By the middle of the Ming Dynasty, the influence of college sports painting was gradually declining, and "Zhejiang School" gradually became the last trend. Instead, it is the "Wu Pai" active in Suzhou. Due to the economic prosperity of Suzhou during this period, various industries and businesses developed rapidly, which directly promoted the prosperity of culture and art. Therefore, this area has become the best place for local and quartet literati to meet. "Wu Pai" was born under this background. The Wumen School, led by Shen Zhou, followed by many followers, formed a major school in the late Ming Dynasty. Tang Yin and Chou Ying, who also live in Suzhou, are also famous for their paintings. Together with Shen Zhou, they are also called "Four Houses of Wumen".
Among the "Four Schools of Wumen", Shen, Wen and Tang belong to the literati's pen and ink. Although Chou Ying is a professional painter, his painting style is influenced by literati painters. The painting achievements of their four families are different. They have comprehensive skills and a wide range of subjects. The painted landscape can not only represent the majestic and steep northern mountains and rivers, but also depict the beautiful and elegant southern scenery. They used skillful pen and ink to describe the surrounding garden scenery, raised the landscape painting that expressed the theme of literati's life to a new level, and opened up a new realm of landscape painting since Yuan, Ming and Qing Dynasties. Because of its far-reaching influence on later paintings, it was also praised as "Ming Sijia" by later generations. In the middle period, Lushan Mountain in Shenzhou, Wu Pai has a high culture and a bright future. Zhou Quan has hidden view of Yinshan Road in Tang Dynasty. Songshengtu Taoyuan Wonderland, Chou Ying Here we introduce the most representative paintings of Tang Yin.
Tang Yin (Tang Bohu)
Tang Yin (1470 March 6-1524 65438+1October 7) was born in Wuxian (now Suzhou, Jiangsu Province), originally from Jinchang County, Liangzhou. Famous painter, calligrapher and poet in Ming Dynasty.
In the twenty-first year of Chenghua (1485), he won the first place in the senior high school entrance examination of Suzhou Prefecture and entered the government school. In the eleventh year of Hongzhi, he won the first place in Tianfu after having obtained the provincial examination (Xie Yuan) and went to Beijing to take the examination. In the twelfth year of Hongzhi, he was involved in the fraud case of Xu Jing's examination hall, was sentenced to prison and demoted to a petty official in Zhejiang and Francisco. From then on, he lost his enterprising spirit, wandered around the rivers and lakes, was buried in poetry and painting, and eventually became a generation of famous painters. Tang Yin lived in poverty in his later years and relied on his friends for help. 1February 2, Jiajing passed away at the age of 54.
Li Tang and Liu Songnian, which belong to the patriarchal clan system of landscape painting, integrate the North and South painting schools, with meticulous brushwork, sparse arrangement and elegant and handsome style. Portrait painters inherit the tradition of the Tang Dynasty, with bright and elegant colors, beautiful posture and accurate modeling; He is also a freehand brushwork figure, and his pen is concise and interesting. His flower-and-bird paintings are good at freehand brushwork and free and easy. Calligraphy is fantastic and handsome, taken from Zhao Mengfu. Representative works include Loneliness in the Sunset, Spring Mountain Companion, A Cool Night in an Empty Pavilion, Apricot Flower Cottage, Visiting Girls in Several Mountains in Spring, Autumn Wind Model, Want to Ride Donkeys, Pine Sound in Mountain Roads, Scenery and Tea, Wang Shu Palace Prostitute and Wang Shu Palace Prostitute.
Appreciation of Tang Yin's Loneliness Map in the Middle Ming Dynasty
The Lonely Picture of the Sunset, Tang Yin, Ming Dynasty, vertical axis, paper-based ink pen, vertical 189. 1 cm, horizontal 105.4 cm, in Shanghai Museum, China.
