Dong Qichang Collection of Ancient Tree and Stone Paintings

[Dong Qichang Collection of Ancient Tree and Stone Paintings Volume]

Collection of Ancient Tree and Stone Paintings Volume, Ming Dynasty, Dong Qichang painting, silk, ink brush, 30.1 cm in length and 527.7 cm in width
This volume is not organized because it is a painting. Painting pines and cypresses, miscellaneous trees, reeds and grass, as well as slope stones, creeks, pavilions and pavilions, cottages, and even courtyards and figures, and finally ending with the landscape of Huang and Ni. Among them, the tree method is particularly detailed. Among them, there are Dong’s small running script: “Zhao Xiyuan’s paintings of Wansong Jinque are all painted with horizontal and vertical points, not much ink, but with green juice. It is known that the rice painting is also like Wang Weiya’s, and none of them is used as horse tooth hook.” There are also self-notes such as “mangrove”, “thick”, “hold”, “wait for body”, “open points”, “red”, “not much”, “thick ink”, “round points”
At the end of the picture, Chen Jiru said: “This Xuanzai collection of ancient trees and stones, each of which is copied in a large scale. After the robbery, it was occasionally found in the decoration house, so don’t repeat it, for fear of causing fire in its chest.”
The seal of Meigong is “Gui Anlu Shusheng’s seal of collecting gold, stone, calligraphy and painting”, “Chong”, “Lu Shusheng’s seal of appreciation”, etc
From Chen Jiru’s question, we can see that this volume was written before the famous “civilian copying of Dong Huan” event. Chen Jiru got the “decoration house” after Dong’s house was burned in March of the forty-fourth year of the Wanli reign of the Ming Dynasty (1616). After that, he dared not show Dong Qichang again, “for fear of causing fire in his chest”
Although this painting can not be regarded as a real work of art, it is extremely important for the study of Dong Qichang’s landscape painting creation and painting theory
It is worth noting that Dong Qichang’s first formal painting was in Lu Shusheng’s mansion when he was 23 years old. In Dong Wenmin’s Great Book of Mountains and Rivers, he read: “I learned painting from Ding Chou (1577) on the new day of April, and it was in the house of Lu Zongbo’s Wending Duke, occasionally” (see Gu Linshi’s “Continuing Calligraphy and Painting in the Cloud Tower, Volume III, Painting Category III”), “Lu Zongbo’s Wending Duke” is Lu Shusheng. Although there is no signature of the author, Lu Shusheng’s two seals and the title of Dong Qichang’s friend Chen Jiru prove the reliability of the author’s attribution from one side.

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