Zhao Danian Lake in the spring to thank him. Mojing Daoist Wu Li.
The "Letter" in the text is a Catholic, and the "Far Siru" is a Belgian Westerner. The specific time when Wu Li joined the Catholic Church is not much detailed in the historical records, but it is speculated from the inscription of this work that it should be around the age of 43 in 1675.
"Lake Sky Spring Color Chart Axis" was written at the age of 45 and is his representative masterpiece in middle age. In the pingyuan scenery, the willow trees in the near, middle and far places are gradually getting farther and smaller. The sense of field is strong. The fine brush strokes, subtle and beautiful, green and light dyeing, bright and elegant, truly convey the beautiful spring color of Jiangnan Water Town.
In the early Qing Dynasty, Wu Li's "Yunbai Mountain Qingtu Scroll" was appreciated
Qing Wu Li Yunbaishan Green Picture Scroll Silk Color 25.9 cm Width 117.2 cm Collection of the National Palace Museum in Taipei.
This landscape is the work of Wu Li's thirty-seven years old (1668), the painting layers are full of mountains, white clouds between the valleys, green trees in the foothills, green and dripping, and the PingHu Lake is open to the sky. Cottages, temples and crows dot the area, revealing the ethereal and majestic natural beauty.
The painting method inherits the tradition of green landscape painting since the Tang and Song dynasties, and the ability to copy ancient painting is extremely profound, which is particularly unique to the green colorers, and the atmosphere is quite similar to the works of the Song and Yuan people.
The whole volume is heavy colored with green, red and white, and at the same time, it is dyed with light ochre, which is unique in bright colors. And can not feel the restlessness, in the void of the magic of nature. At the end of the volume, the top left is self-titled: "The rain rests in the distant sky and the sea is fishy, and the trees are even monks and houses." There are few pedestrians in the pine wind, and the green and cold painting screen of Yunbai Mountain. On the sixth day of September, PengJia returned to Yu Mountain from The Tomb, and there was the joy of sipping tea and burning incense in the wind and rain, and the evening of the eighth day was sunny. Wu calendar and question. "钤" Wu Li "Zhu Wen Chang Fang Seal." At the end of the volume, the lower left corner has "Mojing Caotang" and "Taoxi Resident" Bai Wen Rectangle and One Square Seal. On the upper edge of the first volume, there are six collection seals such as the "Sanxitang Jingjian Seal" of the Qingnei Province.
In the early Qing Dynasty, Wu Li's "White Chuan Xiangjiang Picture Scroll" was appreciated
Qing Wu Li Bai Chuan Xiangjiang Picture Scroll Color on Paper 29.8x207.4cm Collection of Shanghai Museum
"Bai Chuan Xiangjiang Picture Scroll" shows Wu Li's painting style, the picture is full of pleasant vitality, conveying a fresh Jiangnan atmosphere. This Cirrus Cloud Mountain is empty and has a deep and distant feeling, the pen and ink are elegant and simple, the atmosphere is deep and mellow, and the warmth is calm. Wang Shigu commented on Wu Li's paintings: such as the high people Yishi, Chong and the faint, the bones are clear.
Appreciation of Wu Li's "Character Story Atlas" in the early Qing Dynasty
The juvenile Wu Li's "Character Story Atlas" is 21.3 cm in width and 32.3 cm in length (in the collection of the Palace Museum in Beijing), he is known for his landscape and water, and his character paintings are rare, from the perspective of style, it is composed between the ages of 36 and 40, and the conception is ingenious; the album is eight pages, each opening is taken from a historical story in Sima Qian's "History", and the original story of the "History" is neatly written on the opposite pages.
The first opening is based on the "Biography of Junyu Qing of the Plains", which is the famous self-nomination story of "Cone in the bag, standing out". The picture depicts the King of Chu and the Prince of Pingyuan having made an alliance with blood, and Mao Sui stood under the eaves, holding a plate to recruit nineteen followers. The second opening is based on the "Biography of Qu Yuan Jia Yilie", depicting Qu Yuan's exile, walking on the banks of the Miluo River, meeting with the fisherman's father and speaking, the death will has been determined, and the fisherman's father is a drum and leaves.
The third opening is based on the "Biography of the Emperor of Xinling", which depicts Wei Xinlingjun treating the gatekeeper of the capital City Hou Yinshi without scruples. Hou Wei, dressed in white beard, talked with the butcher Zhu Hai in the city, and glanced obliquely at Xin Lingjun, who was dressed in red and held the reins of his horse in his hand, standing respectfully to the side.
