Jin Wang Xizhi Yuanhuan Tie
These 34 calligraphy and painting works collected in the Forbidden City in Taipei are all famous choices in the history of art. They are all national treasures.
Jin Wang Xizhi Yuanhuan Tie
National Treasure Limited exhibits
This post is also called "Sacrifice Post". It is a double hook pattern. When making it, it is a double hook pattern. When making it, it is first outlined with ink lines and then filled in ink. It is one of the ways to copy ancient Dharma books. The volume contains the Song Huizong thin gold bookmark title and the seal of the inner palace, as well as the seal of Jin Zhangzong's "Minister of the Qunyu" and "Mingchang Yulan" seals, and many collection seals of the Yuan, Ming and Qing dynasties. This is a letter written by Xizhi to Zhou Fu, the governor of Yizhou (293-365). This letter is also included in the engravings of "Seventeen Posts" in the Tang Dynasty. However, the engravings are relatively rigid and lack detailed changes in the brushwork. They have lost the original appearance of Xizhi, far less than the realistic and vivid spirit of this double hook ink-twisted version.
Jin Wang Xizhi Kuaixue Shiqing Tie
Jin Wang Xizhi Kuaixue Shiqing Tie
National Treasure Limited exhibits
〈Quaixue Shiqing Tie〉 was originally a letter written by Wang Xizhi, mainly running script, and with the rigor of regular script, showing the graceful expression of not slow and not quick and smooth charm. Since the original works of Wang Xizhi have long been passed down, "Quick Xue Shiqing Tie" is a rare copy of the Tang Dynasty, it has become the most important visual information for future generations to understand Wang Xizhi's calligraphy. This post is of excellent quality and has a circulating experience; it contains seals of collections by Emperor Gaozong of the Southern Song Dynasty, Emperor Zhangzong of the Jin Dynasty, the Inner Mansion of the Yuan Dynasty and important collectors of the Ming Dynasty, and is the first treasure of the "Sanxitang".
This post is also one of the most flooded posts in Qianlong. He once wrote 71 posts in imperial writing. In his later years, due to poor eyesight, he also asked the "Shui Army" Dong Gao to write three posts, which shows Hongli's love for this post.
Tang Han Gan Hermitage Ma Picture
National Treasure
This picture is collected in the third edition of the "Famous Painting Collection". The painting Xi official rode a white horse, and led a black horse, and walked with his bridle. There is an inscription on it: "The original work of Han Gan, written by Ding Hai."
Han Gan (8th century) is a famous horse painter during the reign of Emperor Xuanzong of Tang (712-756). Judging from the style of painting, Xi official appearance and horses with round buttocks and short legs are the same as those of the tomb murals in the Tang Dynasty. Their shapes are indeed characterized by the strong and fertile people and horses in the Tang Dynasty. However, the lines are delicate and vigorous, and the continuous pens of several prescriptions are folded and the color of the brocade pads on the saddle are already in the style of the Huizong era, so this painting should be a masterpiece of ancient works from the late Northern Song Dynasty .
Tangren Gong Le Tu Scroll
National Treasure Limited exhibits
This picture has a short and narrow layout. It may have been a decorative screen used in the palace, but it was later converted into a hanging scroll. The content depicts ten female relatives in the harem sitting around the rectangular table. Some were drinking tea and some were performing wine. The four people above played the stews, pipa, guzheng and sheng respectively to cheer for the people who were having this banquet. Although there is no author's name on the painting, the characters are plump in their body, and the painting of the bun and dress is also in line with the aesthetic style of women in the Tang Dynasty. It is speculated that it should be from a painter who was influenced by the styles of Zhang Xuan and Zhou Fang. It is also an excellent work in the collection of works that has been over a thousand years old and can best present the image of women in the late Tang Dynasty court.
5 generations of people, autumn forest deer
National treasures, limited exhibits,
This picture depicts deer playing and resting in the bushes of red maple and birch intersecting, and the picture is filled with autumn scenes in the north. The deer is dyed with light ink points. The main tree is first painted with ink, and then the densely clustered leaves are tied, and the tree species is dyed with dark vermilion, white powder, ochre yellow, light ink, light snail green and other colors, which are colorful.
