The Ming Dynasty (1368-1644) was an important stage in the history of Chinese calligraphy and painting. The painting and calligraphy of this period continued to evolve and develop based on the traditions of the Song and Yuan Dynasties. Especially with the gradual stabilization of social economy and the development of culture and art, some famous artists and schools centered on regions have emerged. The evolution and development of calligraphy and painting art throughout the Ming Dynasty can be roughly divided into three stages: the early, middle and late stages. However, they cannot be completely separated, but alternately connect each other.
In the middle of the Ming Dynasty, the power of academic painting was declining, and the "Zhejiang School" was also gradually declining. Instead, the "Wumen School of Painting" active in Suzhou came into being. Due to Suzhou's economic prosperity during this period, various industrial and commercial industries developed rapidly, which directly promoted the prosperity of cultural and artistic undertakings. Therefore, this area became the best place for gatherings of local and literati from all over the world. The "Wumen School of Painting" came into being under this background. The Wumen School of Painting was led by Shen Zhou and was succeeded by Wen Zhengming. It had many followers and formed a major school in the late Ming Dynasty. Tang Yin and Qiu Ying, who lived in Suzhou at the same time, were also famous for their paintings. Together with Shen Zhou and Wen Zhengming, they were known as the "Four Wu Clan".
Among the "Four Wu Schools", the three schools of Shen, Wen and Tang have the same characteristic in that they all use literati brushwork. Although Qiu Ying was a professional painter, his painting style was influenced by literati painters. The painting achievements of the four of them are multi-faceted, with comprehensive skills and a wide range of themes. The landscapes he painted can not only express the majestic and steep northern mountains and rivers, but also describe the elegant and graceful southern scenery. They used skilled pen and ink to describe the surrounding garden scenery, raising the landscape painting that expresses the life of literati to a new level, and opening up a new realm of landscape painting since the Yuan, Ming and Qing Dynasties. Because of their profound influence on later generations of paintings, they were also hailed as the "Four Ming Painting Masters" by later generations. In the middle period, Wumen School of Painting, Shen Zhou, Lushan Mountain, High Literature, Hui Ming, Ten Thousand Valleys Struggled, Zhou Chen, Spring Spring, Xiaoyin, Tang Yin, Sound of Pines on Mountain Road, Pictures of Qiu Ying, Taoyuan, Wonderland. Here we introduce Tang Yin’s most representative paintings.
Statue of Tang Yin (Tang Bohu)
Tang Yin (March 6, 1470 - January 7, 1524), also known as Bohu, also known as Ziwei, also known as Liuru Jushi, Nan A native of Wuxian County, Suzhou Prefecture (now Suzhou City, Jiangsu Province), his ancestral home is Jinchang County, Liangzhou. A famous painter, calligrapher and poet in the Ming Dynasty.
In the 21st year of Chenghua (1485), he ranked first in the Suzhou Prefectural Examination and entered a Fuxue school. In the eleventh year of Hongzhi's reign, he ranked first in the Yingtianfu Township Examination (Jie Yuan) and went to Beijing to take part in the joint examination. In the twelfth year of Hongzhi's reign, he was involved in the Xu Jing Examination fraud case, was convicted and imprisoned, and was demoted to a minor official in the Zhejiang vassal. From then on, he lost his ambition in the academic field and wandered around the world, buried in poetry and painting, and eventually became a famous painter. Tang Yin lived in poverty in his later years and relied on friends for financial support. He died of illness on December 2, the second year of Jiajing's reign, at the age of fifty-four.
