Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the ancient paintings truly reflect the way of life and scientific and technological level of the people at that time, combined with the record of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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Chinese Qing Dynasty painting, under the influence of politics, economy, ideology and culture at that time, presented a specific style of the times. Scroll painting continues the trend since the Yuan and Ming dynasties, literati painting is popular, landscape painting is flourishing, and ink freehand painting is prevalent. Literati painting presents two tendencies: sublime and innovative. In terms of subject matter content, ideological interest, pen and ink skills, etc., they have different pursuits, and form a variety of styles and genres. Court painting also achieved great development during the Kangxi and Qianlong periods, and presented a new style that was very different from the previous generation of courtyards. Folk painting is most prominent in the achievements of New Year paintings and prints, showing an unprecedented flourishing situation. The historical process of the development of painting in the Qing Dynasty is related to the development and changes of the whole society, and can also be divided into three periods: early, middle and late.
In the last years of the Qing Dynasty, with the decline of feudal society, new changes took place in the field of painting. For about 200 years in the Qing Dynasty, the authentic literati painting school and the imperial court paintings were gradually declining, and Shanghai and Guangzhou, which were opened as treaty ports, had become new painting centers, and the Hai school and lingnan school of painting appeared.
After Guangzhou was opened as a treaty port, it also became a place of "opening up the atmosphere", a group of painters with innovative spirit came into being, the famous Ones are Su Liupeng, Su Changchun, Julian, Juchao, etc. Under the influence of Erju, in the early twentieth century, the "Lingnan School" represented by Gao Jianfu, Gao Qifeng and Chen Shuren was gradually formed. First of all, let's share the paintings of Su Liupeng, one of the two Sus in the Lingnan Flower Bed.
Su Liupeng (1791-1862), the character pillow qin, the number of how to Daoren, do not sign Luofu Daoist. People from Shunde, Guangdong. Qing Dynasty painters, the world called him and Su Renshan as "Lingnan painting circle two Su". He lived in Guangdong in the late Qing Dynasty. When he was a teenager, he loved painting, and he made a special trip to Luofu Mountain to learn painting from the famous monk Dekun of Baoji Temple. After completing his studies, he came to Guangzhou, where he set up a stall to sell paintings outside the City God Temple and used it to support his family. Su Liupeng is the best at character painting, and most of the content is based on the customs of the people in urban life, ordinary life, and the legends and stories loved by citizens. The character system and the line drawings of the folds of his paintings are pure and unworldly, and they have the charm of a large hand. In addition to figure paintings, Su Liupeng can also paint landscapes, flowers and birds, as well as light ink and heavy colors, and the landscape paintings and floral colors are also appreciated by Shilin with the combination of light and light brushwork, elegant changes and elegance. In the first year of Qing Tongzhi (1862), Su Liupeng died of illness in Guangzhou.
His major works include "Qingping Tune Chart", "Dongshan Baojie Map", "Taibai DrunkenNess Chart", "Su Liupeng Self-Portrait", "Tongbao Chart Axis", "Eighteen Bachelors Chart Axis", "Feng Yan Collects Debts for Meng Yujun", "Golden Lotus Return To the Courtyard Chart Axis", "Seven Sages CeJian Chart", "Two Blind Chart Axis", "Tiger Creek Three Laughing Chart", "Lanting Repair Chart", "SuWu Shepherd Picture Axis", "Qiushan Travel", "Three Gu Maolu", "GiftIng" "Qingxi Yaji Chart Scroll", "Hairpin Flower Diagram", "Dongpo Play yan", "Songshan High Lying Chart" , "Panasonic On the Taotu", "Luofu Girl Meets the Immortal Figure", "Hagi Bay Fishing Singing", "Immortal Figure", "Caizhi Tu", "Bamboo Forest Figure", "Moon night with the Qin Tu", "Listening to the Qin Tu", "Dharma Tu", "Character", "Fuqin Tu under the Tree", "Lady Figure", "Character Map", "Landscape Figure", "Banana Garden Confrontation Map", etc. are regarded as the treasures of lingnan painting by posterity.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was analyzed in "Qing Ping Tuning Map"
Qing Su Liupeng's "Qing Ping Tuning Diagram" vertical axis, on paper, color length 132 cm width 101.5 cm, Guangzhou Art Museum collection.
