Huang Shanshou (1855–1919)
Huang Shanshou, originally named Yao, courtesy names Xuchu and Xuchu, and pseudonyms Lisheng, Xu Daoren, and Huxi Waishi, was from Wujin (present-day Changzhou), Jiangsu. He excelled in painting figures, landscapes, flowers, and animals, especially in ink dragons. For figures, he favored meticulous brushwork and vibrant colors, influenced by Gai Qi and Fei Danxu. His landscapes were renowned for their rich and elegant coloring. His flower and bird paintings skillfully combined the Wujin school's boneless technique with the traditional double-outline method. In his early years, he made a living as a private tutor, and after 1901, he moved to Shanghai, becoming a prominent artist of the Shanghai School.
"Five Color Chrysanthemums"
Huang Shanshou's floral paintings were grounded in Yun Shouping's boneless technique but innovatively combined the double-outline method and Western painting techniques. This painting showcases his rich and vibrant coloring and elegant composition, vividly depicting the scene of blooming chrysanthemums. His inscriptions and calligraphy, influenced by Yun Shouping and Zhao Mengfu, seamlessly integrate with his paintings, exuding a refined and elegant style. The inscription reads: "The chrysanthemums bloom in five colors by the fence, resembling a brocade screen. The dazzling colors leave me in awe, do not mock the butterflies' wandering intentions among the flowers. By Xu Huang Shanshou." The seals read "Huang Shanshou" and "Master of Caijing Pavilion."
Bai Jiao (1907–1969)
Originally surnamed He, named Fazhi, also known as Fu, with the courtesy name Yuanxiang and the pseudonym Xuru, Bai Jiao was from Jinshan, Shanghai. He excelled in poetry, painting, and seal carving. His poetry was renowned in Jiangzuo, and his prose closely followed the Tang and Song styles. His calligraphy, rooted in the "Two Wangs," also drew from Ouyang Xun and Yu Shinan, making him a prominent figure in twentieth-century calligraphy. He was known for his ancient and elegant orchid paintings, which he rarely created for others.
"Orchid"
Bai Jiao's orchid paintings drew from the strengths of ancient masters, emphasizing both natural inspiration and deep skill. His profound foundation in calligraphy lent precision and elegance to his paintings, imbued with scholarly charm and perfectly capturing the noble and otherworldly essence of orchids. His orchid paintings, along with Shen Shijia's bamboo and Gao Yihou's plum, were known as the "Three Wonders of Shanghai." This work, although composed of a few strokes, displays superior brushwork and an extremely pure and refined aura. The long poem inscribed by his friend, the painter and calligrapher Chen Dingshan, adds significant value.
Wang Zhen (1866–1938)
Wang Zhen, courtesy name Yiting, pseudonym Bailong Shanren, was a renowned painter, calligrapher, businessman, and philanthropist from Wuxing (present-day Huzhou), Zhejiang, who resided in Shanghai. In his early years, he studied under Xu Xiaocang and Ren Yi. Later, he developed a close relationship with Wu Changshuo, forming a bond between teacher and friend and achieving equal fame in the Shanghai art scene. Before the age of forty, his style and subjects closely followed Ren Yi. After the age of forty-six, his style shifted towards Wu Changshuo. In his later years, his works combined the essence of Ren Yi and Wu Changshuo, mainly following Wu's style while retaining Ren's elegant charm, which was highly commendable. He excelled in expressive painting, particularly in figures, Buddhas, and flowers and birds, which were highly valued.
"Peony and Small Bird"
This work, created when Wang Zhen was fifty-nine, showcases his mature and refined brushwork. The bold and swift strokes, combined with a rustic charm and vibrant colors, embody an ancient elegance within a strong epigraphic feel, yet retain a refined and elegant touch. The inscription reads: "The fragrant name competes for the title of the king of flowers, even surpassing the embroidered curtains of Chang'an. Great wealth and longevity, envied by the world like Guo Fenyang. Early summer of the Jiazi year, by Bailong Shanren Wang Zhen at Haiyun Tower." The seals read "Wang Zhen Dali" and "Yiting," with the square seal "Ziyuan" at the lower right.