Li Tang and Liu Songnian, the patriarchs of landscape painting, integrated the northern and southern painting schools, with delicate brushwork, sparse layout, and elegant and handsome style. The figure painter inherited the tradition of the Tang Dynasty, with bright and elegant colors, graceful posture and accurate modeling; he also used freehand brushwork of figures with concise and comprehensive brushwork, which is full of interest. His flower and bird paintings are good at freehand ink painting, free and elegant. The calligraphy is unique and handsome, and is modeled after Zhao Mengfu. Representative works include "Solitary Owl in the Setting Clouds", "Companion on the Spring Mountain", "Evening Cool in the Xu Pavilion", "Apricot Blossom Thatch", "Spring Outing in the Mountains", "Autumn Wind Fan", "Returning on a Donkey" Pictures of Thoughts", "Pictures of the Sound of Pines on Mountain Roads", "Pictures of Shi Ming", "Pictures of Prostitutes in Wang Shu Palace", "Pictures of Li Duanduan's Registration", "Pictures of Dry Chas and Birds", "Pictures of Farming in the South of the Yangtze River", "Gifts from Tao Valley" "Pictures of Ci", "Pictures of Hanguan Snow Ji", "Imitation of Tang Dynasty Ladies", "Painting Group Fans", "Old Pictures of Xizhou Dialect", "Ink Bamboo Fan Pictures", "Apricot Blossom Painting", etc.
Appreciation of "The Picture of the Solitary Bird in the Falling Clouds" by Tang Yin in the mid-Ming Dynasty
"The Picture of the Solitary Bird in the Setting Clouds", Ming Dynasty, Tang Yin, vertical scroll, ink pen on paper, length 189.1 cm, width 105.4 Centimeter, collected by Shanghai Museum, China.
"The Picture of the Solitary Owl in the Falling Clouds" is a large scroll on silk, with a clear and spacious artistic conception. The lower part of the picture depicts a pavilion next to rocks and water, nestled among the weeping willows. Behind the pavilion are towering mountains and lush trees on the top of the mountain.
There is a table against the wall in the pavilion, with a vase of ancient books on it. A scholar is looking at the sunset in the sky, and a boy is standing behind him. There is a man in the water next to you, tending the boat. The weeping willow branches and leaves in the painting are extremely skillful, and the painting manual says "It is difficult to paint willows when painting trees". However, the willow branches in this painting are tightly connected with the brush, and the willow leaves are arranged in an appropriate density. The tree trunks also have different shapes. Some have burst bark, lying down like an old man; some have intertwined roots, leaning like a strong man; some have round trunks, standing still like a virgin. The mountain stone chamfering method is based on Li Tang and Liu Songnian of the Southern Song Dynasty. However, the pen and ink have been changed, making it meticulous and elegant. Later generations also called this chapping method "water chapping". "The Picture of the Solitary Falcon in the Setting Clouds" depicts the tall willows in the mountains and the water pavilion facing the river. A person is sitting in the pavilion, looking at the lonely bird in the setting clouds, accompanied by a book boy. The whole painting is calm and contains the temperament of a literati painting. .
Tang Yin's poem is an allusion to Wang Bo's help from the Dragon King to become famous. He laments that he was not born at the right time, so that he did not meet his talents. Therefore, the whole painting is also stained with deep sadness because of this poem.
Appreciation of "Spring Mountain Companion" by Tang Yin in the mid-Ming Dynasty
"Spring Mountain Companion" scroll, paper, ink pen, length 81.7cm, width 43.7cm, now in the collection of Shanghai Museum.
"Spring Mountain Companions" is entirely in ink, with only one old man's robe painted in light red. In the picture, curved railings are hidden, miscellaneous trees are blooming green, spring mountains are smiling, and scholars are approaching the stream, giving people a sense of sunshine and warmth. The mountains are beautiful, with soft hemp texture, and they are rendered with ink and wash, making them more beautiful and charming. The whole picture has an innocent and subtle interest. The inscription on the upper left side of the painting reads: Two or three friends in a spring mountain, carrying wine and looking for flowers without getting tired of it. It is a good thing that there are rocks on the spring head and the pond, and the soft sand makes it possible to sit quietly and dust-free.
