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.
Liang Tongshu, courtesy name Yuanying, pseudonym Shanzhou, later known as Bu Weng, and after ninety, Xinwu Changweng, with the studio name Pinluo'an, was from Qiantang (present-day Hangzhou), Zhejiang. The son of Grand Secretary Liang Shizheng, he was naturally gifted and composed, passing the imperial examination in 1752. Liang was proficient in regular and running script calligraphy, initially studying Yan Zhenqing and Liu Gongquan, later adopting the styles of Mi Fu and the Tang dynasty manuscript calligraphy, ultimately forming his unique style. Alongside Liu Yong, Weng Fanggang, and Wang Wenzhi, he was one of the "Four Masters of the Stele School" in the Qing dynasty and was also known as one of the "Three Liangs" along with Liang Yusheng and Liang Guozhi.
"Regular Script Manuscript of Buddhist Text in Eighteen Leaves" (1799)
Liang Tongshu's skill in small regular script was profound, and even in his old age, he wielded the brush with ease, never delegating his work to others. He enjoyed studying Zen and Buddhist scriptures, copying numerous Buddhist texts. This "Regular Script Manuscript of Buddhist Text in Eighteen Leaves" was written for his grandnephew Xingzi at the age of seventy-seven. The manuscript consists of eighteen leaves, with the first eight containing the "Vimalakirti Sutra" and the latter ten the "Immeasurable Meanings Sutra." The inscription reads: "This manuscript of two sutras, over three thousand characters, was completed in five days. Disturbed by worldly matters, I could not write it in one go. My hand grows weaker daily, yet it still shows no signs of deterioration. I am privately pleased, fearing I may never be able to do this again. Xingzi should treasure it well. Written on the 21st day of the eighth month in the fourth year of Jiaqing (1799), by Shanzhou, aged seventy-seven." The seal reads "Mizhong Beiren." This work is included in the "Collected Writings of Pinluo'an," although the recorded colophon lacks the date. The small regular script is fluid, blending the styles of Yan, Liu, and Zhao, with a touch of Dong Qichang's light ink, reminiscent of Tang dynasty manuscript calligraphy. The brushwork is not monotonous or rigid but orderly and varied, combining formality with a natural ease. The colophon reveals Liang Tongshu's high standards for his work, and he was quite satisfied with this piece.
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.
Bi Han (1732–1807)
Bi Han, courtesy name Youhan, and pseudonyms Jiaolu and Zhi'an Daoren, was from Yanghu (present-day Changzhou), Jiangsu. He excelled in landscape painting, adhering to ancient techniques while also learning from Yun Shouping and Wang Yuanqi, and was renowned for his dual excellence in painting and calligraphy. The Qing critic Wang Xuehao praised him, saying, "Recent paintings are either constrained by rules or overly free, both from not knowing ancient methods. Jiaolu's natural talent and skill surpass contemporary trends, truly surpassing current practices," showing immense admiration.
"Landscape Scroll"
This landscape scroll depicts the scenery of Jiangnan, with the artist's fluid brushwork using dry ink for texture strokes and light shading, achieving an artistic effect of richness and clarity. From the inscriptions, it is known that Bi Han created this work after seeing Qian Weicheng's long landscape scroll, following its general style. More than a decade later, at the age of seventy-four, he revisited and refined the painting, advising the owner to "preserve it well," marking it as a cherished creation. The seamless integration of the two phases of painting is evident, and the scroll contains numerous inscriptions by notable figures, adding to its value.
Liang Qichao (1873–1929)
Liang Qichao, courtesy name Zhuoru and Renfu, and pseudonym Rengong and Master of the Ice Room, was from Xinhui, Guangdong. In his youth, he, along with his teacher Kang Youwei, advocated for reforms and was one of the leaders of the Reform Movement, known collectively as "Kang Liang." After the Xinhai Revolution, he briefly joined Yuan Shikai's government, serving as Minister of Justice. He later criticized Yuan Shikai's attempt to become emperor and Zhang Xun's restoration efforts. Liang joined Duan Qirui's government and supported the May Fourth New Culture Movement. He was a prolific scholar, contributing to philosophy, literature, history, classical studies, law, ethics, and religion, with his works compiled in the "Collected Works of the Ice Room."
