"I don't know if in a few years, the stick guys will say that they invented celadon..." Zhou Zhi picked his chin and thought a little too far.

"Can such a thing happen?" Jiang Tianxi, the chairman of the history department, was dumbfounded: "How can they be so shameless?"

"Well, there is a saying over there that Emperor Taizong of the Sui Dynasty and Emperor Taizong of the Tang Dynasty's eastern expedition to Goryeo failed disgracefully. All the Lingxiao Pavilion ministers of Emperor Taizong of the Tang Dynasty were buried in the three eastern provinces, and even Emperor Taizong himself was shot blind.

With only one eye, he finally cried and begged Goryeo General Quan Gaisuwen, and then he escaped with a name and returned to Chang'an in embarrassment... Oh, Director Jiang, what happened to you..."

Director Jiang pressed his hand on his chest, his posture was a bit like having a heart attack. Zhou Zhi was so frightened that he hurriedly supported him: "Let's not talk about this anymore, let's go look at calligraphy and painting..."

In fact, there are many things worth seeing in porcelain, such as exquisite porcelain from various dynasties in the Qing Dynasty. Among them, the two most coveted by Zhou Zhi are the JDZ kiln exterior enamel cups with blue and red lotus branches wrapped around them, and the Fujian De

White porcelain Guanyin statue from Huayao.

These are two items with completely opposite styles. One is extremely complicated, using various enamel glaze colors. After firing, it is also covered with silver. The inside looks like a pure silver enamel bowl. I would never have imagined that this would happen.

It's a piece of porcelain, but it's just covered with silver skin.

The color of the other one is simple to the extreme, pure white.

This white color was called "swan white" by foreigners in export porcelain, and it was the whitest porcelain among all porcelain in the world at that time.

The Guanyin statue uses hard porcelain to show a soft effect. From Guanyin's skin to clothing and ribbons, it is full of elasticity and elegant feeling, which shows that the sculptor has reached the ultimate grasp of dynamics.

These types of porcelain were not available at Zhou Zhi, so I wanted to study them in detail. Unfortunately, I almost lost my temper due to a careless remark, so I had to change the environment quickly.

The collection of ancient calligraphy and painting works in Shu University dates back to the Song Dynasty and extends to modern times at the latest. Among them, what Director Jiang and Director Yuan are most proud of is the large collection of two series.

The Wumen School of Painting in the Ming Dynasty and the Eight Eccentrics of Yangzhou in the Qing Dynasty.

The Wumen School of Painting is a general term for several famous painters and their artistic heirs who established themselves in the painting world in the mid-Ming Dynasty, mainly including the "Four Schools of the Ming Dynasty", each of whom is a famous figure - Qiu Ying, Shen Zhou, Tang Bohu, Wen Zhengming

.

Under him were Chen Zun, Lu Zhi and others.

Now Zhou Zhi is standing in front of several large paintings.

Shen Zhou's "Landscape Picture Imitation of Ni Yunlin" and Wen Zhengming's "Valley Flowing Picture".

Shen Zhou was the founder of the Wumen School of Painting. He studied under the four masters of the Yuan Dynasty and was influenced by the style of the Southern Song Dynasty painting academy. He also spanned the Northern Song Dynasty to Dong Yuan, two great landscape masters of the Five Dynasties.

Among the "Four Great Talents in the South of the Yangtze River" that everyone is familiar with because of the nonsensical "Tang Bohu Burns Autumn Fragrance", Tang Bohu, Zhu Yunming, and Wen Zhengming are all his disciples.

The reason why the word "imitation Ni" is added before "Yunlin Landscape Painting" is because Shen Zhou's inscription in the painting said that he was imitating Ni Zan and Ni Yunlin, one of the four masters of the Yuan Dynasty.

Zhou Zhi now holds in his hands two restored ancient paintings by Jing Hao, namely "Sitting on the Dragon" and "Shu Mountain". He also personally restored the "Mangzhu Entering the Mountain" by monk Kun Can in the late Ming and early Qing dynasties.

I am no longer a complete layman in this area.

Ni Zan's landscape paintings are characterized by calmness and distance. The most typical composition method is a soil slope in the foreground, with a clump of miscellaneous trees growing on it, and a small thatched pavilion next to it. The distant view is a gentle hill above.

The characteristics of the chamfering method are that the whole ink painting is chamfered with fine brushes, the color is light and elegant, and there is basically no thick brush and heavy ink.

