【Eastern Jin Dynasty】Anon. Xiao Kai Shu Cao E'e Zi Collection of Liaoning Provincial Museum
In the first year of the Han Dynasty (151), in praise of the woman Cao E, who sacrificed herself to the river because of her father, Yu Lingdu Shang erected a monument for her, and the Yingchuan people wrote a tribute, and Cai Yong wrote the eight characters of "Yellow Silk Young Woman, Grandson Yu Usu" in the stele yin. The Dou stars have shifted, the times have changed, the Cao'e Monument has been lost in history, and the silk book written according to the recitation has been passed down to this day, that is, Liao Bo's exhibition "Xiao Kai Shu Cao E'e Dictionary Scroll". As the Jiguang Katayu of the Eastern Jin Dynasty Law Book, the Cao'e Dictionary Scroll is flattened, sharp into the pen, and frustrated, with obvious calligraphy intentions, which is a typical Eastern Jin Dynasty calligraphy, and even passed down as Wang Xizhi's book.
In addition to revealing to a certain extent the typical appearance of the Eastern Jin Dynasty Kaishu, this volume is more important to the many epigraphs and inscriptions on it: the words "monastic rights" after the beginning of the text are extremely rare Liang Dynasty appraiser Xu Shengquan' endorsement office, "Man qian" and "Huaichong" are also the liang dynasty connoisseurs' pledges; above the heart of the book there is the only surviving inscription of Han Yu, the head of the Eight Great Masters of the Tang and Song Dynasties, "Dr. Guozi Han Yu, Zhao Yuanyu, The Author Zuolang Fan Grandmaster, and The Virgin Lu Tong." Yuan he 4 may 20, retired the topic. And it is written from left to right; the cursive line under the twenty-fourth line of "Yong Inscription Wenyun" is the cursive inscription of the Grass Saint Huaisu's book "Shamen Huaisu Tibetan True Title" on the third autumn of the third year of the Great Calendar" by Cao Shenghuaisu.
There are also Tang Dynasty inscriptions such as Han Shaochu, Feng Zhen, Li Tu, Liu Zongzhi, Zhao Yuanyu, Liu Jun, Ling Wang Zhongjian of Longmen County, and other Tang Dynasty inscriptions; at the end of the volume, there are also inscriptions by Emperor Gaozong of the Southern Song Dynasty, Yu Ji of the Southern Song Dynasty, Yu Ji of the Yuan Dynasty, Guo Tianxi, Qiao Jicheng, Huang Shiweng, Ke Jiusi, Jiang Hui, Qing Kangxi Xuanye, Shen Quan, Gao Shiqi, Zhao Liyong, and others, and the lineup is breathtaking, which fully proves the value of this volume.
【Northern Song Dynasty】 Gu Kaizhi Luoshen Futu facsimile of Liaoning Provincial Museum
Luoshen, the goddess of Luoshui in ancient Chinese mythology, is the goddess of Luoshui. In the third year of the Huang Dynasty (220), the poet Cao Zhi returned to the fiefdom from Luojingdong, passed through Luoshui at dusk, fell in love because he witnessed the beauty of Luoshen, and left behind the famous "Luoshen Endowment". During the Eastern Jin Dynasty, Gu Kaizhi painted the "Luoshen Futu" based on the poetry of Cao Zhi's "LuoshenFu", and used paintings to depict the story of Cao Zhi and Luoshen meeting and parting again. In the painting, Roselle emerged from the vast leaves of the Book of Poetry and the thousands of clouds of "Leaving sorrow", with an infinite yearning for beauty and unobtainable, laying the foundation for oriental aesthetics, and also bringing the first flexible breeze to Chinese painting and blowing open a new era.
