Shen Zhou (1427- 1509), a native of Changzhou (now Suzhou, Jiangsu), was named Qinan, whose name was Baishiweng, and he lived in seclusion in Wumen for generations. His paintings have a wide range of subjects, including landscapes, figures, flowers and birds, especially landscape paintings. His landscape paintings are "refined" and "rough" in the form of expression. Its main artistic features are: in terms of pen and ink, it not only absorbs the stiffness and sense of strength of Song Xue and Ming Zhe School, but also uses the outline lines and short strokes of rocky rocks, while retaining the implicit brushwork of Yuan people, such as multi-strokes and loose strokes. Influenced by Zhenwu, the ink color is smooth and pays attention to the change of shade, so it is vigorous and moist. This pen and ink form, with its beauty in lightness and softness in rigidity, not only changed the "combination of rigidity and softness" of Yuan people, but also strengthened the "bone beam" function of brushwork, avoiding the excessive exposure and arrogance of Zhejiang school. In composition and creation, no matter complex or simple, they all emphasize the "potential" of vast mountains and rivers, and change the empty land of yuan people; It also pays attention to simple "quality" and "clumsy and clever", which is different from the deliberate carving of Zhejiang School. So its landscape realm is plain, simple and broad. (A) the artistic style of Shen Zhou's paintings
Shen Zhou's landscape paintings also show changes in the early, middle and late stages. Literature records that his early artistic creation was before the age of 40, but judging from the handed down works, his early age should be before the age of 45. Shen Zhou's father Hengji and his uncle Zhenji are both good at painting. In his early years, he inherited his family studies and was deeply influenced by his teachers, especially Wang Meng and Dong. The scenery is complex, the brushwork is fine, and the rocks are covered with hemp and Niu Maocun. The literature records the ink of Shen, the representative calligrapher of his early calligraphy, with dignified, flat and beautiful fonts.
Shen Zhou's early masterpieces of landscape painting include Autumn Color Map of Western Hills (collected by Nanjing Museum), which was written at the age of 465,438+0, with distant rocks like Dong and Giant and close-up trees like Stone. The brushwork is a fine and sharp central pen, and the title is a beautiful and neat pavilion. The long scroll "The High Map of Lushan Mountain" (collected by the National Palace Museum in Taipei) was made at the age of 465,438+0. In the early days, it first developed into a large-scale masterpiece, with Wang Meng's brushwork, meticulous composition and meticulous brushwork. "Wei Yuan Map" (collected by Liaoning Provincial Museum), made at the age of 43, is a typical work in Shen Zhou's transitional period. It is dominated by Dong and Ju's painting style, with a yellow platform, rich colors and rough and solemn style. The middle age is about 45 to 60 years old, because he started to use "Bai Shi Weng" at the age of 58, and he put this seal on his painting. The painting method of this period draws on the strengths of Song and Yuan Dynasties, paying more attention to yellow, the layering of pen and ink changes and the richness of artistic expression language. The style gradually changed from fine to coarse, and finally formed a rough style, creating a large number of excellent works. Shen Zhou's masterpiece of mid-term landscape painting is Dongzhuang Map (collected by Nanjing Museum). Although there is no annual edition, because of its round brushwork, bright and elegant colors, and although the landscape composition tends to be simple, the details of the leafy trees painted by the double hook method are still very delicate, which is called a masterpiece in middle age. The 58-year-old "Three Plum Trees" (collected by Nanjing Museum) is a rough ink painting method, but the shape and structure of the trees are still sketched in detail. The Journey to the West's volume book (collected by Shanghai Museum) is about 60 years old. This picture is the representative work of various factions, and the stone shape is mainly Dong and Ju. Wang Meng of moss spot method; Trees live in Ni Yunlin, showing a "rough" nature. Later, after the age of 60, I learned the painting method of Zhenwu. The brushwork is simple and vigorous, and the style is rich and broad. Shen Zhou's later masterpiece of landscape painting is Imitation of Ni Landscape (collected by Shanghai Museum), which was written at the age of 63. He copied Ni's brushwork with ease and showed the artistic conception of mountains and rivers in Ni's paintings incisively and vividly. Night Tour Thousand Stones (collected by Liaoning Provincial Museum), written at the age of 67, is a typical "rough" appearance, with simple scenery, light ink rendering, thick ink coating, rich color and tone levels, neat tick marks, short strokes and strong painting style. Seeing Off at Jingkou (Shanghai Museum), written by 7 1 year-old, is also a rough and bold painting style. (2) Identification of Shen Zhou's forgeries.
