318 Songyin Gaoshitu
Ming Cheng Jia Fu Color on paper Length 130.2 cm Width 31.2 cm Collection of the Palace Museum in Beijing
Cheng Jiaxuan (1565-1643), also known as Mengyang, songyuan old man, wei'an, in his later years converted to Buddhism, the name Ofi Neng, Xiuning (now part of Anhui), living in Jiading, Shanghai. His paintings are good at landscapes, and he teaches Ni Zhan and Huang Gongwang.
The set of this picture is simple, and the whole picture is clear and long-distance, reminiscent of the poem in Tao Yuanming's "Return to the Word" of the Jin Dynasty: "Help the old man to rest, and when he is delicate and reverie." The clouds have no intention of coming out, and the birds are tired of flying and knowing that they are returning. Jing Feng Feng will take people, caress the lonely pine and coil. Come home, please rest in the end. The world has left it to me, and I have asked for it again. ”
This figure is delicate and delicate, the rubbing is concise, the human tree form is rigorous and informal, the color is simple, the elegance is considerable, and the meaning of the yuan people is quite seen.
319 Hidden Cloud Map
Ming Cui Zizhong Silk Color Length 189 cm Width 50.6 cm Collection of the Palace Museum in Beijing
In the middle of this picture, a cloud of air is drawn, and Li Bai, a great poet of the Tang Dynasty, sits cross-legged on a four-wheeled oval chassis car and slowly walks in the mountain road. Li Bai looked up at the clouds above his head, looking idle and relaxed; down the stone slope, the trees were vigorous and lush. The upper peaks are like bamboo shoots, far and near.
This work is vigorous with a pen and rich in ink. The character's clothing pattern is vigorously drawn with a brush, and the brush is delicately drawn, which is self-contained. The clouds are also depicted with a vibrato pen, which increases the beauty and moistness. The baking and dyeing of the stone slope is meticulous and quite textured; the moss is dotted with thick ink, the ink color is rich and beautiful, the color is light and elegant, and the clouds are ethereal.
320 Takamatsu Yuanjian Diagram
Ming Shaomi Color on paper Length 144.3 cm Width 60.4 cm Shanghai Museum Collection
Shao Mi (c. 1592–1642) was a Ming Dynasty painter. The character monk Mi, the number of melon domain, The Vinta dweller. Changzhou (present-day Wu County, Jiangsu). Sexually pedantic and uncontroversial. His landscape paintings take the strengths of many families for their own use, the pen and ink are concise, the scenery is sparse, and it has the style of "thin and dry, idle and cold", and the paintings are like his people.
On the picture, the high pine and slope stones are pressed, and the miscellaneous trees are overgrown, which is the background of the giant pine. The dangerous rocks on the left bank are abrupt, and their shape is dangerous, and the distant smoke lan is far away, and the brush is dyed with ribbons, the lines are moving, the ink is dripping, and there is dust.
321 "The Crane Sends The Book"
Ming Shaomi Color on paper Length 87.3 cm Width 51 cm Collection of the Palace Museum in Beijing
This picture is a painting by Shao Mi to give the Cangshu, the Cangshu (1592-1688), the character Cangshu, a Suzhou native, a famous literati in the late Ming and early Qing dynasties. Shao Mi even chanted the sentence "But the strange mountain is shallow, someone sent a book to the crane", Chu Sigh has a concentricity, which belongs to Shao Mi's painting of this picture. In June 1637, Chu Huan visited Shao Mi at the Qingyin Hall of Fashui Temple, and Shao Mi recited the above verses and recorded their friendship for Chu's painting "YiHe Sending Book Map", which became a good story in the art world.
The picture shows the vast river and the slope and the pine on the slope. The opposite shore is as far away as a snail, quiet and distant. The composition is concise, the brushwork is beautiful, the dye is clear, and the characters are small but vivid.
