The Origin of Riverside Map in Qingming Festival
Zhang Zeduan was born in Wu Dong (now Zhucheng). He studied in Bianjing in his early years, then studied painting, and worked in Hanlin Painting Academy during the reign of Song Huizong Evonne (11-1124). Chinese painting uses a marker and ruler to draw lines, which is used to express themes such as palaces, terraces and houses, especially boats, cars, shops, bridges, streets and battlements. There are "West Lake Auction Map" and "Riverside Map at Qingming Festival". His paintings are unique and unique. Most of Zhang Zeduan's paintings are scattered, and only The Riverside Scene at Qingming Festival is well preserved. This painting is 25.5 cm high and 525 cm long. This painting depicts the prosperity of Bianjing in the Qingming period. It is a witness to the prosperity of Bianjing in that year and a portrayal of the economic situation of the city in the Northern Song Dynasty. Through this painting, we learned about the city appearance of the Northern Song Dynasty and the life of people from all walks of life at that time. In a word, The Riverside Scene at Qingming Festival is of great historical value. During the Northern Song Dynasty, Bianjing was extremely prosperous, with four rivers passing through the city and four land routes. It used to be the national land and water transportation center, ranking first in the country in commercial development, with a population of more than 654.38+0 million. There are many lively markets, shops and even night markets in Bianjing City. On holidays, the capital is even more lively. In order to show the prosperity of Beijing, Zhang Zeduan chose the scene of Qingming, an important festival, and gave 59 performances. The Riverside Scene at Qingming Festival shows the land and water transportation and busy market in the capital of Northern Song Dynasty.
The center of the Riverside Map on Qingming Festival consists of a rainbow-shaped bridge and the street surface of Qiaotou Street. At first glance, crowded and chaotic; A closer look shows that these people are from different industries and engage in various activities. There are some vendors and many tourists on the west side of the bridge. There are knives, scissors and groceries on the stall. There are tea sellers and fortune tellers. Many tourists lean against the railings by the bridge, or point at them, or watch the ships coming and going in the river. On the sidewalk in the middle of the bridge, there are bustling people; There are people who ride cars, ride horses, carry loads, drive donkeys, transport goods and push unicycles ... The south side of the bridge is connected with the street. On both sides of the street are teahouses, pubs, pawn shops and workshops. There are many vendors with big umbrellas in the open spaces on both sides of the street. The street extends eastward and westward to the quiet suburb outside the city, but there are still pedestrians on the street: some are carrying goods, some are driving ox carts to deliver goods, some are driving donkeys to pull trucks, and some stop to watch the scenery of Bianhe River. There are many boats coming and going on the Bian River, which can be described as a race in Qian Fan. Some are parked near the dock, and some are driving in the river. Some big ships are overloaded, and the owners hire many trackers to pull them.
The ship is moving. A big ship carrying goods has passed under the bridge and will soon cross bridge opening. At this time, the boatman on this big ship is very busy. Some people stood at the top of the canopy and put down their sails; Some people are struggling to support the pole by the boat; Some people hold the ceiling of bridge opening with long poles, so that the boat can pass safely with the water. This tense scene attracted the attention of tourists on the bridge and nearby boatmen, who stood by and cheered. The Riverside Scene at Qingming Festival vividly depicts the busy and tense traffic scene on the Bianhe River, adding more vitality to the painting.
Zhang Zeduan's artistic generalization is high, which makes The Riverside Scene at Qingming Festival reach a high artistic level. The Riverside Scene at Qingming Festival is rich in content, numerous in characters and unprecedented in scale. The picture of Riverside Scene on Qingming Festival is dense and orderly, from quiet suburbs to bustling city streets, attracting people everywhere. Before the Northern Song Dynasty, China's figure painting was dominated by religion and aristocratic life. Although Zhang Zeduan worked in the Hanlin Painting Academy, his works were all called "courtyard paintings" or "courtyard paintings", but he extended his brush to the lives of people from all walks of life and created social genre paintings describing urban and rural life. The Riverside Scene at Qingming Festival draws a large number of various figures. Moreover, the movements and expressions of each character in Zhang Zeduan are vivid. This fully shows that Zhang Zeduan's life is very rich and his creative skills are very skillful.
