The Paper has learned that "Drawing Hearts and Freehand Expressions - The Human Touch in Calligraphy and Painting" was recently exhibited at the National Palace Museum in Taipei. The exhibition focuses on the transmission of feelings, displaying calligraphy and painting works that express feelings through words and paintings. The exhibits include daily letters, poems, calligraphy and paintings created specifically for others, as well as images with the meaning of gifts. The exhibits include important antiquities and national treasure-level cultural relics, including Yuan Dynasty Zhao Mengfu's "Tao Yuanming's Deeds", Cao Zhibai's "Double Pines", Ming Chen Hongshou's "Playing with Chrysanthemums", Wen Zhengming's "Guanshan Snow", Shen Zhou's "Lushan High", etc. These exhibits not only display the talents and ideas of calligraphers and painters, but are also the epitome of social etiquette and interpersonal relationships, and are a concrete presentation of mellow human touch.

The exhibition is divided into five units. The first unit, "Meanings in Objects," focuses on images of allusions to gifts and rulers and tablets related to gifts, showing the care and friendship that objects carry in social life. The second unit, "Reflecting on Elegance," shows that literati like to depict landscapes, bamboos, rocks, and images of sages as a way to express their lovesickness to friends, to express their noble wishes, or to express their inner aspirations. In the third unit, "Scenery and Thoughts", the painter uses real-life locations to paint, such as private residences and gardens, famous mountains and scenic spots, etc. These places of residence and travel are closely connected with the life experience of the subjects of the painting. The fourth unit, "Farewell on a Long Journey," uses paintings or poems to express blessings to friends and colleagues who are about to embark on a long journey, and to extend emotions through the eternity of art and literature. The fifth unit, "Wish you the best", displays paintings related to birthdays and birthdays. After long-term development and evolution, these works have formed symbolic images that are still well-known to the public, reflecting the common wishes of society and culture.

meaning in things

In literary works, objects are often used to carry emotions and symbols. The Book of Songs is a representative of ancient poetry and literature. It contains many chapters that use objects to express feelings, and related idioms have been derived. In ancient daily letters, it is also common to write letters of greetings, enclose items with letters, or reply to letters of thanks. These written words and images of gifts show the warmth in interpersonal communication and also reflect the social etiquette of the time. and social fashions.

Song Dynasty King Gong's calligraphy slips (Leng Tao Tie), important paper antiquities

Wang Gong (1048-?), whose courtesy name was Dingguo, was from Weizhou (now a famous name in Hebei Province). He often interacted with literati such as Su Shi and Huang Tingjian. The calligraphy style of this letter is very close to that of Su Shi, with mellow stipples, stretched strokes at the end of the characters such as "Xing" and "Bai", and coherent flow of Qi, and the structure is natural and not rigid. The content of the letter was to tell a friend that he had made a cold meal and to express his gratitude for receiving the dumpling cake. Lengtao is a cold noodle product, which existed in the Tang Dynasty. Du Fu (712-770) once wrote the poem "Lengtao with locust leaves". Lengtao has become a common summer noodle food in the Song Dynasty and can be eaten with various condiments. Tuanbing is a round tea cake in the shape of a cake. In the middle and late Northern Song Dynasty, Tuanping tea was made extremely exquisitely. Tuanbing was often given as a greeting in social interactions.

The deeds of Zhao Mengfu and Tao Yuanming in the Yuan Dynasty (partial part) on silk

The deeds of Zhao Mengfu and Tao Yuanming in the Yuan Dynasty (partial part) on silk

The "Song Book" of the Southern Dynasties (written in 487-488) records that during the Double Ninth Festival on September 9th of the lunar calendar, Tao Yuanming (about 365-427) had no wine to drink and was sitting alone among the chrysanthemums. Wang Hong (379), the governor of Jiangzhou, -432) Sending people to bring wine at the right time fulfilled his elegance. Therefore, the term "white clothes and wine" was later used to describe friends who can provide timely assistance and fulfill their wishes. The eleventh paragraph of this volume depicts this elegant event of gifting wine. The entire volume is drawn using ink and white, with ink lines and light dyeing. The characters are simple in appearance but unique in expression, fully displaying Tao Yuanming's calm and calm charm.

Ming and Tang Yin rulers on paper

This is a letter written by Tang Yin (1470-1524) to Mr. Yu Shan, a master of National Taiwan University. In the content, he asked him to take more care of his friend (or protégé) Lu Xiu, and he also sent five kilograms of milk cakes along with the letter to thank him for his daily care. Milk cake (or cheese) was a common daily food in the Ming Dynasty. The "Convenience Map Compilation" records the preparation and preservation methods of milk cakes in detail, which shows the popularity of this item.

