Henan Opera Fortune Telling _ Henan Fortune Telling
China is one of the top ten famous paintings handed down from generation to generation. The genre painting of the Northern Song Dynasty, with a width of 24.8 cm and a length of 528.7 cm, is the representative work of Zhang Zeduan, a painter of the Northern Song Dynasty. It is a first-class national treasure.
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.
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 were overloaded, and the owners hired many trackers to tow them. 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 has a high artistic generalization, which makes The Riverside Scene at Qingming Festival reach a high artistic level. The Riverside Scene at Qingming Festival is unprecedented in its rich content, numerous characters and grand scale. The picture of Riverside Scene on Qingming Festival is dense and orderly, from quiet suburbs to bustling city streets, attracting people everywhere.
Based on Qian's Zhuo? According to the statistics in the eighth volume, there are all kinds of figures 1643 people and 208 animals on the Riverside Map in Qingming Festival, which is better than the classical novels Romance of the Three Kingdoms (11person), Dream of Red Mansions (975 people) and Water Margin.
The whole picture of Riverside Scene at Qingming Festival can be divided into three sections. When the picture unfolds, the first thing you see is the scenery on the outskirts of Bianjing. The middle section mainly depicts the busy scenes on both sides of Shangtu Bridge and Bianhe River. The second half depicts the street view of Bianjing City. The size of the word is less than 3 cm, as small as a bean. If you look at them carefully, they are both physically and mentally interesting.
According to the textual research on the inscription of Li Dongyang, a Ming Dynasty man, there should be a landscape map of the outer suburbs in front of The Riverside Scene at Qingming Festival, which is inscribed with Song Huizong's fine gold lettering and Ssangyong's small seal for his collection, but now these have disappeared from the painting. There are two reasons. One possibility is that this picture has been circulated for too long, and the beginning part was broken after being enjoyed by countless people, so it was cut off when later generations mounted it; One possibility is that Song Huizong's inscription and Ssangyong Xiao Zhuan are valuable, and later generations deliberately cut them off and sold them as another painting.
Many experts suspect that the second half of The Riverside Scene at Qingming Festival is missing, because this painting should not come to an abrupt end just after entering Kaifeng City, but should be painted all the way to Jinming Pool.
Appreciation of Riverside Map in Qingming Festival
The Riverside Scene at Qingming Festival records the architecture and people's livelihood in the suburbs of Bianjing (now Kaifeng), the capital of Hui Zong era, and on both sides of Bianhe River in the city with exquisite brushwork. This painting depicts the bustling scene and natural scenery on both sides of Bianliang and Bianhe, the capital of the Northern Song Dynasty, during the Qingming period. In the form of a long scroll, the work uses the composition method of scattered perspective to bring complicated scenery into a unified and changeable picture. There are more than 500 people in the painting, with different clothes and expressions, interspersed with various activities, paying attention to drama, dense composition, changing rhythm and rhythm, and ingenious brushwork. The whole picture is divided into three sections.
The first paragraph, Bianjing rural spring:
In the sparse forest mist, there are several huts, grass bridges, running water, old trees and boats. 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, returning from a walk in the suburbs of Beijing to sweep the grave. The description of the environment and characters points out the specific time and customs of Tomb-Sweeping Day, which opens the whole painting.
In the middle section, the busy Bianhe Wharf:
Bianhe River is the hub of national grain transportation in the Northern Song Dynasty, and it is also the main road of commercial traffic. As can be seen from the picture, the population is dense and there are many grain ships. Some people are resting in the teahouse, some are telling fortune, and some are eating in the restaurant. There is also the "Wang's Paper Horse Shop", which is a grave sweeper selling sacrifices. Ships in the river come and go, end to end, pulled by trackers or rowed by boatmen. Some are full of goods, going upstream, and some are nervously berthing to unload. Across the Bianhe River is a large wooden arch bridge with exquisite structure and beautiful shape. Such as flying rainbow, hence the name Hongqiao. There is a big ship waiting to cross the bridge. The boatman is supported by bamboo poles; Hook the bridge with a long pole; Lead the boat with hemp rope; Several people are busy lowering the mast so that the ship can pass. People in the neighboring ship are also pointing, as if shouting something. Both inside and outside the ship are busy crossing the bridge for this ship. People on the bridge are also sweating over the tense ferry scene. This is the well-known Hongqiao pier, which is full of traffic and bustling, and is really the intersection of land and water transportation.