The Riverside Scene at Qingming Festival, a masterpiece throughout the ages
The Riverside Scene at Qingming Festival was once collected by Xuanhe Neifu in the Northern Song Dynasty. It is a light-colored silk replica, 24.8 cm high and 528.7 cm long. The original is now in the Palace Museum in Beijing. The Riverside Scene at Qingming Festival is the best example of Tokyo's dream of Lu Hua, the ode to the sacred site and the ode to the border capital, and it has high historical value. It inherits and develops the long-lost ancient genre painting in China, and inherits the fine tradition of historical genre painting in the early Northern Song Dynasty. It recorded the capital Bianzong period in the late Northern Song Dynasty with exquisite and meticulous brushwork.
According to the statistics in volume 8 of Zhuo Tang Wenhua by Qian, there are 1 643 people and 208 animals on the riverside in Qingming Festival, which is higher than Romance of the Three Kingdoms (1 654,38+0), Dream of Red Mansions (975 people) and Water Margin. Wandering in the Four Sides: The Riverside Scene at Qingming Festival
The Riverside Scene at Qingming Festival has attracted the attention of later generations for its unique artistic value and historical value. Aisin Giorro Puyi, the last emperor of the Qing Dynasty, was sheltered by "preferential treatment for clearing houses" after his abdication 1 1 year. He also died alone in the Forbidden City in Beijing, stealing from himself and taking the opportunity to steal thousands of rare cultural relics collected in the palace for many years. /kloc-When he was 0/2 years old, the stolen national treasure Puyi returned to the throne of the Hall of Supreme Harmony at the instigation of Zhang Xun, but soon he abdicated again and was in a "small court". At this time, Puyi set about the next step: studying abroad. The first step for them to study abroad is to prepare funds. So, he took the most valuable calligraphy and paintings and ancient books out of the palace and stored them in the house of the British Concession in Tianjin. Calligraphy and painting and ancient books are outstanding treasures, among which there are about 1000 hand-rolled calligraphy and painting, more than 200 kinds of hanging picture books and about 200 kinds of Song blackboard writing. Among them is The Riverside Scene at Qingming Festival by Zhang Zeduan in Song Dynasty. Despite the "preferential conditions for cleaning the room" as the backing, Puyi still dared not openly steal palace treasures. He stole cultural relics in the name of rewarding his younger brother. Around 1922, the situation in Beijing was turbulent, and my father bought a building on behalf of Puyi in the 13th Road of the British Concession in Tianjin. Starting from 1922, they secretly gave away the ancient books, calligraphy and paintings and other cultural relics collected by celebrities in the palace as gifts.
In the name of, stolen from the palace in batches. Puyi officially "rewarded" his younger brothers, starting from 1922 and the so-called "July 13th, 14th year of Xuan Tong". Puyi took advantage of the opportunity that his two younger brothers "entered the palace" every morning to accompany Puyi to study, and wrapped precious cultural relics in bags, which were transported out of the Forbidden City by his younger brothers after school every day. It takes more than two months from the "reward", sometimes it is "reward" day by day, such as1922 August 14 to 26.
Not a day goes by without interruption. These palace cultural relics were piled up in 70-80 wooden boxes and then transported to the buildings in the British Concession in Tianjin for storage. He took his national treasure to other countries until1October 5 1924, 165438. At that time, the commander-in-chief of Beijing garrison, Lu He, and the police chief, Zhang Qian, led 20 short gunmen to suddenly break into the Forbidden City, driving Puyi away and breaking up the "small court", thus interrupting Puyi's plan to steal all the cultural relics in the palace.
