"Huashan Picture Album" Ming Wang Lu Paper color is 34.6 cm in height 50.6 cm in width Beijing Palace Museum, Shanghai Museum, etc.
Wang Lu (1332—?), whose courtesy name is Andao, his nickname is Jisou, and he is also called Baogu Lao, from Kunshan, Jiangsu. "Huashan Picture Album" was created by Wang Lu after years of painstaking conception and miserable management after collecting herbs and traveling to Huashan. There are 66 regular pages in the whole volume, 40 pictures are counted, 8 frames of notes, 111 poems are recorded, 14 frames of postscripts, 1 frame of "Traveling Huashan Pictures" is recorded, 2 frames of "Recommending Huashan Pictures" and 1 frame of "Traveling Huashan Pictures" is recorded. This picture album depicts the wonders of the peaks of Huayue, which truly and comprehensively reproduces the natural changes of "the god of beauty and the view of heroic speciality", and creates different artistic conceptions such as steepness, vastness, emptiness, depth, beauty, and magnificence. The brush is strong and upright, thick and steady, the ink is bright and moist, and the thickness and light are generated by the real and the reality.
"Huashan Picture Album" Ming Wang Lu paper color 34.6 cm horizontally 50.6 cm Beijing Palace Museum, Shanghai Museum, etc.
"Huashan Picture Album" Ming Wang Lu paper color 34.6 cm horizontally 50.6 cm Beijing Palace Museum, Shanghai Museum, etc.
"Huashan Picture Album" Ming Wang Lu paper color 34.6 cm vertically 50.6 cm Beijing Palace Museum, Shanghai Museum, etc.
"Huashan Picture Album" Ming Wang Lu paper color 34.6 cm vertically 34.6 cm 50.6 cm horizontally, Beijing Palace Museum, Shanghai Museum, etc.
"Autumn Forest Grass Pavilion Picture" Ming Xu Ben The color is 99.6 cm vertically, 26.5 cm horizontally, Shanghai Museum's collection
Xu Ben (1335-1393), whose courtesy name is Youwen, is from Sichuan, lives in Changzhou, Jiangsu Province. Later, he moved to Suzhou north of the city and was named Beiguosheng. He is good at painting landscapes, learning from Dong Yuan and Ju Ran, and his brushwork is clear and moist. It is also exquisite ink bamboo. This picture describes the autumn scenery of Jiangnan. In the close-up view, there are lush trees at the bottom of the mountain, with strong branches, and grass pavilions exposed among the trees. In the pavilion, tourists can see the scenery of the mountains and waters; the wide and peaceful lake surface sets a space distance from the distant mountains; the mountains in the distance are undulating, and several thatched huts can be seen vaguely under the trees. The composition of the whole picture is smooth, the brush and ink are clear and moist, the mountains and rocks are made of hemp, the hardness and softness are combined, and the branches, leaves and dots are combined, and the pursuit of the charm of the brush and ink can clearly show the interest of the brush and ink.
"Drunk Songs Under the Peak" Ming Xu Ben's color is 63.9 cm in height and 32 cm in width. Wuxi Museum
This picture has protruding peaks, clear and colorful, and lush trees. It is a quiet landscape scenery far away from the downtown city. The title of the painting shows that this is "Written by Xu Ben from Master Yidao, Shushan", and a seven-character ancient poem is written: "Zen Master Jian is under the Lotus Peak, half drunk and chant a poem. After the monks on the bed meditate, there is no bell at the pavilion beside the water. I can't stand the spring dream of rain and willows, and I can read books, lanterns shine on the night chess. I envy the clouds and the cranes on the pine and drift, but what did I do when I wandered?" This is a painting in the poem, a poem in the painting, and the poems and the emotions of the poems blend with each other. This brush is elegant and elegant, with mountains and rocks made of hemp and rubbed, and used to combine branches and leaves. The lines of pavilions and huts are varied in length and length.
" Seclusion Picture " Ming Wang Fu Silk ink color 141.7 cm horizontally 70.7 cm in width
This picture describes the scene of a literati living in seclusion in the mountains and forests. The mountain on the left is tall and steep, with lush trees at the foot of the mountain. At the foot of the mountain is a wide water surface with rippling waves, and the mountains in the distance are horizontal and quiet, beautiful and elegant. There is a poem "Wu Nemin De Zhi" on the upper right: "The demeanor of the people is the best, and the country is not easy to find. When you return to the world and come back to think about the old hidden place, you are full of fresh and prosperous life. You also remember it: "Meng Duan is good at bamboo trees, mountains and rivers. If you ask for it, you will write a tree and bamboo to block the request. One day, you will retreat to the old mountain and write "The Picture of Seclusion" and leave his friend Hu Ruqi. In the next year, you will hold the utensils and tell me, and I will write this, so I will find that Meng Duan's mountains and rivers are not easy to obtain, but you will see that Meng Duan's mountains and rivers are not shallow.”
《Eight Scenery Pictures of Beijing》Ming Wang Fu roll paper ink pen
The eight pictures in Beijing are of eight pictures, each independent of which are each independent. Each scene name is "Sunshine of Jintai", "Qingboo of Taiye", "Curly Clouds Around the Island", "Yuquan Hanging Rainbow", "Juyong Dicui", "Jimen Smoky Tree", "Lugou Xiaoyue", and "Xishan Jishan Ji". The nameless style of the painting is stamped with two seals "Zhongshu Sheren" and "Wang Shi Mengduan", which are suspected to be added later. The pictures have a landscape description and a poem written by seven people including , Hu Yan and . The first in the volume is "Beijing Eight" written by Hu Guang in the 12th year of Yongle in the Ming Dynasty (1414) Preface to the Poems of Scenery. Here are two paintings: "Taiye Qingbo" and "Juyong Dicui". The nearby mountains are short-skinned and slim and pine trees are beautiful and magnificent, dense moss dots, like gravel, calm and powerful. The distant mountains are often touched, flat, rubbed and dyed, and are tall and empty. All houses, bridges, pavilions, figures, smoke and clouds, flowing water are all exquisite and spiritual; the whole work is unique in its charm and has the legacy of the Song and Yuan landscape paintings.
"Shan Pavilion Literary Collection Picture" Wang Fu paper color 219 cm horizontally 87.6 cm Taipei Palace Museum
Wang Fu (1362-1416), whose courtesy name is Mengduan, and his pseudonym Youshi, Jiulong Mountain Ren, Aosou, was from Wuxi, Jiangsu. He is good at painting landscapes, and learns many of Wang Meng , with a lush style; he also writes flat and far-reaching vision, which is close to Ni Yunlin . This picture describes the grand event of literati gathering in the mountains and forests. The painting has many mountains, steep mountains, trees, and smoke, which is quite spectacular. The streams on the mountain flow soundly, the springs on the mountain can be boated in the rivers at the mountain, and the pavilions and terraces in the forests The pavilion appears, this is a quiet and elegant place where you can visit and live. In the close-up view, several literati have discussed poetry and paintings in the ancient mountain pavilion. There are also literati at the foot of the mountain, either taking a boat or walking to the meeting. The landscape scenery provides a beautiful environment for the collection of literati, and the collection of literati has added poetic and picturesque to the collection of literati.
"Hushan Book House Picture" Ming Wang Fu paper ink pen 27.5 cm in height 820.5 cm in width
in collection of Liaoning Provincial Museum This picture shows the distant mountains and near waters, the mountains are undulating and winding. Fishing boats work on the vast lake water, and various trees are decorated in the peaks and valleys, lush and lush, and the reed ponds are light and easy to describe, which is very interesting and the quiet and leisurely smell of Taihu family. This picture vividly expresses the clear and vast scenery of the lake and mountains with a length of nearly ten feet. The artistic conception is quiet and has a natural interest. This picture is self-entered: Zhongyong and his servant have the same goodness as before. He once ordered his servant to paint the Hushan Bookstore. It has been kept in dust for a long time, but it has not met its meaning. I will use this beautiful paper to see the remains, so I will make it happen, so I wrote this picture to return. So, good paper and painting are so good. I am so proud of my pen, how dare I shine with this paper! However, Zhongyong knew me, so I would not be ridiculed by this, and wrote this to record the years. At that time, when Yongle Gengyin and Zhongqiu were looking at the sun in the middle of the autumn of the year, the Piling King Meng Duan was aware of it.
"Hushan Book House Picture" is a picture of Hushan Book House" Wang Fu paper ink pen 27.5 cm horizontally 820.5 cm horizontally
"Hushan Bookstore Picture" Ming Wang Fu paper ink pen 27.5 cm horizontally 820.5 cm horizontally
"Hushan Bookstore Picture" Ming Wang Fu paper ink pen 27.5 cm horizontally 820.5 cm horizontally
月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月月� Wang Fu paper ink pen 27.5 cm horizontally 820.5 cm horizontally
"Xiaoxiang Autumn Intention" (part) Ming Dynasty Chen Shuqi Wang Fu paper ink and wash 25 cm horizontally 441.2 cm horizontally
Chen Shuqi was born and died unknown. At the same time as Wang Fu, a native of Fuzhou, he was knowledgeable and good at talking, good at painting, and elegant landscapes. He was fine at will. He was always good at everything. "Xiaoxiang Autumn Intentions" first Chen Shuqi painted a tribute Simu painting, and planned to combine the "Xiaoxiang Eight Scenery Pictures" into one picture, which is the "Xiaoxiang Autumn Intentions" volume, and died before it was completed. According to Huang Simu's words: In the tenth year of Yongle (1412), Wang Fu was completed, which was painted by Wang Fu after the falling geese on the flat sand. This picture consists of four paragraphs, of which the first three are Chen paintings, and the last paragraph is completed by Wang Fu.Although this scroll is a painting of two people, it is simple and elegant, and its thoughts are profound and profound. Its paintings are as broad as a lake, undulating mountains, and the misty bamboo trees are vast. In the fishing village, Xiao Temple, sandy geese gather, and the autumn scenery of Dongting is like being in the clouds and waters of Xiaoxiang.