The lonely picture of sunset is a big axis with clear artistic conception. The lower part of the picture is painted with Shi Shui Pavilion, hidden among weeping willows. The mountains behind the pavilion are towering, and the pavilion is topped with miscellaneous trees. There is a table against the wall in the pavilion with vases and ancient books on it. A scholar stood alone looking at the sky, with a child standing behind him. Sir, there is a man in the water helping the boat. The weeping willow branches and leaves in the painting are very clever, and the cloud in the painting says, "It is difficult to draw a willow when painting a tree." But in this painting, the willow branches are closely connected with a pen, and the willow leaves are arranged properly. The trunk shape also has its own shape, or the bark bursts and lies like an old man; Or intertwined, leaning like a strong man; Or the trunk is round and muddy, standing still like a virgin. Li Tang and Liu Songnian in the Southern Song Dynasty are the main schools of stone carving, but their pen and ink have changed and refined. Later generations also called this method "water mass". The Lonely Picture of the Sunset depicts the willow trees in Yanagi Takayama, and the Shuige River. Sitting alone in the pavilion, watching the lonely sunset, accompanied by a scholar. The whole painting is quiet and contains the temperament of literati painting.
It was with the help of Wang Bo, the Dragon King, that Tang Yincai made this poem famous all over the world, lamenting that he was ill-timed and unqualified. So the whole painting is also infected with deep sadness because of this poem.
Appreciation of Tang Yin's Spring Mountain with Pictures in the Mid-Ming Dynasty
The picture with Spring Mountain is 8 1.7cm in vertical direction and 43.7cm in horizontal direction. It is now in Shanghai Museum.
The Picture of Spring Mountain is full of ink paintings, only one robe is dipped in light red. In the picture, the curved columns are hidden, the miscellaneous trees are in full bloom, the spring mountains are smiling, and the nobles are flowing, giving people a sense of sunshine and warmth. The mountain is beautiful, covered with soft linen, and I am very interested in ink painting. The more you invent, the more amused you are, and the whole picture has an innocent and quiet interest. At the top left of the painting, there are two or three friends from Chunshan who are tired of drinking and looking for flowers. Just sit on the rocks in the spring pool and sit quietly and quietly.
Appreciation of Tang Yin's Xu Ge Ting Night Cool in the Mid-Ming Dynasty
The evening cool picture of the virtual pavilion is light in color, with a vertical length of 59.3 cm and a horizontal length of 3 1.6cm. It is collected by Shanghai Museum.
The picture shows two huts at the foot of the mountain near the water, surrounded by trees. One person is sitting and a boy is serving tea. There is a small wooden bridge outside the house. The peak behind the tree is outlined with light ink and covered with thick ink. The whole picture adopts rough brushwork, which has a sense of sloppy brushwork. The calligraphy on the top left says, "The empty pavilion is near the stream, and it is cool at dusk, and thousands of lotus flowers are fragrant in front of the threshold. Sugarcane pith is full of golden cold, and there is a new steamed mint cream. Tang Yin painted it. " Zhong Zhu. There are seven seals on the map: Zhu Zhichi's Xiuning Collection, Lu Runzhi's Taicang Seal, Chen Changji's Shi Yi Yin Seal, Louis's Xu Bangda Seal and so on.
Appreciation of Tang Yin's Xinghua Caotang in the Middle Ming Dynasty
Apricot Blossom Cottage, Tang Yin, Ming Dynasty, vertical axis, colored in silk, length 147.8 cm, width 73.2 cm, collected by Shanghai Museum.
Apricot Blossom House is a vivid work in Tang Bohu's landscape painting. The high mountain peaks, cascading springs and swaying pine trees in the painting have reasonable layout and clear artistic conception, which can truly show Tang Yin's genius style and his solid foundation in traditional painting. The mountain peaks are towering and the field of vision is wide. The cliff on the left side of the picture stands, with huge stones entrenched below and dense trees, among which is the endless river. Between the boulder and the trees, two noble scholars talked tit for tat on the edge of a small bridge and running water. The theme of this secluded mountain forest is the artistic pursuit of China literati landscape painting, and it is also the artistic spirit of literati landscape painting.
