As an indispensable part of the annual "Sui Dynasty Qing Dynasty", narcissus has become the object of expression by literati and painters of various dynasties with its appearance of dancing in the water. By the Ming and Qing Dynasties, narcissus had become It is one of the important ornaments on various utensils and clothing, such as Zhao Mengjian's "Narcissus Scroll" collected by Tianjin Art Museum, Ming Dynasty Chen Hongshou's "Darcissus Lingshi Picture", Qiu Ying's "Darcissus and Wintersweet Picture", and the "Jade" collected by the National Palace Museum in Taipei. Begonia style narcissus bonsai" and so on.
Records of the name "narcissus" in historical records often have three meanings. Initially, it referred to the legendary water fairy. Sima Chengzhen's "Tian Yinzi" explains: "In the sky, it is called a heavenly immortal, on the earth, it is called an earth immortal, and in the water, it is called a narcissus." "Yue Jueshu" records that Wu Zixu was a narcissus because after Wu Zixu committed suicide, the King of Wu buried his body with it. In the middle of the river; Qu Yuan, who sank into the Miluo River, is called Narcissus in "Shi Yi Ji".
The first time "narcissus" is used to refer to narcissus in literature comes from "Beihu Lu" written by Duan Gongdao in the Tang Dynasty. The note "Water Lily" in Volume 3 says: "Sun Guangxian continued to note, engaged in On the day of Jiangling, a guest named Mu Simi tasted some narcissus flowers, which were like oranges. They were placed in water vessels and they did not wither for many years. "Therefore, narcissus flowers were introduced from abroad in the late Tang Dynasty and began to be cultivated in large quantities in the Song Dynasty. The poet said. They also recited many poems, such as Liu Jian's "Jun Zhai Yu Xing": "The green moss in the autumn garden is covered with cloud brocade, and the evening pavilion is full of red lilies and narcissus." In front of the wind and under the moon, there are shadows on the waterside. The dust in the stockings is reflected in the waves, and the water is covered in mist. "Love is a little bit, and the beauty is yellow." From the Song Dynasty, through the Ming and Qing Dynasties, narcissus became an important figure in poetry and painting. theme.
Narcissus paintings of the Song and Yuan Dynasties: elegant and beautiful
There are not many narcissus paintings painted by famous artists from the Song Dynasty to this day. Huang Jucai, the son of Huang Quan, a court painter of the Western Shu Dynasty in the Five Dynasties, painted narcissus in his "Flower Sketch Album". Huang Jucai inherited his family education and was good at painting flowers, bamboos and birds. He was good at outlining, with strong and steady strokes, and rich and gorgeous colors. . He and his father, Huang Quan, served together in Shu in the early days. In the Northern Song Dynasty, he was still serving as a member of the Imperial Academy. Zhao Guangyi, especially Emperor Taizong of the Song Dynasty, valued him and granted him the title of Guang Lu Cheng, responsible for collecting famous paintings and appraising items. The "Xuanhe Painting Book" of the Northern Song Dynasty records 332 of his works, including "Spring Mountain Picture", "Spring Bank Picture of Flying Flowers", and "Peach Blossom Mountain Partridge Picture".
"Flower Sketch Album" This album depicts dozens of various flowers, with fine outlines and rich colors. The clusters of narcissus in his paintings are carefully outlined, lifelike in form, and the colors of the "golden lamp and silver platform" are contrasting.
Part of "Flower Sketch Album"
Part of "Flower Sketch Album"
"Zhao Ziyuan's Sketch" from the Song Dynasty sketches of narcissus collected by the Palace Museum The album "Darcissus" depicts a narcissus with slender and sparse leaves. The narcissus flowers are of various shapes, clear and elegant. It is a representative of the courtyard paintings of the Song Dynasty.
Album "Zhao Ziyuan's Sketch of Narcissus"
The courtyard style of the Southern Song Dynasty had become increasingly rigid in the late Song Dynasty. The "Eight Flowers Picture Scroll" painted by Qian Xuan in the late Song Dynasty and the early Yuan Dynasty was Qian Xuan's painting. Witness the transition from the academic style of the Southern Song Dynasty to the aesthetic taste of literati. At the back of Qian Xuan's painting, there is an inscription by Zhao Mengfu, "On the right, the eight flowers painted by Qian Xuan and Shun Ju were painted by Wu Xing. Although the style is similar to that of a close-up style, the color and beauty are incomparable. You have come here to enjoy the wine on this public day. It is difficult to do this with trembling fingers. However, many young people in the countryside imitated it and had the disadvantage of being favored by the boss, so this volume is truly precious. Narcissus in "Eight Flowers Picture Scroll"
The most famous painter of narcissus in the Song Dynasty was Zhao Mengfu's brother Zhao Mengjian. Zhao Mengjian lived in the Southern Song Dynasty all his life and was the eleventh grandson of Song Taizu. Use mostly ink, use the pen vigorously and smoothly, and use light ink to slightly dye.