There are vertical lines drawn on the letter and it is written in regular script. The handwriting is elegant yet strong. The letter spacing and line spacing are sparse and clear, giving the overall impression of freshness and elegance.

Express elegance

Mountains, water, bamboo, stone and other natural objects have always been the objects of literati's feelings. They reflect the literati's perception of all things and are often used as themes when writing to friends. In addition, the admiration for reclusive life and noble character also led to the images and allusions of ancient sages often being quoted in paintings, such as the character and charm of Xie An (320-385), a famous scholar in the Eastern Jin Dynasty, and the poem "Pick chrysanthemums in the East" by Tao Yuanming (ca. 365-427). "Under the Fence" and the legend of Peach Blossom Spring, the anecdotes of Ni Zan (1301-1374) in the Yuan Dynasty, such as the anecdotes of Xitong.

Yuan Cao Zhibai's Double Pine Pictures Important Antiquities on Silk

Cao Zhibai (1272-1355), whose courtesy name was Youxuan and whose name was Yunxi, was from Huating (now Shanghai). On the seventh day of the first lunar month in the second year of Tianli (1329), the artist painted this work and gave it to his distant friend Shi Mo Boshan (1281-1347), a nobleman of Khitan origin, to express his thoughts. Two pines rise from the ground on the stone slope along the waterfront, and their branches twist and turn. The dead wood branches are shaped like crab claws, and the scenery is sparse and misty. The painting style is influenced by the styles of Song Dynasty painters Li Cheng (916-967) and Guo Xi (about 1023-1087). The pine tree stands proud of the snow and frost, symbolizing the perseverance of a gentleman and also a symbol of firm friendship.

Yuan Cao Zhibai's Twin Pines (detail) Important Antiquities on Silk

Yuan Cao Zhibai's Twin Pines (detail) Important Antiquities on Silk

Yuan Cao Zhibai's Double Pine Pictures Important Antiquities on Silk (Part)

Ming Dynasty King Fu Qi Wei Pictures Important Antiquities

Ming Dynasty King Fu Qi Wei Pictures Important Antiquities (Part)

Wang Fu (1362-1416), courtesy name Mengduan, was a famous bamboo painter in the Ming Dynasty. The name of the painting "Qi Wei" comes from the praise of the painter Liang Qian (1356-1418). The description of the ink bamboo makes one feel like being in the bamboo-rich Weichuan (today's Wei River, originating from Gansu Province) and Qiyuan ( Near today's Qixian County, Henan Province). This painting depicts an upside-down bamboo branch with a graceful posture. The branches are mostly painted with light ink, and the leaves are written with thick ink. The density is uniform. Although the bamboo pole is painted, it has the feeling of growing in a bamboo forest with thousands of branches and leaves. Bamboo symbolizes a gentleman's integrity and character, making it an ideal subject for paintings given as gifts to literati.

Ming Ding Yunpeng Dongshan Picture on paper

This painting depicts Xie An (320-385), a famous scholar in the Eastern Jin Dynasty, who was in love with the mountains and rivers and took a leisurely trip to Dongshan. Xie An had a calm temperament and did not like being an official. He resigned and lived in seclusion in Dongshan (now Shangyu, Zhejiang). He declined many invitations from the court, and finally accepted the call to become an official. Xie An's character and integrity were deeply loved by the world. In the Ming Dynasty, the title of this painting was also widely loved by people.

This work was probably written by Ding Yunpeng (about 1547-1628) for the state and county officials. In the foreground, a scribe is walking forward with a staff, followed by a boy holding a scroll, which should be a depiction of Xie An's style. The layout of the whole work is dense, with steep mountains and rocks, and houses and travelers scattered among them. The artist uses detailed and rhythmic lines to depict the texture of the mountain. His style is deeply influenced by the Yuan Dynasty painter Wang Meng (1308-1385).

