The "Ten Thousand Years of Changchun" Shanghai Painting and Calligraphy Exhibition currently on display in Shanghai Museum is an exhibition with unique significance. This exhibition does not aim at the display of "hot" masterpieces, but thoroughly combs many difficult problems in the writing of art history from the perspective of academic research, and updates the public’s general understanding of the formation, development and influence of the whole process from China art history to Shanghai regional art history and even red art.
Occasionally, I saw a Zen poem: "New Britain is delicate and sends out branches", which is borrowed here to describe the gathering of Shanghai’s regional art history. It is this "new and delicate" vitality that has realized the "front of the gate of Wu" proposed by the curator of Shanghai Museum, and subsequently influenced the unique Shanghai-style art.
On the exhibition site of Shanghai Expo, Dong Qichang in Ming Dynasty wrote the sentence "Min Yuan Ye of wu school" in "Atlas of Nancun Villa in Du Qiong". According to Zheng Jiasheng’s research, Kublai Khan (1215-1294) adopted certain preferential policies for Jiangnan scholars in the early Yuan Dynasty, including levying lighter taxes, conniving at the annexation of land, and taking advantage of Jiangnan landlords to participate in politics. As a result, the taxi people in the south of the Yangtze River have gained a more relaxed living environment, and the economy in Suzhou and Hangzhou has developed. Many scholars can live a rich and leisurely life without being an official, and they have the economic foundation to create a cultural life. For example, the article "Zhang Jian" in the first episode of A Biography of Poems of the Dynasties: "When winning the country, the French Open is wide, and people don’t have to be officials. Every year in Zhejiang, there is a poetry club, and one or two people are hired as the masters of Yang Lianfu, and the banquet is the thickest." There are even "one cake of gold", "three pounds of platinum, one pound" and so on in the gift, which is really rich. Therefore, at that time, scholars often had the elegance of "guest residence", that is, they lived in the manor of local gentry with peace of mind and lived a secluded life of "living in peace and eating to talk about etiquette and music".By the middle and late Yuan Dynasty, the sea had become a secluded place for many scholars. In an interview with The Paper on June 22nd, Mr. Ling Lizhong, director of the Painting and Calligraphy Department of Shanghai Museum, classified the scholars in Shanghai into five main types: avoiding the land, indigenous people, official residence, abbot temple Taoist temple, and traveling and living. In this exhibition, Tao Zongyi (1239-about 1412), Yang Weizhen (1296-1370), Ma Wan (unknown-after 1378), Qian Weishan (unknown-1379) and Shao Hengzhen (1309-1401) are among the "refuge". "Indigenous people" include Lu Juren (around 1335) and Zhang Zhong; "Official residence" includes Wu Fusun (1280-1348) and Gu Yuan (1321-1382). "Abbot Temple Taoist Temple" includes Zou Fulei, Zou Fuyuan brothers, Gong Shitai (1298-1362) and Yao Xie. According to the textual research of the article "Yang Qian’s Skills and Ma Wan’s Works in Shanghai" written by Tao Yuzhi of Shanghai University, Yang Jun (1285-1361) has two Poems of Eight Odes in Jing ‘an, and the main characters in "Bamboo Cottage Map" and "Little Portrait of Yang Zhuxi" are Yang Qian (1283-unknown). At the end of Yuan Dynasty, some scholars from the south of the Yangtze River joined Zhang Shicheng Group, such as Wang Meng (1308-1385), hoping to protect the country and the people through Zhang’s strength. Another example is Wang Feng (1319-1388), "I can’t afford to lie down, and I am hiding in Wujing, Shanghai, and singing is self-adaptive." In this exhibition, he was Zhao Kui in the Southern Song Dynasty (1186-1266) in the third year of Zhengzheng (1366).The Inscription and Postscript of Du Fu’s Poetic Picture. Yang Weizhen (1269-1370) and Tao Zongyi (1329-1412) all avoided Songjiang. Therefore, Songjiang and Wujing in Shanghai during this period became the seclusion or residence of cultural elites in the late Yuan Dynasty, and the gathering of talents made the history of Shanghai regional art have a good foundation and potential, as Ling Lizhong said: "A history of literati painting can be said to be half related to Shanghai."