This work is very similar to the style and size of another painting in the collection of "Danfeng Youlu" (approved in 2012) and there is no author's seal. It is speculated that this painting belongs to the same group of paintings. The painting style is full of ancient style and full of decorative fun. The painting techniques and color methods are different from those of the Han people. It is considered to be a representative work of paintings in the Liao Dynasty in the second half of the 10th century.
Song people’s Tathagata
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Buddha sat in a lotus seat in half-legged position, surrounded by the two heavenly kings, Ananda , Mahakasyapa and the two offerings Bodhisattvas on the side.Sitting on the Buddha, his long eyebrows and thin eyes, his Dharma appearance was solemn; the two heavenly kings were wearing armor and holding swords and spears, with a majestic expression. The characters in the whole work have different expressions and are lifelike.
The four corners of the painting are divided into four half seals: "Shuanglong", "Zhenghe", "Zhenghe" and "Xuanhe" and "Xuanhe" in total, which are in line with the seal form of "Xuanhe Wear". It can be seen that it was once collected by the Huizong Palace. The bodhisattva in the painting is plump, and the lines of the clothes are covered with ink, which still shows the remaining wind of the late Tang Dynasty; while the Buddha sits on the Buddha's bun is low and flat, with a raised object at the bottom of the bun, which has the characteristics of a Buddha statue in the Song Dynasty. It is speculated that the painting was in the era or in the early Northern Song Dynasty.
Song people Jiangfanshan City
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This painting is embraced by two peaks, mountain temples and wild shops appear in it, the temple is located in the valley, built against the mountain. The clouds and mist surround the valley, and the birds are flying, making a dusk scene. The whole painting of boats, figures, buildings, trees, water marks and other scenery is delicate and exquisite. All ship structures, equipment, buildings in mountain temples and wild shops are accurately depicted, and the characters' expressions and appearances are vivid. In terms of landscape composition, the scenery is concentrated on the left half, and is rigorous and realistic; the color is simple and elegant, and although the painting is small, the mountain city is full of business. The unsigned figure on the painting is judged by the style of brush and ink, and it should be a wonderful work close to the era of Yan Wengui of the Northern Song Dynasty (acted at the end of the 10th century).
Song Yan Wengui Qifeng Wanmu
Song Yan Wengui Qifeng Wanmu
National Treasure
This picture depicts the scenery of the mountains, the distant mountains are all above the clouds, and the close-up is only revealed on the top of the mountain. The three groups of mountains are cleverly echoed, and the white clouds and mist are set off. Although the picture is small, it has a unique effect of looking at the vast distance. Especially the division of mountains and rocks, more brushstrokes are used to manage the quality. The brushwork is similar to that of Li Tang, and can be regarded as the turning point between "The Pine Wind of Ten Thousand Valleys" and "The Jiangshan Small Scenery ". The painting has no seal and the signature is formerly called "Yan Wengui's strange peaks and thousands of trees", but the style has nothing to do with the academy painter Yan Wengui (967-1044), who was active in the Northern Song Dynasty. It may be a meticulous work by painters influenced by Li Tang in the early days of the Southern Song Dynasty.
Cai Xiang 〈Haiyu Tie〉
This post is a letter written by Cai Xiang (1012-1067) to Han Qi when he was in his thirties, and is also a masterpiece of Yan style calligraphy in the Northern Song Dynasty.
Su Shi〈The book is the second rhyme of the three shepherds of the people and the other poems〉
This post was written at the age of 52, calm and steady, with a method but not obsessed with the method. It is a typical example of the style of calligraphy that emphasizes the meaning.
Huang Tingjian 〈Sent letters to the same year of the Ming Shu〉
This work uses the pen to guide the round and turn the brush, vigorous and tactful, and the characters are often tilted and raised with the right shoulder, with a high-spirited attitude.
Mi Fu 〈Daowei Post〉
This post was written when Mi Fu was forty-nine years old. It was a work of showing off his skills and exquisiteness.
or above the four famous calligraphy works of the Northern Song Dynasty were mounted in one by collectors of the early Qing Dynasty, Li Zongkong . This volume is called a benchmark work for the study of calligraphy history.
Song Wentong Mozhu
National Treasure Limited exhibits
Wentong (1018-1079), whose name is Yuke, is good at poetry and calligraphy. The ink bamboo painting method he created was the subject of later generations and is known as the "Huzhou School".
