“Golden Stone Painting and Calligraphy” in Zhejiang Exhibition, “Announcement Table” carved stone back to his hometown

Surging News Comprehensive Report

The surging news was informed that the “Golden Stone Painting and Calligraphy” series of exhibitions (fifth phase) recently officially launched in the Wulin Pavilion area of ​​Zhejiang Bo. ——The Zhang Tingji Tibetan Monument “and” Zhang Zongxiang and “On the Book of the Books” -Memoning the 140th Anniversary of Mr. Zhang Zongxiang’s Birth “. It is worth mentioning that this exhibition was borrowed from the Capital Museum to Tibetan Qingyi Pavilion Old Tibetan Southern Song Jia to engraved the original stone. This stone has been unearthed since the former site of the Hangzhou Guling Jia’s half -leisure in the Wanli period of the Ming Dynasty.

It is reported that in 2016, the Zhejiang Provincial Museum launched the new version of “Golden Stone Painting and Calligraphy” on the basis of inheriting Mr. Yu Shao Song’s old version of “Golden Stone Painting and Calligraphy”. The new version of “Golden Stone Painting and Calligraphy” adheres to the principles of artisticness, literature and locality of the works. It has successfully held four phases. A total of more than 500 kinds of monuments, famous calligraphy, calligraphy and painting, and literature are displayed. Most of them are the first time with the public Meeting has become a well -known academic and cultural brand in Zhejiang Bo.

浙博展“金石书画”,《宣示表》刻石重返故里

Inscription

Zhang Tingji (1768-1848) was the largest collector after Zhejiang’s Xiang Yuanzhang in Zhejiang, and one of the important Jinshi family in the middle of the Qing Dynasty. The ancient objects of the Zhang’s Qingyi Pavilion have complete categories and a large number of door categories. In this issue, the “Qingyi Rhythmic Rhymes -Zhang Tingji Jianzhi Tibetan Monument” topic, exhibited more than ten species of Zhang Tingji Tibetan Monument, which was collected by the Beijing Palace Museum, Zhejiang Museum, Haiyan County Museum, Haining City Library and other units.

Zhang Tingji’s small statue (partial part of Fisanxu’s “Old Map of the Orchard”) Zhejiang Museum Collection

浙博展“金石书画”,《宣示表》刻石重返故里

Zhang Tingji is happy with “Shi Drum Wen”, Zeng Yun: “In the 50 years since Yu, every time, every time he encountered the old ink, he did not hesitate to damage the food and clothing, so all the” 氐 氐 鱄 鱄 and ‘four -character extension, no less than five or six This is here, and the habit is also here. “The Qingyi Pavilion Old Collection” Shigu Wen “, which was purchased by the Beijing Palace Museum in 2003, the second drum” Yellow “is not Damage is a veritable Ming Tuo Shan. There are all the ten drums in this book. There are Zhang Tingji seals on each drum. After the book, there are Zhao Wei, Liuzhou inscriptions, and Qu Zhongkong’s father and son in Qingyi Pavilion. Zhao Weiba Zhongyun: “Shi Du’s old extension is not too much.

Qingyi Pavilion Old Tibetan Mingtuo “Shigu Wen” volume Beijing Palace Museum Tibetan

According to the organizer’s information, the Jiaxing Museum contains a volume of Zhou’s “Shi Duwen”, which is a donation in 1959 Jiaxing collector Tao Changshan (1879—?). The head of the rolling is just 42 years of Wanli (1614) Zhao Yiguang’s book: “Zhou Xuan Wang Tai Shi Shi Ji Ji Huning Poetry Drum Ten Chapters” twelve characters, there are Song Yichun, Zhang Tingji, Wu Tingkang, Luo Zhenyu, Baoxi, Shao Zhang and other families. Title. The original question was signed as the old Tibetan Takuke of Qingyi Pavilion, but the word “Yellow” has been damaged. The two drums of “Wu Ren” did not match the “ten chapters” of Zhao Yiguang’s leading title. In addition, Zhang Tingji was collected in the textbook. According to Zhang Tingji’s post, it can be known that the former Sheng Ze Wang’s words Yu Lou used to the old collection, and later returned to Zhang Yanchang. In the 19th year of Jiaqing (1814), Yanchangzi Kaifu returned to Qingyi Pavilion. Qu Zhongsun, Liuzhou, three posts, and this volume just happened. During the Republic of China, Shao Zhang had questioned the above -mentioned flaws in Jiabo’s rolling tail post.

In the first trial, the eight drum topics are actually the father and Zigang of Tongcheng Wu Kang and Zigang. There are neither Han Mountain Tibetan chapters, nor a seal of the text of the text, and uncle, and the extension has entered the early Qing Dynasty. After the news, the people had to extend in Jiaxing for the past year. If you want, Mo Qichun is not far away from Ming Tuo, and the three families are complete.

This is a suspension, and today the truth can be great! The Forbidden City was undoubtedly the old Tibetan Tibetan Tibetan, and then returned to Qingyi Pavilion. Zhao Yiguang was cited in the collection of the Jiaxing Museum. Such a method of using flowers to connect with flowers and woods, to increase the postscript of famous artists and dazzling ears. There are many examples in the inscriptions in modern times. Fortunately, when a hundred years later, when you could look forward to the “Yanjin Sword” that Shao Zhangba was expected, the “combination” of the two today was also called a golden stone.

浙博展“金石书画”,《宣示表》刻石重返故里

In the early Qing Dynasty, “Shigu Wen” Volume Zhao Yiguang’s book title 耑 Zhang Tingji Song and Chun Title of the Jiaxing Museum Collection

The Tibetan Tibetan monument exhibited in this issue also has: Book of Tibetan Takamoto, Tibetan Museum of the Palace Museum. This pioneer was the old Tibetan Tibetan of Xiang Shengmo at the end of the Ming Dynasty, and then returned to Zhang Yanchang’s stone drum pavilion, and entered the Tibetan Qingyi Pavilion. At the end of the Qing Dynasty, Liu Xun was also returned. In the front, Zhang Tingji and Pan Boying signed the title, and Liu Ye’s postscript and interpretation later. The word “Sui”, the first line of the middle stone, “辶”.