322 Imitation of Ni Zhan Landscape Map
Ming Yang Wenxiao Ink and pencil on paper Length 40.8 cm Width 29.8 cm Collection of Wuxi Museum
Yang Wenbiao (1597-1646) Ming Dynasty painter, character Longyou. A native of Guiyang, he lived in Jinling (present-day Nanjing). Yang Wenxiao is well educated and good at painting landscapes.
Dong Qichang commented on his paintings: "Long You was born in the nobility, broke through the heavens, and the pictures he composed such as "Tai Dang" have the backbone of the Song people and go to their knots, and the style of the Yuan people and the elegance of the Yuan people go to their knots. Yu was surprised to think that between Juran and Huichong, guan stopped." The history of painting said that his paintings had a kind of morale that no one could reach.
The composition of this painting is full of character. On the left side of the picture is a series of rolling hills and broken ends, and on the right side is a vast expanse of water.
In this painting, the painter transports dry brush and scorched ink, although the brush and ink are dry and moist, quite similar to Huang Gongwang's painting method.
323 Immortal Village Dock Map
Ming Yang Wenxiao Ink and pencil on paper Length 131.8 cm Width 51.2 cm Collection of the Palace Museum in Beijing
This picture depicts a landscape of a steep wall on the bank of the river, the distant shore is faintly hilly, and the left side of the picture is a steep and tall mountain peak near the shore, whose peaks are haunting the mountain road, the forest is lush, and the mountainside is a shallow depression, and the village dock looms. The composition of this painting is unique, its peaks are not arranged in the middle of the picture, the left is the scenery of Gaoyuan, and the right is the scenery of Pingyuan, but the painter makes the left and right landscapes coherent and unified through the momentum of the river, the characters of the isolated pavilions by the river, and the knowledge.
In the painting, the brushwork is sparse and delicate, the mountain stone is draped with hemp, mostly with dry brushes, and the ink is thick and light, although the composition has a strange trend, but the realm is still gentle and flat, and the painting style is slightly similar to Huang Gongwang.
On the right side of the picture, the painter's self-title: "The immortal tree is a screen, and the chicken dog is in the cloud." The fireworks and red dust are not there, and the long fast embroidery Buddha ceremony is yellow. ”
324 "A Picture of a Wuxuan House"
Ming Bian Wenyu Color on paper Length 100 cm Width 44.5 cm Collection of the Palace Museum in Beijing
This painting depicts a house and its surrounding scenery. There is a grass hall in the painting, in front of which there is a sycamore tree, standing tall. The leaves of the plane tree are finely colored, and the branches and leaves are interspersed with natural and decent. Vibrant and vibrant. In the grass hall, one person is playing the piano, and one person is standing on the side listening. Outside the house, a crane seemed to be dancing. Flowers bloom in the courtyard; the grass hall is surrounded by lake stones, the method is fine, vigorous and moist; the wooden bridge on the left is flowing, and the water is dotted with lotuses, scattered. The whole work uses the double hook method in the expression technique of flowers and trees, and the color is light.
This figure is self-aware: "Ding Ugly Duan Yang G Wang Shuming Yi WuXuan Figure, Bian Wenyu." ”
325 Imitation of Song and Yuan Landscapes
Ming Bian Wenyu Color on paper Length 23.7 cm Width 29.3 cm Collection of Shanghai Museum
Bian Wenyu, born and died unknown, painter of the late Ming and early Qing dynasties. His original surname was Xu, and he later changed his name to Bian (卞), the character Runfu (runfu), and the number was floating white. Everyone in Suzhou, Jiangsu Province. He is good at landscape painting, with ingenious layout structures and penmanship of trees and stones. He once studied pen and ink from Dong Qichang, so his painting style is very close to Dong Qichang, but the ink is too loose and weak. Most of the paintings he has painted are small scenes, and they are largely rare.
"Imitation song and yuan landscape map" is a landscape painting made in the style of the Song and Yuan dynasties, pursuing the indifference and carelessness of the Song and Yuan dynasties.
