"Lushan Gaotu"
Ming Shen Zhou Pale color on paper Length 193.8 cm Width 98 cm Collection of the National Palace Museum in Taipei
Shen Zhou (1427-1509) was the first of the four wumen families. The word Qi Nan, the number Ishida, and the number Shiraishi Weng. A native of Choshu. Generations of seclusion in Wumen. He imagined Lushan as his teacher Chen Kuan zuoshou. In the painting method, Zongxue Wang Meng, the scenery is luxuriant, the grass and trees are huazi, the brushwork is very dense, the style is delicate, and it belongs to the representative work of "Fine Shen". The whole work shows the majesty of the imaginary Lushan Mountain in the dense brush and ink that is close to Wang Meng, and creates a way of expressing the character of the landscape painting with the expression. At the top of the picture, Shen Zhou is self-titled "Lushan Gao" (seal text) three characters, and at the end of the self-knowledge: "Chenghua Ding Hai Duan Yang Day, Menchang Zhou Shen Zhou poetry painting, respected as Xing'an Youdaozun Mr. Shou." ”
"Empty Forest Accumulation Rain Map"
Ming Shen Zhou Ink and pencil on paper Length 21.7 cm Width 29.2 cm Collection of the Palace Museum in Beijing
"Long rain and clouds, sunny days are safe?" This work was made by the painter on the day of the rain and depression. The painting depicts a view of the rainy woods after a flat slope. The picture is simple in composition, and the stream in the forest behind the slope is slowly flowing. The low house is hidden, the clouds are thick, and the rain and fog are hazy. The painter writes with a thick brush, the ink color is moist, the light ink is rendered, making the picture appear humid, the rain and the painter's depressed and inexplicable emotions jump on the painting, which is exactly in contrast to the painter's self-titled two poems. One of them is: "The eaves of the hut are long and deep, the breath is depressed but sleepy, and the sorrow is also afraid of groaning." Accumulate the piano. Anderson Xuanyue, Bright as my shirt. ”
"Falling Flowers Poetic Intentions"
Ming Shen Zhou Color on paper Length 35.9 cm Width 60.1 cm Collection of Nanjing Provincial Museum
This brush and ink are thick, the wind god is light, and the petals are flat and comfortable, and they are in the shape of a residue. This painting uses light ink to write out the branches, and the branches are interspersed with natural and decent. The leaves are thick with ink and heavy and loud. Throughout the work, the structure between the flowers, branches and leaves is tight and stretched. The writing is dignified and concise, and the real is virtual, although it is a flower that will be broken, but it has a unique charm. The ancient scholar Duomu Peony is high and luxurious, shaped with pen and ink, and guineng can combine "shape" and "pride", and Shen Zhou's picture is enough.
《Dongzhuang Album · Beigang》
Ming Shen Zhou Color on paper Original 24 pages 3 of them are now missing from the collection of the Nanjing Museum
This painting depicts the garden view of his teacher Wu Kuan's family. Wu Kuanguan zhi libu Shangshu was Shen Zhou's teacher and close friend, and he sang and sang poetry. Dongzhuang is Wu Kuan's manor, and it is also a place where Jiangnan Shi dafu often gathers, chants poems, and tastes tea. Later generations praised Shen Zhou's "Dongzhuang Atlas", "Looking at its entry and exit in the Song and Yuan Dynasties, it is as it should be, the position is both strange, and the penmanship is repetitive, although the li longmian mountain villa map and the Hongyi Caotang map do not let it be much." "The one selected here is "North Port", which depicts a lotus pond, sparkling like a mirror, lotus leaves standing tall, dense and graceful, swaying and colorful, the trees on the shore are written naturally, and the mood is different; the slope is combined with dyeing, and the thickness is appropriate.
《Cangzhou Fun Map》
Ming Shen Zhou Color on paper Length 29.7 cm Width 885 cm Collection of the Palace Museum in Beijing
Shen Zhou belongs to small freehand, leaving aside the slender body of the courtyard, and is known for his thick and simple pen and ink, which is more general than his landscape paintings. Its use of penmanship, pen affirmation, vivid and natural. Shen Zhou's flower and bird paintings, its brushwork and ink method, part-time work belt writing, between the desire to put it, after Chen Chun's inheritance and development, then opened Xu Wei's splash of ink freehand, and through the Eight Mountain People, "Yangzhou Eight Monsters" to promote the waves, in the development of Chinese freehand flower and bird painting, Shen Zhou's role and influence can not be ignored. Cangzhou Fun Tu is a late Shen Zhou work, in which he concentrates the brushwork of the Yuan Sijia in a long scroll of landscapes. The different brushwork is so seamlessly connected, which shows his proficiency in the use of the Yuan Sijia brushwork.