浙博展“金石书画”,《宣示表》刻石重返故里

In addition, the Palace Museum Tibetan Top three kingdoms of Cao Wei and Huang Chu Cao and the first monument of the four stone books. Among them, “Shaohao Kingdom is” one stone, and early Tuoben was particularly rare. Book of Temple (also known as the “Huayue Song Stele”), which was hidden by the Jiaxing collector Cao Yuehu (Zhong Jing), and extended the book during the Kangxi reign (urged to make up for the evening). All of the ancient monuments that have spread.

Qingyi Pavilion’s old Tibetan law posts are exhibited in this issue include the Forbidden City Song Tuo’s “Seventeen Posts” (Li Rihua, Zhang Tingji, etc.), as well as Song Tuo’s “Mr. Dongfang Portrait Praise” and “Cao’e Bei” The latter was part of the “Song Tuojin and Tang Xiao Kai” during the Republic of China. The original book is included in the eleven types of Jin Tang Xiaokai, eight Song Tuo, and three types of Mingtuo. Among them, “Le Yi Theory”, “Mr. Oriental Portrait”, “Cao’e Bei”, “Announcement Form”, “Bing She Post” The seven types of “Zun Sheng Dharani Sutra” and “Heart Sutra” are the old collection of Qingyi Pavilion. Title, Wu Changzhang, Liu Ye and other family posts, Shinben has a wide range of modern distribution and has a great impact. Today, “Mr. Oriental Portrait” and “Cao’e Bei”, two types of Tibetan Palace Museum, except the eight types of Tibetan Shanghai Library except the “Inner Scenery of the Huang Ting”.

In the Southern Song Dynasty, the “Announcement Form” of the original Stone Capital Museum Collection

浙博展“金石书画”,《宣示表》刻石重返故里

Miscellaneous small categories, including the Golden Stone Miscellaneous Book of Tibetan and Qingyi Pavilion in the Palace Museum, Ma Fuyan (Qi Feng) in the southern DPRK Liang “To Li Liang Hong’s Tomb” (including Ma Fuyan, Zhang Tingji, Zhang Kaifu, Yang Yan and other golden stone Famous artists), Zhejiang Provincial Museum Tibetan Qingyi Pavilion Old Tibetan Western Uncle Zhou Xun’s uncle’s brigade bell full -shaped axis (Daoguang 11th year Zhang Tingji presented Wang Yuanchun), “Ancient Jiange Yi Yi Qi” volume, Chen Guofu’s old Tibetan Tibetan stone sketches nine species Ji Tuo banner (including Zhang Tingji, Ni Daosun, Chen Jing, Liuzhou Title) and so on. Among them, the Palace Museum’s “Golden Stone Miscellaneous Book of Qingyi Pavilion”, a total of six copies, Shen Shuyu old collection, includes more than a hundred types of films such as gold, bamboo carvings, brick tiles, and monuments, and there are dozens of posts and posts of Zhang Tingji, Xu Tongbai, Zhang Kaifu and other hand posts. Open; this museum’s “Gu Jian Pavilion Yi Insight” during the Jiaqing period of the Jiaqing period, the original eight volumes, lack of six or seven volumes, the two volumes of the existing perians, the business instrument, the Qin man, the Three Kingdoms, and the bronze mirror Tuo Benbenben One volume each. There are Shamenghai inscriptions in front, and Zhang Tingji has Zhang Tingji, and the value of academic data is very high.

It is worth mentioning that the stone carvings collected by Qingyi Pavilion in that year were not a small number, and the Southern Song Dynasty was the most famous. This Shiming Wanli was unearthed in the old site of the Half Half Hall of the Galing Jia family in Hangzhou. In the early years of Jiaqing, Zhao Wei was available to Zhang Tingji in the 23rd year of Jiaqing (1818). The two family enlightened, today Tibetan Capital Museum. In this exhibition, the exhibition was exhibited to the Capital Museum of the Capital Museum of the Qingyi Pavilion.

calligraphy

Mr. Zhang Zongxiang (1882-1965)

Mr. Zhang Zongxiang (1882-1965 )’s “On the Judging Sentence” was written between 1934 and 1943, and the manuscript was now in the Zhejiang Library. The recorded is all seven -character quatrains, all 104 heads, notes after poetry, commentators on the book, very personality, as the poem made in the end of the end of the article: “spread the art garden to help, and it becomes a family saying “Not bothering” is undoubtedly an important literature in the history of modern calligraphy aesthetics.

Zhang Zongxiang’s “On the Book of Books” The manuscript of Zhejiang Library Collection

In 1995, Zhejiang People’s Fine Arts Publishing House was published in the name “Zhang Zongxiang’s Book Poetry”. The United States and China were not enough. Next year coincides with the 140th anniversary of Mr. Zhang Zongxiang’s birthday, we specially selected more than 50 works involved in “On the Judging Sentence” from various museum collections in Zhejiang Province. Appreciation and understanding of poetry content will be greatly beneficial.

Zhang Zongxiang’s book theory is that the preciousness is that he can often express his chest and read it. Taking his “On the Judging Sentence of Books”, the review of Dong Qichang in the Qing Dynasty as an example. He believed that although Eason Chan’s brushsticks were inherited from the biography of Dong’s family, “the charm is not very far away.” “Furnace tobacco”; Chasheng did not participate in the rice method, so it was far away, and he was inadequate. “The book of Zen Books is the Taoist”, and the dust is sharp, and the words can be described as a word.

