Xuanhe Painting Catalog

Jin Golden Original?
Volume 1

Some compare the judgment of calligraphy to that of painting: just as one equates Gu Gu Kaizhi and Lu Lu Tanwei with Zhong Zhong Yao and Zhang Zhang Zhi, and Sengyao with Yishao Wang Xizhi, one realizes that calligraphy and painting share the same essence. Others say that Zhang obtained the "flesh," Lu obtained the "bone," and Gu obtained the "spirit." If one speaks of flesh, it is superficial; if one speaks of bone, it is profound; if one speaks of spirit, it is wondrous. Are these not distinct levels of depth and subtlety? Although Tanwei Lu Tanwei stands between the two, if one reflects on the discourses of the past and present, it is as if these distinctions did not exist. Once the "bone" is obtained, the essence and profundity are evident. Could it be that because Gu came first and surpassed his predecessors, Lu should take second place? Or does naming only Lu imply that he is beyond the reach of all others? The subjects Tanwei painted throughout his life were mostly images of ancient sages and worthies, which was surely not without intent. In recent times, Mi Fu A famous Northern Song calligrapher, painter, and art critic enjoyed discussing painting and once claimed that among those who are clear and easy to distinguish, only Gu, Lu, and Wu Wu Daozi qualify. How could this not be true? The two brothers, Suihong and Suisu, inherited the family style; their paintings are also skillful and do not decline from the established traditions, possessing much of their father's style but ultimately remaining distant from it.