In the second half, busy city streets:
Centered on the tall towers, there are rows of houses on both sides, including teahouses, restaurants, foot shops, meat shops, temples, public halls and so on. Silk, jewelry, spices, incense, paper horses and so on all have specialized businesses. In addition, there are medical clinics, car repair, fortune telling, shaving and plastic surgery, and all walks of life have everything. Large-scale shops are also tied up with "colorful buildings and happy doors", and banners are hung to attract business, and pedestrians in the market are jostling with each other. There are businessmen who do business and people who look at street scenes. There are monks walking around with baskets on their backs, tourists asking for directions from other places, street children who have heard of books, children of rich people who drink heavily in restaurants, disabled elderly people begging on the edge of cities, men, women and children, scholars, farmers, workers and businessmen, and so on. Means of transportation: sedan chair, camel, ox cart, rickshaw, flatbed, flatbed, all kinds of things. Vividly displayed in front of people.
More than 550 people of various colors were painted in the picture scroll with a total length of more than five meters, including fifty or sixty cattle, horses, mules, donkeys and other livestock, more than 20 vehicles and bridges, and more than 20 ships. 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 by Zhang Zeduan is a realistic genre painting depicting a corner of Bianjing in the Northern Song Dynasty, which has high historical value and artistic level.
Enjoy the full picture of Riverside Scene at Qingming Festival, and flash the full picture:/thread-1046-1-1.html.
evaluate
Bai Shouyi's General History of China (Color Picture Book) Comments on Riverside Scene at Qingming Festival. There are more than 500 people, more than 50 livestock, more than 20 vehicles, many houses, countless props, huge scenes, clear paragraphs, tight structure and orderly. Skilled technique, meticulous pen, vigorous lines, dignified and sophisticated. It embodies highly pure painting skills and outstanding artistic achievements. At the same time, because the painting was a social record at that time, it provided important historical materials for future generations to understand and study the urban social life in the Song Dynasty.
The Concise Encyclopedia of Britain's evaluation of the section "Zhang Zeduan" in The Riverside Scene at Qingming Festival is a custom picture scroll with important historical value. The painter successfully described the life scenes of all walks of life in Bianjing City and its suburbs during the Qingming period. Mainly for workers and ordinary citizens. The handling of the relationship among people, buildings, cars, trees and water is very clever, with a strong sense of integrity and great historical value. Since then, the urban genre paintings painted in previous dynasties have been influenced by it.
Zhang Zeduan and The Riverside Scene at 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. 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.
During the Northern Song Dynasty, Bianjing was extremely prosperous, with four rivers passing through the city and four land routes. It is a national land and water transportation center, and its commercial development ranks first in the country. At that time, its population exceeded 1 10,000. 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. 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.
In the history of painting, there are many paintings called The Riverside Scene at Qingming Festival, but there is only one original. After many scholars and experts have studied this topic, everyone's opinions are basically the same. They all think that this painting in the Palace Museum in Beijing is an original of Zhang Zeduan in the Northern Song Dynasty. Other paintings of the same name were later copied or imitated by Zhang Zeduan.
At present, there is no artist's own seal on this picture scroll collected by the Palace Museum in Beijing. According to an inscription by Zhang Zhu of Jin Dynasty in the postscript after the picture, it is confirmed that its author is Zhang Zeduan. Zhang Zhu's inscription has only a few words: "Hanlin Zhang Zeduan was born in Wudong (now Zhucheng, Shandong). When I was a child, I studied in Beijing, and later I learned to paint. I am a painter, and I am particularly interested in cruise ships, bridges, Guo Jing and other families. " However, there is no Zhang Zeduan's name in the book Xuan He Hua Pu written at the end of the Northern Song Dynasty. Some people speculate that it may be that he entered the painting academy late and the editor had no time to compile it into the book.
