First, Liu Yanchong
Liu Yanchong is Gu Dachang's teacher. Their relationship is mainly found in the Guishi Zhai Painting Record. In addition to the interaction in painting, in the past, it was also known that Gu Shi had consulted the old lady of the Liu family. In general, there is not much "literati atmosphere" in the old materials. The paintings of Liu and Gu are indeed some distance from the old traditions of Suzhou.
However, there is some new information in the letterhead. In addition to a poem, there is a borrowed book and two inscriptions on the stele, which are very typical of daily life profiles, and they can also be compared with other documents. Speaking of the inscriptions, they are as follows:
Yesterday, I saw Mao Yixiang's old Tibetan Yuezhou Ben Cao E Ti (small characters: there is Xu Angfa to see the money), BaoJin Zhai Ben Huang Ting, There are Lin Yi ji people Xiao Kai Bao, Wang Shu Xuzhou borrowed money from Miao Wenzi to see the money. Huang Tingjing is Song Tuo, and Song Tuo Yu Gong Gong Monument is the best, but it is the Wang Xuanzhou, yixiang to Song Tuo Wang Shengjiao half, Xianglan fan easy Wu Qiu village. Yao Gonggong's speculative stele is probably not Song Tuo (small characters: there is Gu Yunmeibao). The sixty-six-year-old statue of Wang Zhideng, the lord of guangchang nunnery, was painted by Yao Yu in minzhong; he wrote his own life and wrote a book by his grandson Wen Congjian.
This letter has no money, only "Yan Chong" Zhu Fangyin. From the handwriting comparison, there should be no problem. Unfortunately, these inscriptions and paintings he mentioned are not easy to see now. There are two kinds of Wang Shuguan and inscriptions, which are not included in the "Void Boat Inscription" and "Bamboo Cloud Inscription". At present, there are several copies of Song Tuo's "Yu Gong Gong Monument" that has been handed down and confirmed, and one that Wang Shu has inscribed was included in the "Three Editions of Shiqu Baodi", which should not have been in Suzhou at that time. Another book circulated in Suzhou was once handed over by Lu Gong, Pan Zuyin, and Wu Hufan, but there was no Wang inscription. And Gu Dachang's "Indispensable Record" recalls his past collection of inscriptions, and there is also a Song Tuo", Yu Gong Gong Monument, which is miao Yue's old object. The so-called "Yuezhou Ben Cao E'e Thesis" is not mentioned in Xu Angfa's notes, but it may be a set of Yuezhou Shi'e posts that were circulating in Suzhou at that time, and both the "Chronology of The Self-Determined Chronology of The Court" and the "Record of The Clouds and Smoke Of Xu Jingzhai" have recorded this series of posts. All kinds of clues were broken, and I didn't know anything about the inscriptions, so I didn't dare to speculate about who Mr. Liu saw these things from. Mr. Qi Gong once talked about Gu Dachang's vision, the so-called "graphite seen in recent times, there are People with Lingjia Mountain Inscriptions, and it is not a good book." Using this letter as circumstantial evidence, it is now known that he may have benefited a lot from his teacher.
Another letter:
The big character Orchid Pavilion is very good, Zhu Qingli often gets his pen, fortunately hui hui, ashamed of it. Recently, Dong Chuan did not dare to write, afraid of filth and treatment. The draft will be submitted around the date of the day. Beggars give seven cents of the muscles to scatter a little, and the family is kind to the affected area of the recurrence of the ear. Again. The eldest brother of the son is under the feet. Yan Chong nodded.