Su Liupenggong paints landscapes, flowers and birds, especially for his character story paintings. Learning the painting methods of Wu Wei, Lan Ying, Shangguan Zhou, Huang Shen and others, there are two kinds of appearances, extensive and meticulous, all of which can be used freely. The subjects of character painting include historical stories and folklore, and they are often painted with urban customs and civilian life, and the content is easy to understand. He has painted "Group Blind Commenting On ancient figures" and "Group Blind Gathering Bucket Diagram", which contain ironic meanings. The works are collected by officials and eunuchs and merchants, and are also hung in tea houses and village ancestral halls. He can also paint Buddhist themes, and there is the DharmaTu that has been handed down. Protégés Liu Jian, Chen Chen, He Zuohui, He Zuoyu, and their sons Su Tengjiao and Su Zihong all passed on their methods. Su Ren Shan in the same county, the character Changchun, the number Bodhi Venerable, the apricot altar Juzi, etc., are also named after the painting, and the world is called "Ersu".
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was appreciated in "Dongshan BaojieTu"
Qing Su Liupeng "Dongshan BaojieTu" on paper, vertical axis, 238 cm in length and 117 cm in width, now in the collection of the Guangzhou Art Museum.
This picture is based on the story of the "Battle of Shuishui" during the Southern and Northern Dynasties. After the Eastern Jin Dynasty minister Xie An deployed for battle, he played chess with ke under the pine trees of Dongshan Mountain, waiting for Hou Jie's report with confidence, and a cavalry in the distant mountains rushed to report the victory. The characters are portrayed in detail and their looks are vivid. The rules are rigorous, and the ink color is thick and intricate, which looks beautiful and clear.
The first impression of this painting is elegance and tranquility. In a corner of the mountain, the trees are verdant, a clear spring flows gracefully, slowly flowing down from between the mountains and stones, and the sound of water is muddy, making the environment in the painting appear more silent and peaceful. The two people playing against each other looked attentive, as if they had no distractions. The painter distinguishes the relationship between the two masters and the guests through the specific depictions of the figures' shapes, postures and costumes. The body of the owner Xie An is fully displayed in front of the audience, he looks elegant, graceful, and the lines of the crown are like clouds and flowing water, simple and smooth. Half of the guest's body is hidden behind the tree, he gives the viewer only one side, the author adopts such a contrasting way, deliberately weakening the image of the guest, the purpose is to highlight the status of the master in the painting, so that the image of Xie An is self-evident, although it is a small change, but it is ingenious.
In the upper right of the painting, on the winding mountain path, a war horse gallops in the wind. This tiny arrangement is precisely the key to this work, and the envoy on the war horse has just returned from the battlefield to report to Xie Anjie, which is the subject of this painting. The author deliberately arranged this person in such a corner in order to avoid the strong movement of the horse running wildly and destroying the overall harmony and tranquility of the picture. When the viewer sees the tart galloping horse, it seems to be able to hear the rapid sound of the horse's hooves, which adds a kind of tension and restlessness to the picture in the soothing and silence, and it takes profound skill to deal with this strong contrast between movement and stillness in the painting. The whole work has a rigorous structure, vivid shapes, meticulous brushwork, and light and elegant colors. In the smudge of the cliff, great attention is paid to the application of moisture, so that the cliff stone appears moist and transparent, as if shrouded in a layer of light water vapor, with the typical Jiangnan landscape beautiful and gorgeous charm, the color is bright and refreshing, light and not thin. The outline of the trees is delicate and exquisite, the law is strict, and it has the charm of Tang Yin and Qiu Ying.
Su Liupeng, one of the two Sus in the Lingnan painting world in the late Qing Dynasty, "Taibai Drunken Figure" appreciation
Qing Su Liupeng "Taibai DrunkenNess Diagram" vertical axis, color on paper, vertical 204. 8 cm, width 93. 9 cm. Collection of Shanghai Museum.
This picture depicts Li Bai drunk in the palace of Emperor Xuanzong of Tang (Li Longji), and the two internal attendants supported the waiter. The scene is omitted in the picture, the character modeling is accurate, Li Bai wears a bachelor's scarf, five strands of clear whiskers, the face is depicted with a pen, the layers are dizzy, the expression is alive, and the eyebrows exude a proud attitude, which is very expressive. Li Bai wore white imperial robes, vermilion boots and belts, and the color was distinct; the costumes of the inner servants were soap hats and blue and variegated clothes, and the tones were gray and dark. With the difference in the brightness and darkness of the color of the costume, Li Bai's high and noble momentum is highlighted. Yunsi is very clever, using the square pen to hook the lines, and the color is rich in layers. It is a masterpiece created by the author in February of the 24th year of Daoguang (1884).
