"The grass under Yiyang City is thick, and the stream flows east and back to the west. The fragrant trees are not flowers, and the birds are crying all the way to the spring mountain. "The poem "Spring Improvisation" by the Tang Dynasty literary scholar Li Hua has won the love of readers of all generations with its characteristics of writing scenes, sentences with emotion, and subtle artistic conception.
In addition to poetry, there are many wonderful works in the history of art for the depiction of Spring Mountain, such as the Southern Song Dynasty Zhao Boju's "Spring Mountain Map" with green as the main tone, vividly showing the scenery of spring touching the green; the Yuan Dynasty Zhu Shuzhong's "Spring Pond Willow Color" with a very soft pen, gentle and elegant coloring, fully showing the spring in the earth moist, tender green all over the field, all things growing in the business; the early Ming Dynasty DaiJin's "Spring Map" is even dyed with wrinkles, vigorous and free, reflecting the fifteenth century Zhejiang painters' pursuit of intuitive flat decoration interests, With the typical style of dynamic aesthetics...
The Northern Song Dynasty landscape painter Guo Xi once said in his "Lin Quan Gao Zhi Shan Shui Xun": "The smoke of the true landscape is different at four times: the spring mountains are like laughter, the summer mountains are green and like drops, the autumn mountains are clear and like makeup, and the winter mountains are bleak and sleepy." On the occasion of the spring season when the clouds are out of the spring and the spring dawn of the lake and the rivers are dawning, the "Surging News And Ancient Art" specially combs the "Spring Mountain Map" in the Collection of the Forbidden City for the benefit of readers.
Song Guo Xi "Early Spring Diagram" axis
Song Guo Xi "Early Spring Map" Axis Collection of the National Palace Museum in Taipei
Guo Xi (born in the 11th century), a native of Wen County, Henan. During the reign of Emperor Shenzong (1068-1077), he studied art for the Hanlin Academy of Painting and was good at painting landscapes. He is the author of the book "Lin Quan Gao Zhi", which is an important treatise on the discussion of landscape painting in the history of mainland painting.
Song Guo Xi "Early Spring Map" Axis (Partial) Collection of the National Palace Museum in Taipei
The main scenery of this painting is concentrated on the central axis, with large stones and giant pines in the close-up, and the twisting mountain stones in the middle of the scene, separated by clouds, two peaks protrude in the distant view, standing in the middle, facing the abyss, and there are magnificent halls and pavilions in the deep mountains. The flat slope on the left side feels both deep and far away.
The author uses thick and twisted lines to depict the outline of the mountain stone, and then uses different ink colors of dry and wet to rub out the texture of the rock surface layer by layer, because the shape is like a curling cloud, so it is called "cirrus cloud". The branches of the tree are curved, and the branches resemble the appearance of extending the fingers of the cloth palm, called "crab claw branches", which is a feature inherited from the Li Cheng family in the early Song Dynasty. The painter on the right side of the painting inscribed: "Early spring." Nongzi (1072) by Guo Xi painting. As the name suggests, this painting depicts the melting of snow, the changing clouds and smoke, the restoration of the earth, the branches of grass and trees, and a thriving early spring scene.
(Biography) Song Mi Fu "Spring Mountain Ruisong" axis
(Biography) Song Mi fu "Spring Mountain Ruisong" axis Collection of the National Palace Museum in Taipei
This painting is between the clouds and the mountains, a lonely pavilion, several pine trees, and the scenery is simple and elegant. The mountain head is made of horizontal pen "rice dots" and is smudged with humidification pens, showing the interest of cloud smoke and smoke, which is deeply rooted in the charm of Mijia Yun Mountain. The poem pond above is an inscription poem by Emperor Gaozong of Song. The word "Mi Fu" is hidden between the stone gaps in the lower left corner, which is suspected to have been added by later generations.