Zhu Qingli mentioned in the letter, Ming Angzhi (1764-1841?) Wujin, a native of Suzhou, is a famous painter in JiaDaojian and a teacher of Liu Yanchong. This large character "Orchid Pavilion Preface" that Gu Dachang gave to Liu Yanchong is now unverifiable. However, one of the "Indispensable Records" records two other Lanting Takubens, both of which have inscriptions or paintings of "Mr. Yan Chong", because they know that they have indeed exchanged these. Second, the "Dong Scroll" was also fortunate to leave a record. In the book, there is a "Doumu Mantra Scroll", which is written as "light pink letter, Mao Yixiang inscription, Yi Moqing's first book 'Dong Wenmin Shu' four characters", and there are qu Shiyan, Mao Zijin, and Liu Yanchong. A Dongshu vertical scroll photographed by Hanhai in Beijing in 2017 has Gu Dachang's self-title, recalling what gengshen had hidden before the chaos, and also mentioned this scroll of doumu mantras, clearly stating that it has been lost to the world.
Liu Yanchong,"Listening to Ruan Tu"
II. Pan Zhongrui (1823-1890)
Gu Dachang's "Yu Yu" claimed to be "arrogant and shallow, easy to be happy and irritable", and he needed the advice of his friends. Therefore, looking back at the important friends of the past forty years, I first mentioned Pan Zhongrui. It is said that he was a reticent Jiren who "never made a single mistake in his words". In other places, he called Pan Zhongrui "Third Brother." And the ruler book is indeed the most written by Pan. His herringbone lu sheng, nicknamed thin sheep, late number xiang Zen resident, of course, is also a Suzhou native. It is said that he is good at calligraphy and also knows how to examine the golden stone. However, if judged by the handwriting of the ruler, the word "good at" seems to be a bit too prestigious.
There is a Suzhou specialty called Jinshi, and the Pan family often produces such good things. Pan Zhongrui frequently mentioned a "Xipu uncle" in his letter, that is, his uncle Pan Zunqi (1808-1892), who was once successful in his study. He went from Jinshi to Hanlin for only two years, and soon after he returned to his hometown and lived in seclusion, spending the rest of his life in Suzhou. He never made an official appearance, but only used his nephew as an intermediary to pass on the word. Or because of this, this part of the letter is modest and courteous, seems to be a little polite, and does not appear very intimate.
The first letter mentioned that Pan Zunqi had two paintings to show to Gu Dachang. But I "went to the mountains again" – we know that he had a villa in Deng Wei – and Gu Dachang's home should be in suzhou, and he could only make another appointment. In the second letter, Gu Dachang presented his paintings to Pan Zunqi and another Pan family prince through Pan Zhongrui, and gave Pan Zhongrui a posthumous painting of Liu Yanchong in his collection. In the third letter, Pan Zhongrui first sent Gu Dachang's painting to Pan Zunqi, but because he wrote the wrong paragraph, he had to fill in the words after being repaired by the framer. At this time, this Mr. Jinshi finally issued an invitation to meet, "The uncle wants to condescend to the Fragrant Snow Grass Hall in the mountains, the other room is silent, you can talk freely, and order Rui to accompany", I don't know if it is the first time to prepare for the meeting, it seems a little solemn. Set an approximate date first, and then specify the temporary period before booking. The text of the fourth letter talks about a Taoist book, and the small print notes talk about painting, first saying that the plum blossom painting he gave to Pan Zunqi has been received, and now that the weather is too hot, he will offer painting paper in the autumn to get a new work. In the fifth letter, Pan Zunqi decided to ask Gu for a large painting and present it on white paper first. The above letters are very full, there is not much room, and there is really nothing to stuff.
When you talk about it completely with private feelings, you immediately have a little more warmth. The two families should be very acquainted and give gifts to each other from time to time. Gu Dachang sent tea, walnuts, lettuce, and gourds, and Pan Zhongrui returned with paintings and homemade paper. It is also common to borrow books from each other and give away copies of books. These letters do not need to relay the words of others, a eight-line note often has room, and small paintings suddenly increase. On the side of the two poems, a chili pepper and two fruits grew. Shaped like plums and colored like lychees. In a blank space on a piece of paper are painted two large orchids, begonias, white camellias and chrysanthemums. There were three more small fruits, which were difficult to discern for a while— quite dark in color, suspected to be hazelnuts. The other is a poem inscribed for Gu Dachang, with a green bamboo shoot and two red cherries growing on the edge of the frame. There are also yellow and white flowers, swaying next to it.