Su Liupeng, one of the two Sus in the Lingnan painting circle in the late Qing Dynasty, "Su Liupeng Self-Portrait" appreciation
Su Liupeng's "Su Liupeng Self-Portrait", colored on paper, Guangdong Provincial Museum Collection.
Su Liupeng is the best at character painting, and most of the content is based on the customs of the people in urban life, ordinary life, and the legends and stories loved by citizens. The characters of small traders and blind people selling art in his pen are realistic, one anger, one joy and one worry, or moving or quiet or shy or deceitful, the looks and mentality are meticulous, and the pen and pen convey the spirit, truly depicting various aspects of social daily life. The line drawing of the character system and the folds of the clothes is pure and unworldly, and it has the charm of a large stroke. He is good at painting "finger painting", and often uses "both finger and pen" when painting large figures. One finger and one stroke cooperate with each other, can "work" can "mean", and the line transition is smooth, which is quite handy. The landscape paintings and floral colors made by Su Liupeng are also appreciated by Shilin with their rich and light strokes, and the changes are elegant.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was analyzed in "Tongbao Tu Axis"
Su Liupeng's "Tongbao Tu Axis" (1837) is 134.3 cm on paper× 66.3 cm collected by the Guangdong Provincial Museum.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, appreciated the "Eighteen Scholars' Chart Axis"
Su Liupeng's "Eighteen Bachelors Chart Axis" (1854) is set on silk for 128.8 cm×54 cm in the collection of the Guangdong Provincial Museum.
Su Liupeng, one of the second Su in the Lingnan painting circle in the late Qing Dynasty, "Feng Yan collected debts for Meng Yujun" and analyzed it
Su Liupeng's "Feng Yan Collects Debts for Meng Yujun" Silk Color 116.5 cm×41 cm Guangdong Provincial Museum Collection.
In the late Qing Dynasty, Su Liupeng, one of the second Su in the Lingnan painting world, appreciated the "Golden Lotus Return to the Courtyard Scroll"
Su Liupeng's "Golden Lotus Return to the Courtyard Scroll" (Guangdong Provincial Museum Collection).
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was analyzed in "Seven Sages and Strategies"
Qing Su Liupeng's "Seven Sages Strategy" volume length 40.5 cm, 131.6 cm. Collection of Guangxi Zhuang Autonomous Region Museum.
As can be seen from the inscription, this is a finger painting of a historical figure. There are 11 people depicted in the painting, and the ones riding on donkeys are Ji Kang, Ruan Yuan, Shan Tao, Xiang Xiu, Liu Ling, Wang Rong and Ruan Xian. The characters in this work are spread out horizontally in an "S" shape, and most of them are in groups of three or two. The painter did not depict the background, but used a blank background to highlight the subject status of the figure. This form of composition may be related to the painter's good use of compositional habits such as echo, sparseness, and blank space. The painter pays attention to the deletion of complexity and simplicity, so that the relationship between the characters and the artistic conception of the work have been fully presented. The Magi and the boy on the left side of the picture both look back at the two people behind them, as if listening to their discussion. The third group of characters and the fourth group of characters who talk about each other also reveal the temperament of the literati. Seemingly scattered figures seem to be run together by an invisible line, making the work rhythmic and rhythmic. Su Liupeng's use of techniques is also very subtle. In just a few strokes, he vividly presents the dynamics of the characters, and portrays the faces of the characters with simple lines and dots, vividly showing their looks. His pen and ink seem simple and clumsy, but in fact, it is round and smooth, light and loose, with a sense of wanton happiness and a unique sense of rhythm, which makes people slowly appreciate it along with his strokes and paintings. The painter is also very particular about controlling the intensity of the color. Each ink color in the picture has a subtle change, so that the characters show the necessary sense of thickness and weight. For example, the painter's depiction of the Magi's clothing is mostly outlined with ink lines, dyed with light ink or light ochre, but the scarf on the head is emphasized with thick ink. This light-hearted coloring method makes the picture appear endless.
Inscription: "Fei Sheng's third brother Ya genus." On the 20th of August□ the pillow piano finger. Zhu Wen's rectangular seal was blurred. B was not daoguang for fifteen years (1835).
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was appreciated and analyzed in the "Two Blind Picture Axis"
Su Liupeng's "Two Blind Chart Axis" was composed in 1836. Collection of Guangzhou Museum of Art. Inscription: Authentic. Yang Shende Tang Collection. Knowledge: Zhongping, brother Mr. Ya genus (instruction) and zheng. Bing Shen Shangwei, Pillow Qin Su Liu Peng. Author's seal: Su Liupengyin (Baiwen Fangyin), Pillow Qin (Zhu Wenfangyin).