(Biography) Song Mi fu "Spring Mountain Ruisong" axis (partial) Collection of the National Palace Museum in Taipei
Mi Fu (1051-1107), Ziyuan Zhang, Hai Ridge Outer History. Originally from Taiyuan, Shanxi, he later moved to Xiangyang. Good at calligraphy, but also fine identification, Xuanhe jian once served as a doctor of calligraphy and painting. The painting is typical of the simple Mijia Yunshan Mountain.
Song Zhao Boju "Spring Mountain Map" axis
Song Zhao Boju "Spring Mountain Map" Axis Collection of the National Palace Museum in Taipei
Zhao Boju (1120-1183), zi qianli, was the seventh grandson of Taizu of Song. He is good at painting green landscapes and flowers, especially in the painting of the character building and platform boundary. This painting landscape and clear clouds, wandering in search of spring, village peach willow, water pavilion tea talk. The through-width is dominated by green and green, vividly showing the scenery of spring's eye-catching green.
Song Zhao Boju "Spring Mountain Map" Axis (Partial) Collection of the National Palace Museum in Taipei
The inscription of Emperor Gaozong of the Qing Dynasty reads: "This frame is not signed, but the power of its wind god pen coincides with the authentic work of Zhao Boju received by Shiqu Baodi." Because of the approval of the title, Most of Gai Boju's paintings are not signed, such as the Chibi diagram was approved by Ke Jiusi, the Han Palace diagram was approved by Dong Qichang, and the autumn color of Jiangshan was found in the Pai language. Now for the sake of throwing out, if you encounter a fine taste like danqiu incense light, you will be able to prove it. Imperial pen, inscription after and recognition. ”
Song Liu Songnian Four Landscapes Volume
Song Liu Songnian The first spring scene of the volume of "Four Scenic Landscapes" The Collection of the Palace Museum
The picture of this volume is divided into four sections, which depict the scenes of spring, summer, autumn and winter.
The picture is centered on the activities of the characters, combined with the technique of boundary painting, and carefully constructed buildings such as courtyard terraces, which are exquisitely crafted, or rich, or simple. The mountain stone is made of small axe splitting method, which is easy and vigorous, the pen is rigorous and pays attention to the law, and the figures in the painting are small but complete. The whole work has a simple appearance and exquisite brushwork, which is very characteristic of the works of the Southern Song Dynasty Painting Academy. Lin'an (present-day Hangzhou, Zhejiang) as the capital of the Southern Song Dynasty, high-ranking officials and dignitaries built many garden villas, Liu Songnian as a painter of the academy, living for many years, it is natural to depict it. This picture is intended to show the gentry bureaucracy's leisurely and leisurely life, the painter's attention shifts from the natural wild rhyme of the mountains and rivers to the artificial creation of modified scenes, this change in the style of subject matter reflects from the side of the Southern Song Dynasty, a large number of bureaucrats who had no intention of restoring the country, focused on the hedonistic attitude of life. As Shi Yun said: "The warm wind makes tourists drunk, and only Hangzhou is made of Beizhou."
Yuan Gao Kegong "Painting Spring Mountain Sunny Rain" axis
Yuan Gao Kegong "Painting Spring Mountain And Rain" Axis Collection of the National Palace Museum in Taipei
Gao Kegong (1248-1310), Fangshan. He was first Uighur, occupied Datong, and later lived in Wulin. Zi Yanjing, the old man of Fangshan, Shizhi Shangshu of the Punishment Department. Painting landscapes, learning from the father and son of the Mi family, and achieving excellence. After learning the brushwork of Dong Yuan, Li Cheng, and Ju Ran, he specialized in writing and rhyme, and was also good at ink bamboo. Gao Kegong's paintings are famous all over the world, and there are not many circulating works.
Yuan Gao Kegong "Painting Spring Mountain And Rain" Axis (Partial) Collection of the National Palace Museum in Taipei
This painting is a small scene by the stream, full of clouds and shadows, implicitly condensed with a pen, and borrowed with ink warmth, highlighting the tranquil atmosphere.