Taking these letters and reading them against the "Slush Paw Prints", the paintings that Gu Shi gave to Pan Zunqi were impressive. First is a large "set cypress" (or is it the result of "asking for a big picture"?). ), followed by the four paintings of "Xiangxue Caotang" and "Mo Song Cypress". More gifts to Pan Zhongrui, since the beginning of the "Xiang Zen Jingshe Map", there are "Three Friends Map", "Ink Landscape", "Ink Peach" and so on. I have never been able to find the relevant physical object. Thanks to the preservation of documents at the auction, there is now a volume of "Listening to the Wind and Listening to the Water filler", which can be verified with Pan Zhongrui. Letter:
Your Excellency, Mr. Zichang,
It is a hand-written instruction, and the inscription listens to the wind and listens to the water to fill in the words, feeling the lotus and feeling the lotus. Listening to the classics of the wind and listening to the water, the brother saw the "Lexicon", recalling that the foreign (do not remember The Country) king and his subordinates listened to the feng shui in the sea to make music, so the swastika on the frieze of the Fan Lou is the oldest tone of the music house. Lotte has a sentence that listens to the wind and listens to the water as a neon dress, so it is a picture, and there is no other meaning. Before the Gengshen Disaster, Russia took refuge and sailed to the Shen River, and last year it entered Jiangxi from the sea, and more than 2,000 miles into Wuchang, which is in line with the meaning of these four words, and experienced its situation. I would like to ask for two paintings in the front and one by Mr. Wakabo and present them in the blue, and the present painting is actually the fourth picture. It is a blessing to ask for the new poems to be published up and down, and to pay for the pool into volumes. It is a little cool in the morning and evening, and the interview is not exhaustive.
The allusions recorded in the letter are not appropriate. Bai Juyi only has "The Song of Neon Dress Feathers", "Listen to the wind and listen to the water as a neon dress", which comes from the pen of Wang Jian of Later Shu. The story of the monarch recorded in the "Lexicon" is derived from the Tang Dynasty's "Records of the Western Regions" and takes place in Guizi. Pan shi probably just wanted to match the origin of the word, who could have imagined a catastrophe that would make him drift away from home and really wander in the sound of feng shui.
By the time the letter was written, the Pan family had at least four cross-word drawings, two of which had survived the war in the past, and Gu Peng's work should have been made after the chaos, and the "present painter" seemed to have just come out freshly. Since the author of the three pieces is not known, it is not excluded that Gu Dachang's own works are among them. At present, it is known that he and Jin Xinlan each have a volume of "Listening to the Wind and Listening to the Water fill in the word map", which is framed in one place. In the past ten years, it has been filmed twice in Zhejiang. Due to the slightly smaller size of the auction picture, it is impossible to see the clear inscription, but the inscription poem is still clear and recognizable:
Countless good flowers and branches in front of you, Junyu carved fence at the right time, green full of windows to spare fun, listen to the wind and listen to the water to fill in the words. After The Koshi for the Skinny Sheep Gaoshi, Xu Qingteng means that is, the Lingjia Mountain People.
Why this painting is staining the eyes of the skinny sheep, wonder. Peng Yin July People's Self-Memoirs.
Koshi is 1864 and Peng Yin is 1878. After the pain is settled, the reader still has to return to his old business and write poetry and painting for the rest of his life.
SHEN Bingcheng (1823-1895)
In the context of home, interpersonal circles are complex and often determined not only by social status. Judging from the current materials, although Gu Dachang is not well-known for his paintings, after all, he also knows several "upper-class figures". Shen Shi Zi Zhongfu, a native of Gui'an, Zhejiang, served as Su Song Taidao for ten years, so he was called the Grand Duke in the "Slush Paw Print". His letter was only one, not as close as it was, and the content was very direct:
Mr. Zichang' yinxi:
Yesterday, I looked left, and I was very blasphemous. The title of the scroll is corrected. The Buddha's head is covered with dung, and the face is ten heavy. Ask for a picture of the irrigation of flowers, that is, with a nine-day idle residence, in the empty place to art chrysanthemums, the old man hugs the irrigation, and the eighteen- and nineteen-year-old boy stands next to him, waiting with a sword. Thank you, thank you, please Yi An. Brother worship.
