Qin, chess, calligraphy and painting, known as the four arts of the study in ancient times, are entertainment activities highly praised by literati. The ancients believed that playing the qin, playing chess, writing, painting, or just listening to the qin, watching chess, appreciating calligraphy, reading paintings, and understanding Poetic and picturesque, it is pleasing to the eye, cultivates sentiment, and is beneficial to health and longevity. The daily necessities, mountains and rivers that appear in the ancient paintings truly reflect the lifestyle and technological level of the people at that time. Combined with the records of the historical background of the ancient paintings, appreciating the paintings is even more interesting.
——Inscription
Chinese paintings of the Qing Dynasty, under the influence of politics, economy, thought, culture and other aspects at that time, showed a specific style of the times. Scroll painting continues the trend since the Yuan and Ming Dynasties. Literati paintings are popular, landscape paintings are booming, and ink and wash freehand painting is popular. Literati paintings show two trends: admiration for antiquity and innovation. They all have different pursuits in terms of subject matter, ideological interest, writing skills, etc., and form a variety of styles and schools. Court painting also achieved great development during the Kangxi and Qianlong periods, and presented a new style that was completely different from the previous dynasties. Folk paintings, with New Year pictures and prints being the most outstanding achievements, are experiencing unprecedented prosperity. The historical process of the development of painting in the Qing Dynasty is related to the development and changes of the entire society, and can also be divided into three periods: early, middle and late.
In the late Qing Dynasty, with the decline of feudal society, new changes took place in the field of painting. Qing Dynasty For about 200 years, the court paintings, which had been regarded as the authentic literati painting school and supported by the royal family, were gradually declining. Shanghai and Guangzhou, which were established as treaty ports, had become new painting centers at this time, and Shanghai School and appeared. Lingnan School .
Representative painters of the Shanghai School include Ren Xiong , Ren Yi , Wu Changshuo , Xu Gu, and Zhao Zhiqian. As literati painters, Zhao Zhiqian and Wu Changshuo have made significant developments in freehand flower and bird paintings. The Lingnan School of Painting was formed relatively late. Brothers Ju Chao and Ju Lian were the pioneers in the late Qing Dynasty. Later, Gao Jianfu, Gao Qifeng, and Chen Shuren established the new school. They absorbed the Chinese and Western style of painting formed by sketching and watercolor painting, and made useful attempts for the new development of traditional Chinese painting . First, let’s share Ju Lian’s paintings.
Ju Lian (September 22, 1828 - May 5, 1904) was a native of Geshan Township, Panyu County, Guangzhou City, Guangdong Province (now part of Haizhu District, Guangzhou City). His courtesy name was Shigang, and his nicknames were Guquan, Geshan Qiaozi, and Luohu. San people. Ju Lian was a famous traditional Chinese painter in the Lingnan region of modern China. He was good at painting flowers, birds, grass and insects, and people, and was especially good at sketching from life. Together with his elder brother Juchao, they are called "Second Ju". He initially learned from Song Guangbao and Meng Litang, and later absorbed the strengths of each school to form his own family. The brushwork is neat and the colors are beautiful. On the basis of inheriting and developing the boneless painting method of Yun Shouping , he widely used the water and powder techniques, inheriting, developing and perfecting the "Ju Pai" art.
's main works handed down from generation to generation include "The Picture of the Bald Head of Fortune", "The Picture of Flowers", "The Flower in the Sky", "The Picture of Strange Stones and Flowers", "The Picture of Zhoudu", "Ink Peony", "The Picture of Flowers and Grass Insects", "The Examination of Wealth and Longevity", " "Dead trees return to crows", "Flowers, Grass and Insects", "Narcissus Spiritual Stone", "Flowers and Grass Insects", "Wealthy White Head Picture", "Flower and Insect Picture", "Longevity Star Picture", "Landscape Sketch", "All Fragrances Competing in Show", "Narcissus Picture", "Chrysanthemum·Locust", "Light Fresh Vine·Praying Mantis", "Agapanthus·Locust", "Pumpkin Flower·Katydid", "Morning Glory·Beetle", "Wind and Rain Flower (Leek Lotus)" )·Butterfly", "Hostanda·Locust", "Jintooth Jasmine·Cicada", "Tuberose·Wasp", "Camellia·Bee", "Viburnum·Butterfly", "Purchase Peony", "Wanda Orchid" , "Love Flower Grass (Love Spring Flower)", "Dendrobium", "Ghost Lantern, Ghost Arrow Feather", "Shrimp Ridge Orchid", "Aromatic Stone Bean Orchid", "South China Gentian", "Tongquancao, Shixiantao", " "Long-calyx Viola", "Chinese Impatiens", "Long-calyx Dianthus", "Paris Lotus", "Lotus Root", "Collecting Flowers (Lotus Leaves, Mallow, Camellia, Hosta, Hemerocallis, Night Lily, etc.)", " "Picture of Cai Ling" and so on.