326 "Mountain Tower Embroidered Buddha"
Ming Bian Wenyu Color on paper Collection of the Palace Museum in Beijing
This map depicts the scenery of Gangnam Lake Village. In the mountain building with heavy eaves, the furnishings are exquisite and elegant, and a woman is embroidering at the window. Behind the building, the bamboo forest is dense and green, and the towering and thin lake stones stand on one side with Qiao Song and Basho. Distant mountains like Dai, light lan floating.
The painter expresses such a complex composition and content in a limited scale with loose brushstrokes, and is meticulous in the subtleties, and his brushwork is rigorous and elegant. The ink color changes in thickness and lightness, and pays more attention to harmony and unity, and the ingenuity is unique, showing the painter's profound traditional skills.
327 Double Tree Pavilion
Ming Xiangyuan Bi Ink and pencil on paper 6.6 cm in length 33.6 cm in width Collection of Shanghai Museum
Xiang Yuanbian (1525-1590), Ming Dynasty collector and painter. Zi Jing, number Mo Lin, Jiaxing (now part of Zhejiang) people. His family was wealthy, and he searched widely for famous paintings and calligraphy, and A was in Jiangnan; therefore, he had been practicing for a long time and his calligraphy and painting were self-evident.
This picture depicts the scenery of the lake and mountains in Pingyuan, the rock barrier between the blue waves, the wind of Ludi, the towering double trees, the flowing spring between the streams on the left, the distant mountains, the water and sky are wide, and the artistic conception is quiet.
The whole work has far-reaching layers, pen and ink, and has an ethereal and vast pattern, which makes people feel like "thousands of miles in an instant, sitting and doing it". This painting was made by the painter for his foreign friend Shuangshu Pavilion Owner, and the inscription was re-inscribed in the twelfth year of the Ming Wanli Calendar, recording the circulation of this painting.
328 "Tong Yin Zhi Proud Map"
Ming Xiang Dexin Ink on paper Length 57.2 cm Width 27.1 cm Collection of the Palace Museum in Beijing
Xiang Dexin (c. 1563–?) ), zifuchu, the third son of Xiang Yuanbian, Gong Shanshui, Jingguan Method, especially good at sketching.
This image depicts a summer mountain landscape. On the screen is a pool of clear water, with rocks, slopes, dead wood, and bamboo, surrounded by it, which is elegant and quiet. This work is simple in pen and ink, combined with dyeing and dyeing, and has a beautiful style. There is no lack of delicate brushes in the rough mountains and stones, and the water is mostly blank, which is more illusory and wild.
The self-titled poem in the painting is also intriguing: "Heavy shade covers the foothills of the forest, the green ruins under the cold sound, and the embroidered clothes are high-covered, what does it mean here." ”
329 Ten Views of Wuzhong
Ming Li Liufang Gold Note Pen Length 27.7 cm Width 34.1 cm Collection of Shanghai Museum
The Ten Scenic Albums of Wuzhong is a series of works by Li Liufang depicting the scenery of Suzhou.
This picture selects one of the ten scenes, Tiger Hill. Tiger Hill, also known as Haiyong Mountain, is a famous tourist attraction in Suzhou with pleasant scenery. Ancient poets once praised the scenery with verses such as "the tower goes out from the forest, the mountain goes to the temple and hides", "The red sun hides at the bottom of the eaves, and the Qingshan Temple is in the temple".
This small scene of Li Liufang is composed in Pingyuan, and the scenery arrangements cover each other up, implicitly ironing, and the picture is full of beautiful and leisurely charm. The painter's style is as Wu Weiye said: "Chang Yu learns mei Daoren, the ink is drenched, like the mountain rain is coming, and the green is dripping." ”
330 Autumn Moon Diagram of Sycamore
Ming Song Jue Color on paper Length 82.4 cm Width 30.7 cm Shanghai Museum Collection
Song Jue (1576-1632), Ming Dynasty calligrapher and painter, seal engraver. The word is more than jade, the number of lychee immortals. People from Putian, Fujian. Liuyu Jinling (present-day Nanjing, Jiangsu). Gong calligraphy and painting. He wrote landscapes, trees, stones, and beautiful pens, and had the winds of Mi Fu, Mi Youren, Wu Zhen, and Huang Gongwang.
