Poems on the Riverside in Qingming Festival

Brief Introduction of Riverside Scene at Qingming Festival

The Northern Song Dynasty genre painting Riverside Scene at Qingming Festival. Author Zhang Zeduan, whose name is Zhengdao, was born in Wu Dong (now Zhucheng, Shandong Province). Song Huizong is a court painter. When I was a teenager, I went to study in the capital city of Bianliang (now Kaifeng, Henan). After that, I learned painting, especially painting boats and cars, painting urban bridges, painting Guo Jing, and getting married. The Riverside Scene at Qingming Festival is his masterpiece, which was once collected by Xuanhe Neifu. Silk book, light color, 24.8 cm long and 528.7 cm wide, is now in the Palace Museum in Beijing. 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 scenery: 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 curtain for the whole painting. In the middle section, the busy Bianhe Wharf: Bianhe is the national water transportation hub and commercial traffic artery in the Northern Song Dynasty. As can be seen from the picture, the crowd is dense, food ships are gathering, some people are resting in the teahouse, some are reading fortune-telling, 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, either pulled by trackers or paddled 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, the bustling urban 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. There are special commodities in the shop, such as silks and satins, jewels and spices, incense and paper horses. In addition, there are medical clinics, cart repair, fortune-telling visits, shaving and plastic surgery, and all walks of life have everything. Large-scale shops are also tied with "colorful buildings and happy doors" at the door, and banners are hung to attract business. Pedestrians in the market are jostling with each other, including businessmen doing business and people watching 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. In a total of more than five meters long picture scroll, * * * painted more than 550 people of various colors, including fifty or sixty cattle, horses, mules, donkeys and other livestock, more than 20 cars and bridges, and more than 20 ships of different sizes. 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.

On the Riverside Map in Qingming Festival

I remember that during the 36 days when the Shanghai Museum held the Jin, Tang, Song and Yuan National Treasure Painting and Calligraphy Exhibition (from 65438+ in February 2002 to 65438+ in October 6, 2003), more than 230,000 people visited the exhibition. Afterwards, I learned that the most influential and popular exhibit in this exhibition was The Riverside Scene at Qingming Festival by Zhang Zeduan in the Northern Song Dynasty. Other national treasures can be enjoyed free of charge, but the riverside scene on Qingming Festival has to wait in line for four or five hours (see attached picture), which becomes a beautiful scenery in the national treasure exhibition. So, what kind of picture is the Riverside Scene at Qingming Festival, so attractive? What kind of collection stories have been interpreted in the long history of nearly a thousand years? Come on, let's unfold this picture slowly. ...