This is a typical letter of request for painting, but unfortunately it cannot find a corresponding work in "The Inevitable Record". Nevertheless, we do know that Gu Dachang can paint people, and his brushwork is clumsy and interesting. The custom of XingleTu has been popular in Jiangnan for hundreds of years, at this time, not only does the author know how to apply patterns and allusions, but the painter has long been familiar with it and knows how to make a request. The example of "Listening to the Wind and Listening to the Water" shows that they will even ask several painters for works of the same title, and keep them one by one in the name of "the first picture of so-and-so" and "the second picture of so-and-so". This kind of play is still popular in The Jiangsu And Shanghai area until the Republic of China, and it can be seen in Wu Hufan's circle. This also suggests that we should pay more attention to the wishes of the seeker: it is clear that in the immediate example, the painter is not very free to conceive and move.
IV. Xu Kang (1814-?) ）
Xu Kang zi jin, trumpet 窳叟, zhi calligraphy and painting, can seal carving, is the author of "Former Dust Dream Video". When Shen Jin wrote an article introducing a "Linghu Pavilion Series" and "Former Dust Dream Video" annotated by Zhang Yu, Wu Changshou, Zhang Shubo, Zhou Shutao, and Gu Tinglong, he once said that Wu Changshou thought that his person was "quite urban in writing." However, it is such a person who has no meritorious name and may make a living from antiques, who writes letters to ask for paintings, persuades people to paint, and urges people to write inscriptions, but he is a little more polite and Sven than others.
Shen Quan's seven words are linked, and there is An inscription by Gu Dachang
There is a letter framed with flowers in full bloom, and the orchids grow in a long ear, lined with hydrangeas, roses and two unknown flowers. The content is as follows:
Brother Lengjia Zun Lord Deacon: Former Gu Jianweng handed over a family treasure picture scroll, which is a small collection of drunken old people's homes 10 years ago, after the inscription of Brother Yilou, please bun Brother Liang to make up the picture, and the collection of Zhaoshi pen and ink is actually a good story after the disaster. Brother and Brother Ruobo talked about the inscription, and Yi Yun had to wield it to gather Wuling Zonggun, which was more cordial than others. Xiao'er went to Shenjiang with Ruoweng, and when he was on the verge of traveling, he asked his brother to go to the Zun Mansion to collect it, thinking that he had algae and applied the text, and begged for a quick reading to comfort the hunger. Praises to Yi'an, not endlessly. Foolish brother Xu Kangbai, Erwei waiter.
In the middle and late Qing Dynasty, suzhou had two Gu Cheng, drunken old man (1757-1841) in the front, the character Yan Mou, a summary of his life in the "Wumen Table Yin". Gu Jianweng is unknown to whom. There are many people in yilou, if it is purely limited to Suzhou, it may be Shen Yuebin, who is good at calligraphy. Bao Zi Liang Mingdong was a famous figure painter at that time. Ruobo is Gu Peng. A collection of yajitu, in order to collect the inscriptions of Gu's tongzong figures, was sent to Gu Dachang's hand. It seemed to have dragged on for some days, so Xu Kang wrote to the door, explaining the causes and consequences, and urging a little.
Looking back at history, from the late Ming dynasty to the beginning of the Qing Dynasty, suzhou literati still held identity anxiety and dug a gulf between elegance and custom to protect their group identity. By the late Qing Dynasty, it was difficult to discuss whether there were literati or not, and whether there was capital for "Yaji". After all, the great changes in society, the transfer of power, the so-called "upper class" has long been another mood. Today, yajiyun is still very popular, and various activities are not necessarily far from the actions of the ancients. It's just that the participants' mentalities are more diverse - historical resources are chosen and arranged in combination, and they will naturally have a little new meaning in the future.