In the long river of time, seek an ultimate elegance and tranquility. Ruoshen Collection · Ten Scenes of Gusu is like a series of exquisite paintings that slowly unfold, taking you to experience the unique charm of the Jiangnan water town.
This precious collection set is rich in content. A gaiwan (covered bowl) is like a container of years, carrying the weight of history and the distant fragrance of tea. A teapot stand firmly holds the teapot, exuding a sense of stability and grandeur. Ten Ruoshen cups are exquisitely delicate, as if telling ancient stories. There is also a storage cabinet that carefully protects these treasures, making your collection neat and orderly. Plus a brocade box adds an extra touch of solemnity to this luxury.
Each set is accompanied by a catalog of "Ruoshen Sketches" from the Jia Chen year. Opening it is like embarking on a journey through time and space, taking you into the ten beautiful scenes of Gusu and experiencing that classical beauty.
This set is limited to only 5 sets. There is only one set in Tongxin She Teahouse. It is a unique art treasure. Owning it means having a respect for traditional culture and a pursuit of a beautiful life. Whether for personal collection or as a gift to relatives and friends, Ruoshen Collection · Ten Scenes of Gusu is an excellent choice. In this noisy world, let us stop and savor the tranquility and elegance from Gusu and feel the preciousness and uniqueness of this limited edition.
Product Name: Ruoshen Collection · Ten Scenes of Gusu
Contents: 1 gaiwan, 1 teapot stand, 10 Ruoshen cups, 1 storage cabinet, 1 brocade box
All are accompanied by a catalog of "Ruoshen Sketches" from the Jia Chen year. Only 5 sets are released.
Mid-Autumn of Jia Chen year · Ten Scenes of Gusu
The album of "Ten Scenes of Gusu" is a representative work of the Ming Dynasty painter Wen Boren depicting the famous scenic spots in Suzhou, depicting ten beautiful sceneries in Suzhou such as Hushan Mountain, Dongting Lake, Canglang Garden, Dengwei Mountain, and Shihu Lake. The album is presented with themes of "Spring Scenery of Dongting", "Moonlit Night at Hushan", "Clear Summer in Canglang", "Dragon Boat Race in Xujiang", "Viewing Plum Blossoms at Dengwei", "Spring Dawn at Zhixiang", "Autumn Cruise in Shihu", "Auspiciousness of Pagoda", "Fishing Fire in River Village", and "Snowy Landscape at Lingyan Mountain".
Today, Wangyan takes the paintings of Mr. Wen Boren as the blueprint, and the painter Waifeng paints them on the utensils with doucai craftsmanship. He Bing inscribed on them.
It contains ten blue-and-white underglaze red doucai Ruoshen cups, with scenes painted on both the inside and outside. In addition, there is a gaiwan and a teapot stand. They are placed in a glass storage cabinet made of padauk wood and mottled bamboo, which is suitable for appreciation and play.
One gaiwan
"Spring Dawn at Zhixiang" blue-and-white underglaze red doucai gaiwan
Total height 6.2cm, diameter 8.1cm, capacity under the cover 90ml.
Both the bowl body and the cover are painted with blue-and-white underglaze red and doucai craftsmanship. Inside the cover knob are written the four characters "Spring Dawn at Zhixiang". The bridge on the bowl body is wide and open, simple and lively. People on the bridge wave and come and go in an endless stream. Looking at it, they are walking towards the mountain gate from left to right. Before and after the long bridge, there are blank spaces. There are a few gravels under the bridge, and red trees are hidden. On both sides of the long bridge, there are houses and gates, one above the other, arranged in an orderly manner. In front are stones and behind are slopes, with green pines and red trees showing the vitality of spring. On the cover is the location of the temple. It is quiet on the heights, surrounded by ancient pines. You can overlook and cultivate your mind, and it also hides the seclusion in the mountains and forests. The bowl body and the cover are separated by movement and stillness, and you can also see the layout of the upper and lower parts of the mountain.
Since Shen Zhou, Zhixiang Mountain has been a familiar theme for Suzhou painters. In the fourth year of Hongzhi, Shen Zhou and the noble scholar Yang Xunji met unexpectedly on Zhixiang Mountain. Yang Xunji held a book scroll in his hand, like an immortal. As dusk fell, there was a hazy and moist atmosphere. Then they bowed and left. Shen Zhou painted "Meeting a Friend at Zhixiang Mountain". More than thirty years after Shen Zhou's death, Wen Zhengming saw this painting by his mentor. The ink was still dripping vividly. He inscribed, "Where in Wumen is the ink so vivid? The most wonderful is the strange scenery after the rain in Xishan." After Shen Zhou and Wen Zhengming, Lu Zhi took over the Wumen School of Painting. Looking at the paintings of Zhixiang Mountain by Wen Boren and Lu Zhi, they all have typical elements such as temples, bridges and mountain gates. The temple refers to the Bao'en Temple on Zhixiang Mountain.
One teapot stand
"Clear Summer in Canglang" blue-and-white underglaze red doucai teapot stand
Height 3.2cm, diameter 21.5cm.