Appreciation of Tang Yin's Spring Tour in Several Mountains in the Middle Ming Dynasty
The silk edition "Spring Tour in Several Mountains", with longitudinal axis 122 cm and horizontal axis 65 cm, is now in Shanghai Museum.
This painting, created in the early years of Zheng De, is the pinnacle of Tang Yin's work. The painting adopts panoramic composition, and the close-up is Gu Song Caotang, Yeqiao winding path and peach apricot trees. On the winding path, the old man walked on crutches and the children followed. The middle scene is beautiful with lakes and mountains; Two-leaf boat, still in the lake, each with a noble scholar sitting at the bow, quietly fishing, happy; The mountains are steep, the trees are lush, the pavilions stand in dangerous places, and the eaves stretch, showing a flying trend; Looking into the distance from the railing, a person seems to be watching fishing boats, enjoying the scenery on the shore, intoxicated by the beautiful scenery of mountains and rivers, and seems to be waiting patiently for the arrival of friends. Overlooking, the lake is flat and lush, with a wide and comfortable view, but the mountains in the distance extend to the left and the steep peaks on the right rise into the sky. There is a poem in the painting, which reads: "Several girls disappeared in Chun Xue at the top of the mountain, and fairies and apricots on the roadside were soft. I look forward to traveling with you this day, with wine and piano, and crossing the wild bridge. " This poem points out the theme that the painter invites friends to visit Chunshan together.
Appreciation of Tang Yin's Autumn Fan Map in the Middle Ming Dynasty
Autumn Fan Map, paper and ink, 77. 1cm long and 39.3cm wide. It's in the Shanghai Museum now.
Autumn Fan Map is the representative work of Tang Yin's ink figure painting, which depicts a courtyard with lake stones. A lady with a fan in her hand looked askance, and her brow was slightly dissatisfied. Her clothes fluttered in the bleak autumn wind, and the bamboo hook was beside her. This picture adopts the method of line drawing, with smooth pen and ink, strong turning point and undulating lines. It combines Li Xing's description of flowing water and Yan Hui's description of broken reed, and the pen is full of rhythm. Although the whole painting is pure ink and wash, it can show rich colors in the change of shades. Draw a poem in the upper left corner: "Qiu Lai's Ten Thousand Fans is a collection of works. Why are beautiful women sentimental? Please look at the world in detail. Most people don't drive away the cold. " Banjie, the concubine of Emperor Han Chengdi, used her lewdness and declining kindness, just like Wan Fan's fate of being abandoned after the autumn wind, attacking the cruelty of the world. Obviously, this is related to the unfortunate experience of Tang Yin's personal life. The sad face of the woman in the painting may be a portrayal of Tang Yin himself.
Appreciation of Tang Yin's Thoughts on Riding a Donkey in the Middle Ming Dynasty
The silk edition of Thinking on Riding an Donkey, light in color, 77.7 cm long and 37.5 cm wide, is collected in Shanghai Museum.
The picture shows a poor man in an open robe riding a tired donkey, in the depths of steep cliffs, winding plank roads, swift bridges and lush LAM Raymond. At the foot of the mountain, there is a woodcutter standing on the bridge. This painting has the style of Southern Song Dynasty, with light picture and rich colors. Imitating Li Tang with a pen is vigorous and sharp, and the chopping method makes the axe shape slender, more lively and moist, and the pen and ink are thick and subtle, which not only has the three-dimensional sense of the landscape of the North School, but also has the emotional interest of the landscape of the South School. For Tang Yin's most proud special brushwork, he turned the chopping method into a line, mixed with techniques such as piercing hemp and littering, and then drew it with the pen tip in the center. This kind of brushwork is the most time-consuming. The lines of the characters are smooth and graceful, and the stone method takes water for a long time, which is very moist. Qiu Shu is green and yellow, mostly with empty hooks and leaves, and its painting style is close to that of Li Tang and Ma Yuan.
Appreciation of Tang Yin's Song of Mountain Road in the Middle Ming Dynasty
Song of Mountain Road by Tang Yin in Ming Dynasty, silk in color, length 194.5cm, width 102.8cm, collected in the National Palace Museum in Taipei.
