Jinnong's "Self-Portrait" axis, on paper, ink pen
Length 131.3cm, width 59.1cm
Jin Nong (1687-1763), also known as Shoumen, Dongxin, Si Nong, Jin Twenty-Six Lang, Ji Liu Shanmin, Qujiang Waishi, Long Suo, XiYe Jushi, etc., Renhe (present-day Hangzhou) people, exiled to Yangzhou.
Taste the signature of the money known as Jinjijin, Sanskrit gold for Suvaro, so engraved a seal known as Suvaroji Suvaro.
There is also the Golden Bull.
Curious and ancient, collecting thousands of volumes of golden stone texts.
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Jinnong Lishu Selection Xinhua Genuine ¥92.2 Purchase
Fine appreciation, Gongshu, Kai Li Ben's National Mountain and Tianfa Divine Two Steles, and self-created one grid, between Li and Kai.
The seal got rid of Wen and He, immersed in Qin and Han, and occasionally used these two stele methods.
Hi for poetry, praise, essays, out of different genres.
In the fifties of the year, he began to engage in painting, and the brush stroke was ancient, and he got rid of the habit of a painter, and there were many monuments he saw.
The first writing of the bamboo master stone room old man, the number of the mountain people, the successor painting of the plum master White Jade Toad, the number of the former evil resident.
Painting the Buddha trumpet heart monk monk.
He also painted horses to claim to be Cao and Han Fa, and Zhao Wangsun was not enough.
Its landscape flowers and fruits are arranged in a strange way, and the dot dyeing is idle and cold, which is not seen in the world, and the cover is intended.
Ask the question of the Betdo Dragon Dragon and the like also.
Life is a good travel, late living in Yangzhou selling calligraphy and paintings for self-sufficiency, as one of the eight monsters of Yangzhou.
His wife died childlessly and he never returned.
Died at the age of seventy-seven. One is seventy-eight.
He is the author of twenty-four miscellaneous poems of Winter Heart Inscription Painting, Winter Heart Painting And Winter Heart Poetry On Painting.
Jinnong traveled well, but he did not meet anyone. Late in Yangzhou, selling calligraphy and painting for self-sufficiency. Curious and studious, he works in poetic calligraphy, poetry is ancient and peculiar, and is good at identification. Calligraphy creates a flat pen style, which has both a italic and a subordinate posture, and is sometimes called "lacquer book". He didn't paint until he was fifty-three years old. His paintings are strangely ancient, and he makes good use of light ink dry brushes for floral sketches, especially painting plums. Among the eight monsters of Yangzhou, Jin Nong is a pivotal figure. Zheng Banqiao, Gao Xiang, and Wang Shishen all greatly valued him, and Luo Hired as his disciple. Behind Jin Nong, there are many fans such as Xu Gu, Zhao Zhiqian, Ren Bonian, Wu Changshuo, Qi Baishi, etc., who have all worked considerably in Jin Nong's calligraphy and painting.
Lishu Mr. Fan Shihu sentence The age is unknown on paper
Length 141cm Width 40.7cm Collection of Fujian Provincial Museum
▲ The Kinnon Codex
Lacquer calligraphy ink said vertical shaft length 84.9cm horizontal 44.7cm
Collection of Yangzhou Museum
▲ Jin Nong,"LiShu Book" ink on paper
Age unknown On paper 141cm width 53.5cm
Collection of Fujian Provincial Museum
Jinnongli Scroll 80cm × 47.5cm on paper
1757 The Museum of Art, Hong Kong
Explanation: The melon kayak sticks to the sky and water, and recognizes the smoke of the port of Lutuo. A turn of frost bush has a human voice, and the evening wind props up to the bed. Give the works of fifty years ago, remember and write them, in order to give the Way. Hangzhou jinnong, when seventy years old, there is one.