1924165438+1October 5th, Puyi returned to his father's "Drunk Palace"; 165438+1On October 29th, Puyi fled to the Japanese army barracks, demanded "asylum" and openly moved to the Japanese legation to live, thus restoring the "small court" under the egg wing of Japanese militarism. 1On February 23rd, 925, Puyi fled to Tianjin under the escort of Japanese police, and settled down in Bird, a private house marked by Japanese concession. However, the financial resources at that time were far from meeting his numerous expenses, so he made up his mind to sell the China treasure in the palace. The national treasure fled to the fake palace. Through the conspiracy planning of Japanese spy Kenji Fujiwara and the close cooperation of Tianjin Japanese army, Puyi disguised himself as a Japanese soldier. On the first day of October of the lunar calendar 193 1, he sneaked into the Baihe River by a small steamboat, passed through Dagukou, boarded the Japanese merchant ship "Awaji Maru", sneaked into Yingkou, stopped at Tanggangzi in Anshan, and then entered the Japanese colony in Lushunkou. 1April, 932, Puyi entered the Puppet Manchukuo Palace in Changchun and ascended the throne of the Puppet Manchukuo Emperor.
Puyi fled from Tianjin and had to go through the area where the national army was stationed, so she had to dress lightly and simply, and a large number of Gong China treasures were still stored in Tianjin.
From 1932 to 1934, there are about 70 boxes of famous calligraphy and painting, rare books of Song and Yuan Dynasties, jewels and jade articles. It was stored in Jingyuan, Tianjin, and transported to Changchun Pseudo-Palace. The wooden cases containing paintings and calligraphy were stored in the East Room of the Library Building of the East Campus of the Pseudo-Palace, namely "Xiaobailou". Store the vault containing antiques and jewels in the living room of Jixi Building in the inner courtyard. Captured with the escaped national treasure.
1945, on the eve of War of Resistance against Japanese Aggression's victory, the traitors in Manchukuo were frightened and went their separate ways. At that time, the Puppet Manchukuo Palace in Changchun, which had been guarded by the Japanese Kwantung Army, was replaced by the Puppet Manchukuo Army. The puppet emperor Puyi saw that the general trend had gone, and he lived in fear all day long. What worries him most is that it is impossible to take away all the national treasures stored in the Puppet Manchuria Palace, and only a large number of famous calligraphy paintings in the Jin, Tang, Song and Yuan dynasties can be taken away selectively. In order to bring more national treasures, he threw away the nanmu boxes, filigree bags and animal skins painted in the title of the Protection Law, and stuffed these national treasures into big wooden boxes.
On August 1945, 10, Yasuo ODA, commander of the Japanese Kwantung Army, announced that the puppet Manchukuo had moved from Changchun to Tonghua. On August 13 of the same year, Puyi fled from Changchun to Dalizigou, Tonghua; On August 17, Puyi hitchhiked.
A small military plane tried to escape to Japan. When the plane passed through Shenyang, Puyi was captured by the China People's Liberation Army and the Soviet Red Army. Puyi's famous calligraphy and painting and a batch of jewels and jades were detained by the China People's Liberation Army and kept by the Northeast People's Bank.
Experts reveal "Riverside Scene on Qingming Festival"
On July 7th, 1949, Northeast Museum (now Liaoning Provincial Museum) was established and opened in Shenyang, becoming the first open museum in new China. Most of the exhibits in the Northeast Museum are precious paintings, calligraphy, jewelry and jade ornaments handed over by the People's Bank of Northeast China, which were seized from Puyi by the People's Liberation Army of China. Have a unique eye for treasures
Mr. Yang, a people's connoisseur, found the Riverside Scene at Qingming Festival with his unique vision among many famous calligraphy paintings that Puyi escaped with.