"Mountain Road Songyin Map" depicts a towering mountain peak, and a spring water steps down from the mountainside and flows into the river. At the foot of the mountain, there is a small bridge across the spring to connect the mountain road. On the bridge, two men, an old man, looked up and listened to the sound of spring water flowing, and a child followed with a piano. Spring is surrounded by dense pine forests, branches and vines, breezes and pines. The painting of pine branches and leaves comes from Xia Gui, but it is far more prosperous and realistic than Xia Gui. Sketched by a strong center, the turning point is frustrating and there is no lack of statutes. The rocks are hard and angular, which is obviously Li and Guo's painting method, but it is not like Guo's Cirrus or Chopping Horse and Xia's Axe. But a line with Tang Yin's personal style, which is more casual and looser than Xu Daoning's straight line. The hook pen is thicker, but the pen holder is lighter. The composition and layers of the stone are separated by thick dots, and the ink color is transparent and elegant. The mountain structure is patchy, with distinct levels, beautiful scenery and strong sense of reality, which has the charm of panoramic landscape in the Northern Song Dynasty. This is what distinguishes him from Shen Zhou and Wen Zhiming. Because I often travel to famous mountains and rivers, I have mountains and valleys in my chest, and the mountains and rivers of Shen and Wen are often imitated by ancient paintings.
This floor is full of rocks, waterfalls and flowing springs. The hillside is lush and the branches are old and dry, covering the picture. Pinghu Bay at the foot of the mountain is crystal clear. A rugged wild road winds its way to a mountain stream to increase the depth of the picture. An idle man leaned against the railing to listen to the wind, and the waiter followed. The self-titled cloud: "The wild road in front of the mountain is horizontal, and the pine sound is biased towards spring. Try to prick up your ears from the silence, and you will feel angry. Under the rule of Tang Yin, this painting was presented to Mr. Li's parents. " Hou Zhong's Dream Pavilion, Nanjing Xie Yuan and Escape from Zen Fairy. Clean, meticulous and charming with a pen. The collection of Neifu and Liang Qingbiao in the Qing Dynasty, and the third edition of Shiqu Baodi are all recorded.
Appreciation of Tang Yin's Shi Ming Tu in the Middle Ming Dynasty
Ming Ming Tu Ming Tang Ginza paper, color, vertical 3 1. 1cm, horizontal 105.8cm, collected in Beijing Palace Museum.
At the beginning of this painting, there is the word "Shi Ming" inscribed by Wen Zhiming and "Zheng Ming" written by the Ministry of Finance. "Wen Zhiming Seal".
"Shiming", surnamed Chen, is a friend of Wang Chong and has close contacts with Tang Yin. Tang Yin painted this picture under the name of Chen and embedded the word "Chen" in the poem. The layout of this painting is unique and distinct. Close-up boulder stands horizontally, with deep ink color, delicate rubbings and clear protrusions. The house and sloping land are elegant and moist, and the owner in the house drinks tea by the window, which depicts a quiet and pleasant ideal living environment. Through the picture, it seems that you can hear the sound of running water and smell the faint fragrance of tea.
Appreciation of Tang Yin's "Wang Shu Gong Prostitute" in the Middle Ming Dynasty
Figure of prostitutes in Wang Shu Palace, axis, Ginza in Ming Dynasty, silk edition, color, vertical 124.7cm, horizontal 63.6cm, collected in Beijing Palace Museum.
Tang Yin's silk book "The Figure of Prostitutes in Wang Shu Palace", formerly known as "The Figure of Prostitutes in Shu Meng Palace", is commonly known as the Four-Secret Figure. It was first named by Wang Zhuyu's "Coral Net Painting Record" at the end of the Ming Dynasty and has been in use ever since. After recent textual research, it should be changed to "The Prostitute in Wang Shu Palace", which describes the harem story of Wang Yan, the ruler of Shu before five dynasties. In the picture, four Caballe maids are dressed up, waiting for the king to call them to serve. They wore golden lotus crowns, colorful robes and rouge on their faces. They are personable and charming in appearance. Wang Yan, the queen of Shu, once composed "Ganzhou Qu", describing the charming state of ladies-in-waiting in Taoist robes: "Painting a skirt can end, which is called the waist. Liu Mei's peach face is full of spring, and she is full of charm. Unfortunately, Xu has fallen into the dust. " Tang Yin created this painting to expose the dissolute and corrupt life of Wang Yan, a former Shu master, with vivid allegorical techniques.