Lishu Scroll Length 164.5 cm Width 56 cm
Rongbao Zhaizang
Interpretation: Evil clothes and bad food poems are better, and non-Buddhas and non-immortals are surprising
▲ "Lacquer Book Loose Flower Piece Paper Seven Words Lian" paper was written in 1752
Length 125.9cm Width 21.1cm Collection of Sichuan Provincial Museum
Interpretation: There are rows of loose flowers and bamboo, and the pieces of paper are collected
Wang Biao's Well Endowment on paper, 1725
Length 98.5 cm Width 41.2 cm
Collection of the Palace Museum in Beijing
Miscellaneous Records of the Lishu, on paper, 1735
Length 61 cm width 43 cm Yangzhou Museum collection
Lishu Zhou Lizhi on paper, 1734
Length 102.1 cm width 56.5 cm
Collection of Guangdong Provincial Museum
Sima Guang's Lacquer Scrolls on Paper, 1738
Length 95.5 cm Width 31.5 cm
Collection of Lan Qian, Taiwan
Also known as "Sima Wen Gongju Luo Axis" This is a representative work of Jinnong's transition period from Lishu to Lacquer Book, Jinnong integrated calligraphy masterpieces such as "Guoshan Stele" and "Tianfa Divine Stele" to create a "lacquer book" with a humble and thick body, a mixture of subordinate intentions in italics, and a strong personality. He wrote lacquer books with heavy ink, horizontal thickness and vertical thickness, more straight pens, and fewer curved pens, which were similar to the strokes brushed out by lacquer painters with flat brushes.
Lishu Liang Kai Treatise on Paper, 1737
Length 102.8 cm Width 47 cm
Collection of the National Museum of China
Biography of Lishu Niujian, on paper, 1738
Length 123 cm Width 46.7 cm
Collection of Wuhan Cultural Relics Store
"Lacquer Secretary Shen Zhou Narrative Axis" on paper, 1740
Length 115 cm Width 35.5 cm
The Six Screens of the Biography of Zhou Boqi in lacquer book, written on paper, 1740
Each screen is 67X22 cm Shanghai Duoyun Xuanzang
Lacquer Books and The Four Sayings on Paper, 1744
Length 63.5 cm Width 14.2 cm
"Lacquer Book Yue Paper Gu Ou Seven Words Lian" Flower Notes
133×29cm×2 1744
Collection of Shanghai Museum
Interpretation: Yue paper musk coal dip pen charm ancient Ou rhinoceros liquid hair tea fragrance Qianlong Jiazi Winter Book ancient Hangjinnong
Plutonium Seal: Jin Ji Jin Yin (White) Mr. Dong Xin (Zhu) Kim Eight Points (White)
The Lishu Siyan Tea Praise Axis, on paper, 1745
Length 170.2cm Horizontal 48.2cm Yangzhou Museum Collection
Interpretation: Caiying in the mountains, writing the scriptures in Yu; Jing Lie, Purify Shen Yu.
Lacquer Book Xianghe Sutra Scroll, on paper, 1752
Length 156 cm Width 37 cm
Lacquer Book Xianghe Sutra Scroll, on paper, 1754
Lishu Shuile Cave Small Poems Horizontal Phi, 1745
Length 67.5 cm Width 87 cm
Lacquer Book seven words lian, 1757, on paper
Collection of Liaoning Provincial Museum
A lacquer book of ancient ballads, made on paper in 1757
Length 58.5 cm Width 24.5 cm
Lacquer book banner Length 85 cm Width 126 cm
Lishu four screens Length 85 cm Width 32 cm
The inscription of the book is unknown On paper
Length 149 cm Width 146 cm
Collection of Tianjin Art Museum
The five words of the book are unknown on paper
Length 78.6 cm Width 56.7 cm
Lacquer Book Sheng Zhongjiao Deeds Date Unknown On Paper
Length 43.2 cm Width 32.5 cm
Collection of Nanjing Museum
Jin Nongli's book "Tao Xiushi Qing Yilu Axis" is appreciated
▼
"Tao XiuShi Qing Yilu" axis 119cm vertical and 59.5cm horizontal
Collection of the Palace Museum, Beijing
Interpretation: On the first day of the fifth year of Bao Da, heavy snow, Lord Li ordered his brother-in-law to exhibit Yan's poems, so that the Chinese people would be private and give Li Jianxun jihe. When The Jianxun Fanghui Zhongshu Sheren Xu Xuan and the QinzhengDian scholar Zhang Yifang yu Fengting, immediately and in. He summoned Jianxun, Hyun, and Yifang to feast together, and the night Ai Fang dispersed. The attendants all have poems, and Hyun is in the order of the front and back. It is still a collection of famous hand paintings of the Royal Rong, Gao Chong Ancient Lord, Attendant Fabu Silk Bamboo Zhou WenYu Lord, Lou Ge Palace Zhu Li Lord, Snow Bamboo Cold Forest Dong Yuan Lord. 癸海夏 May Book Tao Xiu Yi Qing Yi Lu one to the old scholar elder brother Daya's teachings. Ancient Hangjinnong.
