As long as you don't have prejudice and follow the trend, you will feel his profound knowledge, profound knowledge of calligraphy and painting, and free and easy mind. For example, Wang Guxiang's "Flower and Bird Map" said in the poem: "5533 flowers, rain falls; Come naturally, kingfisher, and live in a small place. You envy carved cages, then you know that warm pits are appropriate; When you are free, the painter thinks. " The language is unpretentious, but interesting and easy to read and remember. This poem is not like an emperor, but an idyllic poet.
I don't know what touched some people's nerves recently. There are many words on the Internet, such as "Gan Long who is tireless in destroying paintings" and "It is Zhao Mengfu's sorrow to fall into Gan Long's hands". The inscriptions, poems and seals that Emperor Gan Long likes on famous paintings and calligraphy of past dynasties are compared to "praising a madman", and it seems that he is going to whip this man who has been dead for hundreds of years.
Here, I have no intention of defending Emperor Qianlong. However, if we look closely at the rhetoric of attacking Ganlong, we are really not qualified to comment on Ganlong in terms of its style and even wording. Although Emperor Qianlong wrote too many inscriptions, poems and seals on some ancient paintings and calligraphy, it hindered the aesthetics of his works.
In fact, we can't discuss or criticize this kind of behavior, but we must analyze and treat it from a historical perspective. Pragmatic academic researchers should treat anyone and anything in history objectively, fairly and historically. The reason is very simple, just as we evaluate the merits and demerits of Emperor Qianlong today, it is impossible to continue all the "official" historical materials of the Qianlong Dynasty verbatim; Of course, we can't simply judge Emperor Qianlong by today's standards of right and wrong. Then, the same should be true for Gan Long's behavior of collecting works of famous painters and calligraphers of past dynasties, and like to inscribe, engrave and seal poems because of compiling "Shiqu Baodi". It cannot be simply and arbitrarily characterized as "tireless destruction of paintings."
Judging from the existing literature and physical data, the poem began in Evonne, Song Huizong. Song Huizong is an artist who excels in poetry, painting and book. He is not only a painter, but also famous for his unique thin gold calligraphy. In this way, his poems, books and paintings are all collected in paintings, thus forming a brand-new artistic schema integrating poems, books and paintings, which is rich in the unique aesthetic charm of oriental culture. Since then, painting poetry has prevailed, and this elegance has continued to this day. However, from a rigorous point of view, the inscriptions and seals on calligraphy and painting works should be based on the premise of "not invading the painting position" and "not hurting the painting bureau"
But then again, what do you mean by "not invading the painting position" and "not hurting the painting bureau"? China's traditional Chinese painting is different from western painting. The paper is full of brush strokes and colorful painting elements, leaving no room for inscriptions, poems and seals. China's traditional paintings are different, especially the traditional literati paintings. At the beginning of creation, we should not only consider the position of the inscription and seal, but also emphasize the blank space. According to my years of painting research and creative practice, the "blank space" in painting has great randomness and even uncertainty. Specifically, "leaving white space" is not only the demand of "knowing white space and leaving black space", but also the convenience of engraving at that time in the future (there are many cases), and it is also the inscription and seal when considering the collection of others or future generations. Therefore, in the blank of traditional painting, there are no restricted areas and non-restricted areas with fixed patterns. Where can I inscribe, where can I not inscribe, where can I ask more questions and where can I not? Even Qian said, "I look at ancient calligraphy and painting and don't care about inscriptions." . It's just a family statement, for example, a good skin is covered with scabies, which is not the blessing of calligraphy and painting (the inscription on Jiang Yunlou), nor is it a discipline that anyone must abide by.
As the king of a country, Qianlong's elegant poetry is understandable. It is not his personal initiative to inscribe poems and seals on calligraphy and painting works of past dynasties. Many of his poems, paintings and calligraphy have been inscribed by literati and painters in past dynasties. Why can't Emperor Qianlong do it? Courtier Cai Jing can inscribe poems on the paintings of Emperor Evonne, and Emperor Qianlong inscribes poems and seals on the paintings and calligraphy of "subjects" in past dynasties. Is it a big violation?
I remember that in the 4th issue of Classical Literature Knowledge in 2004, an article written by Mr. Lu Qin was published, entitled "Poetic and Picturesque —— A Review of the Aesthetic View of Emperor Qianlong's Inscriptions and Postscripts", which interpreted the poems and postscripts of Emperor Qianlong from the aspects of poetry and aesthetics, objectively and fairly evaluated and affirmed his poetic attainments and aesthetic height as a generation of emperors, which was commendable.
In fact, as long as you don't have prejudice, don't follow the trend, calm down and carefully read the poems of Emperor Qianlong's paintings, you will feel that he is knowledgeable, knowledgeable in calligraphy and painting, and free and easy-minded. For example, Wang Guxiang's "Flower and Bird Map" said in the poem: "5533 flowers, rain falls; Come naturally, kingfisher, and live in a small place. You envy carved cages, then you know that warm pits are appropriate; When you are free, the painter thinks. " The language is unpretentious, but interesting and easy to read and remember. This poem is not like an emperor, but an idyllic poet.
As for the calligraphy of Emperor Qianlong, it is also active in learning and rigorous in statutes. Although he is an emperor, his calligraphy is correct and solemn, without the slightest arrogance and domineering, but has a very friendly and close relationship with the people. This alone is worthy of deep reflection and study by many "calligraphy masters" who play tricks today.
Finally, what I want to say is that if Emperor Qianlong insists on writing poems on famous paintings and calligraphy of past dynasties, and cymbals are printed with suspicion of profligacy, then this behavior is far more brilliant than the catastrophe of destroying, tearing up and burning cultural relics in the middle of the twentieth century.