(Jiang Song (old legend Xia Jue) Shanshui, Collection of the National Palace Museum in Taipei.)
Jiang Song (蒋嵩), courtesy name Sansong (三松), was a native of Jiangning (present-day Nanjing, Jiangsu). The year of birth and death is unknown, but the artistic activities are around Chenghua and Jiajing. Good at painting landscape figures, Painting Fa Zong Wu Wei, is one of the famous masters of the Zhejiang School. Like to use scorched ink dry pen, but also good use of light ink, thick and light, blended in, such as "Fishing Boat Reading Map", mountain stones mostly use large pieces of wet ink, quite powerful, although the scale of the landscape, but the clouds steaming fog change, smoke xia touching the eye. Yigong figures, along with Zheng Wenlin, Zhong Li, Zhang Lu, etc., are all famous masters of the late Zhejiang School. And because of their extravagant writing and more than one degree of momentum, they were once ridiculed by the Wu Pai as "crazy cults."
(Jiang Song Shanshui, National Palace Museum, Taipei)
In the upper right of this painting, there are the characters "Three Pines", as well as the two seals of "Three Pines" and "Jiang Song's Private Seals", which are actually the true deeds of the famous painter Jiang Song of the late Zhejiang School. The painting depicts a fisherman with a fishing rod walking on the riverbank in the middle of a high mountain valley, which is rarely visited, only in the distant mountain pass, where a few huts stand. In the painting, the shades of ink colors are used to create the texture of the bright and shadow sides of the stone, the tree branches are reinforced with contour lines to express the three-dimensional sense, and some of the leaves are dyed with light colors. This gentle and elegant tone and style captures the scene of fishermen preparing to return to their homes when the sky is getting dark in the evening, and the whole space is full of deep and tranquil atmosphere. The painting not only shows the theme of the life of the fisherman, but perhaps also projects the desire of the scholars to be able to get away from the worldly shackles and return to the fishing and seclusion.
(Jiang Song Landscape Figures, Minneapolis Art Museum Collection, USA)
(Jiang Song, Yuzhou Reading Chart, Beijing Palace Museum Collection)
(Jiang Song, Guiyu, National Palace Museum, Taipei)
At the top left of the picture, the painter signed the word "Sansong" and stamped with the mark of "Gongjing Gongsun". "Sansong" is the name of the Zhejiang school painter Jiang Song, and "Gongjing Gong" is the title given by the emperor after the death of his great-grandfather Jiang Yongwen, so this "Guiyu Tu" is one of the important paintings handed down by Jiang Song. Jiang Song came from a family of scholars, and the family members were good at poetry or love of calligraphy and painting, so his paintings were also influenced by his background and had a strong literary color. In this painting, Jiang Song adopts the composition of "two banks of one river", so that the slope stones and trees in the close-up view are far away from the distant mountains above the empty river surface, creating a simple and plain atmosphere similar to that of the Yuan Dynasty literati painter Ni Zhan. In addition, the painter also uses a brush with light ink color and full of water to dye mountain stones, so that the scenery of the whole painting is full of atmospheric effects. Jiang Song's paintings have a gentle and bland style, which is unique among the Zhejiang painters who emphasize dynamics and pen-and-ink tension
(Jiang Song's son, Jiang Qian, Chibi, 30.5cm, vertical, 145.5cm, Beijing, Palace Museum)
This drawing was painted in the thirty-first year of the Ming Dynasty (1603) and was written at the age of 79. Since the Song and Yuan Dynasties, many literati and inkers have created many famous works under the theme of Chibi, and Jiang Qian's "Chibi Map" was drawn based on the famous "Later Chibi Fu" made by the famous Northern Song Dynasty writer Su Shi. The picture depicts the feelings of the literati when they travel to Chibi, although they have changed dynasties many times, but the country and mountains are still the same. The image is far-reaching, the composition takes a top-down viewing angle, and the red wall is located at the left end of the scroll, steep and steep. The mountain road winds around it, and several literati are enjoying the scenery and chanting poems. In the middle of the scroll, the river is open, with cranes soaring in the air, and a scribe sitting idly on a boat on the shore, which may be Su Shi. Landscapes and characters mingle. The back is Chen Tailai's book "Later Chibi Fu". The author of this painting knows himself: "Jiang Qian wrote for Mr. Qianfeng in the autumn. "Introduction to the first plutonium "Imperial Dynasty Enrong" and other 4 tibetan seals, hou plutonium "Hongqiao residents", "to the Delhi people" 2 seals.
Jiang Qian, born in 1525, died in unknown year, Ming Dynasty painter. Zi Jian was a native of Jiangning (present-day Nanjing, Jiangsu). Son of Jiang Song. Yuwu County (present-day Suzhou, Jiangsu) Hongqiao. Gong shan shui, clean and elegant, by no means similar to its father's school.
(Ming Jiang Qian imitation Wang Mengshan landscape ink painting on paper 98.1 horizontal 34 cm National Palace Museum)
This painting is one of the few surviving paintings by Jiang Qian, the son of the Zhejiang painter Jiang Song. In the picture, the mountains are layered on top of each other, almost filling the frame with airtight air. On the right side of the painting, there is a waterfall hanging high, creating a deep sense of space between the valleys. The near-view mountain stone has a long pine standing tall, and the mountain hut is hidden in the mountain, which is very suitable for the literati to read and rest by the inscription on the painting: "Jiang Qianqiang Huanghe Mountain Qiao Brushwork", knowing that this is Jiang Qianlin imitating the Landscape Works of the Yuan Dynasty painter Wang Meng. The rocks are covered with dense, curved short arcs, and the ink color is clear. This is a variation of the painter from Wang Meng's usual "cow hair" technique, in order to express the geographical landscape of Jiangnan's water and countryside with soft stones and dense grasses. Generally speaking, Zhejiang painters rarely learned Wang Meng's painting style. In Jiang Song's heirloom works, there is no such technique or style. Therefore, Jiang Qian's painting is obviously not a inheritance of family learning, but is influenced by the Wu school painters who studied with the four masters of the Yuan Dynasty as the object of study. Jiang Qian's departure from the tradition of the Zhejiang School and his move closer to the Wu Sect should be a deliberate change chosen to cater to the tastes of the audience at that time!
(Ming Jiang Qian, Baoqin, sitting alone, ink and pencil on paper, length 134.1 cm, width 61.8 cm, Collection of the Palace Museum, Beijing)
In the picture, the peak wall is facing the lake, the green trees are lush, the houses are water pavilions, and the flat slope embankments are all interesting. In the Yong Pavilion, some people looked out over the railing, and on the flat slope in front of the house, some people sat alone in the stream, and there were children holding the violin standing. Pen and ink study literature is clear, and the artistic conception is clear.