From the aspect of painting, the literati painters in Shanghai inherited the characteristics of the Song Dynasty to a certain extent, which was actually a rookie in the art history of the Yuan Dynasty dominated by literati painting style, and laid the foundation for the achievement of "Wu Men Qian Yuan". Among them, some of them are the inheritance of the palace paintings of the Song Dynasty, such as the Autumn Water Floating Picture by Ren Renfa (1254-1327), the Eight Scenes of Xiaoxiang by Bird, the Cool Late Cuitu by Cao Zhibai (1272-1355) and the Cool Late Cuitu by Ma Wan (unknown after 1378).
The paper version of Yuan Renfa’s "Autumn Flowing Water" is colored. Some of the collections in Shanghai Museum also inherit the characteristics of Zen painting, such as Zou Fulei’s "Spring News Map" (1360), which is now in the Fleur Art Museum, with Yang Weizhen and Gu Yan as the tail and Yuan Yangjun as the preface. Yang Weizhen wrote an inscription in the year of Zhizheng Xin Chou (1361): "There are two alchemists in Hedong, and the immortals are very good." A small complex painting Hua Guangmei, a large complex painting of bamboo, Wen Tonglong to break the wall, Hua Guang left spring news. " It is pointed out that Mo Mei inherited the characteristics of Mo Mei, the Zen master of Huaguang Zhongren in the Northern Song Dynasty. Wang Mian (1310-1359) also continued this road, and later created the wind of freehand brushwork of flowers and birds in ink painting in Ming Dynasty.
Yuan Dynasty, Zou Fulei, Spring News Map, 1360, paper-based ink pen, 34.1 x 223.1 cm, Flier Art Collection. On the other hand, in the late Yuan Dynasty, real-life paintings have also emerged in Shanghai, showing the regional cultural characteristics. Several famous monuments that have not been presented before in this exhibition will push forward the popular era of real-life paintings in the middle of the Ming Dynasty. Now it seems that Shanghai area can also be called a source of real-life landscape painting. In the Yuan Dynasty’s "Farewell Picture of Lake Dianhu", Dr. Li wrote: "Gao Shi, the foreign chairman of Cai Xia, is devoted to the truth, and he is familiar with the public as a poem to send it away, and the reproduction is a picture, aiming at the clouds of the years. On June 10 and 3, Zhizheng Bingxu (1346), I was promoted to the abbot of Yuanlan. " Literati often get together and greet each other in their friends, leaving emotional memories, which will involve the location of the real scene. According to the information in this exhibition, the abbot of Yuanlan was Wang Shouyan (1273-1353), a famous Taoist in Hangzhou in the Yuan Dynasty. In the first year of Yanyou (1314), he was awarded the title of Taoist in Hong Wen’s auxiliary road to take charge of Taoist affairs in Hangzhou Road. In addition, the literati in the Yuan Dynasty especially wrote "Send Li Ziqing to Dianshan Caotang" as a gift: "The Caotang is only in front of Dianshan Mountain." In Dr. Wei Mo’s Illustration collected in Cleveland, its signature is "Zi Qing gives birth to Li Sheng’s knowledge", so it is also called "Li Zi Qing". There is Wu Hufan’s inscription on the flower silk across the water behind Wei Mo’s Illustration: "Zi Yun’s original work is not seen outside this volume …" It can be seen that "Lake Farewell Diagram" is a precious