This painting is the representative work of Tang Yin's figure painting, which shows his superb skills in modeling, writing and coloring. The lady is well-proportioned, graceful, with narrow shoulders and narrow back. Her eyebrows are in cherry bun, and her forehead, nose and chin are painted with "three whites", which not only absorbs the modeling characteristics of "Tang makeup" pioneered by Natalie and Zhou Fang, but also embodies the aesthetic fashion of pursuing exquisiteness and beauty in the Ming Dynasty, and the clever transition and collocation of similar colors make the overall tone rich and harmonious, while being rich and elegant. The painting style of the works has the artistic characteristics of appealing to both refined and popular tastes.
Appreciation of Tang Yin's "Li Duan Duan's Birthday Map" in the Middle Ming Dynasty
The central axis of Tang Yin's Li Duanduantu, with a length of122.8cm and a width of 57.2cm, is printed and colored, and is now in Nanjing Museum.
The content of this painting is to transform the love story circulated by Li and Cui as a good structure, and turn Li Duan's pleading into a scene of debate, which highlights Li's wisdom and courage. Sitting in the middle of the painting, wearing a Wensheng towel (hat) and a moustache, Cui Ya's reclining posture and facial expression show a natural and elegant breath and demeanor. The maid around her is wearing a red dress and a white blouse, which is in sharp contrast and full of layers. On the right front of it is the tourist Li Duan Duan. She held a Bai Mudan in her hand, elegant and lovely, followed by a maid. Four women surrounded the host, arranged from left to right up and down, patchwork, set off Cui Sheng's main image and important position like stars holding the moon. This is the composition feature of this painting. Tang Yin's "Li Duan Duan Duan" brushwork is like flowing water, which shows that she stands in front of Cui with a calm face and a slightly nervous and anxious attitude. She is comparing herself with Bai Mudan and making a rational analysis. Cui Ya sat quietly and listened attentively. Her heart was full of excitement, and she wrote or had written a new poem with a roll of paper. The subject and object's "face is like a page of books" (Wovitius's "Love Sutra") can be interpreted!
Appreciation of Tang Yin's Qiuci Cuan Tu in the Mid-Ming Dynasty
Paper version of "Ancient Chatting Fish Map". 12 1 cm, 26.7 cm long, this painting is now in Shanghai Museum.
This painting creates the image of a parrot, which perches on a branch and sings with its head held high. The starling in the picture is in place in both pen and ink and modeling, with vivid and casual description and unpredictable servants. This painting is Tang Yin's masterpiece.
This painting, also known as "Singing Birds in Spring Rain", uses a lot of bones to create a beautiful image of a crane bird perched on a branch and singing with its head held high. The color of the branches is very bright, and the lines at the ends of the branches are very long, which seems to vibrate slightly. Surrounded by vines and hsinchu, the picture is full of infinite vitality and vitality.
On the upper right of the painting, there is a self-titled antithetical poem by the painter, "The mountains are boundless and silent, and the spring rain sounds."
The picture is particularly slender, but a half-withered branch twists and turns into an "S" shape, which makes the picture look full. Zhi's pen has a sense of cadence. On the upper branch in the middle, a silver carp (myna) perched on the branch with its head held high was shaped by ink accumulation. The image of birds is extremely vivid. The mouth and beak are lined with double hooks, head and eyes, abdomen and back, wings and tail, and feet. The color is slightly darker and lighter, and the body performance of myna is very accurate. Its expression of screaming with its head held high makes people seem to hear its voice.
