Complete Song Dynasty Notes - (Second Edition) (Part Four)

Author: Zhu Yian
Publisher:
Publish Date: 2006-01-01
Features: Huang Quan's paintings are not fully captured, easy to imitate, while Xu Xi's paintings are unimpeachable. Su Zimei's "Huang Quan's Sparrows," only thirty copies exist in Suzhou, with no minor differences. Today, the palace screens are painted in Huang Quan's style, slightly aged and removed, making them indistinguishable. Wang Jinqing once traded six Huang Quan-style peony scrolls with me, later exchanging a small scroll of Bai Dai's ox, inscribed with the imperial calligraphy of Emperor Taizong, "Dai Song's Ox." Subsequently, all the screens in Zhejiang were adorned with this peony scroll, indistinguishable, as pasted screens are prone to damage. Later, the ox was traded for a silk scroll by Huai Su and a box of imitations of Jin dynasty calligraphy by Lu Ji and Wei Heng, which were later sold to Liu Jin.
Once, Wang Jinqing traded Han Ma's "Night-White Horse" for a Yan Shu scroll titled, "Wang's Minister's Property, placed twice on official documents." He later traded Yan Shu's scroll with me. Liu traded a stone from Yan Shan for the horse, and only upon receiving the white ox did he rejoice, thinking he had both Han Ma and Dai Song. Yet, only a small Du Guo scroll remained to match the style. Liu then composed a song:
"Yuanzhang's love for antiques surpasses all, his calligraphy and paintings awe the world. I composed a song: 'The world adores the odd, unyielding, the odd finds kinship in the odd. Only when the odd meets the odd can they unite, asking the world to match its people. The Six Dynasties and Tang's glory combined, seeking ancient fame already fades. When people perish, their treasures fade into dreams, yearning for future appreciation. Yuanzhang's heart mirrors autumn's moon, ascending the heavens on one path. His family's meager fare, no grain in a bushel, yet his calligraphy and paintings draw the world's gaze. Like the ocean's depths hold a hundred treasures, you ride the waves to claim them. Wang, Chu, Lu are heaven-made, while the old Guan is a celestial craftsman. His robes, like the 'Residue' scroll, reveal brilliance like a hanging star. Precious rhino, auspicious brocade, supporting orchids, dragons leap, phoenixes flutter, spirits tremble. Golden immortals curse, daring to touch them; jade figures rest lightly in the palm. My home is secluded, deep, retreating, yet mastering it is hard. The world often strives but fails, their eyes like shrimp, always hazy. Sealed secrets, false pretenses, all bow to the grandeur of the brush. The air in my sleeves is thin as a thread, the clean desk and bright window invite admiration. All treasures worth ten thousand in the past are not worth the fire's destruction. With all my heart, I seek perfection, not to surpass, but to kill imitation with slander. In solitude, I call myself a scholar; in inquiry, I find good fortune like a sealed painting of the Three Bibles. My sons, though young, will protect these, refusing to trade hunger for deceit. The 'Book of Calligraphy' records Xue Daogu's poem: 'Everything moves, breaking a thousand gold.' Thus, my two treasures, like high towers, are unmatched in the world. Letters and poems pass in leisure, yet dust deceives, filling my sorrow.]
I replied: [Liu's collection of paintings is too humble, even the branches and flowers of Xu Xi. Ten years later, he will understand, taking my Han and Dai as wonders. Recently, his white hair delves into the profound, scholars believe in bone and skin. Only then do they know ten layers cover the wall, while oxen and horses can wrap worn curtains. The solemn temple master of the Great Peace, with a white silk hat, no crown or ornament. Martial artists follow in solemn rows, court ladies attend with furrowed brows. His spirit is clear, his eyes reveal a life of few desires, his teeth show, his lips reveal hunger. The world sees his attire like Mozi, yet knows not the robes of Six Dynasties monks. Future generations must not confuse the Tang with the chaos, the Liang's brushwork is unmistakable. Daozi would kneel before it, Cao and Liu are but shadows at its gate. He should rank the world, yet his Guan brush lingers in ripples.]
At first, I was told I had obtained a portrait of Emperor Wu of Liang, now in Zhonghu's possession. Wei Tai, styled Daofu, had a paper painting of Xu Xi's "Clearest Heart Hall," with flying pheasants as lifelike as real. Zhi Yong's "True and Cursive 'Retirement to the Countryside'" is also a rare treasure. Fan Dagu had a branch plum blossom painting from the rich family, ancient brushwork, not from Jiangnan or Sichuan. Su Shunqin's "Zimei" family owned a mountain landscape by Bi Hong, ancient and unique, inscribed with a few lines: "Brushwork fierce and perilous is his style." Wang Minfu collected four horizontal scrolls of Li Chongguang's flowers on paper, each depicting a season with an essay on the item's appreciation and a painting, the calligraphy also from his early years. The flowers are clear and lovely.
P281-282