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The picture depicts a place near the water at the foot of the mountain. There are two thatched huts hidden among the trees. One person is sitting and a boy is serving tea. There is a small wooden bridge outside the house. The peaks behind the trees are outlined in light ink, and the tops of the peaks are dotted with thick ink moss. The whole picture is made with thick brushwork, giving it a carefree and hasty feel. The title of the running script on the upper left reads: "The empty pavilion is near the stream and it is cool at night. Thousands of dendrobium and lotus root flowers are fragrant in front of the threshold. The sugarcane pulp is full and the golden pot is cold, and there is freshly steamed mint frost. Painted by Tang Yin." The seal with the seal "Tang Bohu" in Zhu Wen. There are seven collection seals on the picture: Xiuning Zhu Zhichi's collection of books, Taicang Lu Run's seal, Dantu Chen Changji's Shi Yi seal, Yilu, Xu Bangda's collection seal, etc.
Appreciation of "Apricot Blossom Thatched House" by Tang Yin in the mid-Ming Dynasty
"Apricot Blossom Thatched House", Ming Dynasty, Tang Yin, vertical scroll, color on silk, 147.8 cm long, 73.2 cm wide, Shanghai Museum collection
"Apricot Blossom Thatch" is a vibrant work among Tang Bohu's landscape paintings. The high peaks, cascading springs, and swaying pine trees in the painting are reasonably arranged and the artistic conception is clear and distant. They can indeed show Tang Yin's talent and style, and at the same time reflect his solid traditional painting skills. The mountains are high and the view is wide. On the left side of the picture, the cliff stands steeply, with huge rocks entrenched below, dense trees, and a vast river in the middle. Among the huge rocks and trees, two Taoists were talking to each other on the edge of a small bridge and flowing water. This theme of elegance and elegance reclusive in mountains and forests is exactly what Chinese literati landscape art pursues, and it is also the artistic spirit of literati landscape painting.
Appreciation of Tang Yin's "Spring Outing in the Mountains" by Tang Yin in the mid-Ming Dynasty
"Spring Outing in the Mountains" on silk, vertical scroll, 122 cm long and 65 cm wide, now in the Shanghai Museum.
This painting was probably painted in the early years of Zhengde, and was the work of Tang Yin in his prime. The painting adopts a panoramic composition. The close-up view is the ancient pine thatched cottage, the winding path of the wild bridge, and the peach and apricot trees. The old man is walking forward with a stick on the winding road, and the child is following behind. The middle scene is a beautiful lake and mountains; two small boats are moored quietly in the lake, with a gentleman sitting on the bow of each boat, fishing in silence, enjoying themselves; the mountain is steep, with green trees, and there are pavilions standing in strategic places, with eaves and corners stretched out, showing the appearance of soaring into the sky. When a person leans on the railing and looks out into the distance, he seems to be watching fishing boats, admiring the scenery of shore and rivers, being intoxicated by the beauty of the mountains and rivers, and also seems to be patiently waiting for the arrival of friends.
The distant view of the lake is flat, green with vegetation, and vast as far as the eye can see. However, you can see distant mountains stretching to the left, and steep peaks towering into the clouds on the right. There is a poem titled in the painting: "The spring snow has disappeared on the top of the mountain, and the fairy apricot hair is soft on the roadside. I hope that we will go on a tour together this day, and cross the wild bridge with wine and harp." This poem points out the painter's invitation to friends to travel to the spring mountain. theme.
Appreciation of Tang Yin's "Autumn Wind Fan" from the mid-Ming Dynasty
"Autumn Wind Fan", paper, ink, 77.1cm long, 39.3cm wide, now in the Shanghai Museum.