The whole painting is painted with bare pens and leaves, and one or two thin vines and a few wild bamboos are painted with the old leaves on the dead tree, which adds a quiet and fresh atmosphere after the rain: the dead tree is painted in the middle with a pen from top to bottom, and the pen has a light and heavy turn, and the ink has a dry and wet rhythm. There are several strokes of bamboo written in thick ink at the root of the tree, and vigorous old vines are wrapped around the trunk. The tree body uses the method of "whitening" to convey the mottled texture of bark just right; The whole work is strewn at random and layered, just like a Katie Qu tune playing, floating in the clear sky in spring.
Appreciation of Tang Yin's Jiangnan Agricultural Map Axis in the Mid-Ming Dynasty
Jiangnan Agricultural Map Axis, Ming Dynasty 1504, Tang Yin, vertical axis, silk in color, length 74.4 cm, width 28. 1 cm, in the National Palace Museum in Taipei, China.
The Axis of Farming in the South of the Yangtze River depicts a water town in the south of the Yangtze River, where streams flow and the plains are quiet. Farmers transplant rice seedlings in the fields, fishermen cast nets to catch fish, some people unload their burdens to sell them, and they cross the bridge by boat to enjoy the scenery in the south of the Yangtze River in April. This painting shows that Tang Yin has been painting with meticulous care since he was a child, with trees and houses, people's boats and bridges and even distant mountains in front of him. Tang Yin's paintings are appropriate and steady, which is the skill of professional painters. The landscape is bottom-up and staggered left and right. The middle scene of the painting is in front of us, and its artistic conception makes people return to the countryside. Mountain villages and water towns, if you smell pastoral, Jiangnan wins, there is no need for misty rain, and the green is thousands of hectares. Nature is poetic, which is the original intention of literati painters. Later generations commented that Tang Yin is a combination of painting styles of northern and southern sects. This picture is an example.
Appreciation of Tang Yin's Gu Tao Ci Tu in the Middle Ming Dynasty
Gu Tao's Ci-giving map, vertical axis 168.8 cm, horizontal axis 102. 1 cm, in the National Palace Museum in Taipei.
This work is exquisite. The figures, trees, stones and plantains are similar to those of Du Fu (about 1465- 1505), and it was completed on the night when Tang and Du Fu first met in Beijing on 1499. Judging from the style of pen and ink, this painting was written by Tang Yin in his thirties and forties.
Appreciation of Tang Yin's "Han Guan Xue Ji Tu" in the Middle Ming Dynasty
The vertical axis of Yin Mingtang's Map of Han Guan Xue Ji is 69.9 cm, and the horizontal axis is 37.3 cm.
Huashan Mountain, the snowy Yanyakou, teams of mules, cows and carts carrying goods trudged on the cold mountain road. The sky and the water are stained with faint ink, which sets off the clear and sparse atmosphere of the snow scene. Close-up of withered willows and miscellaneous trees standing upright, there is no snow on the rock surface. This brushwork is changeable and natural and unrestrained, and its ox cart, house and trestle are beautifully carved.
This poem is inscribed in the upper right corner. The first two sentences describe the theme of this painting, while the last two sentences describe the difficulty of Chun Xue's initial integration and travel. In the second year of Zheng De's reign (1507), Tang Yin built the Peach Blossom Temple in the north of Suzhou, which contained the Xuepu Temple and the Mengmo Pavilion. On this axis, there is a chapter of "Xuepu Hall".
Appreciation of Tang Yin's Imitation of Tang Ladies in the Middle Ming Dynasty
The portrait of a lady in the Tang Dynasty has a vertical axis of149.3cm and a horizontal axis of 65.9cm, and is collected in the National Palace Museum in Taipei, China.
According to Yunxi Friendship, Zhang Hu and Cui Ya in the Tang Dynasty were famous for their literary talents, and their poems were appreciated by everyone. Li Duanduan, a famous prostitute, once asked Cui Ya for poems, and he got the poem "Yangzhou has recently become a poor city, and one can make it to Bai Mudan". The man in the picture is sitting on the sofa, staring at the woman holding Bai Mudan in front of the screen, which is to describe the scene where Li Duanduan and Cui Ya meet.