"Hongya Mountain House Picture" Ming Chen Zongyuan The ink and wash on paper is 27.1 cm in height and 106.2 cm in width and
Chen Zongyuan (1370—?), who is from Tiantai (He belongs to Zhejiang Province). This painting was written by the painter at the request of Hu Yan. Hu Yan was a famous minister in the early Ming Dynasty. He always felt like he was homesick to leave home and retired. Suizi's hometown, Nanchang, built a room in the west of Shanhongya in Nanchang, and wrote it as the "Hongya Mountain House" to comfort his thoughts. According to the latter piece of Hu Yan's "Records of the Hongya Mountain House": "Hongya is located west of the West Mountain, with beautiful peaks and ridges, deep forests and valleys, and the mist is dyed, rocks and mountains appear everywhere, clouds and clouds are rolling, secluded springs and strange rocks stand in the valleys, the elixirs shine, the trees are gloomy, and the love is extraordinary." It is an excellent place to retire. This picture uses a flat and far method to describe the Hongya Mountain House and something around it. The composition of Pingyuan method, the application of "pima and "wishu" method. It reflects the characteristics of the literati paintings of "Former Wumen" in the early Ming Dynasty.
"Yousong Picture" Ming Du Qiong Paper color design 29.1 cm vertically and 92.3 cm horizontally. The collection of the Palace Museum in Beijing
Du Qiong (1396-1474), whose courtesy name is Yongjia, and his nickname is Luguan Taoist. He is known as Mr. Dongyuan. Wu (now Suzhou City ). The landscape masters Dongyuan, with beautiful mountains and mountains, and is also good at characters. "Yousong Picture" paints several thatched huts surrounded by bamboo fences. There are two people sitting together in the middle hall inside the house. Outside the house, there are dense trees, and a few pine trees outside the courtyard. The opposite mountains overlap, the trees are lush, and the flowing water is winding, and the beautiful scenery of the mountain stream. The picture has both elegant and beautiful natural scenery and charming garden fun. This painting is both elegant and harmonious in writing, with elegant and harmonious colors, light but not thin, and appropriate in light and heavy. The whole work is elegant and free and easy.
"Make Landscape Picture for Dehui " Ming Du Qiong's color is 122.5 cm in height and 39 cm in width and
The above picture is: "I once wrote about this situation as interesting. When Chen Mengxian and Zheng Dehui visited him, Mengxian said: This picture is OK, Zheng Gong would like to ask for it. Dehui was slightly less envious of Jianxian. Meng Xian strongly said that he said that he did not dare to insist. Dehui, honest and quiet, have few desires, and have no hobbies in everything, so that Wang Wei and Wu Daoxuan are reborn and have no love. This is why they can nourish their virtue. If you use your heart to play well, it is a disease of scholars. If you look at virtue, you will be wary of everyone. The fifth year of Jingtai, Du Qiong wrote a letter on the day of Jiaxu. "The picture describes the golden autumn season, the mountains are layered and the forests are dense. The composition is deep and deep, dense and simple. The mountains and rocks are made of small hemp texture, and the brushwork is round and the colors are mainly light crimson, highlighting the warm and warm autumn scenery of the mountains and wild leisurely and mellow beauty.
"Southern Villa Picture Scroll" Ming Dynasty Du Qiong ink or ink light color is 33.87 cm in vertical color, 517 cm in horizontal collection of Shanghai Museum
This picture album is composed of ten illustrations written by the painter Du Qiong in the early Ming Dynasty based on Tao Zongyi's own "Ten Scenerys of the South Village". Each picture has the title of seal script, namely: Zhuzhuju, Jiaoyuan, Laiqingxuan, Kaiyangtou, Fujing Pavilion, Luogudong, Liaohua Temple, Hetai, Yuyin, etc. In front of the picture album is the seal script "Nan Villa". Tao Zongyi, the owner of the villa in the picture album, is known as Mr. Nan. Du Qiong is a Tao Zongyi's disciple and has the deepest appreciation of the teacher's "clear and elegant style"" . The real and vivid description of the life situation where Mr. Jiucheng lives, travels, and travels, as well as the interests and ideals contained in his heart. The brush and ink in this picture are characterized by meticulous and smooth brush and ink, and the ink is moist and profound. The colors are mostly made of ochre, cyan and light green, making the picture look fresh and bright.
"South Villa Picture Scroll" Du Qiong ink or ink is light ink and color 33.87 cm in height 517 cm in width
"Go back to the road - Composition of poems by the clear stream" Ming Li Zai Ink on paper 28 cm in width 74 cm in width Liaoning Provincial Museum
Li Zai, whose courtesy name is Yizheng, is from Putian, Fujian, and once lived in Yunnan.During the Xuande period, he entered the Painting Academy and was also a waiter with Dai Jin, Xie Huan, and others. He was good at landscape figures. He was the fine and melodious person in the mountains and rivers. He followed Guo Xi, and was bold and unrestrained. He was the master of Ma Yuan and Xia Gui. In this painting, Li Zai painted Tao Yuanming's poem "Back to the Painting of Return" and "committed poetry by the clear stream", which is the ninth painting in the painting. In this painting, the painter uses the simple strokes of Liang Kai in his technique, describing the poet sitting on the ground, the ancient pine as a screen, and the stream lingers on three sides, slowly flowing away, as if he hears the sound of water flowing. The poet stares into the distance, ponders deeply, faces the solemn autumn, and carries his life to the realm of the blending of emotions and scenes.
"Kuozhu Qingfeng Picture" Ming Li Zai's ink painting on silk is 165.2 cm in height and 90.4 cm in width and
Li Zai had dates with Japanese painter Xue Zhou. Xue Zhou came to China between the third to fifth year of Chenghua in the Ming Dynasty, recognized Li Zai and asked him about painting skills, which became a good story in the history of Sino-Japanese cultural and artistic exchanges. The painting is dripping ink, the mountains are towering, and the shapes of the rocks and trees are all from Li. The imitation traces are obvious, and the composition also has the legacy of the Northern Song Dynasty. This scroll of "Kuozhu Qingfeng Picture" is one of Li Zai's works. This painting was listed as a work of Guo Xi of the Northern Song Dynasty in the Qing Dynasty. After identification, it was considered a mistake and corrected as a work of Li Zai. The original model of Li Zai painting has been dug out, and some people who are interested have added Guo Xi's fake model.
"Go back to the road - Ask for the road before the conquest" Ming Ma Shi's ink painting on paper 28 cm in height and 60 cm in width and
Ma Shi, whose courtesy name is Jingzhan, was from Jiading. During the Xuande period, he was good at painting with Dai Jin and Xie Huan, and was good at painting in the capital. He was good at poetry and prose, and he learned from the paintings of the Southern Song Academy, and his patriarchal Guo Xi. This volume is written by Ma Shi, Li Zai and Xia Zhi. It consists of nine paintings in total, and is packed into one volume. Xia Zhi, whose courtesy name is Tingfang, was from Qiantang. Teacher Zeng Dai Jin learned to paint landscapes and was close to his master. This painting was created by Ma Shi as the second in the picture scroll. It takes the poetic meaning of Tao Yuanming, a pastoral poet of the Eastern Jin Dynasty, "Go back to the road before the warrior", depicts Tao Yuanming abandoning his official position and returning home, using a donkey to travel, and the two young children are following with their calligraphy and swords, asking for directions on the way, and the warriors are giving guidance. Ma Shi can deeply understand the artistic conception of the original work, so he can create a deep and elegant picture artistic conception.
"Tanbei Caotang Picture" Ming Xie Jin Paper color is 108.2 cm in height and 50.1 cm in width. Zhejiang Provincial Museum
Xie Jin, or Jin, whose courtesy name is Kong Zhao, his nickname is Lantingsheng, Shencui Taoist, and also Kuiqiu Taoist. He is from Zhongzhou (now Henan). His birth and death year is unknown. A foreign residence in Wuzhong. The masters of landscape painting Zhao Mengfu , Wang Meng, and Zhao Yuan belong to the Yuan Dynasty painting system. His works are rare. This painting was written by Xie Jin for the painter Du Qiong. It depicts the thatched hut under the pine tree with towering peaks. The pine trees are vigorous in the foreground, with radiant branches and pine trees on the slopes, and the stones on the downhill are harmonious with the twisted pine trees. The mountains above are stacked with majestic momentum. In terms of expression techniques, the texture and writing are combined, and the color is light crimson. Looking at the entire picture, it is majestic, moist, lush, deep and elegant, and has a thick and elegant atmosphere. It is almost between Wang Meng and Zhao Yuan, and is a rare fine structure in the Ming Dynasty landscape paintings.
"Ask for the Way in the Cave Heaven" Ming Dai Jin's silk is 210.5 cm in length and 83 cm in horizontal. The Palace Museum in Beijing
This work depicts the mountains and rivers, the scattered clouds, the straight green pine, and the turbulent water flow. A small door in the valley was open, and there seemed to be a different world outside the door. A man in red was walking into the door, as if he was heading towards another world where he was about to be enlightened. This painting has a brilliant brushwork, exquisite description, moist texture, moist color, light color, and a mysterious and subtle sense of the picture. The entire work is , , and is in orderly and in the same way. The ink is slightly heavier in the deep and deep areas, and the rubbing is tightly conveying the sense of profound space.
