Wu Hufan (1894- 1968), originally a nephew of Wu Dacheng, was adopted as his grandson. He is talented, specializes in painters, has extraordinary accomplishments, has a rich family collection, is good at appreciation, and has the reputation of "one-eyed". There are more than 100,000 pieces of paintings and calligraphy in the collection, among which the most rare ones are Huai Su cursive script Qian Zi Wen, Huangyuan Fuchun Canjuan, Song Juan and Huang Ting Jian Juan in the Tang Dynasty.
Regarding the origin of the scholar model, there are 18 Qing Dynasty scholars in Wu Dacheng's paintings and calligraphy, all from Suzhou scholars, so he made a wish to collect Suzhou scholars in Qing Dynasty. In the later collection process, the collection scope was extended to the whole province and even the whole country. Although "The Model of Seventy-two Scholars in Qing Dynasty" is not the most striking among his numerous collections, it is also a model written by sixty-eight scholars in Qing Dynasty who spent twenty years in Wu Hufan. It is called "seventy-two" because there are four champions who have collected two sectors, namely Jin Deying, Pan, Zhang Jianhe. 1959, Wu Hufan donated all 72 top-ranked fans to Suzhou Cultural Management Association, and proposed that the Cultural Management Association continue to collect top-ranked fans in the Qing Dynasty for integration.
The top scholar was the first in China's ancient imperial examination-palace examination, and was an "elite" selected through the imperial examination system. From the third year of Shunzhi in Qing Dynasty (1646) to the thirtieth year of Guangxu (1904), Cixi was seventy years old. So far, she has opened 1 12, and selected 1 14 scholars, with Suzhou accounting for it. During the Ming and Qing dynasties, candidates learned more about poetry, calligraphy and painting. By the Qing Dynasty, they had higher requirements for calligraphy, and they should cultivate a "cabinet style" with a steady style. Some champions were not only good at calligraphy, but also good at painting, and they were the most important figures in calligraphy and painting at that time.
During the Qianlong period of the Qing Dynasty, post-learning flourished. Calligraphers stayed away from the two kings (Wang Xizhi and Wang Xianzhi), copied Tang Xian, returned to Zhao Dong (Zhao Mengfu and Dong Qichang), inherited the tradition and had their own styles. After Ganjia, the school of steles rose, and calligraphers sought to copy Ding Yibei's stele, pioneering and innovating, finding another way, and copying the real grass, which was very prepared. Kang Youwei concluded: "There are four changes in China's calligraphy: Kang Yong is the world, specializing in imitating incense (Dong Qichang); The generation of Qianlong, vying for the son Ang (Zhao Mengfu); Rate more (Ou Yangxun) is more expensive than Jiahe Road; While the northern stele sprouted in Yuxian County, as for today, the stele study is developing vigorously ... "Kangxi was still a director, and Qianlong promoted Zhao Ti, making calligraphy works up and down. For more than 100 years, Dong Qichang and Zhao Mengfu have been the mainstream of calligraphy. Calligraphy is also an important standard in imperial examinations. Wang Shizhen said, "The best calligrapher must be chosen as the best scholar in this dynasty. During the Shunzhi period, Emperor Sai-jo liked Ou Yangxun, while Zou, the champion of Renchen, and Sun Chengen, the champion of the Reform Movement of 1898, were all French and European calligraphers. Since Kangxi, I have enjoyed the book of two kings, but I have not returned. Cai Shengyuan, the top scholar in Ren Xu, and Wang Yi, the top scholar, all studied Huang Tingjing. "
Most of the 72 champion fans are entertainment works given to relatives and friends after becoming the first champion. Most of the calligraphy styles are graceful and upright, which conforms to the changes of the times, that is, "following Europe, Kangdong and Ganzhao", as well as famous scholars in stele study and copying steles. Therefore, the champion model not only shows the cultural accomplishment of the champion himself, but also reflects the aesthetic preference of the emperors and the changes in the mainstream style of calligraphy at that time. The contents of Fan's writing mainly include: 1. Self-written poem. Second, copying ancient poems, such as Wang Wei, Cen Can, Su Shi, Mi Fei, Huang Tingjian and Gan Long. Third, copy ancient Chinese prose, such as Luo Shenfu, Wen Fu, Wen Xin Diao Long, book spectrum and so on. 4. Transcribe inscriptions and inscriptions, such as Confucius Monument, Tomb Monument, Seventeen Postscripts, Chunhua Pavilion Postscripts, etc.
There are three main sources of champion fans: First, the champion himself gave gifts, such as Zhang Jian and Liu Chunlin, the champions of the late Qing Dynasty; The second one is a friend's mystery. Wu Hufan often exchanges his own works or other calligraphy and painting, antiques; Third, the descendants of the No.1 scholar all have hidden fans, but Mo Bao, who is generally cherished by later generations, will not give up unless absolutely necessary. Therefore, Wu Hufan sometimes throws a lot of money and sometimes begs for what he wants. About friends and friends giving away and buying top-ranked fans, Wu Hufan recorded it sporadically in his diary. For example, 1938 1 1 29th, "You can give Wang a title and Lin Hongnian a champion fan. Cao Youqing presented Chen Mian champion Fan Yi. Qian Jingtang gave Huang Siyong a champion fan. Feng Chaoran buys Sun Jianai's biggest fan. Cheng Yuncen is here, and there are two champions, Wang Shizhou and Liang Guozhi, who can take it. " Other donors include Tao and Sun. These champion plates were screened one by one by Wu Hufan, eliminating the false and retaining the true. It is engraved with inscriptions, indicating the name of the champion, title, seals such as "Wu Hu Jia", "Mei Jing Shu Dian" and "Wu Mei Jing Shu Dian Shu Yin", and attached with the catalogue of "There are 24 champions in Suzhou, Jiangsu Province" and the list of champions in Qing Dynasty. Finally, it was handed over to the best writers at that time, such as Liu, Hong Qiusheng, and others, who successively bound it into a book and collected it solemnly.