The characters in this picture have beautiful shapes, serene demeanor and obvious line changes. Writing lake light and stone color, the stroke is vertical, which echoes the brushwork of the inscription. The whole picture is clear and elegant, and it becomes your own face. It should be Tang Yin's work after the age of 42.
Appreciation of Tang Yin's painting "Banji Tuanfan" in the Middle Ming Dynasty
The vertical axis150.4cm and the horizontal axis (63.6cm) of Drawing Plate Pole Fan. It is collected in the National Palace Museum in Taipei, China.
Under the palm trees, the woman stood holding ten thousand fans, showing the cold autumn cold for the hollyhocks in front of the court, which made people wonder why they had to fan the wind in cold weather. In fact, the painter of this painting was entrusted by something, taking Ban Jieyu in the Han Dynasty (about 48-6 BC) as the prototype. At the end of the article, I wrote: "I am always afraid that the autumn festival will come and the cool wind will take away the heat, so I will donate." Tang Yin seems to express his frustration with the allusion that Ban Jieyu was left out by Emperor Cheng.
People's Clothes Fold has become a classic figure painting handed down from generation to generation with its flexible brushwork and mature techniques. According to legend, Wen Zhiming used "writing style" to paint and calligraphy, and began to use "Zheng Ming" after he was 42 years old. Wen and Tang are the same year, so this painting can be regarded as Tang Yin's painting after 42 years old.
Appreciation of Western Zhou Dialect in Tang Yin in the Middle Ming Dynasty
The old map of Western Zhou dialect, with the longitudinal axis of 1 10.7 cm and the horizontal axis of 52.3 cm, is collected in the National Palace Museum in Taipei, China.
There are trembling pens in the dead trees, branches and leaves in the painting, but the scenery is still alert and moving when it is cut. Tang Yin's mature calligraphy style is to draw calligraphy inscriptions and use strokes of Shen Feng. According to the poem Fifty Years of Drunk Dancing and Singing, the lower limit of painting time can be set at 50 years old, that is, 15 19 years, Tang Yin. Tang Yin's frank and unrestrained temperament can be seen in the poem "Don't damage the sky on your chest".
Appreciation of Tang Yin's Fan Map of Zhu Mo in the Middle Ming Dynasty
The fan chart of Zhu Mo (length16.5cm, width 50.5cm) is collected in the National Palace Museum in Taipei, China.
Draw bamboo and adjust the ink color with water to form a multi-level dry and wet shade. When bamboo is written on a "golden note" with slow water absorption, the water infiltration feels twice as wet, just like bamboo leaves carrying rain. This painting is full of water, dripping with ink and full of charm, which is an example. This picture is selected from the seventh book of fan painting in Ming Dynasty.
Appreciation of apricot blossom paintings in Tang Yin in the middle of Ming Dynasty
The portrait of apricot blossoms has a vertical axis of114.8cm and a horizontal axis of 32.3cm, and is collected in the Palace Museum in China.
This painting depicts a spring apricot in a freehand way. It branches from left to right, hooks the trunk first, and then rubs it. The branches are mostly written in thick ink, and the petals are painted with dense cores, which are elegant and moist, without gaudy atmosphere. Scholars have made textual research on the content of the title and the style of the book, and speculated that the painting time of this frame was around 15 19 years.
The inscription of this painting reads: "Amoi's steamed trees are relatively strong in Guang Xiao, and they are in the middle of February every year. Xiangxue's spring dream is short, and people in the world are anxious. " On the occasion of the entrance examination in February of the lunar calendar, apricot blossoms were in full bloom, so Tang Yin used apricot blossoms as a metaphor for the case of cheating in the imperial examination, lamenting that the glory of Xie Yuan in Nanjing was as short as a spring dream, and his life rose and fell in an instant. There is no emotional ups and downs in the tone, which is a dull memory of the rest of the year.