"Jinnong Seal Letter", "Sixty Out of The Wind" seal. Collection Seal: "Small Calligraphy and Painting Boat Secret Play", "Yan Xiaofang Treasures Golden Stone Calligraphy and Painting Seal".
Local magnification
This transcript is selected from Tao Xiushi's Qing Yilu of the Song Dynasty. The Records of the Qing Dynasty is a collection of essays written by the author from the Sui and Tang dynasties to the Five Dynasties.
Jinnong's work is written with his original "lacquer book", which is flat and thick horizontally, and the starting and closing pens are intentionally cut and shaped. Straight strokes, long strokes, outlines and other fine sharp edges. The font style is thick and dignified, and the thick black ink color contrasts sharply with the blank space between the words, and the visual effect is strong.
This work was written in the eighth year of Qianlong (1743), when Jin Nong was 57 years old, when his "lacquer book" had begun to take shape, with distinctive characteristics, but it had not yet been strongly exaggerated, the glyph was still square and flat, with a pen and a multi-circle turn, and the overall appearance was integrated with vigor and lightness in one furnace.
Jin Nong's "Linhua Mountain Temple Stele" (overall restoration)
Approximately 361 cm in length and 193 cm in width
Jin Nongli's book "Huashan Temple Stele", 109 pages in Yangyang, can be called the "most refined trace of middle age" of Jin Dongxin, whether it is the scale or the calligraphy itself, it is a very rare good product in the market.
In the early years of Jinnong Lishu, it was "ink shou Han people rope ink", the style was regular, the strokes were thick and simple, its strokes were not sent and closed, the structure was strict, more restrained, and less outward-looking posture, with a simple and concise style, Jinnong's calligraphy art was known for its simplicity and thickness. His first "lacquer book" is a special method of using pen and ink. "Jinnong Ink" is thick as lacquer, and the words written are protruding from the paper. The brush used, like a flat brush, is dipped in thick ink, and the line pen only folds, like a brush paint. The words written in this method look vulgar and simple, without rules to speak of, but in fact, they are big-minded and have a majestic charm.
Jin Nong Lishu, starting from the closest zheng gukou, about thirty years ago, the Han "Xiyue Huashan Temple Stele" expanded the book, love is deep, repeatedly copied, when the person Wang Jin said that he "saw the "Xiyue Huashan Stele", the penmanship changed" for a change. Since then, he has emerged from the calligraphy style of Zheng Gukou and looked for innovative ways to enter the ancient and open up from the ancients from the Han and Wei inscriptions. Some researchers believe that the process and success of his life's book style reform are almost all related to the "Huashan Temple Stele".
From the age of thirty or forty to the age of seventy years, he imitated the "Huashan Stele" in the past few decades, he imitated the "Huashan Stele" works survived a lot, but each work has a different meaning of different styles, from the earlier flat round pen, to the middle-aged square pen obviously with the Wei stele calligraphy of the variant of the writing, to the vertical and horizontal are used flat pen, emphasizing the inverted Qiao Li, and even the formation of the seventy or so lacquer books, all of which are reflected in the "Huashan Temple Stele" works he wrote in various periods, it can be said that every time he imitates the Huashan Stele, he always carries exploratory thinking. The Xiyue Huashan Monument became the inspiration for his calligraphy reform. "Huashan Flake Stone is my teacher," Jin Nong said. And this teacher has been with him all his life.
Among the many works of "Huashan Temple Stele" handed down by Jin Nong, the most representative, the most significant, the largest format, the greatest boldness, and the most proud of the writing of the god should push the big character "Huashan Temple Stele".
Originally a huge vertical scroll, the later collector Huang Xiaosong changed it to an album for easy carrying and reading. According to Shao Songnian, another collector in the late Qing Dynasty, this painting used to be ten lines, with twenty-two characters per line, eleven characters in the tenth line, and six characters in the paragraph, for a total of two hundred and fifteen characters. Now restored by computer, the height of the original shaft should be about 3.6 meters or more, and the width should be 193 centimeters. Obviously, among all the calligraphy and painting works of Jin Dongxin, this is the largest one that has been handed down.