painting and an orphan of Dr. Li’s landscape painting at present. Wu also believes that Dr. inherited"Cao Zhensu, Zhu Zemin, Tang Zihua, etc.", that is, the Li Guo Chuan School in the Yuan Dynasty.There is an inscription by Zhu Yizun (1629-1709) after the volume. In the first paragraph, the official script says, "A painter is a good hand, and there are many times in Yuan Dynasty. See" Pictorial Treasures "briefly, and Zi Yun gives birth to Li Sheng. Born in Haoliang, he is good at writing stone, ink and bamboo, and works as a landscape. The scroll was written to send the true master Cai Xia away. The pine forest is clear and sparse, and the peak is shaded by Jiao Mo, and the green is painted as a distant mountain. It is believed to be yi pin. Today, the Tibetan grandson went to Shehong’s nine families, which means that there must be a message and postscript from the public on that day, so it’s a pity to cut it off for others, so (the same thing) Zheng people buy the bamboo slips and return the pearls, and the pearls are fixed, so what’s the harm? In the forty-sixth year of Kangxi (1707), the summer day arrived in the north, and Xiaochanglu Zhu Yizun knew it. " The second paragraph reads in regular script: "Ziqing lived on the bank of Dianshan Lake in the evening, so Wu Jun especially saved a poem with benevolence: the water in the head of Yuxi River patted the sky, and the thatched cottage was only in front of Dianshan Mountain. Fang Yanzhi, Qian Yuan in the cloud, gave a poem: Chen Xian lives in Wurongxi today, and Da Ling is a fat bass. Its residence has a white cloud window, which was endowed by Dongweizi, and now its old traces are gone. Cixi Huang Zhubo became a topic of his ink bamboo cloud: the carving is wonderful and fascinating, and the rest of the feelings are sent. When people are in danger, they value their ink bamboo to carve the screen. Erhong Jiufang compiled the calligraphy and painting spectrum, and returned it to the title for inclusion in the volume. Eighty Weng Yi respected and defamed, and Wuzi looked forward to it in April. " "Golden Wind Pavilion" is printed by Bai Wenchang, and "Zhu Yi" is printed by Zhu Wenfang. Whether the "丠丠" here refers to the shape of bamboo leaves or branches after the book is painted, please correct me. "Dongweizi" in Zhu Yizun’s inscription is another name for Yang Weizhen. Wurong is now in the west of Songjiang County, Shanghai, and Daban is near Fengjing, not far from Dianshan Lake. Yang Weizhen’s poem "With Su Changling’s Rhyme, Li Ziqing’s Baiyun Window" says: "The purple jade is full of forests.White clouds are so deep. Suddenly, I saw that Nanshan had a real meaning, and I smelled good birds flowing in the air. Judging from the poem, Yang Weizhen made friends with Dr. Li Sheng, and the residence by Dianshan Lake was just the quiet seclusion. In addition, Lu Juren once wrote a poem "Calling Taoist Tiedi to Visit Mao Temple", and he once traveled with Yang Weizhen in Qingpu area.
In the Yuan Dynasty, Dr. Li, Farewell Map of Dianhu Lake, 1346, colored on paper, 23.0 x 68.4 cm, collected in Shanghai Museum.
In the Yuan Dynasty, Dr. Li, Farewell Map of Dianhu Lake, 1346, colored on paper, 23.0 x 68.4 cm, collected in Shanghai Museum.
Yuan Dynasty, Dr. Li, Farewell Map of Dianhu Lake (partial), 1346, paper coloring, Shanghai Museum.