Xiao Yuncong (1596–1673)
Xiao Yuncong, courtesy name Chimou, and pseudonyms Mosi and Wumen Daoren, among others, was from Wuhu, Anhui. He excelled in landscape painting, drawing inspiration from the famous artists of the Tang, Song, Yuan, and Ming dynasties, and developed his own unique style. His brushwork was clear, sparse, and elegant, influencing the painting style of the Wuhu area and forming the "Gushu School." His close friend, Hongren, one of the four monk-painters of the early Qing dynasty, was also influenced by Xiao Yuncong's early landscapes.
"Exploring the Scenery of Xixia"
Xiao Yuncong's landscapes primarily employed the clean, vigorous, and sparse brushwork of Xia Gui, incorporating the techniques and composition of the Song and Yuan masters. He adeptly combined natural elements into his works, having an endless reservoir of landscapes in his mind, often creating long handscrolls. This long scroll, depicting the beautiful scenery of Xixia, showcases his square and dry brushwork, with sparse, elegant, and robust tones. The varied and complex arrangement of hills and valleys, and the depth of space presented by the rocks and trees, convey a profound sense of depth. The inclusion of figures, boats, and carts adds a lively touch to the otherwise serene landscape. The inscription reads "Elder of Zhongshan, Xiao Yuncong," a pseudonym used in his later years, indicating this work was created in his later years.
Zhu Angzhi (1764–1840)
Zhu Angzhi, courtesy name Qingli, pseudonym Jinli, was from Wujin, Jiangsu, and later resided in Suzhou. His calligraphy and painting were deeply influenced by his family tradition, yet he surpassed his predecessors. His landscapes drew inspiration from Yun Shouping and Wang Hui, characterized by vigorous brushstrokes. In his middle age, his works exhibited a balance of brush and ink, capturing the essence of ancient masters. His flower, bamboo, and stone paintings were also clear and elegant. He studied Dong Qichang's calligraphy, excelling in running-cursive script, earning great acclaim in Jiangnan.
"Flying Waterfalls of Mount Lu"
This late work by Zhu Angzhi demonstrates his bold and free brushwork, exuding grandeur. It reflects his attempt to break free from the constraints of the orthodox "Six Masters of the Qing," reaching back to the styles of the Wu School and the Zhe School, though the brushwork sometimes conveys a sense of arrogance.
Zhu Angzhi (1764–1840)
Zhu Angzhi, courtesy name Qingli, pseudonym Jinli, was from Wujin, Jiangsu, and later resided in Suzhou. His calligraphy and painting were deeply influenced by his family tradition, yet he surpassed his predecessors. His landscapes drew inspiration from Yun Shouping and Wang Hui, characterized by vigorous brushstrokes. In his middle age, his works exhibited a balance of brush and ink, capturing the essence of ancient masters. His flower, bamboo, and stone paintings were also clear and elegant. He studied Dong Qichang's calligraphy, excelling in running-cursive script, earning great acclaim in Jiangnan.
"Flying Waterfalls of Mount Lu"
This late work by Zhu Angzhi demonstrates his bold and free brushwork, exuding grandeur. It reflects his attempt to break free from the constraints of the orthodox "Six Masters of the Qing," reaching back to the styles of the Wu School and the Zhe School, though the brushwork sometimes conveys a sense of arrogance.
Shen Zongjing (1669–1735)
Shen Zongjing, courtesy names Nanji and Keting, and pseudonyms Shifeng, Shifeng Daoren, and Woxu Shanren, was the son of the famous calligrapher Shen Quan. He hailed from Huating (present-day Shanghai). He excelled in poetry, literature, painting, and music, with a particular talent for landscape painting. He served as Minister of the Imperial Stud.
"Ancient Tree in Empty Mountain"
This painting's composition draws inspiration from Ni Zan's "One River Two Banks" style, with brushwork influenced by Huang Gongwang, achieving an ancient and plain elegance. The paper used was a gift from the recipient, made of Dian Nan bark paper, which differs from Shen's usual semi-mature Xuan paper. This difference imparts a unique rustic charm to the painting. The inscription at the upper right reads: "This paper was obtained from Dian Nan by Mr. Kai of the Old Men's Society, who asked me to paint on it as an expression of his feelings. New Spring of the Jiawu year, by Shifeng Shen Zongjing." The seals read "Shen Zongjing Yin" and "Nanji Shi," with the collector's seal "Xian Zeng Zhen Wan" at the lower right.