The picture of the Wan Fan in the Autumn Wind is a representative work of Tang Yin's ink painting of figures. It depicts a courtyard with a lake and rocks. A lady is holding a Wan Fan in her hand, staring sideways, with a slightly resentful look between her eyebrows. Her dress fluttered in the bleak autumn wind, and she was lined with double hooked bamboos. This picture is drawn using the line drawing method. The ink flows smoothly, the turns are strong, and the lines are ups and downs. It combines Li Gonglin's flowing water drawing and Yan Hui's folding reed drawing, and the brushwork is full of rhythm. Although the entire painting is purely ink, it can display rich tones in changes in thickness and shade. The poem on the upper left part of the painting reads: "Autumn comes and the Wan Fan is collected together. Why is it so sentimental for a beautiful woman? Please take a closer look at the world. Most people don't chase the heat and coolness." It refers to Ban Jie, the concubine of Emperor Cheng of the Han Dynasty, who was lustful and declining in kindness. It is like the Wan Fan being put away after the autumn wind. The fate of abandonment reflects the harshness of the world. Obviously, this is related to the unfortunate experiences of Tang Yin's personal life. The woman in the painting has a look of despair and resentment, which may be a reflection of Tang Yin himself.
Appreciation of "Riding a Donkey Returning and Thinking" by Tang Yin in the mid-Ming Dynasty
"Riding a Donkey Returning and Thinking" on silk, light color, 77.7 cm in length and 37.5 cm in width. Collected by Shanghai Museum
The picture depicts steep cliffs, winding plank roads, dangerous bridges, lush forests, peaks and rugged mountains. Deep in the rugged mountains and rivers, a poor man in an open robe rides back on a tired donkey. In the deep stream at the foot of the mountain, there is another woodcutter standing on the bridge. This painting has the style of Southern Song Dynasty courtyard painting, with light colors. The brush is imitated by Li Tang, which is strong and sharp, and the chamfering method makes the big ax chop and chamfer elongate and thin, making it more lively and moist. The thickness of the ink is exquisite, and it has the three-dimensional sense of the northern style of landscape and the interest of the southern style of landscape. This is the special brushwork that Tang Yin was most proud of in his life: converting the splitting method into lines, mixed with techniques such as draping hemp and messing with firewood, and then using the center of the pen tip to draw. This kind of brushwork painting is the most time-consuming. The lines of the characters are smooth and graceful. The stone method brings water for a long time and is very moist. The autumn trees are green and yellow, and many empty hooks are used to clip leaves. The painting style is close to that of Li Tang and Ma Yuan.
Appreciation of "The Picture of the Sound of Pines on the Mountain Road" by Tang Yin in the mid-Ming Dynasty
"The Picture of the Sound of Pines on the Mountain Road", Tang Yin, Ming Dynasty, color on silk, 194.5 cm in height and 102.8 cm in width, National Palace Museum, Taipei Hidden
"The Sound of Pines on a Mountain Road" depicts a towering mountain with a spring flowing down the mountainside and into the river. There is a small bridge at the foot of the mountain that crosses a spring and connects to the mountain road. There are two people on the bridge. The old man raises his head and listens, as if listening to the sound of flowing springs and pine trees. A child follows behind with a piano. Next to the spring is a dense pine forest with twisting branches and tangled vines. The breeze blows and waves of pine trees form. The painting method of pine branches and leaves comes from Xia Guizhong, but it is far more prosperous and realistic. It is outlined with a delicate center, with twists and turns, and there is no lack of routine. The mountains and rocks are hard and angular, which is obviously the painting method of Li and Guo. However, it does not follow Guo Xi's curling clouds or Ma and Xia's ax cracking, but a line cracking with Tang Yin's personal style, which is more Xu Daoning's straight lines are more casual and loose. The hook strokes are thicker, while the chapping strokes are lighter. The thick points distinguish the composition and layers of the stone, and the ink color is transparent and elegant. The structure of the mountain is scattered and intertwined, with clear layers, beautiful scenery, and a strong sense of reality. It has the charm of the panoramic landscape of the Northern Song Dynasty. This is what distinguishes him from Shen Zhou and Wen Zhengming. Because he often traveled to famous mountains and rivers, he had deep mountains and ravines in mind, and the large-scale landscapes painted by Shen and Wen were often copied from ancient paintings.
