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Song Dynasty Huang Tingjian Hanshanzi Pang Jushi Poetry

The Poems of Hanshan and Pang Jushi are a collection of the Tang Dynasty hermit Hanshan’s admonition poems and the poems of the layman Pang Yun. Looking at the Poems of Hanshan and Pang Jushi, the brushwork is concise and powerful, vigorous and vigorous, and the spirit is relaxed and free, especially the solid style of Qin seal script and the handsome style of Han official script. The strokes are tortuous and abrupt, like rowing a boat against the current, and the strength is enough to lift a tripod. As the poet Feng Ban of the early Qing Dynasty commented in "Dun Yin Za Lu": "The brush starts from the painting, returns to the left and stops the wrist, and actually draws to the right, but then jumps back, just like a cloud encountering the wind, going forward and returning." The structure is peculiar, almost every word has some exaggerated long strokes, and they are sent out as much as possible, forming a style of word formation with a tight center and divergent sides. The composition is creative, and the method of displacement is often used to break the boundaries between single words, so that the lines form new combinations. The whole article is magnificent and the brushwork is dripping. Kang Youli of the Qing Dynasty once commented: "Among the calligraphy works of the Song Dynasty, I particularly like Shan Gu. Although they are lofty and majestic, they are also relaxed and meaningful, and are charming to the eyes. As for their brushwork, they are thin, vigorous and graceful, which is similar to seal and official scripts."

Song of Monk Xueyan's Cane by Zhao Mengfu of the Yuan Dynasty

The Song of the Cane was written by Song monk Zuqin, which contains a lot of Zen Buddhist wit. Zuqin, also known by his courtesy name Xueyan and Huilang, was a native of Wuzhou (Jinhua, Zhejiang) and the fifth-generation descendant of the Linji sect. Yuan monk Gaofeng Miaogong (1238-1295), also known as Yuanmiao, received Dharma from Xueyan Qingong in his early years and was the seventeenth-generation descendant of the Linji sect. This scroll was written by Zhao Mengfu in his middle and late years for the disciple of Gaofeng Miaogong, the abbot of the Dajuezhengdeng Zen Temple in Tianmu Mountain. It is a work of Zhao Mengfu in his middle and late years. In addition to being calm, free and easy, and charming, it also shows the pure style of Jin and Tang calligraphy. The original ink marks are damaged in several places. There are inscriptions on the back of the scroll by famous Yuan monks Liao'an, Miaosheng, Ruozhou, Yuze, and Zheng Yuanyou of the Yuan Dynasty, Wang Daokun of the Ming Dynasty, and Lu Shaozeng of the Qing Dynasty.

Huang Binhong's High Pavilion and Greenery

Xu Beihong's heroic posture after a hundred battles

Zhang Daqian's Lotus Pond Residence

Qi Baishi Palm Leaf Insects

Zhang Daqian, Huang Binhong and others' album of full moon flowers

Qi Baishi and Liu Chunlin Red Chrysanthemum and Cricket - Regular Script Seven-Character Poem

Huang Binhong Gu Sui Autumn River Thatched Pavilion - Running Script Poetry

Fu Baoshi's Boating

Huang Binhong's Lake and Mountains in Spring Dawn

Qiandu Momeitu

Lu Yifei Plum Bamboo Parrot

Lu Yanshao's Rhymed Plum Blossoms

Xie Gong Exhibition of White Peony

Liu Lingcang's Painting of Chrysanthemum

Hu Peiheng Watching the Waterfalls on the Li River

World Art Selection