The beginning and end of a collection
After Zhang Zeduan finished this long scroll praising the history of the Millennium, he first presented it to Song Huizong. Song Huizong became the first collector of this painting. As a master of calligraphy and painting in the history of China, Song Huizong loved this painting very much. He wrote the words "The Riverside Scene at Qingming Festival" in his famous "Shoujin Style" calligraphy, and made a seal script of Shuanglong (now lost).
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 disasters ... It entered the palace five times and was stolen from the palace four times. After many disasters, it interpreted many legendary stories. In the third year of Jiajing in the Ming Dynasty (1524), the picture of the riverside scene in Qingming Festival was transferred to Lu Wan, a Changzhou native (Lu Wan was a scholar of Chenghua, and his official rank was to protect the prince and the minister of war, and his name was heavy for a while). 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, so he tried his best to ask his wife to borrow The Riverside Scene at Qingming Festival. 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 treacherous court official Yan Song, who had a high eye but a low hand, was looking around for the Riverside Scene at Qingming Festival. Quan Wang, the independent suggestion, bought a fake from Wang Mai for 800 taels of silver and presented it to Yan Song. Tomson, a framer in Yan Song, recognized the painting as a fake, so he blackmailed Wang Tong and asked him to pay 40 taels of silver to bribe himself, but Wang Tong ignored him. 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 greatly embarrassed in front of everyone, and then he found a way to kill Wang Tuan. Wang, who copied this painting, was also implicated, arrested and starved to death in prison.
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 Huan to buy a "famous painting", and Wang Huan did buy a painting by Suzhou Wang Biao as a gift for Yan Song, only to find out later.
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.
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 wrote 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. Zhang Kewei, a cadre of the People's Liberation Army, collected more than ten volumes of precious calligraphy and paintings scattered from 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.
However, during the Cultural Revolution, Li Zuopeng, one of Lin Biao's four generals, took advantage of his power to "borrow" the Riverside Scene at Qingming Festival from the Palace Museum and took it for himself. 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.
unsolved mystery
Autumn scenery said.
The long genre painting The Riverside Scene at Qingming Festival, painted by Zhang Zeduan in the Northern Song Dynasty, is a world-renowned artistic treasure. It is called the "national treasure" of the painting garden, just like the "Five Cattle Map" created by Han Yun in the Tang Dynasty. The earliest collector was Song Huizong (Evonne). His original paintings "The Riverside Scene at Qingming Festival" and "Shuanglong Small Seal" written in thin gold can prove that they were originally collected in the palace. After the fall of Bianjing in A.D. 1 126, all the precious cultural relics in the palace, including this famous painting, were owned by the Jin people. Another 59 years passed, that is, the 26th year of Jin Shizong Dading (1 186). Zhang Zhu wrote the first postscript to Riverside Scene at Qingming Festival, and quoted Xiang Pingtu to prove that Zhang Zeduan, a poet in Song Dynasty, used Riverside Scene at Qingming Festival and West Lake as the standard, so he named Riverside Scene at Qingming Festival.
In history, there have been some arguments about the time when Zhang Zeduan created the Riverside Scene at Qingming Festival and the symbol of Riverside Scene at Qingming Festival. This painting depicts Tomb-Sweeping Day since the Jin Dynasty, and there seems to be no objection. According to the Ming Dynasty's Wei Shuixuan Diary, this painting not only has Song Huizong's thin gold inscription, Ssangyong seal, but also Song Huizong's inscription; There is a saying in the poem that "the spring river is full of water". In this way, there is no doubt that this painting depicts the scenery of spring. Modern and contemporary art historians such as Zheng Zhenduo, Xu Bangda and Zhang Anzhi all hold the view of "spring scenery". However, some people have raised objections to this.
