The densely packed Tibetan bell seals make the layout of this work messy, and even the author's bell seals are not so obvious.
This work is called "Emotional Ink Flowers" and its author is Chen Kuo, a master of landscape painting in the Ming Dynasty.
Chen Gui, son of Chen Chun.
He is good at painting flowers, his brushwork is like that of his father, he is addicted to drinking and debauchery, he is good at painting flowers, birds, and landscapes. Following his method, he also has his own ideas.
The writing is wild and lively, and it can also make poetry. ??
Chen Gui died young. Since the creation of literati paintings in the Yuan Dynasty and the use of calligraphy in painting, Xu Wei and Chen Daofu in the Ming Dynasty have further advanced the freehand brushwork with indulgent handwriting in flowers and birds. Daofu's son Chen Guo has further developed on the basis of his father. , taking this informal writing method to the extreme, with its scratches and scratches, as you please, and it is beyond the realm of dust.
In the middle of the Ming Dynasty, the literati of the Wu clan regarded being good at calligraphy and painting as their elegance, fashion, and means of making a living.
The atmosphere is prosperous and the level is high, ranking first in the country.
Its inheritance is passed on by junior disciples, such as Shen Zhou to Wen Zhengming, Zhou Chen to Tang Yin, Qiu Ying, Wen Zhengming to Lu Zhi, Qian Gu, etc.; there are also sons who inherit their father's inheritance for several generations, such as the Wen family. He was good at painting for at least five generations and became famous for nearly two hundred years. He is an outlier in the history of Chinese culture.
There are more contemporary fathers and sons who have voices at the same time, such as Chen Chun, Chen Guo and his son, Lu Shidao, Lu Shiren and his son, Ju Jie, Ju Maoshi and his son, etc.
Among them, Chen Chun and his son have received the most attention. The main reason is naturally because Chen Chun was able to break out of his own school, lead the trend of Chinese freehand painting, and became a generation of masters. His son Chen Guo can also Living up to his father's ambition and inheriting his family's learning, he can be called the best among the second generation of Wen's disciples, superior to Lu Shiren, Ju Maoshi and others.
It is a pity that he died young and his works were not circulated much, so it was a shame for those who knew him and a pity for the art world.
According to the records of Wang Shizhen, Jiang Shaoshu, Zhu Mouhe and others, we can roughly know: Chen Gui, whose courtesy name is Zizheng, also known as Tuojiang, and Daofu Zhongzi. He is a good drinker and good at writing about flowers. He is "slowly eager to live". Although he is dissolute, he is very successful. His interest in life was even highly praised as "seemingly better than his father".
Judging from the poems written by Wen Zhengming, Gu Wen, Wen Peng, Zhang Fengyi, Wen Jia and others in the back volume of "Pear Blossoms and White Swallows" by Chen Gui, an old scholar in Tiandu, and the fact that his works were collected by Xiang Zijing, a great collector in the Ming Dynasty, we can see that he At that time, he was a figure with wide contacts and great influence in the Wumen painting circles.
Chen Guo's birth and death dates are now difficult to ascertain.
However, judging from the records recorded in the past and the paintings that can still be seen, his creative career roughly began in the 14th year of Jiajing and ended in the 32nd year of Jiajing.
I have been involved in painting for about eighteen years.
The "Flower Pictures" volume, which was painted in the 14th year of Jiajing and is now in the Suzhou Museum, is of a high standard. Not low. For example, if Chen Kuai was twenty years old at that time, he would have only lived to be about forty years old in the 32nd year of Jiajing.
This is roughly consistent with the records of Jiang Shaoshu written by predecessors who "pity that he traveled to immortals earlier" and "pity that he will not live forever".
However, there is a piece of "Eternal Green Picture" inscribed by Chen Guo in the collection of the National Palace Museum in Baodao. It has the inscription of the fourth year of Longqing's reign, which inevitably raises suspicions.