"Seven Character Couplet in Regular Script"
Liang Qichao's early calligraphy studies were influenced by Ouyang Xun, later studying under Kang Youwei, following his teacher's Beixue theory, focusing on Han, Wei, and Six Dynasties inscriptions. He particularly admired the "Stele of Zhang Qian" from the Han dynasty and the ""Stele of Zhang Menglong"" from the Northern Wei dynasty, balancing their angled structures with even strokes to achieve a harmonious flow. This regular script couplet exemplifies his typical Wei stele style, with steady, confident brushstrokes, balanced square and round forms, and clear distinctions between light and heavy strokes, merging the solidity of stone inscriptions with the elegance of literary forms.
Wu Hong (c. 1610–c. 1690)
Wu Hong, courtesy name Yuandu, and pseudonym Zhushi, was originally from Jinxian, Jiangxi, but later settled in Nanjing. His home in Yunlin Mountain, near the ancestral home of Zhou Lianggong in Jinxian, contributed to his cultural immersion. Known for his bold personality and eloquence, Wu Hong excelled in painting landscapes, ink bamboo, figures, and poetry. As one of the "Eight Masters of Jinling," his landscapes followed Song and Yuan traditions, with bold and free brushstrokes. He often used chaotic brush and axe-cut strokes for rocks and strong brushstrokes for trees, making him the most uninhibited among the Jinling School painters.
"Imitating Yuan Dynasty Landscape"
This painting's composition alternates between dense and sparse areas, creating a unique scene. Jagged rocks rise from the lower right corner, connected by a straight corridor. A thatched cottage and courtyard are half-hidden in the forest, with cliffs and trees hanging behind. The distant background features a serene creek and sparse trees, blending harmoniously with the expansive water in the foreground and contrasting with the jagged rocks and trees. The painting's spatial rhythm, created by the varying perspectives and blank spaces, immerses the viewer. The rocks are rendered with different brushstrokes, including chaotic brush, small axe-cut, and hemp-fiber texture strokes, varying with distance. The lines have a fuzzy texture due to the paper medium, with slight smudging adding to the overall charm. The brush and ink exhibit the thickness and strength of Song artists and the elegance and clarity of Yuan artists, making this paper work more profound than his silk paintings. The inscription reads: "Song-style brush techniques taught by Master Muweng. Two days before the Double Ninth Festival in the year Renzi (1692), by Wu Hong of Jinxian." The seals include "Seal of Wu Hong" in white and "Yuandu" in red.
Yun Bing (dates unknown)
Yun Bing, active during the Yongzheng and Qianlong periods, courtesy name Qingyu, pseudonym Haoru, and alternative pseudonym Lanling Nushi, was from Wujin (present-day Changzhou), Jiangsu. She was the second daughter of the scholar Yun Zhonglong and the great-granddaughter of Yun Nantian. Growing up in an artistic family, she began painting from a young age. By the age of thirteen, she could paint flowers and birds using the ""boneless"" technique, effectively inheriting the Yun family style.
"Wealth and Honor of the Jade Hall"
Yun Bing's ""boneless"" meticulous paintings are characterized by their elegance and finesse, particularly excelling in the use of powder. The paintings are exquisitely beautiful, showcasing the utmost in graceful charm. Early in the Qianlong reign, the Governor of the Two Jiang Provinces presented Yun Bing's painting to the Empress Dowager, and the Qianlong Emperor praised it in verse, bringing her instant fame. For a female painter to receive such honors was very rare, indicating Yun Bing's high level of skill and reflecting the acceptance of the Nantian painting style at the time. This painting features white magnolias and pink peonies, with full, rich blooms exuding luxury and elegance. The flowers, branches, and leaves all sway gracefully. The brushwork is delicate and beautiful, the colors are bright and elegant, and the use of powder is superb, making the flowers appear to shimmer in the sunlight. This work is a representative masterpiece by Yun Bing. The inscription reads: "Inspired by Northern Song artist Xu Chongsi's coloring, Lanling Woman Yun Bing." The seals include "Seal of Yun Bing Nushi" in white and "Qingyu" in red.