Ming Dynasty Chen Hongshou playing chrysanthemum picture important antiquities

Ming Dynasty Chen Hongshou playing with chrysanthemums, important antiquities (partial)

Chen Hongshou (approximately 1599-1652), named Zhanghou, also known as Laolian and Hui Chi, was a native of Zhuji, Zhejiang. He specializes in human figures, flowers and birds, and his figures are often bizarre and exaggerated, with a sense of deformation. This painting depicts a noble scholar sitting on a low wooden stool with a staff, facing a vase of chrysanthemums on a stone. The figures in the painting have fine and firm pleats, while the brush strokes on the stone are rough and free, showing that the artist is skilled in various brushwork techniques. The nobleman and the chrysanthemum are reminiscent of the image of Tao Yuanming (ca. 365-427), showing the yearning for the noble moral character and seclusion of a gentleman. The inscription mentions that this painting is a copy of "Playing with Chrysanthemums" painted by Li Tang (1066-1150) in the Song Dynasty and given to a friend, expressing its ancient meaning.

Describe the scene and remember it

This unit displays real-life scenes painted by the painter for his friends, including gardens and residences, famous mountain scenery, etc. For example, "White Mountain Picture" was painted by Leng Qian (active in the 14th century) after traveling to the holy mountain with his friends. It is a rare work that combines tourism and pilgrimage; "Guanshan Snow Picture" was painted by Wen Zhengming (1470-1559) in epigraphy. "Jiao Wang Chong" (1494-1533), which shows the deep friendship between friends; "Yunxi Thatched Cottage" is a study painted by Wang Hui (1632-1717) at the request of a friend to express his filial piety. These works all leave vivid visual records of the life trajectories of the subjects.

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

A clear picture of the snow on Mingguan Mountain (detail), a national treasure on paper

In the winter of the seventh year of Jiajing (1528), Wen Zhengming (1470-1559) and Wang Chong (1494-1533) traveled together and stayed at the Langjia Temple in Fangfang Mountain, Jiangsu Province. It was snowing heavily, and Wang Chong took out some fine paper to ask for a painting. Zheng Ming then took advantage of his enthusiasm to play with it, but he couldn't fully enjoy it for a while, so he returned to continue the work, which took five years to complete. At the end of the volume, Wen Zhengming describes the reasons for his creation. Later, Lu Shidao (ca. 1517-1574) praised the integrity and character of the two men and admired their close friendship.

The color scheme of the whole volume is elegant, with green and light ocher dots among the snow-capped peaks, presenting a mountain scenery with thousands of peaks hidden in green. Dotted with figures walking and riding, the brushwork is simple yet full of interest.

Ming Chen Ruyan Baizhang Spring on paper

Chen Ruyan (active in the 14th century) was a painter and poet in the late Yuan and early Ming dynasties. This painting depicts the scenery of the Baizhang Spring in Suzhou. In the 19th year of Zhizheng (1359), the poet Zhou Nan (1301-1383) stayed at Haiyun Nunnery, climbed mountains, watched the springs, and wrote poems. The next year, Chen Ruyan was asked to draw this picture, write a poem on it, and give it to Zen Master Yunyuan of the temple as a memorial. In the painting, the temple is built against the mountain, with waterfalls and springs looming in the valley. The artist used arc-shaped ink lines to outline the rocks, and used long and short staggered lines to depict the texture, decorated with alum tips and moss dots. Through the changes in density of the chamfering method and the shades of ink, the effect of natural light and shadow is cleverly presented. The work is influenced by the style of Yuan Dynasty painter Huang Gongwang (1269-1354).

Mingdu Qiongnan Lake Cottage Map Important Antiquities on Paper

Mingdu Qiongnan Lake Caotang Map (detail) Important antiquities on paper

Du Qiong (1396-1474), named Yongjia, also known as Luguan Taoist, known as Mr. Dongyuan in the world, was a native of Suzhou, Jiangsu Province. He was a representative of literati and painters in the early Ming Dynasty. He had a deep friendship with Shen Zhou's family and was one of his mentors. This painting was painted in the fourth year of Chenghua (1468) in the Ming Dynasty for his friend Zhou Ding (1401-1487) to paint the scenery of his villa. In the near view, there are towering pines on the water bank. In a house near the water, a scribe sits alone with his book spread out. The clouds lingering in the mountains, platforms and waterfalls interspersed among them, the scenery is pleasant, showing the elegant feelings of literati who attach themselves to mountains and rivers and live in seclusion in forests and springs. This kind of paintings with residence as the theme were deeply loved by literati because they could express the emotions and ideals of the garden owners, and they reached their peak in the Ming Dynasty.

