Complete Notes on the Song Dynasty: Volume 2, Part 4

Author: Zhu Yian, Fu Xuanzong, et al
Publisher:
Publishing Date: 2006-01-01
Features: Huang Quan's paintings are not well-received, easy to imitate, while Xu Xi's paintings are unimpeachable. Su Zimei's "Huang Quan's Sparrows," with only thirty copies in Suzhou, are even more unique. Today, when making screens, we use Huang Quan's style, and slightly worn ones are hard to distinguish. Wang Jinqing once traded six Huang Quan-style peony paintings with me, later exchanging a small white cow painting with Dai Song. The calligraphy on the cow painting by Gao Zhan is inscribed with the imperial seal of Emperor Taizong. Later, all the screens in Zhejiang were adorned with this peony painting, making them indistinguishable, as the scrolls were easily damaged. Later, the cow painting 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. Wang Jinqing once traded a painting of a horse with a moonlit background with me, titled "A Treasure of the Wang Court," inscribed with "Presented to the Wang Court twice." Liu traded a stone from the Ink Mountain for the horse painting, and only after obtaining the white cow did he rejoice, thinking he had both the horse and the cow. However, he still lacked Du Guo's "White Crane." 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 oddballs without measure, oddness does not flatter but reveals truth. Only odd people and odd objects can be paired, asking the world to match ordinary souls. The Six Dynasties and Tang's glory combined, seeking ancient fame has long faded. With people gone, objects lost, left to the dreams of decay, longing for future appreciation. Yuanzhang's heart mirrors autumn moon, ascending ever higher. Once, his family's meager fare lacked a grain of rice, yet his calligraphy and paintings amazed the world. Like the ocean holding countless treasures, you caught them on the waves. Wang and Chu, Lu—divinely crafted, while old Gu, like the Buddha, is a master. The layers of my 'Residue' are many, but only brilliance shines like a celestial image. Precious rhino horn and rare brocade support orchids, dragons leap, phoenixes flutter, scaring demons. Golden immortals curse, daring to touch them, while jade figures are placed in hands. My home is secluded, deep, retreating like a master, hard to approach. Worldly men often boast of strength, yet their eyes are like shrimp, always hazy. Sealed secrets and false truths bow to each other, unseen the true king in calligraphy. The air in my sleeves is thin as a thread, the clear table and window invite admiration. All treasures worth ten thousand in the past are not worth the fire of decay. With all heart, marvels are not sought for victory, but reckless imitation invites blame. Sitting at ease, I call myself a scholar; knocking, I seek the rare like the Three Bibles. My sons, though young, will protect them, refusing to trade hunger for deceit. The Book of Calligraphy records Xue Daogu's poem: 'Everything moved, breaking a thousand gold.' Thus, my two treasures, like high towers, are unmatched in the world. Letters and poems pass in time, yet dust deceives, leaving only sorrow."
My reply: "Liu's collection of paintings is too humble, starting with Xu Xi's branch flowers. Ten years later, he will understand, taking my Han and Dai as wonders. Recently, his white hair has reached the depths of truth, scholars believe in both essence and form. Only then do they know ten layers only cover walls, cows and horses can wrap worn curtains. The solemn abbot of the White Silk Hat Temple, bare-headed, without adornment. Martial men follow in solemn rows, court ladies attend with furrowed brows. His spirit is clear, eyes reveal a life of few desires, teeth show, lips reveal hunger. Worldly men see his attire like Mozi, unaware it is the clothing of Six Dynasties laymen. Future generations must not confuse Tang's chaos, for Liang's calligraphy is unmistakable. Daozi would kneel again, Cao and Liu—what compares to his gate? He should rank the world, yet his brush is in the ripples."
When first informed of my acquisition of the Liang Emperor's portrait, it now resides with Zhonghu. Wei Tai, styled Daofu, had a paper painting of Xu Xi in the "Clearest Heart Hall," with flying pheasants as lifelike as real, and Zhu Yong's calligraphy of the "Retirement Ode," rare treasures. Fan Dagu had a branch pear blossom from Mr. Fu's home, ancient brushwork, not Jiangnan or Sichuan style. Su Shunqin's "Zimei" family owned a mountain landscape by Bi Hong, ancient and unique, inscribed with several lines: "Brushwork fierce and perilous." Wang Minfu collected four horizontal scrolls on paper by Li Zhongguang, each depicting flowers of the four seasons, with an essay on each, painting and calligraphy from his youth, the flowers clear and lovely. P281-282