《Two Rivers Scenic Spots》
Ming Shen Zhou Silk color Length 42.2 cm Width 23.8 cm Shanghai Museum Collection
Some of Shen Zhou's landscape paintings depict mountains and rivers, showing the three distant scenes of traditional landscape painting, and in terms of painting methods, he underwent family studies in his early years and taught Du Qiong. Later, he absorbed the strengths of all the people and went in and out of the Song and Yuan families, mainly inheriting the ink and ink shallow system of Dong Yuan, Ju Ran and the four Yuan families Huang Gongwang, Wang Meng, and Wu Zhen, and also participating in the pen and ink of Li, Liu, Ma, and Xia Jinjian in the Southern Song Dynasty, integrating and using rigidity and softness, forming a new style of thick brush and ink, and becoming a family of its own. "Two Rivers Scenic Spots" shows the wet and beautiful, bright and elegant scenery of Jiangnan Water Town. It epitomizes the style of Shen Zhou landscape painting.
《Snow Stop Boat Map》
Ming Shen Zhou Silk Color Length 249.2 cm Width 94.2 cm Collection of Shanghai Museum
Artistic creation cannot be separated from real life, and the depiction of natural still life is inseparable from the careful observation of nature. Shen Zhou is good at using traditional pen and ink techniques to depict real life scenes, so he can swing at will, and the pen and ink are vivid and interesting. "Snow Stopping Boat" is a relatively heavy color in Shen Zhou's landscape paintings, and also uses the expression technique of green landscape painting, which is a model of his ink painting.
"Autumn River Fishing Hidden Map"
Ming Yao Silk Light color on paper Length 128.4 cm Width 58.5 cm Collection of the Palace Museum in Beijing
Yao Shou (1423-1495), also known as Gongshou (公绶), also known as Danqiu Sheng, also known as Gu Anzi, Yundong Yishi. He is good at painting landscapes and their bamboo and stone scenes. The picture of "Autumn Mountain Fishing Hidden Map" depicts the autumn forest far away, fishing boats in the lake. The whole work is quiet and quiet, giving people a calm beauty. In terms of expression techniques and interests, the painter inherits the tradition of brush and ink of Yuan Wuzhen, and the style is rough and old,000, and it is full of simple and luxurious charm. In this work, the picture is desolate and desolate, full of desolate and cold mood, although there are fishing boats between heaven and earth, but with a sad, severe and sentimental mood. The painting method is changeable, the layers are orderly, showing the vigorous and colorful mood, the distant mountains and near the stones, the combination of dyeing and dyeing, the pen strength is calm, and the ink color is moist.
《Snow Creek Boat Map》
Zhong Qinli Silk ink pen Length 170.8 cm Width 103.2 cm Collection of the Palace Museum in Beijing
Zhong Qinli, year of birth and death unknown, was a native of Jishan and Shangyu, Zhejiang. Painting landscapes with thick brushes, horizontal scraping and external strength, learning to wear and then changing. During the years of Chenghua and Hongzhi, he entered the Naojinji Hall and was a top master among the painters of the Inner Court. "Snow Creek BoatIng Diagram" is Zhong Qinli's representative work, which shows the fisherman releasing a boat on the cold creek after snow. The picture is cold and quiet, the distant peaks are covered with snow, the outline of the mountains is outlined with heavy ink lines, and the branches are bent vigorously and layered, which is deep enough to charm the snow bone and water.
"Ruixue Winter Condensation Map"
Ming Wang Chen Silk Color Length 139.6 cm Width 91.5 cm Collection of the National Palace Museum in Taipei
Wang Chen (王谔), courtesy name Tingzhi, was a native of Fenghua (present-day Fenghua, Zhejiang). The year of birth and death is unknown. The period of activity was during the years of Chenghua and Koji. At first, he studied landscapes from his hometown Xiao Feng, and later studied the Tang and Song dynasties. The strange stones and lonely trees of Fanqi Mountain are frightening, and they do their best, and Emperor Xiaozong likes the painting of Ma Yuanzhi, calling Wang Chen "the horse of the present day". Throughout his life, he mainly studied Ma Yuan's painting method, and his painting method belonged to the Zhejiang school. "Ruixue Condensed Winter Map" ink stroke painting snow mountain travel scene, the painting of pine stone thin, cold weather. The boulders of the mountain, as well as the courtyards and temples on the hills below, are all drawn in hard brushstrokes, and the cold and steep is compelling. The water under the mountain is high and wide, the sails are dotted, and the ink drop is not much, which sets off the cold and cold mood of the whole painting.