What is important is not the size of the format, but this work not only has the style of the early flat body, but no longer seeks the similarity of the shape of the Huashan Stele, but more references to the body posture of the Wei Stele and the clumsy pen of Fang Jin, in the effort to strive for the simplicity and thickness of the whole, but also always emphasize the stretching and frustration of the skimming, the so-called inverted and hanging dew method, so that the fang humble posture has a change and charm, the predecessors classified this kind of calligraphy as Mr. Dongxin's original "Kai Li", and this huge work of deep strength and boldness, And the thirsty pen "Lacquer Book" that he was well known to the world in his later years has many similarities in form - Jin Nong, with his profound courage and arrogant revolutionary spirit, has created a new face of the Qing Dynasty, and "Dazi Lishu Huashan Temple Stele" is such a successful representative work.
This masterpiece, which carries Jinnong's tenacious and innovative spirit, and even more with his incomparably powerful shocking power, jinnong's thick calligraphy skills and full creative passion are fully revealed, just imagine, to write more than 200 dou da kai on a huge axis of forty square feet without the pen, timidity, and mistakes, without strong courage and physical strength, consistent creative enthusiasm and handy profound skill, it is impossible to complete this extraordinary masterpiece. It is no wonder that Huang Xiaosong, a Jinshi family, would deeply worship this work, calling it "hungry and thirsty for pens, not letting the ancients," which is the "most refined trace of middle age" of Jinnong.
Huang Xiaosong is a Qian, Jiashi Jinshi everyone, searching for and preserving countless Qin, Han, Wei and Jin jin golden stone tablets, he has a wide range of knowledge, rigorous examination, but also admired the ancestors of Jinnong, not only collected his works, but also tried to copy his calligraphy and paintings, Wuxi Museum has one of his "Calligraphy and Painting Album", of which there are many imitations of Jinnong's works. The love is deep, the knowledge is deep, and his evaluation of Jinnong's "Big Character Lishu Huashan Temple Stele" is of course theoretical and well-founded.
After Huang Xiaosong, this piece was obtained by Wu Yunzhuang, and later reverted to the hands of the late Qing dynasty collector Shao Songnian, who repeatedly inscribed and recorded in his "Records of ancient edges", and the Jinling scholar Huang Huan's "Commentary on Jinnong Calligraphy" is also described, which is a masterpiece of Jinnong.
Jinnong "Kai Li Album"
Jin Nong (1687-1763) Lishu Dai Liang Biography
Appreciation of works
Dai Liangzi Shuluan, a native of Shenyang, Runan. Eastern Han hermit. Dai Liang's great-grandfather Dai Zun (戴遵), courtesy name Gao, served as an attendant during the reign of Emperor Ping of Han. Wang Mang usurped the throne, and Dai Zun pushed back to his hometown due to illness. Dai Zun's family was wealthy, he liked to help others, advocated chivalry, and there were often three or four hundred diners in the family. People at the time said of him: "The rich man of Kanto is Daikogao." "Dai Liang's behavior has been indulgent since childhood, his mother likes to listen to donkey calls, and Dai Liang often learns donkey calls to make his mother happy." When his mother died, his brother and uncle lived in a tent to drink porridge, and the immoral behavior was not done, while Dai Liang only ate meat and drank wine, and cried only when he was sad, but both of them looked haggard. Someone asked Dai Liang, "Is it proper for you to observe the funeral in this way?" Dai Liang said, "It's polite. Etiquette is used to control emotional indulgence, if the feelings are not indulged, what etiquette needs to be discussed! Eat delicious without feeling sweet, so it causes a haggard face. If you can't eat it in your mouth, then it's okay to eat these. "The people he talks to can't overwhelm him. Dai Liang is both talented and ambitious, and his views are lofty and novel, so most of them are shocking. Xie Jixiao of the same county asked him: "Who can compare with you when you see the people of the world?" Dai Liang said: "I am like Confucius who grew up in Donglu and Dayu who was born in Xiqiang, who can compare with me!"
"Nanpi Zhang's Biye Jingshe Collection" is the Tibetan seal of Zhang Hougu (c. 1883-?) of the Nanpi people in the late Qing Dynasty. Zhang Zi Xiu Fu, room name "Bi Ye Jingshe", Zhang Zhidong (1837-1909) grandson, overseas Chinese living in Shanghai. Proficient in the study of gold and stone, in 1928, he published the "Biye Jingshe Seal". Guardian's 2009 autumn auction lot No. 1451 was also once in his collection.