Early Qing Dynasty Wu Calendar "Feng'a Mountain Fang Tu" appreciation
Wu Li created "Feng'a Mountain House Map" in 1677, 108.4cm×47.8cm, 1677 Shanghai Museum Collection, on which there is an inscription by Wang Fei: "Mojing Daoist and Yu classmate Tonggeng and Fu Tongli, since his escape to Gaoyin, Yu also traveled in all directions, divided the north for a long time, but every time he saw his ink magic, out of the Song dynasty, into the yuan, the peak of the pole, often obeyed." This picture is made by Mr. Da Nian, more than twenty years now, especially able to take off the usual path, such as for the high people Yishi, Chong and faint, the first look is clear, when with the 'lion forest' of Yuan Zhen (Ni Zhan) and the 'Xi Chuan' of Ishida (Shen Zhou) and hanging in the sky. Yu wants to continue to work, I am afraid that it will be difficult to step into the dust. how! how? 癸未 (1703) Jiaping, cultivating smoke and scattering people Wang Yi". The "end of the decay" is 1703 (the forty-second year of the Kangxi Dynasty), and both of them are already too old to be rare.
Appreciation of the Wu Calendar 'Huai Rong Tang Tu' in the early Qing Dynasty
Qing Wu Li Huai Rong Tang Tu Silk Color 40x70cm Collection of Shanghai Museum.
"Huai Rong Tang" is the ancestral residence of Wu Li's friend Xu Qingyu. Legend has it that when Xu Qingyu's father, Xu Zhongcheng, was four years old, Mrs. Xu planted a locust tree in the courtyard by hand, and said to Zhongcheng that when this tree flourished and covered the hall, it was also the time when you made the capital hall. When Zhongcheng was fifty years old, his wife's words came to fruition, and her wife had passed away. Subsequently, the ups and downs of the descendants of the Zhongtang family rose and fell with the changes of the locust tree. This matter inevitably makes people feel that the changes in life and events are only the normality of physics and the principles of nature. Only by having no attachment to the ideal mind can we abandon worldly worries and enter the highest realm of "not pleasing things and not being sad with oneself."
Wu Li painted this picture out of admiration and remembrance of Madame Xu's insight into life. This picture is carefully depicted and beautifully colored, and is one of the author's best works. Self-knowledge [Fushan Gaoyang clan locust rongtang figure. Yushan Wu Calendar Painting]. Behind the picture are You Tong's "Records of Huai Rong Tang", Li Kai's "Huai Rong Tang Fu", as well as Song Shiying, Lu Yidian, Wang Yihong, and Wu Weiye inscriptions.
Appreciation of the Early Qing Dynasty Wu Calendar's "Shouxu Qingyu Landscape"
Qing Wu Li "Shou xu Lantau Landscape" axis Color on paper 95.5x50.6cm Shanghai Museum Collection (1672, 41 years old).
"Shouxu Qingyu Landscape Map" depicts the beautiful and beautiful spring colors of Jiangnan with a green color method, which is a well-constructed masterpiece. This figure is green and colored, light and calm, smooth and smooth, beautiful and subtle. The realm is long and ethereal, and the atmosphere is pure and beautiful. The combination of the fresh and beautiful atmosphere of Jiangnan Lake and mountain and the elegant and pure bones of the painter makes people feel lowly attached, as if they are dreaming. This image depicts a detailed depiction, reflecting the characteristics of wu li's early painting style. This painting was made in the eleventh year of the Kangxi Dynasty (1672 AD), the author was 41 years old at the time, his face was just beginning, although he still lacked the black, heavy, cang, and run of his later years, but the book was still alive and beautiful.
Appreciation of the Early Qing Dynasty Wu Calendar's "Song Gu Ming Qin Tu"
Shaft, Qing, Wu Lizuo, silk, ink local color, length 103 cm, width 50.5 cm. Collection of the Palace Museum in Beijing.
