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The surging news learned that the "Miao Dye Seeking The Secret - Shandong Province Ancient Painting Fine Painting Exhibition" was previewed at the Shandong Museum yesterday, and 74 pieces (groups) of Yuanming famous relics from six museums in Shandong Province were collectively presented for the first time on a large scale, and the works on display included the "White Lotus Diagram" volume of Yuan Qianxuan excavated from the tomb of King Lu Huang, Cui Zizhong's "Spring Night Feast Peach and Plum Garden Chart Axis", and Zhang Xingyu's "Filial Piety Map Album" of the first-class cultural relics of the Ming Dynasty. This exhibition is the largest painting exhibition since the establishment of the Shandong Museum.
According to reports, this exhibition brings together 74 pieces (groups) of paintings from six museums in Shandong Province, selecting rare treasures of yuanming masters, including the court paintings of Lin Liang and Lü Ji, the literati paintings of Qian Xuan and Ni Zhan, the flowers, birds and landscapes of Zhou Zhimian and Dong Qichang, and the quaint and elegant figures of Chen Hongshou and Cui Zizhong. The exhibition also selects precious Yuanming famous calligraphy and paintings collected by the Shandong Museum, among which there are precious fine cultural relics such as the "Yuan Qian Xuan White Lotus Diagram" volume excavated from the tomb of King Lu Huang, "Cui Zizhong's Spring Night Feast Peach and Plum Garden Chart Axis", the length of the time span and the wide range of genres can be described as unprecedented, which is the first large-scale collective display of Danqing's best in Shandong Province.
Qian Xuan's "White Lotus Picture Scroll", because it was soaked in water for too long, the color applied to the picture fell off seriously
Among them, the "White Lotus Picture Scroll" selected by the Yuan Dynasty painter Qian Xuan is the biggest harvest from the excavation of the tomb of King Lu in the Ming Dynasty. In early 1971, the Shandong Provincial Museum excavated the tomb of King Lu in Jiulong Mountain, Zoucheng. The "White Lotus Picture Scroll" found from it is a pity that it has been soaked in water for too long, and the color applied to the picture has fallen off seriously, only the black dots of the lotus stem are remembered, and the rest have been decolored and become white pictures, as if to better represent a real "White Lotus Map". The painting is colored on paper, 32 cm in length and 90.5 cm in width, painted on the roll with white lotus and new lotus, the painting method is fine and rigorous, the composition is elegant, showing the noble sentiment of the white lotus out of the sludge without staining. The left part of the painting is the author's inscription poem and text: "The white jade flowers of the Yao pond are still and quiet." The ghost does not drink idle with the staff, but remembers the fragrance accompanied by the moon flower. Yu changed his name to Xia Xi Weng, and there were many fakes, and because of the novelty, he made the counterfeiters know what they were ashamed of. Qian Xuan Shunju. Zhu Wenyin "Shunju", Bai Wenyin "Seal of Qianxuan".
Qian selected parts of the White Lotus Scroll
At the back of the painting is the collector's inscription, 32 centimeters in length and 109 centimeters in width. Yuanren Feng Zizhen said: "The Crystal Palace Hall is old and luxurious, once married to The Fentoli flowers, remember the Kuang Lu Branch, and the countless auspicious gourds in Donglin." The Buddha's family takes the white lotus as the fendoli flower, the eastern forest planted by the old and distant plants in Lushan Mountain, and the Kenqi of the Ganzai Purification Society. Money is already in the works, it is rare, and it is a treasure to be cherished." The department is "HaiSu", and Zhu Wenyin is "Strange Daoist".
Ming Wen Zhengming "Shanshui Xingshu Album"
Zhang Hong's "Fishing Music Picture Scroll"
Zhang Shunzhi "Goshawk Bamboo Wu Diagram Axis"
Wandering in the exhibition hall, various calligraphy and painting works reflect the colorful and graceful culture of different historical periods. Stop one by one, savor, feel Li Taibai's dashing heroism in Cui Zizhong's "Spring Night Feast Peach and Plum Garden Chart Axis", admire Du Fanchuan's heroic and handsome in Zhou Chen's "Fenglin Parking Chart Axis", the spirit of masters of different eras spans time and space, and sympathizes with each other in works of art, there is poetry in painting, and there is painting in poetry.
Coloured floral book on silk
Shen Zhou's "Basho Chart Axis"
In the fifteenth year of Tang Kaiyuan, the twenty-seven-year-old Li Bai "went to the country with a sword and resigned his relatives to travel far away" and stayed in Anlu. One spring night, Taibai invited the brothers to drink and write poems, take a candle night tour, and when the wine was full of fun, he lamented that the heavens and the earth were vast, time was fleeting, life was short, and there was very little joy, leaving a thousand-year sigh of "Floating Like a Dream, For The Geometry of Joy" in the "Spring Night Feast from the Preface to the Peach and Plum Garden".
