Endless scroll of Gong Xianxi Mountain

[The Endless Map of Gong Xian Xi Mountain]

The Endless Map of Xi Xi Mountain, written by Gong Xian in the Qing Dynasty, is 27.7cm in length and 726.7cm in width
The title of this painting: “Jiangdong Gongxian painting.” Seal “Gongxian”, “Yeyi”. The seal is indistinct
Gong Xian wrote a long postscript at the end of the book: “In the late spring of the Geng Dynasty, I occasionally got a piece of Song Ku paper. If I wanted to make a scroll, I was afraid it would be difficult to put it in and out. If I wanted to make a scroll, I could not make the water far away. Because I ordered the workers to decorate it, I used the scroll style to draw it like a scroll. There were twelve frames in front of it, and each frame stopped at the same time. When I looked at it, I could combine it with twelve frames and stop at the same time, so I could call it a scroll or a book. However, if the position of the middle idea was not unreasonable, I must look at it head and tail, and the density should be appropriate. I felt that writing was broad and easy, but high and deep, and difficult, and Those who travel thousands of miles do not know that the mountain has its own branch and the water has its source. The year began with February, or ten days, one mountain, five days, one stone, and idle time. They dropped out when they were in trouble. It was cloudy and rainy, the door was not peeled and pecked, and gradually increased. In the heat of the summer, Qi Han and the pavilion were high. Who would force them to change the age of Ren, and then catch the current Renshu long and complete it. The life is said: endless map of streams and mountains. I can draw when I recall the rest of my life. I have spent 50 years working hard at the inkstone field. I can only make a living by ploughing in the morning and evening. It is clumsy. However, if Mr. Jianshen did not build the door with his own discretion, would it be valuable to the world with nothing left? Take this book to visit Guangling, and hang up the boat to meet Luan Town. At the friend’s seat, Sima invited Yu Jiuguan to stay and give a meal. Because of exploring the secret of my friends, I came out here to teach. Kui An said, ‘Is there anyone who sees the stone in the sleeve of the rice and doesn’t grab it? How about giving rice five stone wine and five dendrobes to end his life? ‘ The white clouds on Yu Guiling Mountain can be very happy. How can you make me appreciate it? So I want to give it to you. In particular, Kui Nun is lucky to hide his clumsiness, and should not make people laugh at Junbao Yanshi and beautiful green celery. Half an acre of Gong Xianji. ” The next seal is “Gong Xianzhi’s seal”, “half a thousand”, and the first seal is “half an acre”. Jiancang Seal “Wuxing Shen Xiangyun Jiancang Calligraphy and Painting Seal”
In the long postscript, the author recorded the time, idea, process of the creation of this picture, and how it was appreciated by Sima Xu Kui An. In addition, it was specially stated that the paper used in this picture was the old paper in the Song Dynasty that he picked up in the spring of Gengshen (1680), and how to make reasonable use of this kind of nearly square drawing paper made him painstaking. It is undoubtedly difficult to draw a landscape painting on a “folded volume” or “general volume”, which combines the seemingly independent twelve landscape paintings into a “mountain has its own branch and water has its source”, which is both reasonable and physical. For this reason, Gong Xian, who has profound skills in writing and writing, also had to devote himself to the creation of “one mountain for ten days and one stone for five days”. It took more than two years to complete this masterpiece
Although there are many scenes in the whole picture, such as autumn forest and grass houses, flowing springs and waterfalls, they are interspersed in a neat and orderly way. The emptiness in the white space and the reality in the thick ink dot contrast with each other, and the picture is full but not empty. The “ink accumulation method” is used to accumulate the stone surface layer by layer with ink in the pen. The volume of the solid block surface on the back of the stone and the feeling of wetness after the rain are truly displayed. This volume vividly shows the lush and rich scenery of the rivers and mountains in the south of the Yangtze River. At the same time, it also comprehensively reflects Gong Xian’s aesthetic pursuit of “strong strokes, vivid ink, strange gullies, and vigorous charm” in landscape painting.