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. The Tang family was a prominent clan in Changzhou, and Tang Yifen, benefiting from his family's status, inherited the title of Yunqi Commander at the age of sixteen. He held various military positions, eventually rising to Deputy General of Wenzhou. Due to illness, he retired and settled in Nanjing, where he built the Qinyin Garden. Tang Yifen was a man of diverse interests and exceptional talent, excelling in astronomy, geography, and the teachings of the ancient philosophers. He was proficient in poetry, calligraphy, and painting, and also had a keen interest in music, horsemanship, and fencing. Among his many talents, 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. Following their defeat, he calmly composed a final poem and drowned himself, earning the posthumous title "Zhenmin."
"Ink Plum Blossom"
This scroll of ink plum blossoms follows the brushwork of Yuan dynasty artist Wang Mian and Qing dynasty artist Jin Nong, characterized by its delicate elegance, slender and graceful branches, and a sense of sparse shadows and cold fragrance. The brushstrokes are relaxed and free, capturing the essence of literati painting.
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. The Tang family was a prominent clan in Changzhou, and Tang Yifen, benefiting from his family's status, inherited the title of Yunqi Commander at the age of sixteen. He held various military positions, eventually rising to Deputy General of Wenzhou. Due to illness, he retired and settled in Nanjing, where he built the Qinyin Garden. Tang Yifen was a man of diverse interests and exceptional talent, excelling in astronomy, geography, and the teachings of the ancient philosophers. He was proficient in poetry, calligraphy, and painting, and also had a keen interest in music, horsemanship, and fencing. Among his many talents, 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. Following their defeat, he calmly composed a final poem and drowned himself, earning the posthumous title "Zhenmin."
"Ink Plum Blossom"
This scroll of ink plum blossoms follows the brushwork of Yuan dynasty artist Wang Mian and Qing dynasty artist Jin Nong, characterized by its delicate elegance, slender and graceful branches, and a sense of sparse shadows and cold fragrance. The brushstrokes are relaxed and free, capturing the essence of literati painting.
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. The Tang family was a prominent clan in Changzhou, and Tang Yifen, benefiting from his family's status, inherited the title of Yunqi Commander at the age of sixteen. He held various military positions, eventually rising to Deputy General of Wenzhou. Due to illness, he retired and settled in Nanjing, where he built the Qinyin Garden. Tang Yifen was a man of diverse interests and exceptional talent, excelling in astronomy, geography, and the teachings of the ancient philosophers. He was proficient in poetry, calligraphy, and painting, and also had a keen interest in music, horsemanship, and fencing. Among his many talents, 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. Following their defeat, he calmly composed a final poem and drowned himself, earning the posthumous title ""Zhenmin.""
""Iron Flute Tower"" (1813)
This painting was created during the Jiaxing Renshen Sacrifice Day (1813 in the Gregorian calendar) when Tang Yifen was serving as the Commandant of Qichang in Guangdong, at the age of thirty-seven. The painting bears the horizontal inscription ""Iron Flute Tower"" in clerical script, and below it, a long colophon in running-cursive script. The colophon recounts how Lu Feng's third brother in Beijing obtained an ancient iron flute of unknown origin, treasured for its resonant sound. He wished to name a tower after it and asked Tang Yifen to create this painting, followed by a long poem in the gehang style. The full content is recorded in volume seven of the ""Qinyin Garden Collection"" under the title ""Iron Flute Song for Commandant Luo Lufeng (Jiang),"" indicating that the recipient of the painting was Commandant Luo Jiang. The two texts have minor differences, suggesting later revisions in the published collection. The painting features fine and dry brushstrokes with light ink evenly applied, achieving a simple yet profound artistic effect. It is considered one of Tang Yifen's early masterpieces using the dry brush technique.
