Picture page of fairy riding a phoenix

[The picture page of the fairy riding on a phoenix]

The picture page of the fairy riding on a phoenix, Song Dynasty, silk version, colored, 25.3 cm vertically and 26.2 cm horizontally
No author print. The opposite picture is Geng Zhaozhong’s ink title of the Qing Dynasty: “The style is exquisite and elegant, with the appearance of the sun shining and the dust falling out of the sky. It is the secret that covers Zhou Wenju’s chest, so the writing is beyond the object table. Zhang, Wu, Gu and Lu are difficult to follow. Xiangping Geng Zhaozhong’s title.” This picture and the frame edge, the opposite picture are Geng Zhaozhong’s “true reward”, “Sun Yongbao, the prince of Qianning”, “Dancheng”, “Duwei Geng Xin’s official seal of calligraphy and painting”, “Xingong’s treasure”, “treasure secret”, “Yier’s descendants” “Gong” and other seals, 17 in total
The picture shows a phoenix flapping its wings in the thin cloud and mist, and a fairy on its back is looking back at the full moon behind it. The painter vividly portrays the melancholy feelings revealed by the fairy in one moment, making the originally monotonous scenery very interesting and imaginative. The fairy’s eyes are invisible, but the author uses it to create an internal echo relationship between the full moon and the phoenix and phoenix, so that the picture has the integrity of vital energy. The painter shows the invisible wind force by depicting the fairy’s dress belt floating backward, and thus shows the speed and strong dynamic feeling of the phoenix and phoenix flying rapidly, forming a dynamic and static contrast with the full moon
In the shaping of the characters, the shape of the fairy is more than the plump and robust figure of the Sui and Tang Dynasty ladies’ paintings, showing the characteristics of reasonable proportion of female figure and symmetrical shape
The old inscription of this picture and the inscription of Geng Zhaozhong both said that the author was Zhou Wenju of the Five Dynasties. Zhou Wenju, influenced by the calligraphy of Li Yu, the late master of the Southern Tang Dynasty, likes to draw with thin, stiff and trembling strokes. The lines are often inflexible and abrupt, and the hardness is soft. The lines of this painting are exquisite, such as silkworms spinning in spring, soft and hard, which is not consistent with the characteristics of Zhou Wenju’s pen. Therefore, it should be painted by an unknown painter in the Song Dynasty
Photocopy of the Song Paintings Album, and description of Pang Yuanji’s Xu Zhai Famous Paintings in the Qing Dynasty.