There are many forgeries of Shenzhou, many of which were forged by contemporaries and ghostwritten. On this point, there are many records in Historical Records. Zhu Yun said that the situation of counterfeit goods in Shen Zhou is: "After that, there are many fakes, and the films are released, and the copies are seen in the afternoon; There are ten days everywhere, and anyone who has ten Yu Ben. " And Zhan Jingfeng's "East Map Xuan" recorded Gu's statement: I bought a landscape in Shen Zhou, and Shen Zhou called it a proud pen, saying that it was bought for 800 pence, which was very cheap. Gu wants to ask Wen for this painting, but Wen can't bear to give up what one favours. I left the article and went to the lane. I spent 700 pence and bought one. When Gu went back to ask, he said he bought it from that person, too. This story shows that many people in the Ming Dynasty studied the paintings of the respected Shen Zhou, and their artistic level was very high, and the atmosphere of the times was the same, so it was difficult to distinguish between true and false. Even his student Wen Zhiming will take this lie seriously. Shen Zhou's kindness to people also caused some difficulties in identifying it. Wang Xiaoyun said: "Mr. Gao is the tallest man, but he is easy to get close to things ... or he fakes a title to sell, and he is happy to answer." According to Mr. Wang's textual research, there are two forgers, namely Wang Lai and Shen He, but neither of their original works has been seen, so it is impossible to determine who the forger is. There are three main points to distinguish the authenticity of Shen Zhou's works: 1. Whether the brush strokes are beautiful in light and soft in hard; Whether the ink color is thick but not turbid can make the work elegant. 2. Most of the early and middle paintings are soft and tight, but the meat is not boneless and still slightly square; In the later period, the painting style is mostly rough and simple, with old and strong pen and ink, which is obvious but not thin. The pen for fake books is hard and rough, and the ink is thick and disgusting. 3. Shen Zhou's calligraphy, learned in his early years, is full of charm, close to the calligraphy style in the pavilion, and beautiful; Forty or fifty years old is still round; Turning to an aunt in her 50 s, she is slender and has a pen, but the imitation book has the disadvantage of "reaching out and hanging". (3) Examples of fake versions in Shen Zhou's works.
1. The Japanese-collected View of Life and the pages of Xinyi Ink Painting, compared with the original pictures of Shen Zhou collected by the Beijing Palace Museum, have now been bound into a book. Although the picture is similar to Wu Kuan's, in detail, the Chinese cabbage in the book See Things Happen has its ink level. It can be seen that this is a replica and the Forbidden City is the original.
2. The axis of Lushan Mountain High Map was collected by Beijing Cultural Relics Company and forged by Shen Zhou's contemporaries. The layout, structure and inscription of the whole picture are very similar, but the pen is a little weak, the ink level is not rich enough, the brush strokes are incoherent, especially the waterfall wiring is not skilled.
3. The Stone Lake Returning to the Park was collected by the Art Museum of Chicago, USA. According to the inscription in Two Years of Chenghua, Shen Zhou is forty years old and should live with Wang Meng's painting style. However, this painting was simplified in his later years, especially in the oblique stones, slab bridges and houses, which all used patchwork lines, and the painting method was relatively dull and the artistic level was not enough. The style of style is also typical of Huanggu calligraphy. In his early years, Shen Zhou should learn from He Shen. So it should be a fake version, and the year does not match the style of painting and calligraphy.
4. The Hakka Map of Shanxi is collected in Wuxi Museum, which also belongs to the category that the year does not match the painting style. The title of this picture is Building in Tianshun, which is 30 years away from the title of Chenghua Bingwu. This picture should be the first year of Tianshun, and Shen Zhou was 365,438+0 years old. It is the earliest known work among the existing works, that is, the work of "learning ink and wash". However, the painting style of Guan's works is similar to that of Shen Zhou in the middle and late period, and there is no trace of imitating Wang Meng and Dong Yuan in his early years. In addition, the content of the inscription is actually the inscription of Shen Qinan's support map in the sixth volume of Chen Chao's Xiang Zhai Ying Yu Shang Bian. This picture is now in the Tianjin Art Museum, and it is the painting style of the main Sect Dong and the giant. Therefore, the caption of the picture is undoubtedly added later. Check whether there is the word "Zhou Zhi" on the right side of the picture. This picture may be different when this person makes it. Learn from Shen Zhou.
