It is a famous painting by Zhang Zeduan in Song Dynasty, which is very famous in China. Recently, Su Shenggan, a professor at Yunnan University, boarded CCTV's "The Riverside Scene at Qingming Festival", which once again aroused people's curiosity about "The Riverside Scene at Qingming Festival" and paid attention to Zhang Zeduan's life time.
What is Zhang Zeduan's original work?
Originally, everyone has a * * * knowledge on this issue, that is, The Riverside Scene at Qingming Festival by the Palace Museum in Beijing is Zhang Zeduan's original work. However, in recent years, in the propaganda of painting, due to the long history of "Shiqu Baodi" and "Third Edition" and frequent wars, sunlight, moisture and mold invaded them, which made the stocks fade and turn black, which required great eyesight to understand. Therefore, it is often used to clean up relatively late ages and colorful courtyards, "instead creating new chaos." It is not difficult to find that some articles indicate Zhang Zeduan's paintings, and the contents are consistent with the original works, but the attached drawings are "original works". Let me add that some young people don't know what the third edition of Shiqu Baodi looks like because of the messy fakes in the flea market.
Anyway, as long as it is good, there will be forgery and imitation. Now it is called "shanzhai". The Riverside Scene at Qingming Festival has been collected since the Jin Dynasty, so it is not uncommon in Cao dynasties. The earliest clear record is that the framer behind the picture scroll mentioned in Yang Zhun's preface and postscript stole the column with copywriting. Because the rulers of Yuan Dynasty had weaker appreciation of calligraphy and painting than Song and Jin Dynasties, this painting was only kept in prison. Later, a framer replaced the original with a copy and stole the Riverside Scene at Qingming Festival out of the palace. After several changes of hands, it fell into the hands of Yang Zhun, a Jiangxi native who lives in Beijing. Yang Zhun had to go home after painting, hang up the painting again, continue to write postscript and record the process of painting. Therefore, the master of court riding in Yuan Dynasty was at least one of the authors of the early pseudo-version. The Riverside Scene at Qingming Festival in Ming Dynasty has been collected by people for nearly 200 years. People are right. This kind of masterpiece is rare, so it is more speculation and imitation.
During the Yongzheng period, the later Emperor Qianlong and Prince Li Hong * * * received nearly two original works in The Riverside Scene at Qingming Festival. Although Li Hong's poetry creation level is not high, he is very accomplished in the appreciation of cultural relics. He feels that although the painting is very atmospheric, it is not smooth before and after, and the dynamic details are somewhat flawed. So I decided to copy a more perfect Qingming Riverside Map. He organized five painters to copy and innovate their paintings. The new Riverside Scene at Qingming Festival has clear pictures and rich colors, and the picture structure and some characters' postures are similar to the original picture. Presumably, the painters saw a copy similar to the original in advance. This painting is now in the National Palace Museum in Taipei, and it is called Qing Benyuan.
The Qing court is almost half as long as the real Qing court, with more people and more complicated streets. In addition, because the drawing time is close to the present, the color is gorgeous and looks very comfortable. Yes, just a few decades after the painting of the new Riverside Scene at Qingming Festival, Emperor Jiaqing got the rare Riverside Scene at Qingming Festival from Zhang Zeduan through property acquisition. Jiaqing invited Emperor Taichang, and the father and son knew it was genuine at first sight. However, due to the problem of face, they didn't mention that the Riverside Scene at Qingming Festival was thrown away. Fortunately, they kept an edited catalogue of ancient paintings and calligraphy for the imperial court, named "Shiqu Treasure Land". Therefore, their seals of "Shiqu Baodi" and "Baodi Third Edition" at the beginning of the original picture of Zhang Zeduan can be regarded as the official title of the original text. So today, the Riverside Scene at Qingming Festival in the Palace Museum is also called "the third edition of Shiqu Baodi".
As for other imitations, there are countless more. According to preliminary statistics, the Riverside Scene at Qingming Festival currently has five copies in the United States, four in France, 1 in Britain, 1 in Russia, 1 in Czech Republic, 1 in Japan and nine in China. There are replicas of Yuan Dynasty and Ming and Qing Dynasties.