Yuan dynasty, Dr. Li, a brief account of Wei mo’s statement map. In the exhibition, there is a picture of spring water in Wusong under the name of Zhang Zhong, a painter of the Yuan Dynasty (who lived in the second half of the 14th century), and there is a poem by Ni Zan (1307-1374) on the upper left: "Spring water in Wusong is green, swaying half a river cloud. Lan Cui falls in front of the window, and the pine sounds are heard in Zhuji. Zhang Jun is crazy about the ancient times, so let me get drunk on the book skirt. It’ s far from tacky to drum up the next year. Ni Zan. " Tao Yuzhi mentioned in the explanation of Wusong Spring Water Picture in the Complete Works of Yuan Painting that there were traces of mending in the upper left corner of the picture, and Gu Fu saw in Volume 9 of Spectacular Life that there was a sentence in Ni’s poem in the painting, "Zhang Jun is crazy about the ancient times, so let me get drunk." In addition, the painting is like Huang Gongwang’s, so it is considered as Zhang Zhongzhi’s work. Because the "Pictorial Treasures" contains: "Zhang Zhong, Zi Zizheng, a native of Songjiang, Huang Yifeng, a landscape painter, can also play ink." In addition, Yang Weizhen’s student, Yuan Kai, a native of Huating, wrote the poem "Tao and Quan Zhai Guan Zhang Zizheng < Landscape Map >" in Volume II of "The Collection of Seas", and also mentioned that the ancestors of Zhang Zhong’s family were all dear friends, but after the decline of their families, they became recluses. According to the literature, Zhang Zhong was not the only one who painted Wusong landscape in Yuan Dynasty. Lu Juren wrote a poem entitled "Color Map of Wusong Mountain in Cao Zhibai" and Wang Mian wrote "Western Painting of Cao Yun < Landscape Map >", in which there was a sentence: "Yesterday, white clouds started in the east of Tingdong, and I looked down on the Song Wu River." Cao Zhibai once chiseled the Wusong River with Zuo Cheng, a scholar in his travels, and made a lot of contributions. He also painted the real-life landscape paintings of Wusong River, which are all realistic paintings of the times with the activities of scholars in Shanghai.
In addition, Zhang Zhong and Yang Weizhen also had many contacts. According to Chronicle, Yang Weizhen also wrote Ye Zhengtang for Zhang Zhong in 1360. Zhang Zhong’s Picture of Peach Blossoms and Birds in the National Palace Museum in Taipei has the inscription on the left side of the picture: "Zhang Shouzhong painted it for Mr. Jingchu at sea." Zhong "Zhang’s Zizheng" Zhu Wenfang printed. This knowledge shows that Zhang Zhong has presented his regional "business card" as a real Shanghai. Yang Weizhen wrote in the center at the top of the picture: "I haven’t seen Zhang Gongzi for several years, but I suddenly saw Xuandu watching Lichun. However, I remember that the clouds are guests, and Xinghua plays the flute and calls for truth. Lao Tie is drunk. " Zhong "Lian Fu" was printed in white, and "Tiedi Taoist" was printed in Zhu Wenfang. Judging from this middle position, Yang Weizhen was the cultural leader of all people at that time. On the left side of the painting, Jiao Bocheng inscribed a poem with a sentence: "Tie Xian’s poem is painted by Zhang Gong, and the two old people used to be famous." It is conceivable that Yang Weizhen and Zhang Zhong are not only deeply friends, but also celebrities of poetry and painting at sea.In the exhibition, Yang Weizhen’s calligraphy "Shu Yuan Shu Juan" is a large-character Shu Juan written in his later years. Mr. Zhang Heng said in "Mu Yanzhai’s Notes on Painting and Calligraphy Appreciation" that "the characters are four or five inches big" and "Tieya’s calligraphy is handed down with few large characters, so I can only see this volume after the inscription" Spring News Volume ". In fact, this exhibition also shows Yang Weizhen’s "Cursive Poems of Yu Shan and Zhang Yu Xiaoyou Xian". Zhang Heng, scholars Chu Mo and Wang Juru all entered the full text of the sparse, which is recorded as follows:
Zhen Jing’s nunnery has a good relationship. Mi to Zhen Jing temple incense for a hundred years, the Pope; Gaochang township is crowded with people, all of whom are benefited. After spending a long time in the stars and frost, he came to see the soldiers. Although there is a day when Yin Zi holds an empty fist, he will rely on the rich elders to be down-to-earth and choose the bronze Qian Duoduo; Just write the title, and the golden que moves in. Then I saw the sudden sight, living in the clouds and water in all directions, and worshiping ten merits. Those who are near are happy, those who are far away come, and the salty French king has no cover; Books are the same, cars are on the same track, and I wish the center of the unification of the emperor. I would like to raise money. Tian Yinzi wrote a sparse and combined book. Railway man.