In the late Qing Dynasty, Su Liupeng, one of the second Su in the Lingnan painting world, was analyzed in "Three Laughing Pictures of Tiger Creek"
Qing Su Liupeng's "Three Laughing Pictures of Huxi" (an anthology of famous painters in Guangdong) has his works.
Su Liupeng is best at figure painting, taking the Fa Song and Yuan Dynasties. The most valuable thing is that Su Liupeng's works mostly express realistic themes and have positive social significance. Su Liupeng also painted landscape paintings.
"Three Laughs of Tiger Creek" shows that the monk Huiyuan presided over the Lushan Donglin Temple in the Jin Dynasty, and the hermit Tao Yuanming and the Taoist Monk Lu Jingxiu often went to the temple to chat, and according to the custom, the old monk sent guests to Huxi. But on this day, Hui Yuan and the monk sent a guest, and the three of them talked unconsciously through tiger creek, and the three suddenly realized it, looked at each other and laughed. This picture abandons the depiction of the scene, and mainly shows the feelings and laughter of the three Confucians, Interpreters, and Taoists, and depicts them very profoundly. Worthy of being a master of drawing figure painting.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was analyzed in "Lanting Xiuyu Tu"
Qing Su Liupeng's "Lanting Xiuyu Map" is a cultural relic, which is in the collection of the Guangdong Provincial Museum.
This fan depicts the story of Wang Xizhi and others of the Jin Dynasty practicing, composing poems, and meeting on the Lanting Creek. The picture is also written with a work belt, outlining the bends of the water, the corner of the orchid pavilion, and the trees are overgrown. The mountains are simple and concise, and the literati who sit near the flowing water are summarized, taking the Law song and Yuan, and the painting method is fine, but not rigid. Figure painting is one of the subjects that Su Liupeng is good at, so it is quite smooth when writing and painting, and the brush stroke is smooth. The fan surface of this work and Wen Zhengming's "Lanting Xiuyu Diagram" is symmetrical in composition, and the character layout is basically the same.
In the late Qing Dynasty, Su Liupeng, one of the second Su in the Lingnan painting world, appreciated the "Su Wu Shepherd Picture Axis"
Su Liupeng's "SuWu Mu sheep scroll" on paper, ink pale color, 335 cm in length and 139 cm in width is a late Qing dynasty calligraphy painting, collected in the Collection of Shunde District Museum.
Remember the inscription: "Nanshui Village Guy", "Seal of The Six Friends" white text square seal. This image was made in 1847. Depicts the story of Su Wu in the Han Dynasty herding sheep in the North Sea. In the picture, Su Wu is holding an envoy, standing on the snow, his hair is white, his look is determined, and there are three sheep next to him, two black and one white, each with a look. This figure is depicted in a freehand way, and with just a few strokes, Su Wu's image jumps on the paper.
In the late Qing Dynasty, Su Liupeng, one of the second Su in the Lingnan painting world, appreciated the "Journey to Qiushan"
Su Liupeng "Autumn Mountain Journey" Vertical axis.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was analyzed in "Three Gu Maolu"
Su Liupeng "Three Gu Maolu" hand scroll.
In the late Qing Dynasty, Su Liupeng, one of the second Su in the Lingnan painting world, was analyzed in "Gifting the Qintu"
Su Liupeng "Gifting the Piano" Vertical Axis.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, appreciated and analyzed the "Qingxi Yaji Picture Scroll"
Su Liupeng "Qingxi Yaji Picture Scroll" Hand scroll.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was analyzed in "The Picture of Hairpin Flowers"
Su Liupeng "Hairpin Flower Diagram" Vertical axis.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, appreciated "Playing with Yan on the Eastern Slope"
Su Liupeng "Dongpo Playing With Yan" Vertical Axis.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, admired the "Songshan High Lying Map"
Su Liupeng Gengzi (1840) as "Matsuyama High Lying Figure" Mirror Heart.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was analyzed in "Panasonic on the Tao"
Su Liupeng "Panasonic on the Tao Diagram" Vertical axis. Title: How uncle. Seal: Su Liupeng, the wind and current should fall behind others.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, "Luofu Girl Meets Immortal Figure" appreciation
Su Liupeng (1798~1875) "Luofu Girl Meets Immortal Figure" Vertical axis.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, appreciated "Fishing and Singing in Diwan"
Su Liupeng 'Hagi Bay Fishing Song' Vertical Axis. Su Liupeng's pen depicts many images of ordinary people, with different postures, which are pleasing to the eye. This Hagi Wan Fishing Song is one of them.