This layer is full of rocks and ravines, with waterfalls and flowing springs. The lush green pine trees and old branches on the mountainside set off the scene. There is a bay of Pinghu at the foot of the mountain, crystal clear to the bottom. A rugged wild road winds towards the mountain stream to increase the depth of the picture. A hermit leaned against the railing, listening to the wind in the pines, while the waiter followed behind. The title says: "There are wild roads in front of the mountain, and the sound of pines is offset by the sound of springs. If you try to listen quietly in the silence, you will feel that there is a burst of anger. Under the rule of Tang Yin, the paintings were presented to Mr. Li's parents.
"Houqian wrote "Mengmo Pavilion", "Nanjing Jieyuan", "Fleeing Zen Immortal Officials". The writing style is clear, meticulous and charming. It was once collected by the Imperial Household of the Qing Dynasty and Liang Qingbiao, and recorded in "Shiqu Baoji Sanbian".
Appreciation of "Shi Ming Tu" by Tang Yin in the mid-Ming Dynasty
"Shi Ming Tu" volume, Ming Dynasty, made by Tang Yin, on paper, color, vertical 31.1cm, horizontal 105.8cm, collected by the Palace Museum in Beijing.
The title of this picture is inscribed with the word "Shi Ming", and the inscription is "Zheng Ming".
The surname "Shi Ming" is inscribed on it. Chen was a close friend of the king and had a close relationship with Tang Yin. Tang Yin used Chen's name as the title of this picture and embedded the word "Shi Ming" into the poem. It is clear. The huge stone stands side by side in the close-up view, with a thick black color and fine texture. The ridges and ridges of the house are clear and elegant. The owner of the house is drinking tea by the window, which depicts a quiet and pleasant ideal living environment. In the picture, you can hear the gurgling water and smell the faint fragrance of tea
Appreciation of "The Picture of the Prostitutes in the Wangshu Palace" by Tang Yin in the mid-Ming Dynasty
The scroll of "The Pictures of the Prostitutes in the Wangshu Palace". , Ming Dynasty, made by Tang Yin, on silk, with colors, length 124.7cm, width 63.6cm, collected by the Palace Museum, Beijing
Tang Yin's "Picture of Prostitutes in the Palace of Wangshu" on silk, formerly known as "Picture of Prostitutes in the Meng Shu Palace". Commonly known as "Four Beautiful Pictures", it was first named by Wang Diyu in "Coral Net·Hua Lu" in the late Ming Dynasty and is still used today. According to the textual research of modern scriptures, it should be changed to "Picture of Prostitutes in the Palace of Wang Shu", which depicts Wang Yan, the lord of the former and late Shu in the Five Dynasties. The story of the harem. The picture shows four singing and dancing maids dressing up to wait for the king's call. They wear golden lotus crowns, rouged faces, plump bodies, and dignified and charming manners. The master Wang Yan once made his own song "Ganzhou Song" to describe the charming appearance of court prostitutes in Taoist robes: "Painting Luo skirt can end it and measure the waist. The willow eyebrows and peachy face are full of spring, but the beauty is full of energy. It's a pity that Xu fell into the dust. "Tang Yin created this painting to reveal the debauched and corrupt life of Wang Yan, the lord of former Shu and later Shu, with a clear allegorical meaning
This picture is a representative work of Tang Yin's figure painting style of meticulous brushwork and heavy color. , showing his superb skills in modeling, brushwork, coloring, etc. The lady's figure is well-proportioned and graceful, with narrow shoulders and narrow back, willow eyebrows and cherry bun, and "three whites" on the forehead, nose, and chin, which not only absorbed Zhang Xuan, The "Tang Zhuang" style of ladies created by Zhou Fang also reflects the Ming Dynasty's aesthetic trend of pursuing elegance and beauty. The clever transition and matching of similar colors make the overall tone rich and harmonious, and the painting style of the work is both rich and elegant. The artistic characteristics of both refined and popular appreciation
Appreciation of Tang Yin's "Li Duanduan's Registration" in the mid-Ming Dynasty
