Pictures of Emperors in the Past Dynasties Pictures of Emperors in the Past Dynasties (Tang Dynasty Copy·Part)
Ink and color on silk, 51.3 cm in height and 531 cm in width. "Pictures of Emperors in the Past Dynasties" collected by the Museum of Fine Arts, Boston, USA, complete picture** *Depicts the images of thirteen emperors. There is a list of names next to each emperor, and some also describe the years of his reign and his attitude towards Buddhism and Taoism. The painter not only paid attention to portraying the unique characteristics, temperament and appearance of feudal rulers, but also successfully created typical historical figures with outstanding personalities based on each emperor's political actions and different environmental destiny, which reflected the author's deep understanding of these emperors. evaluation. The whole volume is drawn with iron lines, and the lines on clothes and beards are even and thin and straight. The colors are thick and the smudges are obvious. It is an excellent work of ancient painting and can be used as a sample of the paintings of the early Tang Dynasty.
Stepping Chariot Picture Stepping Chariot Picture
Stepping Chariot Picture, painted on silk, 38.5 cm long and 139 cm wide. This picture is collected by the Palace Museum and depicts the fifteenth year of Zhenguan (AD* ** One year) The scene when Emperor Taizong of the Tang Dynasty Li Shimin received the Tibetan envoy Lu Dongzan who came to marry Princess Wencheng. In the picture, Li Shimin is majestic and peaceful, sitting on a chariot carried by the palace ladies. There are several other palace ladies holding umbrellas and fans for Taizong. There are three people standing on the left side of the picture: the one with red beard is the protocol official in the palace, followed by the one in Tibetan clothes is Lu Dongzan, the Tibetan envoy, and the last one in white robe is the internal official. The author not only reproduces this event of great historical significance, but also vividly and vividly depicts the different identities, temperaments, manners and relationships of the characters, and has the characteristics of portraiture. The "Building Chariot Picture" volume is a rare Song copy that reflects Yan Liben's painting skills. ("Paintings from the Wei, Jin to the Five Dynasties" p67) This scroll is followed by a seal script inscription by Zhang Youzhi (Bo Yi) of the Song Dynasty, and there are also inscriptions by Mi Fu and others. On the scroll are seals collected by Wanyan Jing of Jin Zhangzong, Guo Qujie and Wu Xinyu of Ming Dynasty, Qingbiao and Nalan Chengde of Liang Dynasty of Qing Dynasty, Yong Yan of Qing Dynasty Renzong and others. It has been recorded in books such as "Xuanhe Painting and Calligraphy Book", "Qinghe Painting and Calligraphy Boat", "Coral Net", "Shigutang Calligraphy and Painting Collection", "Pei Wenqi Painting and Calligraphy Book" and other books.
Yan Liben’s representative work "The Picture of Xiao Yi and the Orchid Pavilion" is collected by the Liaoning Provincial Museum and is the work of Yan Liben of the Tang Dynasty. Yan Liben, a great painter of the Tang Dynasty, based this work on the story of Tang He Yanzhi's "Orchid Pavilion". It describes the story of Xiao Yi, the imperial censor of Emperor Taizong of the Tang Dynasty, who defrauded the "preface to the Lanting Anthology", "the best running script in the world", from Yuan Biancai, the seventh generation descendant of Wang Xizhi, and presented it to Emperor Taizong of the Tang Dynasty. The painting shows Xiao Yi and Yuan Biancai asking for a painting. Xiao Yi is elated and the old monk Biancai is speechless and lost. There are two servants preparing tea on the tea stove beside him. The expressions of each character are depicted in detail. Yan Liben has many talents. He is good at painting Taoist and Buddhist figures, figures, landscapes, and pommel horses. He is especially famous for his Taoist and Buddhist figure paintings. He once painted murals in the two corridors of Ci'en Temple in Chang'an and was highly praised. According to the "Xuanhe Painting