"Thoughts on the poems in the Xitang" Ming Dai Jin's silk color is 194 cm in height and 104 cm in width. The collection of Liaoning Provincial Museum
Dai Jin (1388-1462), a native of Qiantang, the founder of the Zhejiang School. His courtesy name was Wenjin, and his name was Jing'an, and his name was Yuquanshan. His father Dai Jingxiang was a painter. Dai Jin experienced ups and downs throughout his life. During the Xuande period, he was summoned to Beijing and became a palace painter. Because of his painting skills, he was jealous of famous artists such as Xie Huan and Ni Duan .One day, he presented a painting in Renzhi Hall. Dai Jin's "Fishing Alone in Autumn River" was slandered by Xie Huan, who accused him of saying that the angler he painted should not wear vermilion clothes, so he was deposed and trapped in the capital for many years. The picture of "The Poetry of the Xitang" depicts the mountains and steep mountains, pine trees everywhere, the thatched hall is surrounded by the stream, the waterfall behind it, and the temples in the middle are hidden, which brings the fun of living in the deep mountains. The brush and ink are vigorous, the layout is exquisite, the layers are clear, the peaks and mountains overlap, which shows vitality and the interest of the tranquility and lofty songs.
"Guanshan Travel Picture" Ming Dai's color is 61.8 cm in height and 29.7 cm in width and
"Guanshan Travel Picture" is a typical masterpiece of Dai Jin's imitation of Song courtyard style . His painting skills are mastered by the Southern Song Dynasty Li Tang and Ma Yuan School, but his brushwork is sparse and refreshing, with a little freehand brushwork, and has a unique style. The close-up view is a foot of a mountain, with a few strong pine trees flexing and lingering, and the branches and leaves are lush. Several donkeys came over slowly, their moods were vivid. The painter's close-up treatment is also very similar to Ma Yuan's "Scenery in a Corner". The distant mountains are covered with green, written in light ink, and the near and far are light, making the work rich in depth. The trees on the top of the mountain are written in a vivid and natural way. The whole work is quite unique to Ma Yuan and Xia Gui, but it is bold and unrestrained in the meticulous work, with a refreshing look on the scene and elegant and elegant.
"Imitation of Yan Wengui's Landscape Picture" Ming Dai Jin's vertical scroll on paper ink and wash, 98.1 cm vertically and 45.9 cm horizontally,
This picture is self-recognized by "Qiantang Dai Jin's writings and teachings to the teacher's clear offerings", Dong Qichang inscription: "Dai Wenjin is the master of painting in the history of the National Dynasty. This is the most beautiful thing about Yan Wengui. It is even more amazing." In fact, although this work is not a flat Japanese color, it is not a flat Japanese color. Yan Wengui was a painter in the early Northern Song Dynasty. His paintings were neat and meticulous, and he was sometimes known as the "Scenery of the Yan Family". The scenery of this work of Dai is very simple, quiet and misty, and is very different from that of Yan. The form of brush and ink has nothing in common. Except for the lines outlined by houses and figures, the mountains, rocks, forests and trees are almost purely made of ink and wash. From the scene, layout to the brush and ink and interest, they are all taken from Ermi and Gao Kegong, which is a typical imitation of Miyun Mountain Picture.
"Snow Scenery Landscape Picture" Ming Dai Jin silk is 144.2 cm in length and 78.1 cm in horizontal collection of the Palace Museum in Beijing
Dai Jin landscape characters are all wonderful, and they are the best of the moment. They have a relatively comprehensive painting ability, extensive teaching, diverse styles of painting, and can come up with new ideas, forming a vigorous, bold, vigorous and moist new style of ink and water, with a profound influence. The composition of "Snow Scenery Landscape Picture" is strangely steep, the peaks are in a strange way, the trees and stones are hard, and the houses are hidden behind the peaks, and they are connected with the clouds in the distance, which is very handsome and charming. First use light ink to outline the stone bones, from light to thick, rub them many times, deepening the layers, as if using a wet brush first, and then rub them with a dry brush to make scaffolding, cow hair texture, etc. Use the pen to move freely without being messy and the levels are well-organized.
"Nanping Elegant Collection Pictures" Ming Dai Jin's silk color is 33 cm in length and 161 cm in horizontal. The collection of the Palace Museum in Beijing
Dai Jin's landscape paintings are based on the traditions of the Song Dynasty, especially the legacy of the Horse and Xia. They are called the "first-hand in the courtyard" of the Ming Dynasty, with neat and extensive changes. Dai Jin's landscape paintings in the early and mid-stage period were mainly fine brushwork, and their characteristics were integrated and changed from the painting methods of Li Tang and Liu Songnian and , and their workmanship was fine and rigorous. Later landscape paintings were sparse ink, mainly with thick brushwork. "The Collection of Elegant Collection of Nanping" describes the scene of a famous scholar at the end of the Yuan Dynasty, Yang Weizhen, 6, who traveled to West Lake with friends and prostitutes in spring, and feasted and sung at Mojing Hiking Villa at the foot of Nanping Mountain. It was written in the fourth year of Tianshun and is Dai Jin's representative work in his later years.
"Bamboo Lushan House Picture" Ming Shen Zhen's color is 115.5 cm in height and 35 cm in width. The collection of Liaoning Provincial Museum
Shen Zhen (1400-1482), a native of Suzhou, Jiangsu Province, the uncle of painter Shen Zhou , is good at poetry, good at painting stories, and is particularly wonderful in landscapes. The master came from Dong Yuan and obtained the mysteries of art from various schools. This picture shows the mountains standing tall, old trees and rafting branches, leaves and bamboos surrounding the mountain house, and business is booming. The running script in the upper right corner is written by himself: Nanzhai Shen Zhen's motif, with two white and red seals stamped on the bottom. There are very few works of Shen Zhen’s past, and this picture was written in Kunling to give to Master Puzhao.The style of this picture is very distinct in the era, which is close to the Liu Jue and Du Qiong schools, thus exploring the origin of Shen Zhou's painting style and understanding the context that inherits the past and opens the future.
"Autumn Forest Viewing Waterfall" Ming Shen Zhen The color on the scroll is 143 cm in height and 61 cm in width. Suzhou Museum
Shen Zhen is good at painting poetry and painting, and is good at landscape paintings. He is far away from Dong Yuan. His wonderfulness is close to that of the Song people. He writes rigorously and does not write meticulously. My younger brother Hengji is also able to write poetry and painting, and the servants at home are all familiar with literature and ink. This picture depicts the towering and abrupt peaks, and the stream water rises from the dense forest on the top of the mountain, turns into a waterfall in the front river, passes through the clouds, and hangs straight down. There are clouds and mists on the hillside and between the valley. The brushwork in the painting is elegant and meticulous, the depiction is exquisite, the ink color is light, the colorful and elegant, the scenery is strange and steadily arranged, and the realm is quiet and deep. The painter above the picture wrote: "The frost in the autumn forest is heavy in leaves, and the white hair is slapped in the silence of the two old people. There is nothing wrong with shaking hands, and I will not talk about the mountains because of the water." It is quite interesting.
"Summer Clouds Want to Rain" Ming Liu Jue's ink painting on silk is 165.7 cm in height and 95 cm in width and
Liu Jue (1409-1472), whose courtesy name is Tingmei and his pseudonym Wan'an, was from Changzhou (now Suzhou, Jiangsu). He was old and was obsessed with learning and was good at calligraphy and painting. The picture of "Summer Clouds and Rain" contains a poem written by Shen Zhou. The layout of the picture is clear and clear, the peaks and mountains are falling with momentum, and the veins are open. The lush trees point out the characteristics of the summer scenery. Pedestrians rushed on the road, exaggerating their mood to shelter from the rain. The painting method is to paint with a wet brush and light ink long hemp texture, and thick ink moss dots, which complement the alum head. The pen is delicate and dense. The ink is elegant and elegant. Compared with the thick and roughness of Yuan Wuzhen , it has a unique style of beauty and charm.
"Imitation of Da Chi Landscape Picture" Ming Shen Zhou's paper color is 115.5 cm in height and 48.5 cm in width and
Da Chi, namely Huang Gongwang, a painter of the Yuan Dynasty, was the first among the "Four Yuan Schools". His landscape paintings are mostly depicted by the pima-painted texture, and the landscape artistic conception is mostly plain and gentle, with a transcendent and wild interest, which has a great influence on the development of landscape paintings of later literati. Shen Zhou's landscape painting follows Huang Gongwang, and this work is made by imitating Huang Gongwang's landscape. "Imitation" means imitation, so this is not a copy or copy of Huang Gongwang's landscape, but a creation that imitates Huang Gongwang's brushwork, layout and interesting characteristics. The painting depicts the scenery in the mountains where water flows around. The painters mainly use the hemp texture and lotus leaf texture to paint mountains and rocks. The brushwork is gentle and the ink color is moist.
"Lushan High Picture" Ming Shen Zhou's paper-based light color is 193.8 cm in height and 98 cm in width and
Shen Zhou (1427-1509) the first of the four Wumen schools. His courtesy name is Qi Nan, his pseudonym is Shi Tian, and his pseudonym is Bai Shiweng. from Changzhou. He lived in seclusion in Wumen for generations. He used his imagination to describe Lushan as his teacher Chen Kuan. In terms of painting, Wang Meng learned from the painting method. The scenery is lush, the plants and trees are blooming, the brushwork is very dense, and the style is exquisite, which is a representative work of "fine and sunny". The whole work shows the majesty of Mount Lu in his imagination in his dense brushwork, and creates a way to express one's character through landscape paintings. Shen Zhou wrote the three words "Lushan Gao" (seal text) in the upper part of the picture, and realized at the end: "On the day of the Dragon Boat of Dinghai in Chenghua, Shen Zhou's poems and paintings in Changzhou were born, and respectfully, Mr. Daozun's birthday is for the Xing'an."