Unfortunately, like the Cao'e Monument, the long river of history is turbulent, and the paintings that once exist have long ceased to exist, but fortunately, the nine pieces of "Roselle Futu" that have survived today still retain Gu Kaizhi's painting intentions, so that today we can glimpse the depiction and desire of the Six Dynasties for beauty. The Northern Song Dynasty "Luoshen Futu" exhibited by Liaobo this time is believed to be from the same mother book as the "Luoshen Futu" collected in the Forbidden City, and it is also the facsimile closest to the original appearance of the Eastern Jin Dynasty picture scroll. Among them, the mountain stones are dyed without rubbing, the columns are planted like "outstretched arms and fingers", and the mountains are like "tungsten ornaments and rhinoceros trees", people are greater than mountains, and the water is not tolerated, which is consistent with Zhang Yanyuan's record of Wei Jin's painting style in "Records of Famous Paintings of Past Dynasties", becoming valuable and most reflective of Wei Jin painting styles.
【Northern Song Dynasty】Su Shixing Shuyang Envy The collection of Lushun Museum
The "Yang Envy Thesis" paper, framed together with the repeated texts, is full of seals between the lines. Through these seals, we can understand the circulation of the Yang Envy Thesis. Since the Yuan Dynasty, it has entered the field of vision of collectors, Guo Qi and Lu You were once its collectors; in the Ming Dynasty, it was once collected by Shen Zhou, Cui Shen and Xiang Yuanbei; in the early years of the Qing Dynasty, collector Yuan Yu once collected, and then entered the court, and was recorded in the seventh volume of "Shiqu Baodi Continued Edition • Qianqing Palace"; later transferred to the Lushun Museum in 1963 as a small white building scattered calligraphy and painting.
In 1988, Xie Zhiliu, Liu Jiu'an and Yang Renkai, experts of the Chinese Calligraphy and Painting Appraisal Group, went to the Lushun Museum to appraise the collection of calligraphy and paintings. The expert group fully affirmed the authenticity and artistry of the repeated inscriptions, and considered Su Shi's book "Yang Xian Ti" to be a "contour filling book".
【Southern Song Dynasty】Zhu Xixing cursive ruler and university or ask manuscripts collected by the Liaoning Provincial Museum
As an admirer of Ouyang Xiu, zhu Xi (1130-1200), the leader of southern Song Dynasty science, inkblot "Shuhan Manuscripts" is also on display. This volume of "Shuhan Manuscripts" is a splicing of his two handwritings, and there is a portrait of Zhu Xi at the beginning of the volume, which should be written in the Yuan Dynasty, with plump characters and realistic looks. The thin, white-bearded man on the left is Zhu Xi, and the right may be his cousin Cheng Xun.
Among them, the first section begins with "July 6th", also known as "July 6th Thesis", written in the second year of the Southern Song Dynasty (1196), is a letter written to Cheng Xun when Zhu Xi was 67 years old, discussing learning, cultivation, and daily affairs, calligraphy seems to be integrated into the seal law, the font is round, and the ink is deep. The second section is the manuscript of the "University or Question and Sincerity Chapter", Zhu Xi devoted his life to the study and proofreading of the Analects, the University, the Zhongyong, and the Mencius, and exhausted his efforts to compile it into the "Four Books chapters and sentences", and until his death, he still unremittingly revised the annotations to the "University". Therefore, the annotation of the section of the "Sincerity Chapter" in the "University or Question" in this paragraph can be called "the last handwriting of Zhu Zi's life". The text is written in a subordinate manner, the strokes are tight, the ink color is lighter, the calm is smooth, and the nature is free.
【Northern Song Dynasty】 Li Cheng Maolin Yuanyuan Tu Collection of Liaoning Provincial Museum
As an early painter of the Northern Song Dynasty, Li Cheng's (919-967) works are extremely rare, with only five paintings close to the original and two in the Liaobo collection, the most important of which is the "Maolin Yuanxiu Tu" in this exhibition. The "Maolin Yuanxiu Map" is shaped as a very representative high-headed large volume of the Song Dynasty, with inscriptions by Xiang Ruobing of the Southern Song Dynasty, Ni Zhan of the Yuan Dynasty, and Zhang Tianjun of the Ming Dynasty, and was also a family heirloom of Lü Gongbi, the deputy envoy of the Privy Council during the Yingzong period of the Northern Song Dynasty, and is recognized as a northern Song Dynasty painting.
