Zonghe
The geography and humanities of Songjiang in the Yuan Dynasty had an important impact on the artistic life of famous painters who were active in Jiangnan at that time. The painter Cheng Shifa collects Yuan Dynasty paintings, all of which are famous works related to the humanities of Songjiang in the Yuan Dynasty, which can be regarded as treasures, and from one side outlines the grand situation of "tilting the three Wus" in the Songjiang painting circle of the Yuan Dynasty.
The surging news learned that the "series of exhibitions commemorating the 100th anniversary of Mr. Cheng Shifa's birth and the series of exhibitions of 'Jiangnan Landscape': Returning to Songjiang - Cheng Shifa Tibetan Yuan Dynasty Landscape Painting Research Exhibition" these days is being exhibited at the Songjiang Cheng Shifa Art Museum, and the exhibition is centered on nine pieces of Cheng Shifa Tibetan Yuan Dynasty landscapes, divided into eight chapters, namely "Noble Ancient Meaning", "Round and Strong", "Ancient Humble Xiuyi", "Qinhe Double Absolute", "Qingyi And Light", "Distant and Quiet", "Dense Imagery" and "Xiuzhu Yuanshan", each chapter focuses on one or two works, through the painter The combing of works, inscriptions, and stamps tells the public the story of the creation, circulation and connection between these works and Songjiang.
Wind bamboo diagram (partial)
Songjiang in the Yuan Dynasty, located in the center of Jiangnan, was active in Jiangnan at that time, and there were almost no famous painters who had never come to Songjiang, especially Zhao Mengfu, Huang Gongwang, Ni Yunlin, Wang Meng, and Yang Weizhen. The geography and humanities of Songjiang have had an important impact on their artistic life, and their art has also enriched the humanistic art of Songjiang. At that time, Songjiang had four cultural celebrities with national influence and hospitality, Cao Zhibai, Yang Weizhen, Lu Juren, Qian Weishan, in addition to Yuan Kai, Ren Renfa, Zhu Fu, Tao Zongyi, Ke Jiusi, Xia Wenyan, Tao Shubin, Ma Wan, Zhang Zhong, Zhang Yuan, Zhang Guan, etc., and at this time also produced such painting history monographs as Xia Wenyan's "Picture Painting Treasure Book", which attracted such painting history as Qian Xuan, Gao Kegong, Gu Aying, Wang Feng, etc. to stop here, exchange ideas, deeply absorb the customs and culture of Songjiang, and use them as their own artistic nourishment." Songjiang has become an indispensable part of the history of landscape painting in the Yuan Dynasty, which has had an important impact on the style and style of Songjiang landscape creation since the Ming and Qing dynasties, and continues to profoundly influence the creation of contemporary maritime landscapes and Songjiang landscapes.
Cheng Shifa's collection of Paintings of the Yuan Dynasty, all of which are works of famous artists associated with the humanities of Songjiang in the Yuan Dynasty, can be regarded as treasures, and from one side outlines the grand situation of "tilting the three Wus" in the Songjiang painting circle of the Yuan Dynasty.