The scroll of Tang Yin's "Li Duanduan" is 122.8 cm long and 57.2 cm wide, on paper. , coloring, now in the collection of Nanjing Museum
The content of this painting is based on the popular romance between Li and Cui, and is transformed into a scene of Li Duanduan asking Cui Ya for forgiveness on the spot. , which highlights Li's wisdom and courage. Sitting in the middle of the painting, wearing a Wensheng scarf (cap) and a mustache, is Cui Ya. His sitting posture and facial expression show a chic and elegant atmosphere. The maid next to her is wearing a red skirt and a white shirt, with contrasting colors and a sense of hierarchy. In front of her is the visitor Li Duanduan, who is holding a white peony in her elegant and charming posture, and behind her are the four maids. Surrounding the owner, they are arranged left and right, up and down, like stars holding the moon, highlighting Cui Sheng's main image and important position. This is the composition feature of Tang Yin's painting of Li Duanduan, which shows her grace and grace. Standing in front of Cui, her face was calm and composed, with a hint of uneasiness and eagerness. She was comparing herself with white peony, making logical comments. Cui Ya sat quietly, listening attentively, with a feeling of admiration flowing in her eyes. The hand is holding a roll of paper on which a new poem is being written or has been written.
The "faces of the subject and the guest are like pages of a book" (Wovitius' "Kama Sutra"), which can be interpreted!
Appreciation of Tang Yin's "The Picture of the Birds and Birds on a Dry Tree" in the mid-Ming Dynasty
Paper version of "Pictures of Birds and Birds on Ancient Chas". The painting is 121 centimeters long and 26.7 centimeters wide. The painting is now in the Shanghai Museum.
The painting uses pure ink freehand brushwork to create an image of a parrot perched on a branch with its head raised and singing in spring. The myna in the picture is very good in terms of the use of brushes, ink and modeling. The description is vivid and casual, and it is not determined by nature. This picture is Tang Yin's representative work.
This picture is also known as "Spring Rain Songbird Picture". The painting is painted with large and boneless brush strokes to create a beautiful image of a crane perched on a branch and singing in spring. The branches are strong and colorful, with unusually long lines at the ends of the branches, which seem to tremble slightly. The branches are surrounded by coiled vines, and there are clusters of new bamboos beside them. The picture is full of infinite vitality and vitality.
In the upper right corner of the painting, there is a couplet poem written by the artist himself: "The mountain sky is silent, no human voice can be heard, and a few crows are perched in the spring rain."
The painting is particularly slender, but there is a half-dead branch. The branches twist and rise in an "S" shape, which makes the painting fuller. On the upper branch in the middle, a robin sitting on the branch with its head raised and hooting is created using the ink accumulation method. (Myna). The image of the bird is extremely vivid and lively. The beak is drawn with double lines, and the head and eyes, abdomen and back, wings and tail, and feet are painted with large brush strokes. The colors are slightly different from each other. The body of the starling is very accurate. Its head-raised and whimpering expression makes people feel as if they have heard its voice and are ready to breathe out.
The entire painting is painted with bare brush strokes on the leaves, one or two thin vines and several strokes of wild bamboo are painted together with the old leaves on the dead trees. , adding to the quiet, tranquil and fresh atmosphere of the empty mountain after the rain: the dead trees are painted from the middle from top to bottom. The brushes have light, heavy, fast, slow, and sudden turns, and the ink has the rhythm of dry and wet shades. There are several strokes of bamboo written in thick ink, with vigorous old vines twining around the tree trunks. The tree body uses the "white" method to properly convey the mottled texture of the bark; the entire work is densely spaced and layered. It's like a spring song played, floating in the clear spring sky.