5. A Tour of the Western Hills is collected in the Palace Museum in Beijing. Shen Zhou has created a number of Western Hills Tours, such as 52-year-old Western Hills Tours, 60-year-old Western Hills Tours (collected by Shanghai Museum) and Western Hills Clouds. 52-year-old The Journey to the West Juan, Duan Yun, "Made by Chenghua in the Summer of May 1898, Shen Zhou". On the back, there is Wu Kuan's inscription "Journey to the West". This picture is also "Shen Zhou in Summer and May of Chenghua's Hundred-Day Reform". There is no inscription by Wu Kuan in the back picture, and the painting method is obvious and soft. It is impossible for Shen Zhou to draw two pictures of the Western Hills in the same year and the same month, so this is a fake.
6. The book Landscape Map is collected in Xu Beihong Memorial Hall. Open 12 edition, won the "Hongzhi three years". Shen Zhou is 64 years old, which is the period when he formed a "rough and deep" style and had the deepest skill. But from this book, the painting and painting style are very poor, especially the painting style is not good, and the painting style is not like it. Brute and domineering pen and ink are undoubtedly a fake book.
7. Xu Beihong Memorial Hall collects the static pool map of Mao Ting. This painting has no date. It looks like a work from the fifties and sixties. But the style of painting is not in this period. It was exposed with a pen, complicated and rigid, and it was also forged.
8. A Bottle of Flowers is collected in Tianjin Art Museum. According to the inscription, it was written in the year of Bingwu, when Shen Zhou was 60 years old, and the style of flower-and-bird painting had become freehand. This painting is sketched with meticulous brushwork, but it is delicate, and the blooming of the bottle is rare, which is different from Shen Shi's painting style, so it is also a fake.
9. The picture of Osmanthus Bookstore is collected in the Palace Museum in Beijing. This picture has no annual style, and the painting style is "implicit". High painting level and good style. It has always been original. According to Mr. Liu Jiu 'an's appraisal, first of all, we can see the flaws in Wu Kuan's inscription. The word "width" of "Wu Kuan" is authentic, which is Lian Bi's "terrible"; Check whether the "south" of "Qinan" is wrong; The "Bo" of "Yuan Bo" is also wrong; Look at the painting method, there are literary methods, and the pen and ink are too thin, so although the level of painting is high, it is also an old imitation.
10. The fallen petal paintings and calligraphy are collected in Nanjing Museum. This picture is a "rough" style and a high imitation. Because I didn't see the original, I haven't seen the specific defects yet. It can also be seen that some imitations in Shenzhou have reached a high level, and it is difficult to distinguish between true and false. Second, Wen Zhiming.
Wen Zhiming (1470- 1559) was originally named the Great Wall, and later renamed Zheng Zhong. He was born in Changzhou (now Suzhou, Jiangsu). Jiajing was appointed as imperial academy at the beginning and resigned soon. Works, poetry, calligraphy, painting. Painting is good at landscapes, figures, orchids, flowers and so on. The styles of landscape painting are coarse and fine. Rough brush originated from Shen Zhou and Zhenwu, and used the ancient wood and bamboo stone method of Zhao Mengfu. The pen and ink are vigorous and dripping, the dry brush calligraphy is white, and the level and charm can be seen in the thick brush. Fine brushwork takes Zhao Mengfu and Wang Meng, with dense scenery and little space depth; The shape is angular and slightly deformed; Fine brushwork, slightly rough, and good at childlike interest are the characteristics of his works, which are beneficial to family painting; The colors are green and heavy, with a faint crimson between them, and elegance is seen in freshness. "West Bay Landscape" is a true color painting with strong decoration, lyricism, childlike interest and closeness to the people. (A) the artistic style of Wen Zhiming's paintings