Zhao Mengjian's "Narcissus Scroll" collected by Tianjin Art Museum is a typical representative of the image of narcissus in literati paintings. This scroll is more than ten feet long. It contains forty narcissus plants and more than 180 buds and flowers. The narcissus range from sparse at the beginning of the volume to dense at the end. In terms of details, the narcissus leaves are painted with a thick brush and double hook method, the ink color is light and elegant, and the flower stamens are traced with fine brushwork.
Zhao Mengjian's "Narcissus Scroll"
Part of Zhao Mengjian's "Narcissus Scroll"
The National Palace Museum in Taipei also has Zhao Mengjian's "Narcissus Scroll". This type of narcissus scroll still exists. There are several books, and there are still disagreements in the academic circles. However, in most of them, it can be seen that it is characterized by meticulous brushwork and complex composition. The outlines of the leaves are outlined with thin lines, and then the sides of the leaf veins are dyed with ink. The painting method of daffodils can also be seen as a continuation of the plum blossom technique, using smudged dye to express the various postures of the flowers. This kind of ink flower technique can be regarded as a new achievement of Southern Song Dynasty ink opera. In terms of visual effects, Zhao Mengjian puts more emphasis on the use of ink on the screen to show rich changes.
Part of Zhao Mengjian's "Narcissus Scroll" in the collection of the National Palace Museum in Taipei
Ming Dynasty Narcissus Painting: dripping and freehand freehand
The Ming Dynasty was a period of change in Chinese flower-and-bird painting. The pen and ink began to become concise and clear, and the ink color began to be vivid and free, becoming more freehand and with the charm of improvisational sketching. Chen Chun, who is also known as "Ivy Baiyang" together with Xu Wei, is known as the founder of the ink freehand flower-and-bird painting school and plays an important role in the development of flower-and-bird painting.
In his middle age, Chen Chun’s painting style gradually changed from neat and beautiful to sparse and unrestrained. "Narcissus Picture" is a representative of this change. The narcissus painted by Chen Chun with light ink and double hooks has an elegant look. The stamens are dyed with heavy ink and the leaves rise straight up. The narcissus has changed from the soft and charming before, and is very powerful. There is also a five-character poem, "The ring is floating in the air, and the crowd praises the Luopu Immortal. The dust is really unstained, and the quiet rhyme generates pity." In addition, "Narcissus Picture" also comprehensively uses the combination of poetry, calligraphy and painting and the freehand technique of ink and wash.
Chen Chun's "Narcissus"
Chen Chun's "Plum Blossoms and Narcissus"
Although Chen Hongshou in the Ming Dynasty studied under Lan Ying when he was young, he admired Zhao Mengjian for the theme and style of narcissus. , but in the "Narcissus Lingshi Picture" painted when he was about 30 years old, there is already a distinct Chen style. In the picture, a standing stone rises up, followed by a narcissus and several clumps of wild grass beside the stone. The narcissus is similar in height to the standing stone, standing tall and tall, unlike other narcissus, which are low and dense. The shape of the narcissus is faithful to nature. The flowers are full when they are in full bloom and round when they are not in bloom. The color transition of the dead leaves is natural. The poem "Narcissus Spiritual Stone Picture" says: "This flower has a cool charm, and it blooms like plum blossoms. But it is like a solitary guest, happy to live among high-ranking people." The inscription is "Uncle Eighteen" and signed "Hong Shou".
Chen Hongshou's "Narcissus Lingshi Picture"
Chen Hongshou's "Narcissus Lake Stone Picture" created at about the same time, the deformation of narcissus and mountain rocks is more abstract, with smooth transitions in the brush, and the narcissus is clear Strong and graceful, it combines charm with simplicity.