Of course, there are also a few more appreciated. For example, in the early Qing Dynasty, it was not by Xi Dong’s style, and Zhang Zhao, who was independent: “Heaven and earth, the first man, the world is the first, and the heavenly heaven is natural. The most difficult to be the world’s thoughts, and the Wang family is fiercely whip”; Fu Shan cursive ” The pen is like a rainbow like a rainbow, and Ji Jian is a heroic “; Zhang Ruizu’s cursive book” Side fronts and rigid wrists are strange, narrow alley soldiers return to kill each other “; , Lament that “the name of the painting is far from the book name, ignores Junshu is not public”; and respects Yao’s calligraphy “like the heart of Tianxin, not being eager to be affected by the world” Essence

One of the major features of Zhang Zongxiang’s argument is that he attaches great importance to the poor source. “Since ancient times, book writers do not know this meaning.” (“On the Book of Books · Bao Shichen”), book writers have often taboo deeply about their own strokes and do not teach people. Zhang Zongxiang believes that if the writer cannot know the source, it is difficult to make appropriate comments. For example, Yan Zhenqing, a calligraphy of Zhao Zhiqian, was the most powerful in “Struggle for the Seating”. Judging from the couplets at the age of 21, the face of the face was clear at a glance. Another example is He Shaoji’s calligraphy “Black Women’s Gong and Beihai Gong, but he will support his face.” He believes that this old calligraphy has won Li Beihai’s incense. In the late Qing Dynasty Zhang Yuzhao’s calligraphy, all the world learned “Zhang Raptors”, and they only thought that not only “the structure is different, but how can it be itchy with a pen?” How can you do it? ” In addition, the origin of Gui Yan’s Lishu is from the “Xiyue Huashan Temple Monument”, and Bao Shichen’s grass brushwork is realized from the enlightenment of the “Prince of the Immortals”, etc., all of which have been interpreted and wonderful.

Some local famous masters included in “On the Judging Sentence” often have no collections, so historical value is extremely high. For example, Chen Zi (1683-1759) during the Yonglian period, the scholar Chen Zi (1683-1759). Chen Zi Zeng Museum Zhang Zongxiang Tenth Ancestor Beihu Gonggong for several years, so the Zhang family has preserved his works. Most of the “On the Books”, one poem, or the style of the book is similar to a few discussions and a poem. The only thing about Chen Zi is as much as Chen Zi. This volume contains the volume of Chen Zi Qianlong’s fifteenth year (1750) cursive “Shi Shi Shijiaqiao”. In front of the Takano Hou Ti, the tail was in 1955 Zhang Zongxiang’s post. See.

There are also some scholars, such as Shen Zengzhi, and Zhang Zongxiang in his later years, and Zhang Zongxiang has many contacts. Zhang Zongxiang believes that Shen Zengzheng’s calligraphy “has a powerful life” and “use the small Oliki, and the grass is outside, so the shape is narrow and the pen is more soft and less.” “Tao Song” Volume.

浙博展“金石书画”,《宣示表》刻石重返故里

Shen Zengzhangzhang Cao’s “Master Yongjia True Master” Volumes of Zhejiang Museum Collection

As the “Confucian Confucianism” in the late Qing Dynasty and the early Republic of China, Shen Zengzhi also had a special study on Buddhism. He once said that and the Dharma as Zen as the foundation, and the proven song of the monk Yongjia Zhenjue of the Tang Dynasty was “a wonderful medicine for saving the world.” During his lifetime, the song was eight large, and he commissioned the owner of the Zhengshu Bureau to make a photo circulation. In 1927, his son Shen Cihu used this instruction to Di Pingzi’s post. According to Di’s postscript, when the bookstore was enlarged, the stone seal was the screen width, which was also the old man’s wish.

In the old literati scholars, in addition to writing couplets, fan surfaces, screen strips, plaques and other books, writing inscriptions, lines, epitaphs and other entertainment articles is often an important source of revenue. The exhibited Liang Tongshu “The Three Temples of the Liuyi Spring of the West Lake”, Chen Hongshou’s “Mrs. Charous Fang”, and Weng Fanggang’s “Ding Zhaolong’s Episode”, which belongs to such genres.

Liuyiquan is located on the southern foot of the West Lake, and is named for commemorating Ouyang Xiu (Jiuyi Jushi). There are three ancestral temples of righteousness, ancestors, and relics next to the spring, dedicated to the famous gods. In the fifty -four years of Qianlong (1789), Zhu Xi, then Zhejiang, presided over the cultivation monument and wrote a monument. This volume of ink was hidden by Baoxi. In 1922, the Hangzhou people Jinliang, Ding Fuzhi, Wu Yin, Chen Hans, Shao Zhang, Yang Jin, Ye Ming, Wang Yan, etc., raised 300 Gold, buying back to Xiling Yinshe, there are treasures and Wang Fuzhang postscripts after the book, which is a precious cultural relic about the history of Xiling Yinshe.

In the early Qing Dynasty, “Shigu Wen” Volume Zhao Yiguang’s book title 耑 Zhang Tingji Song and Chun Title of the Jiaxing Museum Collection

浙博展“金石书画”,《宣示表》刻石重返故里

Shen Zengzhangzhang Cao’s “Master Yongjia True Master” Volumes of Zhejiang Museum Collection

Shen Zengzhangzhang Cao’s “Master Yongjia True Master” Volumes of Zhejiang Museum Collection

Shen Zengzhangzhang Cao’s “Master Yongjia True Master” Volumes of Zhejiang Museum Collection

Shen Zengzhangzhang Cao’s “Master Yongjia True Master” Volumes of Zhejiang Museum Collection

Charian Fang’s epitaph, the full name “Emperor Qingqing’s Mrs. Sun Jun’s Mrs. Sun Jun’s Episode”, written by Guo Yan, Chen Hongshou Shu Dan, the old collection of Yunlou, and then returned to Duanfang. This volume of words Han is beautiful, and later contained Tuo Ben and Guo and Chen Er’s handwriting, which is also exquisite and joyful. Zhiwen calligraphy, Kai Zhong brought it, the wind was handsome, and it was quite “brush of the epitaphs of Qi Liangjian” (Wu Guangyi).