Wen Zhiming's landscape painting also experienced early, middle and late changes. From the age of 30 to the early age of 40, he mainly used meticulous brushwork, and studied under the patriarchal clan system of Zhao Mengfu and the rough brushwork of Shen Zhou. Taking Wen Zhiming's iconic "writing style" as the boundary, it is divided into the early and middle stages. Before the age of 42, Wen Zhiming was called "Wall", but he changed his name from "Earth" to "Jade". Later, he changed his name to "Zheng Ming" and completely changed the name after he was 44 years old. His early representative works include "Spring Trees after Rain" (collected by the National Palace Museum in Taipei), which was written at the age of 38, with green and heavy colors, neat and meticulous brushwork, patriarchal clan system and slightly childish brushwork, and the style is "writing style", which is the original. A picture of a proud south window (collected by Tianjin Cultural Management Institute), written at the age of 42, is light in ink and wash, and Ni Zan prefers boys to girls, with a unique and elegant style, and is known as the "literary wall". The mid-term is about 40 to 60 years old. He lives mainly in Zhao Mengfu and Wang Meng. Regardless of the green ink, it is mainly meticulous, forming a typical fine prose. Masterpieces such as Huishan Tea Party (collected by Beijing Palace Museum), written at the age of 49, are colorful and learn from Zhao Meng. The scenery is relatively simple, and the brushwork is still relatively naive. "Colorful Landscape Map" (collected by Liaoning Provincial Museum), made at the age of 53, is a pale crimson landscape with complex scenery and fine moss spots. The scroll "Ancient Wood and Pale Smoke" written by 665,438+0 years old (collected by Nanjing Museum) is mainly composed of yellow brushwork and Ni Zan brushwork. The overall style is fine and simple; The 62-year-old scroll Frosted Bamboo Stone (collected by Shanghai Museum) combines the painting style of yellow and yellow, and also belongs to the fine show type; The 63-year-old Shi Hu Sheng Jing (collected by Shanghai Museum) has a light crimson ink, simple technology and Zhao Meng's brushwork. Other works of similar style include the axis of "Green Shades and Flowers" collected by the Palace Museum in Beijing. In the late 60-90 s, there are both long and thick paintings, and the thick pen tends to be vigorous and the fine pen is more delicate. Masterpieces such as Authentic Lenten (collected by Shanghai Museum), written at the age of 80, have mixed the ink painting method of "Yuan Sijia" with the turquoise colors of Zhao Mengfu and Zhao Boju, which can be called masterpieces in his later years. Another painting, Authentic Lenten (collected by the Museum of Chinese History), is similar. It was painted at the age of 88, and its pen and ink are more subtle, reflecting the characteristics of Wen Zhiming's later works. The 80-year-old scroll "Cold Spring of Ancient Wood" (collected by the National Palace Museum in Taipei) is his masterpiece of coarse brushwork in his later years. Lanzhu is the most famous flower painting in Wen Zhiming. It is known as "Wen Lan" because of its elegance and agility, and is imitated by Zhao Meng. The representative works are "Yi Lan Zhu Shi Map" (collected by Liaoning Provincial Museum), which is the representative work of "Wen Lan". He studied Zhao Meng's brushwork, focusing on fine show and being free and easy; The central axis of "Beautiful Pictures of Ice Pose" (collected by Nanjing Museum) belongs to the freehand brushwork of ancient flowers and trees, which is close to Shen Zhou's painting style and more poetic; The book "Okra Broken Branches" (collected by the Palace Museum) was written at the age of 64, and its painting method is close to that of Shen Zhou's ink flower, which is beautiful and elegant. "Flower Map" (collected by the National Palace Museum in Taipei), written at the age of 64, depicts flowers with fine brushstrokes and trees and stones with ink, all of which are rich and elegant. Wen Zhiming's figure painting is rare. He pursues the style of painting in Jin and Tang Dynasties, focusing on meticulous painting, and his image is naive and quaint. Masterpieces such as The Picture of Lady Xiang (collected by Beijing Palace Museum) are made of 48-year-old clothes, with patterns made by Gu Kaizhi You Simiao, white powder in color, fine and elegant in workmanship and full of ancient charm; "Beauty in the Shade of Banana" (collected by the National Palace Museum in Taipei) was written at the age of 70, simple and clumsy, with a few strokes to outline the characters. (2) Identification of counterfeit goods in Wen Zhiming.