Bibliography: 1. "Yiyuan Shuying", No. 24, Shanghai People's Fine Arts Publishing House, published in 1984.
2. The Complete Collection of Chinese Calligraphy, 65 volumes, Jinnong Zheng Xie, 112 pp., Rong Baozhai, published in 1997.
Guardian's 2009 autumn auction lot No. 1451 was also once in his collection.
Jinnong (1687-1763)
Silk 1745 Length 121.2 cm Width 149.7 cm
Seal: Seal of Jinnong, Eight Points of Jin 's ( see "Chinese Calligraphers and Painters Seal Zhi Zhi Jinnong", 14, 20 prints, 590 pages)
Jianzang Seal: Approved by Tang Yun
Title: B Ugly Xia Five, Mr. Feng Huaiweng Qingjian. Ancient Hangjin Nong Book.
Caption:
1. Mr. Dongxin lacquer book authenticity. Seal: Approved by Tang Yun
2. Mr. Dongxin's silk lacquer book is authentic. Plutonium Seal: Medicine Man
Explanation: There is Jinniu Rock in the southwest of Changsha. During the Han Dynasty, Father Tian led a red cow to tell the fisherman that he wanted to cross the river, and the fisherman yun: The boat is small, will it win the cattle? Father Tian: But compatible, not heavy on the king's ship. So the people and cattle are on the table. And half of the river, cow dung on the boat, Tian Father said: this is a gift. Having crossed, the fisherman was angry at his dirty boat, and scratched the dung in the water, and wanted to exhaust it, and he knew that it was gold. Surprised by its strangeness, it is a creep, but I see the cattle people entering the mountains. Dig it up and don't get there. The fisherman's digging place still exists today.
Description:
1. "Yiyuan Yuying", No. 24, Shanghai People's Fine Arts Publishing House, published in 1984.
By Word:
In the Qing Kangyong era, the study of thesis was popular, and the pavilion style stifled many people's writing talents. Jinnong went against the times and "shamed the scribes as slaves." Excavate ancient styles from the Han and Wei inscriptions and find the way of innovation. His lacquer book is a unique creation that takes the ancient as the new. This scroll book was written in the tenth year of Qianlong when Jin Nong was fifty-nine years old, with a straight and frank square, with few waves, thickness and thin changes, but there is no disease of domineering and rigidity; with ink thick black, but there is a clear breath, the atmosphere of the book is very strong. This is due to his erudition, high connoisseurship, rich and natural content. It was once collected by Mr. Tang Yun and was photocopied in the Complete Collection of Chinese Calligraphy and the 24th issue of Yiyuan Ying.
Jin Nong (1687-1763)
Ink on paper vertical shaft 116×45.5cmcm
Plutonium Seal: Jinnong Seal Letter, Shoumen
Inscription: Over Yuchen Guan Tan Shangzuo, Decoupling Early Summer Book in Taizhou Zhouzhong, Qiantang Jinnong.
Explanation: Pure difficulty spit sitting on the new spring open cold bamboo noise filter cloud first feel the scenery of the living dai scenery of the name of the ring xiang xiang as in the Dongxiao Palace poor staff dial.
Jianzang Seal: Liu Mansheng Seal
Created in: 1733
Auction: Guangdong Chongzheng Auction Co., Ltd. "2015 Autumn Auction" Special Session Jiuteng Bookstore Collection of Famous Calligraphy and Paintings 2015-12-18
Estimate RMB 800,000-1,200,000
Realized price RMB 2,760,000
Five Old Tuji Date Unknown Paper Length 117 cm Width 52.3 cm Collection of Guangdong Provincial Museum
Yuchuanzi Tea Lover Age Unknown Paper Length 124.5 cm Width 50 cm Collection of Zhejiang Provincial Museum
Jinnong loves tea, and there are several pieces of his calligraphy that involve tea, among which the Zhejiang Provincial Museum has a painting of Lishu Tang, from which Mr. Dongxin's insights on tea can be seen:
Yuchuanzi loves tea, see the tea song he gave, Liu Songnian painted this, the so-called broken houses, a woman barefoot fan to the fire. The soup of the bamboo stove is not ripe, and the slave with the long beard returns to the big scoop. Tamagawa Zi fang sat leaning on the case, with the wind on his side, waiting for the entrance of the seven bowls, and said that it was wonderful for the painter. Tea is not easy to cook, to taste the "Tea Sutra", "Water Products", and taste its method in the high people, the first to know the cooking rate of people are rambling, and those who really know its taste are rare. Whoops, Andrea-like Tamagawako talks to him about things! Keep the mountain people Jinnong.
