Taipei Palace Museum began to launch four exhibitions on the New Year's Day, "Looking at the Paintings and Reading: Selection of Famous Destinies of All Times", "Brush and Ink See the True Chapter: Selection of Calligraphy of All Times", "Birds and Pictures: Harmonious Sounding of Feathers and Flowers and Fruits", and "Gift Famous Products Exhibition: Selection of Guangdong Paintings".
reporter learned that the exhibition "Looking at paintings and reading paintings: Selection of famous works of all dynasties" and "Reading the True Chapters of the Brush and Ink: Selection of Calligraphy of All dynasties" selected 25 rare paintings (sets) and 16 famous calligraphy works (sets). From the rare portraits of Emperor Zhezong of Song, which represent the majesty of the royal dynasty of the Song and Ming dynasties to the portrayals of fishermen who depict folk life since the Tang and Song dynasties; from the courtyard Zhejiang school of Li Tang and Lan Ying to the paintings of Wu literati from Wen Boren and Dong Qichang ; from the customary life of "Dragon Boat Bearing the Mark" to the elegance of scholars in "Poetry Thoughts on the Boat" and "Viewing the Moon on the Stream Bank", it can be seen one by one.
It is reported that the exhibition "Looking at paintings. Reading at paintings: Selection of famous works of all dynasties" and the exhibition "Looking at the true chapters of brush and ink: Selection of calligraphy of all dynasties" will last until March 25.
Song Gaozong's "Give Yue Fei a Commentary Volume" Part
Brush and ink sees the true chapter: Selected calligraphy of all dynasties
Taipei Palace Museum said, "The process of the development of Chinese calligraphy from ancient times to the present has always been a topic of concern to everyone. The exhibition of 'Brush and ink sees the true chapter: Selected calligraphy of all dynasties' is based on this to reveal the context of its development. The same is true for 'Looking at paintings and reading paintings: Selected famous works of all dynasties' is aimed at sorting out the development context of painting subjects, flowers, birds, landscapes and other dynasties."
The Sui and Tang Dynasties were another critical period. Political unification brought about the flow of calligraphy styles in the north and south, and the development of brushwork was complete. Since then, regular script has become a popular style of calligraphy in all dynasties. After entering the Song Dynasty, in order to preserve the long-term circulation of calligraphy by the predecessors, engravings became increasingly popular. However, the Song people did not regard inheriting traditions as their best practices, and their calligraphy orientation showed personal emotions and natural interests.
"Brush and ink see the true chapter: Selected calligraphy of all dynasties" exhibit list
Yuan Dynasty continued, and instead advocated retro, the calligraphy tradition of Jin and Tang dynasties was continued. However, the idea of not being bound by tradition also became active, and the slightest breath of emerged in the Ming Dynasty . The calligraphy of Ming people was extremely diverse, and their running and cursive script was particularly lively and free, which was in contrast to those who followed the traditional rules at that time. Calligraphers who highlight their own personality also take the path to realize their own style and are not swallowed up by the trend of the times.
Since the Qing Dynasty, ancient seal scripts and clerical scripts of Qin and Han dynasties have been unearthed one after another in the three dynasties, which is unique. Under the influence of pragmatic academic style, the Qing people rubbed the stele version, thus using the engravings and calligraphy, and the vision of calligraphy development can connect the past and present, and finally draw on innovations in both seal script and clerical script and lead new directions.
Yuan Chen Xiu "Seven-character Regular Poems"
Chen Xiu (about the middle of the 14th century), in 1371, he was appointed as the Minister of Personnel and was a capable minister in the early Ming Dynasty. This letter was written in 1364. It wrote a seven-character poem and sent to Weigong of Qingyuan, Jingci Temple in Hangzhou (1317-1375). It also presented it to Tingjun of Lan'an'an of Tong Temple (1299-1368), Lingyin Temple Zhizhiliang (1317-1371), and recorded the joy of the three people traveling. Many single characters have slightly square and flat shapes, with beautiful and plump lines like orchid leaves, and a flowing feeling, inheriting the style of Zhao Mengfu (1254-1322). Among them, the brushwork of sharp, thin, strong, folded in many squares and slightly with a slight banana is close to Song Ke , which is a masterpiece with profound characteristics of the times.
Ming Dong Qichang "Zhou Zitong Shu" Taipei Palace Museum
Dong Qichang (1555-1636), skilled in calligraphy and painting, and appreciated. Since the late Ming Dynasty, his calligraphy and painting creation, aesthetic thoughts, and artistic historical concepts have been continuously exerted, and they have not stopped yet. This scroll was written around 1611. The content of the book is written by Zhou Dunyi, a native of the Song Dynasty, discussing how people learn to be the most saint. The whole article combines the regular script styles of Ouyang Xun and Yan Zhenqing . The lines are round and thick, and the characters are straight and slightly slender. The contrast between thick ink and flying white shows the rhythm of lifting and pressing, and makes people feel the free and heroic brushwork.
