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.
Weng Tonghe (1830–1904)
Weng Tonghe, courtesy name Shuping, and pseudonyms Songchan and Pinglu, among others, was the top scholar of the sixth year of Xianfeng (1856) and hailed from Changshu, Jiangsu. He served as tutor to emperors Tongzhi and Guangxu, advocated resistance against foreign powers, recommended Kang Youwei, and supported the Reform Movement, making him a significant political figure in modern Chinese history. After his death, he was posthumously honored with the title "Wengong."
Weng Tonghe's scholarly pursuits spanned the Han and Song dynasties, with his literary work grounded in the Tongcheng School and poetry influenced by the Jiangxi School. He occasionally painted but was particularly renowned for his calligraphy, being one of the giants of late Qing calligraphy. His calligraphy followed Yan Zhenqing's robust style, combined with the influences of Su Dongpo, Mi Fu, and Northern Wei steles, with a rhythmical blend of elegance and sturdiness. This couplet, composed in his unique style, incorporates characters from Mi Fu's "Shu Su Tie," executed with powerful and cohesive brushwork, making it a rare masterpiece.
Translation of couplet:
"Lowering the fishing rod into the deep ravine; The crane soars, presenting a clear and graceful posture."
Li Jiafu (1839–1894)
Li Jiafu, courtesy names Shengyu and Shengyu, and also known as Beixi, with alternative pseudonyms Luping, Shifuo Anzhu, Yuxi Laomin, and Xiao Zunzhe, was from Shimen (present-day Tongxiang), Zhejiang. An expert in appraisal and a prolific collector, he excelled in poetry, prose, calligraphy, and painting. He studied calligraphy under He Shaoji, particularly mastering seal and clerical scripts, and was a skilled seal carver. His landscapes, following Dai Xi, were fresh and elegant. Li settled in Wuxian, becoming known as a respected elder.
"Seven Character Couplet in Seal Script" (1870)
Though Li Jiafu studied under He Shaoji, he maintained his own direction in seal script creation, expressing ancient elegance through precise and refined brushwork, differing from He's vigorous style. This couplet, created in the ninth year of Tongzhi (1870), showcases his fine and graceful brushstrokes, with square and upright characters exuding a serene and refined charm.
Translation of couplet:
"A new book of poems from Wu County in my sleeve; Old wine stains from Hangzhou on my collar."
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.
Wang Xun (1846–1915)
Wang Xun, originally named Xuehan, courtesy name Ziyuan, and also known as Yuanyuo, was from Wujin (present-day Changzhou), Jiangsu. In the 18th year of Guangxu (1892), he passed the imperial examination and was appointed as a compiler at the Hanlin Academy. He was skilled in poetry and prose. In his later years, he moved to Shanghai, where he founded the first organized art society in modern times, the Haishang Tijin Guan Jinshi Calligraphy and Painting Society, and served as its president.
Wang Xun excelled in seal script, clerical script, running script, and regular script. His running script and regular script followed the styles of Yan Zhenqing, capturing his spirit and essence, and were further enriched by the Wei stele style. His works were neat and grand, making them suitable for shop signs, which were very popular in Shanghai at the time. Together with his fellow townsman Tang Tuo, Wang Xun wrote many of Shanghai's shop signs, earning a substantial income. As a "professional calligrapher," his works often displayed a consistent style, as seen in this couplet.
Translation of couplet:
"The Milky Way serves as a chapter, granting longevity to people; The celestial path invites, bringing fame and honor to the world."
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.
