Shang Shengbo (1869–1962)
Shang Shengbo, born Yan Zhi, courtesy name Shengbo, and later known by his pseudonym An Lu, was from Shengxian, Zhejiang (now Shengzhou). In the 30th year of the Guangxu reign (1904), he served as the magistrate of Hukou County, Jiangxi. After the Xinhai Revolution, he moved to Shanghai, maintaining a life of integrity and never ceasing his painting. During the early Republic of China period, he closely associated with renowned painters such as Wu Changshuo, Wang Yiting, and Ni Mogeng in Shanghai. After the establishment of the People's Republic of China, he was appointed as a member of the Shanghai Literature and History Research Institute and a painter at the Shanghai Chinese Painting Academy.
"Auspicious Noon in the Sky" (1943)
This work was created in his later years. It embodies both traditional scholarly interest and caters to the popular aesthetic, striking a perfect balance between the two and appealing to both refined and common tastes. The inscription reads: "The light red and white colors compete in beauty, the spring breeze remains the same year after year. Where can we find fishing boats now, the sight of smoke and flames is pitiful. Respectfully inscribed for my esteemed brother, Yousheng, in October of the Guiwei year, when I was seventy-five years old. By Shang Shengbo." The red seal reads "Shang Shengbo's work," and another red seal at the lower right reads "Shang Shengbo created this after seventy years old."
Ren Yi (1840–1896)
Ren Yi, courtesy name Bonian and pseudonym Xiaolou, was from Shaoxing, Zhejiang. From a young age, he learned portrait painting from his father and later studied with Ren Xiong and Ren Xun. He lived in Shanghai and made a living by selling paintings. Ren Yi was proficient in various painting techniques, including landscapes, flowers, birds, and figures. He inherited the straightforward style of folk painting and integrated the strengths of artists such as Chen Hongshou, Chen Chun, Xu Wei, Yun Shouping, Hua Yan, Ren Xiong, and Ren Xun, while also incorporating Western sketching and coloring techniques. This resulted in a unique painting style characterized by simplicity, clarity, and vividness, appealing to both refined and popular tastes and reflecting a distinct contemporary flavor. Ren Yi, along with Ren Xiong, Ren Xun, and Ren Yu, were collectively known as the "Four Rens of Shanghai," significantly influencing later generations of painters.
"Under the Shade of the Parasol Tree" (1885)
This painting features smooth lines and swift brushwork, using his typical decorative "nail-head and rat-tail" strokes to express the figure's detached demeanor through their eyes and posture. It is considered a representative work of Ren Bonian's figure paintings. The inscription reads: "Under the Shade of the Parasol Tree, summer of the Yiyou year of the Guangxu reign (1885), by Ren Yi from Shanyin." Below the inscription is a white seal with "Ren Bonian," and at the lower left of the painting is a red seal with "Yinxin Stone." Additionally, the lower left corner of the painting bears a red seal with "Fu Zhai Zhen Shang" as a collector's mark.
Yin Shubai (1769–1847)
Yin Shubai, courtesy name Manqing, pseudonym Yunlou, and later known as Lazy Cloud and Xichou Sangzhe, was from Xiushui, Zhejiang. He specialized in flower painting, inheriting the styles of Chen Chun and Yun Shouping while incorporating his innovations, creating serene and natural works.
"Longevity Stone"
This scroll depicts a lake stone with vigorous brushwork, simple yet artistically refined. The few strokes used to outline and render the stone convey its delicate, multi-layered appearance. The inscription reads: "Though lofty, the peak resembles a small hill. Within a short distance lies a thousand miles. The bushy osmanthus invites seclusion, Huainan seems far away. Washing stones and resting by the stream, Zijing may arise. How extraordinary is the calm longevity, being benevolent ceaselessly. I engrave this testament, the way is close at hand. By Lazy Cloud." The seals read "Yunlou's calligraphy and painting" and "The old house of Xichou," with the additional seal "Lazy Cloud's painting seal" at the lower left.
Zhao Zhiqian (1829–1884)
Zhao Zhiqian, courtesy name Yifu, later changed to Huishu, and pseudonyms Lengjun, Mei'an, and Tiesan, was from Kuaiji (present-day Shaoxing), Zhejiang. He was a pioneer painter of the "Haipai" (Shanghai School) and achieved great success in painting, calligraphy, and seal carving, founding his own artistic style. He integrated seal and clerical script techniques into his painting, creating works that were simple, vigorous, and full of ancient charm, becoming a trailblazer in incorporating epigraphic elements into painting.