This painting is a bamboo hanging down on the cliff, with the main trunk growing like a dragon. The bamboo joints are white, intertwined with each other. The painting uses the center-head brushwork, the tip of the brush turns and flips, and combines the ink color and light, and is completed in one go, which summarizes and vividly expresses the ups and downs of the branches and leaves. Objects are both vivid and realistic, confirming the contemporary nature of Northern Song painters who focused on the principles of objects. Although it has no name, its quality is excellent and rare in the world. It has the marks of two authors. It is undoubtedly the original work of Wen Tong ink and bamboo, and is also a representative of ink paintings by literati of the Northern Song Dynasty.
Song Huizong Poetry posts
National Treasure Limited exhibits
Song Huizong (1082-1135), the eighth emperor of the Northern Song Dynasty. He was good at calligraphy and painting, and was a master of running scripts in Tang Xue Ji and Xue Yao, and created his own "Slim Gold Book".
This piece of silk is covered with red silk, with five characters in the calligraphy, with the last title "Made in Xuanhe Palace" and stamped with the seal of "Imperial Book". The strokes are thin and vigorous, and they are full of energy.When the lines start and close, the traces of hiding the edge, revealing the edge, turning and raising the edge. Just like Chen Bangyan's postscript: "Working with painting methods, remove the ink and strokes of the brush and ink. The lines are like orchids and bamboos, making the sound of wind and rain. It is a true masterpiece." However, many Chinese and small regular scripts have been handed down from Huizong, but this volume of thin gold is written in five-inch large characters, which is undoubtedly the treasure.
Song Huizong Wenhui Photo
National Treasure Limited exhibits
This picture depicts a group of scholars drinking and feasting in the garden by the pool. The huge black square paint case is set under the tree, and the table is filled with tableware and fruit food. There were another group of servants preparing tea on the small table nearby. The characters all have elegant expressions, clear eyebrows and beautiful eyes, and the use of instruments and garden landscapes are detailed and exquisite, which should be the exquisite work of the Huizong Dynasty Painting Academy. Based on the inscriptions written by Emperor Huizong of Song and Cai Jing on both sides of the upper end of the painting, it can be inferred that the images in the painting should be related to the 18th scholar of the Tang Dynasty (Picture of the Dingzhou). Although exquisite and gorgeous, it still reveals an elegant atmosphere, which is enough to represent the requirements and achievements of Emperor Huizong of Song for the Painting Academy. It is a rare and important painting in terms of the quality or research value of the painting.
Song Huizong Autumn Scenery Pictures of the Stream Mountains
Important Antiquities
This painting has mountains and hills and sandy slopes and trees appear on the upper left side of the picture. The outlines of the mountains and rocks are round, and the ink and wash are lightly dyed, and are decorated with smoke and wild water, presenting a lyrical and poetic landscape artistic conception. Although the painting is stamped with the charm and seal of "Imperial Book" by Zhao Ji (1082–1135) of the Northern Song Dynasty Huizong, the actual scenes of the work are mostly arranged on the left half of the picture, which is different from the giant-axle landscape paintings composed of the central axis in the Northern Song Dynasty. Judging from the style of painting, the painting was about the early Southern Song Dynasty.
This work presents the Southern Song Dynasty's composition, which has changed from the majestic style of the main mountain to the Southern Song Dynasty with a lyrical atmosphere. The brushwork of the whole painting is meticulous, with both the brush and ink of Li Guo School and the light ink of literati, which has important artistic meanings.
Song people Autumn Tang Double Geese
National Treasure Limited exhibits
geese and geese are the same family, and most of the ancients are called geese. This painting has a slight sense of wind in a corner of the pond in autumn. The two geese rest in the shallows, and the yellow reeds, red podocarpus and withered lotus are complemented by each other. But the kingfisher suddenly flew up and cut through the silence. One of the goose looked at her neck, but she still did not change her feelings.
painters use continental shores, aquatic plants, and residual lotus to form a circular composition, and then create the echo relationship in the painting through the sight and dynamics of birds. Looking at the structure and brushwork, it is similar to the style of Cui Bai , showing the painter's detailed observation and description of the natural ecology. This is rare in the Northern Song Dynasty flower and bird paintings, which are similar to this, are probably the masterpiece of the Qiuzhu water bird theme of the Huizong Dynasty Painting Academy.