"Picture of Rain in the Empty Forest" Ming Shen Zhou's ink pen on paper is 21.7 cm in length and 29.2 cm in horizontal collection of the Palace Museum in Beijing
"Long rain and cloudy, how can you stay in the sunny day?" This work was written by the painter on the day of rain and depression. The painting depicts the scenery of the woods in the rain behind a flat slope. The picture is simple in structure, and the stream water in the forest behind the slopes and rocks flows slowly. The low house is hidden, the clouds are everywhere, and the rain and fog are hazy. The painter writes with rough brushes, with the ink color and light ink rendering, making the picture look damp and dripping. The continuous rain and the painter's depressed emotions are vividly displayed on the painting, which is in contrast to the two poems written by the painter. The first one said: "When will the eaves clear? The sound of the thatched eaves is deep, and the air is so sank that it is so sank. I am afraid of singing because I have so much sorrow. The accumulation of moistness turns into a zither. How can I get the moon in the east, and the brightness is my collar.”
《Baqiao Wind and Snow Picture》Ming Shen Zhou's ink pen on paper is 153 cm in height 64.9 cm in width
"Baqiao Wind and Snow" is one of the eight scenic spots in ancient Chang'an, and many ancient poets have described it. Shen Zhou's work is based on the poetry of the ancients. The picture depicts the calm Ba River flowing slowly from the mountain stream in the distance. On a slope near the river, several thin cold trees stand on the platform, and the branches and leaves shake in the cold air. The giant peaks are deep in the ravines, the mountains and rocks are stacked, and the distant peaks stand like screens. The winter trees on the mountain are shivering. Shrink, winter moss is planted everywhere. The whole mountain is covered with snow and vast. The sky is gray and cold, the river water is green, and the bleak and quiet. This work has gentle and elegant brushwork, frugal ink, and peaceful and generous composition. It is a masterpiece of Shen Zhou's rough writing.
"Dongzhuang Picture Album·Beigang" Ming Shen Zhou's original 24 pages of color on paper. Three of them are lost today. The Nanjing Museum is
This painting depicts the garden scenery of his teacher Wu Kuan's family. Wu Kuan was appointed as the Minister of Rites. He was Shen Zhou's teacher and close friend. He was mostly sang poems and essays. Dongzhuang is Wu Kuan's manor, and it is also a place where scholars and officials in Jiangnan often gather, recite poems and taste tea. Later generations praised Shen Zhou's "Dongzhuang Picture Album", "When he went in and out of the Song and Yuan dynasties, his wish was free, his location was extraordinary, and his brushwork was also uneven, even though there were not many pictures of Li Longmian Villa and Hongyi Caotang. "The one selected here is "Beigang". The picture is painted with a lotus pond. The waves are like a mirror. The lotus leaves are graceful and graceful, sparse and dense, swaying and colorful. The trees on the shore are natural and have different moods. The combination of texture and dyeing on the slopes and banks is suitable for heavyness.
"Cangzhou Fun Picture" Ming Shenzhou paper color is 29.7 cm horizontally 885 cm in Beijing Palace Museum
Shen Zhou is a small freehand painting. It is a thin and thick style. It is known for its thick and simple brushwork. Compared with his landscape paintings, it is more general. His brushwork is smooth and his strokes are sure, vivid and natural. Shen Zhou's flower and bird paintings have both brushwork and ink techniques, and they are both skillful and well-written. When it is about to be released, after the inheritance and development of Chen Chun , he started the freehand painting of Xu Wei , and then the help of Bada Shanren, the "Eight Eccentrics of Yangzhou" Lan, in the development of freehand flower and bird paintings in China, the role and influence of Shen Zhou cannot be ignored. "Cangzhou Fun Picture" is a work of Shen Zhou in the late period. He concentrated the brushwork of the four Yuan masters in a long scroll of landscapes. The different brushworks are so seamless, which shows his familiarity with the brushwork of the four Yuan masters.
"Poetic Picture of Falling Flowers" Ming Shenzhou paper color is 35.9 cm 60.1 cm horizontally. Nanjing Provincial Museum
This brush is thick ink, with a light style and smooth petals, making it look like a broken one. This painting uses light ink to write out the branches and trunks, and the branches are naturally appropriate. The leaves are thick ink, heavy and loud. The whole work has a tight and relaxed structure between flowers, branches and leaves. The strokes are solemn and concise, and the real one is a flower that is about to be broken, but it has a unique charm. In ancient times, many literati admired the noble and luxurious peony, and they are all brush and ink, and they are valuable to be able to "demonstrate things" and "satisfaction". Shenzhou's picture is enough to make it.
"Send a distance to the Jingjiang River" Ming Shenzhou paper color is 28 cm long 159.2 cm horizontally, the Palace Museum in Beijing
This painting is signed as "Shen Zhou". It is cited in the first Qing Dynasty · Wang Shimin official script four words "Famous Records Yi Hui" in the official script. The back paper contains the Ming Dynasty Wenlin "Sending the Resignation of Wu Xuzhou" and the Zhu Yunming "Sending the Resignation of the Poems of Wu Gong, the Prefect of Xuzhou Prefecture". This picture reflects the mature "coarse" appearance of Shen Zhou in his later years. The picture is arranged in a flat and distant layout, with the river bank in the close view, and the people bow to say goodbye; the middle view is vast in the river surface, with a small boat leaf, and the protagonist bows and bids farewell on the boat; the distant view is overlapping mountains and endless. The general farewell pictures are depicted as detailed in the central plot, and the environment is less regional characteristics, but have more symbolic meanings. For example, the Willow Dike is a typical farewell occasion, which means that the road is long and the road is long, and its conception and realm are distinctive in literati paintings.
Some of Shen Zhou's landscape paintings describe mountains and rivers, representing the three distant scenery of traditional landscape paintings. In terms of painting methods, he endured his family learning in his early years and also studied under Du Qiong. Later, he learned from many people's strengths and went from various schools in the Song and Yuan dynasties, mainly inheriting the light-crystal system of ink and wash of Dong Yuan, Juran, and the four Yuan dynasties Huang Gongwang, Wang Meng and Wu Zhen. He also combined the brush and ink of Li, Liu, Ma and Xia Jinjian in the Southern Song Dynasty, and used both hard and soft to form a new style of rough brush and ink, creating a unique style. "Picture of the Two Rivers" shows the humid, clear, bright and elegant scenery of the Jiangnan water town. It embodies the style of Shen Zhou's landscape painting.
"Famous Scenic Spots in Two Rivers" Ming Shen Zhou's silk is 42.2 cm in height and 23.8 cm in width and
"Snowboarding Boats" Ming Shen Zhou's silk is 249.2 cm in height and 94.2 cm in width and
Art creation cannot be far away from real life, and the description of natural still life is even more inseparable from careful observation of nature. Shen Zhou was good at using traditional brush and ink techniques to describe the real life scenes, so he could sprinkle them at will, with vivid brush and ink and full of interest. "Picture of Shutling Boats on Snow" is a relatively heavy-colored painting in Shen Zhou's landscape paintings. It also uses the expression techniques of green landscape paintings, which is a model of his ink and light crimson paintings.
"Weiyuan Elegant Collection Picture" Ming Shen Zhou's color on paper is 145.5 cm in height and 47.5 cm in width and
Shen Zhou created an atmosphere of landscape pavilions and pavilions, forests and springs in this painting. The peaks rise sharply in the distance, lightly covered with mist; near the top of the mountain and the middle mountainside, many slowly upward platforms are exposed, and the spring water flows down from the mountain stream and converges into a brown brook. There was a small bridge beside the stream, and four people sat on the ground in the thatched pavilion. The book boy stood beside him and was waiting for the master's instructions. An old man came with a stick. Up and down the mountain, the vegetation is lush, and the red leaves are like fire dotted, adding a bit of beautiful scenery to the beauty of the scenic spot. The painter uses both texture and dyeing, and the picture constructed is majestic and quiet. The heart of the painter is connected to the poem, calligraphy and painting, which is a masterpiece of landscape works that combines poetry, calligraphy and painting into one furnace.
" Qingyuan Picture " Ming Dynasty Shen Zhou's color on paper is 19.1 cm in height and 188.7 cm in horizontal collection of Lushun Museum
Shen Zhou did not work in his life, and traveled leisurely under the forest, entertaining himself with poetry, calligraphy and painting. He was knowledgeable, famous for his poetry, calligraphy and painting, and his family was rich in collections. He once collected famous works such as Huang Gongwang's "Stone Wall Picture of Tianchi" and " Fuchun Mountain Residence ". He has a wide range of friends and a high prestige, and both Wen Zhengming and Tang Yin are from the school. In this picture, Shen Zhou used various brushes and ink to carefully depict various scenery in Qingyuan. The painting method was neat, the brush was round and thick, and the colors were bright. The hillside was rendered with very dense hemp brushstrokes with light ink; the lines were round and vigorous, and the ink was moist, and the atmosphere was full of life. The entire Qingyuan picture is beautiful and natural, from poetry, painting and even philosophy, it is intriguing.
"Autumn River Fishing Hidden Picture" Ming Yao Shou Light color on paper 128.4 cm vertically 58.5 cm horizontally
Yao Shou (1423-1495), whose courtesy name is Gongshou, his nickname is Danqiusheng, and his nickname is Gu Anzi, and his idiotine is Yundong Yishi. Good at painting landscapes and bamboo and stones small scenery . The picture of "Fishing Hidden in Autumn Mountains" depicts the distant mountains of autumn forests and boats fishing in the lake. The artistic conception of the whole work is bleak and quiet, giving people a calm beauty. In terms of expression techniques and interests, the painter inherited the brush and ink tradition of Yuan Wuzhen, with a rough and sophisticated style and a simple and simple charm. In this work, the picture is desolate and sparse, full of desolate and cold atmosphere. Although there are fishing boats in the world, they have a sad, severe and sentimental mood. The painting method is varied and the layers are in a smooth and orderly manner, showing the vigorous and colorful style. The distant mountains and nearby rocks are combined with texture and dyeing, the brushwork is steady and the ink is moist.