In the past 50 years, scholars at home and abroad have continuously expressed different opinions on the creation era and attribution of this Qing Palace scattered painting: Xie Zhiliu first proposed that "Maolin Yuanxiu Tu" was not Li Cheng's handwriting, but Yan Wengui, Yang Renkai believed that it was Li Cheng's true handwriting, Fu Xinian judged that it was a descendant stitching based on the composition of the "Maolin Yuanxiu Tu" that the upper part lacked peaks and the lower part lacked water feet; as for the author, he agreed with Xie Zhiliu's Yan Wengui that Xu Bangda also thought that "Maolin Yuanxiu Tu" was a Song painting, but had nothing to do with Li Cheng, and Fang Wen proposed that "Maolin Yuanxiu Tu" was a Song painting, but had nothing to do with Li Cheng. The composition and image of Maotu is particularly similar to Qu Ding's Xiashan Tu, and Qu Ding was a protégé of Yan Wengui, so he believes that this volume represents the mixed painting style of Li Cheng-Yan Wengui, probably in 1050.
In the "Maolin Yuanxiu Diagram", the heavy ink method changes, and the ink is exquisite and soft, especially the application of light ink is delicate and heavy, and the spirit is clear. The peaks in the work are rubbed with light ink, which does have a sense of flexibility and obscurity, just as Mi Fu's "History of Painting" said that "Li Cheng's light ink is like fog, and the stone is like a cloud" and Wang Yi commented that "the ink is moist and clean, and the smoke is lightly moved". The picture scroll takes the main peak on the left side as the center of gravity, the distant scenery is undulating, the close-up waterfront is staggered, and the proportion of the characters' point scenes is reduced, which is also in line with Li Cheng's painting method of "sweeping thousands of miles at hand, writing everything interesting under the fingers" in the bibliography. Therefore, the true ownership of its paintings still needs more research, and I look forward to witnessing the style of Li Cheng's "Little Hanlin Map" and "Maolin Yuanxiu Map" in the Collection of the Liaoning Provincial Museum in the near future.
【Northern Song Dynasty】Preface to the Ouyang Cultivation Book And Poems Collected by the Liaoning Provincial Museum
The "Preface and Poem of the Ouyang Clan Lineage Genealogy Diagram" is a splicing of the seven laws of the Ouyang Shu Fa Shu "Ouyang Clan Genealogy Diagram Sequence" and the "Night Stay in the Zhongshu DongQuan", according to the text at the end of the volume, it can be known that it was written in the second year of Zhihe (1055) and the eighth year of Jiayou (1063), and was framed by the Song Dynasty Zhou Bida.
It is the volume that shows Ouyang Xiu's introverted and calm style of writing. Due to the pursuit of noble personality, he was deeply influenced by Yan Zhenqing, often writing with a dry pen, pursuing the meaning of cangjin and clumsiness, and although the strokes were exposed, they did not float. At the same time, after this volume, there is also the handwriting of the famous Southern Song Dynasty scholar Zhou Bida, who has a deep relationship with Ouyang Xiu, and the two are not only in the same hometown, but also have the same nickname "Wen Zhong". Zhou Bida admired Ouyang Xiu's personality and presided over the publication of Ouyang Xiu's anthology. At the end of the Qing Dynasty, Ouyang Xiu's descendants also collected and compiled the Zhou Bi da anthology. Now the handwriting of the two is in the same volume, which is of great significance.
【Southern Song Dynasty】Ma Hezhi Moonlight Autumn Sound Atlas Liaoning Provincial Museum Collection
【Yuan】Zhao Yong Chengjiang Cold Moon Diagram Liaoning Provincial Museum Collection