Appreciation of "The Wealth and the White Head" by Ju Lian of the Lingnan School of the late Qing Dynasty
"The Wealth and the White Head" by Ju Lian Jichou (1889) Vertical axis size: 123.5×55.5cm Taipei Museum of History. Seal: Wu Zisheng, Guquan, Geshan Qiaozi. Title: Wealth and honor grow old together. In the New Year, Ji Chou will tell the story of Yan Er Xijian for Zi Hui III. Ju Lian. Bibliography: "Collection of Calligraphy and Painting in the Late Qing Dynasty and the Early Republic of China", page 175, Figure C21, (Taiwan) History Museum, October 1998.
Ju Lianji was very fond of sketching. He not only planted flowers and raised birds, but also carried a sketchbook with him, observing and sketching constantly with his hands and eyes. In terms of techniques, on the basis of inheriting Yun Nantian's " Changzhou style ", he created new ways, especially the method of hitting water and powder, which is the most distinctive, making the object more light and three-dimensional. This is reflected in some of the flowers and flowers in this painting. It can be seen in the leaves. Compared with his students such as "Er Gao", Ju Lian still mainly uses traditional brushwork, using the water and powder method in a local, small area and in a controlled manner. This is why his paintings look more "" One of the reasons for tradition.
Description: "Collection of Calligraphy and Painting in the Late Qing Dynasty and the Early Republic of China", page 175, Figure C21, (Taiwan) History Museum, October 1998.
Appreciation of "Flowers" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty
"Flowers" by Ju Lian Vertical scroll size: 35×27cm Title: Freehand brushwork of Ju Lian, an old man from across the mountain. Seal: Ju Lian, Gu Quan.
Appreciation of "Lingxiao Flower" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty
"Lingxiao Flower" by Ju Lian in 1899 Frame size: 64×33cm Seal: Guquan, Julian. Inscription: In the seventh month of Jihai, it is the Dharma Jian for Master Ziyu’s benevolent brother, and the old man from across the mountain is Ju Lian.
Appreciation of "Picture of Strange Stones and Different Flowers" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty
"Picture of Strange Stones and Different Flowers" by Ju Lian Jimao (1879) Mirror size: 39×61cm Inscription: Fuou Xiangguan Colors. In the ninth month of Ji Maoqiu, he lived in Lian. Seal: Guquan. Description: Ju Lian, courtesy name Guquan, nicknamed Geshan Old Man, was from Panyu. Juchao's younger brother, whose paintings have beautiful colors and neat brushstrokes.
Appreciation of "The Boat Ferry" by Ju Lian of the Lingnan School of the Late Qing Dynasty
"The Boat Ferry" painted by Ju Lian in 1888 Fan size: 19×54.5cm Style and identification: Two days after the beginning of summer in Wuzi, I imitated Wang Sinong's brush and corrected it for the eldest brother of Renpu , Ju Lian. Seal: Guquan.
Appreciation of "Ink Peony" by Ju Lian of the Lingnan School of the Late Qing Dynasty
"Ink Peony" by Ju Lian of the late Qing Dynasty Lingnan School "Flowers" Grass and Insects" Mirror size: D25cm
Appreciation of "The Examination of Wealth, Honor and Longevity" by Ju Lian of the Lingnan School of the late Qing Dynasty
Ju Lian's "The Examination of Wealth, Honor and Longevity" in 1901 Mirror size: 90×39cm
"Withered Wood Returns to Crows" by Ju Lian of the Lingnan School of the Late Qing Dynasty 》Appreciation of Ju Lian's "Withered Trees Return to Crows" Vertical scroll size: 92×33cm (Paper), seals: Ju Lian (4), Gu Quan (4), Ke, Lao Gang, Gu Quan, Gu Quanfu, inscription: Bingshen In winter, I will correct it for Heqin's dear friend You Rong. The old man from across the mountain lives in Lian.
Appreciation of "Narcissus Spirit Stone" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty
"Narcissus Spirit Stone" by Ju Lian of the Lingnan Painting School in the late Qing Dynasty Vertical scroll size: 91×47cm 132×19.5cm
Appreciation of "The Picture of the White Head of Fortune" by Ju Lian of the Lingnan School of the late Qing Dynasty
"The Picture of the Picture of the White Head of Fortune" by Ju Lian in the late Qing Dynasty Lingnan School 132.6×75 cm 1887 by Ju Lian Collection of the Palace Museum in Beijing .
