Huangshan Giant - a collection of fine works of meiqing painters in the early Qing Dynasty
Chinese calligraphy and painting postal || Today
Mei Qing Double Pine Diagram
Mei Qingke crossed the river from where to mirror the heart
Mei Qing 1691 landscape vertical axis
【Name】Qing Meiqing Alpine Flowing Water Map 【Age】Qing Dynasty
Vertical shaft, on paper, length 249. 5 cm, width 121 cm. Collection of the Palace Museum in Beijing.
The cylindrical peaks of the ink painting stand among the peaks, and the mountain walls are steep and majestic. Surrounded by pines under the mountain, one person sits on the ground and watches the rushing waterfall, the scene blends, and the artistic conception is high and empty. In the middle of the work, the old pen is covered, and the ink rhymes happily. The mountains are dyed with light ink, thick ink dots of moss, and the mountain stones are beautiful and full of concave and convex three-dimensional feeling. Meiqing painting pine has a strange atmosphere, and the ancient pine in the near distance is curved and colorful, the branches and leaves are luxuriant, and the distant pine is paviliond. The painting is self-titled: "Flowing water in the mountains, imitating the brushwork of the old man Ishida, the day before the autumn of A Peng (1694), the seventy-year-old one of The Seventies of Qushan Meiqing".
Mei Qing Cloud Gate Twin Peaks Mirror Heart
Meiqing Landscape Boutique Vertical Axis
Inscription: Yunmen Peak is the Huangshan Mountain. This peak was seen two hundred miles away. Three days later, it began to be there. Imitation of the Yellow Crane Mountain tree penmanship. Qu Shan Meiqing.
Seal: Qu Zhenqing, Yuangong
Mei Qing imitates the Yellow Crane Mountain Tree Intention Vertical Axis
Mei Qing, because when he was alive, he shook the north and south of the river with his painting name, and asked his painters, such as Wen Zhengming, to come to the door one after another, the so-called Haiyu admiration, the musu mountain accumulation, the ruler circle only came out, thousands of imitations, plus Mei Qing's students were many. Brothers, sons and nephews are good at painting and have many achievers, there are ghostwrites from children and nephews, there are also forgeries of the same people, the forgeries of the later generations are even more indescribable, of which the ghostwrites and the best of the fakes of the timers are often chaotic, which leaves a problem for the identification of future generations, and the appreciators are headaches for each of them, this "Imitation of the Yellow Crane Mountain Tree" wins with momentum, the flow of the pen is bold, the ink is flowing, and the law, with the meaning of Mei Qing xigu, it is difficult to judge it.
Meiqing Secluded in the mountains
Mei Qing works
Meiqing landscape
Silk landscape
Meiqing Jiulongtan diagram vertical axis
Transcript: Taikoo dragon awakens, silkworm bush thunderbolt open. The clouds of the Five Gorges did not go, and the snow of the Three Gorges flew in. This Kowloon Pond is intended.
Mei Qing's picture adopts a realistic and freehand method to depict the mountain school boulders of Jiulongtan, layered on top of each other, from near and far, from bottom to top, gradually disappearing into the mist of the mountain; and a stream waterfall runs out of the smoke mist on the mountain, ≧ and turns between the standing boulders, rolling down, jumping beads splashing, white mist mist. Let people look at the picture, as if they are in the mountains, their ears seem to hear the roar of the waterfall spring; the clothes seem to feel the infiltration of water mist. The trees between the stone gaps are moist, soft and moist, and charming. The picture is divided by the slope of the white stream and waterfall as an unequal left and right part, the composition is concise; the mountain stone is outlined in thin lines, slightly dyed with hemp, the leaves are dense and not complicated, and a white-clad hermit sits leisurely on the boulder in front of the left side of the picture. There is stillness in the whole picture movement, and there is movement in the stillness. The color of the picture is light and elegant, beautiful and bright, especially the waterfall is like a practice, and the water vapor is impressive. In the upper left corner of the white mist, the author inscribed the book with a beautiful calligraphy: "Taikoo dragon awakens, silkworm bush thunderbolt open." The clouds of the five streams did not go, and the snow flew in the gorge. "The Jiulong Creek Waterfall is likened to the ancient sleeping dragon waking up, splitting the boulder, so that people can see the Five Streams Cloud Mountain and the Three Gorges Snow Wave. Looking at this picture, it really makes people feel relieved, refreshed, and want to wrap their bags for a trip to the Huangshan Mountains.