song Song Supplementary picture of the book of Gaozong's book of the Filial Piety Ma He. Volume 1
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song Song Supplementary pictures of Gaozong's book of the Book of Filial Piety Ma Hezhi. Volume 13
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s0s0 Song Supplementary pictures of the Book of Filial Piety Ma Hezhi. Volume 1 4
Song Dynasty Supplementary picture of Ma Hezhi, the book of Gaozong of the book of the Female Filial Piety, Volume 1
National Treasure Limited exhibits
"Female Filial Piety" was written by Zheng, the wife of Hou Mo Chen Miao of the Tang Dynasty. The content explains the true meaning of filial piety and the etiquette norms of various women. There were eighteen chapters, only half of the scroll was left, and the framed form was taken in a picture and an article. The old title was the painting of Ma He by Emperor Gaozong's calligraphy. Ma Hezhi was from Qiantang. Emperor Gaozong was a Jinshi during Shaoxing, and Emperor Gaozong and Emperor Xiaozong highly valued his paintings. The brushwork is elegant and comes into its own style.
In this work, the characters are delicate and elegant, with elegant faces and exquisite brushwork. Although the brushwork is extremely exquisite, they are not similar to Ma Hezhi, but are closer to Ma Lin's style (13th century); and the so-called inscriptions of Emperor Gaozong in the previous work are also closer to Lizong (reigned by 1225-1264), so it is suitable to be changed to "The Book of Filial Piety in Song Dynasty Calligraphy and Painting Female Filial Piety".
Song Li Di Autumn Flower Grass and Insects
Important Antiquities
Li Di (12th century) worked in the court painting academies during the Southern and Northern Song dynasties. He was a specialist in the themes of flowers, birds, grass insects, dogs and cats. He was an outstanding painter of the palace flowers, birds, bamboo and stone in the early Southern Song Dynasty.
This painting is slightly raised, and the mantis raises his arms high, wanting to hunt the scarab. The scarab notices it at the right time and immediately flaps his wings and flies. The mantis pounced on the air and had to look back helplessly. The moments of life and death of insects chasing and escaping are gripping through the painter's description. The delicate and exquisite color changes in the painting and the sensory charm exuded by flower and leaf insects fully demonstrate the painter's pursuit of the style inheritance of Huizong Painting Academy, which combines color and texture.
Song Su Hanchen Qiuting opera baby pictures
National treasure Limited exhibits
Su Hanchen (12th century), from Kaifeng. Xuanhe Painting Academy was waiting for the imperial edict, and after the Song Dynasty moved south, he entered Shaoxing Painting Academy. At the beginning of Longxing, he was awarded the title of Chengxin Lang because of his painting of Buddha statues. He is good at Taoism and characters, and is especially good at painting children and infants.
This picture shows the lake stones standing tall, the lotus and daisies competing for each other, and the autumn scenery is full of autumn. The two siblings stood a round stool, focusing on playing with the date mill. On the stool and on the ground, there are rotating wheels, pagodas, cymbals, etc. scattered. All children and toys are portrayed carefully and vividly, which is truly the most exquisite work of Su's family. Another painting in the courtyard is "Winter Baby Play", whose size and painting method are similar to this work. It is speculated that it should have belonged to the same group of four seasons baby play pictures, but only two are left.
Song Zhao Boyu Wind Eaves Expansion
Important Antiquities
This painting is surrounded by mountains and water, with lakes and stones in the courtyard, surrounded by long pine and bamboos, creating an ideal room for a literati. There is a couch in front of the screen in the pavilion, and a scroll, porcelain bottle and incense burner are placed on the lacquer table. The scholar holds a feather fan on the right and leans on the left, with a leisurely expression; the ladies on the left stand on the railing, and the two servants on the right hold tea sets in their hands, and move towards the pavilion. The title was signed by the Southern Song painter Zhao Boyu (1124-1182), and the calligraphy styles of Qianlong were written by the imperial inscriptions.
Song people emphasized "burning incense, cooking tea, hanging paintings, and placing flowers, four kinds of idiotic things" (see "Dream of Liang" of the Southern Song Dynasty). This small fan not only reflects the life culture of the Song Dynasty literati's tea and hangs paintings, but also retains the shaping characteristics of Song Dynasty garden architecture and furniture, which is extremely precious.
