Old scroll of Xingfu Temple in Wu Li

[Wu Li Xingfu Nunnery Sensory Old Picture Volume]

Xingfu Nunnery Sensory Old Picture Volume, made by Wu Li in the Qing Dynasty, silk version, colored, 36.7 cm in length and 85.7 cm in width
This self-question: “In my friend’s writing, only the silent bus is the deepest. I am always a guest, not to say goodbye, and I am afraid of hurting the willows. During the reign of Gengxu Qinghe, who traveled in Yanji, often spread letters from the south, which are very meaningful. In the autumn and winter of 1911, I would like to return, which means the same cold and snowy years, but it is not time to cross the Huaihe River. It is painful to hear that the Lord Mo has hung his shoes on his head. I am ashamed of the waves, have a negative heart, summon the soul to eulogize, and not enough to describe my life. It is shaped in silk, and my pen has no tears. But when I arrive at Tanmo, I cry Surplus can’t solve emptiness. The pine shadow in the snow court, and the grass and ink mark melt. A few trees are green in spring, and the door of a lamp is red. He is addicted to poetry and painting in his life, and is often mistakenly intoned by wind. Fish and wild geese have been separated for several times, and the return of fu is late and repentant. Self-pity for the guests from the north and south is not enough. The foolish butterfly still doubts the dream, and the hungry bird alone guards the forest. The clouds see infinite meaning, and everything will rise and fall. Two days before climbing the mountain in the year of Jiayin, the book was combined after rain. Taoxi resident Wu Zili. ” Seal “Wu Li”. At the end of the volume, there are three inscriptions: Xu Zhijian, Ji Yin and Zhang Jingwei. Jia Yin was 43 years old at the time of Wu Li in 1674, the 13th year of Kangxi in the Qing Dynasty
This picture is made by the author in memory of his old friend, Murong. A long topic briefly describes the relationship between the two people. The painting depicts the scenery of Xingfu Nunnery. There are trees and bamboos outside the temple, and there are solitary pines and white cranes inside the wall. It is originally a quiet place. However, the room is empty, and the eyes are bleak, revealing the author’s mood of expressing sadness with pen and ink. The combination of trees and dots, with distinct layers and natural intersperses, and the winding wall enhances the vertical depth of the picture. The mountains and rocks are chapped and stained, and the large area of green and green paint shows the true and natural scenery. It is a unique representative work of the painter who also adopts the painting methods of Song and Yuan Dynasties.