This painting depicts that on the night of the Haoyue Moon, the plane trees are towering, the trees are shadowy, and there is a library pavilion in the shadow of the plane tree, and the conversation is being held. The composition of the whole work is simple, the chapter is concise, the pen is simple and the meaning is rich, the mood is elegant and poetic. The colors on the screen are light, showing a quiet mood.
The painter inscribed a poem of five words, and his poem reads: "The library is 100 feet high, and the sycamore is out of the standoff." Leaning on the column to talk about the autumn moon, ignoring the clock outside the clouds."
331 "Mountain Tower vs. Rain"
Ming Song Jue Color on paper Length 82.57 cm width 27.4 cm Palace Museum collection
The painting is delicately depicted, the mountains are thick, the brushstrokes are strong and handsome, and the composition is strange and colorful.
The painting is hooked with the ancestral seals of the emperor such as "Sanxitang Jingjian Ink" and "Shiqu Baoqi", and the bibliography of "Shiqu Baoqian".
332 Painting and Calligraphy
Ming Zhang Ruitu Ink and pencil on paper 34.7 cm in length 29.2 cm in width Collection of the Palace Museum in Beijing
Zhang Ruitu (1570-1644), also known as Changgong (長公), was a native of Jinjiang, Fujian. Zhang Ruitu is also good at painting, known for his landscapes, and his landscapes imitate Huang Gongwang of the Yuan Dynasty.
"Painting and Calligraphy" has a lot of spirit with a pen, and the mountains, trees, pavilions, and cottages on the picture are rigorously carved, and the painting is rich in ancient meaning.
The book is on paper, with a total of 11 pages, 7 pages of books and sections, and 4 pages of ink and pencil drawings. His paintings are all landscapes, with beautiful brushes, each with a mood, quite vibrant. Each page has an inscription, two of which contain the sentence "Return to the Word", the books of which are the Xingshu "Lezhi Theory" and the "Guoting Shanren Ruitu" paragraph; the Xingshu "Returning to the Word".
333 《Nichiren Qingquan Map》
Ming Yun Ink pen on paper Length 152 cm Width 53 cm
Yun Xiang once painted landscapes for Zhou Lianggong, and wrote to himself: "The painting of Yipin seems to be closer and farther away, and the more it seems to be nothing, the more it is; its tenderness is like gold, and its beauty is like iron, so it is precious, and it is not easy to be a layman." ”
The painting is self-titled: "Sit on the Mao tree to eternal day, Mao Qingquan to clean yourself, G Yan Wen gui pen, yun direction." ”
In this painting, the painter borrowed the artistic conception of the poem to express his noble and good feelings, sending affection to Lin Quan, and enjoying himself.
In terms of artistic expression, this work of Yun Xiang is brushed and inky, with a dangling wrist center, with the bone strength of cursive writing into the painting, round and strong.
As the critics said, "tender as gold, show like iron".
334 Qiulin PingyuanTu
Ming Yun Xiang Ink and pencil on paper Length 61.5 cm Width 61.5 cm Collection of Shanghai Museum
Ni Zhan advocated that the works should express the painter's "chest escape", express the subjective interest of the painter, and oppose the deliberate work and similarity. The so-called "Yige" in paintings from the Yuan Dynasty onwards has been listed as the highest realm of art. The painters of Jiangnan in the Ming Dynasty even judged the elegance and clarity of the painter's taste by whether there were Ni paintings or not. Yun Xiang fell in love with Ni Zhan and Huang Gongwang in his later years.
His painting is purely sketched with dry brushes, the lines are beautiful, with the feeling of dry brush rubbing and wetting, the artistic conception is faint and empty, and it is deeply rooted in Ni Yunlin's penmanship.