The picture is a middle-aged work of Wu Li, self-knowledge: "Yu Yu and Tianqiu learned to play the piano in Mr. Shanmin Chen, and I don't feel that the rest of the year is over." Yu wants to write a picture of the pine ravine piano to send a message, often bitter and less time. Now from the guest return, long rain and early sunshine, only the ancient people resemble the title of seven words: 'The sound of the piano recalls the sound of birds and the circle, and the hard work has been with the king for twenty years.' Listen to pines and waterfalls today, and the mountain water does not need strings. Jia Yin year xiao chun twenty day Yanling Yushan Zi Wu li'. "Xia Plutonium" Wu Li", "Home in the Depths of Peach Creek" two seals.
In his youth, Wu Li and Ji Tianqiu learned the piano from Chen Min, a Tongyi person, and this picture is a nostalgic work. Tuyi Qi peaks towering, streams splashing down, three soldiers sitting in the valley grass pavilion, one of whom plucks the strings, is a portrayal of learning the piano from Chen at that time. High rock splash waterfall, high mountain flowing water, intersecting sounds. At that time, the painter had already lost his mother and wife, and his heart was lonely, and he had long wanted to become a monk, because he had nostalgic thoughts. The landscape painting method imitates Wang Meng of the Yuan Dynasty, and the pen and ink are deep and beautiful, which is a middle-aged masterpiece of the painter. Jia Yin was 43 years old when Wu lingered in the thirteenth year of the Kangxi Dynasty (1674). Bibliography of Calligraphy and Paintings Seen by Wu Yue.
An appreciation of the Early Qing Dynasty Wu Li's "Quasi-Ancient Diagram"
"Pseudo-Ancient Diagram" Axis, Qing, Wu Li Painting, paper, ink pen, length 65.6 cm, width 31.2 cm. Collection of the Palace Museum in Beijing
The wu calendar in the upper right of this painting is self-titled: "Tao Yuanming'Picking Chrysanthemums Under the Eastern Fence, Leisurely Seeing the South Mountain' Tang and Song Dynasties And There Are Many People, Duwei Yingwu 'Picking Chrysanthemums Dew WeiXi, Looking Up to See qiushan' is really a perfect peace. The imitation of the painting is also like the pottery, the scene seems to be more innovative, it is a master of rebirth. Little Chongyang Nimo Keiji people. "Xia Zhao", "Seal of the Wu Calendar" (White Text), "Ink Well" (Zhu Wen). The collection is printed with two parties: "Laichen Heart Reward" and "False Zhai Approval".
In his self-title, the painter takes the famous sentence of Tang and Song Renhe (pronounced hè) Tao Yuanming "under the eastern fence of picking chrysanthemums" as an example, explaining the relationship between imitation and antiquity in painting creation, that is, inheritance and development, and also interprets the purpose of the creation of this painting. This painting imitates the landscape of Wang Meng in the Yuan Dynasty, but the use of long strips of clothing on the method is different from Wang Meng's cattle hair, and the composition is not as full as Wang Meng's paintings, compared with Wang Meng's peak overlap, Wu Li's landscape is closer to the real mountain and real water, and the sense of realism is stronger. Wu Li integrates the painting techniques of his predecessors, with rigorous penmanship, simple and calm, high and light brushwork, deep charm, reflecting his own style characteristics, although it is an antique work, it has the painter's own appearance and novelty. Pang Laichen's "Catalogue of Famous Paintings of The Void".
In the early Qing Dynasty, Wu Li's "Writing Yunlin's Will" was appreciated
"Writing the Will of Yunlin" Vertical Scroll Ink on Paper Collection of Liaoning Provincial Museum
This picture of undulating mountains, tall trees into forests, grass pavilions and water, rivers and sunsets reflect each other. There are poems and poems on it. Wu Li, wang Yi and Yun Shouping, under Wang Shimin's door, specialized in painting things, copying the song and Yuan authentic works day and night, rendering wrinkles, and the style was high and steep, and it won its essence. His Shanshui Sect Huang Gongwang was due to Wang Meng, who was also the head of Wu Zhen. Although this picture imitates Ni Zhan, it has its own brushwork, Jiangting Yaoling, rubble bushes, And Xiao Ser is simple, which is a masterpiece of Wu's later years.
Early Qing Dynasty Wu Calendar "Fengxi Huiqin Picture Scroll" appreciation
Qing Wu Li Fengxi Huiqin Picture Scroll Ink and Pencil on Paper 40x136.2cm Collection of Shanghai Museum.