At present, the most influential painting in China is The Riverside Scene at Qingming Festival, which is recognized by experts as the original work of Zhang Zeduan. Then the third edition of "Shiqu Baodi" was painted in the National Palace Museum in Taipei, the first year of Qing Qianlong; There is also a replica of Chou Ying in the Ming Dynasty in the existing Liaoning Museum. Due to various versions, the analysis of painting content is rather confusing. For example, how many people are there in the picture? Some people say that there are seven or eight hundred people, while others say that there are two or three thousand people, almost doubling. 7800 refers to the original yuan, and 1000 or above refers to the third edition of Shiqu Baodi. Why do people mix different books together? The simplest reason is that the English version of Qing Court and Hate looks good. The 13th edition of Baodi in Shiqu in the Palace Museum is painted on two strands of silk interwoven, which is originally in color. After a long time, most colors can't be seen, while the light brown of silk gradually disappears and deepens, the picture is broken, and the lines and background colors are not so clear.
Is it spring or autumn in the photo?
Starting from the first volume "Qing Benyuan", the trees in the picture are sparse, and the people in the picture mainly wear long-sleeved clothes, and only a few laborers and people on the road wear short sleeves or waist-binding. So is Zhang Zeduan's painting in early spring or late autumn? There are three views on this issue, some of which are controversial.
During the Southern Song Dynasty, Meng Yuan wrote The Riverside Scene at Qingming Festival, recalling the bustling scene of Bianjing, Hui Zong, and recording the local customs in detail. Researchers often use the charts of "Tokyo Dream" and "Tokyo Dream Flower Record" to find the answer. Most researchers believe that this is the early spring related to Tomb-Sweeping Day. The reasons are as follows: First, contact with Tomb-Sweeping Day; Second, there are flowers in the sedan chair entering the city, which is related to the Riverside Scene in Qingming Festival, which is consistent with the record of "Liuhua on the top of sedan chair"; Third, there is a "Wang Zhima" shop selling sacrifices; Fourth, some trees will wither in early spring.
At present, some researchers advocate depicting this painting as autumn scenery. Reason: First, there is a donkey carrying 10 basket of charcoal on the right side of the picture scroll. At that time, Bianjing was mainly burning coal, and it was nearly winter to prepare charcoal for the fire. Records: Every year in October of the lunar calendar, Bianjing began to "put charcoal in the heater and buy wine for the heater party". Secondly, there are many restaurants on the screen, including "New Wine" and "Tokyo Dream" written by Lu Hua: "Before the Mid-Autumn Festival, all stores sell new wine. People in this city compete for drinks. " Third, the climate in the photo is still very hot. There are people selling drinks in the street. Someone is selling seven or eight round things and counting a lot. I guess this is a watermelon seller. Besides, this painting has many fans. Song people bring fans in spring, summer, autumn and winter. This fan is not a fan. It also has a function, that is, when you meet an acquaintance, cover your face down with a fan. Then I have work to do, so I won't say hello. This is called "instant noodles". So fans really can't say it's autumn.
The third view holds that there are both spring and autumn colors in painting, because Zhang Zeduan began to paint spring and autumn several years before and after his creation. To explain this problem. According to meteorological data, when Zhang Zeduan painted this painting at the end of the Northern Song Dynasty, it happened to catch up with the climate fluctuation. From Sui Dynasty to Northern Song Dynasty, there was a warm period of more than 400 years. At that time, sugarcane was planted in Zhejiang, and sugarcane was also planted in Kaifeng. It often doesn't snow all winter. At the end of the Northern Song Dynasty, the climate changed from warm to cold. So the contradiction between cold and warm in Zhang Zeduan's works just proves the climate change in this period.
What does Tokyo and Hua Meng in Song Huizong mean?
This mystery first involves the meaning of "Qingming". Some people say that Tomb-Sweeping Day is Tomb-Sweeping Day, and going up the river is going to the grave. The man in the photo is walking out of the city, ready to go to the grave. This is specially for the emperor. Will the emperor be happy to draw a grave? It doesn't look lucky either. The title written by the emperor himself must show a certain literary talent. Song Huizong's title comes from Tokyo Dream. Ban Biao, a historian of the Eastern Han Dynasty, wrote The Riverside Scene at Qingming Festival as a biography of Ban Biao. It has been lost, but its contents were written by his son Ban Gu in Han Shu. Fortunately, there is no copyright dispute between father and son. When talking about Ban Gu in Historical Records, he said that "Gu Xing was born in Qing Dynasty", and "Ming" and "Qing" refer to the rule of Emperor Guangwu of the Eastern Han Dynasty. At that time, after the decline of the late Western Han Dynasty and the Merrill Lynch War, the society was stable and production resumed, and all aspects were full of vitality. Therefore, Song Huizong compared his biography with the glory of the new millennium, and it boasted even more. Of course, as far as scenery description is concerned, there are also puns.