335 "Shadow of the Fountain of The Stream"
Ming Yun Pen on paper Length 214 cm Width 90.5 cm
Yun Xiang (1586-1655) was a Painter of the Ming Dynasty. The original name was Benchu, the character Daosheng, the number of Xiangshan. A native of Wujin (present-day Jiangsu). Good at landscape, in the early years of learning Dong Yuan, Ju Ran, painting with a hanging elbow center, bone strength round, thick ink wet, vertical and horizontal, self-contained. In his later years, he wrote in the style of Ni Zhan and Huang Gongwang, cherishing ink like gold, swinging freely, and blending with nature. Because he often travels between Qilu and Mount Tai, the landscape and water in his pen are naturally majestic. He once painted landscapes for Zhou Lianggong, and wrote to himself: "The painting of Yipin seems to be closer and farther away, and the more it seems to be nothing, the more it is; its tenderness is like gold, and its beauty is like iron, so it is precious, and it is not easy to be a layman." ”
336 "Pine Wind Oblique Photo"
Ming GuanSi Silk Color Length 158.7 cm Width 50.5 cm Collection of Nanjing Museum
Guan Si, the date of birth and death is unknown, the word Nine Thoughts, more words Zhongtong, the number is white. A native of Wucheng (present-day Huzhou, Zhejiang). His landscape paintings, Cang Xiu Qikun, are one of the famous masters of the "Wu School", and the landscape composition in his early years is dense, and his works in his later years are sketchy and rough.
This painting depicts the sunlight of the creek mountain in summer, the towering mountains in the distance, and the springs in the mountains; the nearby trees are verdant, covering several grass halls, and the water level of the central lake is like a mirror.
In terms of expression techniques, Shanshi uses hemp and paints pine with double hooks, and its painting style is similar to that of the Wumen School, but its own changes.
The upper right corner is titled "Qingqi virtually covers the small railing, the June pine wind sprinkles the cold, step to the west side of the bridge to see, a mountain obliquely illuminates the waterfall turbulence." ”
337 Imitation of The Landscape of the Monks
Ming Lan Ying Silk Color Length 177 cm Width 91 cm Wuxi City Museum
Lan Ying (1585-1644 was still alive), Zitian Shu, late Shituo, also known as Dongguo Laonong, lived in the list: "Chengqu Maotang", Qiantang people. All his life he made a living selling paintings. Lan Ying is good at painting landscapes, and his paintings are profound and diverse in style. It is unique in the landscape paintings of the late Ming Dynasty. Zhang Mongxuan was a great painter during the Six Dynasties, and his influence was great in the early Tang Dynasty, and the resurrection of the "boneless painting method" in the Ming Dynasty began with Dong Qichang. Dong Qichang had never seen the original handwriting of Zhang Shengxuan, but had made a boneless landscape painting imitating Zhang Shengxuan by speculation. Lan Ying's master Fa Dong Qichang, although they chased after the boneless ancient law by their inference, the paintings they made were of their own style and quite chic.
338 White Cloud Mangrove Tree Map
Ming Lan Ying Silk color Boneless turquoise
The foreground of this painting is composed of a flat and distant composition, painting the village on the water side of the mountain, with the old trees growing obliquely by the water, and the mountain behind the village, surrounded by white clouds. The mountain stones in the painting are not outlined, directly using stone blue and stone green, a variety of pigments rendered, the foot of the mountain is connected with ochre, and the back-facing relationship of the stone surface is dyed with juice green and flower blue. The outline of the trees is slightly outlined, slightly scratched in addition to the color rendering. The branches and leaves of the trees are neat and meticulous, with the wind of Song paintings. White clouds are made of flower blue and white powder.
Lan Ying's boneless heavy color, bright colors, bright color contrast, with a decorative beauty.
339 Ancient Diagram of Jianggao Dialect
Ming Lanying Color on paper Length 169.4 cm Width 50 cm Collection of the Palace Museum in Beijing
There are two types of landscapes in Lanying: one is light ink and the other is turquoise, which is rich and dazzling. Zhang Shengxuan has no authentic handwriting, and Dong Qichang asked for his boneless painting method. Inspired by Dong Qichang, Lan Ying created a boneless landscape painting with his own style. The core of Dong Qichang's "boneless method" is to use "pure color blending" without hooking; Lan Ying mainly inherits the Song people's green landscape painting method and uses the qi method more often, so Lan Ying claims to be a boneless painting method imitating Zhang Monk's brush in many works, which is actually The creation of Lan Ying.