The style of this calligraphy is quite ancient, and it does not use prose, but it is written with antithetical sense before the Song Dynasty, but it has also changed compared with Si Liu Wen. In the inscription and postscript, Qian Daxin (1728-1804) also verified the word "Mi" as a word borrowed from the tablets of the Six Dynasties, which means "Fu" and shows quaint interest. Wang Juru, a scholar, according to the article "After the War", "The book is the same as the text, and the car is on the same track, and I wish the center of the unification of the emperor", proposed that this sparse work may have been done in the early Ming Dynasty, that is, from the reign of Zhu Yuanzhang in January 1368 to before Yang Weizhen entered Beijing in 1369. In addition, in the inscription of Du Fu’s Poetic Picture in this exhibition, Yang Weizhen said: "In the west, Kyrgyzstan’s division drew this picture out of the fire, and Yangzhou’s land was cut down …" The words "in the fire" here are similar to "in the fire", which may refer to the occupation of Yangzhou by Zhu Yuanzhang’s army in the seventeenth year of Zhengzheng (1357) Therefore, the author thinks that Wang Juru’s point of view is reasonable, because in 1367, the Jing ‘an Master Ta Ming called Zhu Yuanzhang "the new emperor" and contained "Reading March, (Jing ‘an Master) Yan saw the emperor in Ganqing Hall". Therefore, this sparse son of heaven should refer to Zhu Yuanzhang, which is very likely to be seen in 1368 from the wording.
About Yang Weizhen and Zhen Jing nunnery, Mr. Chu Mo elaborated in detail in the Study of Yang Weizhen. According to his research, in Looking at Yun Xuan, written by Yang Weizhen in the 20th year of Zhizheng (1360), it was mentioned that there were three friends at sea, namely Jing ‘an Town, Daming Yu and Tianjing. "Master Ta Ming of Jing ‘an" said: "I studied in Yuan Town, whose name is Jing ‘an, and I lived in the old man’s house. My common surname is Yang, and I lived in Gaochangli, Shanghai County." "Jing ‘an Town" is the "Jing ‘an Master", and "Gaochang Township" is its world residence. He studied Buddhism in Nantianzhu Mountain, and was later awarded the title of "Master of Buddhist Wisdom and Wonderful Discrimination" by Yuan Di. Yang Weizhen wrote a eulogy for Jing ‘an in the summer and June of the first year of Hongwu (1368). He mentioned that when Jing ‘an lived in Xi ‘feng, Yang gave a poem, "The blue clouds meet in the Yuhuatang, and the white cranes return in front of the courtyard." Jing ‘an agreed, and thought that these fourteen words were "a great victory over the mountain gate and a sparse." According to Chu Mo, this sparseness is called "Solicitation of Fathers in Zhen Jing Abbey". However, it is stated in Volume III "Inviting New Abbots" in "Requiring New Abbots" that "making sparseness (mountain gates, mountains, rivers and lakes)". From this point of view, "mountain gate sparseness" refers to the literary sparseness made by Zen Buddhism when urging new abbots, although it is also possible to raise money by this means, which is not necessarily the case. According to the information of this exhibition, in Lu Shen (1477-1544), a native of Lujiazui, Shanghai, in the Ming Dynasty, there was a record of "Yang Lianfu’s book in the real world", which was printed by Huang Mingshu, a native of Pudong in the late Qing Dynasty, showing that the book was circulating in the hands of collectors in Pudong, Shanghai.
In the 14th century, Yang Weizhen, "Shu Juan Shu Juan, a running script of Zhen Jing nunnery", a paper book, 33.3 x 278.4 cm, was collected in Shanghai Museum.
In the 14th century, Yang Weizhen, "A Brief Volume of the Running Script of Zhen Jing Temple" (partial), collected in Shanghai Museum.