"Fengxi HuiqinTu" is a nostalgic work of Wu Li. "Fengxi" is a river outside the gate of Suzhou, where Wu Li learned the piano with Ji Tianqiu from Xiangyi in his youth. With thick traditional skills, this work integrates the strengths of various families, innovates its own ideas, and absorbs Western painting methods in terms of layout, light and shade, etc., forming a unique style that is different from the orthodox "four kings" of the painting world at that time.
Around 1674, after Wu Li visited his music teacher Chen Min, he drew the "Fengxi Huiqin Diagram" and inscribed a poem: "Guangling is still not extinct, drunk ink is self-attentive." He wrote about Guanglingsan (see Notes on the Collected Works of WuYushan, 358-359), which is also a remembrance of his young years of learning the piano in The Grass Hall of Fengxi.
Appreciation of the Wu Calendar 'Sunset Autumn Shadow Map' in the early Qing Dynasty
Qing Wu Li "Sunset Autumn Shadow" Ink on paper, 75.2x35.3cm Collection of Liaoning Provincial Museum
"Sunset Autumn Shadow" paints mountains and undulating mountains, tall trees into forests, grass pavilions and water, and the sunset of the river and sky. There are poems and poems on it. Wu Li, wang Yi and Yun Shouping, under Wang Shimin's door, specialized in painting things, copying the song and Yuan authentic works day and night, rendering wrinkles, and the style was high and steep, and it won its essence. His Shanshui Sect Huang Gongwang was due to Wang Meng, who was also the head of Wu Zhen.
Although "Sunset Autumn Shadow Map" imitates Ni Zhan, the pen and ink are skillful and calm, quite skilled, poetry and painting are integrated, its rhyme is superb, with its own brushwork, Jiangting Yaoling, rubble bushes, Xiao Ser is simple, it is a masterpiece of Wu's later years.
In the early Qing Dynasty, Wu Li's "Ink Well Caotang Summer Scroll" was appreciated
"Ink Well Caotang Summer Picture Scroll", on paper, ink, 36.4×268 .6cm, 1679. Collection of the Metropolitan Museum of Art, New York, USA.
The picture is painted on a clear morning, the author sits alone in his own grass hall, surrounded by birds, trees, bamboo, and mist, and he quietly enjoys the idyllic time.
The painter processed Huang Gongwang's style; using the grass hall as a reflection of his own image; the carefree mentality of the world; the stillness of willow trees and rice paddies after the rain corresponded to the movement of water birds flying high.
In the early Qing Dynasty, Wu Li's "Rain Rest Remote Sky Map" was analyzed
"Rain Break Remote Sky Map" is colored on silk, 133.4 in length and 58 cm in width. Collection of Shanghai Museum.
Rainy and sunny days, clouds and mist, lofty mountains, Maolin villages, the scenery is clear and beautiful. The pen is neat and the color is elegant. Self-knowledge "Rain rests in the distant days, the water is fishy, and the trees are even monks and houses. There are few pedestrians in the pine wind, and the green and cold painting screen of Yunbai Mountain. Recalling the fourth brother of the Marquis of Pengshen Jiaping and The Guest Huaishang, Suo painted this painting, hurriedly failed to respond immediately, suddenly for another three years, and now returned to Yushan, talking about the will of the great fool, and being ashamed to follow the ear. Gengji Leap Spring, Wu Calendar and Title". 钤 "Wu Li" Zhu Wenyin. According to Gengji, the ninth year of the Kangxi Dynasty, 1670 AD, the author was Chinese New Year's Eve nine years old.
This picture mounting Aya has WuHu Fan Long Trek "The true relics of Yushan mountain are rarely passed down to the world, and every time they see the Rich family throw thousands of gold to praise the good people, it is also rare enough to be popular, but the Inner House collection of Wang Yigong once inscribed a huge book as a rare treasure, there is no doubt. According to Yushan and Shigu, they were born in Chongzhen Nongshen, and the first two years were not in Kangxi Wushu, and they lived eighty and seven. This frame is signed Gengjiao, the age of thirty has nine, in the mr. for the less work, but the pen has been old and healthy and not graceful, the color is calm and not stagnant, and the two paintings in the book are like dot dyeing at the same time, and the millimeter can not be Xuanxuan, and the belief in Jiyun Li's collection is not inferior. He has received it because of the title.".