Chen Hongshou's "Stone Picture of Narcissus Lake"
Narcissus is also one of the painting themes of the "Four Masters of the Ming Dynasty". In the famous "Darcissus and Wintersweet Picture" by Qiu Ying, who is known for his meticulous workmanship, a branch of wintersweet is folded down from the top, with dozens of flowers in different postures. The narcissus leaves are drawn with outline and coloring, and the ink is moist. There is an inscription in the lower right corner of the painting: Ming Jiajing Ding Wei Zhongdong Qiu Yingshi's father made it for Mo Lin. The Mo Lin mentioned here is Xiang Zijing, also known as Xiang Mo Lin. He was the only collector in the Ming Dynasty. He was good at painting and had a close relationship with Qiu Ying.
Qiu Ying's "Narcissus and Wintersweet"
Tang Yin has many existing fan works, with landscapes, figures, flowers and birds as the main themes. This fan of narcissus places three clusters of narcissus in the center of the picture. The long leaves are staggered and knotted with lines, which is consistent throughout. The narcissus flowers have various postures and are lifelike. The picture is both full of work and writing, and the colors are light and elegant.
Tang Yin Narcissus Fan
Narcissus Paintings of the Qing Dynasty: Natural Jade Showcases the Romance
In the Qing Dynasty, the planting of narcissus became more common and was even sold as an export flower. Overseas, narcissus appear more frequently in painters' paintings.
During the Ming and Qing dynasties, Bada Shanren's narcissus, like other freehand flowers and birds, was influenced by Shen Zhou, Chen Chun, and Xu Wei. The brushwork was more square and rigid, and the subject matter and layout did not deviate from the predecessors. Although unconventional, the most prominent characteristic of Bada Shanren is "honesty" - that is, the method of using the most concise brushstrokes to outline the spiritual interest of the objects in the painting also runs through the entirety of his paintings.
Narcissus, like a fish, a chicken, or a tree, can become a complete painting, highlighting the artist's arrogance everywhere.
Bada Shanren’s painting of narcissus
Bada Shanren’s painting of narcissus
Shi Tao has also used narcissus as the theme in his creations many times. Regarding the ink double hook narcissus painting method Shi Tao also discussed it in a poem on the painting. He wrote: "Ice and snow-colored Nai double hooks, light and rich, shy across the water. A whistle of condensed fat and low powder, natural jade showing off its charm..." Shi Tao's narcissus is also From being meticulous and rigorous in his early years to being both formal and formal in his middle age, to being free and freehand in his later years.
Shi Tao’s Narcissus Painting
The flower-and-bird paintings by Li Wei, who studied Shi Tao and was one of the “Eight Eccentrics of Yangzhou” who formed his own school, have the tradition of the Zhejiang School of flower-and-bird paintings in the Ming Dynasty. It was also influenced by the meticulous flower-and-bird painting style of the Qing Dynasty palace and the bold flower-and-bird painting style of the folk. Li Wei's works emphasize both form and composition, as well as the organic integration of color and ink. This painting style was inherited by later Shanghai-style painters such as Zhao Zhiqian, Ren Bonian, Wu Changshuo and others. Li Wei is a painter who plays a role in the history of Chinese painting.
Li Wei's Narcissus Picture
Jinnong, one of the "Eight Eccentrics of Yangzhou", was a commoner all his life. He was fond of traveling and lived in Yangzhou later in life. He sold calligraphy and paintings to support himself. His calligraphy was in the flat-stroke style, both regular script and official style, which was called "lacquer calligraphy" at the time. In "Jin Nong's Flower Album", Jin Nong painted narcissus, which was dyed with light ink, colorless, elegant and pleasant. He wrote a poem on the painting: "Narcissus is an outsider. He must use strange stones as offerings. His spirit can be seen in the thin ice and residual snow. His mouth is fat and his eyebrows are dark, and he dare not touch any dust when painting."
Jin Nong Pictures of Narcissus
Narcissus in the theme of "Sui Chao Qing Gong": a lively embellishment
During the Ming and Qing Dynasties, narcissus was an important component of the "Sui Chao Qing Gong" and was among the cultural relics. There are many manifestations.