According to Mao Guolun, a painter at the Shanghai Academy of Chinese Painting, recalled in the article "Paintings in Tibet, Loving Art and Patriotism - Cheng Shifa Donated Paintings": "Teacher Cheng's good collection has a history of about 40 years, I remember that in 1960, I entered the painting academy to worship the teacher, and when I went to the teacher's house to take a class, there were already a lot of ancient calligraphy paintings on the wall, and his side 'provided for Baiyang, Qingteng, Laolian, Silla, Qingxiang, Jijin, Bada, and The House of the Two Peaks', as well as the 'Ten Dreams of Seeing Lotus Seeds'" The seal of the Ten Dreams of Repentance expresses that he admired the famous masters of his predecessors to the point of obsession. In order to collect these paintings and calligraphy, he spent years of hard work to create the remuneration, from time to time to paste many of his works to exchange with people, but also had to save money, frugality, food and clothing. In order to collect genuine and fine products, the teacher has made great efforts in the ancients, in addition to his own eyesight and experience, he does not know how many times to read and ponder the seals of ming and qing painters, according to the old comrades who originally managed the library of the painting academy, the ming and qing seals in the entire academy of cheng shifa teacher is the most borrowed. Over time, the teacher can become familiar with the style of many ancient books and painters, understand the style characteristics of their inscriptions and falling styles, and memorize the glyphs, stroke lengths, and gaps commonly used by some famous artists. Some of the ancient calligraphy and paintings collected are dilapidated, and in order to keep the famous traces of the ancients, the teacher has paid a lot of attention and asked people to carefully frame them. ”
However, Cheng Shifa often said that he was not a collector, and that the ancient calligraphy and paintings he collected were reference materials for him to study and study the art of Chinese painting, and that he had invited "teachers". In his later years, he made the decision to change the "one collection" to a national collection, so that everyone could use this batch of "reference materials" to better play its role. According to Cheng Shifa's wishes, the Cultural Affairs Bureau transferred all these more than 100 pieces to the collection of the Shanghai Academy of Chinese Paintings, and at the same time allocated special funds to print "Cheng Shifa Tibetan Painting Exhibition Museum Collection". The Shanghai Academy of Chinese Painting has set aside a floor as the "Cheng Shifa Tibetan Painting Exhibition Hall", and these collections are often exhibited.
This is the decision of Mr. Cheng Shifa to donate 122 ancient calligraphy and paintings from his family collection to the State to the Shanghai Municipal Bureau of Culture
According to the organizers, the "Commemoration of the 100th Anniversary of the Birth of Mr. Cheng Shifa Series Exhibition and the 'Jiangnan Landscape' Series Exhibition: Return to Songjiang - Cheng Shifa Tibetan Yuan Dynasty Landscape Painting Research Exhibition" takes the meaning of "Returning to Songjiang", that is, under the framework of the "Jiangnan Landscape" series, the reconstruction and re-starting of Songjiang as the starting point, through in-depth research on the history of painting and painting and the search for the actual Songjiang landscape and water humanities, hooking the association between Yuan Dynasty painters and Songjiang's calligraphy and painting, restoring the footprints and painting history of the Yuan Dynasty painters, especially the Yuansi family, in Songjiang. Through the motifs, style types, paintings, and original landscapes of the Yuan Dynasty, the cultural ecology of the Landscape Painters of the Yuan Dynasty in Songjiang was systematically promoted, and the influence on the painting art of Cheng Shifa in the Yuan Dynasty was systematically promoted, so as to highlight the value and significance of songjiang in the history of Chinese painting, humanistic history and thought in the Yuan Dynasty.
Exhibition site
The exhibition is centered on nine pieces of Cheng Shifa Tibetan Yuan Dynasty landscapes, and is divided into eight chapters, namely "Noble Ancient Meaning", "Round and Strong", "Ancient Humble Xiuyi", "Qinhe Double Absolute", "Qingyi And Light", "Cangyuan Quiet", "Dense Imagery" and "Xiuzhu Yuanshan", each chapter focuses on one or two works, through combing through painters, works, inscriptions and plutonium seals, etc., to tell the public the story of the creation, circulation and connection behind these works and songjiang.
For example, Qian Xuan's "Green Mountain White Cloud Map", by the fishing house, two tall pine trees as the closest scene, the lower left corner of the picture is weightily propped up, a curve has been, the top is not set with pine leaves, more secluded. Its brushstrokes imitate the scale-like structure of pine bark fish, step by step, the outline is slightly stained with light ochre, with a strong three-dimensional sense, and the pine leaves are accompanied by Qianxuan's unique horsetail hook needle painting method, fresh and bright. A fishing boat in Matsushita is about to set sail, and the three people have different looks and different costumes, which is quite decorative.
Yuan Qianxuan Qingshan Baiyun Tu Collection of Shanghai Chinese Painting Academy
The painting of the house of "Green Mountain White Cloud Map" has a strong "boundary painting" atmosphere, carved column Vermilion ornaments, and cornices. There are thatched civilian dwellings in fishing villages and rich and gorgeous mansions. For example, the building complex in the middle of the picture is slightly exposed in the corner of the pavilion, the pen is calm and round, the lines are not impatient, and the main body uses heavy color brush to make it contrast with the turquoise color of the mountain and wild fishing village, with various colors of miscellaneous trees, the aesthetic interest of landscape painting can be lived and swim jumped between the papers.