Ming Cui Zizhong "Spring Night Feast Peach And Plum Garden Chart Axis"
The Ming Dynasty figure painter Cui Zizhong created the "Spring Night Feast From the Preface to the Peach and Plum Garden" as the content, focusing on "Floating Life Like Dreams, For Joyful Geometry" to depict a picture of a beautiful night and the gathering of talents, showing the theme of "opening the Qiong Feast to sit on flowers, flying feathers and drunken moon".
In the picture, Li Bai's hair is tied without a crown and sitting with a cup, a friend is already drunk, a friend is sitting on a high seat against the armrest, two waitresses are holding wine utensils, making preparations for wine, the stone case is red candles are illuminated, and a maid raises her arms to cut candle flowers. Li Bai and his friends are full of pride and pride, the maid is slender and delicate, light and handsome, behind the crowd is a large peach forest, full of trees and peach blossoms like stars, flashing and blooming in the spring night garden.
Ming Chen Hongshou 'Ladies Picture Scroll' partial
Cui Zizhong and Chen Hongshou, known as "Southern Chen Bei cui", are the most outstanding representatives of figure painters in the late Ming Dynasty, attracting attention in the history of Chinese painting, carrying countless reputations, and having a huge impact on future generations. They combine the traditions of the five dynasties of the Jin and Tang Dynasties and the traditions of folk art, and the face is clear and distinct, creating "potential" and "force" under the catalysis of elements such as pen and structure, which radiates the tension and atmosphere rarely found in traditional literati paintings, so that readers can appreciate the unique atmosphere of the special era of the late Ming Dynasty.
In the ninth year of the Reign of Emperor Mu of the Eastern Jin Dynasty, Wang Xizhi, Xie An, Sun Qi, and forty-one other high-ranking military and political officials, who "had the ambition to cross Zhejiang for the first time", "repaired" at Lanting in Shanyin (present-day Shaoxing, Zhejiang).
Ming Zhao Pu's "Lanting Xiu Zen Picture Scroll" part
At this elegant gathering, the participants wrote poems in the stream, each lyrically embraced, copied into a collection, and elected the convener Wang Xizhi to make a preface record, which achieved the "Lanting Collection Sequence" that had been recited for generations, and also responded to the prophecy at the end of the article that "those who see later will also feel Sven".
In the late Ming Dynasty, Zhao Pu, a native of Huating (present-day Songjiang, Shanghai), was good at painting landscapes and created the "Lanting Xiuyu Picture Scroll" to depict the spring scenery of the sky and clear air with a small green painting method, showing the joyful scene of Wang Xizhi's "Orchid Pavilion Collection Sequence" Chinese renya collection cultivation. In the painting, the mountains are stacked, the forests are repaired, the turbulence of the clear stream twists and turns, the sages gather at the water's edge, the water flows, drinks and writes poetry, and tells the humor.
In the late autumn cold mountains, a group of tourists stayed on the rugged path, nostalgic for the colorful and bright autumn colors of the mountains and forests in front of them. The late Tang Dynasty poet Du Mu, who departed from the traditional literati's sense of sorrow and autumn, ingested brilliant autumn colors in the autumn wind of Xiao Ser, competed with the spring light, and left a harmonious and unified picture composed of mountain roads, people's homes, white clouds and autumn leaves for posterity with a poem "Mountain Walk".
Ming Zhouchen "Maplewood Parking Chart Axis"
Zhou Chen, a well-known and influential painter in the middle of the Ming Dynasty, took Du Mu's poem "Stop and sit in love with Fenglin evening, frost leaves are red in February flowers" and created "Fenglin Parking Chart Axis", in order to express his admiration and appreciation for Du Fanchuan's poetic talents. In the distant view of the picture, the mountains are undulating, and the maple forest looms in the near-view of the steep and steep peaks, the waterfalls are flowing straight down, and the six people under the mountain stop to enjoy the scenery. The mountain stone is outlined with thick ink and heavy pen, light ink is dyed, and the maple tree is filled with double hook color, and the brushwork is fine. The whole picture is grand and the artistic conception is far-reaching, which can be described as poetic and picturesque, which complements each other perfectly.
Lu Zhishuang "Falling Flat River Chart Axis"
Exhibition site
Exhibition posters
Exhibition Title: "Mysterious Dyeing and Seeking Humor - Shandong Ancient Painting Exhibition"
Exhibition time: August 26 to November 26, 2020
Exhibition venue: Hall 11, 2nd Floor, Shandong Museum
(This article is synthesized from Shandong Museum, Impression Qilu WeChat public account)
Editor-in-Charge: Ruoxi Chen