However, if you look closely, his brushwork is rough, bloated, and vulgar, which is completely inconsistent with the style of all Chen Guo's works. The title of his painting is also vulgar and substandard.
According to the reliable works of Chen Gui, there are about four paintings painted by Guichou in the 32nd year of Jiajing. One is in the Palace Museum, one is in the Shanghai Museum, one is in the Jilin Museum, and one is in the Haixi Bihu Villa.
After the 32nd year of Jiajing, no other works have been handed down.
There are many reasons why Lu Fei likes this work by Chen Guo.
First of all, there is the person Chen Gui.
Chen Gui can be said to be the evil genius of the Wu sect. Although there are very few surviving works, judging from the only four remaining works, Chen Gui's eighteen-year painting career can be said to have made rapid progress.
The progress made in more than ten years even exceeds the accumulated experience of many people over decades, which is simply incredible.
From this point, we can also see how terrifying this monster's painting talent is.
Another point is Chen Gui’s fate.
Kong had an astonishing talent, but died young.
According to folklore, the reason why he died young was because God was afraid of his incredible talent and wanted to take it back early.
Although this is just a folk legend, it can be seen from this legend that people regret and respect this talented person, and Lu Fei also does the same.
In addition to these, there is also the quality of the work itself.
Although this work is covered with countless seals and graffiti, it still cannot conceal the excellence of the work.
The overall layout of the three-and-a-half-meter-long work is astonishingly detailed, with not a single flaw to be found. It has reached such a level that only a handful of them have been in history.
The use of various brushwork and the processing of details are all perfect. Standing at a distance and carefully admiring it will give people the illusion of being on the scene. This is the artistic conception of the legend.
When it reaches such a height, the level requirements for appreciators are no longer so demanding. As long as one looks carefully, anyone can see the magnificence and beauty of this painting. To reach such an artistic conception, this is a masterpiece.
Although the sealing maniacs of this painting have caused a lot of harm, but from another point of view, if it were not so excellent, it would not be possible to make the sealing maniacs so excited. The densely packed seals and bell seals make this work
The layout is so messed up that even the author's seal is not that obvious.
This work is called "Emotional Ink Flowers" and its author is Chen Kuo, a master of landscape painting in the Ming Dynasty.
Chen Gui, son of Chen Chun.
He is good at painting flowers, his brushwork is like that of his father, he is addicted to drinking and debauchery, he is good at painting flowers, birds, and landscapes. Following his method, he also has his own ideas.
The writing is wild and lively, and it can also be poetic.
Chen Gui died young. Since the creation of literati paintings in the Yuan Dynasty and the use of calligraphy in painting, Xu Wei and Chen Daofu in the Ming Dynasty have further advanced the freehand brushwork with indulgent handwriting in flowers and birds. Daofu's son Chen Guo has further developed on the basis of his father.
, taking this informal writing method to the extreme, with its scratches and scratches, as you please, and it is beyond the realm of dust.
In the middle of the Ming Dynasty, the literati of the Wu clan regarded being good at calligraphy and painting as their elegance, fashion, and means of making a living.
The atmosphere is prosperous and the level is high, ranking first in the country.
Its inheritance is passed on by junior disciples, such as Shen Zhou to Wen Zhengming, Zhou Chen to Tang Yin, Qiu Ying, Wen Zhengming to Lu Zhi, Qian Gu, etc.; there are also sons who inherit their father's inheritance for several generations, such as the Wen family. He was good at painting for at least five generations and became famous for nearly two hundred years. He is an outlier in the history of Chinese culture.
There are more contemporary fathers and sons who have voices at the same time, such as Chen Chun, Chen Guo and his son, Lu Shidao, Lu Shiren and his son, Ju Jie, Ju Maoshi and his son, etc.
Among them, Chen Chun and his son have received the most attention. The main reason is naturally because Chen Chun was able to break out of his own school, lead the trend of Chinese freehand painting, and became a generation of masters. His son Chen Guo can also Living up to his father's ambition and inheriting his family's learning, he can be called the best among the second generation of Wen's disciples, superior to Lu Shiren, Ju Maoshi and others.