This "Picture of Wealthy Bald Head" can be regarded as a relatively traditional and typical one among the many flower and bird works created by Ju Lian. It is collected in the Palace Museum in Beijing. From the "Ding Hai" inscription, it can be seen that this work was painted by Ju Lian in his later years. Whether it is in terms of technique or picture arrangement, it is a complete and skillful work performed by Ju Lian.
In the picture, Ju Lian used his most proficient painting techniques, and the overall approach is more workmanlike and beautiful. The peonies are colorful beside the lake rocks. Bees and butterflies are hanging around and playing on the flowers. A pair of white-headed birds are perched on the rocks. The peonies and the peonies coincide with the meaning of "wealth and wealth" and become the eyes of this painting. The addition of birds, insects and butterflies makes the picture more beautiful. Showing movement and vitality. This painting of flowers and birds with traditional themes is not particularly original in terms of subject matter, but in terms of its techniques and means of expression, it has obvious characteristics of the modern Lingnan "Ju Pai".
Appreciation of "Flowers and Insects" by Ju Lian of the Lingnan School in the late Qing Dynasty
One of them is "Fusang"
Qing Julian's "Flowers and Insects" Qing Dynasty Album page, silk, color, vertical 27.8 cm, horizontal 28. 8 cm. Collection of the Palace Museum, Beijing. The second of
is "Rose".
This picture album has a total of twelve pages, depicting flowers, grass and insects, lifelike. Yun Shouping's boneless painting method is used to depict flowers, combined with the artist's own techniques of mixing powder and water to create an effect of beauty, beauty, and contrasting light and shade. Insects are mostly drawn with fine brushwork or part-time writing, which is natural, vivid, and realistic. The picture is fresh, lively, quiet and lyrical. Here I choose two of them, one is "Fuso" and the other is "Rose".
"The Picture of the Longevity Star" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty Appreciation
"The Picture of the Longevity Star" by Ju Lian and Renchen (1892) Vertical size: 120×47cm Inscription: □□ Its shape is different, only wine is immeasurable and life is immeasurable. In the summer of Renchen, seventy-two old men lived in Lian. Seal: Ancient spring, gold and stone carvings, courtesy of Chen Neng. Description: Attached is the entry form.
"Landscape Sketch" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty Appreciation
"Landscape Sketch" by Ju Lian Renwu (1882) Mirror size: 28 × 16cm Xiqiao's Yunquan Fairy Pavilion. Seal: Lian.
Ju Lian of the Lingnan School of Painting in the late Qing Dynasty, "The Competition of Beauty" Appreciation
Ju Lian's "The Competition of Beauty" Handscroll size: 30×163cm
Inscription and postscript: "The Competition of Beauty". I recently got a flower scroll by Mr. Koizumi. The colors are like new and are very cute and playful. They were painted by Mr. Koizumi in his later years. They are particularly interesting in Nantian. Guangxu Renchen Shangsi and his colleagues gathered at Baiyun Mountain in Yiyuan to woodcut Wu Dacheng. Seal: Qing Qing (Zhu Wen), Dacheng private seal (Bai Wen) Wuchen leap February Zhonghuan, seventy-five Weng Song Bolu . Seal: Bolu Seal of the Song Dynasty (Zhu Wen) Inscription: Runpu Renxiong's Jian, imitated by the woodcutter from Lotus Pond and Zhanshan, who lived in Lian. Seals: Lian (Bai Wen), Gu Quan (Bai Wen), Lao Gang (Zhu Wen)
Ju Lian of the Lingnan School of Painting in the late Qing Dynasty, "Narcissus in a Nest" Appreciation of "Darcissus in a Nest" by Ju Lian in the Qing Dynasty, 74 cm vertical and horizontal 40.6 cm Collection of Guangxi Zhuang Autonomous Region Museum .
The picture shows a standing stone with a pot of narcissus beside it. In the painting, the narcissus turns and stands upright, with jagged and flexible shapes, bright and vivid; the stones are dyed with ink, creating a natural balance between light and shade. The painting is delicate, fresh and elegant.
"Chrysanthemums and Locusts" by Ju Lian of the Lingnan School in the late Qing Dynasty. Appreciation of "Chrysanthemums and Locusts" by Ju Lian in the late Qing Dynasty.
