Author, content introduction: Postscript of Song Ke (1327- 1387): Postscript of the sage's floating picture. According to legend, the holy monk floats on the sea, and his sixteen bodies are all attached to his god. There is no danger like the sea in the world, and there is no help like a boat in the world. A boat has tools to help danger. But the boatman may not be able to rely on it to help the crisis. If he can't fake the boat, but when he reaches the vast sea, there will be a god who changes the weather, and he will be at a loss. Today, the holy monk uses his god in the sea. Although clouds and waves are flying in the sky, the sun and snow are jumping, the dragon and tiger are teetering, and the dragon and catfish are in shock and fearless. When he died, he was greeted by water. The so-called tangible illusion comes and goes without a trace. The god he feels is not only big but also fast. People know his witness Stu and realize his goal. I will be kind and poetic, moral and stone Ding Zhongxin, I will swim in my sacred study career, and I will keep going instead of becoming a god. There is nothing in the sea. In the fourth year of Hongwu (137 1), Juyue went to Huan and Song Kezhong and wrote the postscript of Cao Xuan in the Cloud.
Seal: Wen Zhong and Song Ke privately printed Wang Shuchang's long postscript and stamped it with two seals.
Collection seal: Qianlong (1711-1799): Qianlong imperial treasures, shiqu treasures and Qianlong appreciation.
Wang Shuchang (1885- 1960): Seal of Wang Shuchang.
Textual research on the time of The Unknown Sailor's Floating Picture
Dan Guoqiang
Recently, I saw the volume "The Sage's Floating Picture", which has been anonymous. This painting
Sixteen arhats crossed the sea, and the paper copy was inscribed by Song Ke in the early Ming Dynasty with the inscription "Postscript of the Holy Monk's Futu". The inscription was "In the fourth year of Hongwu, Song Kezhong put a postscript on the grass porch pavilion in the cloud", which was privately printed by Zhu Fang and Song Ke. In addition, Wang Shuchang, a disciple of the Buddha, wrote an inscription introducing the title of Sixteen Arhats, with the annual stamp "New Year's Day in Xinsi" and two seals "Wang Shuchang" and "Wu Ting" Zhu Fang. The seal of the collection is "Stone Canal Treasure".
Treasure of Imperial View, Appreciation of Dragons and so on. This painting method is subtle and old-fashioned, but there is no mention of the painter or era in Song Ke's postscript. As a free and anonymous work, it is mainly to solve the dating problem and determine its value according to the artistic level.
From the analysis of the seals collected in the Forbidden City, it is found that the seals are real.
This painting is by no means a work after Qianlong. In these two suffixes, Song Ke is very early (1327- 1387). He was a famous calligrapher in the late Yuan Dynasty and early Ming Dynasty. Hong was recruited as a book assistant, and Guan Fengxiang was a co-knowledge. Good at regular script and cursive script, especially cursive script. Regular script is the main Sect, pursuing boring; Learn from Zhao Mengfu in lower case,
However, it can break the habit of being too tall and straight, and the changes of retraction, opening and closing, straightness and strangeness are rich, which is closer to Wang Xizhi; Wang Xizhi, a cursive writer, mixed with a little cursive structure and pen, saw power and profit in the round, and beauty in the clumsy; Cao Zhang is especially different. After an in-depth study of Wu's Collection of Nine Articles, it is found that the pen is straight, the bones and muscles are strong, the cutting strength is heavy, and the knot is flat and beautiful. Song Ke's Postscript is a small regular script, which embodies the beauty of Zhao Mengfu, but the thickness, weight and Fiona Fang of stippling have changed a lot.
Using a pen to form a structure, we can see the traces of Cao Zhang, such as the strokes of the word "nothing", the intersection of the word "you", the structure of the word "four", and the style and maturity of writing.
Facial match. If compared with the front-end fine print in the existing volume Ten Techniques of Calligraphy and Pen (collected by Beijing Cultural Relics Bureau), the styles are also very consistent, such as "Yong", "Wei", "Zhi" and "Cao".
Calligraphy and even structure are very similar, which proves that this postscript is Song Ke's original.
At this point, the creation time of the picture should be before the Ming Dynasty, that is, the Tang, Song and Yuan Dynasties.
To further determine the age of this painting, we should analyze it from two aspects: theme content and painting style. The Lohan in the picture is a disciple of Buddha. According to Tang Xuanzang's interpretation of Dharma House, Sakyamuni once let the sixteen arhats live permanently in the world and help all beings. Early Buddhist scriptures and related documents only recorded 16 arhats, such as Amitabha Sutra, Fazhu Ji and Song Dynasty.
Sok Li's Ark Collection 14 Sixteen Arhats Zan, "Meizhou is a good place.
