In "The Legend of Zhen Huan", Qingying is the niece of Queen Ulanala. Originally, the queen wanted Qingying to marry the third elder brother and inherit the honor of Ulanala.
As a result, when Qingying met the third elder brother, she showed disgust with Ogyue pulling her own sleeve. Of course, she did not leave a good impression on the third elder brother. In addition, the third elder brother My elder brother fell in love with Yinggui again, so he immediately asked the emperor for instructions and told him not to choose Fujin. Qingying
As a result, Qingying did not become the third prince's blessing, and therefore became a joke. The queen asked Jianqiu to tell Qingying that she could become the third elder brother's concubine first and then gradually move up the ranks. However, Qingying mentioned that when the queen Yixiu first entered the palace, no matter how bad she was, she was a lucky person, but now she has no choice but to be a nobody. Of course, the concubine was not convinced, so she refused.
After Jianqiu came back, she told the queen that Qingying said that Yixiu was a side Fujin. The queen asked the emperor to give Qingying to the fourth elder brother as a side Fujin.
However, in Ruyi's Royal Love in the Palace, the fourth elder brother and Qingying became childhood sweethearts. When the fourth elder brother chose Fujin, he handed over Yu Ruyi, who represented Fujin, to Qingying. . However, because the queen was deposed, Qingying was dragged down, and the emperor did not agree with this marriage, so the Fucha family became Fujin.
In order to let Qingying stay by his side, Hongli went to Yongzheng and hoped that he would agree to his marriage to Qingying. Painting
When Hongli went to see Yongzheng, Yongzheng had already painted. The first time he saw Hongli, he said that if it was for the betterment of Qingying, then there was no need to waste words, and then he used He looks at his paintings and appreciates them.
Yongzheng painted a bamboo painting. What is unique is that it uses vermilion.
Hongli replied, "Everyone paints bamboo with light ink. The layman Dongpo started to practice the style of Zhu Zhu. I have seen Huang Ma's method of painting Zhu Zhu before."
In fact. , there is no light ink, let alone vermilion on moso bamboo in the world. They only exist in the paintings of literati.
Su Shi loved bamboo and once read, "It is better to eat without meat than to live without bamboo. Without meat, people will be thin, and without bamboo, people will become vulgar. People who are thin can still be fat, but scholars and vulgar people cannot be cured." Poetry.
While he was serving as the general magistrate of Hangzhou City, Su Shi was sitting in front of the hall one day and suddenly became excited to paint. However, there was no ink on the desk, only cinnabar, so he used cinnabar powder to mix water with ink to paint bamboo. Come.
Others asked: "But I have seen green bamboo, where is the red bamboo?" Su Dongpo asked: "There is no ink bamboo in the world. If you can use ink to draw bamboo, why can't you use ink to draw it?" After that, painting of red bamboo gradually became popular in the literary world, and Su Shi was revered as the "originator of red bamboo".
As the poem "Ink Plum Blossoms" often says: "The trees at the head of the pond where I wash inkstones are blooming, and the flowers are blooming with faint ink marks. Don't let anyone praise the beautiful colors, leaving only the pure air to fill the universe." It's about painting plum blossoms, but it's about painting theory and psychological state. Chinese painting
Traditional Chinese painting has focused on lifelikeness since ancient times, as long as the painting can reflect its character and cultivation.
Whether it is black bamboo or red bamboo, literati paint bamboo and respect bamboo because it has the qualities respected by literati and poets: highlighting the backbone, perseverance and tallness, everlasting green, and preferring to break rather than bend.
The red bamboo painted with cinnabar is beautiful but not boring, warm and elegant. It can also change with the change of the light source. When the light dims, it becomes more solemn and white and red. Through the aristocratic temperament and atmosphere of red, it also shows the Chinese national characteristics of being inclusive and rigid without desire, in addition to moso bamboo.
When Hongli commented on the Zhu Zhu painted by Yongzheng, why did he mention that Huang Mafa had painted Zhu Zhu before?
One thing to mention here is that in Manchu, grandfather is called "Legendary Blood" and father is called "Ama". Therefore, the emperor's grandfather is Huang Mafa, and the emperor's grandfather who ascends the throne is called Huang Ming Taizu, and his father's generation is Huang Ming Taizu. The emperor was called the Supreme Emperor, so the Huang Mafa mentioned by Hongli was the emperor's grandfather, Yongzheng's father.
When Hongli mentioned the Huangma method, Yongzheng said with emotion that he was very envious of Hongli for being able to see his father painting Zhu Zhu, but he had never seen it before.
In fact, Yongzheng's envy is not unreasonable. According to historical records, in the 60th year of Emperor Kangxi's reign (1721), Emperor Kangxi visited Prince Yong's Mansion (later Yonghe Palace) for the first time. I saw my grandson Hongli. Hongli was ten years old at that time. His grandfather Emperor Kangxi fell in love with him when he saw him. He raised him in the palace and gave him calligraphy lessons. This shows that Emperor Kangxi doted on and valued Hongli highly.
"Within the red wall, it is unusual for the father and son of the Tian family to have little close contact." This was what Yongzheng and Hongli expressed in their hearts.
"Within the red wall, it is not easy to find the person you want." This is the real purpose of Hongli's mention of the Huangma method. Hongli's infatuation for Qingying finally touched Yongzheng, and he finally relented and allowed Qingying to become Fujin, and Hongli finally got his wish.