Song Mou Yi pounding clothes picture1
Song Mou Yi pounding clothes picture2
Song Mou Yi pounding clothes picture3
Song Mou Yi pounding clothes picture4
Song Mou Yi pounding clothes picture (instructions)
Song Mou Yi pounding clothes picture (instructions)
Song Mou Yi pounding clothes picture (instructions)
Song Mou Yi pounding clothes picture
National treasure Limited exhibits
Mou Yi (1178-?), from Sichuan. He was active in the Lizong and Duzong dynasties, and was good at painting figures, and was good at ancient Chinese and seal script.
〈Picture of pounding clothes〉 was written in 1240. The prototype of the creation was taken from the Southern Dynasty poet Xie Huilian (397-433)〈Picture of pounding clothes〉. In pure white painting, light ink is used to draw 32 women, and in the cold season, the process of pounding, tailoring, making clothes, packing and sealing is carried out step by step. All the girls in the painting have round faces and wide dresses, which still retain the charm of the Tang Dynasty. The character has a graceful manner and elegant manners, but there is a lot of sadness between his eyebrows, which reveals his concern for a good man who has not returned to the army. It is said to be the most implicit and successful work in Southern Song paintings that describe the lovesickness between husband and wife.
Song Zhu Xi Letters to the meeting to know the county (Autumn Deep Post)
Important Antiquities
Zhu Xi (1130-1200) was a famous thinker in the Southern Song Dynasty, and his life was to build a new national order. This letter was written in August of the fifth year of Shaoxi (1194) after he stepped down from his post as a magistrate of Tanzhou (Changsha, Hunan), and went to the capital, intending to explain the government affairs of Tanzhou. The first paragraph mentions the sad "national destruction" and refers to the news of the death of Emperor Xiaozong in June of the same year. However, when the July Guang Sect abdicated to Ningzong, he had the opportunity to enter the court to teach, which made him suddenly turn worries into joy. The strokes are written quickly, the dots and strokes are round, the lines are calm and smooth, and the overall movement is coherent, presenting a free and natural atmosphere.Zhu Xi's collection of the great achievements of Neo-Confucianism in the Song Dynasty had a great influence on Chinese culture. This letter is his calligraphy and is extremely precious.
Song Lu You wrote a letter to the prefect of the Yuan Bo (Qiuqing post)
Important antiquities
Lu You (1125-1210), whose courtesy name is Wuguan and his pseudonym Fangweng, was from Shaoxing, Zhejiang. He is talented and skilled in poetry and prose, his works are majestic and magnificent, and his emotions are strong, reflecting the style of the times, and he is the most important poet of the Southern Song Dynasty.
This painting is a letter written by Lu You in the sixth year of Gandao (1170) and was written to his friend Zeng Feng (named Yuan Bo). He was not only a master of literature in the Southern Song Dynasty, but also an important calligrapher in the Southern Song Dynasty. He once said that "Learn calligraphy, you should learn Yan". He collected many collections of essays, and studied Su characters with great depth. This letter is the specific practice of his running script that was effective in Yan and Su schools. The calligraphy is rich and dynamic, and it is a typical example of calligraphy after the age of 2019. It can be said that it is Lu You's representative work following the style of Su Shi in the Northern Song Dynasty.
Song people, Thousand Hands, Thousand Eyes, Avalokitesvara Bodhisattva,
National Treasures Limited exhibits,
million hectares of waves, auspicious clouds emerge; the four heavenly kings hold the seven-treasure lotus platform, and Guanyin Bodhisattva stands up on the lotus platform, and there are Thousand Hands, Thousand Eyes, Thirty-two sides. Guanyin has a moustache and a man's face, but she has clear eyebrows and beautiful eyes, gentle face, and a woman's charm. There are all Buddhas above and the eight divisions of the heaven and dragon below. All the servants of Bodhisattvas may worship in one's own manner or hold magical instruments in their hands, so they feel solemn. The whole painting uses fine and flexible center-head brushwork to describe Guanyin's Thousand Hands and Thousand Eyes, various handprints, magical instruments, necklaces and jewels of the lotus platform one by one, and the color is beautiful but not vulgar, which is breathtaking. Although there is no author's name, it is a fine Buddhist painting from the late twelfth century.
