"Along the River During the Qingming Festival" scroll, a genre painting of the Northern Song Dynasty. A masterpiece handed down from generation to generation and a first-class national treasure. "Along the River During the Qingming Festival" is one of the most famous works in the history of Chinese painting. It is not only of high artistic level, but also has many interesting stories surrounding it.
The author Zhang Zeduan, whose courtesy name is Zhengdao, was born in Dongwu (now Zhucheng, Shandong). He was a court painter during the reign of Emperor Huizong of the Song Dynasty. When he was young, he went to Bianliang (now Kaifeng, Henan Province) to study, and later learned painting. He especially liked to paint boats and carriages, city bridges, and Guojing, and became his own family. "Along the River During the Qingming Festival" is Zhang Zeduan's masterpiece and was once collected by the Imperial Household of Xuanhe of the Northern Song Dynasty. Silk, light colors, 24.8 cm high and 528.7 cm long. The original work is now in the collection of the Palace Museum in Beijing.
"Along the River During the Qingming Festival" records the architecture and people's livelihood on both sides of the Bianhe River in the suburbs and the city of Bianjing (now Kaifeng), the capital of the Huizong era, in the late Northern Song Dynasty and in the Huizong era. This picture depicts the bustling scene and natural scenery of Bianliang, the capital city of the Northern Song Dynasty, and both sides of the Bianhe River during the Qingming Festival. The work is in the form of a long scroll and adopts the composition method of scattered perspective to integrate complex scenery into a unified and varied picture. There are more than 500 characters in the painting, with different clothes and expressions. Various activities are interspersed with them, focusing on drama and composition. It is dense and dense, pays attention to the changes in rhythm and rhyme, and the writing and ink composition are very clever. The whole picture is divided into three paragraphs.
Portrait of Zhang Zeduan
The first paragraph, the spring scenery in the countryside of Bianjing:
In the mist of the sparse forest, several huts, grass bridges, flowing water, Old trees and small boats. Two porters drove five donkeys carrying charcoal towards the city. In a willow forest, the branches have just turned green, making people feel that although the spring is cold and harsh, the earth has returned to spring. There was a sedan on the road, with a woman sitting in it. The top of the sedan chair was decorated with willows and miscellaneous flowers, and behind it were people on horseback and carrying burdens, returning from an outing in the suburbs of Beijing to visit tombs. The description of the environment and characters highlights the specific time and customs of the Qingming Festival, which is the prelude to the whole painting.
In the middle section, the busy Bianhe River Terminal:
The Bianhe River was a national water transport hub in the Northern Song Dynasty and an important commercial transportation thoroughfare. From the picture, you can see that it is densely populated, with grain ships gathered, and people have Some were resting in the teahouse, some were fortune-telling, and some were dining in restaurants. There is also the "Wang's Paper Horse Shop", which is used to sweep tombs and sell sacrifices. Boats come and go in the river, connected end to end, either pulled by trackers or rowed by boatmen, and some are fully loaded with goods.
Sailing upstream, Some are anchored at the shore and are nervously unloading cargo. Across the Bian River is a large-scale wooden arch bridge with exquisite structure and graceful form. It looks like a flying rainbow, hence the name
Hongqiao. There is a large ship waiting to cross the bridge. The boatmen used bamboo poles to support them; some used long poles to hook the bridge; some used hemp ropes to hold the boat; and a few people were busy lowering the mast so that the boat could pass. The people in the neighboring boats were also pointing and shouting something. Everyone inside and outside the boat was busy with the boat crossing the bridge. The people on the bridge also stretched their heads and sweated over the tense scene of crossing the boat. This is the famous Hongqiao Wharf area, bustling with traffic and hustle and bustle. It is truly a meeting point for land and water transportation.
