Yuan Yao (Qing Zhong) Water Temple Lotus Wind Diagram
Vertical shaft Colored silk
120×60cm Approx. 6.5 flat feet
Publication: "The 360th Anniversary of the Publication of the Ten Bamboo Zhai Calligraphy and Painting Notation", compiled by the Ten Bamboo Zhai Art Research Department, 1987.
Description:
1. Catalogue of Ancient Chinese Calligraphy and Painting, Vol. 6, p425, Cultural Relics Publishing House, 1986.
2. Nie Chongzheng, "Yuan Jiang Yuan Yao", p234, Hebei Education Publishing House, 2003.
3. Lao Jixiong, ed., "Records of the Appraisal of Ancient Chinese Calligraphy and Painting", vol. 5, p2337, Oriental Publishing Center, 2011.
Description: Old collection of Nanjing Cultural Relics Company.
Estimate: 800,000-1,200,000
Since the Kangxi Dynasty exerted great efforts to govern for half a century, the society has been peaceful for a long time, the economy has developed highly, and by the Yongqian and Qian Dynasties, for various reasons, painting and calligraphy articles have begun to whitewash taiping and praise Shanggong and begin to become the "obvious learning" of the art world. In the Qianlong period, the flourishing painting academy gathered hundreds of Danqing masters at that time, who carved and carved words and depicted sacred deeds every day, and reacted to the lyrical spiritual paradigm represented by the four monks since the beginning of the Qing Dynasty. In such an environment, the art world at that time was unprecedentedly developed, whether it was the inner court or the folk, there were countless calligraphy and painting talents, which were painted by the Qing Dynasty and have been sprinkled to this day; and its direction is only two ways, one is the temple school, with the four kings as the leader, the retro as the call, paying attention to no one and nowhere, the other is the folk school, there is a more obvious folk aesthetic taste, but its main purpose is still whitewashing Taiping.
Left: Wang Jian's "Ten Ancient Opening Volumes"; Right: Wang Yuanqi's "Imitation of yellow crane mountain and water".
The uncle and nephew of Yuan Yao of Jiangdu (also referred to as father and son, such as Nie Chongzheng) may be the most mysterious Danqing master in the folk schools of the Yongzheng and Qianlong dynasties, and it is still impossible to verify the exact age of their birth and death (or the evidence that Yuan Jiang was alive from 1662 to 1735). However, the two are basically the same as those who are good at it, such as landscapes, pavilions, and boundary paintings, and the heavy color joint screen is particularly successful - this seems to be one of the main characteristics of the folk school that distinguishes it from the retro school, and the main forms of the retro school's tricks are generally decorating albums and hand scrolls. The extremely time-consuming and painstaking techniques of the two Yuan and others, and the pursuit of expressing grand and majestic landscapes, coincided with the current style of whitewashing taiping and praising sacred deeds at that time, and the more Qianlong was in his later years, the larger the scale, the more the carving worked, and the heavier the color.
Yuan Yao's 1763 "Twelve Screens of the Jiucheng Palace Picture", 223×720cm
Yuan Yao's 1774 painting "Twelve Screens of the Green Field Hall", 220×720cm
The "Lotus Wind of the Water Temple" in the old collection of the Nanjing Cultural Relics Company, according to the yearbook of Jia Yin (that is, 1734), is the earliest work of Yuan Yao seen in the market, and Mr. Nie Chongzheng, a senior calligraphy and painting researcher in the Forbidden City, listed this piece as Yuan Yao's first work in the chronology attached to his book "Yuan Jiang Yuan Yao". Mr. Xie Zhiliu's Gaozu Lao Jixiong also pointed out in his "Records of the Appraisal of Ancient Chinese Calligraphy and Paintings" that this piece was "authentic"; according to Mr. Lao,079, he entered Xie Zhiliu's door and accompanied Xie Zhiliu throughout the process of participating in the nationwide ancient calligraphy and painting tour appraisal activity headed by Xie Zhiliu, Qi Gong, Xu Bangda and other five people who began in 1983.
Yuan Yao's "Water Temple Lotus Wind" is numbered "Su 21-27", "Catalogue of Ancient Chinese Calligraphy and Paintings", volume 6
The cover and inner page of "Ten Bamboo Zhai" compiled by the Nanjing Cultural Relics Store in 1987.
The selection of themes and the application of techniques in "Water Temple Lotus Wind" have not yet been stained with the habit of highlighting the strong political propaganda meaning of the later period, such as "Jiucheng Palace", "Afang Palace", "Han Palace Autumn Moon", "Han Palace Spring Dawn" and other huge works that directly borrow the merits of previous emperors to boast of sacred feats, but have a fresh and elegant finish, which makes people want to paint in the middle of the painting. According to the theme of "Water Temple Lotus Wind", taken from the Tang poetry, Li Bai and Wang Changling all have poems with similar themes, the main purpose of which is to praise and leisurely travel in the quiet, open, free and innocent rural life. Yuan Yao entered the painting with this, sparing himself a kind of pure and true interest; and in terms of composition, "Water Temple Lotus Wind" is more obviously influenced by the previous painter Yan Yi, although in the depiction and performance of some image details, there are some traces of late carvings, but it is not yet free of the natural and fresh "Clear Water Hibiscus".
Left: The two seals in this painting are compared with the two seals included in the "Chinese Calligraphers and Painters' Seals".
Right: This signature is compared with the inclusion in the "Chinese Calligraphers and Painters' Seals and Recognition".
Looking at Yuan Yao's work, it can be seen that the later he becomes more craftsman, the later he becomes more and more complicated.
From left to right, they are: "Water Temple Lotus Wind" in 1734, "Xiaoxiang Smoke and Rain", "Mountain Rain Is Coming" in 1759, and "Afang Palace" in 1780.
From left to right, they are Yan Yi's "Jiangcun Map", "Water Village Fishing Map", and Yuan Yao's "Water Temple Lotus Wind Map".
It can be seen that the qing dynasty painting was abandoned in the process of development.