The teapot stand has a flat bottom and a ring foot. It can hold a gaiwan or three or four Ruoshen cups. There is a week of doucai river cliff and sea wave pattern on the outer wall. There is a week of doucai auspicious cloud pattern on the inner edge of the plate. The shape of the teapot stand and the pattern on the outer edge of the side take the style of an official kiln in the Yongzheng period of the Qing Dynasty. Inside the plate center, it is close to the theme and depicts one of the ten scenes, "Clear Summer in Canglang", with blue-and-white underglaze red and doucai craftsmanship. In the picture, a scholar leans by the window. Outside the window, the lotus leaves are lush. The lotus leaves are moist and light. The ink is clear and transparent. The lotus on the leaves emerges with short lines of underglaze red. The red lotus dots are on the right. The piled stones are on the right, and the flat bridge is simply depicted on the left. At the back of the study, there are tall tung trees and plantains, recording a corner of the garden and the clear summer of literati.
Canglang Pavilion is the oldest existing garden in Suzhou. It was originally the pond and pavilion of Sun Chengyou, the military governor of Wu Jun in the late Tang Dynasty and the Five Dynasties period of Wuyue State. In the fifth year of Qingli in the Northern Song Dynasty, the poet Su Shunqin purchased it and built a pavilion by the water. It was named after the allusion of "washing the tassels in the Canglang River". Later, it belonged to the Zhang and Gong families. In the Southern Song Dynasty, Han Shizhong lived here. It was called Hanyuan at that time. In the Yuan Dynasty, it was changed into Miaoyin Nunnery and Dayun Nunnery. In the 25th year of Jiajing in the Ming Dynasty, the monk Wen Ying rebuilt it. In the 35th year of Kangxi in the Qing Dynasty, Song Luo, the governor of Jiangsu Province, moved the pavilion to the mound. During the Daoguang and Tongzhi periods, it was repaired and rebuilt again, thus forming the current situation.
Ten Ruoshen cups
Height 3.3cm, diameter 6.7cm, capacity 50ml.
Continuing the emphasis on Ruoshen cups in last year's "Four Seasons Leisure Appreciation" set, this year's "Ten Scenes of Gusu" gift box is painted with ten scenes on Ruoshen cups. The cup shape is taken from a blue-and-white Ruoshen cup in the Kangxi period and is replaced by blue-and-white underglaze red doucai to paint small landscapes, with themes of "Spring Scenery of Dongting", "Moonlit Night at Hushan", "Clear Summer in Canglang", "Dragon Boat Race in Xujiang", "Viewing Plum Blossoms at Dengwei", "Spring Dawn at Zhixiang", "Autumn Cruise in Shihu", "Auspiciousness of Pagoda", "Fishing Fire in River Village", and "Snowy Landscape at Lingyan Mountain".
First one: "Spring Scenery of Dongting"
Wen Boren's "Ten Scenes of Gusu - Spring Scenery of Dongting".
Second one: "Moonlit Night at Hushan"
Hushan Bridge is located at the northern end of Guangfu Ancient Town. It spans Guishan Mountain and Hushan Mountain. Admiring the moon on Hushan Bridge means watching the moon rise from the top of Yuzhe Mountain in the east on the bridge. Since ancient times, it has been a wonderful thing. Yan Xiong, a poet in the Qing Dynasty, once said, "It is suitable for spring and summer, and the autumn moon is the most beautiful." Fishermen return from fishing in Taihu Lake and moor here. Scholars and poets who want to explore the ancient and beautiful scenery in Guangfu disembark here. The sky is high and the clouds are light. The moon is bright and the stars are sparse. Fishing songs or poetry chanting are all delightful things. Therefore, the outside of the cup is painted with a boat bow under the bridge and willows swaying in the evening breeze. Inside the cup is painted with a high moon, becoming more and more distant and clear.
Third one: "Clear Summer in Canglang".
Fourth one: "Dragon Boat Race in Xujiang".
Fifth one: "Viewing Plum Blossoms at Dengwei".
Sixth one: "Spring Dawn at Zhixiang".
Seventh one: "Autumn Cruise in Shihu".
Eighth one: "Auspiciousness of Pagoda".
Ninth one: "Fishing Fire in River Village".
Tenth one: "Snowy Landscape at Lingyan Mountain".
Wen Boren (1502 - 1575) was a painter in the Ming Dynasty. His courtesy name is Decheng. He was also known as the old farmer of Sheshan Mountain, the mountain man of Wufeng Mountain, and the woodcutter of Wufeng Mountain. He was of Han nationality and from Hengshan, Huguang Province. His native place was Changzhou (now Suzhou, Jiangsu Province). He was the nephew of Wen Zhengming. He was good at painting landscapes, imitating Wang Meng and learning from "Three Zhaos" (Zhao Lingrang, Zhao Boju, and Zhao Mengfu). His brushwork was clear and vigorous. The mountains and forests were lush and the scenery was strange and abrupt. Sometimes, he showed his ingenuity. His reputation was below that of Wen Zhengming. He was also good at painting figures and could write poetry. His landscape paintings have two appearances, simple and complex. The simple ones imitate Wen Zhengming's fine brushwork landscapes. The scenery is sparse and the brushwork is delicate and beautiful, full of lyrical interest. The complex ones are from Wang Meng. The mountains and forests are layered. The composition is full. The textures are dense. The realm is lush.
One glass storage cabinet made of padauk wood and mottled bamboo
Length 30cm, width 28cm, height 23cm.
The glass storage cabinet made of padauk wood and mottled bamboo is square in shape and evenly proportioned. It is framed with padauk wood. The upper part is surrounded by glass on all sides. The frame is simple. The lower part has drawers. The four sides of the drawer part are decorated with mottled bamboo. You can place appreciation and play items on it. You can also store Ruoshen cups inside for tea enjoyment and various elegant pastimes.