Hongren Pine Plum Scroll

[Hongren Pine Plum Painting Volume]

Pine Plum Painting Volume, Qing Dynasty, Hongren Painting, paper version, front section color, vertical 27.8 cm, horizontal 269.7 cm; The rear ink brush is 27.8 cm vertically and 86.7 cm horizontally
This volume is divided into two sections. At the end of the previous paragraph, there is the seven-character quatrain “Reading the Monuments in the Mountain” in Cheng Shou’s “Collection of Provincial Jingtang Poems” written by Hongren, which reads: “The Bingshen Spring Day occasionally wrote the collection of Jieshi Nunnery because of its unique characteristics. The scholar of Jianjiang.” The white seal of “Monk of Jianjiang” is sealed
“Bingshen” is the 13th year of Shunzhi in the Qing Dynasty (1656), and Hongren was 77 years old
The picture shows the pines and rocks with sharp edges and corners. Hongren’s turquoise is a true portrayal of Mount Huangshan’s turquoise. Shi Tao said: “The longest public tour of Mount Huangshan is the true nature of Mount Huangshan, that is, one tree and one stone are all the natural colors of Mount Huangshan.” The turquoise in the picture, with its rough and powerful writing style and incisive and hearty ink application, has the bold and unrestrained painting style of Hongren in his later years, and its simple composition reflects the poetic emptiness
At the end of the paragraph, the words “written by Hongren, a scholar of the river” are stamped with the white seal of “monk of the river”
Painting ink plum blossom. Mei’s spirit of fearing the cold and high standards of independence is exactly the life character pursued by the author. Hongren likes painting plum most in his life. He has created a large number of masterpieces with plum as the theme since his name is “Plum Blossom Ancient Anak”. This volume is one of them. The plum branches in the picture are like crooked iron, showing a firm and unyielding attitude in a tactful way. Its simple pattern and exquisite brushwork create a pure, secluded and beautiful artistic conception
At the beginning of the volume is Tang Yansheng’s “Four quatrains about the teacher’s painting song”. There are poems and postscript of Gong Xian on the other paper. After the long poem, Gong Xian recognized that “this volume is a masterpiece of Master Jianjiang”, and said that “Master Jianjiang of Mount Huangshan must ask for the title every time he draws it”, pointing out the deep friendship between them. Seal “once hidden in Dai Zhinong’s office” and other collection seals.