The authenticity of Wen Zhiming's works is more complicated, and it is even more difficult to identify them than that of Shen Zhou. Its imitation, forgery, ghostwriting and so on. In those days, it was common for people to cheat. For example, Wang Deng's "Wu Dan Jun Qing Zhi" said: "The inch map is only published, with a thousand copies. There is truth and falsehood. People who eat for a while are often self-lubricating. " Wang Shizhen's Four Manuscripts of Zhoushanren and Biography of Mr. Wen also said: "Because Mr. Gu's paintings and calligraphy are all over the world, it can't be a fake twelve, but those who live near Wu have been touching their hands for forty years." There are also many ghostwriting works. According to the literature, there are writers, disciples Qian, Zhu Lang and Ju Jie, and some people who specialize in his fake paintings ask him to write an inscription, which is also a ghostwriter. For example, Feng Yun recorded: "If there are fake paintings and calligraphy for the benefit of the public, or sue the public, the public said: It is only from me, but it is a pity that the world can't." The old disciple took the first meal as a false name. After that, the counterfeiters no longer fear the public, but seek the title of the public, and the public immediately follows, which is not difficult. To identify the authenticity of Wen Zhiming's works, we can pay attention to the following points: first, they all signed the wall from "earth" to "jade" before the age of 42, and signed "Zheng Ming" after the age of 44; Second, the painting method, the original details are clear and rigid, there are skills in childishness, strangeness in plainness, action in strength, and the charm of literati painting. If the work is rigid, elegant and weak, too rigid, sharp, delicate and mediocre, it may be ghostwriting or forgery. The third is to master similarities and differences. Many ghostwriters are students, disciples and even children of Wen. Imitation is very similar, but there is a difference after all. For example, writers pay more attention to simplicity, and most of them are fine works. It is true that there are many people who study painting style, and their meticulous brushwork is easy, and the original works of the text are divided into morning and evening, so there are still many specious works that are difficult to determine and need further study and solution. (3) Examples of fake versions in Wen Zhiming's works.
1, the map of Hushan Bridge is collected in Nanjing Museum. The scenery is too complicated. Exquisite carving, pen exposure, stone bridge and building with lines linked, more expert habits, less elegant charm of literati painting.
2. The Water Pavilion Poems in Nanjing Museum, with the top of the distant mountain stacked with stones. I can't see it in Wen's works, and the brushwork is not similar. The foreground trees and stones are slightly similar, but there are few elegant pens and poor poetry styles. This is a fake.
3. Riding on Snow Bridge is collected in Nanjing Museum. It was painted in Huang's brushwork, but it was not as clumsy as the original, and the technique was too skillful, so it should be copied.
4. The "Mountain Color Stream Light Map" is collected by Nanjing Museum, and it is an imitation of the pen. This pen is very weak, it is an imitation.
5. The Turquoise Xuanhua Map is collected in Tianjin History Museum. Its image and brushwork are carefully crafted, like the painting style of student Wang Xiangbei, which is copied by future generations. 6. "Flying Rainbow on Stone Wall" was collected by Shanghai Museum, and was made at the age of 78, with outdated brushwork and written for Wen. However, the brushwork is too thick, and the overall style is the same as that of his son Wen Jia, who is a ghostwriter for Wen Jia's middle age.
7. Spring is deep and trees are high, which is collected by Shanghai Museum. Green and heavy colors, high artistic level. However, Mr. Xu Bangda thinks that this painter has a sense of mediocrity, less scholarly and more expert. In addition, the structure of characters also reveals the disadvantages of instability, so this painting is in doubt at present.
8. Appreciation of the Original Zhaitu was collected in Wuhan Cultural Relics Store, and it was signed as "Jiajing is autumn, and it was declared as a photo of Jiajun Zhongfu, at the age of 80". This painting is exactly the same as the original collection, but it is impossible for Wen to copy two for one person in the same year. The handwriting of this painting is too poor to draw smoothly, and it is copied by the same person.
9. Painting a Garden Pavilion for Huai Yu is collected in the Palace Museum. The inscriptions of Wen Zhiming and Wang Chong seem to have been written by one person, and the painting method is too rigid, so they are old copies. Third, Tang Yin.