In the 14th century, Yang Weizhen, "Notes on the Fundraising of Zhen Jing’s temples" (partial), paper edition, collected in Shanghai Museum. In the exhibition, Ma Wan’s Poetic Picture of Twilight Clouds is followed by Dong Qichang’s "Eight Scenes of Yanjing" and "Evening Haze of Xishan", which shows the inheritance of painting style in Songjiang area. The inscription on the upper left is: "The poem of the twilight cloud is poetic, and it is ugly to the right (1349). Looking at the sun in July, written by Ma Wan Wen Bi." Zhong "Lu Cuansheng" was printed in white, and "Ma Wan Wen Bi’s Chapter" was printed by Zhu Wenfang. After scholar Sheng Jie combed the achievements of Tao Yuzhi and other senior scholars and made textual research, in the spring of the ninth year of Zhengzheng (1349), Ma Wan came to Songjiang with his teacher Yang Weizhen, lived in Huangxi area, and made friends with Shao Hengzhen, Lv Liangzuo and his second son Lu Xun in Songjiang. For example, Shao Hengzhen wrote in "Send Marvin Bi Gao Shi (painted well)": "A guest sends home. In addition, he made friends with Yang Qian, Xia Shiwen, Zhang Jing and Wang Yizhai, and became a central figure in the maritime cultural circle. Ma Wan’s literary and artistic activities in Songjiang are actually still related to Yang Weizhen’s support. It can be seen from Yang Weizhen’s Biography of Lu Dunsheng (1350) that before he met Yang Weizhen, Ma Wan was "down and out in the middle of the lake, letting himself be neglected" and did not want to become an official’s aide. Yang Weizhen met Ma Wan in Hangzhou, and his temperament was very congenial. He sang poetry, played flute and traveled together. In his later years, he even went to the court with Yang Weizhen. Although it failed, it showed that they had the same political views. What is more noteworthy is that Yang Weizhen is good at the study of Spring and Autumn Annals and teaches locally.Starting from Confucianism, the root of the spirit of scholars, the cultural figures in Shanghai are included. For example, Ma Wan is a remarkable example. Sheng Jie mentioned that he had a collection of poems besides painting, but it was not handed down to the world. "Chronicle of Ming Poetry" A signed volume 19 quoted Bei Qiong’s "Qingjiang Collection": "Wen Bi taught Spring and Autumn Studies from Tieya Yang Gong at an early age. You Gongshi and calligraphy and painting. " Yang Weizhen spoke highly of Ma Wan, calling him a "knight in the sea" on a par with Zhang Yu and Huang Gongwang. Gao Shi, such as Ma Wan, who has the spirit of bones, is good at poetry, painting and music, and can write, is a great help to Yang Weizhen’s friends at sea.
In Yuan Dynasty, Ma Wan, Poetic Picture of Twilight Clouds, colored in silk, 95.6 x 56.3 cm, collected in Shanghai Museum.
In the Ming Dynasty, Dong Qichang, The Twilight of Xishan Mountain in the Atlas of Eight Scenes of Yan and Wu, 1596, album, colored in silk, 26.1×24.8cm, collected in Shanghai Museum. In the exhibition, Yang Weizhen’s close friend, Songjiang Lu Juren’s "The Book Title is Fresh in the Book Poem Praise Volume", which is recorded as follows:Why did Yipu enter the thistle secluded place, with four columns, three religions and nineteen streams? Forget about the world and ask for nothing, and I am floating with you. All of them stayed in Yanzhou Ball, and the pen was full of Khan cattle. The great book city is full of splendor and splendor, and sometimes it pays to sing poems. I don’t know the reason for teaching, and I don’t fly over Danqiu. If you don’t wear a pair of shoes, you will like to travel. If you don’t release the old man or Zhuang Zhou, you will stay if you are at a loss. If you don’t sail with the waves, you will be a prince without any miscellaneous guests. Watching the sea suddenly crossed the southeast, and a famous bird with thick coins came to vote. Qi Mei doesn’t have a full head of short hair, and she sits alone in meditation. Silently and profitably, I watched the sun and the moon move in the Spring and Autumn Period.