浙博展“金石书画”,《宣示表》刻石重返故里

The above two types of “Ding Zhaolong’s epitaph” volume of “Ding Zhaolong’s Episode” by Weng Fanggang, and the “Ding Zhaolong’s Episodes” was published during the period of the Republic of China, but it was difficult to find for a long time. The first time the department was exhibited, it was very rare.

painting

As one of the “Four Spirits” auspiciousness, Long has a special status in Chinese traditional culture. The origin of this theme of painting is speculated that it is related to early Taoist ideas. During the exhibition of the painters of the painter Zhou Yan and his son Zhou Liang during the Kangxi reign of the Qing Dynasty. Zhou’s door painted ink, mostly baked in ink, rough with a pen, steaming clouds, looming, and extraordinary spirit. Zhou’s father and son are also good at drawing characters, such as Zhou Yan’s “Xiangma Map”, “Guanyin Portrait”, and Zhou Liang’s “Qiao Song Shen Jun Tu”, all of which are very hardworking. In the history of Chinese painting, the phenomenon of the father’s career like this is very common. Prior to the introduction of the Education of the Western Academy of Fine Arts, learning painting was mainly through the way of teachers and apprentices. Of course, if the descendants cannot be benefited from many divisions, they will often become a big cricket for their own artistic innovation and progress. During this time, the profit and disadvantages are worthy of reference and reflection.

In the early Qing Dynasty, Zhou Yan Molong Pictures axis Zhejiang Provincial Museum Collection

Fuyang Dong Bangda (1696-1769), Dong Yan (1740-1818) father and son, successively caught the three dynasties of Yongzheng, Qianlong, and Jiaqing, and the reputation of the honor. “The reputation. There are more than ten pieces of calligraphy and painting works in the Zhejiang Museum collected by Dong Bangda and Dong Yan’s father and son.

“Three Friends” was painted by Dong Bangda for the father of the Qianlong period of Jiashan Fengjing (now Shanghai Jinshan), Cai Weitai, the father of Tsai Yitai. Cai Yitai (1722-?) And Ji Xiaolan and other teachers from Dong Bangda, so they had the friendship between teachers and students. Three friends are also common themes in traditional painting and decoration. Generally, they are combined with the three friends (pine, bamboo, and plum), but they often refer to different. Sanyouzhai is the ancestral house of Cai’s family. There are many famous poems and postscripts in this book. Among them, such as the ink of the famous poet Hu Tianyou (1696-1758), known for its weird personality and the rising poetry style, is extremely rare.

In the Qing Dynasty scholars’ painting topics, Mao Qiling’s “Grass Beach Picture” axis, Chen Yanmo Biwaterfront fan shaft, Zhang Wen Tao Baiyan graphic axis, Li Ciming set up color landscape fan and other scholars. Among them, the ink daffodil group fan of Chen Yan (1810-1882), a well -known scholar in Lingnan Lingnan, was presented to Shen Zengzhi when his disciple Liang Dingfen returned to Shanghai in 1914 and mounted with Liang’s Xinzha. There was a poem chanting, and the “Hai Ritilian Poetry Collection” volume six. Below the format, there was another long posture of Shenmen’s disciple Wang Yanchang in 1959. In this section of Wenyuan, the narrative was very detailed.

The fourth issue of “Golden Stone Painting and Calligraphy” has a topic of painting in Jinshi family, and more than ten types of paintings have been included since the Qing Dynasty. Today, Zhejiang -based gold and stone masters, such as Haiyan Zhang Yanchang (1738-1814), Pinghu Zhu Weizhen (1771-1840), Changxing Zhangdu (1830-1904), Shimen Li Jiafu (1839-1904), Shangyu Luo Zhenyu (1866-1940) and other paintings. Among them, Luo Zhenyu’s paintings are the most rare. The Shenzhen Museum of the Shenzhen Museum Luo Zhenyatong Shoushou, the business inheritance of the old collection. This picture was written in 1924. There are second posts of the old man in Zhensong. Liaodong Luli Hall, there is a quatrack, which shows the meaning of the broom.

Painting monks first appeared in the Sui and Tang dynasties. For more than a thousand years, many famous monks painters have emerged in the history of Chinese painting, such as the Song Dynasty Guanxiu, Giant Ran, Fa Chang, and the famous four monks (Hongren, Shi Shi, Creek, Zhu Xi, Shi Tao). Jingci Temple, located under Huiri Peak, Hangzhou Nanping Mountain, was built in the five generations of Wuyue State. It was one of the four ancient temples of the West Lake. Middle (1717-1767), Liuzhou (1791-1858) during Daoguang years, and modern painting monks Xuezhou (after 1846-1899), all came from Jingci. In addition, this issue also exhibited the axis of the “Xiamu Dynamic” (Huang Binhong Old Collection) of the Museum of Zhejiang Province (Huang Binhong’s Old Collection), and the Monk Monk (1611-1670) in the early Qing Dynasty in the early Qing Dynasty. Each landscape album. The above -mentioned monks paintings are well -fame, but Jian Yuan’s extraordinary Zen style, inherited from the same vein, can be described as a wonderful work in traditional literati paintings.