Jin Nong's love for tea is revealed from the works, probably because he saw Liu Songnian's "Lu Tong Boiling Tea Diagram" and felt it (Jin Nong once copied a Song "Mr. Yuchuan Sencha Diagram", I don't know if it is Liu's work). From jinnong's description of Liao Liao's words, the image of several broken houses and Tamagawako sitting quietly waiting for soup vividly emerged. Jin Nong's pen turned sharply, and then talked about the way of cooking tea, "tea is not easy to cook", it is indeed an insider's words, Tang Dynasty Lu Yu once said in the "Tea Classic": "Its fire, with charcoal, the second use of hard wages." Its charcoal was once burned to the point of grease, and anointing wood, vandalism, and not use... Its water, with mountains and waters, river water, wells underwater... Its boiling, such as the fish's eye, has a slight sound, for one boil, the edge is like a gushing spring, two boils; tengbo drum waves, for three boiling. Already on, the water is old and inedible also. ”
We can see from Jin Nong's works that he not only studied the Tea Classic and the Water Products (written by Ming Xu Xianzhong) but also learned this from tea cooking experts. Therefore, I have a profound understanding of the seemingly easy cooking of tea, which is by no means a vassal of elegance, and pretends to be a noble word. Because of this, Jin Nong could see through the essence of some of the "cooking tea" methods at that time: "The cooking rate of people is full of waves, and those who really know its taste are rare."
Mr. Dongxin let out a long sigh in his work, "Whimper", and felt how difficult it was to find someone who was proficient in this way like Lu Tong to practice tea art. The meaning seems to be outside of "cooking tea".
At the age of 59, Jin Nong also wrote a scroll of "Shu Cha", which read: "Collecting Ying in the mountains, writing in Yu; Jing Lie, Purify Shen Yu. He also wrote Su Dongpo's tea poems: "Knock on the fire and send mountain springs, cook tea to avoid the forest." The bright window poured purple cups, the color and taste were amazing, I took the ear, and I wanted to die. Quite laughing at Yu chuanzi, hungry for three hundred months, like a mountain man, sleeping with mountain flowers. Whoever is with the same, there is no rut outside the door. ”
Jin Nong (1687-1763) wrote about Xu Bozhen's deeds
Ink on paper vertical shaft 130.5×61cm
Plutonium Printing: Jinnong Seal Letter, Paper Qiu Laosheng
Title: Brown Pavilion Three Brothers Good Friend Genus, Brother Jin Nongshu.
Interpretation: Xu Bozhen character Wen Chu, tai the last person. Less lonely and poor, learning books without paper, often with bamboo arrows, leaves, and bananas. The mountains and rivers burst out, and Bo Zhen sat tired of the bed, reciting books without quitting. There is Jiuyan Mountain in the south of the house, and the hermitage of hou hanlong hill. Many dragons have tamarinds, and Bo Zhen moved to it. A catalpa tree is born in front of the door, and it is hugged in a year. The four brothers are all white-headed, and the relatives are called Sihao.
Jianzang Seal: Haichang Qianjing Tang Collection
publication:
1. Catalogue of Ancient Chinese Calligraphy and Painting (XII), pp. 159, Shanghai 11-305, Cultural Relics Publishing House, 1993.
2. "Jiade Ten Years of Fine Works: Ancient Chinese Calligraphy and Paintings, Rare Books", p. 104, Cultural Relics Publishing House, 2003.
3. "Twenty Years of Jiade", ancient books and scrolls, page 675, Palace Press, 2014.
4. "Chronicle of Jinnong Calligraphy and Paintings" (Part 2), p. 66, People's Fine Arts Publishing House, 2007.
1. "Records of the Appraisal of Ancient Chinese Calligraphy and Paintings" (蟠), by Lao Jixiong, p. 1915, Oriental Publishing Center, 2011.
2. Notes on the Appraisal of Ancient Chinese Calligraphy and Painting (Wanton), by Yang Renkai, p. 1602, Liaoning People's Publishing House, 2015.
