Recently, the "Hanmo Danqing: Exhibition of Fine Calligraphy and Paintings collected by the Shanxi Museum" opened in the calligraphy and painting exhibition hall on the fourth floor of the Shanxi Museum. "The Paper, Ancient Art" (www.thepaper.cn) learned from the Shanxi Museum that the exhibition is divided into two parts: painting and calligraphy, and exhibits 86 pieces (groups) of calligraphy and painting works from the Yuan, Ming and Qing dynasties in the Shanxi Museum. The paintings begin with literati paintings by Wang Yuan and Gu Anmohua and Ink Birds of the Yuan Dynasty, while calligraphy includes the authentic thesis of Wen Zhengming, Zhu Zhishan, and Dong Qichang. It is worth mentioning that the legacy of a generation of famous generals Qi Jiguang also appeared in the exhibition hall. In short, heavyweight exhibits such as Wang Yuan's "Peach Bamboo Brocade Chicken Scroll" in the Yuan Dynasty, which were displayed to the audience again more than ten years later, is a highlight of the exhibition.
The Shanxi Museum said that although the works in this exhibition belong to the jiguang pieces, they also make the development of Chinese painting and calligraphy for hundreds of years have traces to follow. "Thoughts of the wind, by the comers."
Wang Yuan", "Peach Bamboo Golden Chicken Diagram" Yuan Zhizheng 3rd year (1343) silk
Wang Shu "Seal Book Maxim Axis" Qing Yongzheng Eleventh Year (1733) Paper by Mr. Luo Jingyi donated
According to the information provided by the Shanxi Museum, the part of the painting of flowers and birds in the painting began with the ink flowers and ink birds of Gu An's "Wind and Bamboo Diagram" and Wang Yuan's "Peach Bamboo Jinji Diagram" in the Yuan Dynasty, and the small freehand flower and bird paintings turned into the large freehand realm of Zhu Yun, Gao Fenghan, Zheng Banqiao, Li Cicada, Wu Changshuo, etc.; the landscape painting part began with the Zhejiang landscapes of Xie Shichen and Lan Ying, and returned to the Nanzong cultural context of Wang Jian, Wang Yi, and Wang Yuanqi in the Qing Dynasty; the figure painting part was mainly based on the works of Jie Qi and Luo Ping.
Wang Jian ,Imitation of the Beiyuan Landscape Axis, Seventeenth Year of Qing Shunzhi (1660) on paper
Wang Yun's "West Garden Yaji Chart Axis" clear silk book color
"Wind and Bamboo Diagram Axis" was painted by the Yuan Dynasty painter Gu An, painting two poles of tender bamboo in the picture scroll, with the weight of pen and ink, dry and wet and dense gathering, to express the unique melody and rhythm of bamboo swaying in the wind. Bamboo branches emerge from the lower left corner of the picture, which is a folded branch of wind bamboo, not a panoramic composition. Bamboo because of its unique temperament has been compared to a gentleman since ancient times, the painter does not paint the comprehensiveness of bamboo, but only grasps the two or three poles of bamboo swaying in the wind, the bamboo is not afraid of the wind and rain of the gentleman quality is expressed, enough to see the yuanren painting in the rewriting, heavy ink of the literati interest. The department "Gu Dingzhi, the old man of Pedantic Ne, is good at writing in The Green Wave Xuan", and the two seals of "Gu Ding's Seal" and "Old Man of Pedantic Ne" are printed. There are also inscriptions by Zhang Sheng, Yu Zhenmu, Ding Min and others. This picture was donated by Mr. Qian Zizi in 1986.
Gu An "Wind and Bamboo Chart Axis" Yuan Paper Book Mr. Qian Zi donated
Gu An (1289~1365 later), also spelled Dingzhi, was a native of Suzhou, Jiangsu Province. Good at painting ink bamboo, especially like to paint wind bamboo new basket. The painting method is the head of Wen Tong, Ke Jiusi and other families. He is also good at calligraphy, and is a good calligrapher. His heirloom works are very few.
The painter Wang Yuan, who was a contemporary of Gu An, was a representative figure of the small freehand flower and bird paintings of the Yuan Dynasty. Wang Yuan, who was active in the late 13th and early 14th centuries, was a native of Hangzhou, Zhejiang. Proficient in flowers and birds and ink bamboo stone, once taught by Zhao Mengfu. His painter Guo Xi, the character teacher Wu Daozi, the flower and bird painter Hou Shu Huang Xiao, and Xia Wenyan's "Picture Painting Treasure Book" commented that "all the paintings are ancient masters, and there is no courtyard body". The "Bamboo and Stone Collection of Poultry Diagrams" collected by the Shanghai Museum, the "Taozhu Jinji Tu Axis" collected by the Palace Museum, and the "Taozhu Jinji Tu Axis" collected by the Shanxi Museum are all his representative works. His flower and bird paintings had a great influence on the flower and bird paintings of the Ming Dynasty.
This painting of the Peach Bamboo Golden Chicken Picture Axis collected by the Shanxi Museum depicts a mountain peach plant, the flower buds are first blooming; next to the mountain peach is nestled in the green bamboo several poles, the golden chicken stands on the slope stone, the spotted dove and flutter around the tree and flapping their wings, and the fine grass orchid and the stream flowing spring are all exquisitely depicted. The inscription on the right stone is "To the third year of the third year of the winter month Qiantang Wang Yuan Ruoshui for Zhonghua Liangyou painting". It was painted in 1343, and this is the earliest surviving work of the painter's creative age.