Mei Qing's "Seven Words and Poems of xingshu" axis, 163.5 cm long and 46 cm wide.
It was a poem he sang with a friend on a boat trip on the Qinhuai River, and the poem was written like this:
The lights of Qin Huai suddenly meditated, inviting the lone ship to put back the □ (stop). QingZun fell to stay this night, and the old friend chased after the guest star.
The tide suddenly floated a thousand sills white, and the moonlight first moved half a stream. Late return to the ferry to find peach leaves, a flute is difficult to listen to drunk.
The gist of the poem is that on a flickering Qinhuai River, a cruise ship was beckoned, and several old friends were together planning to drink "this night". In the middle of the night, the tide steamed, and the large boats moored on the shore were white and connected, and the moonlight shone, making many parts of the stream glow silver. I don't know how long it took, everyone was drunk in the cabin, where is Peach Leaf Ferry now? A flute sound drifted by, and the song and dance there continued...
Meiqing calligraphy, Zong Yan Zhenqing, majestic and dense, thick and dignified, simple and strong, with a prosperous Tang Dynasty atmosphere. However, he also refers to the brushwork of Mi Fu of "Slandering Yan Liu, Degrading Xu Su". Rice characters are a model of the collection of ancient masterpieces, and the achievements and experiences of ancient calligraphy have been turned into existing ones, becoming their own faces and not being confined by the ancients, which is the biggest feature of rice. He pursues boldness, strength, and more charm and nature. Judging from mei Qing's "Seven Words and Poems of Xingshu", this is a typical example of a style that is mainly based on yan characters and at the same time has rice characters. He is majestic, majestic, skillful and clumsy, calm and happy, and full of meaning. Let's briefly analyze it:
First, an overview of the whole chapter, seventy-two words, blended into one. The pen is uniformly inked, and its changes are seen in the light and heavy of the pen; the whole line of the word is aligned, and its ingenuity is seen in the jagged layout. The gestures are continuous, the words are reflected up and down, the left and right are looking forward to each other, echoing back and forth, like a book of strokes, and there is no hesitation. The main word is three and a half lines, plus a line of smaller strokes, properly arranged, harmonious and varied.
Second, the font structure is flat and standardized. Every word is legitimate, and there is no twisting posture, self-made, pretentious or mixed with alien situations. The gentle and thick bookish atmosphere is filled with it, which better expresses the poetry's quiet but not lonely, moving and not complicated mood.
Third, the pen is stable and powerful and full of changes, mainly in the yanzi center pen, the line is solemn, round and vigorous, the elasticity is good, the sense of strength is strong, and the fluency is beautiful. The four-sided front and the horizontal vertical drawing of the rice fu are used to bend the ring outward, making the glyph feminine and colorful, and the special brushwork such as the hook pushing up and picking up has added many strange and changing and fresh features. Mei Qing once painted the "Huangshan Atlas", in which the style of knowledge, Rich Han Yan Zhenqing brushwork. In another volume, he wrote a page of inscriptions in the thirty-second year of the Kangxi Dynasty (1693 AD), showing more of Mi Fu's penmanship. This axis of the "Seven Words and Poems of the Book of Conduct" has both methods, and should be his middle and late works. People are getting older, their penmanship is perfect, and the meaning of change is overflowing on the paper.
If we compare and analyze the above three works, it is not difficult for us to come to such a conclusion: the "Huangshan Atlas" is thick and simple, gentle and elegant; the "Atlas Inscription", which is old and horizontal, returns to simplicity; this "Seven Words and Poems of the Book of Conduct" is full of beauty and abundance.
Plum clear pine stone