Gu Luo (1763–after 1837)
Gu Luo, courtesy name Yumen, and pseudonym Ximei, was from Qiantang (present-day Hangzhou), Zhejiang. He excelled in various disciplines of calligraphy and painting. His calligraphy was ancient, robust, and round; his landscapes were rich and moist; his flower and bird paintings were bright and lively, with a cheerful style; his depictions of ladies were refined, serene, and elegant, particularly noted for their beauty and grace.
""Portrait of the Elegant Lady""
This painting features light and elegant brushwork depicting plum blossoms, bamboo, and rocks. The lines are delicate and strong, with an unhurried and free-spirited touch. The narcissus is rendered in meticulous detail, exuding a cool elegance. A lady with slender eyebrows and a narrow waist holds a plum branch in a cutting motion, radiating an antique and refined beauty. The lady's clothing is painted with simple and ancient lines, with delicate and elegant coloring, combining both primitive and flamboyant qualities, making it a meticulously crafted work.
Shen Feng (1685–1755)
Shen Feng, courtesy name Fanmin, and pseudonyms Buluo, Fanming, Buluo Waishi, among others, was from Jiangyin, Jiangsu. He studied calligraphy under Wang Shu and excelled in iron-brush painting and landscapes. He claimed that seal carving was his foremost talent, followed by painting and calligraphy. His dry-brush paintings were often mistaken for those of Ni Zan, and his works were highly regarded by Yuan Mei, who had many of his handwritten couplets.
""Bamboo Grove Retreat"" (1753)
This painting, executed with fine brushstrokes and light ink, captures a deep and serene atmosphere, reflecting Shen Feng's late-career emulation of Huang Gongwang and Ni Zan. The distant mountains rise majestically, with a thatched pavilion atop a rocky outcrop. Nearby, a few houses are nestled among dense bamboo, with a figure reading inside. The composition is orderly, beautifully conveying the ideal of a reclusive scholar's life. The inscription reads: ""In the eighteenth year of Qianlong, the year of Guiyou, painted while staying at Mile Hall in Hanjiang. By Buluo Waishi Shen Feng."" The seals include ""Seal of Shen Feng"" and ""Stone Longevity.""
Yu Zhiding (1647–1716)
Yu Zhiding, courtesy name Shangji, also known as Shangji and Shangji, with the pseudonym Shenzhai, originally from Xinghua, Jiangsu, later lived in Jiangdu (present-day Yangzhou), as both places were part of Yangzhou Prefecture at the time, often signing ""Guangling Yu Zhiding."" He studied under Lan Ying and later explored the styles of various Song and Yuan masters, excelling in figures, landscapes, and flowers. He was particularly skilled in portrait painting, capturing both form and spirit with precision. His portraits varied widely, from pure outline to the ""Jiangnan style"" with layers of red and white, and some influenced by Western painting. He skillfully placed portraits in various backgrounds like landscapes, gardens, studios, and couches, effectively conveying the subject's personality and aspirations, elevating the art of portrait painting once more after Zeng Jing. He served in the imperial court and was highly esteemed in Beijing, with many famous portraits attributed to him.
""Portrait of Portrait of Wang Lutai""
This exquisite figure painting by Yu Zhiding portrays the renowned early Qing landscape painter Wang Yuanqi. Yu Zhiding and Wang Yuanqi collaborated on court painting projects, fostering a natural friendship. This portrait, housed in Changzhou Museum, depicts Wang Yuanqi seated in a half-lotus position on a low, flat rock, gazing forward, with a book he was reading placed beside him. The setting includes bamboo, clouds, a stream, and distant mountains, highlighting Wang Yuanqi's scholarly and reclusive character. The figure is rendered with balance between outline and color shading, capturing both form and spirit. The inscription reads: ""By Guangling Yu Zhiding,"" with the seal ""Seal of Shenzhai"" in red. Surrounding the mounting are colophons by Gu Yun, Yao Jingyuan, and Wu Yusheng, tracing the painting's provenance.
