Watercolor By Ming Dynasty Master Artist Tang Yin (1470-1524)
Painting measures 52.3 cm X 87.7cm.
Painted on May 10, 1513 (8th Year of Zhengde, Ming Dynasty), at the age of 43
明朝大畫家 唐寅 (1470-1524) 花鳥水彩畫
Tang Yin
[T’ang Yin; zi Bohu; hao Ziwei, Liuru]
(b Suzhou, 6 April 1470; d Suzhou, 7 Jan 1524). Chinese painter, poet and calligrapher. He was born into the merchant class of Suzhou, where his father was a restaurateur, and although lacking social standing, he received an excellent education. He was a brilliant student and became the protégé of Wen Lin (1445–99), the father of Wen Zhengming. His friends in SUZHOU’s scholarly circles included Shen Zhou, Wu Kuan (1436–1504) and Zhu Yunming. In 1498 Tang Yin came first in the provincial examinations in Nanjing, the second stage in the civil service examination ladder. The following year he went to Beijing to sit the national examinations, but he and his friend Xu Jing (d 1507) were accused of bribing the servant of one of the chief examiners to give them the examination questions in advance. All parties were jailed, and Tang Yin returned to Suzhou in disgrace, his justifiably high hopes for a distinguished civil service career dashed forever.
Tang Yin
The painter in the Ming Dynasty, a native of Wu country, JiangSu province. His style name was Bo Hu and his sobriquets were Bo hu, etc. He had been put in prison for malpractice in civil recruitment examination. He was talented in painting landscape, human figures and flower-and-bird which follow the style of Zhou Chen. He was honored as the Four Great Masters in the Ming Dynasty with Shen Zhou, Wen Zhen'ming and Qiu Ying. His works were included in "the collections of Liuru Jushi."
唐寅 (1470-1524)
生於明憲宗成化六年庚寅年（ 1470）二月初四日 (April 5, 1470)，卒於明世宗嘉靖二年十二月初二日（January 7, 1524)
明代畫家，字伯虎，一字子畏，號六如居士、桃花庵主、逃禪仙史等、吳(今江蘇蘇州)吳歸里人。少有俊才，博雅多識，與張靈友善，初學畫于周臣，后與文徵明、祝允明、徐禎卿結交，人稱“吳中四才子”。孝宗弘治十一年(1498）中式應天府第一名解元。翌年，伴同江陰徐涇北上會試，因牽涉科場舞弊案受累革黜。遂灰心仕途，遠游祝融，匡盧、天台、武夷、東觀大海，南涉洞庭、彭蠡。寧王朱宸濠慕其才，聘往南昌，不久放歸,遂致力于繪事，以賣畫為生。賦性疏朗，任逸不羈，頗嗜聲色，流連詩酒，刻有“江南第一風流才子”印。擅畫山水，多取法南宋李唐、劉松年、一變斧劈皴為細長清勁線條皴法，并兼及元人法。王世貞評謂：“自宋李營丘(李成）、范寬、李唐、馬(遠)、夏(圭)，以至勝國吳興 (元趙孟頫)、王(蒙)、黃(公望）數大家，靡不研解，行筆秀潤，縝密而有韻度，惟小弱耳。然惲壽平則曰：“以超逸之筆，作南宋人畫法，李唐刻畫之迹，為之一變。” 并工畫人物，寫意俱佳，故細條清勁，設色姸麗 ,或筆墨流動,揮洒自如，在錢選，杜堇之上，畫花鳥喜用水墨，清隽峭利，既不同于林良、呂紀，亦有別于沈周，活潑洒脫，生趣盎然。與沈周、文徵明、仇英合稱“明四家”。兼善書法，能詩文，文以六朝為宗；詩初多穠麗，后學劉禹錫、白居易。晚年好禪學，思想想趨向解脫頹放，自號 “六如居士”「謂人生如幻、夢、泡、影，如露亦如電」。傳世作品有《騎驢歸思圖》軸、《秋風紈扇圖》軸，《枯槎鸚鵒圖》軸，現均藏上海博物館，《簪花仕女圖》軸，藏南京博物院，《山路松聲圖》軸，圖錄于《故宮名畫三百種》。著有《六如居士全集》。