Huang Shanshou

Huang Shanshou

Huang Shanshou (1855-1919), originally named Yao, was born in Wujin, Jiangsu Province. The officials and the officials knew the same thing. He was poor when he was young and devoted himself to painting and calligraphy. The calligraphers of Tang Dynasty came from the Northern Wei Dynasty, Zheng Xie and Yun Shouping. In painting, there are figures, ladies, green landscapes, double hook flowers and birds, ink dragons, animals, grass and insects, ink plum, bamboo and stone. Fifty years later, he painted Shanghai and died 65 years ago.

Collection of Chinese Calligraphers and painters

Personal profile

Huang Shanshou, formerly known as Yao, was born in Wujin (now Changzhou) of Jiangsu Province. The officials and the officials knew the same thing. He was poor when he was young and specialized in painting and calligraphy. After 50, he sold paintings in Shanghai for a living. He is good at painting figures, landscapes, flowers and animals, especially ink dragons. When writing about the characters and ladies, they like to use fine brushwork with heavy colors and elegant research and show, which has the charm of gaiqi; the mountains and waters are mostly green and green, and the charm is ancient and elegant, which also shows their skills; the double hook flowers and birds have a strong look, and the strokes are vigorous; the ink plum, bamboo and stone are interspersed, which is free and graceful. Calligraphers of Tang Dynasty, Northern Wei Dynasty, Zheng Xie and Yun Shouping got their charm. The works handed down from generation to generation include the axis of the painting of autumn mountains and waterfalls, which is now stored in Shanghai Museum; the axis of the painting of imitating Zhao Mengfu's green landscape in 1903, the atlas of colored flowers, and the axis of the painting of plum blossom in 1909, which are recorded in the seal of Chinese Calligraphers and painters; the painting of imitating the loose stone wall of Jianguan Road, and the painting of Kezi, which are all recorded in the painting and calligraphy records of zhiyutang; the painting and calligraphy records of Jiaren Hanxiang The banner of "picture" was published in the 1996 edition of "China antique market Expo". Statistics of auction data: the total number of auctions is "1919"; the number of auctions in the preview is "45"; the number of auctions that have been completed is "1092"; the number of auctions that have not been completed is "782"; the total transaction amount is "49253590 yuan", and the transaction ratio is · 58%.

personal works

A study of huangshanshou's rich and noble life

In 1906, Huang Shanshou made a paper version of the vertical axis of Danfeng in Cuiling

Huangshan longevity lotus flower axis

Huangshanshou landscape mirror heart color paper

Huang Shanshou's modern three autumn painting axis

Modern Huangshan Shouqing green landscape (4 screens)

Shoudongpo, Huangshan

Huangshan shouyunlong vertical ink silk

Yellow mountain shoufusheng Scripture vertical axis color paper

Huangshan Shouqing green landscape characters vertical color paper

Huang Shanshou's antique four scenes and four screens

Huangshan shouxiao makeup picture vertical axis color silk

Huang Shanshou and Ding Si (1917) made the paper version of chrysanthemum vertical axis coloring

The axis of the five old pictures of huangshanshou in modern times

Huangshan Shoushan water vertical axis color paper

Yellow Mountain longevity flower and bird fan color gold paper

A paper version of the story of Huang Shanshou

Huangshan Shouju stone scroll

In 1915, Huang Shanshou made a paper version of setting colors for the vertical axis of Qingzhang on the Qiujiang river

In 1888, Huang Shanshou made a paper version of the vertical axis of a spring outing with a fan

Modern Huangshan shoubilian silk scroll

Huang Shanshou's four phase peony painting

Shougu pass in Huangshan

Modern Huangshan birthday drawing axis

Huangshanshou flower Mirror Heart

Modern Huangshan Shoufu women's Scripture

Huang Shanshou made a vertical ink and wash paper version of Jiashi map in 1911

Collect paintings

Huangshanshou landscape in modern times

The story of Huang Shanshou in modern times

specimen seal impression:

I was born three days ago, master of bozuodingzhai, ancient jinyinxie, former yinghuashi, Jiangxia Huanglang and Hexi Yuyin

"He Xi Yu Yin" (2) "Shan Shou" (1) "Shan Shou" (3) "Shan Shou" (2) "Shan Shou" (4) "Shan Shou Yin"

The first floor of three Wu families, the remaining life of Gushang, the master of tobacco cutting Pavilion, xuchu of Huang family, huangshanshou and huangshanshou seal

Huang xuchu's seal of calligraphy and painting, xuchu I, xuchu II, xuchufu I, xuchufu II, Chiri Jiangshan Li

Work evaluation

The general impression of Huang Shanshou's works (1855-1919) is that the themes are popular and the colors are colorful. He is the representative of the standard maritime painting school. There are many reasons for this conclusion, the most important of which is that he has a large number of students. In addition, his son Huang also learned the family law, but his skill in writing, color and ink are far away from Weng. These poor imitations are far from Huang Shanshou's original works in terms of painting method and realm, calligraphy and inscription. As the saying goes, a thousand li is the only way to recover the evil. For example, Huang's green paper vertical scroll of "the painting of pines, shade, waterfalls and springs" is empty and rootless in the use of pen, and can't bear to look at it carefully; in the color design, it's thick and gaudy, but close to vulgar; if such works belong to Huang Shanshou's name, the consequences can be imagined.