Tang Yin (1470- 1523) is a native of Wuxian (Suzhou). Born into a businessman's family, he went to Beijing at the age of 30 and was implicated in the fraud case in the examination room. He was dismissed from office, so he decided to make progress and made a living by selling paintings. He is good at poetry, calligraphy and painting. He is the teacher of Zhao Meng, a beginner in painting, and Zhou Chen. He studied with Liu and Li in the Southern Song Dynasty, and later learned from Li, Fan and Li. He is a family of his own, capable of landscapes, figures and flowers and birds. (A) the artistic style of Tang Yin's paintings
Tang Yin's landscape painting has two styles: coarse and fine. Coarse brush inherited the "courtyard body" of the Southern Song Dynasty, retaining the characteristics of majestic mountains, steep rocks, rigorous structure, axe chopping, vigorous pen and dripping ink. At the same time, he tried to correct the rigidity, his brushwork was more rounded and delicate, his shooting was more concise and cheerful, and his smashing methods were rich and varied. Hemp and firewood were used alternately, and both smashing methods were used. He also created his own "light axe chopping method", which turned his face into a line with black characters on a white background, and his heroic spirit was sparse and beautiful. This kind of landscape imitating the courtyard has a beautiful and elegant charm, so Li Rihua commented in the Diary of Wei Shuixuan that the difference between Tang Yin and Zhou Chen is that "the East Village is dense and the Bohu Lake is beautiful and elegant, and the charm is naturally different". Meticulous landscape painting is Tang Yin's natural color painting, and it is even more poetic. Its characteristics are: the scenery is simple and clear, paying attention to close-range depiction, and the vision is simple; Centered on the fine pen, it seems to be especially graceful, slender but not weak, strong and rhythmic, combining rigidity with softness; There are many changes in painting methods, such as short cutting, long drawing, straight drawing, reverse drawing, square folding and round turning, which are flexible and reasonable without distinguishing specific painting methods. The ink is dripping, rich in shades, full of the whole picture but not urgent, and the inspiration is smooth and ethereal. This style of painting is in harmony with the appearance of literati painting. For example, Li Kaixian's "Painting in the Middle Foot" commented: "Tang Yinru is a poet Jia Langxian, who still has a monk's bone and a yellow leaf porch." Tang Yin's landscape painting style can be divided into three stages: early, middle and late. In his early years, he was about 20 to 37 years old. Before the age of 30, Shanshui lived in China and his calligraphy was near Wen Zhiming. From the age of 30 to 36, I transferred to Zhou Chen to study Yan Zhenqing. His watch works are like Huang Xiaojing Tu (collected by Shanghai Museum), which was made when he was in his twenties. Exquisite pen hooks and peculiar iron stone shapes are similar to those of Wen Zhiming, and are obviously influenced by Wu Men. Landscape Map (collected by the National Palace Museum in Taipei), made around the age of 30, is mainly composed of trees, distant mountains and sails, and Shen Zhou's paintings are still the main ones, while the stone and axe have been studied by Liu and Li, which should be the work of Tang Yin's teacher Zhou Chen; The Spring Tour of Several Mountains (collected by Shanghai Museum), written in his thirties, is a master of Zhou Chen, but his pen is more rounded and flexible; The "Thinking Back on a Donkey" (collected by Shanghai Museum) is about 365,438+0 years ago. The rocks are light and flowing, which is very "courtyard style". In the middle period, he was about 38 to 46 years old, and his painting method gradually left Zhou Chen and merged into the pen and ink of Yuan people, showing a meticulous appearance. Calligraphy spread to Zhao Mengfu and Li Yong and became exquisite and beautiful. Representative works, such as The Legend of Han Guan (collected by the National Palace Museum in Taipei), have been painted in both the north and the south for about 38 years. For example, the panoramic layout is simple and vigorous, especially the long and short pens, which are rich in variety, and the figures are close to Zhao and Yi Li. The Lonely Sunset Map (Shanghai Museum) was written by him in his forties. Although the rocks are still steep, the brushwork has become fine, showing a fine brushwork. This painting is a masterpiece of his middle age. Later, from 47 to 54 years old, it formed a typical meticulous style, with smart and subtle pen and ink, fine and elegant style. His masterpiece is Song of Mountain Road (collected by the National Palace Museum in Taipei), written at the age of 47. The close-up view is outstanding, and the three giant pines are particularly meticulous, short-sighted, ethereal, delicate in brushwork, rich in brushwork and distinct in axe and hemp. "Spring Mountain with Pictures" axis (collected by Shanghai Museum), made in his fifties, with simple scenery, fine brushwork and many literati painting rhymes; The axis of "listening to bamboo pictures in a virtual pavilion" (collected by Liaoning Provincial Museum) shows a meticulous style in his later years; "I'm not going to bow my head to the rainbow" (collected by the Metropolitan Museum of America) is a volume that imitates Li Tang's painting style, and now scholars draw one by one. Tang Yin's attainments in figure painting are also profound. Meticulous figure, who lives in Dujin Yuan Tang, has thin lines, draws colorful colors with strings and iron wires, and opens his face with three white colors, with a delicate and elegant image. Ink figure painting originated from Liu and Li, but the brushwork is sloppy, smart and free and easy, and more is the charm of calligraphy and freehand brushwork elements. Tang Yin's figure painting is meticulous in his early years and freehand in his later years. Representative works, such as "The Picture of a Prostitute in Wang Shu Palace" (collected by the Palace Museum in Beijing), belong to the early years and live in the tradition of Tang and Song Dynasties. They are meticulous and colorful, with three white lines on the surface and iron lines on the garment line, and their styles are fine and rich. Gu Tao's Ci Picture is in the collection of the National Palace Museum in Taipei. It was written in the forties, and it is vigorous and powerful to depict people, trees and plantains with faint brushstrokes. Lake and stone are "courtyard style", which is a middle-aged style; Autumn Fan Map (collected by Shanghai Museum) is a masterpiece of middle-aged ink-and-wash freehand figure painting, which is in the form of a lady close to Du Jin, with frustrated lines freehand. Eight Immortals of Drinking (collected by Liaoning Provincial Museum) is a masterpiece of Tang Yin's meticulous work. There are not many flower-and-bird paintings in Tang Yin, such as Qiuci Tu (collected by Shanghai Museum), which mainly lives in Shen Zhou's freehand flower-and-bird paintings. (2) Identification of Tang Yin's forgeries.