As soon as Lanting entered Zhaoling, the bachelor of Yuyang returned to the wind. A stroke of paper is worth a thousand dollars, and the inkstone is full of mystery. Sometimes the celestial sphere is recited, and the bullfight is shot with great flame. At that time, it was famous in Zhongzhou, and Qian Tang crowned the day to pay. The reason for the appointment of Hushan is still in Ge Xianqiu. Fangshan pine and snow are old tours, so why do guests come to delay tea? Ding Yi antique Chen Shang Zhou, living in Hangqu for Jiangshan. Gao Zhai is full of enthusiasm, and there are not many books in Tang Dynasty. Satellites used to gather in Wu Dongwei, and the luminous moon did not cast a dark vote. Come back to the wild old man and mourn for the head of the river, and the Buddhist temple in Xianlu will not be repaired. Heaven is so inhuman, how can a high hall show clear autumn?
Reading "Bo Ji" saves the curtain of Xuean, showing praise in writing, expressing beauty in words, and never putting it down. Because there are two chapters in rhyme, one praises Zhaowen and the other mourns the scene. The viewer should not take the dog’s tail as a marten. On the eighth day of the spring of 1911, Lu Juren, a savage in Wudong, wrote a book for Fan Yin in Zhang Yinjun’s Shuizhuxuan.
Zhu Wenchang in Yunjian quoted the first seal, Lu Juren printed in white, Wo Songting printed in white, Zhu Wenfang printed in House and Zhu Wenfang printed in Posthouse.
The exhibition site Lu Juren’s "The title of the running script is fresh in the poem praise volume of the running script" (partial)
The exhibition site Lu Juren’s "The title of the running script is fresh in the poem praise volume of the running script" (partial)
The exhibition site Lu Juren’s "The title of the running script is fresh in the poem praise volume of the running script" (partial)
At the exhibition site, Lu Juren’s postscript "The title of running script is fresh in the praise volume of running script poetry" (partially) shows a kind of inclusiveness of marine culture, such as agreeing with "four columns, three religions and nineteen streams" and "not explaining the old and not Zhuang Zhou". According to the textual research of scholar Huang Rensheng, Lu Juren and Yang Weizhen have a deep friendship. In Taiding three years (1326), they took part in the rural examination in Zhejiang province, and became a juren in the same year. In Zhizheng nine years (1349), they began to advocate peace in poetry. After Yang Weizhen went to Songjiang, the two went to Kunshan to attend the elegant collection of Yushan Caotang hosted by Gu Ying. In July of the following year (1350), Lv Liangzuo held an Yingkui essay meeting in Songjiang, and hired Yang Weizhen as the chief critic. Yang recommended Lu Juren as the peer reviewer. Huang Rensheng believes that this is the confirmation that Lu Juren holds the leading position in the local literary world and Yang Weizhen becomes the leader of the southeast literati. After Yang Weizhen came out of the mountain for the second time, his family moved to Songjiang in the 19th year of Zhizheng (1359) until he died, and he also advocated peace with Lu Juren. Judging from the information cited by Huang Rensheng, Yang Weizhen’s seclusion in Songjiang is very relaxed and comfortable, but his spirit is more relaxed than that during his official career. In my opinion, this is because it is not only a place where wars are raging in the south of the Yangtze River, but also a place from Songjiang to radiate the full interaction among the scholars in the south of the Yangtze River. More importantly, the description of "Two Portraits of Lu Ji and Lu Yun" in the exhibition quoted "A Wide Record of the Land": "Huating is a place where Lu lives, and the people in the city are civilized and the style of the scholars is elegant." Compared with Suzhou and Hangzhou, Shanghai is a rising star, but it already has a cultural background and lacks a leading figure. So only here,Yang Weizhen’s flamboyant personality and outstanding talent can gain the greatest sense of identity."Biography of Yang Weizhen in the Ming Dynasty" states: "When Wei Zhen moved to