Wang Zengqi once said, "'The Qing Dynasty's Offering' is a favorite theme of Chinese painters. There were especially many paintings of this theme after the Ming and Qing Dynasties. Ren Bonian painted many of them. In the painting What is offered in paintings and in real life is nothing more than the following: citron, wintersweet, and narcissus. Sometimes, two citrons are added in the painting to represent the auspicious meaning of narcissus, wintersweet, and narcissus. The color is bright. The wind is strong in the middle of winter and the flowers are withered. Sitting opposite the clear window makes your eyes brighter. "
"The Picture of the New Year" written by Zhang Hong in the Ming Dynasty is Zhang Hong's 60th year. It was written when I was eight years old at a friend's house to clear away the old and welcome the new. He used a diagonal composition to depict daffodils, cypress branches, bamboos, as well as Ge Kiln porcelain, bronze goblets and other vessels collected by friends. In particular, the Buddha's hand and the burning charcoal basin are the most eye-catching. The writing is meticulous and the colors are rich. The collection seals of the Qing dynasty include "Ningshou Palace Continuing the Shiqu Baoji", "Leshou Hall Appraisal Treasures", "Qianlong Imperial Treasures", "Shiqu Dingjian", "Baoji Re-edited" and "Sanxi Hall Jingxi". "Yi Zisun", "Guxi Emperor", "Jiaqing Yulan Treasure", etc.
Zhang Hong's "Picture of the New Year's Dynasty"
The New Year's Day Qing Dynasty is a theme that Wu Changshuo prefers to express. In the following work, plum blossoms, peonies, orchids, lychees, and Ganoderma lucidum are painted. , the beautiful meaning contained in it is like what Fu Weng wrote: Gods will live longer and have more children. The whole painting is filled with the festive atmosphere of the New Year. When using colors in paintings, Wu Changshuo likes to use colors with obvious contrast between shades and lightness, and is especially good at using magenta. It often blends red, yellow, green and other colors into the ocher color to achieve coordination in conflicts. On the basis of traditional color use, he absorbed the characteristics of color use in folk paintings, and became one of the freehand painters in the past who is better at using color.
Wu Changshuo's "The Clear Offerings of the New Year"
Wu Changshuo's "The Clear Offerings of the New Year"
Ren Bonian's "The Picture of the New Year"
Qing Dynasty , no inscription, "Qianlong Kesi Dynasty Painting", collected by the National Palace Museum in Taipei
In addition to being used in paintings, narcissus is also represented in many forms. For example, narcissus is an important subject in bonsai made in the Qing Dynasty. . According to historical records, Tao Yuanming, a famous poet in the Jin Dynasty, once planted flowers in pots. In the tomb passage mural of Prince Zhanghuai's tomb in the Tang Dynasty, a maid can be seen holding a pot of small trees bearing fruits, indicating that bonsai existed in the Tang Dynasty.
During the Song and Yuan Dynasties, bonsai was called "some sub-jing", which means small scenery. The name bonsai first appeared in the Ming Dynasty. Since the early Qing Dynasty, bonsai cultivation has flourished. Many poets have written about bonsai, and some writings have mentioned the art of bonsai. In the palace life of the Qing Dynasty, a new kind of bonsai was derived, which was artificially made using various precious materials to imitate the natural landscape.
This "Jade Begonia Style Narcissus Bonsai" collected by the National Palace Museum in Taipei has gold leaves and jade flowers in a sapphire basin, in the shape of a begonia flower, with four Ruyi cloud-shaped feet, and two narcissus clusters planted in the basin. It uses blue enamel as the ground and is inlaid with circles of ocher, white, blue and other colors. Narcissus has golden leaves, and three flower stems are pulled out from the leaves. Each branch bears three or four white narcissus. The overall appearance is raw, clean and elegant, which is the characteristic of the works of the Construction Office of the Ministry of Internal Affairs in the early to mid-morning period.
Jade Begonia Style Narcissus Bonsai
The "Dyeing Tooth Narcissus Lake Stone Bonsai" collected by the Palace Museum is made of bamboo roots carved and spliced ??into a short rectangular basin, with geometric patterns carved on all sides of the basin wall. The dragon pattern is decorated and dyed, and the edges of the pattern are outlined with dark lines. Inside the basin is a small Narcissus Lake stone scene, with narcissus bulbs carved from boxwood, leaves made of green dyed ivory, flowers, flower centers and buds all carved from ivory, the receptacle made of boxwood, and the lake stones carved from rosewood. The whole bonsai has an elegant shape.