Book", Yan's works were collected by the Imperial Household in the Song Dynasty. Interpretation themes account for more than half. He also worked as a prostitute, and the portraits of the young master were created to commend the meritorious deeds of the heroes. The "Picture of Eighteen Scholars of the Qin Mansion" painted in the ninth year of Wude (626) shows the portraits of 18 literati counselors such as Fang Xuanling and Du Ruhui under King Li Shimin of Qin. They are all based on their appearance and their appearance. , each person's figure, appearance, clothing, age, expression and other characteristics are vividly and concretely depicted in the scroll. In the seventeenth year of Zhenguan (643), he was ordered to paint portraits of 24 heroes, including Changsun Wuji, Li Xiaogong, Wei Zheng, Fang Xuanling, and Du Ruhui, in Lingyan Pavilion. It became another large-scale painting of heroes after the Qilin Pavilion and Yuntai Painting in the Han Dynasty. Political portrait creation activities. The portraits of Lingyan Pavilion in the Tang Dynasty have long since disappeared. In the fifth year of Yuanyou (1090) in the Northern Song Dynasty, You Shixiong once copied the stone carvings according to the legend. There are still a small number of stone portraits in Linyou County, Shaanxi Province, including those of Xiao Li and Wei Zheng. There are four portraits of Li Ji, Li Ji, and Qin Shubao, all of which stand solemnly holding a scepter, but the facial image is damaged. According to Du Fu's "Dan Qing Yin" in the Tang Dynasty, the portrait of Ling Yan Pavilion is "a good general has a virtuous crown on his head, and a fierce general has a big feather on his waist." Arrows, Bao Gong (Qin Qiong) and E Gong (Yu Chi Gong)'s hair moved, and they came to fight fiercely with heroic postures." It can be seen that it is very expressive. Yan Liben was also commissioned to paint a portrait of Emperor Taizong of the Tang Dynasty, which was later written on the east wall of the Xuandu Hall in Chang'an and became famous.
"Zong Gong Tu" Yan Liben's "Taizong's True Appearance", "Qin Mansion's Eighteen Scholars", and "Lingyan Pavilion's Twenty-Four Heroes", depicting Tang Taizong Li Shimin and his ministers. The image is lifelike and vivid, and it was a masterpiece at that time. People at the time praised it as "the apotheosis of painting".
During the Xuanhe period of the Northern Song Dynasty, the Imperial Palace still had 42 pieces of Yan Liben's works in its collection, including "Portrait of Wang Youjun (Xizhi)", "Picture of Dou Jiande", "Portrait of Li Simo", "Picture of Heroes of Lingyan Pavilion", "Picture of Wei Zheng Advising" ”, “Stepping Chariot Picture”, etc. The existing works (or copies) attributed to Yan Liben include "Pictures of Emperors of All Dynasties" (now in the Museum of Fine Arts, Boston, USA), "Pictures of Xiao Yi's Orchid Pavilion", "Pictures of Walking Chariot", "Pictures of Tribute", etc. "The Picture of the Walking Chariot" depicts the scene of Emperor Taizong of the Tang Dynasty meeting with the Tibetan envoys who welcomed Princess Wencheng into Tibet. It is a historical picture that reflects the Sino-Tibetan marriage. Other works attributed to Yan Liben include "Ancient Emperors" (Museum of Fine Arts, Boston, USA), which depicts 13 different emperors from the Han Dynasty to the Sui Dynasty, and "Service Tribute" (Taipei), which depicts outlying ethnic groups and national envoys going to the Tang Dynasty for general employment. National Palace Museum), "Xiao Yi earns money at the Orchid Pavilion", which shows Xiao Yi, the censor of the Tang Taizong faction, using clever tricks to obtain Wang Xizhi's famous calligraphy "Lanting Preface" from the monk Biancai (this picture has two volumes, one is in the collection of the National Palace Museum in Taipei, and the other is in the collection of the National Palace Museum in Taipei. Collection of Liaoning Provincial Museum). Although the relationship between these works and Yan Liben needs further study, they basically reflect the style of painting in the early Tang Dynasty.
