Gu Fu's Calligraphy And Painting Appreciation Activities And His Painting Appreciation

Gu Fu and Gu Weiyue were famous connoisseurs who lived in Suzhou at the end of Ming Dynasty and the beginning of Qing Dynasty.For example,Xie xizeng,a collector of Suzhou in the middle of Qing Dynasty,once said,"there was no one who was good at painting and calligraphy in Wuzhong of the state Dynasty,after Wang Yanke,Gu Weiyue,Miao Wenzi." he didn’t mention Gu Fu’s words.From his records,it seems that Gu Fu was not a famous connoisseur,but Xu Qianxue,Gu Fu and Gu Weiyue’s friend,greatly appreciated Gu Fu’s connoisseurship level.This phenomenon is in contrast with Gu Fu’s life spectacular has a great relationship with the world before the Daoguang year of the Qing Dynasty.In the thirty first year of Kangxi’s reign(1692),the book of life’s splendor was written in the calligraphy of Donglin princes,the martyrs of Ming Dynasty and the victims of Nanming Dynasty,which violated the taboo of Qing Dynasty and failed to be published in time.It was not published until hundreds of years later.In the collection history of late Ming and early Qing Dynasty,Gu Fu almost disappeared because he had no disciples and no painting description.After it was published in Daoguang and Xianfeng years of Qing Dynasty,it caused great influence in the academic circle,and also attracted the attention of our later generations.It began to have a review in the history of China’s collection constructed by contemporary people.There are ten volumes of life spectacular,which are divided into two categories,calligraphy and drawing,each of which has five volumes.The author is divided into volumes according to the times,and the paper,silk and size of the works are marked.The calligraphy distinguishes the real running glass and its teaching method,while the drawing appreciates its composition and ink.For those who have inscriptions and postscripts after the works,they only extract a few sentences and comment on them.Gu Fu’s opinions are quite personal,and he can express his own opinions objectively and neutrally as far as possible without the influence of predecessors.Moreover,he appreciates and comments on the basis of the actual situation of the collection,not blindly To resist or blindly submit to a connoisseur.Gu Fu can also rely on the advantages of seeing authentic works from time to time,plus his sensitivity to painting,and put forward his own understanding of the drawing recognized by the world.Gu Fu’s family are all good at appreciating and collecting.They often interact with literati and celebrities,and often comment on calligraphy and painting.When Gu Fu was young,he followed his father Gu yinliang to visit artist’s study frequently to see the true painting and calligraphy.It can be said that it laid a solid foundation for Gu Fu’s painting and calligraphy.At the end of Ming Dynasty and the beginning of Qing Dynasty,Gu Fu paid close attention to the spiritual interest,too stylized to the Southern Song Dynasty,and his school style of painting,which paid attention to skill and realism,was very belittled,and his thought of restoring the ancients was probably influenced by his friend Wang Shimin.In order to continue the family’s tradition of"resting in the leisure hall",Gu Fu is also a good collector in Southeast China.There are many officials,gentry and scholars,antique merchants,mounters and collectors.To a certain extent,they have more or less influenced the formation of Gu Fu’s painting appreciation concept.Gu Fu,as a connoisseur in Suzhou area in the late Ming and early Qing Dynasty,has a relatively high level of appreciation.Life spectacular also provides materials for later generations to study the description of calligraphy and painting in the Ming and Qing Dynasties.