Liang Qichao wrote in the ice room.
In a sense, playing with collections is playing with culture. The knowledge of calligraphy and painting is profound. To play calligraphy and painting, one should have a certain knowledge and awareness of traditional culture, and choose and collect works of art with profound cultural connotation and China traditional spirit from the perspective of cultural people. Only people with profound knowledge and cultivation can truly enter the high-level art collection.
Regarding the interaction between collection and learning, I only take Liang Qichao's paintings as an example.
As we all know, Liang Qichao is knowledgeable and well versed in ancient and modern times. He is not only proficient in classics, but also in epigraphy and calligraphy. Tibetan painting, painting appreciation and painting inscription are the elegance that accompanied him all his life. As an academic master, Mr. Liang's Tibetan paintings have his unique perspective, which comes from the keen inspiration and extraordinary appreciation interest of cultural people.
Liang Qichao's paintings include both ancient paintings by ancient famous artists and some new works by Dan Qing at that time. He cherishes calligraphy and painting without fame and fortune, regardless of the author's fame and whether the market price will soar in the future. What attracts him is calligraphy and painting. And what he knows with his literary eyes must be a good structure with extraordinary taste. You may not believe it, but Mr. Liang Qichao's paintings are the richest among his closest Yu Shaosong's works.
Yu Shaosong (1882— 1949), whose real name is Yuan Yue, Han nationality, is from Longyou, Zhejiang. Born in Guangzhou. Beijing middle-aged service officer, built a house in Hangzhou in his later years. Gongshu, especially good at writing landscapes, pine and bamboo, is a scholar-type painter, with a huge and majestic appearance and a wide variety of works. In Hangzhou, Yu Zeng edited the supplement of Southeast Daily, Jinshi Calligraphy and Painting. The author has a bound volume. After reading the Preface to Stone Painting and Calligraphy written by Yu Shaosong, I know that Mr. Yu is a patriotic artist. Although Mr. Yu is not a master in China, his works are of high taste.
Liang Qichao and Yu Shaosong had long been in contact. They used to work together in the judicial database. Liang also prefaced the editor-in-chief "Longyou County Records". /kloc-in the summer of 0/927, I lived with Liang in Tianjin. In his spare time, Yu often comes to the ice room to chat with Liang Qichao. After chatting for a while, I began to draw, usually in small sizes, such as fans and small banners. At this time, Liang Qichao always asked Sida and others to see Yu Shaosong's paintings, and asked Yu to tell the children about Chinese painting techniques, and presented Yu's small works to everyone for collection. At the same time, Yu also painted a fan as a souvenir for them, especially for Si Cheng, Si Yong, Si Zhong and Si Zhuang.
In August this year, at the invitation of Liang Qichao, Yu Shaosong painted a huge "Double Pine Map" in the ice room. In order to paint this painting, Yu Yi came three times, and the whole painting evening was successfully completed. After Yu Shaosong left, Liang Qichao immediately wrote a long poem "On Painting" in the blank of the painting. The whole poem shows that people should be upright and fearless by praising the integrity and independence of pine trees. "A hundred flowers blossom and a hundred schools of thought contend" in the poem implies that Kang Youwei and Wang Guowei have passed away one after another, and "the divine power suddenly rises", describing the divinity of things, and Song Shuang's connection with the social situation further embodies Liang Qichao's unique views.
Liang Qichao wrote a postscript after the poem "A Double Pine in a Painting Garden". It is mentioned: "Cao Xuehua (referring to his children) stands like a swan. If you drive one by one, you will make noise and fight. If it is loose, it will be used to pet the elderly and dare not take it. " This childish language reveals his love for painting art and his sincerity to painters. This painting no longer exists. It was painted by a contemporary painter, Mr. Jia Baomin, and now hangs in the restored Liang Qichao ice drinking room.
Pine figure Yu Shaosong
As an art expert, Liang Qichao is well versed in painting theory and the cultural connotation of his works. He not only has a high collection taste, but also explores the artistic origin and humanistic value of his works through the pictures themselves with his unique and profound understanding of history and culture. He often writes poems on paintings. His poems on paintings face paintings, but often express an idea that transcends time and space, giving birth to strong beating emotions.
The Picture of Winter Plum collected in Shangshu of Yuan Dynasty is the most representative poem of Liang Qichao, which was written on 19 15. Dong Xin, also known as Jin Nong, was a famous painter and calligrapher in Qing Dynasty. Plums are painted in winter, and most of them are full of flowers. Heaven goes into the ground, occupying the "head of heaven and earth" of the picture. People who used to praise plum blossoms in the winter heart either said that they were arrogant and eccentric or wrote that they were unique in welcoming the cold. The theme of Liang Qichao's Painting Plums in Winter, however, triggered a kind of silence and emptiness with the sentence "Clouds open and the moon is bright and dreams are far away, and the east wind is lonely". It used to be an air-cooled paper account, and the frost and snow on earth will arrive tonight. " He used Gu Mei's indifference to describe his inner loneliness. He wrote a monologue about Mei, which is indeed the genius of Liang Qichao's poetry.
"The title of Yao's painting landscape as the King of Zhongshan" has a deeper meaning. Yao, the Taoist Yan, became a monk in the early Ming Dynasty. Yan Tao was the counselor of Judy, the prince of Yan, who helped him ascend to the throne in the name of Jingnan. The Prince of Yan proclaimed himself emperor, putting merit and Taoism first, so he gave Zuo Shan a teacher and a monk record department. King Zhongshan, namely Xu Da, was the founding hero of the Ming Dynasty. Liang Qichao wrote the landscape painted by Yan Tao for Xu Da, which was more than 300 words long. But he doesn't talk about painting, but gallops his imagination and hides his life experience. He regards "the ovary () and (Xun) as loess, forgetting the machine as a teacher." Who will talk about the crime of Jingnan Gong today? Painting is the rain in the South Lake, implying one's own experience and expressing the generosity of the dust. This poem, magnificent and comprehensive, contains profound knowledge and permeates the author's personal deep feelings, which is incomparable to ordinary people.
In addition, Liang Qichao also wrote inscriptions for the paintings of Guangdong painter Gan Baishi in the Qianlong period of the Qing Dynasty, the Fisherman's Picture by a famous Peking Opera artist in the late Qing Dynasty and the early Republic of China, the Fusang Zhuozu Picture by Jiangsu Wujin painter Zhuang Yunkuan, and Zhou's Reading Picture. Looking at paintings and reading poems, people are all impressed by Mr. Liang's knowledge and vision
Knowledge is the capital of collectors, and high-level collection and appreciation must be based on knowledge. A collection without culture is a low-level collection, a blind collection and a stupid collection-this is exactly what Liang Qichao gave us.