The special characteristics of Yan Liben’s works have been preserved to this day, such as "Pictures of Emperors of the Past Dynasties", which is an important work by ancient painters trying to express personality characteristics. This scroll contains portraits of thirteen emperors: Emperor Zhaowen of the former Han Dynasty Liu Fuling, Emperor Guangwu of the Han Dynasty Liu Xiu
Yan Liben's Pictures of Emperors of the Past Dynasties, Emperor Wen of Wei Cao Pi, Lord of Shu Liu Bei, Lord of Wu Sun Quan, Emperor Wu of the Jin Dynasty Sima Yan, Emperor Wen of the Chen Dynasty, Emperor Xu of the Chen Dynasty, Emperor Bo Zong of the Chen Fei Emperor, Shu Bao of the Empress Chen, Emperor Wu of the Northern Zhou Dynasty Yuwen Yong, Emperor Wen of the Sui Dynasty Yang Jian, and Emperor Yang Guang of the Sui Dynasty. Among them, the first six are far away from Yan Liben's era, while the last seven are closer. Yan Liben may have met Chen Shubao, Yang Jian and his son in person. Although Yu Wenyong was his grandfather and died early, he may not have met him in time, but his understanding of him may be more real and concrete. Yan Liben successfully portrayed the personal characters of the emperors. The painting not only shows the artist's understanding of them, but also shows the artist's evaluation of them. According to past historical records, Emperor Wen of Wei Cao Pi was knowledgeable, knowledgeable, and talented. Sima Yan, Emperor Wu of Jin Dynasty, was profound and magnanimous, and accomplished the cause of unifying the world. Emperor Wu of the Northern Zhou Dynasty, Yuwen Yong, was a rough and strong man with no culture, but a very strategic and capable man. He regained power from his uncle and further unified the entire north. Yang Jian, Emperor Wen of the Sui Dynasty, was a well-known man who seemed peaceful on the surface, but had intrigues and suspicions in his heart. Emperor Yang Guang of Sui Dynasty, according to history books, was beautiful and smart, but also exaggerated, daydreaming, and enjoying himself. Emperor Chen Wen and Chen Yan were also beautiful, knowledgeable, talented, and capable, all of which were consistent with Yan Liben's performance. Yan Liben described these emperors from the standpoint of supporting unification and praising the stable political power. This standpoint was in line with the social development and historical requirements of the early Tang Dynasty.
Yan Liben not only showed their personal characteristics, but also showed their political power, such as Cao Pi, Sima Yan, Zi Wenyong, Yang Jian and other emperors who unified the world or promoted the trend of unification. A kind of majesty. Chen Shubao is the so-called king who subjugated his country, and Yan Liben treated him in a petty manner, covering his mouth with oil to show his contempt for him. As for the other emperors of the Chen Dynasty who settled in the south of the Yangtze River, they all lacked heroic spirit. However, Chen Qian of the south of the Yangtze River was an emperor who established a foundation, while Chen Xu was an emperor who condoned political corruption but had no solution. The two were also significantly different. Because the emperors in history are an accidental factor in historical development, their personal behaviors reflect historical development within a certain range, and the different political situations such as unification, division, and partial peace achieved by their hands have a profound impact on people's lives. They have a great influence, so Yan Liben's depiction of them is related to their political actions, that is, through the characterization of personal characters, he attempts to achieve the purpose of summarizing the vast life. This kind of creation is based on the highest requirements of portraiture. of. Yan Liben strives to depict characteristic details to express a certain mental state of a certain character. For example, Cao Pi's sharp and provocative gaze shows a very capable and aggressive look. Chen Shubao's eyes were dull and weak. Yang Jian nodded slightly and looked upward, with a deep and calculating expression.
Yan Liben The characteristic details chosen by imperial painters of all dynasties are mainly on the face, especially the eyes and mouth.
In addition to the natural differences in point, circle, length and width, the eyes can clearly see the differences in the inner psychological state. The characteristics of the muscles are formed due to habitual movements. The expression of the mouth is either forceful or relaxed, which affects these parts. They are all painted with special effort. In addition, beards, for example, vary in softness, hardness, and density from person to person. The posture of the head and body, as well as facial muscles, bones, and skin can also clearly show the differences between people. The skin and flesh can be loose or tight, hard or soft, thick or thin. The roughness of Zi Wenrong and the elegance of Chen Qian clearly show the difference in facial muscles. You can almost feel that one is fair and smooth, and the other is dark and rough. Others, such as the number of male and female attendants, and the clothing and utensils of some carrying swords and some holding ruyi, also play a role in highlighting the character.
On the other hand, it can also be seen that Yan Liben also maintained some remnants of the painting style of the Southern and Northern Dynasties, such as a similar oblong head shape, a smaller proportion of attendants, and traces of stiffness in posture and expression. The regularity of the folds of clothes, the incorrect proportions of the human body, etc., all show that although the ability of realism has improved in the long-term development, it still needs further development. Therefore, even in the main characters, there are still traces of conceptualization and a sense of stiffness that cannot be fully described. However, the expressive ability of single-line outline has been greatly developed in technique. Different lines are used to describe the objects, such as eyes, nose, mouth, ears, the outline of the face, clothes and couplings. Lines of different thicknesses are used to draw, and achieve the goal of To express the sense of volume. These artistic achievements in "Scrolls of Emperors of All Dynasties" represent a new level of figure painting in the early Tang Dynasty and play an important role in the development of ancient painting history.