《Distant View of Jiangge》
Ming Wang Chen Silk Light Color Length 143.2 cm Width 229 cm Collection of the Palace Museum in Beijing
This painting depicts a scene of Pingyuan looking across the river. The pine forest stone wall is facing the big river, there are water pavilions on the riverside, and the opposite side of the river in the distance is filled with clouds and fog, the peaks are undulating, the mountains are surrounded by mountains, and the building boats are moored on the riverbank. In the middle, there is a vast river wave, the water and sky are wide, and there is no end. The close-up pavilions and the distant mountain city are far away, and the picture is imposing and the artistic conception is beautiful. The water waves in the lake are fine, and the front and back are light to form a high, far,away, wide, and water-to-sky situation. On the other side of the distant mountains, the smudge is light, and the thick ink re-dyeing in the close-up scene contrasts, and the whole work is finely brushed, which is a school of Learning Song Dynasty Ma Yuan.
《Landscape Map》
Ming Zhang Fuyang Ink and pencil on paper Length 33.2 cm Width 136.4 cm Collection of the Palace Museum in Beijing
Zhang Fuyang (c. 1403-1490), the character Fuyang, the character line, the number Nanshan, the Zhejiang Pinghu people, the Taoist, the landscape imitates Wuzhen, the ink is vigorous, and the grass and tree figures he paints are exquisite. The painter depicts the water town of Jiangnan, through a large number of dense forest and miscellaneous trees, looming village huts, field farming and farm life, full of life atmosphere, vista clouds, a strong sense of space. This painting ink pen is thick and thick, the broken brush is sprinkled vertically and horizontally, and the scorched ink and light ink are layered and dyed, vividly, and the layers near and far appear. The whole work is open and closed, dense, dynamic and static, virtual and real, all of which are natural and full of intriguing meaning.
"Distant View of the Yanjiang River"
Ming Zhuduan Silk color Length 169 cm Width 107.3 cm
This painting depicts the Kaolin Smoke Mist, Yuanpu Water Village. The left half is a high and distant view, and the peaks are towering and imposing. The green trees on the slopes across the mountain are lush and green, and the pines are vigorous, and the mountain and tree posture are majestic. Banqiao, villages, the vista is the boat sail and water town, exquisite and open, beautiful and sparse. In the painting method, I learned more about Guo Xi, the strong mountain rocks, the strange peaks, the trunks of the coiled trees, the branches of the crab claws, etc. all came from Guo Xi's brushwork. The painter organically combined the characteristics of the Northern Song Dynasty Guo Xi landscape with the concise, empty and sparse pattern of the Southern Song Dynasty courtyard landscape, creating a Ming Dynasty courtyard painting style that was different from the Song Dynasty courtyard style.
"Matsuin Idle YinTu"
Ming Zhuduan Silk Color Length 230.2 cm Width 124.3 cm Collection of Tianjin Municipal Art Museum
Zhu Duan, Zi Kezheng, No. 1 Tree, Haiyan Man. The year of birth and death is unknown. The court painter of the Zhengde period of the Ming Dynasty, Zhengde Zhongzhi Zhidian, was given command. On the one hand, his landscape paintings were influenced by the style of Painting in the Southern Song Dynasty courtyards that were popular in the palace at that time, and were close to Ma Yuan; on the other hand, there was also a way to specialize in Guo Xi of the Northern Song Dynasty. "Songyuan Idle Yintu" is a representative work of this type of landscape. The whole work is majestic and transparent, and the details of the work are seen at random, reflecting the style of the Ming Dynasty. Zhu Duan's landscape works have made certain achievements in inheriting and developing traditions, he has carried forward the style of Song Dynasty courtyard painting, and to a certain extent, promoted his positive influence on future generations.
《Map of Yandang Mountain》
Ming Ye Cheng Ayamoto color Length 35 cm Width 290.3 cm Collection of the Palace Museum in Beijing
This self-awareness: "Yandang Mountain Map." Jiajing Chengshu Yanshan Ye Chengzuo. "After the title of Liang Qing. Ye Cheng (Chinese: 叶澄; pinyin: Yīồng), courtesy name Changshan , was a Wu native , a painter from Yanjing ( present-day Beijing ) , a painter during the Jiajing period ( 1522-1566 ) . Good at painting landscapes, Shi Fa Dai Jin, Xu Qin's "Ming Painting Record" commented that "its god is similar, almost indistinguishable". The landscapes depicted in the works, from Shimentan, include Zhang Yi Lou, ShiFo Rock, Shiliang Cave, Lingfeng Cave, Luohan Cave, Jingming Temple, Tateshina Peak, Xiangyan and so on. These scenery depicts realism, each with its own peculiarities, and typically shows the peculiar characteristics and grandeur of the first mountain in the southeast. The painting method of the work is similar to That of Dai Jin, but the brush and ink are more detailed, and it presents traces of sketching the scenery and moving with the scene, much like a field sketch, which is relatively rare in the "Zhejiang School" post-study.