Early Qing Dynasty Wu Calendar "Imitation of Zhao Danian Hejing Na Liangtu" appreciation
In the early Qing Dynasty, Wu Li's "Imitation of Zhao Danian Hejing Na Liangtu" was collected by the Palace Museum in Beijing. The heat is steaming, there is almost nowhere to escape, then you have to look for a cool place, which is called "chasing the cool". Chase outside the door, chase under the tree, chase to the river, it's always cooler there. Du Fu's "Three Songs of Qiangcun" also has a sentence: "It is good to remember the past and chase the cool, so I go around the tree by the pool." Chasing the cool is really a helpless pleasure in summer.
Qin Shaoyou's pursuit of liang, all the way to the south bank of the painting bridge. Not only did he carry a staff, but he also brought a bed (that is, a chair), supported under the willow, which could lie down, wind, and moon.
Someone on the river played the flute, suddenly near and far, and the sound of the flute seemed to be the reflection of the bright moon. As soon as the wind stopped, the lotus fragrance overflowed. "The moonlight boat flute is jagged, and the wind is fixed and the pond lotus is fragrant", the poetry of Na Liang is between these two sentences. The painting was exhibited in Macau on the 300th anniversary of Wu Li's death in 2018.
Early Qing Dynasty Wu Li "LinTang Shi Si Tu Fan Page" appreciation
"Lin Tang Shi Si Tu" fan page, Qing, Wu Li painting, gold note, ink pen, vertical 16.4cm, horizontal 51 .6cm. Collection of the Palace Museum in Beijing.
The fan page has a self-title: "Write Mr. Liu Wanling's Lin Tang Poetry." Ying Yanpei said that the religion was correct. Wu Calendar. "钤"Wu Li" Zhu Wenyin.
This page focuses on depicting the close-up scene of the lush woods and the middle scene of the water birds of The Continent, the distant view is filled with the air of the void like smoke and fog and like clouds, and its illusion achieves the artistic effect of "everywhere without painting becomes a wonderful state", expanding the imagination space of the picture and adding the hazy poetry of the picture. The layout of the whole map is open and stable, and the pen and ink are rich and rich. The leaves are dyed with a mid-edged pencil, which not only shows their delicate beauty with smoke and dew, but also shows their natural style of overlapping and staggering through the change of ink thickness.
Appreciation of the Early Qing Dynasty Wu Li's "Liucun QiuSi Tu Axis"
"Liucun Qiusitu" axis, Qing, Wu Li painting, paper, ink pen, length 67.7cm, horizontal 26.5cm. Collection of the Palace Museum in Beijing.
This painting is self-titled: "Xi Yu wrote Yanagimura Qiusi, leaving a difference from friends, and the people's reputation was hidden." It is said that its willow leaves are still unfinished, so I repeat this. Or think otherwise, but the people who are good at painting will teach me. In the summer of the afternoon, mojing road people. "Seal of ink well", "Seal of Wu Calendar". The side of the "Baosan Collection" of the Seal of The Treasure Collection.
"壬午" is the forty-first year of the Qing Kangxi Dynasty (1702), and Wu Ling was 71 years old.
This picture is one of Wu Li's representative works in his later years, and is hidden by his friend Minyu (surname Jin, mingzaoshi). The picture highlights a willow tree in a close-up view. Its willow leaves are dyed with a central pen, showing the softness of the willow leaves in the autumn wind with smoke and dew, and the natural style of the willow leaves overlapping and staggering through the changes in the thickness and lightness of the ink, which reflects the characteristics of Wu Ligong's meticulous and realistic painting style.
Appreciation of the Early Qing Dynasty Wu Calendar's "Qingyun Cave Valley Map"
Wu LiQingqing Qingyun Cave Drawings 167cmx62cm are now in the Lushun Museum
He copied the ancients without confining himself to the ancients, could integrate the strengths of all the families, innovated his own ideas, and absorbed the Western law to a certain extent, such as layout, light and shade, etc., so the history said of it: "Every time the Western method is used in painting, the clouds are slim and the clouds are different from usual times." ”
His landscape pays attention to taking nature, which makes the works full of a certain sense of reality. As he said: "Do not take the powder as a rule, and the creation comes with the bottom of his pen." These are all very different from the "Four Kings". What is even more different from the "Four Kings" is that Wu shi can paint characters, which is extraordinary. The "Character Story Diagram" collected by the Palace Museum is a classic model, the house is spacious, and it is extremely powerful, which has not been involved in the history of painting in history.