This year is the Year of the Tiger, and among the zodiac signs, the tiger ranks third, called the YinHu. In classical literature, the tiger is often called "Howling Wind Son", "Mountain Jun", "Yu Suo", which integrates form, color, god and force, and has been known as the king of the hundred beasts since ancient times. In the religious concept, the tiger is both the god of the stars in the sky and the guardian deity of the Gate of Heaven, and whether it is Buddhism, Taoism, or shamanism, it is worshipped as a supernatural divine power. In the field of fine arts, both literati and folk artists have created the artistic image of many tigers. During the Spring Festival, The Paper, Ancient Art, specially sorts out the tiger image in the calligraphy and paintings collected by the Palace Museum for you, and wishes you an auspicious New Year.
Song Guizhen "Famous Paintings of Past Dynasties" Book of "Painting Tigers"
Song Guizhen "Famous Paintings of Past Dynasties" Volume "Painting Tiger" Collection of the National Palace Museum in Taipei
The signature of this painting is "Yuan Gui Zhen Painting Tiger", Gui Zhen's life is unknown, but in the Five Dynasties period, there was a painter who was famous for painting cattle tigers and birds of prey, "Li Gui Zhen". On the left side of this painting there is a "return to the truth" section, which seems to have been altered. There is also a "Li □□" written on the rock, and whether this painting is a painter with the surname of "Guizhen" or "Li" needs to be further studied. There is no one in the wilderness in the painting, the high pine is lush, the green bamboo is fluttering in the wind, the babbling water by the stream, a mountain tiger is crouching down to suck in the flowing water, the eyes are wide open, and there is a god; there is an eagle on the trunk of the pine tree, staring at the tiger, is it wary of fear and fear, guarding against the attack of the eagle, or awe-inspiring with the eagle to dominate the great wilderness. Chinese customs paint "eagle and tiger" together, that is, "tiger standing on eagle Yang". "Tiger Standing" is to describe the majestic and dangerous terrain, and "Eagle Yang" refers to the mighty and majestic display of talent. This is a metaphorical expression of standing in a position of superiority and exerting great power.
Song Guizhen "Famous Paintings of Past Dynasties" Volume "Painting the Tiger" (Partial) Collection of the National Palace Museum in Taipei
Ancient painters did not see tigers as easily as they do today, and this painting depicts the form of tigers quite skillfully, and is a masterpiece of Chinese painting history and painting tigers. The upper limit of the painting style may be earlier than the Yuan Dynasty, but it can be the work of the Southern Song Dynasty.
Yuanren draws tiger shafts
Yuan Ren paints tiger scrolls, collection of the National Palace Museum in Taipei
Between the pine forest and stone streams, a giant tiger has yellow skin and black stripes, bright coat color, and a mighty and majestic posture. The eyes of the tiger, painted with gold powder and slightly dyed green, look particularly imposing. Its back bulged, as if it were about to open its bow, and it was hidden that it was about to attack. The tiger's mouth opened slightly, and it groaned low but did not whistle. The treetops, the two mountain partridges see the scene, and the sound of surprise and screaming, but also for this scene of the tiger out of the mountain, adding a nervous and uneasy atmosphere. The through-width depiction is true, and the staining is extremely moist and charming. The painting is nameless, and the old signature is set as a yuan person.
Yuan Ren Paints Tiger Axis (Partial) Collection of the National Palace Museum in Taipei
However, judging from the painting style, there are many similarities with the Ming Dynasty court painting style, which is inferred that this painting may be from the hands of the Ming Dynasty's good workers.
Zhu Duan Hongnong Duhu Chart Axis
Zhu Duan Hongnong Duhu Scroll Collection of the Palace Museum
This picture depicts the story of Liu Kun in the Eastern Han Dynasty. Legend has it that Liu Kunren Hongnong (located in present-day Henan) was too punctual, and because of his brilliant political achievements, he was deeply loved by the people, and the fierce tigers could not bear to do evil in this place anymore, and drove the young tigers across the river. The tiger in the picture is half hidden in the water and gradually disappears. Liu Kun, dressed in red, rode on a horse to watch the scene, and the surrounding retinue and the people were surprised and excited, pointing out the retribution. Surrounded by dead wood and wasteland, a secluded scene of wild beasts.