In the late Qing Dynasty, Su Liupeng, one of the second Su in the Lingnan painting world, was analyzed in "Immortal Figures"
Su Liupeng "Immortal Figures". Plutonium Seal: Su Liupeng, Wu Jian, Pillow Qin Zhi Zhi: Ding Youchun Yue Pillow Qin Su Liu Peng Book at Liutang Yinguan.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, was analyzed in "Caizhi Tu"
Su Liupeng "CaiZhi Tu" vertical axis. Cai Zhi Tu, Mr. Lan Ting's big brother Jian Zheng, how to Dao Ren Liu Peng. Seal: Su Liupeng Seal. This painting also depicts the joy of the return of the common people.
In the late Qing Dynasty, Su Liupeng, one of the second Su in the Lingnan painting world, was analyzed in "Bamboo Forest Figures"
Su Liupeng "Bamboo Forest Characters" Mirror Heart. Inscription: Imitation of Chen Laolian pen meaning in Zhicao Lang Xue Changsheng Anle Xuan. Pillow Qin resident Su Liupeng. Seal: Su Liupeng, Pillow Qin, Dream XiangGe.
Su Liupeng, one of the two Sus in the Lingnan painting world in the late Qing Dynasty, appreciated "Moon Night with Qintu"
Su Liupeng "Moon Night with Qintu" Mirror Heart. A woman who returned from learning the piano.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, appreciated the "Listening to the QinTu"
Su Liupeng "Listening to the Qintu" Vertical Axis. Seal: Pillow Qin Inscription: Painting but Spring Mountain Li Suqin, green deep incense dark flowers. Do you know that there is Hu Fu hating, blowing guan shan an inch of heart? Mr. Mian Ting's third brother is calligraphy and painting, and Su Liupeng, a woodcutter in Fushan.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, "Dharma Tu" appreciation
Su Liupeng "Dharma Diagram" Vertical Axis. Su Liupeng's paintings range from the officials and nobles to the poor people, as well as ladies, monks and tramps.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, "People" Appreciation
Su Liupeng 19th century People album (two open). This is also the image of ordinary people.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, "Fuqin Diagram Under the Tree" was appreciated
Su Liupeng (1853) as "Under the Tree" Vertical Axis.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, "Lady Figure" appreciation
Su Liupeng "Lady Figure" Vertical Axis Material, Shape: Color on Paper Size: Length 47.5 cm Width 41.5 cm.
In the late Qing Dynasty, Su Liupeng, one of the two Sus in the Lingnan painting world, "Character Map" Appreciation
Su Liupeng "Character Diagram" Vertical scroll Size: 27×33cm. The figure in the ordinary inn depicted here. A scene of a man finishing his drink and leaving.
In the late Qing Dynasty, Su Liupeng, one of the second Su in the Lingnan painting world, "Landscape Figures" appreciation
Qing Su Liu Peng "Landscape Figures" Four screens coloring paper
Seal: Su Liupeng Seal, Pillow Qin Inscription: 1. Pillow Qin Dao Ren Painting. 2. The Luofu Daoist pillow qin was painted in the villa of Liufangtang. 3. Fushan Mountain Qiao Qiao Qin Su Liu Peng. Fourth, Xin Ugly Winter Moon painted in guilin red cotton book house, how to Tao people Su Liuming. Su Liupeng, the word pillow qin, the number of how to Daoren, how uncle, Nanshui village guy and so on. Shunde people. He lives in Jiaqing and Guangxu. He once studied calligraphy and painting from the Great Buddha Temple. All his life he made a living selling paintings. Good at painting landscapes, flowers and birds, especially fine characters, like to use folk customs as the theme, even appreciated by Cantonese people. He is also good at finger painting, which is not funny. Resuming work on calligraphy, the font structure is rigorous, and the lines, grasses, and calligraphy are good, especially good at making large characters. There is an "Anthology of Chinese Paintings of Su Liupeng" published. Texture: Colored paper.
Su Liupeng, one of the two Sus in the Lingnan painting world in the late Qing Dynasty, "Banana Garden Confrontation Map" Appreciation
Su Liupeng(su liupeng) in 1834 "Banana Garden Game Diagram" vertical axis, here depicts the scene of the high-ranking officials and nobles, playing chess. There are both landscapes and human figures.