This painting slope stone with green as the yang, with light ochre ink dyeing the bottom, is the yin of the slope, this is the traditional green landscape color method. Based on tradition, Qian Xuan dyes the brown bottom layer by layer, and deepens the three-dimensional shadow between the stone gaps with ink color; and also creatively mixes the forms of stone green, stone blue cover dyeing, and integrated dyeing, distinguishing the stone from the slope, the shore reef and the distant mountains by color, forming a sense of layering, with the traditional antler-like and claw-like tree method, which is both ancient and different from the techniques of the predecessors, showing its superb ability to control color. According to The Seal of Plutonium, the "White Clouds of Qingshan" was the old collection of the great collector Xiang Yuanbian of the Ming Dynasty, and later handed over to Gu Song, Pei Jingfu, Di Pingzi, Cheng Shifa, etc., and successively had inscriptions by Zhang Tingwang, Dong Qichang, Di Pingzi, Wu Hufan, Ye Gongqi, Cheng Shifa and others.
Another example is huang gongwang and Wang Meng's "Qinhe Xuantu", which is the same month's work of Huang's self-painting masterpiece "Fuchun Mountain Jutu" inscribed by Huang's Self-painting in Yunjian Xia's Zhizhitang, which can be imagined as the grandeur of yunjian painting in that year.
Yuan Wang Meng Tianxiang Book House Cheng Shifa Art Museum Collection
Another work on display, "Wind and Bamboo Diagram", was erected by Yutang Yishi in the Yuan Dynasty. Yutang Yishi, whose people are to be examined, painted bamboo methods like Zhao Mengfu, so most of them are based on Zhao Mengfu's transmission of the school. The wind of painting bamboo by the Yuan people is prevalent, and it can be roughly divided into two schools: painting bamboo and writing bamboo. The former is mainly based on the green and green color of the brush, including Zhang Xun, Wang Boshi, Yang Qingxi and others; the latter is mainly ink and calligraphy, Zhao Mengfu, Gao Kegong, Wu Zhen, Ni Zhan, Li Yan, Ke Jiusi and so on. Yutang Yishi belongs to the writing of bamboo all the way. This kind of painting method, with ink as the pen, the artistic conception is clear, the lines are firm and round, solid and powerful, and the leaves are light and lively.
Yuan Yu Tang Yi Shi Wind Bamboo Diagram
The lower part of the axis of "Wind and Bamboo Diagram" paints a stone slope, and the upper part is made of two bamboos, one thick and one light, swaying due to the wind, Luobai ecology. The two poles of the main scene of the bamboo, the painting style is stable, the style is written in a decent manner, but it also has a calligraphic taste, the front bamboo is faced with thick ink, and the bamboo leaves are written in the calligraphy method, although the direction is the same, but the pieces are not the same, showing natural interest; the back bamboo ink color is slightly lighter, has the meaning of humility, and is "s" shaped, with the former slightly changed, thick and light, calm and strong. The strange stone below stands on the bamboo, dotted with a number of weeds. The stone pattern is rubbed with thick ink, and the circle is strong and thick.
At the top right of the vertical axis of the "Wind and Bamboo Diagram", there is also an inscription on the line book: "Its quality is straight and its heart is empty, and although the wind shakes the knot, it is unswerving." Another author wrote seven words and one absolute: "Remembering the past words lin chanting, the sky wind blows the blue dragon." In the picture, it seems to love current affairs, and only owes the poet to lean on the painting column. "Poetry, calligraphy and painting are good, showing the author's profound skills."
It is reported that this exhibition also specially opens up a comparative analysis of the landscape paintings of the Yuan Dynasty and the works of Cheng Shifa, which is divided into four sections: "Mountains", "Flowing Springs", "Bamboo Stones" and "Under the Forest", in order to more fully explain the relationship between Cheng Shifa and the landscape paintings of the Yuan Dynasty.
Exhibition posters
The exhibition will run until December 15, 2020.
Editor-in-Charge: Li Mei
Proofreader: Yan Zhang