Yuan Wuzhen "Qingjiang Chunxiao" axis
Yuan Wuzhen "Qingjiang Spring Dawn" Axis Collection of the National Palace Museum in Taipei
Wu Zhen zi Zhonggui, meihua daoren, mei shami, zhejiang jiaxing people. He was born in the seventeenth year of the Yuan Dynasty (1280) and died in the fourteenth year of Zhizheng (1354). Together with Huang Gongwang, Ni Zhan, and Wang Meng, they were collectively known as the Four Greats of the Yuan. Meihua Daoist landscape learning is self-reliant and is greatly influenced by Juran.
Yuan Wuzhen "Qingjiang Spring Dawn" axis (partial) Collection of the National Palace Museum in Taipei
This painting depicts mountains and stones in a long hemp brushwork, and the pen strength is round. Staining is mostly made of light ink, light and elegant. Painting trees, houses, and figures with a thick pen, the pen edge is slightly bald, although each stroke is not closely connected, but the meaning is enough, perhaps the "intention of the pen is not enough" in the painting method, and the whole width has a heroic momentum.
Yuan Wang Meng "Taniguchi Spring Ploughing Chart" axis
Yuan Wang Meng", "Spring Ploughing Map of Taniguchi", Collection of the National Palace Museum in Taipei
Wang Meng inscription: "The old reading place in the mountains, Taniguchi personally cultivated the field; the writing was written to the picture of the king, only suspected that the Yellow Crane Grass Hall was in front of it." Huanghe Mountain man Wang Meng. ”
Yuan Wang Meng "Taniguchi Spring Ploughing Map" Axis (Partial) Collection of the National Palace Museum in Taipei
Zhou Shang asked: "Yin Cliff Accumulation Iron Tree Class, Old Dong Wind Flow is enough to climb." He wanted to tie the knot to this place, and read the pine bottom and listen to the babbling. Zhou Shang. Plutonium Seal II: Siming Mountain People. Bogo. ”
Zheng Weihan asked: "The well house is far away from cuiwei, and I will sneak away from the lotus; I will not reveal the ying in my pocket, and I will sigh that the people in the world are rare." The smoke willows hang down on the flat wild swamp, and the wings of the wind seedlings meet the suburban trees; but because of the occasional cultivation, the stone wall climbs to make clothes. Zheng Weihan. ”
Wang Yu inscription: "Eyes full of thorns into the picture, tree rafters and huts leaning on the cangwu; the second acre of the field is ploughing, sitting on the stone to watch the mountain wine swirling." Three Mountains King Yu. Plutonium Seal II: Wang Mingzhong. Kun Liang Gua Seal. ”
The left panel Dong Qichang inscription: "Shuming has a Qingben diagram, which is the same as this figure." Qichang. The upper mounted Aya Dong Qichang also inscribed: "癸海 (1623) On April 11, the Jin Ling Tang Junyu held a gift, and the Yuan people inscribed this picture, there is an old Dong wind and current that can be climbed, called my family Beiyuan also." On the second day, wujiang road middle temple and record. Qichang. "Collecting the Imprint: Wang's Qing Play." Chapter of Ahn's Yi Zhou Calligraphy and Painting. Descendants of Shichang. Qingqianlong Jiaqing Xuantong Seal.
Wang Meng (1308-1385) was a Chinese poet. Zhejiang Wuxing people. His father, Wang Guoqi (born 1284), was also good at calligraphy and painting, and was the son-in-law of Zhao Mengfu (1254-1322), inheriting the Zhao family style, and Wang Meng was good at calligraphy and painting since childhood, especially by his uncle Zhao Yong (1291-1361). This painting is light and thick with ink, the brushwork is restrained and subtle, and there is a sense of innocence and simplicity in the plain, and the painting method has similarities with Zhao Yong's "Cai Ling Tu" (1342 works), and traces back to Dong Ju's pen and ink tradition. Compared with the forty-seven-year-old (1354) "Summer Mountain Hermitage" (in the collection of the Friar Museum of Art, Washington, U.S.), it gradually matured and agile, and compared with the fifty-nine-year-old (1366) "Qingbian Hermitage" (Shanghai Museum collection), it was not as indulgent and ethereal. In terms of pen and ink, this figure may be placed between two paintings and slightly closer to the "Summer Mountain Hermitage", about fifty years old (1357-1360). Han Zhengzizhen lived in seclusion in Yunyang Gukou, and when Emperor Cheng (32-7 BC) was hired by the great general Wang Fengli, he should not be, and the world name was Gukou Zizhen. Later generations symmetrically surnamed Zheng and those who were able to cultivate unyieldingly were mostly imitated by Taniguchi.