The back section, the lively urban streets:
With the tall tower as the center, there are rows of houses on both sides, including teahouses, wine shops, foot shops, butcher shops, temples, and public houses. Wait. The shop specializes in silk fabrics, jewelry, spices, incense, paper horses, etc. In addition, there are medical clinics, cart repairs, fortune telling, face shaping and plastic surgery, all kinds of industries, large ones. There is also a "Colorful Door" on the front of the shop door, hanging a market flag to attract business. Pedestrians in the market are crowded with each other, and there is an endless flow of merchants doing business, gentry watching the street scene, and officials on horseback. , there are hawkers selling
, family members riding in sedans, traveling monks carrying baskets, tourists asking for directions, children on the streets listening and reading, and drinking in restaurants My younger brother, a rich man, has disabled old people begging on the edge of the city, men, women, old and young, scholars, peasants and merchants, all from three religions and nine streams, they are all prepared. Transportation means: sedans, camels, oxen and horse-drawn carriages, rickshaws, pacific cars, flat-head cars, all kinds of things are available. Paintings and shapes are displayed in front of people's eyes.
In total, in the five-meter-long scroll, *** painted more than 550 people of various colors, 50 to 60 cattle, horses, mules, donkeys and other livestock, as well as two carts and bridges. More than ten vehicles, large and small ships
More than twenty ships. Houses, bridges, towers, etc. also have their own characteristics, reflecting the characteristics of Song Dynasty architecture. Zhang Zeduan's "Along the River During the Qingming Festival" is a realistic genre painting depicting a corner of Bianjing City in the Northern Song Dynasty. It has high historical value and artistic level.
There are many paintings named "Along the River During Qingming Festival" in the history of painting, but there is only one authentic copy. After many scholars and experts have studied this topic, everyone has basically the same opinion
They all believe that the painting now in the Palace Museum in Beijing is the original work of Zhang Zeduan of the Northern Song Dynasty. Other paintings with the same name are all later copies or fabrications made by Zhang Zeduan.
There is no seal of the artist on the scroll now in the collection of the Palace Museum in Beijing. The author is confirmed to be Zhang Zeduan based on a paragraph written by Zhang in the Jin Dynasty in the postscript at the back of the scroll
Inscription. There are only a few words in Zhang's inscription: "Hanlin Zhang Zeduan, courtesy name Zhengdao, was born in Dongwu (now Zhucheng, Shandong). He studied at a young age, traveled to the capital, and later studied painting, and became a professional painter.
Painting , He was especially fond of Zhouche Shiqiao Guojing, and he had several families. "However, Zhang Zeduan's name does not appear in the "Xuanhe Painting Book" written in the late Northern Song Dynasty. Some people speculate that he may have entered the painting academy. It was late enough that the editor had not had time to include it in the book.
Precisely because "Along the River During the Qingming Festival" has such great artistic charm in its detailed depiction, future generations of busybodies will take the trouble to repeatedly create countless imitations and forgeries,
To obtain benefits.
The immortal masterpiece "Along the River During the Qingming Festival" painted by the famous Northern Song Dynasty painter Zhang Zeduan is a priceless treasure in the history of Chinese painting. It is a long scroll-style folk painting created with realism. It vividly reproduces the prosperity of Bianjing in the Northern Song Dynasty through its detailed depiction of city life.
Zhang Zeduan, courtesy name Zhengdao, was a painter at the turn of the Southern and Northern Song Dynasties and a native of Dongwu (now Zhucheng, Shandong). "Along the River During the Qingming Festival" was painted by Zhang Zeduan during the reign of Emperor Huizong of the Song Dynasty when he was a member of the Imperial Academy of Painting.
This long scroll is made of silk, lightly colored, with a height of 24.8 cm and a length of 528.7 cm. It is a long scroll of genre painting created with a high degree of realism. It vividly reproduces the prosperity of Bianjing in the Northern Song Dynasty through detailed description of city customs
life.
After Zhang Zeduan completed this long scroll praising the peaceful and prosperous times, he first presented it to Song Huizong. Song Huizong therefore became the first collector of this painting. As one of the great calligraphers and painters in Chinese history
Song Huizong loved this painting so much that he inscribed the words "Along the River During the Qingming Festival" on the picture with his famous "thin gold style" calligraphy, and engraved it with double dragons. Xiaoyin (now lost).
This masterpiece, which has been handed down from generation to generation and is well-known at home and abroad, has been played and appreciated by countless collectors and connoisseurs for more than 800 years since its creation. It was the target of plunder by later emperors and dignitaries
It has been tossed around, gone through several wars, and experienced many disasters... It has entered the palace five times and been stolen out of the palace four times. It has gone through disasters and performed many legendary stories.
