Wu Wei Wuling Spring Scroll

[Wu Wei’s Spring Painting of Wuling]

The Spring Painting of Wuling, Ming Dynasty, Wu Wei’s painting, paper edition, line drawing, 27.5 cm in length and 93.9 cm in width
This picture is not written by the author
This picture is stamped with “Xiaoxian” and “Ciweng”. Introduction to the book of modern Pu Ru: “The spring of Wuling, the proposition of Mr. Daqian. Pu Ru.” Seal the “old king’s grandson” and the “seal of Pu Ru”. This picture has the inscription of a monk on the path of Qingdong, which is sealed by Zhang Daqian, who said that “the ancients will tell the posterity” and “Daqian’s dream”. On the back, there are ten inscriptions in the book “The Spring Biography of Wuling” written by Xu Lin of the Ming Dynasty, including recent and contemporary Ye Gongchuo, Wu Hufan, Xiang Dizong, Luo Dunnan, Gu Fei, Pu Ru, Wu Dingshan and Xie Zhiliu. There are 36 seals in total
The face and clothing patterns of the woman Wulingchun in the picture are drawn with thin and even light ink lines, and only the eyes and hair buns are stained with heavy ink. This special method of using ink not only forms a vivid ink rhyme, but also makes the picture elegant and moist, and more closely displays the delicate and quiet beauty of the hostess. In addition, Wu Wei also used the artistic technique of borrowing things to express his ambition in his creation. He revealed the inherent cultural accomplishment of Wuling Spring with the piano, pen, inkstone and other stationery on the stone table, and the bonsai plum flowers on the left side of the stone table symbolized the noble sentiment of Wuling Spring. Using these allegorical objects as a backdrop to decorate the picture will undoubtedly enrich the image of Wuling Spring and enrich the visual experience of the picture. Wu Wei, with his exquisite artistic attainments, was summoned to Beijing to worship the court in Chenghua and Hongzhi years of the Ming Dynasty. He was aloof and did not admire power, and was rejected by the foul environment inside and outside the court. After returning to the south of the Yangtze River, he often used alcohol and prostitutes to relieve his depressed mood, so he had some contact and understanding of the life of brothel women. When he heard that Wuling Spring was in the brothel and was not affected by the place he was in and was loyal to love, he was deeply moved, so he wrote this picture to show his sympathy and respect for Wuling Spring. Wu Qi in the Qing Dynasty thought that Wu Wei was “good at drawing figures with strong strokes, especially in line drawing”. This is the masterpiece of Wu Wei’s late line painting. Wu Wei’s line-drawn figures are based on Wu Daozi of the Tang Dynasty and Li Gonglin of the Song Dynasty, emphasizing the rhythmic sense of the lines themselves and the accuracy of the image
Wang Shizhen of the Ming Dynasty, Jiang Shaoshu, Silent History of Poetry, Xu Qin, Ming Paintings, Wang Kentang, Yu Gangzhai, and Xie Kun of the Qing Dynasty.