Throughout the ages, there have been many Riverside Scenes at Qingming Festival circulated in the name of Zhang Zeduan, and Mr. Yang has browsed more than 10. /kloc-in the autumn of 0/950, a batch of "Mu Mu" paintings and calligraphy handed over by the People's Bank of Northeast China have not been sorted out, and the good and the bad are mixed, regardless of jade. At that time, when Mr. Yang was sorting out paintings and calligraphy works in the temporary warehouse of Northeast Museum, he found three works with the same name, Riverside Scene at Qingming Festival. At that time, Mr. Yang thought that these were common "Suzhou paintings" and the like in the past, but he never expected that there would be traces to follow. However, to Mr. Yang's great surprise, the original "The Riverside Scene at Qingming Festival" written by Zhang Zeduan in Song Dynasty, which was buried in rumors for hundreds of years, was unexpectedly discovered at this accidental time and place! Mr. Yang was suddenly so excited that he could see the true face of Lushan Mountain. This excitement is beyond words. " Yang's excitement at that time was well-founded: before that, experts and scholars knew nothing about what Zhang Zeduan's The Riverside Scene at Qingming Festival looked like. They can only infer that the Riverside Scene at Qingming Festival is similar to many Suzhou paintings they often come into contact with, thinking that the original work of Riverside Scene at Qingming Festival is basically the original work of Suzhou paintings. The true face of The Riverside Scene at Qingming Festival has been a mystery for hundreds of years. It is no wonder that Mr. Yang was "stunned" by the original Riverside Scene at Qingming Festival written by Zhang Zeduan in Song Dynasty. At this point, Mr. Yang really realized that the author of Suzhou painting had never seen the original "Riverside Scene at Qingming Festival", but only recorded the layout and composition with reference to historical words. For example, in The Riverside Scene at Qingming Festival, the Hongqiao in front of the water gate in the Middle East is made of wood, while the paintings in Suzhou are made of stone. People's clothes, houses and pavements are also very different from Suzhou paintings, especially the realistic painting of ships is vivid and natural, reaching a superb position. Zhang Zeduan can describe the complicated scene of Kaifeng, the capital of the Northern Song Dynasty, which is more general and vivid than Meng Yuan's Dream of Tokyo. No wonder The Riverside Scene at Qingming Festival is a household name and enduring. Since the original works were found in Chou Ying's three "The Riverside Scene at Qingming Festival", the other two books are naturally fakes. However, another miracle appeared in front of Mr. Yang: one of the two works turned out to be a meticulous painting "The Riverside Scene at Qingming Festival" and signed it. This work refers to the composition form of Zhang Zeduan's The Riverside Scene at Qingming Festival, but depicts the realistic content of Suzhou's social life. From then on, the mystery of "Suzhou Map" was unveiled: The Riverside Scene at Qingming Festival painted by Suzhou in the Ming Dynasty originally came from this painting by Chou Ying. Because all the fakes of Riverside Scene at Qingming Festival are based on Chou Ying's copy of Riverside Scene at Qingming Festival, Chou Ying's copy has become a condition to measure the authenticity of Riverside Scene at Qingming Festival. 1949 On July 7th, after the opening of Northeast Museum (now Liaoning Provincial Museum), Zhang Zeduan's Riverside Scene at Qingming Festival has been kept in Shenyang. 1955 was handed over to the Palace Museum in Beijing by the relevant state departments. Forty-nine years later, the riverside scene on Qingming Festival is really wonderful. We look forward to seeing the Riverside Scene at Qingming Festival at home as soon as possible. (Reporter Hong Qiu/photo by Wen He)
The Riverside Scene at Qingming Festival is a genre painting in the Northern Song Dynasty, written by Zhang Zeduan. The architecture and people's livelihood in the suburbs of Bianjing, the capital of Hui Zong era, and on both sides of the Bianhe River in the city were recorded with exquisite meticulous brushwork, and the prosperous scene and natural scenery of Bianliang and Bianhe River in the Northern Song Dynasty during the Qingming period were described. This long scroll adopts the composition method of scattered perspective, bringing complicated scenery into a unified and changeable picture. There are more than 500 characters in the painting, with different clothes and expressions, interspersed with various activities and paying attention to drama. The composition is dense, paying attention to the change of rhythm and rhythm, and the brushwork is very clever.
The whole picture is divided into three sections.
The first paragraph, Bianjing Guochun. There are several huts, grass bridges, running water, old trees and boats hidden in the sparse forest fog. Two porters are driving five donkeys loaded with charcoal. They are going to town. A willow forest, with faint green branches, makes people feel that although it is chilly in spring, it is already spring back to the earth. In the sedan chair on the road, a woman sat in it. The top of the sedan chair is decorated with willows and flowers, followed by riders and bearers who come back from the suburbs of Beijing to visit the grave. The description of the environment and characters points out the specific time and customs of Tomb-Sweeping Day, which opens the curtain for the whole painting.