Dyeing Tooth Narcissus Lake Stone Bonsai
This pot of "Ivory and Jade Narcissus Bonsai" from the mid-Qing Dynasty is a sapphire chrysanthemum petal wash basin with four corners carved into the shape of a double-leaf chrysanthemum. Inlaid with rubies and green materials, the lower belly of the basin is carved with leaf patterns, and the upper part is inlaid with green materials and interlaced with gold lines as veins. There are lake stones made of lapis lazuli in the basin, and five narcissus plants are planted with ivory leaves, carved ivory as the root, white jade as the flower, and topaz as the heart. The narcissus-themed bonsai means "Zhi Xian's birthday". When the palace celebrates the birthdays of emperors and empresses, local officials often present them. According to "Incoming Orders from the Palace": "On October 27, the fifty-sixth year of Qianlong's reign, Fukang'an came to Beijing to present a pair of jasper narcissus bonsais." This piece is probably one of them. The style of this bonsai is elegant and elegant. The jade basin is of typical Hedostan style. The scenery in the basin has tall leaves and bright jade flowers, which reflects the craftsmanship of the sculpture industry during the Qianlong period of the Qing Dynasty.
Ivory and jade narcissus bonsais
Qing Qianlong jasper carved Buddha lotus pattern and agate narcissus bonsai pair
Narcissus patterns in the concubine's clothing
It is worth noting that embroidery in the Ming and Qing Dynasties was often decorated with narcissus patterns, and was often paired with other patterns to form various "auspicious patterns". Auspicious patterns use symbolism, metaphor, pun, homophony, and comparison. Such twists and turns express a certain auspicious meaning. The origin of auspicious patterns in my country can be traced back to the Shang and Zhou dynasties, developed in the Tang and Song dynasties, and flourished in the Ming and Qing dynasties. In the Qing Dynasty, the auspicious patterns decorated on palace utensils, including clothing, had a wide range of themes, such as flowers, trees, rocks, hummingbirds, insects, fish, birds and beasts, stories about people, myths and legends, Buddhist instruments, auspicious words, etc. The categories were complex, the images vivid, and the meanings Guangbo, almost to the point where the picture must be intentional and the intention must be auspicious.
The clothing worn by the imperial concubines of the Qing Dynasty for their daily leisure time included casual robes, cloaks, shirts, mandarins, waistcoats, coats, cloaks, skirts, trousers, chaps, etc.
Narcissus is used as a decorative pattern on many concubines’ cloaks collected in the Palace Museum. The cloak is one of the important casual clothes of the concubines of the Qing Dynasty. Compared with the Central Plains cloak, the traditional double-breasted style has become a style with Manchu characteristics - a twisted placket with a right collar, a round collar, left and right trains to the armpits, and under the armpits. The bottom is decorated with Ruyi cloud heads; the body is straight, reaching to the top of the feet, and the high soles of the flag shoes are exposed when worn; the sleeves are wide and flat, and folded when worn, and the sleeves are elbow-length, and can be used to roll up or relax the sleeves. The cloak of concubines in the Qing Dynasty cannot be worn close to the body. It must be worn on the outside of shirts and robes to show grace and dignity. Moreover, unless they go out in winter, no other clothing can be worn on the outside of the cloak.
Cloaks can be worn in all seasons with cotton, cotton, satin, yarn, etc. Narcissus, in the decoration of concubines’ cloaks in the Qing Dynasty, is often the same as longevity pattern, Ganoderma lucidum, etc. Expressing the theme of "birthday wishes from immortals". The narcissus pattern is mainly composed of clusters of narcissus flowers, with dignified flower shapes, natural colors and luxuriant branches and leaves. Because narcissus is a flower species in winter and early spring, it is often used in winter clothing with quilted and leather linings.
Yellow tapestry ink fairy pattern upper sheepskin and chinchilla skin cloak
Moon-colored satin flat gold and silver embroidered narcissus longevity character pattern single cloak
The shape of the concubine's shirt also follows some basic elements of traditional Manchu clothing, which is a round collar, a large placket and a straight robe. The main difference from the cloak is that there are no slits on the left and right sides of the shirt, and there are no symmetrical Ruyi cloud heads under the armpits. Because the shirt does not have trains on both sides and is long enough to cover the feet, it can cover the legs when walking. Therefore, it can be worn alone or worn over it, such as a cloak, a mandarin jacket, a waistcoat, a mantle and other short garments. Casual clothes with larger styles or larger slits. Cloaks and shirts were worn on many occasions, and were the most frequently worn casual clothes by the concubines of the Qing Dynasty.
Snow blue satin embroidered narcissus butterfly pattern cotton shirt
Brown tapestry gold and silver narcissus pattern clip-on shirt
Blue tapestry narcissus pattern on the top and gray on the bottom Ratskin shirt