Farewell to afar

In ancient times, due to inconvenient transportation and difficulty in traveling back and forth, it was difficult for people to meet again after separation. Therefore, gifting poems, calligraphy and paintings with the meaning of separation became a common way of expressing farewell. For example, Wang Fu's (1362-1416) "Fengcheng Farewell Ode" was written for his colleagues in the officialdom. There were many people who sent poems to the painting, and the blessings were overflowing. In addition, Wang Yuanqi (1642-1715) painted "Imitation of Huang Gong Looking at the Autumn Mountains" for his friends, which reflected people's feelings at that time about the difficulty of being reunited after being separated by thousands of miles.

Ming Dynasty King Fu Fengcheng's Farewell Ode on paper

Farewell Ode to Fengcheng, King of the Ming Dynasty (Part) Paper

This work was probably painted by Wang Fu (1362-1416) for his colleagues in the Hanlin Academy who were about to return to his hometown. The foreground depicts a flat water bank. In a pavilion behind trees and rocks on the riverside, there are three people gathering around a table to have a meal. Boats on the shore are ready to send guests home. There are stacks of mountains in the distance, and the texture of the rocks is depicted with twisting and interlaced chai brushes, with alternating shades of ink, elegant and graceful. There are many farewell poems in the blank space above. From the poetic point of view, it can be seen that the farewell time is in the autumn season. This landscape painting not only conveys the feeling of farewell, but also shows the cultural connotation of literati giving poems and paintings to each other. In the social life of the Ming Dynasty, the custom of giving paintings as a farewell was prevalent. This painting is a typical example of a farewell painting.

Qing Dynasty Wang Yuanqi's imitation of Huang Gong's painting of Autumn Mountain on paper

Qing Wang Yuan Qi's imitation of Huang Gong's painting of Autumn Mountain (detail) on paper

Wang Yuanqi (1642-1715), also known as Maojing and Lutai, was good at painting landscapes. Together with his grandfather Wang Shimin (1592-1680), Wang Jian (about 1609-1677), and Wang Hui (1632-1717), he was known as the "Four Kings". . According to the title of the painting, Wang has never seen the "Autumn Mountains" by Huang Gongwang (1269-1354) in his life. This painting was his favorite work and was painted as a gift from a friend. In the painting, the mountains extend from the nearby slope to the distance, with clouds lingering in the mountains, lush forests, and winding waters. The artist painted the rocks in elegant green and ocher colors, and embellished the leaves with vermilion, making the whole work rich in color and full of vitality.

Qing Dynasty Chen Shu imitating Wang Meng's landscape on paper

Chen Shu (1660-1736), a disciple of Shangyuan Dynasty, later known as Nanlou Old Man, was a famous female painter in the Qing Dynasty. She painted many landscapes under the guidance of Wang Meng (1308-1385) of the Yuan Dynasty. This work was created by Chen in his later years. Later, his grandson Qian Rucheng (1722-1779) presented this painting to the officials who came to Beijing to see the emperor who was about to return, as a farewell gift.

In the painting, there are high mountains and steep mountains, waterfalls winding down from the top of the mountain, and pine trees at the foot of the mountain. The mountains are outlined with fine ink lines and dotted with thick ink. The brushwork is continuous, and the painting style is elegant and meticulous. The depiction of a person watching a spring on the shore is in perfect harmony with the poem.

Wish Song Gao

Celebrating birthdays and birthdays are ritual behaviors in daily life that not only have personal meaning, but also express the common wishes of society. Such works are mainly used to celebrate specific birthdays, wish the elderly a long life, or pray for long-lasting prosperity for the country. Their symbolic images have become widely known due to their long-term development. For example, human images commonly include Antarctic immortals (longevity stars), the Eight Immortals, and historical elders known for their longevity; animal and plant images include cranes, pine, ganoderma, etc. In addition, the power of high mountains and the everlasting nature of rocks are often used to wish the Lord longevity. These elements combine to form the unique visual vocabulary of this type of painting.

Mount Lushan High in Shenzhou and Shenzhou of Ming Dynasty (Part) National Treasure on Paper

Mount Lushan High in Shenzhou and Shenzhou of Ming Dynasty (Part) National Treasure on Paper

Mount Lushan High in Shenzhou and Shenzhou of Ming Dynasty (Part) National Treasure on Paper

Mount Lushan High in Shenzhou and Shenzhou of Ming Dynasty (Part) National Treasure on Paper

This painting was created by Shen Zhou (1427-1509) to celebrate the 70th birthday of his teacher Chen Kuan. He took advantage of the majesty of Mount Lu to praise his teacher's virtues. The picture depicts mountains and valleys, with peaks stretching in the distance and clouds lingering. The mountains in the middle scene are closely stacked, with waterfalls flowing down on the left. The central sloping stone wall is left blank at the top and slightly dyed on the sides, which together with the rocks at the rear create a sense of spatial hierarchy. The entire painting uses dense and rhythmic brushstrokes in the style of Wang Meng (1308-1385) of the Yuan Dynasty to express the texture of the mountains and rocks, showing full of vitality. There is a person standing on the water bank below, his small figure highlighting the majesty of the mountain. Shen Zhou used landscapes and long poems to express his admiration for his teachers.