Ju Lian is not superior in technique, but he is good at breaking through traditional limitations in subject matter, which is rich and diverse. The types include flowers, fruits and vegetables, bamboo, insects, birds, livestock, aquatic animals, etc. Many of them are painters in the past. Those who have never painted before, such as moon cakes, corn millet, ham, cured duck, Jiang Yaozhu, rice dumplings, pork and other common and casual things can be painted. Wherever the eye can see, the pen can reach it. Everything can be written, and no wonder can be written. , all involved in writing became interesting.
Ju Lian's "Light and Fragrant Vine·Praying Mantis" by Lingnan School of Painting in the late Qing Dynasty Appreciation
Ju Lian's "Light and Fragrant Vine·Praying Mantis" 1873 Collection of Guangzhou Art Museum.
"Agapanthus·Locust" by Ju Lian of the Lingnan School in the late Qing Dynasty Appreciation of "Agapanthus·Locust" by Ju Lian
Ju Lian's "Agapanthus·Locust" 1873 Collection of Guangzhou Art Museum.
"Pumpkin Flower·Katydid" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty Appreciation
Ju Lian's "Pumpkin Flower·Katydid" 1873 Collection of Guangzhou Art Museum.
"Morning Glory·Beetle" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty Appreciation
Ju Lian's "Morning Glory·Beetle" 1873 Collection of Guangzhou Art Museum.
"Wind and Rain Flower (Leek Lotus)·Butterfly" by Ju Lian of the Lingnan School of Painting in the late Qing Dynasty Appreciation of "Wind and Rain Flower (Leek Lotus)·Butterfly" by Ju Lian 1873 Collection of Guangzhou Art Museum.
Ju Lian's "Hostanda·Locusts" of the Lingnan School of Painting in the late Qing Dynasty Appreciation of "Hostanda·Locusts" by Ju Lian
Ju Lian's "Hostanda·Locusts" 1873 Collection of Guangzhou Art Museum.
Ju Lian of the Lingnan School of Painting in the late Qing Dynasty, "Jasmine with Stinky Teeth·Cicada" Appreciation
Ju Lian's "Stinky Jasmine with Stinky Tooth·Cicada" Collected by Guangzhou Art Museum in 1873
Ju Lian of the Lingnan Painting School of the Late Qing Dynasty with "Tuberose·Wasp" Appreciation of "Tuberose·Wasp"
Ju Lian's "Tuberose: Wasp" collected by Guangzhou Art Museum in 1873.
"Camellia·Butterfly" by Ju Lian of the Lingnan School of the late Qing Dynasty Appreciation of "Camellia·Butterfly" by Ju Lian
"Camellia·Bee" by Ju Lian in the Guangzhou Art Museum in 1873
"Qionghua·Butterfly" by Ju Lian of the Lingnan School of the late Qing Dynasty Appreciation of "Qionghua·Butterfly" by Ju Lian "Butterfly" collected by Guangzhou Art Museum in 1873.
Ju Lian's "Purse-in-Purchase Peony" by Lingnan School of Painting in the late Qing Dynasty Appreciation
Ju Lian's "Purse-in-Purchase Peony" 1856-1864 Collection of Guangdong Provincial Museum.
Ju Lian of the Lingnan School of Painting in the late Qing Dynasty, "Wan Dai Orchid" Appreciation of "Wan Dai Orchid" by Ju Lian
Ju Lian's "Wan Dai Orchid", 1856-1864, collected by the Guangdong Provincial Museum.
Ju Lian's "Love of Spring Flowers" by Lingnan School of Painting in the late Qing Dynasty. Appreciation of "Love of Spring Flowers" by Ju Lian
Ju Lian's "Love of Spring Flowers" from 1856 to 1864. Collection of the Guangdong Provincial Museum.
Ju Lian's "Dendrobium" of the Lingnan School of Painting in the late Qing Dynasty Appreciation of "Dendrobium" by Ju Lian 1856-1864 Collection of the Guangdong Provincial Museum.
"Ghost Lantern, Ghost Arrow Feather" by Ju Lian of the Lingnan School of the late Qing Dynasty Appreciation
Ju Lian's "Ghost Lantern, Ghost Arrow Feather" 1856-1864 Collection of Guangdong Provincial Museum.
Ju Lian's "Shrimp Ridge" of the Lingnan School of Painting in the late Qing Dynasty Appreciation of "Shrimp Ridge Orchid" by Ju Lian 1856-1864 Collection of the Guangdong Provincial Museum.
in the late Qing Dynasty Lingnan Painting School of Lingnan Painting "Xiangxiang Shidou" appreciation
Lingnan Painting School of Lingnan Painting "South China Dragon" appreciation
Collected by Guangdong Provincial Museum from 1856 to 1864.