This brush is inky and beautiful, with light and elegant colors and a clear painting style, which is a representative work of Lan Ying in her later years
340 Zhengzhou Landscape Map
Plain text from simple ink pen and paper Length 98.2 cm Width 38.2 cm Collection of the Palace Museum in Beijing
Wen Congjian (1574-1648) Ming Dynasty painter, character Yanke, pillow smoke old man. A native of Changzhou (present-day Wu County, Jiangsu). Great-grandson of Wen Zhengming. Landscape painting wen zhengming family method, but also learn Wang Meng, Ni Zhan, love to use dry brush to cut, slightly changed.
The composition of "Zhengzhou Scenery Map" is extremely sparse, the slope is only outlined with dry brushes, almost no stain, the whole picture is very empty due to a large blank space, but although it is empty and not empty, the blank viewer seems to be able to see the clouds by imagination, the water and the sky, the vitality is dripping, and the atmosphere is abundant. The brush and ink of this painting are extremely concise, the pen and ink master FaYuanren, and the Wen family tradition, with the family law and changes, is a good composition of simple and rich pen.
341 Waigutu
Ming Yang Supplement Ink and Pencil on Paper Length 26.7 cm Width 33 cm Collection of Shanghai Museum
Yang Supplement (1598-1657) Ming Dynasty painter. The character wufu, the number of gu nong, ancestral home linjiang (present-day Qingjiang, Jiangxi), born in Wu, later Changzhou (now Wu County, Jiangsu) cloth cloth.
The composition of this painting is full, and the picture of a mountain in the middle is forced to block, giving people a sense of abandonment and abandonment of the world. Yang Supplement landscape science Huang Gongwang, but this painting also has Wuzhen style influences. The painting is painted with dots and dyes, the ink is bold and calm, the thick ink is eye-catching, and the ink color is rich in layers, which constitutes the sense of space of the picture. The hillside is written in a long shawl, and the pen is strong, showing the unique structure of the mountain rock.
342 Landscape and Flower Diagram
Ming Ni Yuanlu Ayamoto ink pen Length 39.3 cm Width 65.3 cm Collection of Shanghai Museum
Ni Yuanlu (1593-1644), ziyuru, hongbao, Zhejiang Shangyu people. Ni Yuanlu likes to use ink to make a halo method, which is elegant and elegant, and has a wind around.
There are eight volumes in this atlas, two of which have been selected here. The first opening depicts an old man stopping a boat to fish, but seeing the vast river, the pen is simple and far-reaching, and it is intriguing. The second opening shows the scenery of the mountain village that wants to rain.
Although it is a Mijia landscape, the pen and ink technique is influenced by Dong Qichang, with different ink points and ink colors, rendering the slope layer forest, leaving white space like a mist soaked in the mountains. Use a simple line to outline several village houses, pen and ink.
343 Landscape Map
Ming Xiang Shengmo Ink on paper Length 56.5 cm Width 31.3 cm Collection of Liaoning Provincial Museum
Xiang Shengmo (1597-1658), painter of the late Ming and early Qing dynasties, character Kong Zhang, Yi'an, Xu Shanqiao, also known as Songtao Sanxian and Cuncun resident. A native of Xiushui (present-day Jiaxing, Zhejiang). His grandfather was Xiang Yuanpi, a famous collector and painter of calligraphy and painting in the late Ming Dynasty. His uncle Xiang Dexin was also good at painting. This picture of pine stone forest spring, imitation of Shen Ishida's brushwork, the picture is near, the lone pine is towering, the branches are vigorously coiled, the pen is vigorous, and the ink is majestic. The distant mountain stones are sparse and ethereal, with ink vigorous. The whole work is full of charm and style.