浙博展“金石书画”,《宣示表》刻石重返故里

Fingering, also known as ink painting and finger painting, is a special form of painting with fingers instead of writing brushes in Chinese painting. When painting the painter, use your finger, nails to dip ink or paint, draw on paper silk, or wipe with your palms, showing many artistic characteristics that are different from strokes. Refers to the history of ink paintings for a long time. According to legend, it originated in the Tang Dynasty. During the Kangxi reign of the Qing Dynasty, Gao Qipei (1660-1734) was known for his fingers. Essence Since Gao’s, there are many people who are good at painting with their fingers. During the Qianlong period, Zhejiang also formed a more influential Jinhua finger ink painting school. Representatives include Du Ao, Jiang Yan, Wang Bei, Ni Yan, etc. Jiang Yan has been teaching in Ninghai for many years. Pan Tianshou has touched Jiang Yan’s pointed painting at an early age and was deeply inspired. In the history of Chinese painting, pointed out that ink paintings have not been in the mainstream, Qian Yong’s “Following Painting Painting” has been reprimanded as “begging”. Mr. Pan Tianshou combines his fingers and literati paintings. With his superb technique, Shen Xiong’s rising and magnificent style, he has raised his finger ink painting to a brand new aesthetic realm. It is worthy of the most outstanding representative of the twentieth century.

Since the exhibition of the Qing Dynasty, six types of paintings are referred to as paintings: Gao Qi’s miscellaneous painting album (with the second year of Yongzheng Gao’s self -post), Jiang Yan landscape middle hall, Wang Bei flower brocade axis, Jiang Wenzhang Xuejing landscape axis, Weng Tong and Lin Gaoqiqi Pei refers to painting landscape fan, as well as modern Pan Tianshou refers to ink frog stone maps, etc., among which there are huge macro systems. This is also a more striking feature of the handyes of painting works.

Pan Tianshou refers to the Matshachaba Zhejiang Museum Collection

Long Yusheng (1903-1966) and Xia Chengzhang and Tang Guizhen were also known as the Twenty -century Ci Xue. In the early years, they were in the late Qing Dynasty giant Zhu Zulou (Qiangcun). In 1931, the elderly of the strong village died. The Long family instructed the famous nouns and painter Xia Jingguan to paint into the “Shangqiang Village Teaching Map” volume, leaving a commemoration. The following year, Wu Hufan was invited to be invited to the Volume of “The Map of the Lumin”, and there were successful paintings of Tang Dingzhi, Xu Beihong, Fang Junxuan, and Jiang Hui, which was a good story. This summer, the two volumes made by Wu Hufan, all of which were hidden in the Zhejiang Provincial Museum. At that time, the tail -tails were chanting.

The traditional Chinese figure paintings in the twentieth century have outstanding achievements. This time there are two types of Haiyan County Museum collected Guan Liang opera figure, Sun Wukong, Zhejiang Museum, Qi Baishi Zhuge Liang Liang Templar (Xia Yan Old Tibetan), Huang Binhong’s figure painting, etc. The portrait portrait has its own characteristics. Huang Binhong’s figure paintings are the most rare. The two character paintings of Zhejiang Bo are signed by the original title “Huang Binhong Labor People’s Painting”, which has obvious characteristics of the times and should be created in the early 1950s.

literature

In this issue of the “Hong Hong Cao Tan Friendship Books”, there are more than ten letters of Chen Shutong, Yu Shaolong, and Shang Chengzhang.

Chen Shutong (1876-1966) met Huang Binhong in his early years, and later became Mo Ni Zhi. Chen’s family studies have profound origin. His father, Chen Hao (Lanzhou) and his brother Chen Hanyi (Fu Lu), are all well -known modern painters and collectors. I am also rich in collection, refined appreciation. I have three hundred real paintings since the Yuan Dynasty. In the letter of Chen Shuhong, a letter from the Zhejiang Bo Dynasty, many of them involved Huang Binhong with the provision of collection information to the former and the transfer of personal collection of personal collection.

浙博展“金石书画”,《宣示表》刻石重返故里

Chen Shutong caused Huang Binhong Xinzha Zhejiang Museum Collection

浙博展“金石书画”,《宣示表》刻石重返故里

In order to thank Chen Shutong’s knowledge, at the end of the year, Huang Binhong would benefit his personal calligraphy and painting works, which gradually became conventional. Huang Binhong gave birth to the ninety birthday. In the letter, Chen Shutong gave poetry to celebrate, and there was a sentence “I don’t forget to send it away in the year, and a bamboo motion to chant”, which means this.

Some of the anecdotes involved in the letter involved in the letter are also enough to talk about it. For example, in 1953, the Central Academy of Fine Arts planned to set up the Chinese Painting Institute. At that time, she considers Huang Binhong as the director. “Huang Binhong failed to go north again, which may be one of the important reasons.

The exhibited Yu Shaolong (1882-1949) caused Huang Binhong to have five letters. In 1934, Yu was invited to be the editor -in -chief of Hangzhou’s “Southeast Daily” special supplement “Golden Stone Painting and Calligraphy.” The collection published in “Golden Stone Painting and Calligraphy” is mainly from private collection. Among them, the ancient calligraphy and painting provided by the Tiandu Huang’s Honghong Cottage includes Xia Xun’s “Bamboo and Stone Map”, Dong Qichang’s “Lu Hongsong Mountain Cottage Picture”, and the eight major mountain people “Bamboo Stone Egnoh Map “Axis, etc., a total of twenty -three pieces, are one of the collectors who publish more works.

In Yu Shao Song to Huang Binhong’s letter, there is content involving the latter to provide collections to “Golden Stone Painting and Calligraphy”. The axis of Gu Yuan’s “Lin Gu Qingyou” displayed in this painting part is the old Tibetan Tibetan of Huang Binhong. The first edition of the 36th issue of “Golden Stone Painting and Calligraphy” published in September of the Republic of China was published in September of the Republic of China.

Shang Chengzheng (1902-1991) caused Huang Binhong Xinzha. For three links, the content was mainly related to the entry of the entry of Wang Yangming, a king of Wang Yangming, the “Horse to the DPRK” of Wang Yangming. This volume of the Guangdong Provincial Museum in the Tibetan, with Zhang Daqian painted Wang Yangming statue, as well as Huang Binhong, Chen Banghuai, Xun Chengyu, Pan Boying, Xie Zhiliu, Ye Gongbao’s inscriptions, of which Huang Binhong wrote in 1952. At the age of eighty -nine, the content of Xinzha has a historical reference value for understanding the source of the cultural relics.

