Chen Hanguang (1879–1957)
Chen Hanguang, originally named Mingyanwei, first used the courtesy name Yisun, later changed to Hanguang, and was also known by the pseudonym Huaihai Ke. He was from Yangzhou, Jiangsu. Born into a scholarly family, he was exceptionally intelligent and passed the county-level imperial examination at the age of sixteen, earning the top position. In the 28th year of the Guangxu reign (1902), he passed the provincial examination and was awarded the title of Baggong but refused to enter officialdom, traveling the country with his father. Known for his integrity, Chen was highly knowledgeable and was invited to work at the Qing History Bureau during the early Republic of China, collaborating with Miao Quansun and Yang Du on the compilation of the "Draft History of Qing." After two years, he returned home and spent his time immersed in poetry, calligraphy, and painting.
"Poetic Inspiration at the Brookside Bridge"
Chen Hanguang had extraordinary talent in calligraphy and painting. His calligraphy was strong and vigorous, exuding elegance and simplicity. He excelled in landscape painting, creating works with serene and profound atmospheres, rich in scholarly spirit. This piece was a gift to Mr. Liu Guojun, reflecting the style of Wang Hui and the artistic conception of Hongren, while incorporating his unique ideas. The brushstrokes are clean and lively, with a clear and elegant artistic conception, embodying a strong literary atmosphere, making it highly remarkable.
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.
Deng Shiru (1743–1805)
Deng Shiru, originally named Yan, courtesy names Shiru and Wanbo, and pseudonym Wanbai Shanren, was from Huaining, Anhui. A man of integrity and independence, he made a living through calligraphy and seal carving. He mastered all four styles of calligraphy, especially excelling in seal script, drawing inspiration from Li Si and Li Yangbing, and integrating clerical script elements. He broke through the limitations of the slender and delicate seal script, creating a bold and vigorous style. His clerical script captured the spirit of Han steles, breaking free from the constraints of Tang clerical script, with tightly structured characters that were both robust and dynamic. His regular script followed the style of Six Dynasties steles, with decisive and compact strokes, distinct from the "palace style." His seal carving was strong and graceful, dignified and fresh, revolutionizing the seal style since the Qin and Han dynasties, earning the reputation of the "Deng School." Deng Shiru's contributions had a significant impact on the mid-to-late Qing calligraphy scene.
"Seven Character Couplet in Seal Script"
This couplet is a mature work that integrates clerical script into seal script, with bold and flowing lines, full of spirit and vitality, combining grandeur with rational form, and possessing great aesthetic appeal.
Translation of couplet:
"The bright moon always shines on the steps; piles of books constantly fill the seats."
Dai Xi (1801–1860)
Dai Xi, courtesy name Chunshi, and pseudonyms Yu'an, Luzhuang Jushi, and Jingdong Jushi, among others, was from Qiantang (present-day Hangzhou), Zhejiang, and served as Assistant Minister of the Ministry of War. During his tenure as Guangdong Academic Commissioner, he actively supported and endorsed Lin Zexu's anti-opium campaign. After resigning and returning home, he presided over the Chongwen Academy. In the tenth year of Xianfeng (1860), he died by drowning during the Taiping army's capture of Hangzhou.
Dai Xi excelled in poetry, calligraphy, painting, and seal carving, with a particular strength in landscape painting. He studied the techniques of Wang Hui and Yun Shouping, as well as the masters of the Song and Yuan dynasties. Along with Tang Yifen, he was known as one of the "Two Tangs." Although renowned for his painting, his calligraphy was also highly regarded, following the traditional model of calligraphy. This couplet showcases his upright and fluid brushwork, with dynamic strokes that convey a sense of rhythm and vitality.
Qian Bokeng (1738–1812)
Qian Bokeng, courtesy name Lusi, pseudonyms Yupei and Pushe Shanqiao, was the nephew of the zhuangyuan (top scholar) and poet-painter Qian Weicheng, from Yanghu (present-day Changzhou), Jiangsu. He studied under Liu Da'an of the Tongcheng School and was a scholar at the Imperial Academy. Qian Bokeng was skilled in calligraphy, following the styles of Dong Qichang and Huang Tingjian, and tracing back to Li Yong and Yan Zhenqing, earning high regard at the time.
"Section of Competition for Seats"
This piece is a transcription of Yan Zhenqing's "Competition for Seats," originally in small running script, but Qian Bokeng enlarged the characters while transcribing, adjusting the brushwork and structure accordingly. The composition also incorporates the styles of Mi Fu and Huang Tingjian, with more weighty brushwork, creating a grand and extraordinary atmosphere.
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."
Yang Xian (1819–1896)
Yang Xian, courtesy name Jianshan, pseudonym Yongzhai, and later known as Miaoweng and Chihong Cansou, was from Guian (present-day Huzhou), Zhejiang. He passed the imperial examination in the fifth year of Xianfeng (1855) but failed the metropolitan examination. He later joined the staffs of Zeng Guofan and Li Hongzhang, assisting in military affairs, and rose to the position of Salt Transport Commissioner and prefect of Songjiang. After offending his superiors and being dismissed, he settled in Suzhou, where he devoted himself to reading and writing, making a living by selling calligraphy.
Yang Xian's calligraphy was especially strong in clerical script, drawing extensively from Han steles with a broad approach. This made his brushwork highly skilled. In the structure of his characters, he broke away from the convention of the square, compact forms of Han steles, opting instead for a tighter top and looser bottom. Combined with the extended left and right strokes and a flying, dynamic execution, he developed his own sharp, lively, and floating style. His clerical script was most distinctive during the Xianfeng and Tongzhi periods, earning great acclaim at the time.
Translation of couplet:
"The mountain rain and the respected old man remain; The pavilion and fragrant grass are extraordinary."
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."