"Snow Creek Boat Picture" Zhong Qinli's ink brush on silk is 170.8 cm in height and 103.2 cm in width and
Zhong Qinli, born and died year unknown, named Huijishan native, and from Shangyu, Zhejiang. The vertical strokes of landscape paintings are thick and bold, the horizontal strokes are strong, and the outer strokes are strong, so you can learn to wear them and then change them. During the Chenghua and Hongzhi periods, he entered Zhirenzhi Hall and was a top master among the inner court painters. "Picture of Boat Releases in the Snow Stream" is Zhong Qinli's representative work. The painting shows the scene of a fisherman laying a boat on the cold stream after snowing. The picture is cold and quiet, with snow-covered peaks in the distance. The outline of the mountain is outlined with heavy ink lines. The branches are strong and curved, with clear layers, which are deeply rooted in the charm of snow bones and water.
"Auspicious Snow Desert Winter Picture" Ming Wang Yan's silk is 139.6 cm in length and 91.5 cm in horizontal. The Palace Museum in Taipei
Wang Yan, whose courtesy name is Tingzhi, is from Fenghua (now Fenghua, Zhejiang). The birth and death year is unknown. The activity period was between the Chenghua and Hongzhi periods. At first, he studied landscape paintings by Xiao Feng, and later studied various schools of the Tang and Song dynasties. All the strange mountains, strange rocks and lonely trees are rushing, and all the wonderful things are reflected. Xiaozong's painting of horses far away called Wang Yan "the horses far away today." He mainly learned Ma Yuan's painting method throughout his life, and his painting method belongs to the Zhejiang School. "Auspicious Snow Condensing Winter Picture" depicts the scene of traveling to the snow-capped mountains ink. The turquoise painted is thin and hard, and the atmosphere is cold. The huge rocks of the mountains, the courtyards at the foot of the mountains and the temples on the mountains are all drawn with hard pens, making them cold and steep. The water is high and wide at the foot of the mountain, and the sails are dotted, and the ink is not much falling to highlight the cold and cold artistic conception of the whole painting.
"Attack of the River Pavilion" Ming Wang Yan's silk is light in color and 143.2 cm in height and 229 cm in width.
This painting depicts a flat and distant view across the river. The pine forest is facing the river in front of the stone wall. There are water pavilions and pavilions by the river. It is across the river in the distance. It is filled with clouds and mist. The peaks are undulating, surrounded by mountain cities, and boats are moored on the banks of the river. There is a vast river wave in the middle, the water and the sky are vast, and the boundless. The close-up buildings and the distant mountain city are opposite each other, the picture is open and the artistic conception is beautiful. The water waves in the lake are fine and dense, with heavy front and light back forming a high, far and wide space, and the water and sky are connected. The distant mountains on the other side are lightly stained, which contrasts with the thick ink and heavy dyeing in the close-up scene. The entire work uses fine brushwork, which is a school of Ma Yuan in the Song Dynasty.
"Pine Forest Ceqian Picture" Ming Taocheng paper color is 103.5 cm in height and 36.8 cm in width and
Taocheng, whose courtesy name is Mengxue and whose pseudonym Yunhu Xianren, was from Baoying (now Baoying, Jiangsu). His birth and death year was unknown, and it was around the Chenghua and Hongzhi years. In the seventh year of Chenghua in Emperor Xianzong, he was a juren of talented people, skilled in poetry and prose, and was good at seal script and clerical scripts, especially characters, landscapes, flowers and birds. Green and green are often used in landscapes, and Tao has become a person who is not particular about the details. He has the style of Mi Yuanzhang and Guo Zhongshu and his great skills. He is beyond the reach of Mi and Guo. He once imitated silverware, surpassing the original. In his later years, he once pursued a beautiful prostitute who was a self-weaving brocade skirt and a golden ring to give it to him, and was a master of ghost craftsmanship. "Picture of Ceqian in the Pine Forest" is a representative work of Tao Cheng's landscape painting.
"Poetics of Ancient Sages" Ming Du Jin The ink color on the roll is 28 cm in length and 1079.5 cm in horizontally in the Palace Museum in Beijing
This picture has no print. There are nine sections in total, each section contains a poem written by Jin Cong. The volume is not available. Jin Cong said: "□□Search twelve ancient poems. I am about to go and ask Du Qiju to do the work. I am not surprised that the book dares to occupy the left of the book, and the marks are on the ears. If the jade is completed, there must be a pearl and jade on the side. If I feel that my appearance is dirty, why should I say goodbye to you? On the 28th of June of the Gengshen period of Hongzhi, Jin Cong recorded the matter." Jin Cong, whose name is Yuanyu, his name is Chisongshannong, was good at calligraphy and painting plum blossoms. Du Jin carefully understands the poetry, makes clever ideas, prominent characters, and blends scenes. The characters are drawn in a plain way, with smooth lines, slightly lifted and pressed, implicit and elegant. The arrangement of mountains, rocks and trees is simple and natural. The mountains and rocks are cut by side with axes, and are close to and far, but the brushwork is meticulous and elegant, with the charm of the Yuan people. This picture is a masterpiece of its white and huge structure.
"Landscape Picture" Ming Zhang Fuyang's ink pen on paper is 33.2 cm in height and 136.4 cm in width and
Zhang Fuyang (about 1403-1490), whose name is Fuyang, his name is Xing, his nickname is Nanshan, a native of Pinghu, Zhejiang, a Taoist priest, and his landscape imitates Wuzhen. The ink is vigorous and vigorous, and the grass, trees and characters he paints are each ingenious.The painter depicts the water towns in the south of the Yangtze River. Through a large number of dense forests and trees, villages and thatched huts, fields, farming and farming life are hidden. It is full of life atmosphere, and the distance is filled with clouds and has a strong sense of space. The ink brushes of this painting are vast and thick, with broken brushes flowing vertically and horizontally, and burnt ink and light ink accumulate layer by layer, vividly showing the distance and near. The entire work is full of natural wonders, fullness, and fullness.
"Attack of the Smoke River" Ming Dynasty silk is colored on the red silk 169 cm in height 107.3 cm in width
This painting depicts the smoke of the high mountain and the water village of the far Pu. The left half is made of a high long view, the peaks are towering and majestic. The green trees are green across the hillside, and the pine and cypress are vigorous, and the mountains and trees are both majestic. Banqiao and village, the distance is boat sails and water towns, exquisite and open, beautiful and sparse. I learn more about Guo Xi in painting. The sharp rocks, strange peaks, twisted trunks, crab claws and other works all come from Guo Xi's style. The painter organically combined the majestic, complex and precise characteristics of Guo Xi's landscape in the Northern Song Dynasty with the simplicity, emptiness and sparse pattern of the Southern Song Dynasty courtyard landscape, creating a Ming Dynasty courtyard painting style that is different from the Song Dynasty courtyard style.
"Songyuan Xianyin Picture" Ming Zhu Duan silk is 230.2 cm in length and 124.3 cm in horizontal collection of Tianjin Art Museum
Zhu Duan, whose courtesy name is Kezheng and his nickname is Yiqiao, is a man from Haiyan. The birth and death year is unknown. A court painter during the Zhengde period of the Ming Dynasty, Zhengde was directed by Renzhi Hall. On the one hand, his landscape paintings were influenced by the style of the Southern Song Dynasty courtyard in the popular palace at that time, and were far away; on the other hand, he also studied Guo Xi of the Northern Song Dynasty. "Singing Picture of Songyuan" is a representative work of this type of landscape. The whole work is brilliant and elegant, and the work is casual in detail, reflecting the style of the Ming Dynasty. Zhu Duan's landscape works have made certain achievements in inheriting and developing traditions. He has promoted the style of the Song Dynasty's courtyard paintings and promoted his positive influence on later generations to a certain extent.
"Yandang Mountain Picture" Ming Ye Cheng's silk version has a color of 35 cm in length and 290.3 cm in horizontal.
This picture is self-identified: "Yandang Mountain Picture. Ye Cheng, Yanshan, Bingxu, Jiajing." Back Paper Clear·Legend of Liang Qing. Ye Cheng, whose courtesy name is Yuanjing and his pseudonym was Changshan. He was originally from Wu and lived in Yanjing (now Beijing). He was a painter during the Jiajing period (1522-1566). He is good at painting landscapes and learning from Dai Jin. Xu Qin's "Ming Hualu" commented that "there are few ways to distinguish the similarities of his spirit." The landscapes painted in the work start from Shimentan, including Zhangyi Tower, Shifo Rock, Shiliang Cave, Lingfeng Cave, Luohan Cave, Jingming Temple, Liaohua Peak, Xiangyan, etc. These scenery depicts real and has unique stunning features, and is typically the most beautiful and magnificent atmosphere of the No. 1 mountain in the southeast. The painting method of the work is similar to Dai Jin, but the brushwork is more detailed, and it shows the sketch of the scenery and the movement of the scenery. It is very similar to a field-based sketch, which is relatively rare in the later generations of the "Zhejiang School".