Appreciation of Tang Yin's "Agricultural Scroll in the South of the Yangtze River" in the mid-Ming Dynasty
"Agricultural Scroll in the South of the Yangtze River", Ming Dynasty 1504, Tang Yin, vertical scroll, color on silk, 74.4 cm in length and 28.1 cm in width , collected by the National Palace Museum in Taipei, China
The painting "Agricultural Works in the South of the Yangtze River" shows a water town in the south of the Yangtze River, with streams running through it and gentle winds. Farmers are planting rice in the fields, fishermen are casting nets to catch fish, and people are unloading their burdens to sell and sailing on boats. Crossing the bridge, you can enjoy the scenery of April in the south of the Yangtze River. This painting shows that Tang Yin used fine brushstrokes in his early years to paint with meticulous craftsmanship. Trees and houses, people, boats and bridges, and even distant mountains are in sight. Tang Yin's paintings are precise and steady, which is exactly what a professional painter is capable of. The scene in the painting is from bottom to top, with the right and left staggered. The scene in the painting appears in front of you. Its artistic conception makes people return to the countryside. In the mountains, villages and rivers, it is like listening to pastoral songs and beautiful scenery in the south of the Yangtze River. There is no need for mist and rain on the towers, thousands of hectares of green, it is naturally poetry. Scenery is the intention of literati painters. Later generations commented that Tang Yin was a fusion of northern and southern sect painting styles. This painting is an example.
Appreciation of Tang Yin's "Picture of Gifts from Taogu" in the mid-Ming Dynasty
The axis of "Picture of Gifts from Taogu" is 168.8 cm long and 102.1 cm wide. Collection of the National Palace Museum in Taipei.
This work is precise and beautiful. It depicts figures, trees, rocks and plantains in a style similar to that of Du He (circa 1465-1505). It was completed that night when Tang and Du first met each other in Beijing in 1499. At that time; according to the style of pen and ink, this painting is a work between Tang Yin's 30s and 40s
Appreciation of Tang Yin's "Hanguan Snow Ji Tu" in the mid-Ming Dynasty
Ming Tang Yin's "Han Guan Snow Ji Tu" vertical axis 69.9 cm wide 37.3 cm Taipei National Palace Museum
The painting depicts high mountains, snow-covered rock passes, and teams of donkeys, mules, and oxen carts transporting goods, trudging through the mountain roads in the cold. The sky and water are both dyed with light ink, bringing out the clear and sparse atmosphere of the snowy scene. There are dead willows and miscellaneous trees standing upright in the close-up view, and there are not many cracks on the rock surface to express the feeling of snow. The brushwork of this painting is varied, free and powerful, and the oxcarts, houses, and trestles are all delicately carved.
The title of the poem is in the upper right corner. The first two sentences describe the theme of the painting, and the last two sentences describe the difficulty of traveling when the snow melts in spring. In the second year of Zhengde (1507), Tang Yin built Taohua Nunnery in the north of Suzhou City. There was a Xueputang and Mengmo Pavilion inside. This scroll has the "Xueputang" leisure seal on it.
Appreciation of "Imitation of Tang Dynasty Ladies" by Tang Yin in the mid-Ming Dynasty
"Imitation of Tang Dynasty Ladies" has an axis length of 149.3 cm and a width of 65.9 cm. It is stored in the National Palace Museum in Taipei, China.
According to "Yunxi Friendship", Tang Dynasty people Zhang Hu and Cui Ya were famous in Yangzhou for their literary talent, and their poems were deeply appreciated by everyone. The famous courtesan Li Duanduan once asked Cui Ya for a poem, and received the poem "Yangzhou has been in chaos recently, and a single white peony can bloom." In the painting, the man sits on the couch and stares at the woman holding a white peony in front of the screen, which is depicting the meeting between Li Duanduan and Cui Ya.
The characters in this frame are beautiful in appearance, their manners are calm, and the lines of their clothes have obvious changes. When writing about lakes and rocks, the writing style is unbridled, echoing the movement of the writing on the title page. The whole painting is clear, elegant and has become his own look. It should be a work made after Tang Yin was forty-two years old.