Zhu Duan Hongnong Duhu Axis (partial) Collection of the Palace Museum
The painter uses the ink freehand method to outline the contours of the mountain stone with a lateral horizontal pen and a rough and simple line, and dyes the texture of the mountain stone with dripping ink and unrestrained brush. The leaves are dyed with a tangled thick dot of ink, and the gestures are unbridled and dynamic.
Ming Zhao Ruyin Wind Forest Group Tiger Chart Volume
Ming Zhao Ruyin Fenglin Qunhu Picture Volume (Partial) Collection of the National Palace Museum in Taipei
Zhao Ruyin (1436-1449), a native of Yongjia, Zhejiang, was famous for his good at drawing tigers. This painting depicts the forest springs, the tigers or sleeping grass, or drinking springs, or the wood, or licking the palms, the mood is different, quite vivid change of interest. The trees and stones in the background, the stream and spring are also depicted intentionally, which shows that the painter's achievements in landscapes and rivers are also deep, and not only stop at painting tigers. At the end of the painting, there is a tiger shape that is very similar to the "Yuanren Painting Tiger" in the courtyard collection, and it is likely that both paintings are from the same manuscript. According to the "Orthodox Xin You" calculation, this work should have been completed in the sixth year of orthodoxy (1441).
Qing Alchen Wei Tiger Chart Axis
Qing Dynasty Alchen Wei Tiger Chart Axis Collection of the Palace Museum in Beijing
Arjun was a Manchu painter of the Shumulu clan, a Manchurian blue flag man. The Right Attendant of the Bureaucracy. During the Qianlong period, it was enshrined in the inner court. Arjun is good at painting tigers, eagles, etc., and the "Miscellaneous Records of the Pavilion" Yun is "good at painting things, famous for painting tigers, and appreciating family treasures". It is recorded that in the fourteenth year of the Kangxi Dynasty (1675), the Western Regions paid tribute to the lion, and ArChen wrote a painting with "exquisite penmanship". This tiger figure depicts a tiger standing on a rock, with two eyes shining with a god, with a kind of divine might.
Zhang Shanzi of the Republic of China draws a tiger axis
Zhang Shanzi of the Republic of China, Painting a Tiger Axis, Collection of the National Palace Museum in Taipei
Zhang Shanzi (1882-1940), a native of Neijiang, Sichuan. Nazawa, Tiger Fool. The teenager learned to paint from his mother and once threw himself under Li Ruiqing's door. In the sixth year of the Republic of China (1917), he and his brother Zhang Daqian traveled to Japan and lived in Shanghai after returning to China. He is good at painting landscapes, flowers, and animals, taking the law of landscapes and rivers, and learning flowers from Chen Chun. Painting tigers is especially exquisite. This painting is a dangerous rock, a fierce tiger is independent, and when the air is empty. Shan Zi tasted the Suzhou Master of Nets Garden, raised young tigers, and spied their movements and behaviors, so what he did was realistic.
Zhang Shanzi, Caoze Giant Tiger Axis, National Palace Museum, Taipei
The National Palace Museum in Taipei also has a collection of paintings and calligraphy works such as the giant tiger of Grass painted by the painter.
Qi Baishi Tiger Chart Axis
Qi Baishi Tiger Chart Axis Collection of the Palace Museum
This picture breaks the traditional painting method of facing the audience with the positive image of the tiger, only the back of the tiger is painted, but through the twisted figure of the tiger's back, you can still feel the robustness and strength of its body, although the autumn grass on both sides of the tiger's body is swaying, you can still feel its unmoved by the surrounding environment, the king's style of solipsism.