"Baqiao Wind and Snow Picture" Ming Wu Wei's silk is light in color 183.6 cm in length 110.2 cm in horizontal
Wu Wei (1459-1508), whose courtesy name is Shiying, and his name is Ciweng, and his name is Lufu, and his name is Xiaoxian. Jiangxia (now Hubei Wuchang ). Wu Wei was a famous Zhejiang faction after Dai Jin and the founder of the "Jiangxia faction". The painting method in the early years was relatively detailed, but in middle age, it became vigorous and bold and splashed ink. Ba Bridge is located east of Chang'an County, Shaanxi, and is also known as Dominic Bridge. Most people from the Tang Dynasty bid farewell to each other, and there is the allusion of "Ba Bridge to Broke Willows". There is also a saying that "poetry thoughts are on the donkey in the wind and snow on the Ba Bridge", so painters often use "Ba Bridge wind and snow" as the title. This work depicts an old man riding a donkey across the bridge in the wind and snow, lowering his head to meditate. To set off the theme, the scenery is filled with mountains and fields, withering trees, wind and snow, the river is frozen, and the cold air is overwhelming. In terms of artistic expression, you use a side-edge pen with thick and simple lines, dripping ink and paint, and you will get a lot of momentum.
" Fishing Joy Pictures in the Mountains " Ming Wu Wei's color on paper is 270 cm in height and 173.5 cm in width
The painter lived a lonely life when he was young. He was adopted by Qian Xin in Changshu and later lived in Nanjing. Therefore, he has a strong sense of sympathy for the lives of folk fishermen. The work has a strong sense of life, and is relatively fresh and free in expression techniques. In terms of spatial processing, this painting has a solid front and a thick and thick front, a faint view, which is closer to the real natural scenery. The painting method of the whole work is relatively rough and vertical, and it is the work of the painter after middle age. "Jiangshan Fishing Picture" shows the beauty of Jiangnan and the life of fishermen. There are high trees and rocks on the riverside, and there are distant mountains on it. The fishing boats in the river are moored, a beautiful and beautiful fishing scroll of the river and the country.
"Miscellaneous Picture Album" Ming Xu Duan's paper-based ink or light color is 29.4 cm in height and 39.7 cm in width and
Xu Duan's (1438-1519), also known as Shi Zhong of the Ming Dynasty, whose courtesy name is Tingzhi, was from Jinling. He can only speak at the age of 17, and he is stupid outside and wise inside. He calls him stupid, and calls himself crazy, also known as crazy immortal, and also called him stupid Taoist. There are 12 pictures in the "Miscellaneous Picture Album": 1. Fishing pictures of fishermen; 2. Singing pictures of mountain bridges; 3. Lotus lotus and daylily slim pictures; 4. Sand gulls in autumn streams; 5. Wild sails pictures; 6. Flying sails in clear rivers; 7. Photos of the evening of the river sky; 8. Photos of the late return with the piano; 9. Photos of fishing alone by the stream; 10. Photos of the quiet residence of the water pavilion; 11. Photos of visiting friends with the piano; 12. Photos of leisurely looking under the tree; Most of the "Miscellaneous Picture Album" describes the life situation of the mountains and wild scholars, fishing alone by the stream, walking on a small bridge, visiting friends in the mountain village, or looking at the river sky, expressing the aspiration of staying away from the hustle and bustle of the world and forgetting the spring and stones. The painter focused on exaggerating the meaning of wildness in these paintings, thus highlighting his straightforward personality and his concept of transcending the world.
"The Picture of the Mountain Rain Is Coming" Ming Zhang Road ink and wash ink on silk 147 cm in height and 105 cm in width
"The Picture of the Mountain Rain Is Coming" ink strokes are about to come, and a fisherman gathers the net and returns. The mountains, grasses and gurgling streams in the close view are vividly portrayed, with distant mountains being misty and appearing in the dark sky, with great momentum as before the storm is about to come. In terms of specific expression techniques, the painter uses rough brushes and wet ink, and the aura is very vivid. The painter intends to create an atmosphere before the storm, with a thick brush and a vigorous style, but also reveals the painter's elegance and agility of using the brush. It is obviously influenced by the style of rough brush and ink painting in the Song and Yuan dynasties and the freehand painting style of ink painting in Lu Ji , Lin Liang and others. In terms of rendering the background, the light and darkness are also moderate, trying to show the rich and subtle changes in nature before the storm.
"Boat Picture of the Stream" Zhang Lu's silk color is 165.8 cm in height and 97.5 cm in width. The collection of Shanghai Museum
Zhang Lu (1464-1538), whose courtesy name is Tianchi and his pseudonym Pingshan, was only written in the world. He is from Xiangfu (now Kaifeng, Henan) and is smart. He saw the figures painted by Wu Daozi and Dai Jin, copied the figures of Xiao Qishen, and became famous by paintings. He was an important Zhejiang painter who followed Dai Jin and Wu Wei in the Ming Dynasty. He was mastered by Wu Wei, but his elegance was not enough. He was wild and had the charm of Dai Jin in the mountains and rivers. Zhang Lu's painting art was praised by the world, and Zhan Jingfeng of the Ming Dynasty praised him as "a famous master." At that time, all the gentry praised it more and more, and obtained the original works, just like a wall.
"Take a guest in the wood door" Ming Zhouchen's paper-based color
This picture uses the secluded life of feudal literati as the theme, reflecting the leisurely and elegant interest of the scholar-officials and the sects and the forest and spring. The picture depicts the touching scene of the host and guest relentlessly when they part. When expressing this kind of secluded life theme, the painter is different from the Yuan and Ming literati paintings that pursue the artistic conception of waste and silence, but instead gives it a majestic momentum and has its own artistic characteristics. Zhou Chen's landscape paintings were derived from Li Tang and Ma Xia, but he was not limited to the Song Dynasty's courtyard painting program. The mountain rain captured the advantages of certain sets and brushwork of literati painters, forming a style with rigorous structure and flowing qi, real and vivid shapes, strong and sharp brushwork, and sufficient ink rhyme.
"Snow Village Visit Friends" Ming Zhou Chen's silk is 224.3 cm in length and 96.9 cm in horizontal.
The composition of this picture is very steep and steep. The several tall and elegant pine trees on the huge rock in the middle are the visual center of the whole picture. The rocks in the upper left corner of the picture stand tall and towering, thrust into the sky, with a majestic momentum. The picture adopts a lofty layout method, which is a description of the scenery of the Central Plains landscape painting school of the Northern Song Dynasty. The close-up and long-distance shapes are solid and clear, and the middle-scene peach blossoms are blurred, which absorbs the advantages of the composition of Yuan literati paintings. The brush and ink technique mainly comes from the Li Tang Dynasty. The close-up scene is made of thick ink, and the texture and dyeing are combined. The stone is depicted by the method of dragging mud and water, and it is also made of small axe-cut texture and iron texture to express the rugged and solid stone bones. The twisted and upside down shape of ancient pine trees is quite close to the pine tree method of horses. The entire work is strong and powerful with a powerful pen tip, which is a representative work of Zhou Chen's paintings.
"Spring Mountain Riding Picture" Zhou Chen's silk is light in color and 185 cm in length and 64 cm in horizontal
This picture depicts the scenery of cycling in the sunny spring. The spring mountains are covered with green, the small bridge flows, and the three masters and servants are crossing the bridge. There are a few spring flowers and trees on the bank of the mountain stream in the close view. The mountain streams are turbulent and turbulent. The cliffs are made of a small axe and are mostly used on the shaded surface. The rocks show a certain brightness, making the mountains and rivers beautiful. The pines on the mountain are rich and vigorous. The green trees are shady after the house, and the scene is full of spring. The whole work has a clear and comprehensive composition, and is naturally appropriate. The painter highlights the foreground in the panoramic composition, focusing on expressing the spring mountains, cycling, peach blossoms, and pine trees to point out the meaning of the topic. Other contexts are relatively simple.
"Small Hidden Picture of Spring Spring" (part) Ming Dynasty Zhou Chen's color is 26.5 cm in height and 85.8 cm in width and
This painting is a scene where Zhou Chen painted Pei Chunquan's seclusion and rest. A thatched tang was painted under the pine stones. One person was sleeping in the hall for a few days, and another boy was sweeping outside the hall. There is a small bridge bent in front of the door, and the flowing water connects the lake, which is the name of spring spring. The mountains across the river are layered. The rocks on the other side of the bridge are also heavily ink. The two swaying trees exploring the spring water echo the weeping willows and pine trees beside the hut, with their own patterns. The distant mountains are stained with light ink, which contrasts with the heavy ink in the foreground, making them full of change and order. When Zhou Chen depicts objects, he is good at applying different brushworks of hardness, softness, thickness, lightness and heaviness according to the texture of different images, so that the objects are accurately and rigorously.
"The Picture of the Mountain Veteran" Ming Zhou Chen's silk is 136.4 cm in length and 72.2 cm in horizontal collection of Shanghai Museum
The theme is based on the seclusion life of feudal literati, reflecting the leisurely and elegant interest of the scholar-officials and the forest and spring. The picture depicts the touching scene of the host and guest reluctance to part. From the details of the boatman sitting at the bow of the boat, sleeping soundly on his knees, waiting for the owner to return, we can see the exquisiteness of the artist's artistic conception. When expressing this kind of secluded life theme, the painter is different from the Yuan and Ming literati paintings that pursue the artistic conception of waste and silence, but instead gives it a majestic momentum and has its own artistic characteristics. "Food-off Picture of Guests at the Wood Door" can reflect this style.