Generally speaking, it is easier to judge the authenticity of Tang Yin's works than it is profound and literary, because the painting method of paying equal attention to lines and interests is more difficult to imitate, full of skill and literary charm. However, there are also complicated situations in the identification. (A) the artistic style of Chou Ying's paintings
Qiu Ying was born in the 11th year of Hongzhi (1498) and died in the 31st year of Jiajing (1552) at the age of 55. The real father, Zhou 10, was born in Taicang, Jiangsu, and later lived in Suzhou. First of all, as a painter, he studied painting under the name of Zhou Chen. Later, he observed a large number of ancient masterpieces in the collector's item and Saturday, and his skills improved greatly, which made his family. Good at landscapes and people. The landscape is dominated by "courtyards" in Zhao Boju and the Southern Song Dynasty, with turquoise and heavy colors. Its characteristics are: idealizing the real scene, with a clear layout in a grand and complicated way; Architectural painters are rigorous and not rigid; Rocks are sketched and carefully rubbed and dyed, so that you can see neatness; Sketch, render, clip leaves and decorate with tree method, and use a flexible pen; Bright colors, but also pay attention to the unity and softness of colors, gorgeous and not flattering. This kind of green landscape has developed the traditional painting method and has undergone major changes. On the other hand, I have studied Li Tang, Ma Yuan and Zhou Chen in a simple way, and my pen and ink are vigorous and powerful. Most of Chou Ying's works have no dates, so it's difficult to grasp the changes before, during and after them. Generally speaking, influenced by Wen Zhiming and Shen Zhou in the early days, the composition was sparse, the brushwork was beautiful, and the colors were bright, so many silks were used. Masterpieces such as Lin Tingjia's Interesting Pictures (collected by the National Palace Museum in Taipei) were written in the year of Wu Yin of Zheng De at the age of 265,438+0. He lived in Zhao Mengfu and Wen Zhiming, and he had the money to choose Rhyme and Little Green Mountains and Rivers, which were his early works. Living in the Zhou Dynasty in the middle period, it looks more like a "quadrangle". Representative works such as "Songting Test Springs" (collected by the National Palace Museum in Taipei). His paintings are in Li Tang and Liu Songnian. He uses tight pens, green and beautiful colors and Wen Ya, which has shown the appearance of middle age. Influenced by Zhou Chen and the "courtyard style" in the Southern Song Dynasty, the axis of Song Di Tu (collected by Nanjing Museum) was produced in the middle and late years. "Garden Residence" (collected by the National Palace Museum in Taipei) is a "courtyard-style" style in the Song Dynasty, and it was also painted by literati, with Wang Chong's postscript on it and the title of "Jiajing Renchen". Qiu is about 35 years old and a middle-aged worker. In the later period, Qiu Yingxue learned Zhao Boju's method, mostly in paper, with full composition, freer brushwork, thin or simple, graceful and changeable. Representative works, such as Waiting for the Ferry in Qiu Jiang (collected by the Palace Museum), have a strong brushwork and a painting style of nearly 49 years, which should be a late work; The long scroll Xianshan Pavilion (collected by the National Palace Museum in Taipei) is about 53 years old. It draws lessons from the methods of Li Tang, Li Cheng, Zhao Mengfu and Zhao Boju, and is a big green landscape. "Red Cliff Map" (collected by Liaoning Provincial Museum) was written in his later years, which is a masterpiece of Wen Zhiming, Zhao Mengfu and Zhao Boju, and tends to be simple. The axis of "Jiange Tu" (collected by Shanghai Museum) was made in his later years, which is a simple and light painting method, combining green and light. Chou Ying's figure painting is also based on meticulous brushwork, especially the theme of ladies' painting, with beautiful figures, implicit brushwork and appealing to both refined and popular tastes. It is known as the "enemy" lady painting and can also be used as a simplified ink figure painting. Representative works, such as "Imitation of Small Portrait of Ni Zan" (collected by Shanghai Museum), were made around 45 years old, imitating ancient works, with delicate brushwork and light colors; Guan Gong Tu (collected by the Palace Museum in Beijing) is an ancient work with meticulous brushwork and heavy color. "Guan Xiu Luohan Statue" (collected by the