Ni Zan Bamboo Scroll

[Ni Zan’s Bamboo Painting Volume]

The Bamboo Painting Volume, Yuan Dynasty, Ni Zan’s painting, paper book, ink brush, 34 cm vertically and 76.4 cm horizontally
The self-knowledge of this painting: “The old man is lazy, the old man is tired, and the painting is over here. If you don’t like it, don’t be guilty. Lazy Zan.” There is a seven-jue poem by Emperor Qianlong of the Qing Dynasty on the inside of the painting, which is sealed by Xiang Zijing of the Ming Dynasty, Liang Qingbiao of the Qing Dynasty, An Qi, Qing Neifu, and Wang Nanping, a close friend
In Volume 9 of Ni Zan’s Complete Works of the Qingmu Pavilion, there is a famous “Postscript Painting of Bamboo”: “… I talk about the bamboo to write about the air ear in my chest. How can I compare it with its resemblance and non-resemblance, the complexity and sparsity of the leaves, the slant and straightness of the branches! Or if I smear it for a long time, it will be regarded as hemp, and the servant can’t argue it as bamboo, so I can’t bear to see it…”. Looking at this picture, the shape of the bamboo trunk and branches is like that of the bamboo leaves. The arrangement of the bamboo leaves is appropriate and the business is full. It can be seen that the author does not really seek the shape similarity, but on the basis of the shape similarity, he further emphasizes the spirit similarity, pursues the interest of the pen and ink, and expresses his mind. As Ni Zan himself said, “You need to have a clear mind when you write a pen.” In the picture, the pen is sharp and flexible, as if it is lazy and solid. It has really got the purport of the ink and bamboo painting. Only by truly achieving “bamboo in the chest” and supplemented by superb ink skills can such excellent works of art be created
Five volumes of “Shiqu Treasure Collection Continuation – Ningshou Palace” and “Moyuan Huiguan”.