Tang Yintong Yinqing Dream Axis

[Tang Yin Tong Yin Qing Dream Axis]

Tong Yin Qing Dream Axis, Ming Dynasty, Tang Yin painting, paper version, ink, 62 cm vertical, 30.9 cm horizontal
This running script is titled with a poem of seven unique poems: “Ten miles of Tong Yin is covered with purple moss. Sir, I have tried to sleep drunk; I have been grateful for my fame in this life, but I should not have reached the ancient locust in my dream. Tang Yin painted.” Seal “Wu Xiang” Zhu Wenyuan seal, “Tang Yin private seal” Bai Wenfang seal, and “Tang Ada” Zhu Wenfang seal. The collection is printed with “Pine Lotus Identification” white square seal, “Dongwu Wang Lianjing Collection of Calligraphy and Painting” Zhu Wen rectangular seal, etc
The “Tongyin Qingmeng Painting” takes the figure painting as the theme to express the painter’s life experience and feelings. This picture uses the ink and wash line drawing technique to draw a wutong. At the stone on the shady slope of the tree tree, a person sits on the chair with his back closed and his face vivid and natural. The composition is simple, the pen is concise, the style is free and easy, and the charm is elegant. It is a masterpiece of Tang Yin’s line figure painting. Poetry, books and paintings complement each other. Although the model year has not been signed, it can be seen from the content of the poem that this picture was made by him after he returned to Suzhou after being hit by the imperial court case. It is a portrayal of the painter who saw through the dust, no longer pursued fame, and lived in seclusion under the forest from then on
Tang Yin is a man of unsophisticated temperament and has a fantastic life. Many legends about him are widely circulated and known to all women and children. His poems, songs, books and paintings are quite successful, especially his paintings, with a wide range of themes, including landscapes, figures, flowers and birds, and bamboo and stone. He once took Zhou Chen as his teacher, rose above the blue, and drew nourishment from the paintings of various famous painters in the Song and Yuan dynasties. He made a new development in inheriting the traditional painting methods of Li Tang and Liu Songnian in the Southern Song Dynasty, and formed his own rigorous and elegant painting style. With outstanding achievements and far-reaching influence, he has a high position in the history of calligraphy. He is an important representative of literati painting in the middle of the Ming Dynasty, and together with Shen Zhou, Wen Zhengming and Qiu Ying, he is known as the “Four Masters of Wu Clan”
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