Qi Liaozao Xingshu Scroll Qing Ayaben
Xu Wei "Cursive Wing Moon Word Axis" Ming on paper
The collection of calligraphy works is also fascinating. First of all, in addition to the calligraphy works of Wu mencaizi Wen Zhengming and Zhu Zhishan in the Tang Dynasty, there were also the calligraphy works of Dong Qichang, Chen Jiru, Ni Yuanlu, Xu Wei, Zhang Ruitu and other families of the late Ming Dynasty, as well as the calligraphy of Liu Yong, Wang Shu, Bao Shichen, He Shaoji, Zhang Tingji, Yin Bingshou and other Qing Dynasty calligraphers. It is worth mentioning that in the middle of the calligraphy exhibits, you can also see the poem scroll of Qi Jiguang, a famous general of the Anti-Wu Dynasty, "Sending Li Xiaoshan to Penglai". In addition, in this exhibition, Fu Shan, Zhao Changxie, Chen Tingjing, Yu Chenglong and other famous works of Shanxi's historical celebrities are particularly eye-catching. Among them, the Shanxi Museum relies on the advantages of the rich collection of Fu Shan's works, and a total of 13 Fu Shan calligraphy works are unveiled in the exhibition hall.
Qi Jiguang Xingshu "Sending Li Xiaoshan back to Penglai Poems" Axis Ming Longqing 4th Year (1570) Silk Book
As we all know, Qi Jiguang was a famous anti-Wu general in the middle of the Ming Dynasty. His heirloom calligraphy is rare. This painting "Sending Li Xiaoshan back to Penglai" is a scroll of calligraphy and poetry, which is a work of Long Qinggeng in the afternoon year (1570 AD). This scroll is written for the title of a friend Li Xiaoshan, and the poem reads: "Flea (early) year to form a society under Penglai, tucked on the reunion of each two hairs." Heaven and dragon snake opened a pen array, and the earth divided the (pí) tiger shame RongTao. The sound of rain sprinkling on the outskirts of the countryside is fine, and the islanders return to the sea. Cong Guifang should enter Yue, and Bian Zhou is everywhere junhao. Longqing Geng noon summer in June Meng Zhuzi Qi Jiguang shu in Jidong's Yunbi Zhai. This poem was written after Qi Jiguang put down the rebellion and when he was guarding the Northern Imperial Tatars of Jizhou, the poem recalls the past of his early acquaintance with Li Xiaoshan and the deeds of serving the country in his prime years, and at the end of the poem, he expresses Qi Jiguang's expectations in his heart: When the world is at peace and the osmanthus flowers are fragrant, they meet in Jiangnan and ride a flat boat with one leaf to talk with Jun (Li Xiaoshan).
In the poem, it can be seen that the author is full of pride, and his calligraphy is even more unbridled and scrappy. The books on the paper, such as the spear and euphorbia, the sword and the sword, stretched horizontally and horizontally, can be seen to be deeply influenced by Huang Tingjian, which also inherits the Huang Tingjian style advocated by Wumen Shen Zhou, Wen Zhengming, Zhu Yunming and so on. It not only has the habits of the times, but also highlights the mighty and majestic style of a generation of famous generals. Words like people, as can be seen.
Fu Shan's cursive book "Reading the Scrolls of the Histories After the Southern Crossing of the Song Dynasty" Qing Silk Book
In the exhibition hall, the largest number of works is Fu Shan's calligraphy. Fu Shan (1607~1684), the character Qing Lord, alias numerous, Shanxi Yangqu people. A famous scholar and calligrapher of the Qing Dynasty, he wrote the "Collection of Frost Red Niches". His calligraphy is true, seal, subordinate, and grass, and his works are mostly cursive. There are many in the exhibition, such as cursive "Reading the Scrolls of the Histories of the Southern Crossing of the Song Dynasty", "Cursive "Jiujin" Axis, Cursive "Husband" Axis", Cursive "Fu Xiangqing heti" Axis, Cursive "Liujia" Axis" and cursive "Tangxi" Axis. Among them, the cursive book "Reading the Scrolls of the History after the Southern Crossing of the Song Dynasty" is a masterpiece of its own. The explanatory text reads: "Reading the histories of the Song Dynasty after the Southern Crossing, the so-called arrows are not fast, and the arrows are broken." Li Boji is not as attentive as the southerners. Ju Gong (bow) exhausted, only seen after The Marquis of Wu. Mountain-hee-you-han day puppet book. "The calligraphy is ethereal, uninhibited, full of strong sense of rhythm and shock. From the lines, it can be seen that Fu Shan was deeply disappointed in the Southern Song Dynasty court's inability to forge ahead and his great admiration for the confrontation with the Jin general Li Boji (Li Gang).
Zheng Xie , Lanzhu Stone Chart Banner , Qianlong Twenty-seventh Year of the Qing Dynasty (1762) on paper
As one of the "Eight Monsters of Yangzhou", Zheng Banqiao was famous for painting orchid bamboo in later generations. In the exhibition, Zheng Banqiao's "Lanzhu Stone Diagram" is particularly exquisite, this painting is painted with calligraphy with a pen, the ink color is thick and light, the picture is dense and dense, the poetry and painting complement each other, and the paintings complement each other, and the section is written by the painter at the age of 70.
It is reported that the exhibition will last until November 25.
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