"Baqiao Wind and Snow Map"
Ming Wu Wei Light color on silk Length 183.6 cm Width 110.2 cm Collection of the Palace Museum in Beijing
Wu Wei (1459-1508), also known as Shiying, also known as Ciweng, Luf, and Xiaoxian. A native of Jiangxia (present-day Wuchang, Hubei). Wu Wei was a famous general of the Zhejiang Sect after Dai Jin and the founder of the "Jiangxia Sect". In the early years, the painting method was more detailed, and after middle age, it became vigorous and bold, splashing ink and dripping with ink. Baqiao is in the east of Chang'an County, Shaanxi, also known as Baqiao, and the Tang people send more than this folded willow to give each other, with the allusion of "Baqiao folding willow". There is also the saying that "poetry is on a donkey in the snow and wind of Baqiao", so painters often use "Baqiao wind and snow" as the title of the painting. This work depicts an old man riding a donkey across a bridge in a snowstorm, bowing his head in contemplation. In order to set off the theme, the scenery is made of mountains and wild rocks, trees withered, wind and snow are filled, rivers are frozen, and the cold is compelling. In terms of artistic expression, the pen is written with a flanking edge, the lines are thick and simple, the ink is dripping, and it is quite imposing.
《Jiangshan Fishing Music Map》
Ming Wu Wei Color on paper Length 270 cm Width 173.5 cm
The painter lived a lonely and miserable life when he was young, adopted by Changshu Qianxin, and later exiled in Nanjing, so he had a strong sympathy for the life of folk fishermen, and the life atmosphere of the works was very strong, and the expression technique was relatively fresh and free. In terms of spatial treatment, this painting is solid and thick, the distant view is faint, closer to the real natural landscape, and the whole work is relatively rough and vertical, which is the painter's work after middle age. "Jiangshan Fishing Music Map" shows the beauty of Jiangnan and the life of fishermen. The riverside is high and sloping, its upper mountains are cascaded, and the fishing boats in the river are moored, and a beautiful picture of the fishing music of the jiangshan is beautiful.
Miscellaneous Album
Ming Xu Duanben Ink on paper or pale color 29.4 cm per opening length 39.7 cm horizontal 39.7 cm Shanghai Museum collection
Xu Duanben (1438-1519), also Ming Shizhong, Zi Tingzhi, Jinling people. 17 years old can only speak, outside the dumb inner wisdom, people call themselves idiots, also known as idiots, also known as idiots, also known as idiots. There are 12 pictures in the "Miscellaneous Album": 1. Fishing Map of The Fisherman; 2. Mountain Bridge Yinxing Map; 3. Lotus Xuan Sketch Map; 4. Autumn Creek Sand Gull Diagram; 5. Wild Navigation Map; 6. Chengjiang Flying Sail Diagram; 7. Jiang Tian Evening Photography Map; 8. Late Returning With The Qin; 9. Linliu Solo Fishing Map; 10.Water Pavilion Quiet Residence Map; 11. Visiting Friends with the Qin; 12.Idle Overlook Map under the Tree; Most of the "Miscellaneous Albums" depict the life of the Mountain Wild Yishi, or the creek solo fishing, or the small bridge, or the mountain village visiting friends, or idly overlooking the river sky, expressing a far away from the hustle and bustle, Forget the interest of the spring stone. In these frames, the painter deliberately renders the meaning of wildness, thus setting off his frank personality and otherworldly ideas.
"Mountain Rain Coming"
Ming Zhang Lu Ink on silk Length 147 cm Width 105 cm Collection of the Palace Museum in Beijing
"Mountain Rain Wants to Come" Ink stroke painting wind and rain are coming, and a fisherman returns from the net. The close-up view of the mountains and grass trees and the water of the stream are vividly depicted, and the distant mountains are misty, and under the dark sky, they are cloudy or present, which is very imposing before the mountain rain is coming. In terms of specific expression techniques, the painter uses thick brush and wet ink, and the charm is very vivid. The painter deliberately creates an atmosphere before the mountain rain is coming, with a rough brush and a majestic style, but also reveals the painter's dashing and dexterity with the brush, which is obviously influenced by the Song and Yuan thick brush ink painting school and the ink freehand painting style of Lü Ji, Lin Liang and others. In terms of background rendering, it is also moderate in light and shade, trying to show the rich and subtle changes in the natural world before the wind and rain.