In the middle section, the busy Bianhe Wharf. Dense population, grain ships gathered. Some people rest in the teahouse, some people go to tell fortune, and some people eat in restaurants. There is a "Wang's Paper Horse Shop" that sells grave-sweeping sacrifices. Ships in the river come and go, end to end, either pulled by trackers or rowed by boatmen, some full of goods, upstream, some docked at the dock and nervously unloaded. Across the Bianhe River is a large wooden arch bridge with exquisite structure and beautiful shape, hence the name Hongqiao. There is a big ship waiting to cross the bridge. The boatmen either propped up the bridge with bamboo poles, hooked the bridge with long bamboo poles, pulled the boat with hemp ropes, or were busy putting down the mast to pass the bridge arch smoothly. The people in the neighboring ship also pointed to something, as if shouting loudly. People on the bridge also leaned out and talked nervously, expecting the ship to pass smoothly.
In the back, busy downtown street. Centered on the tall tower, there are rows of houses on both sides. Teahouses, hotels, shoe stores, butcher shops, temples, public halls ... These shops specialize in silk, jewelry, spices, incense, paper horses, medical clinics, car repair, fortune telling and plastic surgery ... all walks of life have everything; The big stores also put up "Happy Doors with Coloured Buildings" in front of their doors and hung banners to attract business. Pedestrians in the market, shoulder to shoulder, are in an endless stream. Businessmen who do business, gentry who watch street scenes, officials who ride horses, peddlers, family members who sit in sedan chairs, monks who walk with baskets on their backs, foreign tourists who ask for directions, children in the streets who have heard of books, children of rich people who drink in restaurants, disabled elderly people who beg on the edge of cities ... men, women, children, intellectuals, farmers and businessmen, and people of various religions. Sedan chairs, camels, ox carts, rickshaws, peace carts, flatbeds … all kinds of things. In this five-meter-long picture scroll, more than 550 characters are depicted. Fifty or sixty cattle, horses, mules and donkeys, and more than twenty cars and sedan chairs; More than 20 large and small vessels; Houses, bridges, towers, etc. They also have their own characteristics, reflecting the characteristics of architecture in the Song Dynasty.
The Riverside Scene at Qingming Festival is rich in scenes, but it is not trivial. It shows the painter's ability to grasp the macro scene and see the subtle painting realm in reality, which makes people admire his meticulous observation and vivid expression.
This picture is a copy of the Qingming Riverside Map. The Riverside Scene at Qingming Festival (Qingyuan Edition) was written by five painters of Qing Palace Painting Academy, including Chen Mei, Sun Hu, Jin Kun, Dai Hong and Cheng Zhidao, in the first year of Qianlong (1736). It can be said that on the basis of the copywriting of each dynasty, it collected the works of various directors, plus the special customs of the Ming and Qing Dynasties, such as hiking. At the same time, due to the influence of western painting style, the houses on the street are painted according to the perspective principle, and western-style buildings are also listed among them. This volume has bright colors, exquisite brushwork and delicate boundary paintings of bridges, houses and figures. It is a masterpiece in the courtyard.
After many disasters, the Qingming Riverside Map.
The immortal masterpiece Riverside Scene at Qingming Festival, painted by Zhang Zeduan, a famous painter in the Northern Song Dynasty, is priceless in the history of painting in China. It is a long scroll genre painting created by realistic means, which vividly reproduces the prosperous scene of Bianjing Chengping period in the Northern Song Dynasty through a detailed description of street life. The first collector of this painting was Song Huizong, who wrote the words "Riverside Scene at Qingming Festival" in fine gold. This masterpiece, which is well-known at all times and at home and abroad, has been appreciated by countless collectors and connoisseurs for more than 800 years after its publication, and is the goal of later emperors and dignitaries. It went from one place to another, and experienced many wars and sufferings ... The book "The Dust Settles-A Documentary Report on the Disasters of Precious Cultural Relics in China" (Shandong Pictorial Publishing House) describes the experience of "The Riverside Scene at Qingming Festival". The following is an excerpt from the book.