Fu Yijian (1609- 1665), a native of Liaocheng, Shandong Province, was the top scholar in Shunzhi for three years (1646). He was the first scholar after the implementation of the imperial examination system in Qing Dynasty, and was awarded the title of editing and editing of Hong Wen Academy. The next year, he will try to work with the examiner. He has been editor of Ming History, assistant lecturer of National History Institute, son of Zuo Shu, bachelor lecturer of secretariat institute and university lecturer of secretariat institute. In the 12th year of Shunzhi, he became a teacher of Kangxi. Soon, he was appointed as a university student in the National History Museum and served as a reading officer in the court examination. Shunzhi fifteen years, as the examiner. In the same year, due to long-term participation in maintenance and less insurance, he was appointed as a university student and minister of the Ministry of War in Wuyingdian. He is the author of Poems of Zhen Gu Zhai. Fu Yijian's calligraphy has high attainments, vigorous and powerful fonts, short duration, unrestrained and uninhibited, and still does not lose momentum.
Meng Qian (1742- 1799) was born in Changzhou, Jiangsu (now Suzhou). In forty-five years of Qianlong (1780), he took the provincial examination and went to Beijing to catch the examination the following year. He won the championship repeatedly in the provincial examination and the palace examination, which was the third prize of Xin Chou (the provincial examination, the provincial examination and the palace examination were the first). He was the first "three-yuan" (Xie Yuan, Hui Yuan, No.1 scholar) champion in Qing Dynasty. Gan Long thought it was a happy event in the peaceful and prosperous times, and wrote "three poems": "Dragon and tiger spread songs, and Taihe dawned. With a hundred years of history, China won three yuan in the spring list. The literary movement is strong, and the Qing Dynasty has rites and music. It contains four meanings, nearly a thousand words. Stop asking about the ending of the model and look forward to it. How did Wang Zeng succeed? This is against my will. " Bai Qian's calligraphy advocates Tang He, and his career is vigorous but neat and calm.
Weng Tonghe (1830- 19O4), a native of Changshu, Jiangsu Province, is called Shu Ping, also known as Song Chan, a poor monk. Born into a prominent official family, his father Weng Xincun became a college student and served as a Tongzhi teacher. In the sixth year of Xianfeng (1856), palace examination won the championship in one fell swoop and awarded it to the Hanlin Academy. He has served as a scholar in Shaanxi and Gansu, a bachelor of cabinet, a minister of punishment, a minister of industry, a minister of household affairs, a minister of military aircraft, and a university assistant. He was the teacher of Tongzhi and Emperor Guangxu. He assisted Guangxu in pro-government, advocated political reform, and put forward the view that "non-political reform is not enough to survive" He once recommended Kang Youwei to be of great use and discussed the reform plan with him many times, which won the trust of Emperor Guangxu. He is the author of Poems in a Bottle, Poems in a Bottle and Weng Wengong's Diary. Zou's evaluation of Weng Tonghe's calligraphy in the Postscript of the Old Man's Ink in Songchan is that "Yan and Li Yuan, Zhang and Liang are close, and it is possible to drive the black dragon to the sky." In the end, it is as beautiful as jade, and the pen is as strong as pure iron wrapped in pure cotton. "
Liu Chunlin (1872- 1944) was born in Suning, Zhili. In the 30th year of Guangxu (1904), Chen Jia was the last scholar in China history. In the 29th year of Guangxu, Liu Chunlin won the last prize for his excellent pavilion calligraphy and was appreciated by Empress Dowager Cixi. He copied Yin Wen, the Emperor of Wenchang, and Preface to the Three Tibetan Classics of Datang for Empress Dowager Cixi, and won the first prize the following year. This part is specially designed to celebrate the seventieth birthday of Empress Dowager Cixi. At the same time, the imperial examination will be abolished, so Liu Chunlin claimed to be "the last person in the first group". Liu Chunlin's calligraphy inherited from tang style, with Yu Shinan and Ou Yangxun as the schools. His brushwork is refined and subtle, with regular and steady structure, moist ink and wash, quiet and elegant. Fu Yijian, the first scholar in Qing Dynasty, and Liu Chunlin, the last scholar, played seven-character regular script. The two scholars were separated by two and a half centuries. It is really rare for book fans to belong to one place.
There are also some inheritance relationships between the champions, such as Wu (the champion in Jiaqing seven years) and Wu (the champion in Daoguang twelve years). Weng Tonghe (champion in Xianfeng for six years) and his nephew Weng Zengyuan (champion in Tongzhi for three years). There are grandchildren's champions, such as Patten (champion in the 15th year of Kangxi) and his grandson Peng Qifeng (champion in the 5th year of Yongzheng), Lukentang (champion in the 24th year of Kangxi) and great-great-grandson Lu Runxiang (champion in the 13th year of Tongzhi).
There is also a five-scholar model in the champion model-"Pan, Wu, Zhu Changyi, Lin Hongnian and Niu cooperate to make Luzhai Xingkai", a clay model with 36 lines. The calligraphy of the top five champions is neck and neck, which is unprecedented.
In Qing dynasty, there was a trend of exchanging fans between officials and gentry. When Beijing officials return home to visit relatives, they will ask North Korean nobles or Beijing celebrities to return home with calligraphy and painting fans as gifts. Hanlin fans, especially the top scholar fans, are quite popular. Today, through Suzhou Museum, the "Seventy-two Scholar Fan" is still showing its unique artistic character to the world and promoting it to the world in the form of overseas exhibitions.