The theme of this painting depicts the people of Gukou, so some scholars speculate that Wang Meng's work may be given to Zheng Weihan, who is inscribed with the seven words and verses of the Book of Lishu. In addition, the inscription on the poem is only known to be the grandson of Wang Duzhong (1278-1341), a suffragan politician in Jiangsu and Zhejiang Provinces.
Yuan Shangqi "Spring Mountain Map" volume
Yuan Shangqi "Spring Mountain Map" volume Collection of the Palace Museum
This figure is Shang Qi's only surviving signature. The distant peaks are stacked with greenery, smoke cage fog cover; the close-up jungle miscellaneous trees are dyed green in spring; and the ancient bridge of sand moraine is lined with long-distance and close-up views, which adds to the air and vastness. There are many objects depicted in the picture, showing the author's more comprehensive technique and ability to shape the camp. The close-up mountain stone is meticulously carved, first contoured with thick ink, and then stained with juice green, which not only shows the texture structure of the rock, but also overflows with a spring feeling between the mountains and rivers. The peaks in the distant view are mainly dark ink or floral smudges, and the rugged mountains set off the majestic momentum of the whole painting. The dot trees are lush and deep, but the expression brushwork is rich in variations, and its near trees are dry and wet pen double hook trunks and leaves, and the painting method is neat, similar to the painting style of the Southern Song Dynasty; the distant trees are either sideways horizontal points or vertical points in the center, and only have a tree appearance and no tree shape. Although the near and far trees have different forms, they all decorate the scene of spring where everything is flourishing and the mountains are dyed with greenery. This is a masterpiece of landscape with a high degree of unity between formal beauty and meaning.
It is written in the Qingneifu "Shiqu Baodi Preliminary Compilation". This volume was originally stored in the Qing Palace Inner House, which flowed into the people in the year of Xuanun, and after liberation, it was owned by the State Administration of Cultural Relics, and then transferred to the Palace Museum by the Bureau of Cultural Relics. In 1958, it was re-framed by restoration experts at the Palace Museum, restoring it to its old appearance.
Yuanren "Spring Mountain Map" axis
Yuan Ren "Spring Mountain Map" Axis Collection of the National Palace Museum in Taipei
Yang Weizhen's cursive inscription: "Juran does not do Hui Chongjing, Xiuyuan loves Chunshan Map the most." Dangerous Feng wears a lonely □, and the big forest stands like a thousand men. Whoever walks the Heavenly Grandmother Road, the wine boat out of Hejia Lake. The Taoist refers to the reading office, the first district of the former residence of Wen Bifeng. Ironclad. ”
Yuan Ren "Spring Mountain Map" Axis (Partial) Collection of the National Palace Museum in Taipei
This painting uses dry brush thick ink and vigorous brushwork to hook the "crab claw" cold forest, combined with light ink to dye the "stone like clouds" mountain, which obviously belongs to the Li Guo school landscape of the Yuan Dynasty. However, judging from the large number of ink spots on the top of the mountain hollow, tree stone and distant mountain peak, this work is also influenced by Dong Ju and the two-meter painting style. The ink color and brushwork of Yang Weizhen's inscription poem are in line with the mountain stones and branches, and it is speculated that this painting is Yang Weizhen's own handwriting. The poem mentions that "the Taoist refers to himself as a reading place." Wen Bi Feng Qian Zhai District", according to Kao Yang's Study Is located at the foot of the "Wen Bi Feng" mountain, this painting may be a portrayal of the mountains and rivers around his residence.