Songjiang, he advocated peace with Huating Lu Juren and Qian Weishan, who lived abroad. Both of them died and were buried in Ganshan with Wei Zhen, and the head was the tomb of San Gao Shi. " Scholar Qian Handong mentioned in the article "Yang Weizhen’s Textual Research in Songjiang" that in 2011, he and his literary friends made a field trip in Ganshan Mountain at the eastern foot of Tianma Mountain and found the tomb of the three noble scholars. Yang Weizhen came to Songjiang and became a literati leader from Jiangnan to the sea, where he died. His appearance made the history of Shanghai regional art finally converge and radiate to the south of the Yangtze River. "A Brief Biography of Poems of the Dynasties before Jia Dynasty" contains: "It is almost impossible to recommend a gentleman doctor at home and a talented person in the southeast to build a door and accept a shoe." As Chu Mo said, although there were top painters like Huang Gongwang in Songjiang area before, they lacked the cohesion and influence to unite a group of people, and the appearance of Yang Weizhen made a leading figure appear in this area. In addition, the separatist war at the end of Yuan Dynasty also made Songjiang a relatively quiet secluded place. His broad-minded personality and his ability to make friends with Buddhism and Taoism have formed a tolerant cultural influence of "three religions in one", which has continued to the Shanghai characteristics of later generations. Yang Weizhen also prefaced Tao Shubin’s Silent Poetry and Xia Wenyan’s Pictorial Treasures, which made the theory of calligraphy and painting in Shanghai go systematic. He even wrote a poem "Send Monks to Japan", saying that "I want to visit the literature in the East and return to the Middle School". Although he failed to make it, he was quite tolerant of "all rivers run into the sea". Therefore, Yang Weizhen’s activities in Shanghai can be regarded as one of the key opportunities for the convergence of Shanghai’s regional art history.
Recently, the author occasionally saw a Zen poem: "New Britain is delicate and sends out branches", which is used to describe the gathering of Shanghai’s regional art history. It is this "new and delicate" vitality that has realized the "front view of the gate of Wu" proposed by the curator of Shanghai Museum, and developed unique Shanghai-style paintings and even vibrant red art.
Appendix:
![[yuan]](https://baidubox-emoji.cdn.bcebos.com/imgs/%5B%E5%85%83%5D.png?r=2025100817 "[yuan]")
Written by Yang Weizhen and proofread by Zou Zhifang: Yang Weizhen Collection, Zhejiang Ancient Books Publishing House, 2017.Dehui ed. Ji Li Martial Arts School: "Clean Rules and Regulations", Zhongzhou Ancient Books Publishing House, 2011.
![[Qing]](https://baidubox-emoji.cdn.bcebos.com/imgs/%5B%E6%B8%85%5D.png?r=2025100817 "[Qing]")
Qian Qianyi: A Brief Biography of Poems of Dynasties, Shanghai Ancient Books Publishing House, 1959.Zhang Heng: Notes on Appreciation of Mu Yanzhai’s Painting and Calligraphy, Shanghai Painting and Calligraphy Publishing House, 2015.
Written by Ling Lizhong: "Dialogue | Ling Lizhong: Revisiting the Millennium Paintings and Calligraphy in Shanghai, and Discovering the Covered", The Paper, June 22, 2012. Shanghai Bo Painting and Calligraphy Exhibition shows you the influence of water system changes on art history, WeChat official account, June 23rd.
Complete Works of Yuan Painting, Zhejiang University Press, 2013; All kinds of on-site materials of this exhibition.
Chen Gaohua, A Collection of Historical Materials of Painters in Yuan Dynasty, Hangzhou Publishing House, 2004.
Chu Mo: Yang Weizhen Studies, Shanghai Bookstore Press, 2014.
Sun Xiaoli, Chronicle of Yang Weizhen, Fudan University Press, 1997.
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(The original title of this article is "Xinying’s Exquisite Hair: Looking at the Convergence of Shanghai’s Regional Art History from the" Changchun in Ten Thousand Years "Exhibition", the author is a professor at the Academy of Fine Arts of East China Normal University)
(This article is from The Paper, please download the "The Paper" APP for more original information)