Song Gaozong "Give Yue Fei Batch Volume" Partial
Song Gaozong (1107-1187) name, Southern Song Founding Emperor. His book is traced from Huang Tingjian (1045-1105), and it forms a unique pattern.This letter was written on April 27, 1141, urging Yue Fei (1103-1142) to start his army and cooperate with other generals to capture Jin Shuai Wushu. Calligraphy is the same as the "Ship Imperial Giving Yue Fei" in 1137, and directly follows the styles of "Lanting" and "Jizi Shengjiao". However, this letter is long and the writing is faster, making more transformations. In the rigorous qi and composition, the exquisite skills and elegant charm are revealed. This volume is stored in Lanqianshan Pavilion.
Tang Dynasty "The Stele of Fan Jun, the General of the Left Supervision Gate" The Taipei Palace Museum
This stele was established in 650. The owner of the stele Fan Xing (588-650) was a founding hero of the Tang Dynasty. He had great military achievements and was buried behind him with Emperor Gaozu of Tang Dynasty. The style of calligraphy has been in the past 653 years. " Preface to the Holy Teaching of Yanta ", so some people regard it as Chu's calligraphy. The regular script has lines, and the middle section of the strokes is light and thin, in an arc shape. When the two ends are raised and closed, the slightest hint appears, revealing the wise and the corners are revealed. He even deliberately used the official script style to achieve both strength and graceful beauty. The shape of the characters is straight and not tilted, and the blank space between the lines is large and uniform, with grace and comfort. Tan Yankai (1880-1930) said: "No one who can follow Chu's calligraphy in later generations can praise it." This is true.
Southern Dynasties Emperor Wu of Liang "Extraordinary Posts"
This post is cursive script with a little cursive style. Writing Buddhist language, but not complete. It was not recorded before the late Ming Dynasty, and Dong Qichang (1555-1636) was engraved into the "Xihongtang Tie" and was first revealed in the world. The nameless title is written by Dong's family, written by Emperor Wu of Liang (464-549), and written by Wang Kentang () and written by Wang Xianzhi (344-386). However, the calligraphy written by Dong's brother-made paper has thin strokes and wide characters, which is not similar to the ink-twisted books. If you carefully examine the original painting, you will write light ink and thick ink twice. The cursive method is wrong and it is not natural to pull the ribbon. Or it is a copy of the book collection of neighbors in Kyoto between the 18th and 19th centuries, and it is to be tested. This volume is stored by Mr. Wang Xuezhi.
read the painting. Reading paintings: Selected famous works of all dynasties
Model of figure paintings. Between the Six Dynasties and the Tang Dynasty (222-907), it was gradually established through Gu Kaizhi and Wu Daozi and others. The formation of landscape painting models was around the five generations (907-960), and they also contained geographical characteristics. For example, Jing Hao and Guan Tong draw the northern landscape style, while Dongyuan and Juran have the characteristics of the Jiangnan water town landscape. In terms of flower and feather painting, Sichuan's Huang Zi and Jiangnan's Xu Xi also form two different models.
Fan Kuan , Guo Xi , and Li Tang in landscape paintings in Song Dynasty (960-1279) have all introduced new things on the basis of existing models and became new models. Under the advocacy of the Song Dynasty art emperors, the Palace Painting Academy developed an unprecedented grand occasion. The painters at that time paid attention to the observation of nature and added poetry to enhance the connotation and artistic conception of the painting. Interest in physical objects has led to painting types mainly based on instrument structures such as architecture and boats, making them jump onto the stage of painting after the eleventh century. The poetic emphasis was developed during the Southern Song Dynasty to combine calligraphy, poetry and painting. In addition, the literati of the Song Dynasty also extended the concept of artistic expression to a category other than similarity, and literati painting began to become a new style.
"Looking at paintings and reading paintings: Selection of famous works of all dynasties" exhibit list
Yuan Dynasty (1279-1368) literati paintings are made by Zhao Mengfu, Yuan Four Masters (Huang Gongwang, Wuzhen , Ni Zan , Wang Meng ) and others regard retro as the target, and have a more diverse style expression due to retro. These styles gradually became important examples in the development of painting, and maintained their continued influence after the Ming and Qing Dynasties.
After the Ming Dynasty (1368-1644), the style characteristics of different regions have become an important link in the artistic development context. The "Wu School" in Suzhou evolved from the four great masters of the Yuan Dynasty to an elegant literati style. The "Zhe School" mainly composed of Zhejiang and Fujian painters developed from court paintings, turning the model of the Southern Song Dynasty into extensive ink painting. Dong Qichang of Songjiang and later Wang Shimin , Wang Jian , Wang Hui and Wang Yuanqi and others continued to recreate nature with brush and ink in the "Gathering of Ancient Models" to form a far-reaching "orthodox school".
In the Qing Dynasty (1644-1911), the emperors also tolerated the Western painting style brought by European missionaries. Three-dimensionality and perspective have become new interpretations of ancient models. Outside the palace, Yangzhou, a group of painters who boast about "strange" and "strange" are active in a highly commercialized market. Their writing and image are directed at the model of "unorthodox", and they have also become the model basis for future generations to pursue change.