"Huxi Caotang Picture" Ming Wen Zhengming paper color is 26.7 cm in height and 142.5 cm in width and
Wen Zhengming (1470-1559), whose original name is Bi, whose courtesy name is Zhengming, later he used his name to Lin, and his name was Zhengzhong, and his name was Hengshan Jushi. He is from Changzhou (now Jiangsu), and is a fellow townsman with Shen Zhou and also works as a teacher at Shen Zhou. This painting method is elegant and mellow, and the artistic conception is quiet. The picture depicts the thick shade of high trees, hidden in the cottage, surrounded by mountains, winding waves, winding sails, and scattered pavilions and pavilions. There is a spacious pavilion near the grass cottage, and two high-ranking men sit opposite each other in front of the desk, talking and talking; in terms of artistic expression, the brush is delicate and rigorous, and the rocks are only slightly smeared with a thirsty pen, and the moss is used to show the light and darkness, and the management position is achieved, and the sketching helps to transform into a quiet state.
"Lanting Cultivation Picture" Ming Wen Zhengming's golden paper, green color,
This painting depicts the story of the Jin Dynasty Wang Xizhi and others practicing on Lanting Creek and compose the meeting of the Water and Flowing Sauce. Cultivation is an ancient custom.Lanting Xiushang is a story about Wang Xizhi and 41 people including , Xie An and in Lanting Xiushang, Zhejiang. Wang Xizhi and others washed up on Qushui. Each wrote a poem and Wang Xizhi wrote a preface, describing the beauty of the mountains and rivers around Lanting and the joyful mood at the gathering. In this work, the painter outlines Qushuiwan Bay with the method of writing and writing, and Lanting embraces it. The trees and bamboo are painted very finely, but not rigidly. The mountains are wiping concisely, and the clothes of the literati sitting by the flowing water are summarized, which is full of decorative fun.
"Imitation of Mishi Yunshan Picture" Ming Wen Zhengming's ink brush on paper is 24.8 cm in height and 602 cm in width and
This picture is Wen Zhengming's rough brushwork. The brushwork is rough and simple, with a dripping ink spirit, a sleek and vigorous brushwork, and expresses a quiet and elegant temperament in a rough manner. In the quiet and bleak nature, a man crossed the bridge with a stick, as if he was stopping to think deeply. His quiet thinking posture contrasts the natural Xiaosen and quiet mu. The pictures are moist, the inscriptions are old, and the poems are charming, which expresses the painter's literati's spirit of both poetry, calligraphy and painting. With this, the painter expresses the quiet life of literati and famous scholars. This painting is a work by the painter in his later years. It has a rough style and a meticulous brushwork, which can reflect the painter's artistic skills.
"Gao Qingquan Picture" Ming Wen Zhengming's paper color is 107.8 cm in height and 37.3 cm in width and
Wen Zhengming's landscape works in his early years, and his paintings are mostly learned from the ink and wash mountains of Zhao Mengsheng and Gao Kegong, and they are elegant and elegant. He has many high-quality works in middle-aged people, and his appearance has different changes. His style is fine and meticulous, with fine brushwork and green, with sharp tips and strong brushstrokes, fine and diverse textures, and his bounding paintings are very neat. In terms of artistic expression of "The Picture of Clear Spring in the Valley", the outlines and textures of the mountains and rocks are extremely fine and dense, and the colors are soft, making the artistic conception more elegant and light.
"Ancient Wood Cold Spring Picture" Ming Wen Zhengming's silk color collection in silk
Wen Zhengming's painting creation is mainly landscape paintings. Whether it is elegant green or beautiful ink painting, most of them describe the scenery of Jiangnan or the gardens of literati. In addition to learning from the Yuan people, the painting method also tracks the Five Dynasties and the Northern Song Dynasty, but is rarely influenced by the Southern Song Dynasty. His paintings are simplicity in detail and agility in calmness. The brush and ink are elegant and smooth in dryness, and astringent in proficiency, which has a strong lyrical meaning. This is a beautiful green landscape painting with rich colors and elegant strokes, beautiful but not vulgar. The way of painting trees is filled with empty lines, which is ancient and ancient. The colors of the mountains are large-area flat painted, and there are not many brushes, but they are unique in beauty.
"Green Yin Qing Diao Picture" Ming Wen Zhengming Ink Pen on the shaft paper is 131.8 cm in height and 32 cm in width and
This picture has the title: "The green trees sing and the wind moistens the grass, and the green shade is full of long words. Chang'an carriages and horses blow on the face, who knows the coolness of the empty mountains in May. Conquer the brightness." By He Kunyu, Wu Hufan collection. This picture shows the towering mountains and lush trees, and two people sit opposite the stream at the foot of the mountain. The natural scenery is beautiful and quiet, and the characters are quiet and elegant. It expresses the secluded environment and the sentiment of a noble man, and it is also a reflection of the painter's own thoughts and hobbies. The works have dense sets and fine branches, and many kings admire their legacy. However, there are sparse compositions in dense compositions, few outlines of mountains and rocks, and more dry brushes without rendering, forming regular and slightly decorative. The tip of the pen is thin and clumsy, and the ink color is interspersed with wet and dry, and the overall lightness is light.
"Spring Deep High Tree Picture" Ming Wen Zhengming's silk color is 170.1 cm in height and 65.7 cm in width and
Wen Zhengming's master Shen Zhou was not confined to others, and learned from others' strengths and formed oneself. The landscape, flowers, birds and figures are all extremely exquisite, and they are one of the most outstanding painters in the Ming Dynasty. Wen Zhengming's paintings can be roughly divided into two types: one is fine brush, beautiful and soft, and the other is rough brush, vigorous and simple, which are both praised by people. He has many disciples and his painting style has greatly influenced his descendants. This picture depicts the deep mountains and high trees, with moist and vigorous brushwork, simple and colorful, and dignified and beautiful. It is Wen Zhengming's classic work.
"Spring and Stone High Leisure Picture" Ming Wen Zhengming Ink Pen on Paper 68 cm vertically and 25.5 cm horizontally. Shenyang Museum
This picture has a section of the stream bank, three ancient trees, an old man sits by the flow, listening to the spring leisurely. The picture is simple and concise. The upper left side is titled "On the 24th day of the eighth year of Gengwu, Zhengming wrote about the 80th year of Quanshi Gaoxian, and the second year of the year of Gaoxian", and the two seals "Zhenming" and "Tingyun" are stamped below. The lower right side is stamped with the collection seals such as "Yufeng Appreciation", "Xuzhai Seal" and "Zhijinzhai Seal". Wen Zhengming was a master of landscape painting, but his flowers were no less than landscape painting. His flowers, birds, orchids and bamboos were mastered by the Yuan people, and his close master Shen Zhou was elegant and elegant.
"Ancient Tree Cang Smoke Picture" Ming Wen Zhengming's ink pen on paper is 26.2 cm in height and spans 7 cm in length. The Palace Museum in Beijing is collected by
Wen Zhengming's paintings mostly describe the courtyards of Jiangnan Lake and Mountains and the life of literati, with a stable layout and a blank ink. The painting style in the early years was fine and careful, the painting style was extensive in middle age, and the painting was mellow in old age, and the painting was both thick and thin. It was the most important to have rough strokes, and it was called "coarse writing". He is collectively known as "Shen Wen" with Shen Zhou and is one of the "Four Schools of Ming Dynasty". The brushwork in the painting is elegant and elegant, with delicate and beautiful descriptions, and the ink color is light and rich in variations, making the artistic conception of the picture elegant and open, quiet and peaceful, and the painter's mood and feelings are self-evident without saying a word.
"Chronicle of Rain and Sunny" Ming Wen Zhengming paper ink pen 130 cm in length and spans 60.8 cm in Beijing Palace Museum
"Spring is coming, the rain is raining, and the spring is deep in one day. The green marsh adds three feet of water, and the green elm has a new shade." This small landscape was written by the painter when the rain was first sunny, and the love story is recorded. The painting depicts a foggy flat swamp near the shore, with gravel scattered, green moss covered with fine grass. Several miscellaneous trees cluster with green leaves and dead branches, helping each other. This brushwork is broad and thick, the ink color is moist, the thickness varies, and the layers are rich. Although it is a small scene, it also seems to have a broad realm and a heavy momentum, which means it is green and wet.
"Thoughts on riding a donkey" Ming Tang Yin's silk is light in color and 77.7 cm in length and 37.5 cm in horizontal
Tang Yin (1470-1523), whose first name was Bohu, and his name was Ziwei, and his name was Liuru Jushi, the master of Taohua Temple, Lu State Tang Sheng, an immortal official who escaped from Zen, was all the other names he wrote, from Wuxian (now Suzhou). The nature of the poem is sparse and bright, and the nature of the poem is unruly. He once engraved his chapter as "The most romantic talented man in the south of the Yangtze River." "Thoughts on riding a donkey" depicts strange peaks and trees, people from the mountains and docks; the streams are turbulent, passing through the mountain stream; the green trees are facing the wind and dancing; in terms of artistic expression, the mountains and rocks are long and twirled, which is very wet. The autumn trees are green and yellow, and they are mostly made of short hooks and leaves. The style is similar to that of Li Tang and Ma Yuan in terms of painting, but they have the style of "literati painting".
"Looking at the Spring and Listening to the Wind" Ming Tang Yin silk is light in color and 72.5 cm in length and 34.7 cm in width. The collection of Nanjing Museum
This painting depicts high mountains and steep cliffs, twisted old trees on the cliffs, lush branches and leaves, and clear springs pouring down from the rocks. Two "gods" were sitting on the stone, intoxicated between the mountains and rivers. The nearby trees are curling and twirling, high above the air, all with leaves and light colors. The leaves are dotted with ink and water in the distance, and the heads are tilted, and the style is blown. The mountains above are steep. Use slender lines to draw the outline of the mountain and brush them with a single layer of axe-splitting texture, showing the hard stone quality. The whole picture is bright, moist, firm and charming. In the upper right corner of the painting, the poem is written: "Looking down at the flowing spring and listening to the wind, the sound and charm of the spring are in harmony with the shengyong. How can you not write the Yaoqin? It is a bell."