Treacherous court official Yan Song robbed the painting and plotted unjust cases.
Yan Song was one of the great traitors in the Ming Dynasty. With their power, he and his son Yan Shifan plundered a lot of paintings, calligraphy and antiques.
Li Rihua's Wei Shui Xuan Diary in the Ming Dynasty records that after Lu Wan's death, his wife sewed the Riverside Scene at Qingming Festival into her pillow, never leaving her body, and regarded her as her own life, even her own son could not see her. Mrs. Lu has an unmarried nephew named Wang, who has a clever speech and is very popular with her. Wang is good at painting and prefers celebrity calligraphy and painting. I tried my best to beg my wife to borrow the Qingming Festival to go to the river. After repeated entreaties, the lady reluctantly agreed, but he was not allowed to bring a pen and inkstone. He is only allowed to enjoy it in the lady's attic and is not allowed to pass it on to others. Wang Xinran did it. After two or three months, he watched it for more than a dozen times, and actually copied a somewhat similar painting. At that time, the overbearing Yan Song was looking for the Riverside Map on Qingming Festival. When Wang Yun, the independent suggestion, learned about it, he bought a fake from Wang Mai for 800 taels of silver and gave it to Yan Song. Tomson, the painter in Yansong, recognized the painting as a fake and blackmailed Wang Baoyu for 40 taels of silver, but Wang Shuyu ignored it. Tomson became angry from embarrassment. When he gave a banquet in Yan Song to celebrate, he washed away the old color in the painting with water. Yan Song was embarrassed in front of everyone, and then he found a way to kill Yun3. The king in the painting was also implicated and arrested.
Starving to death in prison. Shen Defu, another man in Ming Dynasty, once wrote an addendum to Wild Goods, but he put it another way: Yan Song's henchmen, Prime Minister Huai and Zhejiang Salt Administration, and the military affairs of Wu Heyue, the governor of Hu Zongxian, all collected famous paintings for Yan Song. When they learned that The Riverside Scene at Qingming Festival was in the home of Qin Wang, the late cabinet record, they went to ask for it, but Wang Jiafu was not moved by money. In desperation, the two men consulted the Mounted Police Tomson in Yan Song Palace. Tang and Wang Shouyu's son, Wang Shouyu, have a long history, and they were enemies with Shi Zhen and Shi Mao, so Wang Shouyu was encouraged to buy paintings, but Wang Shouyu could not buy them either. Tomson Bianjian then designed Wang Youyu to buy a copy of Suzhou People for Song. When Yan Song was happy, he told the truth. Embarrassed and angry, Yan Song killed Wang Youyu. It is also recorded in Ji Xian, Xia Qing in the Qing Dynasty. The Riverside Scene at Qingming Festival is included in Wang Yuyu's library in Taicang. Yan Song's son Yan Shifan knew about it and forced him to ask for it, so Wang Yuyu gave him a copy. Tomson happened to be nearby. Once upon a time, Wang Yun was sent to the governor of Zhejiang Province. Seeing that Tang was poor and poor, he recommended him to. Tomson didn't want to repay the kindness, and wanted to frame Wang You for prosperity, so he told Yan Yun that he had seen this painting at Wang You's house, and Wang You gave it to him as a fake. If you don't believe me, just look at the bird in the corner and see if it's a foot and two tiles. Yan Shifan looked at it carefully. As he said, he deeply hated Wang Yu. Just then, Anda invaded the Central Plains, and Wang Yu was appointed Governor of Hebei and Liao, and Yan Song and his son took the opportunity to kill him. Since then, later generations have written the legend of a handful of snow, but changed the riverside scene at Qingming Festival into a white jade cup of snow, and Wang Yuyu changed it into Mo Huaigu.
