Chapter 552 Shen Zhou
"I wonder if in a few years, the sticks will say that they invented celadon..." Zhou Zhi picked his chin and thought a little too far.
“Can such a thing happen?” Jiang Tianxi, the head of the history department, was dumbfounded: “How could they be so shameless?”
“Well, there is a saying over there that Sui Yang Emperor Taizong of the Tang Dynasty's Eastern Expedition to Goryeo ended in a shameful failure. All of Tang Taizong's Lingxiao Pavilion ministers were buried in the three eastern provinces, and even Tang Taizong himself was shot blind. One eye, in the end cried out to Goryeo General Quan Gaisu Wen, and then escaped with his life, and returned to Chang'an in embarrassment... Oh, Director Jiang, what happened to you..."
Director Jiang pressed his hand on his chest, that posture It was a bit like having a heart attack. Zhou Zhi was so frightened that he hurriedly supported him: "Let's not talk about this anymore. Let's go look at calligraphy and painting..."
In fact, there are many things worth seeing in porcelain, such as exquisite porcelain from various dynasties in the Qing Dynasty. Among them, there are two that Zhou Zhi covets the most. One is the silver cup with enamel on the outside of the Jingdezhen kiln with blue and red lotus branches and lotus branches, and the other is the Fujian De White porcelain Guanyin statue from Huayao.
These are two items with completely opposite styles. One is extremely complicated, using various enamel glaze colors. After firing, it is also covered with silver. The inside looks like a pure silver enamel bowl. , I never imagined that this would be a piece of porcelain, it was just covered with silver skin.
The color of the other one is simple to the extreme, pure white.
This white color was called "Swan White" by foreigners in export porcelain. It was the whitest porcelain among all porcelain in the world at that time.
The Guanyin statue uses hard porcelain to show a soft effect. From Guanyin's skin to clothing and ribbons, it is full of elasticity and elegant feeling, which shows that the sculptor has reached the ultimate grasp of dynamics.
These types of porcelain were not available at Zhou Zhi, so I wanted to study them in detail. Unfortunately, a careless remark almost made Director Jiang angry, so he had to change the environment quickly.
The ancient calligraphy and painting works collected by Shu University date back to the Song Dynasty and can be found in modern times at the latest. Among them, what Director Jiang and Director Yuan are most proud of is the large collection of two series.
The Wumen School of Painting in the Ming Dynasty and the Eight Eccentrics of Yangzhou in the Qing Dynasty.
The Wumen School of Painting is a general term for several famous painters and their artistic heirs who dominated the painting world in the mid-Ming Dynasty. It is mainly composed of the "Four Schools of the Ming Dynasty", each of whom is a famous person - Qiu Ying, Shen Zhou , Tang Bohu, Wen Zhengming.
There are also Chen Zun, Lu Zhi and others.
Now Zhou Zhi is standing in front of several large paintings.
"Imitation of Ni Yunlin's Landscape" by Shen Zhou, and "Valley's Flowing Picture" by Wen Zhengming.
Shen Zhou was the founder of the Wumen School of Painting. He studied under the four masters of the Yuan Dynasty and was influenced by the style of the Southern Song Dynasty painting academy. His paintings spanned the Northern Song Dynasty and included Dong Yuan, two masters of landscape painting in the Five Dynasties.
Tang Bohu, Zhu Yunming, and Wen Zhengming are all his disciples among the "Four Great Talents in the South of the Yangtze River" that everyone is familiar with because of the nonsensical "Tang Bohu Lights Up Autumn Fragrance".
The reason why the word "imitating Ni" is added before "Yunlin Landscape Painting" is because Shen Zhou's inscription in the painting said that he imitated Ni Zan and Ni Yunlin, one of the four masters of the Yuan Dynasty.
Zhou Zhi now holds in his hands two restored ancient paintings by Jing Hao, namely "Sitting on the Dragon" and "Shu Mountain". He also personally restored the "Mangzhu Entering the Mountain" by monk Kun Can in the late Ming and early Qing dynasties. I am no longer a complete layman in this area.
The characteristics of Ni Zan's landscape paintings are peaceful and distant. The most typical composition method is a soil slope in the foreground, with a clump of miscellaneous trees growing on it, a small grass pavilion next to it, and the distant view above is a gentle hill.
The characteristic of the chapped method is that the whole ink painting is chapped with fine brushes, the color is light and elegant, and there is basically no thick brush and heavy ink.