Dali Country Zhang Shengwen Painting Fantasy Portrait 1
Dali Country Zhang Shengwen Painting Fantasy Portrait 2
Dali Country Zhang Shengwen Painting Fantasy Portrait 3
Dali Country Zhang Shengwen Painting Fantasy Portrait 4
Dali Country Zhang Shengwen Painting Fantasy Portrait 5
Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting Fantasy Portrait 100Dali Country Zhang Shengwen Painting of Brahma statues
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This painting is the only painting passed down from the Dali Kingdom (937-1254) and is known as the "Treasure of the South". According to the inscription on the end of the volume, this volume was written from 1172 to 1175, and Zhang Shengwen was the main author. The painting is divided into four sections: Emperor Lizhen section Zhixing rituals of Buddha, hundreds of Buddhist figures, Sanskrit "Duoxin (Heart Sutra)" and "Protecting the Country" treasure banner, and the sixteen kings. The contents are divided into exoteric Buddhism, esoteric Buddhism, and Dali Buddhism. The whole volume is carefully depicted, and the clothes and hat characteristics are in line with the documentary records. The painting style is closely related to the Taoist paintings of the Tang and Song Dynasties, Tibetan Buddhist paintings, and Southeast Asian statues. It is the primary cultural relic that studies the history, religion, culture, art of the Dali Kingdom, as well as regional exchanges in the Middle Ages. (ps: This volume is a little longer. For convenience, the editor only selected some representative picture materials and inserted them into the article)
yuan Zhao Mengfu Zhi Zhongfeng monk's letter (Zui Meng Tie)
Important antiques
Zhao Mengfu (1254-1322), whose courtesy name is Zi'ang, his nickname is Songxue Taoist, and he is from Wuxing, Zhejiang. A descendant of the Song Dynasty clan, after entering the Yuan Dynasty, became a Hanlin scholar to be appointed as the Hanlin scholar. He is good at calligraphy and painting, and is the leader of the art world of Yuan Dynasty.
This letter is a letter written by Zhao to the eminent monk Zhongfeng Mingben (1263-1323). The two met during the Dade period, and the Zhao couple worked as their disciples. In the sixth year of Yanyou (1319), Zhao resigned from office and returned to the south, and his wife Guan Daosheng died of illness in Shandong. The book "A Book of One Law of Zhao" in the courtyard contains eleven letters and letters, most of which are related to matters related to Zhao's request to Mingben to preside over the ritual of losing his wife. Every word is revealed, and this is one of them. The brushwork of the whole painting is sophisticated that it is written in a concentrated and elegant manner, with a high spirit and a high charm, which can be said to be a straight entry into the Right Army room.
yuan Wei Jiuding Luo Shen Map
National Treasure
Wei Jiuding (about the 14th century), whose courtesy name is Mingxuan, was from Tiantai, Zhejiang. Good at landscapes, characters and boundary paintings.
This painting is a white-picking method, depicting the Luo Shenfei Mi walking on the light clouds and walking on the vast river surface with the rippling waves. The flexible and smooth belt flutters in the wind, like a dragon turning around, rising gently, fully demonstrating the ethereal and extraordinary beauty. Compared with other Luoshen paintings, which mostly create complex narrative scenes, this painting only uses a single character as the theme, and the scenery is particularly ancient.The middle section has a large blank space, and there is a trace of digging and repairing on the left, and the right is Ni Zan inscriptions. The gentle hills in the distance should be drawn with light ink, which should be attached to others. However, this is the only one of the works of Wei Jiuding in the courtyard, which is even more rare.
Yuan Ni Zan Jiangting Mountain Color
Important Antiquities
Ni Zan (1301-1374), good at painting landscapes and ink bamboo, and his calligraphy is also beautiful. He is known as the four great masters of the Yuan Dynasty together with Huang Gongwang, Wuzhen , and Wang Meng .