In the prosperous era of the Three Dynasties of Qing Kang Yongqian, Jinshi Examination was flourishing, and as a famous scholar of steles, Jin Nong originally created the "lacquer book" of the northern stele lishu into the book. This "Lishu Xu Bozhen Deeds Axis" book in the Wusi column, Lishu knotted words are rigorous, the glyphs are flat, the waves are obvious, and the meaning of "lacquer book" is initially taken on, but the pen has not yet been folded as hard as in his later years, when it was a work when the book body gradually matured during Jinnong's fifties and sixties.
The Lishu Xu Bozhen Deeds Axis is a biography of Xu Bozhen (414-497) in the Lishu excerpt from the Lishu History, which should be "the three brothers of the Brown Pavilion and the good friends". "Brown Pavilion" should be Jin Zhaoyan (1719-1791), the character Zhong Yue, the number of the Palm Pavilion, alias Wucheng Waishi, Lan Gaosheng, Anhui Quanjiao people. A famous poet and opera composer in the Qianlong period.
Jin Zhaoyan had entered the Lu Dynasty Shogunate, a professor at the official Yangzhou Prefecture, a doctor of the Later Migration State Zijian, a shengjian ( Shengjian Cheng ) , a branch school " Four Libraries quanshu " , Qianlong forty-six years (1781) resigned from Beijing to return to Yangzhou. Jin Zhaoyan was active in the literary circles and opera circles of Yangzhou, and during his time in Yangzhou, when he met the former shogunate and the Yangzhou Fuxue professors, he had contacts with Zhao Yi, Yuan Ming, and Jiang Shiquan of the Three Greats of Qianlong, Fang Bao, Yao Nai, and Liu Daxun of the Tongcheng Sect, Zheng Xie and Jin Nong of the Eight Monsters of Yangzhou, and Li Yan, Shen Deqian, weng Fanggang and other literati and scholars of the Qianlong period of the Zhejiang school.
At the time of the Qing Dynasty' Kang and Qian, Yangzhou was the center of salt transportation and water transportation in the southeast, and the two Huai salt classes accounted for one-third of the Qing court's fiscal revenue. The economic prosperity also created cultural prosperity, and Yangzhou became the cultural center of the southeast at that time. Poets, calligraphers, painters and opera composers from all over the country also gathered in Yangzhou, so there is a saying that "Guangling is the great anti-brigade of the people of the world, and all those who are talented and artistic do not live in Guangling, and gai is like the residence of hundreds of workers". Jin Nong can play and sing the rhythm of zhiyin, and his "Mr. Dongsheng Self-DuQu" is a product of the background of this era, and it is not surprising that he met Jin Zhaoyan, who was active in the literary circles and opera circles in Yangzhou at that time. At the request of Jin Zhaoyan, Jin Nong also inscribed poems for the portrait of Jin Zhaoyan's friend and kunqu famous Lingdinglang.
Xu Bozhen in the "Lishu Xu Bozhen Deeds Axis" in his early years was poor, and later he studied hard, was proficient in scripture history, and also studied the old Zhuang of the Ming Shi clan, which was famous and admired by the scholars at that time, and had more than a thousand disciples. Jin Zhaoyan was also born into poverty, and the road to the imperial examination was quite unsmooth, and Qianlong thirty-one years (1766) Fang Zhongjinshi. In the early years of Qianlong, Jin Zhaoyan was appointed as a professor of Yangzhou Fuxue, advocating elegance, encouraging backward progress, and carefully cultivating talents. The similarities between the two experiences, it is also reasonable to ask Jin Nong to write Xu Bozhen's deeds.
The "Lishu Xu Bozhen Deeds Axis" is stamped with the seals of two jinnong, and one of them is "paper Qiu Laosheng". "Lao Sheng", also known as "Su Sheng", is a kind of role in traditional opera. "Sheng" line plays a positive character of the middle-aged and elderly man in the play. The so-called "paper qiu laosheng" is wearing a "paper coat" to play the "Su sheng" person in the drama. Jinnong never met in his life, spent most of his life in ups and downs, and clothed for life. Taking this as another name seems to show the poor character of Jinnong who was willing to replace Qiu with paper in this period.
This work was once collected by Qian Jingtang, a famous collector in modern times, and later entered the Shanghai Cultural Relics Store, and was included in the "Catalogue of Ancient Chinese Calligraphy and Paintings" as an important calligraphy and painting.