Yuan Zhu Shuzhong "Spring Pond Willow Color" axis
Yuan Zhu Shuzhong "Spring Pond Willow Color" Axis Collection of the National Palace Museum in Taipei
Zhu Shuzhong, a 14th-century native of Wu County, Jiangsu Province. Although he was a scholar, he also had outstanding achievements in painting, but few works have survived.
Yuan Zhu Shuzhong "Spring Pond Willow Color" Axis (Partial) Collection of the National Palace Museum in Taipei
The painting depicts a village house by the pool, where a literati with a cane stroll along a path through lush fields. The brush of the whole painting is extremely soft, and the coloring is also warm and elegant, which fully shows the rich business of the earth in the spring, the tender green is everywhere, and everything grows.
Ming Dai jin "Spring Spirit" axis
Ming DaiJin "Spring Painting" Axis Collection of the National Palace Museum in Taipei
Dai Jin (1388-1462) was a native of Qiantang (present-day Hangzhou, Zhejiang). His father Dai Jingxiang was good at painting, and Yongle followed his father to The Beijing Division. Dai was initially a silversmith, then changed to painting, and Xuandezhong was recommended to serve in the court, but he was not allowed to return to Hangzhou and take painting as his profession. Dai shi inherited the traditions of Li Tang, Liu Songnian, Ma Yuan, and Xia Gui of the Southern Song Dynasty, and integrated the heads of the two Song dynasties, and at that time there was a saying that "the Ming painters took Dai Jin as the first". Because Dai Jin is from Zhejiang, the painting style influenced by it is called "Zhejiang School".
Ming Dai Jin "Spring Painting" Axis (Partial) Collection of the National Palace Museum in Taipei
This scroll depicts drunken people on their way home after the celebration of the Spring Community. In the picture, the qi peak is towering, the pines are full of valleys, from large to small, from near to far. The cliff-edge path winds up, surrounded by white clouds, and is dotted with huts, boat bridges, and villagers. The painted mountain stone axe has many thick and thin twists, even with dyeing, with a strong brush gesture and ink color change effect; the folding line of the character's clothes uses the "silkworm head rat tail" brushwork, which is strong and free. This giant axis reflects the typical style of the 15th-century Zhejiang painters who pursued intuitive flat decoration interest and dynamic beauty. There is no painter's print on the painting, and if it is of the standard of its pen and ink form, it is indeed a masterpiece of the famous Zhejiang school.
Ming Daijin "Spring Tour Late Return" axis
Ming Daijin "Spring Tour and Late Return" Axis Collection of the National Palace Museum in Taipei
This painting depicts a field path, and the farmer returns home with a hoe, and it is late. In the lower left foreground, a courtyard is painted, with branches stretching out of the wall and peach blossoms on the side of the road, all of which have a "spring" atmosphere. The scholar knocked on the door, and the servants in the courtyard came to answer with lanterns, showing the poetry of the owner of the spring tour "late return".
Ming DaiJin "Spring Journey and Late Return" Axis (Partial) Collection of the National Palace Museum in Taipei
Although Dai Jin's work is based on the styles of Ma Yuan and Xia Jue in the Southern Song Dynasty, he uses a bold pen, emphasizes the rich effect of pen and ink, has a deep technical skill in painting, and the pen and ink appear flexible and changeable, which is a representative work of Dai Jin's style.
Ming Zhou Chen", volume of "Spring Spring Small Hidden Map"
Ming Zhou Chen", "Spring Spring Small Hidden Map", volume, collection of the Palace Museum
This section is signed: "Dongcun Zhouchen writes freehand for Chunquan Peiju". Plutonium "JingYuan Zhai" seal.