Ming Dynasty Xiang Yuanbian imitation of Su Shi's longevity star bamboo on paper

Xiang Yuanbian (1525-1590), also known as Zijing and Molin Jushi, was a famous collector in the Ming Dynasty and was proficient in the appreciation of calligraphy and painting. This work was made at the request of a friend for his father's birthday. In the painting, two thin bamboo poles stand beside the rocks on the slope, one thick and one light, contrasting with each other. The stone painting is extensive and the bamboo painting is delicate, using different brushwork to express the characteristics of the object.

The title mentions that this work was inspired by Su Shi. Su Shi (1037-1101) once visited the Shouxing Academy in Hangzhou. Later, when he was demoted to Huangzhou (1080-1084), he recalled the old place and wrote a poem to sing about the scenery of the bamboo forest. A few years later ( 1090) Present this poem to Zen Master Tongwu. Since Lord Shou believed in Zen Buddhism, the artistic conception of this painting is more in line with his aspirations and interests.

Painting of Two Immortals in Chisong and Huangshi by Xuyang, Qing Dynasty, on paper

Xu Yang (approximately 1712-1779) was a native of Suzhou, Jiangsu. In the 16th year of Qianlong's reign (1751), when Emperor Gaozong of the Qing Dynasty visited Suzhou for the first time on his southern tour, Xu Yang respectfully presented an album, so he was able to serve in the palace. Chi Songzi and Huang Shigong are both legendary immortals. "Biography of Immortals" (old title written by Liu Xiang, or written by others) records that "the person with red pine seeds is also the master of rain by Shennong." He is regarded as the immortal god who is in charge of rain; Sima Qian's "Historical Records: Liuhou Family" "There is a story about Huang Shigong teaching Zhang Liang the art of war on the bridge in Xiapi (now Pizhou, Jiangsu). In the painting, red pine, yellow stone, and green bamboo are painted in clear colors and arranged in an orderly manner. The giant pine is tall and straight, with a branch leaning out, seemingly in harmony with the bamboo and stone below. It can be seen from the title on the painting that this picture was painted to celebrate the birthday of Emperor Qianlong.

Qing Dynasty Huang Yue's Longevity and Longevity Auspicious Album Nanshan Tongshou Silk Edition

Huang Yue (1750-1841) served in the Qianlong, Jiaqing and Daoguang dynasties. He was good at depicting landscapes, flowers and urban life scenes. This work is included in the album "Shou Shi Zheng Xiang". It contains a message written by Aixinjueluo Miankai (1795-1838), the son of Emperor Jiaqing, to wish the emperor a long life and pray for the prosperity of the country. The work quotes the allusion of "Longevity of Nanshan" in "The Book of Songs·Xiaoya·Tianbao", which is a poem for ministers to praise the monarch. Nanshan may refer to Zhongnan Mountain (in today's Shaanxi Province, part of the Qinling Mountains). On the left side of the painting, there are stacks of turquoise and rocks in the close-up view. A person stands on a platform and bows his hands to the mountains in the distance. His small figure is in sharp contrast with the mountains, which further highlights the majestic nature of the mountains.

The Republic of China Yu Fei Dark Shuanghe

Yu Fei'an (1889-1959), whose original name was Zhao, whose courtesy name was Feichang, and also known as Xianren, Wenren and Laofei, was good at meticulous flower-and-bird paintings. He observes nature in detail, depicts objects vividly and vividly, and incorporates folk painting characteristics into the traditional double-hook color-filling style, giving his works a quaint atmosphere and an innovative look. This work is based on azure, with two cranes soaring in the sky above the pine trees, and auspicious clouds lingering. Both the pine and the crane symbolize longevity, and were created to congratulate my brother Xinzhen on his 59th birthday. The lines throughout the entire page are strong and powerful, the colors are bright and vivid, and the decoration is rich in meaning.

(The pictures and text in this article are based on information from the National Palace Museum in Taipei)