In the upper left corner of the painting, there is a poem of five words: "The two high priests under the forest, the qing talk is long, the dust is not known, and they are busy one by one." Imitation of Mr. Ishida's pen, Xiang Shengmu. ”
344 "Crane Island Map"
Ming Xiang Sheng Mo Silk color Collection of the Palace Museum in Beijing
This painting is a documentary work, the painting is a lake field, the blue waves are rippling clouds and mist, the cottage fishing boat is hidden in the shadow of this mountain stone tree, the layers are well-ordered, the artistic conception is quiet, the composition is complex and varied, and the pen and ink are delicate and feminine, which is a landscape structure with both morale and writers.
345 "Cut the Autumn Map of the River"
Ming Xiang Sheng Mo Silk color Length 34.5 cm Width 688 cm Collection of the Palace Museum in Beijing
"Cut Over the River autumn map" is a work of jiyou. In the spring of the seventh year of Ming Chongzhen, Xiang Shengmo and his friends made an attempt to visit Huangshan Mountain, and in August of that year, he and his cousin traveled to the Fuchun River, enjoying the beauty of the mountains and rivers on the one hand, and sketching and creating on the other, and was able to complete this painting.
Painted according to his travel footprints, the scroll starts from Jianggan near Hangzhou, goes up the Fuchun River, passes through Fuyang and Tonglu to Jiande, then enters the Xin'an River, goes to Chun'an County, turns into Wuqiangxi, and reaches Sui'an, for a total of about 500 miles. Rainy and sunny days, dark twilight, misty mountains, high winds and waves, rolling meteorological and scenic spots, dangerous landscapes, etc., can be portrayed under the painter's pen, and are full of changes, which show the beautiful scenery along the Fuchun River in many ways.
346 "Big Tree Wind Map"
Ming Xiang Sheng mo Color on paper Length 111.4 cm Width 50.3 cm Collection of the Palace Museum in Beijing
The subject is a tree and an old man, and the background is a distant mountain with a vast expanse of mountains, mountains and thorns and weeds. The painter uses thick brush and ink to depict the big tree, the big tree in the painting stands tall in the sky, the trunk is thick and straight, there is a strong and indomitable trend, the branches are dense, the curvature is strong, although the leaves are off, but it looks extraordinary. The old man under the tree stood with a cane, his face was clear and handsome, looking at the distant mountains and the afterglow, wandering and groaning, as if he was full of heart. It conveys an atmosphere of somberness, solemnity, sadness, loneliness and desolation.
The composition of the whole painting is unique, and it deliberately creates a sense of stability that is both vigorous and independent visually.
This painting has the painter's own title: The wind trumpet tree stands in the sky, and the sun is thin and the west is lonely. Short-term and no-brainer, it is not easy to look back at the pu.
347 Landscape Orchid Bamboo Atlas
Ming Xiang Sheng mo 12 open ink pen on paper 25.2 cm per opening width 24.6 cm
Due to the rich collection of the family, there is an opportunity to learn from the ancients of the Song and Yuan dynasties, and Xiang Shengmo's landscape paintings integrate the meticulousness and rigor of the Song people's pens, and there is the style of the Yuan people, the brushwork is beautiful, the layout is wide open and closed, and it is full of changes. He likes to paint pine trees, and has the reputation of "the name of Xiang Pine is full of southeast".
Dong Qichang believes that his paintings are sometimes "morale" and "writer's popularity".
Here selected is the sixth open ink pen landscape, and the plutonium is printed "Xiang Sheng Mo Seal" and "Great Unitary Mountain Man".
348 Wang Wei's Poetic Intentions
Ming Xiang Sheng Mo Ink pen on paper 28.1 cm per opening width 29.4 cm
This volume is a joint painting of Wang Weishi's intentions by Xiang Shengmu, Wu Birong and other families, a total of sixteen openings, and the painting of The Inner Xiang Shengmu is two openings.
The first opening, this painting is self-titled: "Sitting alone in the fence, playing the piano and whistling." On the obscure day of February of the second year of Chongzhen, Xiang Shengmu supplemented the map. Knowing that he is not in the eyes of the world, he is proud of his ears, so why should he look at the sound and color of the people in the painting. ”
Seal of Plutonium: "Seal of Xiang Shengmu", "Father Kong Zhang". This painting has the seal of "Zhang Qi's Private Seal", and the side of the frame has a wren inscription and both sides of Tibet and India.