This picture is a map of other names, which was made by Zhou Chen as a literati surnamed Pei and numbered Chunquan. The picture begins with Pei Jun's caotang as the center, which is open and bright, simplely furnished, and the ancient pines outside the hall are coiled. The master is sleeping on the case, and a boy outside the hall is cleaning with a broom, reflecting the fun of idleness and elegance. After that, banqiao is connected to the shore, the spring water is babbling, the green mountains are in the distance, and the flat lake is endless. Chinese paintings often depict literati hermits sleeping day to show indifference to the outside world, implying that they have different enjoyments from officials, and promoting the philosophy of self-liberation and self-consolation. The painter cleverly highlights the close-up Banqiao flowing water to show the meaning of "spring spring", and also uses false sleep to indicate "small hidden", pointing out the theme.
Ming Zhou Chen "Spring Spring Small Hidden Map" volume (partial) Collection of the Palace Museum
In terms of artistic style, this work inherits the tradition of "courtyard body" painting of the Southern Song Dynasty, the composition is concise and compact, the shape is accurate and vivid, the character lines are delicate and smooth, and the mood is conveyed. The tree stones are strong and sharp with the pen, mostly small axes, and the ink color is thick and clear, showing the painter's superb painting skills.
Ming Wen Zheng Ming "Rain Yu Spring Tree" axis
Wen Zhengming (1470-1559), a native of Changzhou, Jiangsu. The initial name wall, the character sign clear, followed by the word line. Also known as Zheng Zhong, the number stop Yunsheng, Hengshan resident. Poetry and calligraphy are not bad, and the painter Shen Zhou is one of the four masters of the Ming Dynasty.
Ming Wen Zhengming "Rain Yu Spring Tree" Axis Collection of the National Palace Museum in Taipei
Ming Wen Zhengming "Rain Yu Chun Shu" Axis (Partial) Collection of the National Palace Museum in Taipei
The slopes of the edge of the creek are stacked, and the flat banks are uneven. In the distance, a towering peak is flat and steep. The pine forest under it, looming in the light smoke, covers the scenery after the rain. The pen is extremely meticulous, and the brush of painting trees is quite naïve. There are not many paintings in the early years of Zhengming, and there are also those who have become late masters. On November 7, 1507, he was thirty-eight years old.
Ming Wen Zheng Ming "Yanshan Spring Color Map" axis
Ming Wen Zhengming "Yanshan Spring Color Map" Axis Collection of the National Palace Museum in Taipei
Ming Wen Zhengming "Yanshan Spring Color Map" Axis (Partial) Collection of the National Palace Museum in Taipei
This frame is a thin pen with a large pen, a tree on the mountain, and a pen with a condensation hasty place. In the drama of affairs, the mind is strongly fixed, and there is also this in the works, covering the products that are not suitable for the heart. Inscription poem: "The corner of the house is loose and the flowers are good, and they don't look like Jiangnan in the end." Meaning is also pity. Zheng Ming was fifty-five years old.
Ming Wen Zhengming "Jiangnan Chuntu" axis
Ming Wen Zhengming "Jiangnan Spring Map" Axis Collection of the National Palace Museum in Taipei
This picture was written by Jiajing Dingwei, who was seventy-eight years old at the time, and his penmanship was extremely elegant and exquisite. Draw the mountain but draw the outline, slightly wipe it with dry ink, there are very few pencils, but the shadow of the trees is everywhere. The pen and ink are solid, and the rules seem to be victorious. The rules and regulations are solid, and the imagery seems to be victorious, which is the most exquisite product of literature and painting.
