Wang Jian’s Reiki Map Axis

[Wang Jian’s Four Reiki Map Axis]

The Four Reiki Map Axis, Qing Dynasty, Wang Jian’s painting, paper, ink, 130 cm vertically and 53.5 cm horizontally
The title on the top right of this picture reads: “My ugly man traveled in the Wulin in the winter, and his son, Zhang Gongzu, crossed the river to visit him. He presented the authentic works of the four masters of the Yuan Dynasty in his hometown Zhuxiang country. The common eye is one of the clean-up, such as the fisherman who came out of the Peach Blossom and lost his memory, but the spirit of the pen seems to be seen in his dream. The idle window is like this, and I don’t know if I can get it in case? The East China Sea Wangjian.”
Seal the “Wang Jianyin” Zhu Wenyin, and “Xuanzhao’s” Bai Wenyin, The initial seal is “Yenshan Hall” Zhu Wenyin. The seal of the collection includes “Hongdong Dong Family Collection” Zhu Wenyin, “Zhonglin Jiancang” Bai Wenyin, and “Lu Runzhi Collection” Zhu Wenyin
The “self ugly” is the sixth year of Shunzhi in the Qing Dynasty (1649), when Wang Jian was 52 years old
According to the title, this picture was painted by Wang Jian after observing the “authentic works of the four Yuan masters in the Zhuxiang State” during his trip to the Wulin. It can be seen from this that the author’s painstaking imitation of Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng’s pen and ink, as well as his comprehensive application ability. The sparse and calm composition, elegant and vigorous lines of mountains and stones, and overlapping thick ink dots all show the style of literati painting of the Yuan Dynasty. This picture can be regarded as the epitome of the author’s imitation of the four pen and ink of the Yuan Dynasty