The fifth phase of the exhibition continues to serialize the next part of the topic of the Zhejiang Provincial Museum. In November 1954, from 1945 to Huang Binhong’s death, there were several communication between November 1954, and in March 1955, that is, before and after Huang Binhong’s death, Mrs. Fu Lei Zhi Huang Song Ruo Ying’s comfort letter 2 Tong, some of them are written in pen. Compared with the letters included in the previous article, the length is significantly reduced. Generally, it is mostly short and simple, and the content is mostly handled by the miscellaneous people. Chen Shu’s correspondence letter was partially referred to.

Fu Lei Zhi Huang Binhong Xinzha Zhejiang Museum Collection

浙博展“金石书画”,《宣示表》刻石重返故里

Compared with Fu Lei, Chen Shutong may be difficult to call Huang Binhong’s real insight. The content of the following two communications is quite worthy of flavor:

My brother has Chen said, that is, Gong Banqian is deep, and there seems to be a handwriting to find it. Is it blurred? Whenever the factory is in the factory, the old work is clear, and the qi is clear, and the product is also. Semi -thousand, Shi Tao also has a fine pen. The front is given a small book of Yangshuo, and the straight range is different from the recent work. Why does the public change?

浙博展“金石书画”,《宣示表》刻石重返故里

The younger brother has been idle recently, and Xiao Zhai also sets up to disseminate. The single paragraph is 92 years old. If you want to paint, you can imitate the river, or like a plum sparse forest. Paper.

浙博展“金石书画”,《宣示表》刻石重返故里

It can be seen that what Chen Shutong is really interested in is still the “Yipin” work of the traditional Xin’an Painting School all the way. For the old age of the old age, he likes to use the ink, which is quite confused and puzzled. This is with Fu Lei’s appreciation Taste and art vision are far away.

In addition, this document section also includes two types of modern and wise albums: Zhang Zongxiang’s old Tibetan forestry, and Gu Hongming presented Shen Zengzhui’s record of Su Shi “Han Yu theory” volume, all of which have high literature collection value.

Gu Hongming festival records of Su Shi “Han Yu Theory” (Gift Shen Zengzhi) Zhejiang Museum Collection

Lin Zexu (1785-1850 )’s book book was written in Daoguang Twenty -two years (1842). Judging from the content of the family letter, there is concerns about state affairs, and the mood of “returning to the period” of individuals, and there is no lack of children’s affection, from the comfort of the family. If the letter is advised to wear old flowers glasses: “If you want to fuck as often, you must not use glasses. You must find a good look and the Chinese flower. “Also”, deep affection, overflowing on paper. Zhang Zongxiang’s “On the Book of Books” has Yonglin Xu, one of which, “Several families in the Western Regions of the Family Books, and the Mrs. Old Eyes are the most caring”, that is, the content of the family hides this volume and feels it.

Gu Hongming (1857-1928) and Shen Zengzhi (1850-1922) are also firm defenders of modern Chinese traditional Confucianism, and important representatives of cultural conservative ideas. In the early years of the two, they met Zhang Zhidong the shogunate. After the Revolution of 1911, they lived their own self -reliance. After Shen Zengzhi’s death, Gu Hongming wrote the article “The Struggle of Mr. Shen Zipei”, which says that Confucianists have the so -called “gentleman Confucianism” and “villain Confucianism”. Learning personality can be described as reserved. The content of this volume is part of the text in Su Shi’s “Han Yu”. Han Yu’s good Confucianism is known in the world, but Su Shi criticized Han Yu in the text. “The illness of the sage”, “Zeng Zengzhi, who is a friend Shen Zengzhi, must have the latter.

Further reading:

Fu Lei Zhi Huang Binhong Xinzha Zhejiang Museum Collection

浙博展“金石书画”,《宣示表》刻石重返故里

Gu Hongming festival records of Su Shi “Han Yu Theory” (Gift Shen Zengzhi) Zhejiang Museum Collection

Gu Hongming festival records of Su Shi “Han Yu Theory” (Gift Shen Zengzhi) Zhejiang Museum Collection

“Announcement Table” carved stone and Zhang Tingji

浙博展“金石书画”,《宣示表》刻石重返故里

Text/Fan Jingzhong

浙博展“金石书画”,《宣示表》刻石重返故里

Jia Sidao carved “Jade Pillow Lanting”, “Jade Edition Thirteen Walks” and “Announcement Form”. The world is known as Jia’s three moments. The rough stones of these three posts were probably unearthed in the old site of Jiaxian Hali Hall in Hangzhou Guling during the Ming and Qing Dynasties. “Yuli Lanting Pavilion” was first in Chen Pan Sheng’s house. Kangxi Renzi (1672) autumn was obtained by Xiao Changyuan, Central Fujian, and then entered Hangzhou Wangyuting and Xiushui Qianwen. Intersection “The Thirteen Rows of Jade Edition” returned to Taihe Ling Lu Menghe, followed by the Yantong Bridge Ye family and Wang family, and then bought it for Weng Songnian for three hundred gold. The Tibetan Capital Museum is one of the treasures.

The original stone (front) Capital Museum Collection

The “Announcement Table” is the book of Wei Zhongzheng, eighteen lines of Xiao Kai. The “On the Book of the Book” of Nan Qi: Wang Dao’s “Shi Zhong (繇), Wei (瓘), so on. At the right army, the right army borrowed Wang Jingren and died of honor. The descendants of later generations are Wang Xizhi, carved by Jia’s, that is, this is based on this. After Shi was unearthed in Guling, he first entered the hands of the monk of the temple. Jinnong had a post of postscript.