" Lost clouds and lost clouds " Ming Dynasty Tang Yin's ink painting is 189.1 cm in length and 105.4 cm in horizontal. The Shanghai Museum is
This painting depicts the steep willows on the high mountain, and the water pavilion is facing the river. There is a person sitting in the pavilion, watching the setting sun and lost clouds. A book is accompanied by a child. The whole painting has a quiet state and contains the temperament of a literati painting. The painter wrote himself, "In the painted building, the pearl curtain, the smoke and water, the setting sun is gone. I want to see Wang Nanhai for a thousand years, and once borrowed a gust of wind from the Dragon King." He expressed that he envied the success of the young man Wang Bo , who was the author of "Preface to the Pavilion of Tengwang", and was unfair for his ups and downs. In terms of expression techniques, the mountains and rocks in the close-up scene are mostly rubbed with wet brushes and outlined, and the ink is used heavier. The whole picture is ink and pleasant and moist, and the scenery is clean and free.
" Pine Sound Picture of Mountain Road Pines " Ming Dynasty Tang Yin's silk color is 194.5 cm in length and 102.8 cm in horizontal.
"Pine Sound Picture of Mountain Road Pines" in terms of expression techniques, the painter writes about mountains, rocks and trees with free and easy brushwork. The brushwork is slightly closer to Du Jin, which is more free and flexible than the Southern Song painters, which is quite different from the style of uniform and fine brushwork and beautiful colors. This painting is stained with light ink and emphasized by thick ink, with thick ink just right, forming a vivid ink rhyme, which makes people feel rich and endless color. The brush is made of twists and turns, and the flying is vigorous, cleverly pointing out the artistic conception of the sound of pine. The background is extremely concise and sparse, giving people a feeling of emptiness, bleakness, coldness and loneliness. There is a self-titled title on the upper right of this page: "The road in front of the daughter's mountain is horizontal, and the sound of pine trees is mixed with the sound of spring. Try to be idle from the quiet place, and you will feel the Taoist qi coming out."
"Buxi Tu" Ming Tang Yin's silk color is 159 cm in height and 84.3l cm in width. The collection of the Palace Museum in Beijing
Tang Yin was a painter who had tasted the coldness of the world. Later, his family became "a servant who was in charge of the case, and the couple turned against each other, and there was a ferocious dog, and he was swallowed by the door." In his letter to Wen Zhengming, the painter said: "Kunshan is burned, and the jade is destroyed. It is difficult to find the evil, and the people who are evil are here to return. In the country, Yin is regarded as a despicable man, clenching his fists and boldly, and if he goes to the enemy, whether he knows or not, he will spit on his fingers and spit on his fingers, which is also very humiliating!" Tang Yin had profound attainments in landscape painting. He organically integrated the panoramic view of Guo Xi of the Northern Song Dynasty, the twists and turns, strange and dangerous, meticulous and vigorous characteristics with Liu Songnian and Li Tang of the Southern Song Dynasty, who saw the big picture with small, white and black, and concise and bright techniques, creating his own meticulous, vigorous, clear and beautiful artistic style. "Buxi Tu" is a masterpiece of landscape paintings that embody the style of Tang Yin.
"Shi Ming Picture" Ming Tang Yin The color of the rolled paper is 31.1 cm in length and 105.8 cm in horizontal.
The collection of the Palace Museum in Beijing
This picture is titled "What is the matter of the day long? The tea bowl is held by itself. It is found that under the south window, the breeze is covered with hair. Wu goes to Tang Yin." The paper has Lu Can "Shi Ming Debate" written by the end of Jiajing Yi. In the article, it is read that Shi Ming debates with guests about drinking tea. Shi Ming's surname is Chen, and he is a neighbor of the calligrapher Wang Chong . Wang Chong is the relative of Tang Yin's children, so Chen also has a lot of contact with Tang Yin. This picture is the name of Chen family and depicts the scene of Chen family drinking tea in secluded residence. The works depict the leisurely life of Suzhou literati Chen Shiming, who travels under the forest and treats tea. The scenery is elegant and quiet. The place is surrounded by cliffs, huge rocks, mountains, and flowing springs. The stream outside the village is gurgling and green trees are hidden.
"State of Tea" Tang Yin The color is 31.1 cm in horizontal 105.8 cm in Beijing Palace Museum
"State of Tea" Tang Yin The color is 31.1 cm in horizontal 105.8 cm in horizontal 105.8 cm in Beijing Palace Museum
"Tongshan Map" Tang Yin The color is 31 cm in horizontal 137.3 cm in Beijing Palace Museum
"Tongshan Map" Tang Yin The color is 31 cm in horizontal 137.3 cm in Beijing Palace Museum
This picture is written with a poem on the left: "I heard that the Huai River comes out of Tongshan Mountain. In ancient times, wise men have produced it. Now you claim to be a private person, so you must borrow a bay of fishing hooks. Tang Yin of Wumen made a picture of Tongshan Mountain." (The "hook" should be "fishing") The paper comes with Wen Zhengming, Cai Yu , Wang Chong and other 14 inscriptions. According to the self-entered poem, Tongshan is the birthplace of Huaihe . The mountains and rivers are flat and far away, and there are several cliffs nearby, and tung trees are planted among them. The water flows rapidly, which is Tongshan; the river on the right is endless, and there is a ray of mountains in the distance, which is the Huai River. This drawing method is also very delicate. After the outline of the mountains and rocks is drawn with light ink and thin lines and smooth center, it will make fine texture and dyeing. The texture method is mixed with axe, scattered, and chaotic firewood. It is flexible but unstable, and the rendering is light and layered, and changes are seen in harmony.
"Apricot Flower Thatched House Picture" Ming Tang Yin's silk color is 147.8 cm in height and 73.2 cm in width and
Tang Yin once studied from Suzhou teacher Zhou Chen and also received guidance from Shen Zhou. In terms of basic techniques, his paintings are based on the acceptance of the traditions from Li Cheng , Guo Xi to Li Tang, and in terms of brush and ink interest and artistic conception, they are the qualities of literati, which can be said to be both morale of painters."Apricot Flower Thatched House Picture" is an energetic work in his landscape painting. The high mountains, steep springs, swaying pine trees in the painting, reasonable arrangement and clear artistic conception can indeed show Tang Yin's talented style, and at the same time reflect his solid traditional painting skills.
"Strange Trees in the High Mountains" Ming Tang Yin's silk color is 122 cm in height and 65 cm in width. The collection of Shanghai Museum
Tang Yin is a unruly talented man of a great generation. He has profound attainments in both piano, chess, calligraphy and painting. Especially in landscape painting, his talented and quick-witted thinking style has created his elegant brushwork and ink techniques and unique style. "Picture of Strange Trees in the Alpine Mountains" is a masterpiece of landscape paintings with majestic composition and ingenious conception. The high mountain rocks above the picture are mostly long and long brushstrokes, but the ink is light and moist, and the branches and leaves are dense, which is unique. The whole work is full of willows, with a handsome and elegant intention. The water and the sky are connected, and the artistic conception is lofty.
"Attack of Lakes and Mountains" Ming Tang Yin's paper is light in color 135.9 cm in height and 56 cm in width. The collection of the Chinese Art Museum
This painting expresses the beautiful and clear lakes and mountains in the south of the Yangtze River. The poem titled "The red clouds are rippling and the green waves are flat, and the lakes are not painted in the sunny sky. At this moment, the railings can be leaned alone, and it is clear that the body is trying to climb the geography." The clear realm of the picture reflects the poetry and the author's aesthetic feelings. The whole picture is clean and rigorous in handling the scenery, with a sensual and rigorous ink. The scenery painted ripples a beautiful life atmosphere, and the content and form penetrate each other and blend into one. The foreground of the picture is densely gathered, the back is empty, and the middle is large blank. The close-up and the long-distance view are connected, which is very harmonious and unified.
"Spring Mountain Companion Picture" Ming Tang Yin's ink pen on paper is 82 cm in height and 44 cm in width. The Shanghai Museum's collection
This picture is all made of ink and wash, and only one old man's robe is dipped in light red. In the picture, the curved railings are hidden, the trees are blooming green, the spring mountains are smiling, and the nobles are coming to the flow, giving people a feeling of sunshine and warm sunshine. The mountains are beautiful, and the texture is soft and the texture is focused on ink rendering, making it more and more charming. The whole picture has a naive and quiet interest. The title on the painting is: Two or three companions in the spring mountain, and they are constantly looking for flowers. It is good that there is a stone on the spring head pond, and the soft sar can sit quietly without dust. This picture is located in a place where trees are tilted, people are placed in a house, springs and stones are staggered, and mountain roads are all unique and unique, unlike ordinary simple literati landscape paintings. Especially the entire picture can vaguely see the bones of the Song Dynasty landscape paintings, which can be said to be "northern people and the south".
"Picture of Enhancement of Nature of Understanding Yangzi" Ming Tang Yin paper ink and wash 29.5 cm in height and 103.5 cm in width in Liaoning Provincial Museum
Two thatched huts in front and behind this painting, there is an old man sitting upright on a futon, wearing a wide robe, holding his hands on his knees, looking at the sky from afar, with a deep expression. There is nothing on the interior wall, and there is only a table on the ground, with Chenxiang burner and stationery utensils. The trees are hidden behind the temple, surrounded by a stream, and the ancient stone bridge lies across, revealing endless ancient charm. The lake water on the right side of the painting unfolds the artistic conception of the picture, with no boundaries, simple strokes and distant meanings, both with a strong sense of reality and profound artistic conception. The author wrote the running script of "Su Tai Tang Yin" at the end of the painting, with a red square seal of "Tang Baihu" and a long red seal of "Nanjing Jieyuan" at the bottom corner of the painting.