349 Imitation of Huang Gongwang Landscape Map
Ming Xiang Shengmu Ink and pencil on paper Length 43.7 cm Width 31 cm
This painting is an antique landscape painting with the legacy of Huang Gongwang.
On this canvas is self-titled: "I have seen half a piece of paper, not most of the pen mountains and water." Naturally pale with clouds of smoke, chat about the painting from Weng so. This is half a piece of paper for Brother HuiJia Linhuang Zijiu, which is a painting that is hidden in Li's secret. Chongzhen Nongshen February Obscure Day Inscription in Crane Mengxuan, Xiang Shengmu. ”
Stamp "Xiang Shengmu Poetry Painting", "Humble Victory" and so on.
350 Rainy Mountain Jai Map
Ming Xiang Shengmu Ink pen on paper 121.1 cm width 32.4 cm
The scene covered in rain in the middle of the mountain is depicted just right.
The upper left of this painting is self-titled: "Rain is full of mountains and fasting in September and autumn, and green smoke often flows in the pond." Toward the morning to study some ink, write a short praise from Lin Quan. Yi Hai Qiu, Xiang Shengmu. ”
The first chapter of the plutonium is quoted: "Orchid Hall", there is a plutonium with "Lin Quan Zhi", "alias Yi An". Yi Hai was eight years old for Ming Chongzhen, and Xiang Shi was thirty-nine years old.
351 Miscellaneous Albums
Ming Chen Hongshou Silk color A total of eight openings 30.2 cm per opening length 25.1 cm horizontal Collection of the Palace Museum in Beijing
This album is made of landscapes, figures, and flowers, and the painting method is neat and interesting. Its eight openings are: 1. Mountain Map 2. Yellow River Jujin 3. Hushan Profound Landscape 4. Yuanpu Guifan 5. Shiquan Yunshu 6. Luohan 7. Dragon Supplement Gun Tu 8. Yutang Pillar Stone.
This selection of two works, one is a color spring stone cloud tree. On the picture, the clouds and trees are like belts, the artistic conception is confused, the pen is neat, the color is elegant, and the decoration is rich. Another work, set up a stone bridge with a mountain stream, and the two sit on the bridge to talk. The mood is fresh and natural, ancient Sensen. The mountain stone is combined with dyeing, and the trees are pointed out layer by layer with horizontal pens, and the ink color is moist.
352 Closed-door Book Diagram
Ming Shen Hao Color on paper Length 96.2 cm Width 40.8 cm Collection of the Palace Museum in Beijing
Shen Hao (1586-1661 AD), Ming Dynasty painter. Yi Zuohao, the character Lang Qian, the number Shi Tian, a native of Suzhou, Jiangsu Province. Bold personality, liberal arts and hearsay. Shen Hao's calligraphy is true, line, seal, and subordinate to everything. More refined painting, in-depth study of painting theory. "Like but not like, not like but like" was his idea. He came to study the homes, the location was strict, the small scenery was light and far away, and the painting style was close to Shen Zhou. In his later years, his penmanship was quite beautiful, and he dotted Qingyan. Write and paint landscapes, elegant brush and ink, standing and strange. Fame is important.
353 Landscape Map
Ming Li Yongchang Color on paper Length 125.7 cm Width 58.8 cm Collection of the Palace Museum in Beijing
Li Yongchang (born and died unknown), also known as Zhou Sheng, was a native of Xiuning, Anhui (some believe to be from Xian County, Anhui). Good at calligraphy, painting style to learn Dong Qichang. Gong shanshui, imitating the brushwork of the Yuan people, the painting style is beautiful and round, clean and simple, for Wang Zhirui's teacher, the precursor of the new Anpai. His main activities were during the Wanli and Chongzhen years. "Landscape Map" is the masterpiece that best reflects its style.