This can be said to be a typical symbol of Ni Yunlin's landscape.

Shen Zhou has a nickname called "Coarse and Heavy", and his paintings have two styles: "fine and heavy" and "coarse and heavy".

Xiu Shen absorbs and imitates the painting methods of famous literati paintings of the previous dynasties. It is elegant and bookish, and is the representative of literati paintings in the Ming Dynasty.

And "coarse and heavy" is his pioneering work. He writes boldly and boldly, concisely and plainly, which is a breakthrough and innovation from the previous dynasty.

So the question arises. If Shen Zhou were in front of Zhou Zhi now, Zhou Zhi would not be able to help but ask him - you agreed to imitate Ni Zan, why do you still play your own style?

Looking further down, hey, as if Shen Zhou expected someone to ask this question, he wrote two sentences in the signature - "This is similar to Ni Zhou, and it is neither specious nor false."

"Elbow, do you still know how to draw?" Director Yuan asked.

"I only know a little bit, but I know a lot more about Song Dynasty paintings."

This is indeed not a lie. Although the paintings of the four Ming painters are also great, and the auction prices can easily reach tens of millions, the two restored Song paintings in Zhou Zhi's hands are enough to replace all the paintings of the Wu School in this exhibition hall. work.

"Then you should understand clearly. After all, the four Ming dynasties are all following the famous masters of the Five Dynasties, and the ones who are most deeply influenced by the famous masters of the Five Dynasties and have the closest inheritance are the famous masters of the Song Dynasty, aren't they?"

"Yes, I am aware of Ni Zan's painting style." Zhou Zhi said: "Shen Zhou's painting style seems to be... a blur of ink. Although I occasionally follow the brushwork of the Song and Yuan Dynasties, I am still worried about it. .”

"Where do you think you are willing to chase after you?" Director Yuan didn't want to let Zhou Zhi pass so easily.

"Ni Zan's paintings like to paint rocky slopes near the shore and three or five trees in the close-up; one or two flat slopes in the distance and mountains in the distance; the blank space in the middle is the water surface without any waves. At a glance, the paragraphs are concise and clear, and the density is consistent, leaving " The wonderful use of "white" is to the extreme, pursuing the 'sound between the strings' and the 'statement beyond the words'. I call it the method of 'one river and two banks', just like standing on the corner of the stone plate in our hometown and looking at the nearby scenery. The strange rocks are like the mountain villages and white pagodas on the other side of the river."

"The painting around me looks like an autumn scene in the Western Mountains. The composition imitates Ni Zan's "one river and two banks style" flat and far composition. The scenery is simple and the realm is broad. The close shot on the right is painted with soil and mixed trees on the bank, and the middle shot is It is an archipelago in the center of the lake, with temples and pagodas standing on the islands. The distant view is of misty mountains, and the water is quiet and has no water marks."

"The slope of the mountain is gentle, similar to the shape of Dong Ju's 'Steamed Bread Mountain'. The outlines of the rocks are outlined with light ink. These are the characteristics of the Five Dynasties painters."

"However, near the slopes and bank corners, the side-edge folding method is often used. It seems to have some of the characteristics of Ni Zan's "pinning hemp folding". However, the strokes are thick and short, and the thick ink is randomly dotted with moss. The brushwork and ink rhythm are similar to Huang Gongwang, but it is Light it first and then chafing it.”

"If I'm not mistaken, it should be Shen Zhou's own initiative and characteristic."

"The whole picture has slopes, mountain contours and lines, clean and simple pen and ink, light ink outlines, cracks and thick ink spots alternately, the picture has rich layers of ink. The southern landscape is written in a simple and vigorous way, which is quite a bit awkward. The demeanor of a person who lifts a heavy weight as if it were light."

"I'm not too familiar with Shen Zhou's works, but although this painting is an imitation, it does not copy Ni Zan's style step by step, but adds personal understanding to the imitation. I guess this should be Another of his styles - the origin of the theory of roughness."

Both Gu Zhenduo and Director Jiang applauded at the same time. Director Yuan was very curious: "You seem to be very familiar with Ni Zan! Most people can't say so many things."

"I'm not very familiar with Ni Zan, but he inherited Jing Hao's painting style. I'm familiar with Jing Hao, and I also know Ni Zan's favorite method of folding and cracking. This method is often used in the close shots in this painting.

, Shen Zhou’s paintings at that time included a small amount of imitations of Ni Zan.”
Chapter completed!