Right Wei Zhongfu’s “Announcement Post”, the old is Xuan and the inner government. Get it. Jia Xiang was quite self -contained, and he used his surname to mark and “Yue Sheng” Hu Lu printed. Wang Jun, Wang Jun, a friend, searched for the text of the golden stone. If my friends have seen this thing, they must be the one to the pearl, and the golden ten cakes laugh. In ancient Hangzhou Jinnong, Wu Jun Li Shifang carved.

This post is worth noting. One is Wang Zuner, and people do not know. Zhang Tingji thinks that Wang Keting is really wrong. The quail is the name, and it is also asking for it. A collector in Tongxiang also has amazing things. Today, the “Five Cow Maps”, which is regarded as the national treasure, was at home. He is also the owner of Jin Dongxin. This point seems to have not received attention. I have mentioned in the lecture that as long as you read the Book of Jinnongxing’s Book of Golden Nongxing, which reads the “Love Ri Yinlu Calligraphy and Calligraphy Renewal”, you can summarize it. In addition, the Qianlong Tonghua Book published Mr. He Yimen’s school book “Solding Studies”. After each volume of the first volume, there was the seven words “post -school Wang Tingjian school”; the post -printing book was changed to “post -school Wang Yan school journal”, but Tonghua Book is used. Qianlong Jiawu (1774) Wang Yan once served as a county magistrate in Qiongshan, or a junior in Tingjian. The other point is that Wang aid quail not only collects the “Announcement Form”, but also “Yuli Lan Pavilion”. The predecessors learned that this stone entered the Tibetan Wangyuting Pavilion, and I did not know that it was at his house as early as his house. Also: La Shi, who is in the stone, is a well -known engraved worker in Wujun. In the thirty -four years of Kangxi (1695), in February, “Ming Youdu Royal Chen Zhe Temple Monument”, 59 years ( 170) Spring “Gu’s Rebuer Rebuilding”, especially the Bi Yan Caotang “笠 笠 一 一”, which is known as Ban Shi, enjoys Gao Ming. This paddone is engraved during the Yongzheng period.

In the Southern Song Dynasty, the original stone (back) of the “Announcement Form” of the “Announcement Form) Jinnong Zhang Tingji Capital Museum Collection

When Jin Nong wrote a post, the stone was still in the temple. He just held a hope and wanted to persuade his friend Wang Jun to change the stone with gold. As a result, he really wished. Zhang Tingji made up for the matter: Wang returned with half -hectares of the lake field, which can be described as a good job. Shi returned to the Wang family, and the treasure time seemed to be not too long. According to the “Jiaxing Mansion”, the Wang family was Rao, but to Wang Mengzheng (1721-1770), it has gradually declined. Therefore, it has been transferred after or after generation. The new owner is the famous librarian Jin Deyu.

浙博展“金石书画”,《宣示表》刻石重返故里

Jin Deyu (1,70-180) The Nian of the Crane, No. Yunzhuang, has the Tonghua Pavilion, is another nephew of Jindan, another collector. Qianlong Gengzi (1780) south tour, to present books such as Song Ban “Book of Rites”, and appreciate the satin. Huang Yilie tasted his 33 volumes of “New Eagle and the Warring States Policy”, three volumes of “Meng Haoran’s Poetry Collection”, a volume of “Tang Qiu Poetry Collection”, and a volume of “Li Sao Collection”. After Jin’s announcement of the “Announcement Table”, it was Zhu Fangyi’s first, and then Zhao Huaiyu, all of which were inscribed.

Zhu Fangyi (1721-176) The character Ji Ren, No. Chunqiao, Tongxiang people, is the grandson of Zhu Yizun, Shen Deqian’s high -footed, sophisticated paintings, poetry is famous, Shen Hongping’s “Spring Yulou Collection” has There are four clauses, and Jin Deyu once published a volume of “Spring Bridge Cottage Poem”, and a volume of “Painting Mei Title”. Zhu Fangyi made a post in the “Announcement Table”. In his early fifty, because he was Jin Deyu’s uncle, he was an elderly in Chunqiao. He instructed his nephew: “Do not make the customs work day and night, and there is a wonderful trace.”

Zhao Huaiyu (1747 to 1823) The character of 100. Eight Sun, Number Xinsin, is a poet with Sun Xingyan, Hong Liangji, and Huang Jingren. Volumes of the two volumes, “Lefu”, and five volumes of “Words” are mostly in the volume, so they are mostly related to Qianjia culture and art. The deeds of life are also more related to Jinshi. Taste the good workers to engraved the thirteen lines of jade boards. Zhao Benwu entered the person. In the fifty -one year of Qianlong (1786), he met in Tongxiang and met Fang Xun. In the fifty -four years, he made a post for the “Announcement Table”, saying that Jin Deyu was less power, and his tone was more serious. Later, the death of Jin De public, the epitaph came out of Zhao.

浙博展“金石书画”,《宣示表》刻石重返故里

Jiake’s “Announcement Table” Kang Qiantuo’s this handed down is rare. It seems that Jin Deyu did adhere to Nai’s teaching. He was carefully elaborate for his own, and he chose Song Jian, ink, and the cicada was extremely warm. cute. This Song Paper Tuo was later obtained by Zhang Tingji. Zhang was unhappy and made a number of postscripts. One said: Li Jinlan brought this pioneer to Tongzhou. He was so panicked that he was afraid to lose. Below, hurry up and write postscript. Another post, knowing that this stone old Tong Tong Township Jinyunzhuang is more than the part, I want to Zhenzhen, and I am really embarrassed. Even Tuo Benbao loves to take care of his head, and he often hovers in dreams.