What do you mean "to the river"? Some experts insisted on "going to the grave" when they saw Tomb-Sweeping Day, saying that "going to the river" means "going to the grave". I think "Shang" is a locative word. At that time, Kaifeng had a population of nearly one million. A person eats one kilogram of grain every day, and the total amount of grain every day exceeds one million kilograms. What do you depend on? It relies on Bianhe River and Caihe River to transport grain from Suzhou and other major producing areas. Therefore, "Su Hu is mature and the world is beautiful". These two rivers play an important role in the social life of Bianjing. On the map, the Bianhe River is located in the north and upper part, so it is called the Shang River. So this painting depicts a riverside scene in mid-Tomb-Sweeping Day, which has nothing to do with sweeping graves.
Is the existing hominid Zhang Zeduan complete?
After the scroll painting, Li Dongyang mentioned in the postscript of the Ming Dynasty: "The painting is less than two feet high and only two feet long." It also bears the inscription of Hui Zong and the seal of Ssangyong. Now the previous paragraph has been lost. Therefore, many experts speculate that there is still a paragraph behind Biography, which is the Jinming Pool painted by the Imperial Capital. Since the Ming Dynasty, many imitations have been painted on Jinming Pool. So, is the existing framework completed?
I think this painting is complete. First of all, "two feet long, odd" refers to the whole scroll. The postscript after adding Hui Zong's missing inscription is consistent with this size. Secondly, in the postscript, there are many descriptions of the contents of the picture, but there is no mention of the palace scenery like Jin. The third is to analyze the picture structure. If we divide this painting into three equal parts, we will find that it can be turned into three relatively independent parts, and the center line of each part has a central story.
In the first part, from the suburbs to the Bianhe River, a donkey was frightened in the middle, the donkey driver was chasing after it, and a child standing in the middle of the road ahead without adult supervision. A traffic accident is about to happen, which makes people in the surrounding restaurants turn around. Unfortunately, this part of the picture has been destroyed, and this content is inferred from the remaining pictures.
The second part is Hongqiao, focusing on the rivers below Hongqiao. This is also the central part of the whole painting and the basis of the "upstream map". The upstream tanker must sail into the middle reaches and cross the bridge. As a result, the ship crossed the river because of improper force. At this time, a ship went down the river and the two ships were about to collide. So there was a sigh under the bridge.
The third part is inside and outside the city gate. A pedestrian's luggage was thrown on the ground by a mule rider. The pedestrian who was knocked down looked up and scolded, while the mule rider only took a look and never came down to apologize. The camel driver behind urged the unlucky pedestrians to give way again. Another solution, from the analysis of the whispering expressions of onlookers, may be that the person squatting on the ground is the ancient "touching porcelain", so he was told to get out of the way, even with a mocking expression.
After the completion of the third part, the picture entered the "Wutoumen" residential area, with more than six officials. I want to go to the deep house compound, where there are not many people. Secondly, it is easy to involve the privacy of officials, so I use branches to draw pictures on the top field to form boundaries. These paintings show obvious rhythm, beginning and end, but they still want more. I think this painting is complete. Especially the Yuan Dynasty Yang Zhun's inscription and postscript behind the scroll, which introduces the contents of the painting and the accompanying inscriptions and poems of the previous generation, which is consistent with what we see now. Besides, Yang Zhun's postscript repeatedly emphasized that the painting was not damaged or lost.
What part of Bianjing is this painting?
For this question, those Japanese experts who like authenticity really checked the map of Kaifeng in those days and said that this paragraph could not be found on the map. Other researchers drew a plan and connected it with the peripheral cities of Bianjing. In the southeast corner of the city, an "East Gate" was opened for Bianjing City for no reason. I think the author chose several observation points in the southeast of Kaifeng, and then made artistic treatment. It is to clip several clips together and describe each point, which is more realistic.