Notes And Research On Chen Baiyang Collection

Suzhou has always been a place of humanities fair,in the middle of Ming Dynasty,the thriving economy and prosperous business,contributed to the rise of "Wumen faction",which is a humanities faction characterized by geographical characteristics.There were nurtured many well-known people.ChenChun,as the backbone in the late of"Wumen faction",his paintins had a special value for the painting of mid and late Ming dynasty,and also affect many people so far.In the history of Chinese art,when talking about Chen Chun,we often only focus on his achievements in freehand brushwork flower-and,bird paintings,and hailed as“Qingteng Baiyang" with XuWei,However in fact,that Chen Chun was also expert at landscape painting,was hidden in the historical data and did not cause enough attention,it affects people's comprehensive evaluation of Chen Chun,and it is also unfavourable to study the development of painting art in the middle and late Ming Dynasty.Starting from Chen Chun's work "collections of Chen Baiyang",and analysis of his life,friendship,landscape painting style and evolution etc,and digs deeper into the contributions to the art of contributions to the art of Wumen faction and late period of Ming dynasty.Based on "collections of Chen Baiyang",through referring to the literature and combining with today's achievements,the study made a detailed comment on"collection of Chen Baiyang" and displayed its overall face more completely,at the same time,made a In-depth analysis of the Chen Chun's disciple in landscape painting.The paper is divided into fourteen chapters.The first chapter mainly reviews the research on Chen Chun which was divided into three sections,the first section was Chen Chun's life,The second section was the "collection of Chen Baiyang" discusses the related issues,Mainly talked about some issues of "collection of Chen Baiyang".The third section was the origin of Chen Chun's landscape views,respectively,was learning from ShenZhou,Mifu and Mi Youren's elegant style and extensively referring to Four representative painters in the Yuan Dynasty.From the second chapter to the fourteenth chapter,were mainly the original text entry,pausing,adding punctuation andannotation.Based on the "collection of Chen Baiyang",a total of 11 volumes,the 168th book of "The Siku Quanshu cunmu",inputed the original,and punctuated and added punctuation to five-character octave,seven-character octave,Six-Character Poem,Seven-Character Poem,rhymed verse.Etc in the collections,Six-Character were mainly rely on "Kangxi Dictionary","Pei Wen Yunfu" and the basic Chinese library to complete.At the end of the article,an appendix was appended,which listed Chen Chun's paintings existed in the world.It is only a tiny node to study ChenChun and"collection of Chen Baiyang" in research of painter,painting in the Ming Dynasty,and we can further to see acquaintance of painter,painting in the Ming Dynasty,and we can further to see acquaintance of humanistic painters in the area of Suzhou at that time througn the approach of the case study.Chen Chun's contribution to the art is of great significance to the study of the development of "Wumen faction",the landscape painting in the late Ming Dynasty.