Being innovative and painting your own true feelings is Mr. Qi Baishi's consistent artistic proposition. To this end, he carved a seal of "I made my own paintings", indicating that he not only taught the ancients and created in his artistic creation, but also paid more attention to innovation and change, and shaped his own style. He once exhorted his disciples to say, "Those who learn from me live, and those who resemble me die," asking them to be like gods and not be similar, rather than simply inheriting the teacher's teachings, otherwise their art will have no vitality. Mr. Qi Baishi is the most famous for painting fruits and vegetables, flowers, figures, fish, shrimp and crabs, and his works on tigers are extremely rare, this picture shows Mr. Qi Baishi's other style outside of his conventional theme paintings, and interprets his concept of focusing on innovation in a unique way of expression.
Xu Beihong Tiger Chart Axis
Xu Beihong Tiger Chart Axis Collection of the Palace Museum
This painting is self-titled: "Seven years of winter will be the law, Mr. ShuPing with Han Wei Jingtuo a variety of gifts, to make this retribution and commemorate." Sorrow. "Plutonium" Tragic Hong" Zhu Wenyuan Seal. In the lower right corner of the frame, there is a white square print of "Magic Machine and Its Micro". Seven years refers to the seventh year of the Republic of China (1918), and Xu Beihong was 23 years old at the time. The picture depicts a spotted tiger lying on a stone, turning his head and turning to look back into the distance, his alert gaze not only expands the sense of space of the picture, but also shows the domineering spirit of the king of the hundred beasts. The tiger in the picture is painted with pastels from traditional Chinese paintings, and the dynamics of the tiger's desire to move and stop are outlined with a fine brushwork, and the fur of the tiger's back is rendered with deep or shallow ochre and garcinia, showing a fine and silky texture.
In calligraphy, Xu Beihong was quite influenced by Kang Youwei and worked on the Han and Wei fa title Tuo. In November 1918, Xu Beihong won a place to study in France at public expense. Before going to France, Han Wei Jingtuo, who received a gift from his friend Ma Heng (Zi Shuping), was very happy, so he carefully drew this map as a thank you.
Xu Beihong Ride the Tiger God of Wealth Statue Axis
Xu Beihong Riding Tiger God of Wealth Axis The Palace Museum collection
This painting is self-titled: "Painting a cat is also a life of peace, and it is quite hard to camp and get gold." Please come out of Brother Zhao without any other intentions, tiger (look) he rides a tiger so happy. Written on the first day of the reign of Emperor Yan, Shuhua Ren's sister-in-law provided for it. Sorrow. "Plutonium" "Sorrowful Hong" Zhu WenFangyin, "Xu" Zhu Wenyuan Seal. The year was 1943, and Xu Beihong was 48 years old. The "Brother Zhao" in the inscription refers to the marshal of Zhao Gong who can attract wealth and treasure in folklore. This figure, as an auspicious painting, has elements of conjecture and exaggeration. The square-faced great han Zhao Gong was dressed in armor, covered with blue robes, and pedal official boots, and rode majestically on the back of the tiger. The tiger, known as the "King of the Hundred Beasts", was tamed like a sick cat, completely domineering.
Xu Beihong studied from the oil painter Comp and went to the museum to copy the paintings of famous artists such as Rembrandt while often going to the zoo to paint various animals such as lions, tigers, and horses to improve his sketching ability. The beasts in the zoo are kept in a semi-circular enclosure, which allows Xu Beihong to observe their fur, muscles, shapes and various movement postures from multiple sides and different perspectives.
The tiger in this painting is a pastel ink sketch method, its fur is first blended with ochre, and when the water is not dry, it draws textures of different lengths and thicknesses, and the ink lines are scattered on the wet paper, and its virtual and solid ink effect naturally shows the fine texture of the tiger hair.
(This article is based on the relevant information of the official websites of the National Palace Museum and the National Palace Museum in Taipei.) ）