Although the above statements are different, they are all somewhat different from the facts. In fact, after Lu's death, his son was in a hurry to use money, so he sold The Riverside Scene at Qingming Festival to Gu's house in Kunshan, which was forced by Yan Song and his son. Before that, Yan Song did ask Wang Baoyu to buy a "famous painting", and Wang Shuyu did buy a painting of Suzhou Wang Biao as a gift for Yan Song, only to find out later. Only southerners are "kings" and "yellows", and Huang Biao should be Wang Biao. In Qin Long, Yan Song and his son were impeached by Zou Yinglong, and the officialdom finally fell out of power. Yan Shifan was beheaded, Yan Fu was copied, and The Riverside Scene at Qingming Festival was once again included in the palace.
Try your best to grab the waves and finally get home.
The Riverside Scene at Qingming Festival was first written by Lu (a native of Xiangxiang, Anhui Province) in the late Qing Dynasty. Lu Feiyong was a scholar during the Qianlong period. After he got the painting, he also printed an inscription on it. Bi yuan bought it. Bi Yuan (1730— 1797), a native of Zhenyang (now Taicang, Jiangsu), was a scholar in Qianlong for twenty-five years (1760). Bi Yuan loved epigraphy and calligraphy all his life, and he had a rich collection of books at home. After the painting "The Riverside Scene at Qingming Festival" was won, I learned from it with my brother Bi Long (a connoisseur of collections in Qing Dynasty), and now the painting is marked by two people. When Bi Yuan worked in Guanzhong, he devoted himself to restoring and protecting local cultural relics, but these became his "crimes". Shortly after Bi Yuan's death, Huguang people revolted against the Qing Dynasty. The Qing court believed that during his tenure as governor of Huguang, Bi Yuan not only took Gaby's post, but also killed all his family members, and his property was stolen into the palace.
After the Qing court put the Riverside Scene at Qingming Festival into the palace, it was placed in Yingchun Pavilion in the Forbidden City. Emperor Jiaqing cherished it and ordered it to be included in the third edition of Shiqu Baodi. Since then, the Riverside Map on the Qingming Festival has been kept in the Qing Palace. Although the British and French allied forces invaded Beijing twice in 1860 and Eight-Nation Alliance invaded Beijing twice in 1900, they both escaped the disaster and were not damaged. 19 1 1 years later, the Riverside Scene at Qingming Festival, together with other precious paintings and calligraphy, was stolen from the palace by the last emperor of the Qing Dynasty, Puyi, in the name of giving it to Pu Jie, and was first stored in Bird, a concession in Tianjin. 1932, Puyi established the Puppet Manchukuo with the support of the Japanese, so this famous painting was taken to Changchun and stored in the library building of the East Courtyard of Puppet Manchukuo Palace.
1945 In August, the Second World War came to an end, and the end of the Japanese invaders came. Puyi and his Japanese master saw something bad and fled to Dalizigou by plane. The Puppet Manchuria Palace was in a mess because of the fire. In the chaos, many people took the opportunity to enter the palace to "grab foreign fish", and a large number of precious things in the fake palace were scattered to the people in this turmoil, and The Riverside Scene at Qingming Festival was among them.
1946, Changchun was liberated by China People's Liberation Army. Comrade Zhang Kewei, a cadre of the People's Liberation Army, collected more than ten volumes of precious calligraphy and paintings scattered in the Puppet Manchuria Palace through local cadres, including The Riverside Scene at Qingming Festival. From 65438 to 0947, Comrade Zhang Kewei was transferred to the Northeast Administrative Committee. Before he left, he handed over more than ten volumes to Comrade LAM Raymond, one of the main leaders who opened up the revolutionary base areas in Northeast China at that time.
The Riverside Scene at Qingming Festival entered the Northeast Museum by Lin Feng, and was later transferred to the collection of the Palace Museum in Beijing. Since then, it has become its final destination. During the Cultural Revolution, Li Zuopeng, one of Lin Biao's four main commanders, took advantage of his power to borrow the Riverside Scene at Qingming Festival from the Palace Museum for his own use. Together with Qiu, Wu and others, he occupies a large number of other precious cultural relics. After the fall of Lin Biao, The Riverside Scene at Qingming Festival was rediscovered, and it is still treasured in the Palace Museum.