(1) The framer changed the fake into the real one
"Along the River During the Qingming Festival" was first collected by Emperor Huizong of the Song Dynasty in the palace of the Northern Song Dynasty. In September 1126 AD, the Jin soldiers took it away The second emperor Huiqin looted the palace treasures. "Along the River During the Qingming Festival"
However, it was popular among the people. After the Yuan Dynasty destroyed the Jin Dynasty, the painting entered the imperial palace for the second time. During the Zhizheng period of the Yuan Dynasty, there was a framer in the palace who replaced the original copy with a copy and sold it to a certain Zhen Dingshou, and later sold it to Chen Yanlian of Wulin (Hangzhou). Chen was afraid of failure. , and was eager for money, he sold it to Yang Zhun, a Boyahaogu resident in Beijing.
(2) Soup framed to avenge kindness
According to "Xiao Xia Wen Ji" written by Gu Sugong of the Qing Dynasty: Taicang King (yu) has a collection of "Along the River During the Qingming Festival" in his home, and Yan Shifan knew about it Later, he asked for it by force, but Wang (yu) refused, so he asked a master (i.e. Huang Biao) to make a copy and send it to him. Earlier, when Wang (yu) was patrolling the two Zhejiang provinces, there was a framer named Tang. , life was very difficult, Wang (yu) took him home to work, and later recommended him to Yan Shifan.
When Wang Yu's copy (Along the River During the Qingming Festival) was delivered to the Yan family, Tang's framed painting happened to be nearby and he said to Yan Shifan: "This painting is fake." After Yan Shishan heard this, he was very angry.
It happened that my pagoda invaded Datong. Wang (yu) was the governor of Su Liao at that time and had no skills in guarding the bandits. Yan's party members took the opportunity to impeach Wang (yu) and was killed.
(3) Madam Lu’s Embroidered Pillow Collection
According to Li Rihua’s Diary of Weishui The power of the government and the public was overwhelming, and his son Yan Shifan was running rampant in the countryside. They learned that "Along the River During the Qingming Festival" was a supreme masterpiece, so they sent people to search everywhere.
At this time, the painting was stored in Lu Wan's family. After Lu Wan's death, his wife treasured the painting and hid it in an embroidered pillow, keeping it secret from others. The madam has a nephew named Wang who is good at painting and well-behaved.
When the madam is happy, he asks to see the paintings. The madam refuses for a while, so she allows him to sit in a small pavilion without pen and ink and watch for a limited time. , Wang Shenghao Zhenzhai, was extremely intelligent. After viewing it more than ten times, he memorized the houses, streets, boats and carriages, and the composition and layout of the characters in the painting. After returning home, he copied the entire picture. Imitations have spread throughout the world, but the original is ultimately in the hands of Yan Song.
(4) Eunuch Feng's rumor to avoid suspicion
It is said that after "Along the River During the Qingming Festival" entered the palace, Emperor Longqing did not like calligraphy and painting, so Zhu Xizhong, the Duke of Chengguo, took the opportunity to petition the emperor to give it to him. , but the emperor asked the painting to be valued at a high price, which was equal to his salary. When the painting was about to be given to Zhu, a young eunuch learned that the painting was extremely valuable, so he stole the painting. Just as he was about to leave the palace, the steward came. , the little eunuch hurriedly hid the painting in the gutter. It happened to be raining that day.
For three days in a row, the painting rotted and was beyond repair.
This story, included in the Ming Dynasty Zhan Jingfeng's "Dongshu Libian", was actually fabricated by Feng Bao, a painting thief. Feng Bao was an eunuch who served during the Wanli reign of Emperor Longqing and the leader of Dongchang.
He was powerful and had access to the palace. After Feng Bao learned about "Along the River During the Qingming Festival", he wrote an inscription and postscript, as if it was a reward from the emperor. He must have written something special in his inscription and postscript, but Feng Bao didn't mention it at all, which shows that it was stolen. In order to hide it from others, he made up the above bizarre story.
(5) Stolen Treasures from the Xuantong Palace of the Qing Dynasty
After "Along the River During the Qingming Festival" entered the Qing Dynasty, it was collected by Lu Feiqi Bi Yuan. Bi Yuan died in the second year of Jiaqing. In the fourth year (1799), the Bi family was raided, and "Along the River During the Qingming Festival" became an official for the fourth time.