The first person who was skeptical about the theory of spring scenery was Mr. Kong, a teacher in Kaifeng. In the second issue of Art magazine of 198 1, he published the article "Query on the Riverside Scene at Qingming Festival", listing eight reasons, and concluded that autumn scenery was painted on the Riverside Scene at Qingming Festival.
First, there is a donkey carrying a 10 basket of charcoal on the right side of the picture. Meng Yuanyuan in the Northern Song Dynasty recorded in Dream of China in Tokyo: Every October in the lunar calendar, Bianjing began to "put charcoal in the heater, put wine in front of it and have a warm party". It is against the life customs of Song people to say that Tomb-Sweeping Day set fire to coals before and after. Father Meng and Zhang Zeduan lived in the same era. Dream of Tokyo is an important material to study the customs of the capital of song dynasty, and the historical events described should be credible.
Second, there is a farm fence full of eggplant and other crops. More interestingly, several children are playing and chasing naked. None of this is Tomb-Sweeping Day's business.
Third, there are more than a dozen people with fans on the screen, which are fan-shaped and sunshade-shaped. Common sense tells people to use fans in dog days, and few people use fans in early spring.
Fourth, straw hats and bamboo hats appear in many places on the screen. "Straw hats and bamboo hats are used to keep out the sun and rain. There is no rain in the picture. It must be used to shade the sun. According to the climate of the capital of song dynasty at that time, Tomb-Sweeping Day seems unnecessary and deserves our suspicion. "
5. There are many wine shops in the picture, and the word "new wine" is written on the wine flag, while "Hua Lu in Tokyo Dream" reads: "Before the Mid-Autumn Festival, all the shops sold new wine ... drunkenness and fairy brocade, and the city people competed for it (see Mid-Autumn Festival in the book)." In Song Dynasty, Xingu came down to brew mash wine to celebrate the harvest, otherwise there would be no new wine.
There is a small tea stall on the screen, and the sign says "Drink in summer". "If the word' Xia' in' Yin Zi under the mouth' is good, it is enough to explain its season."
Seven, there are several vendors on the river bank and the bridge, and there are cut watermelons on the table. The early spring in the ancient capital of Bianliang in the Song Dynasty was warm and cold, so there could be no fresh fruit like watermelon. The picture shows a sedan chair with a rider and a servant, and a section of earth grave faces the city. Careful analysis shows that although these people may go to the grave, it is more appropriate to say that they hunt in autumn, because they may go to the grave all year round. As far as flower arrangement is concerned, it can be explained in spring and autumn. Judging from various phenomena in today's picture, it is more realistic to say autumn.
Ode theory
After Confucius questioned the Riverside Scene at Qingming Festival, in the mid-1980s, Mr. Zou Shencheng put forward the article "The Social Significance of the Riverside Scene at Qingming Festival" in China Song History Research Association, arguing that Tomb-Sweeping Day was neither a festival nor a place name. The word "Qingming" here was originally a eulogy given to this painting by the painter Zhang Zeduan. So some people think that "Qingming" here should be understood in a broad sense. There is an example in the Book of the Later Han Dynasty. It says, "Fortunately, there is a clear world ..." Judging from the tone, this "clarity" means political openness. The inscription "Qingming Festival" in the painting was originally a eulogy presented by Zhang Zeduan for the emperors to appreciate. The inscription left by the Jin people on the screen said: "On that day, Hanlin presented an album, but it was handed down." It has been pointed out that the theme of this painting is to show the quiet scenery. During the reign of Zhang Zeduan, he worked in Huizong Hanlin Painting and Calligraphy Institute. The first collector of this painting was Song Huizong, who witnessed the painter's intention to praise the prosperous times and win the favor of the supreme ruler. Knowing this background, it is obvious that the word "Qingming" does not refer to festivals.