"Tongquancao, Shixiantao" by Ju Lian of the Lingnan School in the late Qing Dynasty Appreciation of "Tongquancao, Shixiantao" by Ju Lian 1856-1864 Collection of Guangdong Provincial Museum.
Ju Lian's "Viola long calyx" by Ju Lian of the Lingnan School in the late Qing Dynasty Appreciation
Ju Lian's "Viola long calyx" 1856-1864 Collection of the Guangdong Provincial Museum.
Ju Lian's "Hua Fengxian" of the Lingnan School of Painting in the late Qing Dynasty Appreciation of "Hua Fengxian" by Ju Lian 1856-1864 Collection of the Guangdong Provincial Museum.
Ju Lian's "Diana Longcalyx" from the Lingnan School of Painting in the late Qing Dynasty Appreciation
Ju Lian's "Diana Longcalyx" 1856-1864 Collection of the Guangdong Provincial Museum.
Ju Lian of the Lingnan School of Painting in the late Qing Dynasty, "Bingtilian Lotus" Appreciation of "Bingtilian Lotus" by Ju Lian 1887 Collection of Guangzhou Art Museum.
Ju Lian's "Gu Lian" of the Lingnan School in the late Qing Dynasty Appreciation of "Gu Lian" "Gu Lian"
Ju Lian's "Gu Lian" from the 1870s, collected by the Guangzhou Art Museum.
Appreciation of Ju Lian's "Picking Flowers and Returning (Lotus Leaves, Mallow, Camellia, Hosta, Daylily, Night Lily, etc.)" by Ju Lian of the Lingnan School of the Late Qing Dynasty
Ju Lian's "Picking Flowers and Returning (Lotus Leaves, Mallow, Camellia, Hosta, Daylily, Night Lily, etc.)" (Etc.)" Collection of Guangzhou Art Museum in 1897
Appreciation of "Picture of Cai Ling" by Ju Lian of the Lingnan School of the Late Qing Dynasty
"Picture of Cai Ling" by Ju Lian of the Qing Dynasty Partial page
Ju Lian was not only a painter, but also an art educator . While working hard, he taught apprentices and taught skills, and his family was full of talents, ranking first in Lingnan. After Ju Lian, a new style of art education emerged in the tide of western winds spreading eastward. At that time, most of the art teachers teaching in schools in Guangzhou were students of Ju Lian. Some people even think that Ju Lian "undoubtedly became the key to the transformation of Guangdong painting from tradition to modernity". A key figure in the transition and became a pioneer in the pursuit of modernity in Guangdong painting." In addition, at that time, whether it was the New Painting School painters who advocated learning from foreign art to transform Chinese paintings , or the traditional school painters who insisted on making improvements on the basis of inheriting the tradition, many of them came from Ju Lian's family. The famous ones include Zhang Yi, Cai Dexin, Ge Pu, Wood Yi, Chen Jian, Gao Jianfu, Chen Shuren, Rong Zuchun, Zhang Zenong, Zhou Shaoguang, Guan Huinong, etc. There are also many famous painters who have indirectly acquired the mantle of Jupa painting, such as Gao Qifeng, Gao Jian's father's brother, Gao Jianseng, Deng Fen
, Deng Bai, etc. Among the descendants of "Er Ju", there are also many who inherited the family tradition and are good at painting, such as Ju Ren, Ju Fu, Ju Sui, Ju Ying, Ju Qing, Ju Cha, Ju Shao Lan, Ju Xi, etc. Ju Lian's students such as Gao Jianfu and Gao Qifeng also recruited many disciples and passed on their legacy from generation to generation. From the late Qing Dynasty to the Republic of China, Ju Lian and his successors dominated the Lingnan painting scene for a century. Among them, Gao Jianfu, Gao Qifeng and Chen Shuren were collectively known as "Two Gao and One Chen" and became the founders of the Lingnan School of Painting, which dominated the modern Guangdong painting world. Since "Two Gao and One Chen" and "Er Ju" have a direct or indirect origin relationship, we call Ju Pai painting a prelude to "Lingnan School" painting. Ju Chao and Ju Lian suddenly emerged in the declining painting world of the late Qing Dynasty, creating a dazzling art world with distinctive characteristics, injecting colorful regional colors into Chinese painting, and pushing Chinese painting into a vast new world. It has positive creative significance and has a profound impact on modern Lingnan painting. Their art is the last glorious sunset before Lingnan painting transitions from tradition to modernity. Behind them, there will be a new day with bright morning glow.