It is a pity that he died young and his works were not circulated much, so it was a shame for those who knew him and a pity for the art world.
According to the records of Wang Shizhen, Jiang Shaoshu, Zhu Mouhe and others, we can roughly know: Chen Gui, whose courtesy name is Zizheng, also known as Tuojiang, and Daofu Zhongzi. He is a good drinker and good at writing about flowers. He is "slowly eager to live". Although he is dissolute, he is very successful. His interest in life was even highly praised as "seemingly better than his father".
Judging from the poems written by Wen Zhengming, Gu Wen, Wen Peng, Zhang Fengyi, Wen Jia and others in the back volume of "Pear Blossoms and White Swallows" by Chen Gui, an old scholar in Tiandu, and the fact that his works were collected by Xiang Zijing, a great collector in the Ming Dynasty, we can see that he At that time, he was a figure with wide contacts and great influence in the Wumen painting circles.
Chen Guo's birth and death dates are now difficult to ascertain.
However, judging from the records recorded in the past and the paintings that can still be seen, his creative career roughly began in the 14th year of Jiajing and ended in the 32nd year of Jiajing.
I have been involved in painting for about eighteen years.
The "Flower Pictures" volume, which was painted in the 14th year of Jiajing and is now in the Suzhou Museum, is of a high standard. Not low. For example, if Chen Kuai was twenty years old at that time, he would have only lived to be about forty years old in the 32nd year of Jiajing.
This is roughly consistent with the records of Jiang Shaoshu written by predecessors who "pity that he traveled to immortals earlier" and "pity that he will not live forever".
However, there is a piece of "Eternal Green Picture" inscribed by Chen Guo in the collection of the National Palace Museum in Baodao. It has the inscription of the fourth year of Longqing's reign, which inevitably raises suspicions.
However, if you look closely, his brushwork is rough, bloated, and vulgar, which is completely inconsistent with the style of all Chen Guo's works. The title of his painting is also vulgar and substandard.
According to the reliable works of Chen Gui, there are about four paintings painted by Guichou in the 32nd year of Jiajing. One is in the Palace Museum, one is in the Shanghai Museum, one is in the Jilin Museum, and one is in the Haixi Bihu Villa.
After the 32nd year of Jiajing, no other works have been handed down.
There are many reasons why Lu Fei likes this work by Chen Guo.
First of all, there is the person Chen Gui.
Chen Gui can be said to be the evil genius of the Wu sect. Although there are very few surviving works, judging from the only four remaining works, Chen Gui's eighteen-year painting career can be said to have made rapid progress.
The progress made in more than ten years even exceeds the accumulated experience of many people over decades, which is simply incredible.
From this point, we can also see how terrifying this monster's painting talent is.
Another point is Chen Gui’s fate.
Kong had an astonishing talent, but died young.
According to folklore, the reason why he died young was because God was afraid of his incredible talent and wanted to take it back early.
Although this is just a folk legend, it can be seen from this legend that people regret and respect this talented person, and Lu Fei also does the same.
In addition to these, there is also the quality of the work itself.
Although this work is covered with countless seals and graffiti, it still cannot conceal the excellence of the work.
The overall layout of the three-and-a-half-meter-long work is astonishingly detailed, with not a single flaw to be found. It has reached such a level that only a handful of them have been in history.
The use of various brushwork and the processing of details are all perfect. Standing at a distance and carefully admiring it will give people the illusion of being on the scene. This is the artistic conception of the legend.
When it reaches such a height, the level requirements for appreciators are no longer so demanding. As long as one looks carefully, anyone can see the magnificence and beauty of this painting. To reach such an artistic conception, this is a masterpiece.
Although the stamping maniacs of this painting caused considerable harm, on the other hand, if it were not so excellent, it would not be possible for the stamping maniacs to be so excited.