Authenticity theory
There are some rumors about the authenticity of The Riverside Scene at Qingming Festival in Ming and Qing Dynasties. Xu Shupi, the leader of the Qing Dynasty, recorded in Zhi Shu that there were four people in the painting, two of whom were six o'clock and the other was Xuan. The dice player opened his mouth and called "six", hoping for another six. The Riverside Scene at Qingming Festival depicts the scenery of the Bianliang River. A paperhanger named Tang Qin thinks that people in the border county (Kaifeng) call the word "six" with a pinch of accent, but the people in the painting call it "six" with their mouths open, which shows that this is the voice of Fujian. He suspected that the painting was a fake. Yan Gongqing's book "Leisure in Summer" said that this Tang Qin also studied the upper paw of the sparrow in the painting. It stepped on two tiles, which may be the failure of the copyist. Tomlins, unknown, does what he said really make sense? It seems that further research is needed.
related data
It turns out that the Riverside Scene at Qingming Festival appeared.
19 12 February 12 February Aisingiorro, the last emperor in the feudal history of China? Puyi stepped down from the throne of the emperor, proclaiming the ruling dream of China feudal dynasty for more than 2,000 years, and fell apart in an instant. According to the preferential treatment regulations, Puyi still lives in the Forbidden City. Puyi is different from any feudal emperor in China. He was educated by British teacher Johnston when he was young and influenced by western cultural ideas since childhood, so he always dreamed of studying abroad. In order to have enough money to realize his wish after leaving the palace, he thought of a large number of treasures, calligraphy and paintings collected in the palace. Thus, the Riverside Scene at Qingming Festival, which experienced four dynasties in Song, Yuan, Ming and Qing Dynasties, entered the palace four times and mysteriously disappeared again and again. This time, it began its mysterious and long journey.
Puyi, who left the throne of the emperor, used the imperial power to "reward" his younger brother Aisingiorro 73 from 165438 in 0922 to 16 in October and then to 1923+28 in October. In the name of Pu Jie, 65,438 scrolls of calligraphy and painting and 68 picture books were moved out of the palace. These precious paintings and calligraphy works in China are priceless. Among them, The Riverside Scene at Qingming Festival has as many as four volumes, including the Riverside Scene at Qingming Festival painted by Zhang Zeduan, a painter in the Northern Song Dynasty. The Riverside Scene at Qingming Festival imitated by Chou Ying in Ming Dynasty and Suzhou Film and Riverside Scene at Qingming Festival imitated by other painters in Ming Dynasty. In particular, The Riverside Scene at Qingming Festival, painted by Zhang Zeduan, a painter in the Northern Song Dynasty, is a rare masterpiece in the history of China fine arts, and it is also a treasure that the nobles of the imperial palaces scrambled to collect.
1925 On February 24th, the second day of the second lunar month, commonly known as "the dragon looks up", Puyi dressed up as a businessman and went to Bird in the French Concession in Tianjin under the surveillance of the Japanese. In the name of "rewarding" his brother Pu Jie, he moved a lot of treasures and calligraphy and paintings from the Forbidden City and secretly moved to Tianjin. The Riverside Scene at Qingming Festival accompanied Puyi in Tianjin.
1On March 8th, 932, under the control of the Japanese invaders, Puyi moved from Tianjin to Changchun with his family and a large number of treasures and calligraphy and painting, and became the emperor of the puppet Manchukuo. The Riverside Scene at Qingming Festival accompanied Puyi and stayed in Changchun for four months 13. The Jixi Building of the Puppet Manchurian Palace in Changchun witnessed the time Puyi and his family spent in Changchun. The name "Ji" was invented by Puyi himself, and the word "Ji" came from The Book of Songs? Daya？ King Wen: "King Wen, stop at Ji." However, Puyi believes that the word "Xi" in Ji is the same as that of Emperor Kangxi, and Puyi worships Emperor Kangxi's ability and strategy of governing the country. Therefore, the meaning of the word "Ji" is self-evident, and Puyi should inherit the ambition of the ancestor Kangxi to restore the great cause of Manchu. Because of this, it is not difficult to guess why Puyi likes The Riverside Scene at Qingming Festival so much. Emperors and nobles of past dynasties scrambled to collect the Riverside Map on Qingming Festival, all of whom were fascinated by the fantastic prosperity and auspicious atmosphere in the Riverside Map on Qingming Festival.