This painting was created in 1372. It was written by oneself and gave it to his friend Huanbo. It is a typical literati painting that combines three and is written for a soulmate. The composition is complex than the works in the early years. The interweaving of slopes and branches is cleverly used to guide the viewer to feel the distant space and the bleak autumn forest. However, when the stroke is finished, it is not interfered with, but the painting is integrated; supplemented by dry ink and side-edge brushes, it creates a clear, hard, slouching, and ancient atmosphere, as if reflecting its cleanliness. As the saying goes, it becomes a wonderful truth when you pick it up at will, and it is indeed a fine product in your later years.
yuan Zhang Yu Book Seven-character Regular Poems (top of the South China Sea)
National Treasure Limited exhibits
Zhang Yu (1283-1350) is also called Bo Yu, and is also called the Sentence and Ququ Way History. From Qiantang, Zhejiang. At the age of 30, he was a Taoist priest of Maoshan and at the age of 60, he returned to the Confucian ranks in Jiangsu and Zhejiang, and sang with local literary and artists. He was quite despicable between Taoism, Buddhism and literati in the Yuan Dynasty.
Zhang Yu's calligraphy was followed by Zhao Mengfu to pursue the style of the Jin and Tang dynasties, and his calligraphy is common in the inscriptions and inscriptions of works by people of the times. The calligraphy works in the Song and Yuan dynasties are mostly in volumes and volumes, and this painting is a rare hanging scroll. The characters on the web are sometimes big and sometimes small, tilted and turbulent, the ink is dry and wet, and the edge is strong and sharp, with a unique and elegant momentum. The interactive use of regular, running and cursive scripts shows the high skill of retracting and retracting.
Yuan Zhang Yu wrote Ni Zan like
National Treasure
According to Zhang Yu (1283-1350), the protagonist in the painting is Ni Zan (1301-1374), one of the "Four Great Masters of Yuan Dynasty". The screen landscape in the painting deliberately imitates Ni's style, and borrows the sitting posture of Vimalakirti in Buddhist paintings to create the image of Ni Zan's clear and clear hermit. The color of the whole picture is deliberately light, Ni Zan stretches out the paper with a pen, as if he wants to expose his mind. The whisks, water bottles, water bottles, etc. held by the waiter beside him all highlight his habit of being obsessed with cleanliness. Zhang and Ni are friends, and Zhang said in his compliments: "Da is arrogant and humorous." The external image directly reveals his inner spirit, which is consistent with the portrait. This volume reflects an important period of painting history friendship and the development of literati portraits, which has great significance and artistic characteristics.
Yuan Chen Lin Xifu Picture
Important Antiquities
Chen Lin (about 1260-1320), whose courtesy name is Zhongmei, is from Hangzhou, Zhejiang. He was very close to Zhao Mengfu and was also a well-known painter from the Song Dynasty to the Yuan Dynasty.
This picture is painted under the lotus by the water, and the mallard duck stands on the shore. According to Qiu Yuan's inscription on Shitang, it is an impromptu work by Chen Lin visiting Zhao Mengfu in late autumn. Zhao's family also retouched and added a pen. The brushwork of the duck is meticulous but not neat and stagnant. The lines of water patterns and lotus are lively and extensive, with a deep and elegant painting interest. It was achieved by the cooperation of two major calligraphers and painters of the Yuan Dynasty, which is rare. The brush and ink also show the concept of "using calligraphy into painting" advocated by Zhao Mengfu, showing another flavor brought by the movement of the brush and the changes in the depth of the ink.
yuan Gao Kegong Yunheng Xiuling
National Treasure Limited exhibits
Gao Kegong (1248-1310)'s name is Yanjing and his pseudonym Fangshan. His ancestors were from the Western Regions Seminary people. He was once the Minister of Justice and served in Jiangnan, living in Hangzhou, traversing the mountains and rivers of the southern country, and had close friends with Jiangnan literati.
This painting not only shows the main mountain with a strong sense of mass, showing the momentum of the huge obstacles in the north; it also has winding rivers, clouds and gentle peaks, revealing the warmth of the southern Mijia landscape, and has the style characteristics of landscape paintings from the north and south. The simple and elegant blue and green colors add a lot of business interest. The full picture reflects the retro movement in the early Yuan Dynasty. The painting style combines various important traditions in the history of painting, and is a typical style of Gao Kegong's landscape.
yuan Zhao Yong Horse pictures
National Treasure Limited exhibits
Zhao Yong (1291-1361), whose courtesy name is Zhongmu, is the second son of Zhao Mengfu. Both calligraphy and painting have mastered family rules, especially characters and saddles and horses. This painting was created in 1352. It is a painting of horses playing and horses sleeping with their horses leaning against pine trees, making them leisurely and leisurely. Since Chinese people and horses are used to symbolize talents by horses and symbolize officials or emperors by horses, this work should contain the meaning of governing without doing anything and being talented and elegant. The whole picture is drawn with a center line, with blue and green colors, and patterned leaves, which is quite rich in the ancient and clever taste of the Tang people. However, the composition strengthens the proportion of landscapes, the layout is spacious and distant, which further enhances the spirit of landscape paintings of literati, fully demonstrating the retro style and artistic achievements of literati paintings of Yuan Dynasty.