"Sitting statue of Song Zhezong" The Taipei Palace Museum is located in
This image is similar to most existing Song Dynasty emperors. They wear round neckliness, black veils and heads, and feet are pedaled toward the shoes, and sit sideways on the backrest chair. However, the image of Zhezong is the most beautiful among them. The yellow floral pattern exposed from the neckline and cuffs are decorated with white gold laces that may be embroidered with pearls; the dragon pattern cushions between the flowers are also covered with pearls; the yellow seats are covered with exquisite dragon patterns and ball patterns are depicted in different colors of gold. Although it is extremely luxurious, it is not ostentatious, reflecting the low-key luxury of the court aesthetics of the Song Dynasty.
"Sitting statue of Emperor Xizong of Ming Dynasty" Taipei Palace Museum
This image is similar to other late Ming Dynasty emperors. It wears a winged crown and a dragon robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe robe The statue of Xizong can be said to be the most colorful of the statues of emperors. In addition to the basic equipment, whether it is the red painted gold-colored heights on both sides of the jade carved dragon pattern throne, the incense burner, the vase, the book scroll, the embroidered stud on the throne, and the carpets laid below are decorated with exquisite and gorgeous. Through the colorful scenery and robes, the majesty and prosperity of the emperors of the Ming Dynasty were constructed.
Biography of Song Li Tang "Yanlan Xiao Temple" in Taipei Palace Museum
According to the inscriptions by people from Shitang in the early Qing Dynasty, the edge of this picture originally included Li Tang (about 1049-1130, and another saying about 1070-1150). The framer accidentally cut it off during the mounting. However, this work is different from the brushwork, ink, brushstrokes, and rock shapes in the picture "Wind of Ten Thousand Valleys" in Li Tang's collection, and should not be written by Li Tang. However, the painting explains the spaces with mixed mountains, rocks, buildings, and smoke in a very delicate way. The flowing stream water is scattered several times when each floor is downward, depicting it lively. It is speculated that this is a landscape painting close to the intersection of the Northern and Southern Song dynasties.
The Yuan people's "Dragon Boat Graphic" Part of the Palace Museum in Taipei
This is an old master of the Yuan people. The whole picture is based on the Palace Palace in Moshishan City as the main body, and there are various characters with diverse costumes and rich postures. For example, the palace maids dress up in a small pavilion, or the drum music of Yiwei, and the officers and soldiers are practicing shooting, continuing the tradition of white-scanning and bounding painting in the Yuan Dynasty. Especially at the end of the volume, it is very similar to Wang Zhenpeng's "Dragon Pool Competition". However, the painted colors have been added to the rocks and some parts of the buildings. Because this painting of mountains, stones, forests and trees shows the style of Suzhou in the Ming Dynasty, it should be a masterpiece drawn by the Ming people.
Ming Dong Qichang "Imitation of the Writings of Yan Wengui" in Taipei Palace Museum
in the second year of Tianqi (1622), Dong Qichang looked at the picture of Yan Wengui (967-1044) of the Northern Song Dynasty and wrote this picture, but changed to the vertical scroll to express it. Several beautiful trees in the painting gather on the rocks with a slanting momentum; a distant mountain is boldly moved in the middle scene; the distant view in the upper part of the painting appears in the middle scene, which is closer to the viewer's visual proportions. The whole work is beautiful and mellow, and the conception is plain but bold but unique, which is a masterpiece he passed down from generation to generation.
Biography Song Liu Songnian "Silks and Silkworms" Collection of the Palace Museum in Taipei
This work was written by Liu Songnian of the Southern Song Dynasty (about 1150-1225) and is not similar to the works handed down by Liu family. Instead, it is close to the "Four Filial Piety Pictures" of Yuan people in the Yuanzang. Although it is an album at present, there are still pictures on both sides, and it may be damaged and broken, so it is mounted into a book. Although the characters, houses, stoves, kangs and utensils in the painting do not focus on the details, they can accurately shape them with several strokes and give them expressions. For example, a girl leaning on her mother's legs pays attention to the curling pattern, which is very charming and cute.
Ming Zhou Chen's "Fishing Village Picture" Part of Zhou Chen's collection of the Palace Museum in Taipei
Zhou Chen, (acting about the end of the 15th century to the beginning of the 16th century), whose courtesy name is Shunqing and his pseudonym Dongle, was from Suzhou. He was good at painting landscape figures. Tang Yin and Qiu Ying both worked as teachers and were genius professional painters.
This painting depicts the daily life of fishermen, with the joy and ease of lying on the side of the river, the joy and noise of several boats gathering together to drink and have fun, the warm intimacy of mothers taking care of children, and the cooperation between fishermen and pelicans fishing together. The brushwork is carefully and thin, the colors are elegant and light, delicate and vivid.
(The pictures and texts of this article are provided by the Palace Museum in Taipei)
Source of this article: The Paper
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