Due to the lack of historical data, the introduction to Liang Mengzhao does not allow a good understanding of her life story, only some of her handed down works and her name are known.
Portrait of Liang Mengzhao
Liang Mengzhao was a talented woman in the late Ming Dynasty. She was good at painting landscapes, flowers and birds, and was good at writing poems. He probably lived from the Jiajing to Chongzhen years of the Ming Dynasty. Qiantang native, courtesy name Yisu. At the same time, some people believe that Yisu is Liang Mengzhao's name and Mengzhao is her given name.
Chen Wenshu, a famous poet in the Qing Dynasty, gave a brief introduction to Liang Mengzhao's life in his work "Ode to the Boudoir". Since Chen Wenshu was also from Qiantang and lived not too long ago with Liang Mengzhao, his records are more credible. According to Chen Wenshu, Liang Mengzhao is Mao Jiuzheng's wife, with a quiet personality and a serious personality. Mao Jiu was still an official in the late Ming Dynasty. His great-grandfather Mao Kun was a famous collector. His grandfather and father were both officials in the court. Therefore, it can be said that Mao Jiu was born into a family that combines an official family with a scholarly family.
In the "Hangzhou Prefecture Chronicles", there is also such a record about Liang Mengzhao: Liang Mengzhao, courtesy name Yisu, was from Qiantang, and was born in the Maojiu family. Able to write poems and draw flowers and birds.
Liang Mengzhao's main works include "Landscape Ode", "Lovesickness Inkstone", "Moxiangxuan Collection", etc. Among them, "Lovesickness Inkstone" is her representative work. However, most of her works have been lost, and only "Lovesickness Inkstone" has been lost. The plot of "Yan" is still recorded in the "Summary of Quhai General Category".
According to records, Liang Mengzhao and her husband Mao Jiu still traveled to Jinling together and lived there for several years. Suddenly one day, Liang Mengzhao was infected with wind and cold, and his condition worsened day by day. Before she died, she still sat up from the hospital bed and played a song on the piano.
Liang Mengzhao's works
?The most representative of Liang Mengzhao's works is "Mo Xiuxuan Collection", which is a compilation of his calligraphy works, paintings and calligraphy, and poems.
Portrait of Liang Mengzhao
In addition to "The Collection of Mo Xiuxuan", "Acacia Inkstone" is also an extremely representative drama work among Liang Mengzhao's works. At present, the play has been lost and no copies can be found. However, there is still a plot record about it in the "Quhai General Category Summary". At the beginning of this song, Liang Mengzhao used the legend of the Cowherd and the Weaver Girl as the introduction to the story. The dialogue between the Cowherd and the Weaver Girl led to the story of joys and sorrows in "Acacia Inkstone". This kind of plot design is more romantic and expresses the author's desire for reunion in the world.
Wang Duanshu, a female poet in the Qing Dynasty, spoke highly of "Acacia Inkstone", saying that the song was "deep and upright in emotion, thoughtful and rhyming". At the same time, she also praised Liang Mengzhao as "a smart and intelligent woman, Yuan Bai among women" ""Yuanbai" here refers to the poets Yuan Zhen and Bai Juyi of the Tang Dynasty.
"Ode to Melancholy" is also one of Liang Mengzhao's famous works, which mainly expresses the author's melancholy. Although the theme of the poem is "sorrow", the style of the whole poem is graceful and elegant, with neat contrasts and concise and concise words.
In Ruan Yuan's "Two Zhejiang Che Chiefs Xuan Lu", a poem by Liang Mengzhao called "Painting" is included, which also shows the author's fresh and elegant writing style, as well as his unrestrained style. Da Wuji’s personality.
However, due to various reasons, most of Liang Mengzhao's works that have been handed down to the world have been lost, and only a handful of them have been handed down to the world. However, Liang Mengzhao's works demonstrate her outstanding talent and distinctive personality, which are much higher than those of her male literati of the same generation, and also established her status in the ancient Chinese art world.