Complete Collection of Chinese Painting. 23, Qing Dynasty. Volume 5

Author: Ancient Chinese Painting and Calligraphy Appraisal Group
Publisher:
Publishing Date: 2000-05-01
Features: Zhu Da, self-named Baishan Shanshan, possessed a unique and eccentric personality. His paintings were filled with the loneliness and resentment of a displaced person. His landscape paintings drew inspiration from Dong Qichang, with desolate, cold, and detached artistic conception, and his brushwork was somber and restrained. His flower-and-bird paintings, based on the freehand style of Shen Zhou, Chen Chun, and Xu Wei, established a new style. His forms were simple and strange, his compositions daring and unconventional, his brushwork concise and heavy, yet full of charm, greatly influencing Qing Dynasty flower-and-bird paintings. The works collected in this book are representative paintings of Zhu Da from different periods of his life, along with the works of artists such as Niu Shihui, Jin Yue, Lu Yuan, Wang Wu, Gao Jian, Gu Fuzhen, Xue Xuan, and Liu Ju from the early Qing Dynasty, totaling seventy-eight pieces. The Complete Collection of Chinese Painting is compiled based on the selected fine paintings from the nationwide appraisal of ancient Chinese painting and calligraphy by the Ancient Chinese Painting and Calligraphy Appraisal Group, supplemented by works from museums outside mainland China. This book only includes ancient Chinese paintings created on silk (including silk, brocade, and gauze) as the medium. Murals, stone carvings, and woodblock prints from different historical periods will be compiled separately in the complete collection. The book is arranged according to China's historical eras, with artists listed in chronological order within each dynasty. Works unearthed or discovered in the Dunhuang Grottoes are placed before the works passed down from the same era. The works of the same artist are arranged in the order of their self-proclaimed creation dates. Anonymous works are placed at the end of each dynasty, categorized by subject—landscape, figure, flower-and-bird, and miscellaneous—roughly ordered by the early or late style. For the convenience of volume division, the chronological order of artists from the same era may be slightly adjusted. Many famous paintings that have beened for a long time and have been recognized as authentic since the Song, Yuan, Ming, and Qing dynasties are retained with their original titles and names as much as possible. The content of this volume is divided into two parts: plates and plate descriptions.