On painting miscellaneous poems
The sequel to Mr. Winterheart is self-prologue
This picture shows a self-portrait of Jin Nong, one of the eight monsters of Yangzhou, when he was 73 years old. In the painting, the old man is dressed in cloth and stands sideways with a staff, with a firm posture and a detached look. His head painting method is more realistic, with the characteristics of portraiture, thick long hair, thin hair braids, and sparkling eyes, which truly depict the characteristics of Jinnong's own stubborn and proud personality.
The physical appearance of the characters in the picture is not similar, extremely exaggerated, with a comic meaning, which is a portrait of a literati painter Yibi. The painter sketches the figure with a scorched ink thirst pen, and the lines are clumsy and simple, which is born from the "Orchid Leaf Painting" of Ma Hezhi of the Southern Song Dynasty, and together with the "lacquer book" of the inscription and poetry, it reflects the jerky and simple and unusual style.
Jinnong", "Ink Flower Album"
Ink on paper
Length 21.8 cm Width 30.3 cm
Zhejiang Provincial Museum Collection
Mr. Winterheart Flower Book. Xu Shu Cen (Zhu Wen)
Gago Self-portrait
Money
Wang Nanping is the first of the calligraphy and painting books. Shoumen.
Plutonium printing
Jin Ji Jin Yin (White Text) Collected by the Chunfeng Pavilion (Zhu Wen)
Jinnong Red Orchid Figure Silk color
63.7×40.5 cm Collection of the Palace Museum, Beijing
This painting depicts a red orchid hanging upside down. Light ink slightly adds stone green, spills out flowing orchid leaves, and uses dry ink to outline the edges, and the pen is free. Write orchids with rouge dots, heavy colors slightly outline the ribs, and burnt ink dots jacquorella buds. The color is bright and vulgar, flexible and fresh, the penmanship is free and unrestrained, and the ancient and beautiful show reflects the author's unique and unconventional artistic perspective.
Jinnong plum blossom diagram
Collection of the Nelson-Atkins Museum of Art
Jinnong Bamboo diagram Vertical shaft, paper, ink pen
Length 112 cm, width 30.6 cm, Shanghai Museum collection.
In his self-title, the author said that the bamboo he painted "has no dashing posture and has a haggard appearance". In the painting, the bamboo leaves are obscure and sticky, like dust and thick, desolate and desolate. The thick and light ink color creates a profound artistic conception. The composition is elegant and pleasant, and the beauty is extraordinary.
Qing Jinnong Plum Blossom Chart Axis On paper, coloring, ink pen
130.2 × 28.2 cm. Collection of the Friar Museum
In the picture, take a section of the old trunk of the plum tree, through the middle of the frame, stand on top of the sky, the layout is amazing, and the branches are laid with a large pen, the small pen is hooked, the branches are densely branched, interspersed left and right, and the branches are written in light ink full of moisture, and the thick ink is dotted with moss, which shows the character of the old Mei Linghan. "The flowers are confused, like the direction of the dawn snow." At the upper end of the right side, there is the author's own inscription, which is known to be a remembrance of the love affair of Guan Yuan to Daxin Shaofu Gong Fan Dwarf Plum Scroll fifty years ago, and the paragraph is signed: "Recommend the erudite macro word Hangjun Jinnong Painting Record, when the age of seventy and five." "This is a meticulous work for the elderly Jinnong.
Jinnong Momeitu
Jinnong Red and green plum blossom figure Vertical shaft, silk color
Length 138 cm, width 65.5 cm. Collection of Shanghai Museum
This painting can be seen from the title of the painting as a masterpiece of the pink and white plum method created by Jin Nong's Yuanren Xingong and Wang Mian, which are collected in one painting. The flowers are dense and full of life. Paint dry with a large brush of light ink, thick ink dots of moss, and dense branches. Hook flower dots, dye petals with pink zhu and lead white dots, beautiful and transparent, with dark incense floating, rhyme with a sense of tranquility, and sign the "Seventy-three WengHang County Jinnong Ji". It is one of the representative works of the author in his later years.
Jinnong Ink Bamboo
Golden Farmer Wildflower Grass
Jinnong sketches
Jinnong (section) Chengzi (1756) as a landscape vertical axis
plums
Jinnong Qianlong twenty-second year (1757) made
Spring horse vertical shaft
Jinnong made a double-life vertical shaft in 1756
Golden Farmer Cottage Reel Mirror Heart
Jinnong plum blossom vertical shaft
Miscellaneous albums
Memetu
Plum blossom diagram
Kurama diagram
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