"Peony" (1868)
This painting, created in 1868, features fluid and vibrant brushwork with rich colors that are not garish. Zhao Zhiqian skillfully blended the strengths of Xu Wei and Bada Shanren with the brushwork of epigraphic calligraphy, creating a work of great power and grandeur, unique in style, and one of his masterpieces. The inscription reads: "During the Tang and Yu dynasties, Dongting contributed tribute, and the poem 'Chenzi' first appeared in the 'Classic of Poetry.' Please harmonize the ancient meaning. Painted by Zhao Zhiqian for Elder Brother Chunqing in the seventh month of the Wuchen year of Tongzhi, while staying in the capital." The seal reads "Zhao Zhiqian's seal."
Zhao Ziyong (1786–1847)
Zhao Ziyong, courtesy name Mingshan and pseudonym Mingshan, was from Nanhai, Guangdong. He passed the imperial examination in the 21st year of Jiaqing (1816) and served as magistrate of Weixian County and prefect of Qingzhou, Shandong, where he was known for his good governance. After being dismissed from office, he made a living by selling paintings. An accomplished writer and horseman, Zhao Ziyong was particularly skilled in painting bamboo, capturing the spirit of Zheng Banqiao with either snow-laden or frost-covered bamboo, as well as slender and delicate shoots, all rendered with lifelike vitality.
"Bamboo and Rocks"
This painting depicts wind-swept bamboo beside a rock, with leaves rendered in varying shades of ink, swaying gracefully in the breeze. The lines of the rocks are strong and vigorous, conveying a sense of serene elegance. The inscription reads: "For the appreciation of Mr. Lanshi, by Zhao Ziyong." The seals read "Zhao Ziyong's seal" and "Mingshan."
Tang Yifen (1778–1853)
Tang Yifen, courtesy names Yusheng and Ruoyi, and pseudonyms Zhou Weng and Qinyin Daoren, was from Wujin (present-day Changzhou), Jiangsu. He rose to the position of Deputy General of Wenzhou and, citing illness, retired to Nanjing, where he built the Qinyin Garden. Tang Yifen had a wide range of interests and exceptional talent in various fields such as astronomy, geography, and the teachings of ancient philosophers. He was also proficient in poetry, calligraphy, and painting, and had a keen interest in music, horsemanship, and fencing. He was particularly renowned for his painting. In 1853, during the Taiping Rebellion's attack on Nanjing, Tang Yifen assisted the Governor of Liangjiang, Lu Jianying, in defending the city. After their defeat, he calmly composed a final poem and drowned himself, earning the posthumous title "Zhenmin."
"Han Style Repaired Painting" (1849)
This painting by Tang Yifen on a full-shape rubbing of bronzes represents a new painting style that became popular in the late Qing and Republican periods. Full-shape rubbing, also known as "three-dimensional rubbing," is a special technique that transfers the original appearance of an object onto flat rubbing paper, requiring great skill. The three bronze items in the painting are carefully arranged, with the ink wash of the pine, plum, and background stones applied lightly, harmonizing with the rubbing and creating a sense of ancient charm. The only color used is the light red of the plum blossoms, which serves as a focal point to avoid monotony. This work showcases the artist's ingenuity. The inscription reads: "These are items from my collection. Li Jinhong passed by Baimen and asked me to make rubbings as a gift for Kaitang's library, and I painted plums, stones, and pines to complement them. Early winter of the Jiyou year, inscribed by Yifen while ill." The seals read "Tang Yifen's seal" and "Li Jinhong of Yanghu personally made this rubbing." The collector's seal reads "Once in the collection of Liu's Jingxiutang of Jingjiang."
Wang Su (1794–1877)
Wang Su, courtesy name Xiaomei and later known as Xunzhi, was from Ganquan (present-day Yangzhou), Jiangsu. He was an important painter in the 19th-century Yangzhou art scene. From a young age, he studied painting and followed the style of Hua Yan, capturing its essence. He was skilled in various subjects, including figures, flowers, birds, animals, and fish, but his main achievements were in figure and ladies' paintings. Despite lamenting his clumsy calligraphy, he practiced hundreds of characters every morning without fail, even into old age. His seal carving followed the style of Han dynasty seals and was quite remarkable, though often overshadowed by his fame as a painter.
"Orchid and Rock"
In this painting, the background elements such as rocks, bamboo, and parasol trees are rendered in a small freehand style, while the central figures of the ladies, the flower stand, and the orchids are more meticulously executed, creating a contrast. The two ladies are elegantly posed, and the lines of their clothing reflect the expressive style of Huang Shen and Min Zhen. The varying ink tones are rich and natural, with a rhythmic quality. The overall composition is elegant and refined, with the figures exuding a sense of beauty and scholarly charm. The inscription reads: "Orchids and Rock. Painted by Xiaomei Wang Su in Shaobo Embankment, six days before the Flower Morning of the Yimao year." The seal reads "Xiaomei also known as Xunzhi."