Pavilion Sixteen Lohan Zan and so on. In the Buddhist paintings handed down in the Tang Dynasty, there is no image of Lohan, and there is no description of Lohan in painting books such as History of Zhenguan Public and Private Paintings, Records of Famous Paintings in Past Dynasties and Records of Famous Paintings in the Tang Dynasty.
During the reign of Huizong in the Northern Song Dynasty, Xuanhe's painting spectrum began to record the sixteen arhats painted by the so-called monk Zhang Liang and the sixteen arhats painted by Tang Lu Lengjia.
Sixteen arhats and Sixteen arhats are also sixteen arhats. Whether their works are authentic works of Liang and Tang Dynasties is doubtful, but it shows that there were sixteen arhats in the Northern Song Dynasty. As for the Sixteen True Pictures painted by Guan Xiu (Zen Moon Master) in the Five Dynasties, there is still a set of manuscripts.
(hidden in the Japanese Palace Hall), it may be an ancient manuscript with history. Eighteen arhats appeared in the middle of the Northern Song Dynasty, coexisting with sixteen arhats, and Su Shi had seen both kinds of arhats at the same time. For example, the twentieth volume of the Complete Works of Su Dongpo, and another ode to eighteen arhats.
The tenth volume of the Complete Works of Su Dongpo contains "Returning from Hainan, crossing the Baolin Temple in Qingyuan Gorge, praising Zen and painting eighteen arhats on the moon"; The 19th volume of the Complete Works of Su Dongpo contains 16 arhat praises, and there is also a Guanyin praise in the same volume, which is recorded as "Master Fazhen of Xingguo Bathroom Hospital repaired sixteen arhats". At that time, the two arhats added to Eighteen Arhats were not fixed. Sometimes they were Xuanzang, the author of Fa Zhu Ji, and the translator (or Bintoulu, who reread the first statue), sometimes they were sighing with soldiers, sometimes they were Gadamodoro and a cloth bag monk, sometimes they were arhats who crouched down the dragon, and sometimes they were Moyev and Maitreya who preached in Tibet. Su Shi's two pictures of eighteen arhats are inconsistent. Among the Eighteen Arhats painted by Zan Chan Yue, the seventeenth is Qing You and the eighteenth is Bin Tou Lu. In Ode to Eighteen Arhats, the seventh venerable wrote "Sit by the water, and the dragon will come out", which is obviously a dragon-lowering arhat. The thirteenth venerable wrote: "There are tigers."
In the past, it was obvious that the boy was hiding and peeking at him. As for the eighteen arhats, plus the dragon and tiger arhats, it is the stereotyped writing mode. I'm afraid that after the Northern Song Dynasty, the so-called "Six Buddhas" painted by Tang Lu Lengjia were originally part of the Eighteen Arhats.
Actually, it was written by a painter in the Southern Song Dynasty. His name is Houtian. The 17 and 18 surviving figures are arhats who are fighting dragons and crouching tigers, which can be used as evidence for the stereotype of the Southern Song Dynasty.
The change of the theme from 16 arhats to 18 arhats can be used as an important basis to judge the relative age of this picture. 16 Lohan, instead of 18 Lohan, may not be painted later than the middle of the Northern Song Dynasty, but there is a Lohan lurking tiger (second place) in the image, and there is no Lohan to dragon. This combination is intertwined with the eighteen arhats, indicating that this painting is regarded as
In the transitional period of the evolution of the two types of arhats, that is, they did not follow the combination mode of sixteen arhats stipulated in Buddhist scriptures and did not reach the main type of eighteen arhats
Degree, so its time when in the late Northern Song Dynasty to the early Southern Song Dynasty.
Then analyze it from the aspect of painting style. As a kind of technical painting method, describing works, using fine pen smoothly and clothes lines close to flowing water, these painting methods obviously originated from Li School in the Northern Song Dynasty. The figure's face still carries Brahma with a high nose and profound meaning, and the parallel line between the garment line and the water wave is obviously influenced by Guan Xiu. It can be seen that this painting is not too far away from the Five Dynasties and the mid-Northern Song Dynasty. However, there are twists and turns in the clothing lines, which are similar to those popular in the Southern Song Dynasty, such as folding reed and pouting. The shading of ink painting is more detailed and has the characteristics of the times in the early Southern Song Dynasty. So judging from the painting style, this painting belongs to the late Northern Song Dynasty to the early Southern Song Dynasty.
Works. His works are highly skilled, especially the Sixteen Arhats have different shapes, different expressions and particularly impressive eyes. The author is a descendant of Li School.
This picture shows fine silk, belonging to Song silk, with an old flavor and a long history. At the same time, it is well preserved, including the long postscript of Song Ke in Ming Dynasty and the seal of Qing Dynasty.
It can be described as an orderly cycle. However, it has not been recorded by predecessors, and it is a newly discovered treasure of figure painting in Song Dynasty.
I can't help looking for so many.