Yuan Wu Zhen Shuangsong Tu
National Treasure Limited exhibits
Wu Zhen (1280-1354), is good at poetry and prose, is good at cursive script, and is mostly made of ink bamboo or fishing and hidden mountains and rivers. It is one of the four great masters of the Yuan Dynasty. This painting was created in 1328 and is the earliest existing painting in Wuzhen. The master of Lei was respected by Taoist priest Zhang Shanyuan. The foreground is painted with two large trees; the old title is double pine trees, but it is actually double cypresses. After that, the streams meandered, the houses were scattered, and the area was flat and far away. The brushwork of painting trees and stones follows the Li Guo and Dong Ju Schools. The ink is full of energy, the brushwork is vigorous and the layers are clear, and the ancient meaning is presented in a steady and plain charm. It not only reflects Wu Zhen's artistic attainments, but also is an important information for studying his relationship with Taoism, as well as the Li Guo and Dong Ju School of the Yuan Dynasty.
yuan Wang Yuan Songting friends picture
national treasure Limited exhibits
Wang Yuan (14th century), whose courtesy name is Ruoshui and his nickname is Danxuan, is from Qiantang, Zhejiang. When he was young, he learned painting and was taught by Zhao Mengfu. The flower and bird master Huang Quan, the landscape master Guo Xi , and the characters master Tang Ren are all extremely exquisite.
This picture is composed of a flat and far method, with the two pine trees and tall and tall, standing in the center of the picture. A close-up picture is painted on the thatched pavilion by the water, with two scholars inside; a distant sail and a boat are painted on the top of the pine tree, which is far away in the wind. The entire landscape is clear and quiet, with the pen being sophisticated and subtle, vivid and consistent, and every stroke is solid, without any hesitation, it seems to be close to the Song people. Wang Yuan's works are mostly made of ink brush and flowers and birds. "Songting Friendship Picture" is his rare landscape masterpiece, and was painted in the seventh year of Zhizheng (1347).
Yuan Wang Meng Gu District Linwu
National treasure
Wang Meng (1308-1385), whose courtesy name is Shuming and nickname is Huang Heshanqiao, is the grandson of Zhao Mengfu (1254-1322). He is known as the "Four Great Masters of Yuan Dynasty" along with Huang Gongwang, Wu Zhen and Ni Zan.
The title of "gua area" is Taihu ancient name, and "Linwu" is the forest house cave at the foot of the west mountain of Dongting in Taihu Lake. The caves and valleys are exquisite, and the waterside pavilions by the villages by the stream are staggered. The mountains and rocks are rubbed with cow hair, and the brushwork is skillful and changeable. The leaves are dyed with ochre, gambola and cinnabar, and the autumn light is filled with paper, and the colors are all magical with the pen. Especially the mountains, rocks and trees are stacked and filled with layers, and the composition is almost airtight, which is rare in the history of Chinese painting. From the complexity of the Northern Song Dynasty and the emptiness of the Southern Song Dynasty, the structure of landscape painting has developed to this point and has moved to another new realm.
yuan person, you really look like
yuan person, you really look like
national treasure
0 left and right axes are drawn with nine arhats and two attendants, forming a set of eighteen arhats. In the painting, the Arhat holds scriptures, fan, rosary, lotus, incense burner, etc., with different shapes, old or young; or an Indian Arhat, with deep eyes and big nose, dark brown skin, or a Han monk, with fine eyebrows and fine eyes, and a white skin color. The lines of the clothes are concise, and the brushwork is varied, sometimes evenly and fluent, fluent; sometimes it has a sudden turn, strong and powerful. The characters' facial features and moustaches are all hooked with fine brushes, and even the patterns on the clothes are also expressed delicately. Although there is no author's seal, the paintings are exquisite, the colors are beautiful but unclear, and elegant and profound. They are truly a representative work of religious paintings in the Yuan Dynasty.