Ming Wen Zhengming "Jiangnan Spring Map" Axis (Partial) Collection of the National Palace Museum in Taipei
The author titled himself: "Jiangnan Spring." The elephant bed condensed cold and illuminated the blue shoots, and the Bipao Lan Wen Yao duck was quiet. The east wind blew without a trace, and it came from looking for a terrifying shadow. The curtains are cold, and the sunrise warblers are spring in Wanjing. Mo wei cried out in the qisu scarf, and the Ming Dynasty red Yan was dusted. Spring is late, spring waves are urgent, and Xiaohong cries spring incense mist wet. Qinghua was no longer lost, and Fei Si was stunned. In front of the building, the willow color is mazeed, and the east wind horse outside the willow is standing. The water is full of ribbons and gentle pings, and life is amorous and camped. Jiajing Ding Wei (1547) spring february. Sign paintings. And the book chase and Mr. Yunlin two songs. ”
Ming Wen Zheng Ming "Spring Mountain Smoke Tree" axis
Ming Wen Zhengming "Spring Mountain Smoke Tree" Axis Collection of the National Palace Museum in Taipei
This painting has the text of the Ming Dynasty: a thousand villages of green trees, a hundred stacks of clear mountains lock white clouds. Looks like Jiangnan smoke and rain, wrongly teach people to call Mishiki. Signify.
Ming Wen Zhengming "Spring Mountain Smoke Tree" Axis (Partial) Collection of the National Palace Museum in Taipei
Ming Dynasty painter Wang Yuxiang Xingyi Shubao: The color of the trees still contains rain, and the mountains are not cloudy. The grass hall is idle, and the spring mood is rushing. Hello.
Ming Dynasty scholar Peng Niankai Shubao: Lei Ping Chun Color Xiao Atmosphere, Tianwai Three Feng Jasper Text. In order to ask Hua Fu Cave guests, it may be possible to send a longtou cloud. Peng Nian.
Ming Dynasty bibliophile and engraver Yuan Zhixing Calligraphy: Spring water has no fishing rocks, and spring clouds are green with trees. The scenery falls on Yaoshan Mountain, and the rain in Jiangnan is new. Yuan.
Emperor Gaozong of the Qing Dynasty: Spring Mountain Xiuye contains posture, spring tree smoke melts rain. Remember that on the other side of the Maple Bridge, everything is often like this. Qianlong Jia Shu (1754) Spring Imperial Title.
Ming Tang Yin "Twilight Spring Forest Valley" axis
Ming Tang Yin "Twilight Spring Forest Valley" Axis, National Palace Museum, Taipei
Tang Yin (1470-1523) zi wei, Bo Hu, number six ru, a native of Wu County, Jiangsu Province. Endowed with loose temperament, wild and uninhibited, Hongzhi Pengwu (1498) cited Nanjing Xieyuan. The painter Zhou Chen, far more than that, is one of the four masters of the Ming Dynasty.
Ming Tang Yin "Twilight Spring Forest Valley" Axis (Partial) Collection of the National Palace Museum in Taipei
This painting layer rock hanging waterfall, creek tree bend ring, bamboo barrier thatch pavilion, one person leaning on the fence to enjoy the late spring scenery. This painting is not signed, but the painting of the tree is a mountain, all with a thin pen, and should be about forty years old.
The author's self-titled book reads: "Ten Mile Pingxi Road, Dripping Three Heavy Lower Sezumi." For the bottom time to come to Ce Li (suspected as quinoa) staff, spring clothes to try to bathe Yi Tian. Tang Yin painted and inscribed. ”
Qing Wang Yuanqi "Spring Clouds Out of the Xiu" axis
Qing Wang Yuanqi "Spring Clouds Out of the Clouds" Axis Collection of the National Palace Museum in Taipei
Wang Yuanqi (1642-1715), a native of Taicang, Jiangsu. Grandson of Shimin Shi. The word Maojing, the number of the foothills. Kangxi Gengji Jinshi , a young official . The painting was learned by the family, far away from the time, and was one of the four great people of the Qing Dynasty. This painting does not remember the date and month, and is more or less a work of twilight years, and the cover pen and ink do not seek to be careful, and the simplicity is still the same. If it is in line with the works of the shogunate, the first one is out of silk, so it is more ancient than using paper. Green color, letter pen smearing, intricate and uneven, in the stripe of land, from the meaning of the ancient thick, this old method can be self-explanatory. Pressing the top of a peak, and the distant mountains, light and clear, heavy and thick, staggered with each other, very wonderful rhyme.
(Some of the information in this article is compiled from the official websites of the National Palace Museum and the National Palace Museum in Taipei)