He was kept in the Yingchun Pavilion in the Forbidden City. Since then, "Along the River During Qingming Festival" has been collected in the Qing Palace.
After the Revolution of 1911, Puyi (Xuantong) abdicated but still lived in the palace. In 1925, before he left the palace, he stole the rare calligraphy and paintings in the palace to Tianjin. "Along the River During the Qingming Festival" is among them. After the puppet Manchuria was established, he brought this painting to the Changchun Palace. In 1945, on the eve of the liberation of Northeast China, Puyi fled in a hurry and took this painting to Tonghua. He couldn't bear to throw it away, so it was seized by our army and kept in < /p>
Northeast Museum. It was transferred to the Palace Museum in 1955. This is the fifth time that "Along the River During Qingming Festival" has entered the Forbidden City, but it is not the former imperial palace, but a people's museum.
During the Cultural Revolution, Li Zuopeng, one of Lin Biao's four top cadres, used his power to forcibly "borrow" "Along the River During the Qingming Festival" from the Palace Museum and keep it as his own. He also teamed up with Qiu Huizuo, Wu Faxian and others to occupy a large number of other precious cultural relics. After Lin Biao's fall, "Along the River During the Qingming Festival" came to light again, and it is still treasured in the Palace Museum.
Discussion on the content of "Along the River During the Qingming Festival" scroll: Since the advent of "Along the River During the Qingming Festival", there have been copies in various dynasties, and the sizes vary from traditional to simplified. According to statistics, there are currently 30 copies of "Along the River During the Qingming Festival" in public and private collections at home and abroad.
What exactly is depicted in "Along the River During the Qingming Festival"? Why has its charm remained unchanged for thousands of years?
According to statistics from "Zhuotang Wenhua·Volume 8" written by Ken Saito, there are 1,643 people of various colors and 208 animals in "Along the River During the Qingming Festival", which is more than the number of animals in the classic novel "Along the River During the Qingming Festival". "The Romance of the Three Kingdoms" (1,191 people), "A Dream of Red Mansions" (975 people), and "Water Margin" (787 people) depict more characters than any other film.
The whole picture of "Along the River During the Qingming Festival" can be divided into three paragraphs. When you expand the picture, the first thing you see is the scenery on the outskirts of Bianjing. The middle section mainly depicts Shangtu Bridge and the busy scenes on both sides of the Dabian River.
The latter section depicts the street scene in Bianjing city. The figures are less than 3 centimeters in size and as small as beans. If you look closely, you will see that each figure is complete in form and spirit, showing every detail, and is full of interest.
"Along the River During the Qingming Festival" includes everything from fields, vast rivers, and shopping malls to as small as people on boats and carts, stalls, furnishings, and market signs. They are all grouped together. They are real and natural, making people feel like they are there.
Feeling. The whole work is long but not redundant, complex but not chaotic, tight and compact, as if it were completed in one go. It fully demonstrates the extraordinary brushwork of the painter Zhang Zeduan, and is worthy of being a rare treasure in the treasure house of Chinese art.
According to the inscriptions and postscripts of Li Dongyang, a Ming Dynasty scholar who came after the picture, there should be a section in front of "Along the River During the Qingming Festival" depicting suburban landscapes, with an inscription signed by Emperor Huizong of the Song Dynasty in thin gold script and a small double dragon for his collection
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The imprints are now missing from these paintings. There are two reasons. One possibility is that this picture has been circulated for too long and has been played and appreciated by countless people, so the beginning part was broken.
So later generations cut it off when they framed it; One possibility is that because the inscription by Emperor Huizong of the Song Dynasty and the Shuanglong seal were valuable, later generations deliberately cut them off, made another painting and sold it.
Many experts also speculate that a large part of the second half of "Along the River During the Qingming Festival" has been lost, because the painting should not stop abruptly when it enters Kaifeng City, but should end at Jinming Pond.
Whether the second half of "Along the River During the Qingming Festival" has been lost, and how many mysteries there are about it, all of these have attracted Chinese and foreign scholars and experts to explore.