This can be said to be a typical symbol of Ni Yunlin's landscape. Shen Zhou has a nickname called "Coarse and Heavy", and his paintings have two styles: "fine and heavy" and "coarse and heavy".
Xiu Shen absorbs and imitates the painting methods of famous literati paintings of the previous dynasties. It is elegant and bookish, and is the representative of literati paintings in the Ming Dynasty.
The "rough and heavy" is his pioneering work. The heavy and heroic writing, concise and simple, is a breakthrough and innovation of the previous dynasty.
So the question arises. If Shen Zhou were in front of Zhou Zhi now, Zhou Zhi would not be able to help but ask him - you agreed to imitate Ni Zan, why do you still play your own style?
Looking further, hey, as if Shen Zhou expected someone to ask this question, he wrote two sentences in the signature - "This is similar to Ni Dian, and it is neither specious nor false."
"Elbow, do you still know how to draw?" Director Yuan asked.
"I only know a little bit, I know a lot about Song paintings."
This is indeed not a lie. Although the paintings of the four Ming Dynasties are also amazing, with auction prices of tens of millions, Zhou Zhi's two This restored Song Dynasty painting is enough to replace all the works of the Wu School in this exhibition hall.
“Then you should understand clearly. After all, the four Ming dynasties are all chasing the famous masters of the Five Dynasties, and the ones who are most deeply influenced by the famous masters of the Five Dynasties and have the closest inheritance are the famous masters of the Song Dynasty, aren’t they?”
“ Yes, I am aware of Ni Zan’s painting style,” Zhou Zhi said. : "Shen Zhou's painting style seems to be...while he is writing brushstrokes, even though he occasionally imitates the calligraphy techniques of the Song and Yuan dynasties, he is still worried about it."
"Where do you think you are occasionally impatient? Where is the hand chase? "Director Yuan doesn't want to let Zhou Zhi pass so easily.
"Ni Zan's paintings like to depict rocky slopes near the shore and three or five trees in the close-up; one or two flat slopes in the distance and mountains in the distance; the blank space in the middle is the water surface, without any waves. At a glance, the paragraphs are concise and clear, and the density is consistent, leaving " The wonderful use of "white" is to the extreme, pursuing the "sound beyond the strings" and the "state beyond the words". I call it "two banks of the same river" Dafa is like standing on the corner of the stone plate in our hometown and looking at the nearby strange rocks and the mountain village and white pagoda on the other side of the river."
"The painting around me looks like an autumn scene in the Western Mountains. The composition imitates Ni Zan's "One River and Two Banks" composition, with a simple scenery and a broad landscape on the right, with mixed trees on the bank of the slope. The middle view shows the archipelago in the center of the lake, with temples and pagodas standing on the islands, and the distant view shows the misty mountains. The water is quiet and has no water marks."
"The slope of the mountain is gentle, similar to Dong Ju's "Steamed Bun Mountain". . The mountains and rocks are outlined in light ink, which are the characteristics of the Five Dynasties painters."
"However, there are soil slopes nearby. The side-edge folding and chapping method is often used on the bank corners, which seems to have the characteristics of Ni Zan's "pian hemp banding". However, the strokes are thick and short, and the thick ink is dabbed casually.
“If I’m not mistaken, it should be Shen Zhou’s own initiative and characteristic.”
"The contour lines of the slopes and mountains in the whole picture are neat, the brushwork is concise and simple, the light ink hooks, cracks and thick ink spots are alternated, and the ink color of the picture is rich. The southern landscape is written in a simple and vigorous way, which is quite a bit Ying. A person can lift a heavy weight with ease. ”
< br>“I am not too familiar with Shen Zhou’s works, but although this painting is an imitation, it does not copy Ni Zan’s style step by step, but adds personal understanding to the imitation. I guess, this It should be the origin of another one of his styles - the theory of roughness and shen. "
Both Gu Zhenduo and Director Jiang applauded at the same time. Director Yuan was very curious: "You seem to be very familiar with Ni Zan! Most people can't say so many things."
< br>"I'm not very familiar with Ni Zan, but he is the successor I inherited Jing Hao's painting style, and I am familiar with Jing Hao. In addition, I know that Ni Zan loved to use the method of folding and cracking. This method is often used in the close-up scenes in this painting. At that time, Shen Zhou deliberately imitated Ni Zan in a few parts of his paintings. "< br>
(End of this chapter)