Metropolitan Museum of America), an ancient copy, using the method of sketching; The axis of "You Jun Shu Fan Tu" (collected by Shandong Provincial Museum) is the "courtyard-style" ink figure painting method in the Southern Song Dynasty; In the Southern Song Dynasty, the courtyard lived on the axis of Liu Xia Sleeping on the Qin (collected by Shanghai Museum) and tended to draw freehand figures. Song Yinqin Ruan Tu (collected by the National Palace Museum in Taipei), written at the age of 52, is vigorous and careless. The axis of "Shading the Summer with Banana" and the axis of "Passing the Sound of Tsinghua" (the second of the four screens of the National Palace Museum in Taipei) are paintings of the Song Dynasty, with clear brushstrokes; Elegant colors; The axis of "Yi Dao Map" (collected by Nanjing Museum) is a picture of a beautiful woman, with simple drawing method; The picture of Xiu Zhu ladies (collected by Shanghai Museum) is a detailed and colorful picture of ladies. Through the above legends, we can see Qiu's diverse and exquisite painting skills. (2) Identification of counterfeit goods in Chou Ying.
There are many imitators, no less than Shen and Wen, and many imitators are meticulous and colorful silk books. Mr. Xu Bangda pointed out in the textual research of Gu Shuhua Fake that Chou Ying's real pen, whether fine or not, was inspired by Wen Xiu, while the fake pen was nuanced, but it was often vulgar and rhyming. Because of Du Jin's influence, Qiu's characters, ladies and eyes are very small, which is one of the characteristics of the original work. He also listed five kinds of old fake books, among which The Riverside Scene at Qingming Festival is the most fake book, with more than 40 books circulating at different levels, and the one written by Wang Biao is better. The painting style of this book collected by Liaoning Provincial Museum is close to that of Chou Ying, with a higher level, and the collection of Beijing Palace Museum is also better. Chou Ying also has some replicas, two of which are originals. For example, the axis of Yunxi Xiange and the pavilions in fairy mountain (both collected in the National Palace Museum) are similar except that Yunshan is slightly simplified, and the level is very high. However, there are two identical works, but they are hard to distinguish between true and false, so they can't be regarded as replicas, such as Chunxiao in the Han Palace (collected by the National Palace Museum in Taipei) and Portrait of Mei Fei (collected by Xu Beihong Memorial Hall). Layout and painting are almost identical, but the former is exquisite and the latter is more artistic, so it should be regarded as an original. Qiu's fake book is similar to Yao Tu collected by Suzhou Cultural Management Association. At the back of the book, Wang Chong's Guan Wu Fu was written in Jiajing six years, when Qiu was in his twenties, which was too early. Zhang Fengyi, Zhou and other poems were written in Jiajing thirty-six years. Qiu's family is dead, and it's too late. But the postscript is true, which shows that this painting is a supporting work. The picture is written in works, unlike Qiu's style, and the brushwork is very poor, the level is very low, and the words are specious, which is an old fake version; Wang Tongzu wrote it in Jiajing two years after the volume of "Sending Zhu to Lead the Mountain", but Qiu was only twenty years old, which was too early. The title of the thirty-first year of Xu Jiajing Renzi is true, but the word "Yu Zi" has been changed. The difference between the two titles is 29 years, which seems impossible. It should be patchwork. The painting itself is a little turquoise, but the pen is too soft and charming, and there is no painting style in the middle of the Ming Dynasty, but the handwriting of Liu Yu and others in the early Qing Dynasty. There is a Tibetan seal on Wang's book, but this one doesn't. It can be seen that after Xiang Jia, people faked Kangxi; "Farewell Map" (collected by the Palace Museum in Beijing), the poem sequence of "Topic" in the back of the paper is true. Painting is like seven or eight points, but the twenty-seventh year of Jiajing is Qiu's very old age. This painting is too light and rough, and the green landscape painting is only seen on the original paper. The words are different, so it is a patchwork picture. In the above three cases, the poems sent to meet the guests were all true, but there were not necessarily pictures at that time, so later generations made huge profits by matching fake paintings, and an original book and poem volume became fake paintings.