《Stream and Mountain Boat Map》
Zhang Lu Silk color Length 165.8 cm Width 97.5 cm Collection of Shanghai Museum
Zhang Lu (1464-1538), the character Tianchi, the number Pingshan, only in the world, Xiangfu (present-day Kaifeng, Henan), a young and intelligent, saw Wu Daozi, Dai Jin painted characters, copied Xiao Qishen, became famous for painting, was an important Zhejiang painter who followed Dai Jin and Wu Wei in the Ming Dynasty, and taught Wu Wei in the characters, but Xiuyi was insufficient, and he let it go wildly, and there was Dai Jin's wind on the landscape. Zhang Lu's painting art is highly praised by the world, and Zhan Jingfeng of the Ming Dynasty praised him as "enough to be a famous artist". At that time, the gentry were salty and heavy, and their authentic works were like arches.
《Chaimen Send-off Map》
Ming Zhou Chen Pale color on paper
This picture takes the hermitage life of the feudal literati as the performance theme, reflects the scholar's love for the landscape, and the leisurely and elegant taste of Zhi tan Linquan, and the picture depicts the touching scene of the two subjects and guests clinging to each other when they are separated. In expressing such themes of reclusive life, the painter is different from the absurd and empty artistic conception of the Yuan Ming literati paintings, but gives a majestic and magnificent momentum and has its own artistic characteristics. Zhou Chen's landscape paintings were born out of Li Tang and Ma Xia, but he was not confined to the program of song dynasty courtyard body painting, and Shan Yu took some of the strengths of the literati painters in settings and brush and ink, forming a style with rigorous structure and flowing qi pulse, real and vivid shape, strong and sharp brushwork, and sufficient ink rhyme.
《Snow Village Visiting Friends Map》
Ming Zhou Chen Silk Color Length 224.3 cm Width 96.9 cm Collection of the Palace Museum in Beijing
The composition is very steep and steep, and several tall and beautiful pines on the middle boulder are the visual center of the whole painting. In the upper left corner of the picture, the mountain and stone are towering, straight into the clouds, and the momentum is majestic. The high-distance layout method is adopted in the figure, which is taken from the description of the landscape paintings of the Central Plains of the Northern Song Dynasty, the close-up and long-range shapes are solid and clear, and the middle scene is blurred and hazy, which absorbs the advantages of the composition of the Yuanwen paintings. The pen and ink technique is mainly from Li Tang, the close-up scene is thick with ink, combined with dyeing, and the stone is depicted by dragging mud with water, and is combined with a small axe to split the brick and the iron hook to express the rugged and solid stone bone. The ancient pine curved and upside-down form is quite close to the pine tree method of Ma Yuan. The whole work is strong and imposing with the tip of the pen, which is a representative work of Zhou Chen's painting.
"Spring Spring Small Hidden Map" (partial)
Ming Zhou Chen Color on paper Length 26.5 cm Width 85.8 cm Collection of the Palace Museum in Beijing
This painting is a scene of Zhou Chen painting Pei Chunquan for his reclusive rest. Painted pine stones under the shade of the thatched hall, one person in the hall for a few false sleeps, and another boy sprinkled outside the hall. There is a small bridge in front of the door, and the flowing water meets the lake, which is the name of Yuchun Spring. The mountains on the other side of the river are layered. The rocks on the other side of the bridge are also heavily inked, and the two trees that probe into the spring echo with the weeping willows and pines on the side of the huts. The distant mountains are smudged with light ink, contrasting with the heavy ink in the foreground, full of change and order. When Zhou Chen depicts objects, he is good at applying rigid and soft, thick and thin, light and heavy brushwork according to the texture of different images, and the shape is accurate and rigorous.
《Mountain Pilgrim to The Map》
Ming Zhou Chen Silk Color Length 136.4 cm Width 72.2 cm Collection of Shanghai Museum
Taking the hermitage life of the feudal literati as the theme of expression, it reflects the scholar's love for the landscape and the leisurely taste of Zhi Tan Linquan, and the picture depicts the touching scene of the two subjects and guests clinging to each other when they are separated. From the details of the shipwright sitting at the bow of the ship, sleeping on his knees, waiting for the return of his master's friends, we can see the subtlety of the painter's artistic conception. In expressing such themes of reclusive life, the painter is different from the absurd and empty artistic conception of the Yuan Ming literati paintings, but gives a majestic and magnificent momentum and has its own artistic characteristics. "ChaiMen Send-off Map" can reflect this style.