1945, Yasuo Yamada, commander of the Japanese Kwantung Army, informed Puyi to move the capital to Tonghua. Puyi knew in his heart that the so-called moving the capital was actually an escape, and Puyi asked Yasuo Yamada to give him three days to pack his bags. In fact, what Puyi is most worried about is the treasures and calligraphy and paintings brought out from the Forbidden City in Beijing. /kloc-during 0/3 years, the riverside scene at Qingming Festival and a large number of treasures, calligraphy and painting have been sealed in the calligraphy and painting building behind the Changchun Pseudo Palace. Only Puyi and several cronies know the secret sealed in the painting and calligraphy building. Puyi and his personal entourage hurried into this mysterious "little white house". He selected some treasures from a large number of treasures and calligraphy and paintings and fled to Tonghua. The remaining treasures and calligraphy and paintings were looted by some guards. Among the four different versions of The Riverside Scene at Qingming Festival, which one was shot by Puyi? Which volume was lost among the people? People don't know ... Puyi fled to Dalizigou, a small mountain village at the foot of Changbai Mountain in Tonghua with some treasures, calligraphy and painting and his family. Puyi lived in Dalizigou for only three days, and then hurried to Shenyang, ready to flee from Shenyang to Japan. Puyi once again selected the treasures and calligraphy and paintings brought from Changchun Pseudo Palace, only selected a few treasures and calligraphy and paintings, and fled to Shenyang with his younger brother Pu Jie, two brothers-in-law, three nephews, a doctor and a squire, leaving most of his belongings and some treasures and calligraphy and paintings in Dalizigou. Some of these treasures and calligraphy and paintings abandoned in Dalizigou were carved up, some were burned and finally confiscated by the People's Liberation Army.
On August 9th, 1945, Puyi prepared to fly to Japan at Shenyang Airport. After the plane took off, Puyi was forced to land by the Soviet Red Army. Puyi and his entourage, as well as the treasures and calligraphy and paintings he carried with him, were intercepted by the Soviet Red Army. Puyi was sent to Chita, Soviet Union, and then transferred to Boli. Five years later, Puyi was sent back to China. Four different versions of Qingming Riverside Map.
/kloc-in the winter of 0/950, the culture department of the Northeast Bureau began to sort out the cultural heritage left after the liberation war. Mr. Yang, an expert in painting and calligraphy appraisal, is responsible for sorting out and appraising a large number of paintings and calligraphy collected from all parties, some of which are well preserved; Some paintings and calligraphy works were damaged. When Mr. Yang opened a broken scroll, he was suddenly shocked. This long scroll is antique beige. The method of depicting characters and street scenes in paintings embodies a unique and ancient painting method. Mr. Yang made a careful study and detailed textual research on this volume. This long scroll is magnificent, with exquisite brushwork and lifelike characters and scenery. Although there is no author's signature and painting name, there are rich inscriptions by celebrities in past dynasties. Especially after the picture scroll, there is a clear record in the inscription and postscript of Zhang Zhu in the Jin Dynasty: "Hanlin Zhang Zeduan, a native of Wu Dong, studied in the capital since childhood, and then studied painting. He especially likes the National Bridge in Che Zhou, and he is married. According to Xiang Yun's "Comment on the Map", "West Lake for the Map" and "Riverside Map on Qingming Festival", the day after Qingming Festival is set. " Is this a rare product collected by the court nobles in the past dynasties-The Riverside Scene at Qingming Festival by Zhang Zeduan in the Northern Song Dynasty?
Mr. Yang published this picture scroll in The Rise and Fall of National Treasure compiled by Northeast Museum, which immediately attracted great attention from experts and scholars at home and abroad. Mr. Zheng Zhenduo, then director of National Cultural Heritage Administration, handed this picture to Beijing. After further research and identification by experts and scholars, it is confirmed that this picture scroll is a thousand-year-old masterpiece-"Riverside Scene at Qingming Festival" and "Treasure of Shiqu 3rd Edition". The rare national treasure lost for many years has finally entered the Palace Museum in Beijing again.