Ren Yi (1840–1896)
Ren Yi, courtesy name Boren, pseudonym Xiaolou, was from Shaoxing, Zhejiang. He learned portrait painting from his father in his youth and later studied painting under Ren Xiong and Ren Xun. He lived in Shanghai, making a living by selling paintings. His techniques were comprehensive, encompassing landscapes, flowers, birds, and figures. Ren Yi inherited the rustic charm of folk painting, incorporating the styles of Chen Hongshou, Chen Chun, Xu Wei, Yun Shouping, Hua Yan, Ren Xiong, and Ren Xun, and absorbed Western sketching and coloring techniques, forming a unique style characterized by simplicity, clarity, and vividness. His work had widespread appeal and a distinct contemporary flavor. Together with Ren Xiong, Ren Xun, and Ren Yu, he was known as one of the "Four Rens of Shanghai," significantly influencing later painting.
"Seeking Plum Blossoms in the Snow" (1889)
This painting, created in 1889 when Ren Yi was fifty years old, is a late work. The brushwork is simple and the lines are strong and fluid, with a touch of roughness, making it a rare example among his figure paintings. The elderly man depicted wears a bamboo hat, holds a plum branch, and has a joyful expression, allowing the viewer to experience the pure and fragrant world of plum blossoms in the snow, making it highly captivating. The inscription reads: "In the Jia Ping month of the Jichou year of Guangxu, painted by Ren Yi Boren in his studio in Shanghai." The seals read "Ren Yi's seal" and "Boren," with the seal "Yiyi Caotang" at the lower right. The collector's seal "Once in the collection of Liu Guojun" is affixed at the lower left.
Tang Ken (1876–1950)
Tang Ken, courtesy name Qilin, a descendant of Tang Jinchuan, was from Wujin (present-day Changzhou), Jiangsu. In 1905, he studied law at Chuo University in Japan. After the founding of the Republic of China, he held various military and political positions in Zhili, including acting magistrate of Yixing County. After the Anti-Japanese War, he retired to Shanghai, refusing to accept puppet government positions and made a living through his art. He was skilled in literature, poetry, calligraphy, and painting, with a deep understanding of art appraisal and a vast collection, earning great acclaim.
"Pure Enjoyment in Bamboo Grove"
Tang Ken's landscape scroll, created for Mr. Liu Guojun, depicts scenes of ancient trees, bamboo groves, waterfalls, and mountain peaks, not only showcasing the grandeur of landscapes but also conveying a sense of leisurely seclusion in the mountains. His brushwork is powerful and elegant, reflecting his deep mastery of ancient techniques and a keen focus on capturing the spirit of nature to express his personal sentiments. The inscription reads: "Clear charm in a bamboo grove, for the appreciation of Brother Guojun, summer of the Guiwei year, by Tang Ken." The seals read "Tang Ken's private seal" and "Master of Xiaoban Garden."
Wu Daiqiu (1878–1949), Fan Shaoyun (1885–1962), Zhang Xuan (1898–1959)
Wu Daiqiu, named Zheng, courtesy name Daiqiu, and pseudonyms Baoxuan Jushi and Shulin Zhongzi, was from Chongde, Zhejiang. Son of the famous painter Wu Botao, he inherited the family tradition in painting and later studied under Wu Changshuo, excelling in landscapes and flowers, and birds. Together with Wu Hufan, Wu Zishen, and Feng Chaoran, they were known as the "Three Wus and One Feng."
Fan Shaoyun, named Haolin, courtesy name Shaoyun, was from Chongming, Shanghai. He specialized in landscape painting, diligently studying ancient and modern masterpieces, mastering both form and spirit. He later studied under the famous painter Lu Hui, further advancing his skills. Fan was also accomplished in playing the pipa and made significant contributions to traditional Chinese music. After the founding of the People's Republic of China, he served as a painter at the Shanghai Chinese Painting Academy and a member of the Shanghai branch of the Chinese Artists Association.
Zhang Xuan, courtesy name Kehe, pseudonym Mashi Weng, and alternative pseudonym Shiyuan Jushi, was from Wujin (present-day Changzhou), Jiangsu. A renowned painter and connoisseur in Shanghai, he excelled in landscape painting, with a deep foundation in traditional techniques, closely imitating the style of Wang Shigu. His brushwork was both vigorous and elegant, adept in both ink and color.
"Collaborative Painting of Three Friends"
This collaborative painting features the works of modern masters. On the right, Wu Hufan inscribed the title and signed: "Three Friends Painting, inscribed by Wu Hufan on a winter day of the Jia Shen year." The seals read "Wu Hufan." In the painting, Fan Shaoyun depicted the pine tree, ancient and rugged; Zhang Xuan painted the slender bamboo, elegant in posture; and Wu Daiqiu painted the red plum, exuding a cold fragrance. Although created separately, the composition is harmonious, exuding a strong literati atmosphere.