However, if people make a comprehensive and profound examination of Huang Shanshou's works, the impression and conclusion of this deviation will be greatly changed immediately. There is no other reason. Most of the "huangshanshou" we see are imitations or forgeries. The lines are mature and the colors are excessive. It is difficult to enter a beautiful room, which is not in line with the idea of grandeur. Huang Shanshou's masterpieces, from his twenties to his sixties, are elegant in both ink and color. His landscape, characters, flowers, bamboo, ink dragon and ink tiger are all clean and implicit, and the color of ink is radiant. His color works are gorgeous but not vulgar, beautiful but not selective, and the color is special, which produces a unique fresh and eye-catching atmosphere. He is another expert in color and ink after gaiqi (1773-1828) and Ren Xiong (1823-1857). He can compete with Wu Guxiang (1846-1903) and become the fourth major color designer in the late Qing Dynasty A famous artist of ink and color.

Zhang Mingke is the most extensive art lover and collector with calligraphers and painters in the middle of the 19th century. His "hansongge talks about art" mostly records the first-hand information of his contacts with calligraphers and painters and collectors. Among them, Huang Shanshou's art is described as follows: Huang xuchu (Shanshou), a man of Wujin, was more than ten years old, and he was able to paint. According to his Qi, he visited Huating county. Zhang Ming's residence is in love with the collection, and his income has been changed to the original works of Qi Xiang. In the early days of Chu Ling Xu's reign, he copied it and made it into zhuangchi, presenting it to the governor Zhang Wenda, who was unable to distinguish himself from others, and his reputation began to grow. Later, he came to Jiangxi standard department with Marquis Ruifu and Fang Bozhang, because he had to pay. In addition to Jun Liufa, he also worked on Zhuan and Li, which was the first of Yu's Titles: the authentic continuation of the parallel style of Guochao and the old poem of huairengan; he also wrote the painting of Yongji, which was elegant and elegant, and was only seen after Yuhu (gaiqi) and Weichang (Ren Xiong).

Zhang Mingke was also a great connoisseur in the late Qing Dynasty. He was the best to make friends with painters in his life, so he was rich in collection and won the authentic works of famous artists in the 19th century. He ranked Huang Shanshou after gaiqi and Ren Xiong, who had the most unique artistic conception and the highest painting style in the late Qing Dynasty, and made them equal in number three, which shows his esteem for Huang Shanshou. All three of them are talented painters who can move Gongqing with their painting names.

When commenting on Huang Shanshou in the marine forest of ink, Yang Yi said: "he is good at writing meticulous characters, double hook flowers and birds, green and blue landscape, especially the ink dragon.". He also points out that Huang's paintings are sold all over the world, and that "visitors to Ningbo, eastern Guangdong and Jinmen are famous for their paintings.". After the Boxer Rebellion of gengzi Boxer Rebellion, he "returned to Shanghai in the South and painted in Shanghai in the sun.". In addition to selling paintings, Yang Yi also praised him as "sincere in his life and willing to do good.".

Xie Hongxuan included Huang Shanshou's official couplet in his three series of modern famous ink works, with a biography: Huang Shanshou, a native of Wujin, Jiangsu Province, was named xuchu, yizuxuchu, and later named Xuchi old man. He was born in 1855 of Xianfeng and died in 1919 of the Republic of China. He died at the age of 65. He was able to paint. He copied and changed the painting of Qixiang, and got his appearance. He was good at fine craftsmanship, elegant and elegant. He also worked on flowers and birds with double hooks, and green and blue landscapes, all of which were wonderful. As for his water and ink landscapes, he was more elegant and elegant, and he was good at ink dragon. On the paper, he said that he was the only one who saw them after Yu Hu, Wei Chang and Bo Nian. Visitors to Jiangxi, eastern Guangdong, Ningbo and Jinmen are famous for their paintings. After the chaos of boxing, he lived in Shanghai, and he was self-sufficient in painting. He imitated Jiang Guandao's "the painting of pine on the stone wall" and "the ancient paintings of zhiyutang", which were selected and published, and allowed to promote the unique art. The family collected many frames of his paintings, especially the large landscape paintings, which were well-known for the supplement to the history of painting in Qing Dynasty, hansongge's trivial record on art, notes of taoyangzhai, maritime ink forest, supplement to the biography of the history of painting in past dynasties, and the biography of the history of painting in Wujin.

Personal calligraphy

Xu Chu was also good at calligraphy, specializing in Hanli, and had great experience in Ode to Shimen. After Zeng binggu, Zhang Mingke of Yushan collected forty-six essays from sixty masters in the late Qing Dynasty, and compiled them as a sequel to Guochao pianti Zhengzong. When he was published in Zixing in the 14th year of Guangxu period, he became famous in calligraphy at the beginning of xuchu period. It can be seen that in Huang's calligraphy, the couplets are mainly composed of Han Li's Ode to Shimen, and the small characters are mainly composed of Yun Shouping. The two are used interactively to complement each other.

Huang's calligraphy has its own characteristics among the painters in Qing Dynasty. He is one of the few marine painters who specializes in Ode to Shimen. His strokes are full of the tidiness and fluency of Tang Li, which is also difficult to achieve. He studied Ode to Shimen to avoid its frustrations, and showed his open and flexible style. Besides the Jinshi school, he opened a convenient way to popularize Lishu, so that everyone can understand it. He made great contributions to the study of calligraphy. Huang Shanshou was able to go around the Wei and Jin Dynasties and catch up with the Han Dynasty when the northern stele was popular in the world. His eight character paper couplet in the official script: "virtue is refined and the essence of all religions is the foundation of all religions. It is the result of his study of Steles in Han Dynasty. In addition, his seal script is also good. In his early years, he wrote seven character couplets in the seal script of Jin Jian: "the new song begins with the turning of jade, and the old song ends with the love of Yu lunpao.",

Chinese PinYin : Huang Shan Shou