浙博展“金石书画”,《宣示表》刻石重返故里

But it is really a coincidence. Zhang Tingji’s old friend Zhao Wei (1746-182) Ai Jinshi is better than love painting, learned about ancient, and the inspection monument is extremely fine. “Extraction” is delayed. When Jin Deyu saw that he collected the Northern Song Dynasty paintings, he couldn’t bear it, promised to replace it with the “Announcement Table”. Therefore, the moment Shi entered Zhao Wei’s bamboo cricket. Zhao Weiba said: In the fifty -one year of Qianlong. This is another turn of the “Announcement Table” carved stone.

Zhang Tingji Jiaqing Ding Chou (1817) got Song Paoto of Jin Deyu. Because of his dream, he asked Zhao Wei to ask his whereabouts. Zhao Wei is probably nervous at hand. Although the ten volumes of the “Golden Stone Record” of the Song and Song dynasties, he has to rely on hand -copied secretary and change the rice to support his family. Therefore, it is bold and agreed, the windy rain -carrying stone is sent to Zhangzhai. It was Wu Yin (1818) on the 29th of the first month. The original stone hid in Zhao Wei’s house for about twenty years.

浙博展“金石书画”,《宣示表》刻石重返故里

After Zhang Tingji won the stone, he always cherished Zhao Yan, and he still said in his post three years later:

Yu Xian won the pioneer, followed by the original stone, the ancient ink had a fate, and the ruler was full of treasure! Big relics have been lost today. Fortunately, there are many good traces of Song Tuo in the Tianzhi Cave of Wujin Shidong, and it is a few exhibitions.

Song Ke’s “Announcement Table” has two extremely high reputation, one is carved by Cao Zhibao Jinzhai, and the other is the Jia family. To. In less than three months of Zhang Tingji’s obtaining rough stones, Bi Wu took the survey of Baojinzhai’s Baojin Zhai. His conclusion was:

My family has Bao Jinzhai’s “Announcement Post”, which is the ancestor of the ancestors.

After a few years, in December (1823) in December, Zhang Tingji also revealed Baojinzhai, the ancestor’s old Tibetan (now the National Library of the Tibetan, in the “Nine kinds of Jin Tang Xiaokai,” Inner), I watched with Jia, and reappeared again:

My family hides the stone of the original engraving of Jia Shi Xian’s family. However, this book is also very different.

Song Tuo’s “Announcement Table” (one of the three types of Zhen Jun’s “Ten Shi Zhai Secrets of Song Tuo”) The Palace Museum Tibetan

浙博展“金石书画”,《宣示表》刻石重返故里

A copy of the Beijing Palace Museum, Xiaoyan signed the title: “The Southern Song Jiashi Shitang declaration form” was set as Song Tuo. Zhen Jun Post Yun: “Jia Sidao’s” Announcement Table “, Zhang Shuwei” Qingyi Pavilion Title Post “contains it,” Blowing Network Records “is particularly detailed. , Later, there was no. “Investigating” Blowing the Network “, no one contained, checked” Gull’s Fishing Talk “, did not see it, and misunderstood.

Zhang Tingji’s small statue (partial part of Fisanxu’s “Old Map of the Orchard”) Zhejiang Museum Collection

Zhang Tingji (1768 to 1848) Uncle Wei, No. Zhutian, Jiaxing, is a well -known golden stone person in Jiadao years. “The Biography of the Qing Dynasty” said: “With the self -entertainment of the library, from the Shang and Zhou dynasties, the belongings of the golden stone calligraphy and painting are all collected, and the Qingyi Pavilion is collected.” He once wrote “The Ji of the Qingyi Pavilion”: “Ding Yi Zunyu, Ge Jian Qian Fan, is mixed.” And the “Announcement Table” is particularly beautiful. In the “Title of Qingyi Pavilion”, Zhang Tingji recorded various questions in detail with nearly six pages, and praised and admired. In the last post, there is a summary, because it is recorded below:

Wang Youjun Lin Zhongfu’s “Announcement Table” ink. At the end of the Southern Song Dynasty, he was in Jia Shixian’s family. In the West Lake Monk Temple, the Tongxiang Wang Keting (pressed: should be Wang Tingjian) Sicheng purchased it at a heavy price. After the number, he returned to Jinyunzhuang Bibu. Renhe’s old friend Zhao Jinzhai and Wei, accumulating the scrolls of the Northern Song Dynasty, and the drama of gold, then make it easy. In September of Jiaqing Ding Ugly, Yu Xian got the Song paper of the Jin family, with Zhu Chunqiao and Zhao Weixin. Wu Yin is the first month, and this stone actually belongs to Yu. Meili Li Jinlan’s scriptures: “In the past, the father of Jingtang Gongbang, Tonghua Pavilion, had seen it in the past, and now it has been seen for more than forty years.” Attached to it, the ancient Lishi will be more proved by Mrs. Guard’s lady?

Xu Zhenmu (1622 -1671) in the postscript, nigns of Bai Yushan, Jiaxing people, engraving, calligraphy, and poetry work. His sister Xu Fan tried “Fragrant Linelore”, from Mrs. Wei to Liu Rulai, there were eight families, and there were Shen Hong Pingbao, which was the famous Yutai name Han. Today, I also know that Xu Zhenmu’s descendants Yu Qing is also good at books, and adds a good story. But I do n’t know if there are fate? Fortunately, Zhang Tingji’s treasure “Yixi Form” is still intact, so that we have the opportunity to gratify our eyes.

Exhibition poster

浙博展“金石书画”,《宣示表》刻石重返故里

Exhibition name: “” Golden Stone Painting and Painting “series exhibition (fifth issue)”

Exhibition time: October 29th -November 28th

Exhibition location: Calligraphy and Calligraphy Hall on the third floor of the Wulin Pavilion District, Zhejiang Provincial Museum

(This article is based on the Zhejiang Provincial Museum)

浙博展“金石书画”,《宣示表》刻石重返故里

Editor in charge: Chen Ruoqian

Author: ArticleManager