Dong Qichang Landscape Atlas

[Dong Qichang’s Landscape Atlas]

The Landscape Atlas, Ming Dynasty, Dong Qichang’s paintings, 7 open, self title 1 open, paper book, ink pen, 27.1 cm vertically and 19.3 cm horizontally
The first to fifth sections of this volume are signed with “Xuanzai Painting” and “Dong’s Xuanzai”
The sixth paragraph is signed: “Xuanzai painting. Mijiashan.” With the seal of “Dong’s Xuanzai”
The seventh paragraph was signed: “Xin Youqiu. Xuanzai painting.” With the seal of “Dong’s Xuanzai”
There are Bian Yongyu Jiancang’s “style ancient hall calligraphy and painting seal”, “Bian Lingzhi’s identification”, and “Lingzhi’s fairy”. The fourth and seventh openings are printed with “Baoyun Building”. The seventh opening has the seal of “Qianlong Appreciation”
The eighth self-title: “Yu Yu can’t be proficient in painting. Every time he sees the authentic works of the ancients, he touches the trigger, and then plans to do it. If he wants to do it today, he can’t do it again. There are no more than one hundred copies of Ye Xiaojing, and he doesn’t know where they are scattered, and it’s not worth it. This book is kept by Sheng Fei. It’s the same time that the boat goes to the Jin Tombs. After playing with it, I can deal with me. If I forget it, it’s also a pleasure. On October 22, Guihai Leap, Dong Qichang asked.” Seal “Dong Xuanzai”
Chen Jiru has another question
This volume was written in the first year of Tianqi tomorrow (1621), when Dong Qichang was 67 years old, and was titled in the third year of Tianqi (1623)
Some scholars have made statistics on Dong Qichang’s works handed down from generation to generation, and the number of his works after entering the age of 65 in the 48th year of Wanli (1620) is much more than in the past, reaching a peak of painting creation. This volume is one of the representative works of this period. The scenery of Qikai Mountain is simple and random. Pay attention to the level of the distant, middle and close view with the water sky left blank, so that the picture with large size and big water has a sense of emptiness. The painting method is slightly referred to Song Ermi (Mi Fu, Mi Youren) and Yuan Huang (Gongwang) and Wu (Zhen), while the loose and free ink and the indifferent implication it creates are completely Dong’s own face. Dong Qichang’s mountains and rivers are closely related to the ancients in his whole life. The so-called “imitating the heart of the ancients and sketching their traces”. He once said, “Learning from the ancients is not the same, it is the fence between things. The turning away is like the ear.” In the book, the title of “learning from the ancients for a long time, you will forget, you will get nothing” and the title of Chen Jiru, “The paintings of the literati are not in the stream path, but in the pen and ink” are the best interpretation of the artistic charm of this book.

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