Appreciation of "Painting Girl's Tuanfan" by Tang Yin in the mid-Ming Dynasty
"Painting Girl's Tuanfan" has a length of 150.4 cm and a width of 63.6 cm. It is stored in the National Palace Museum in Taipei, China
Palm Under the tree, a woman stands with a fan in hand, expressing the cool autumn chill to the hollyhocks in front of the court, which makes people wonder why a fan is needed to fan the wind when the weather is cold. The author of this painting really had something to do with it. The material was taken from "The Song of Resentment" written by Ban Jieyu of the Han Dynasty (about 48-6 BC). At the end of the article, she said: "I am often afraid that the autumn festival is coming, and the coolness will overtake the heat. "There is no way out of kindness." Tang Yin seemed to use the allusion of Ban Jieyu's neglect by Emperor Cheng to describe his frustration.
The folds of the figure's clothes are flexible and the technique is mature, making it a classic figure painting handed down from generation to generation. The poem is inscribed "Zheng Ming". It is said that Wen Zhengming used to use "Wenbi" to sign his calligraphy and paintings. He began to use "Zheng Ming" after he was forty-two years old. Wen and Tang Dynasties were the same year, so this painting can be regarded as a painting after Tang Yin was forty-two years old.
Appreciation of "Old Pictures of Xizhou Dialect" by Tang Yin in the mid-Ming Dynasty
"Old Pictures of Xizhou Dialect", with an axis length of 110.7 cm and a width of 52.3 cm, is stored in the National Palace Museum in Taipei, China.
The dead trees, twigs and leaves in the painting appear to be shaking, but the scenery is cut and still feels alert and moving. The painting has running script inscriptions and postscripts, and the wind spirit of using the pen sharply and vigorously represents the calligraphy style of Tang Yin in his mature period. According to the poem's line "Fifty years of drunken dancing and singing", the lower limit of the painting's completion time can be set when Tang Yin was fifty years old, that is, 1519. The poem "Don't damage the sky on your chest" expresses Tang Yin's frank and unruly temperament.
Appreciation of "Ink Bamboo Fan Picture" by Tang Yin in the mid-Ming Dynasty
"Ink Bamboo Fan Picture" is a volume of 16.5 cm in length and 50.5 cm in width. It is stored in the National Palace Museum in Taipei, China.
When painting bamboo, the ink color is adjusted with moisture to form multi-layered shades of dry and wet. When writing bamboo on the slow water-absorbing "golden paper", the moisture penetrates and feels more moist, just like bamboo leaves bear rain. This painting is moist. The dense pen and ink are dripping, and the charm is smooth. This is an example. This painting is selected from the seventh page of the "Album of Fan Paintings by Ming Dynasties".
Appreciation of Tang Yin's "Apricot Blossom Painting" in the mid-Ming Dynasty
"Apricot Blossom Painting" has a length of 114.8 cm and a width of 32.3 cm. It is stored in the Palace Museum of China.
This painting uses freehand brushwork to paint a spring apricot plant. The branches come out from the left and upper right. The main trunk is first hooked and then rubbed. The branches are mostly written in thick ink. The petals are complex and dense, which is elegant and light. Thick, no gaudy atmosphere. Scholars have examined the title content and calligraphy style and speculated that this frame was painted around 1519.
The title of this painting: "The new rosy clouds steam up the trees and the dawn light is thick, every year in the middle of February. Spring dreams in a garden of fragrant snow are short, and people in the world are far away in a hurry." It is the occasion of the second month of the lunar calendar. , when the apricot blossoms were blooming, so Tang Yin used the apricot blossoms as a metaphor for the imperial examination fraud case, lamenting that the glory of Nanjing's liberation of the Yuan Dynasty was as short-lived as a spring dream, and life rose and fell in a moment. There was no emotion in his tone, and he treated it as a dull reminiscence of the remaining years.