The Riverside Scene at Qingming Festival, a national treasure, is a long scroll drawn by Zhang Zeduan in Song Dynasty, which reflects the social customs of Bianjing, the capital of Northern Song Dynasty (now Kaifeng, Henan Province), with a height of 24.8 and a length of 528.7 cm. This is a light-colored silk book of ink painting. With panoramic composition and meticulous brushwork, the scroll carefully and truly records the bustling scene of Bianjing in Xuanhe period, showing the economic outlook, urban-rural exchanges and local conditions and customs at that time. The content structure of the painting can be roughly divided into three sections: the first section is the pastoral scenery in the suburbs of Beijing; The middle section is a busy scene of Bianhe River with arch bridge as the center and cross-strait traffic and trade; The second half is the prosperity of the market inside and outside the city gate. In the picture scroll, * * * painted more than 550 figures, more than 60 kinds of livestock, more than 20 wooden boats, pavilions, cars and sedan chairs with different shapes and styles, which is the largest genre painting in ancient China. Zhang Zeduan, born in Zhucheng, Wu Dong, was a painter in the Northern Song Dynasty. I studied in Bianjing in my early years and then studied painting. He once worked in Song Huizong Hanlin Painting Academy, and was good at genre painting, especially at painting boats, cars, bridges, streets and battlements. According to records, Zhang Zeduan has not only the Riverside Scene at Qingming Festival, but also other works, such as the Auction Scene by Jinming Pool, the Spring Dawn Scene of West Lake and the Night Clock Scene at Nanping. But The Riverside Scene at Qingming Festival is its only original work. Bianliang, the capital of the Northern Song Dynasty, was the largest and most prosperous city in the world at that time, with many houses and splendid prosperity. Zhang Zeduan's Riverside Scene at Qingming Festival vividly depicts this historical grand occasion. The picture gradually spread from the suburbs along the Bianhe River to the urban area. There are several huts in the suburbs outside the city, with small bridges and flowing water and willows. The branches are only green, which makes people feel the artistic conception of early spring. Farmers are farming in the fields, and mules carrying goods on country roads are quiet and peaceful. Close to the inner city, there are more merchants, and the picture is gradually bustling. The middle part is the most wonderful part of the whole hand scroll. Bianhe River in the Northern Song Dynasty was the hub of grain transportation and the main road of commercial traffic. In the picture, ships in the river come and go, end to end, or dragged by trackers or rowed by boatmen; Some ships are full of goods, going upstream, and some ships are nervously berthing to unload. Across the Bianhe River is a large wooden arch bridge with beautiful shape, just like a dancing rainbow, hence the name Hongqiao. There is a sea of people on the bridge, and the water under the bridge is rushing, and the ships compete for it. There happened to be a big ship crossing the bridge, but before the mast was put down, the boatmen became a little nervous. Some of them grabbed the side of the boat to prevent it from hitting the bridge, while others fought bridge opening with bamboo poles to avoid being washed down by the rushing river. Some skilled boatmen immediately lowered the mast. At the same time, a large group of people gathered on the bridge to watch the excitement. Some people threw ropes to help, and some brave people even crossed the railing of the arch bridge, holding the railing with one hand and waving and shouting with the other as if in command. Two people meet the boat under the bridge, struggling to pull the rope to help each other, and the tension overflowed the paper one by one. The next picture is tea shops, restaurants, workshops, houses, yamen and buildings scattered inside and outside Bianjing City. There is heavy traffic on the street. Riding donkeys, carrying loads, sedan chairs, greeting, leisure, playing, men, women, children, scholars, farmers, workers, businessmen, teaching all kinds of things, everything is busy and lively. There is also a roadside restaurant, where someone raises a glass and drinks. At the end of the picture, there is a four-character plaque "Zhao Taicheng's Home" hanging under the eaves, and someone is seeking medical advice. At this point, the scroll is considered as a pen. From an artistic point of view, The Riverside Scene at Qingming Festival is magnificent, with rigorous composition and meticulous brushwork. In the five-meter-long picture scroll, the patterns and actions of craftsmen, businessmen, scholars, doctors, physiognomists, monks, Taoist priests, officials, children and women, as well as the ingenious arrangement of plots among characters and the profound brushwork of trees, water, lines and boats fully reflect the author's comprehensive attainments in figures, landscapes and pavilions. It can be said that it is a collection of superb skills of various paintings in the Song Dynasty, in which it changes freely. What's more commendable is that the Riverside Scene at Qingming Festival is diverse, but it doesn't seem trivial and complicated. It shows the painter's ability to grasp the big scene macroscopically and see the subtle painting realm in reality, which makes people have to admire the author's meticulous observation ability and vivid life expression. In a word, Zhang Zeduan's The Riverside Scene at Qingming Festival is a national treasure with high historical, artistic and cultural value. Collection and Spreading Process of Riverside Scene at Qingming Festival Riverside Scene at Qingming Festival is a well-known historical painting. According to the textual research of Mr. Yang Xin, former vice president of the Palace Museum, since the publication of The Riverside Scene at Qingming Festival, it has entered the palace five times and been stolen four times. Passed around, strange and disastrous, but still intact. The Riverside Scene at Qingming Festival was originally collected by the court in the Northern Song Dynasty. There are five inscriptions on the Riverside Scene at Qingming Festival written by Song Huizong and Zhao Ji in fine gold, and a used Ssangyong seal. Unfortunately, this passage has not been passed down for some reason. In A.D. 1 126, nomadic people went south and attacked Bianjing, plundering Song Huizong, Qinzong, Empress, Princess, royal family, ministers, and various cultural relics, books, archives, astronomical instruments, craftsmen, etc. Strangely, The Riverside Scene at Qingming Festival was not included in the Jin Dynasty Palace, but flowed into the people for the first time from the palace. Up to now, in the inscription and postscript of this map, there are Zhang Zhu, Zhang Gongyao and other adherents left behind after the demise of the Northern Song Dynasty to show this map, cherish the memory of the motherland and express their feelings. After the establishment of the Yuan Dynasty, the rulers searched for treasures everywhere, and the riverside scene on Qingming Festival once again entered the court. During the period from the end of Yuan Dynasty to Zheng Zheng, a mounter in the palace stole the original from the palace with a copy while mounting this work. After several changes of hands, it was bought by GuBoya Yang Zhun at a high price. After getting this treasure, Yang Zhun was so excited that he recorded the story that The Riverside Scene at Qingming Festival flowed out of the palace for the second time on the tail paper after painting, and he got this masterpiece himself. Later, after several rounds of circulation among the people, during the Jiajing period, the traitor Yan Song was in power and Tomb-Sweeping Day seized the riverside scenery. According to the records in the property register confiscated after the defeat of Yan Song and Yan Shifan, the painting did exist and was confiscated by the court in Qin Long. This is the third time that The Riverside Scene at Qingming Festival has entered the palace. During the Wanli period, eunuch Feng Bao shamelessly wrote an inscription at the back of the scroll after designing and stealing the Riverside Scene at Qingming Festival, saying, "In his spare time, try to read the picture book. See Riverside Scene at Qingming Festival by Zhang Zeduan in Song Dynasty. I don't know the essence of his figure painting, a strange tree and a strange boat, and a wonder of Shi Qiaocun." We should cherish it. "From Feng Bao until the Qianlong period of the Qing Dynasty, no one knew how many times it changed hands and how many times it changed hands. It was not until the fourth year of Jiaqing in the Qing Dynasty that the court discovered the Riverside Scene at Qingming Festival when dealing with a traitor minister. This is the fourth time that it has entered the palace. After obtaining this treasure, the Qing court attached great importance to it, and it was collected in Yanchunge, the Forbidden City, and recorded in the third edition of Shiqu Baodi. 19 1 1 year, after the Qing Dynasty was overthrown by the Xinhai Revolution led by Sun Yat-sen, Puyi smuggled important cultural relics in the palace, including The Riverside Scene at Qingming Festival, out of the palace in the name of giving them to his younger brother Pu Jie. 1945 after War of Resistance against Japanese Aggression's victory, Puyi, who escaped from the Puppet Manchurian Palace in Changchun, was ready to fly to Japan with national treasures such as The Riverside Scene at Qingming Festival, and was captured by the Soviets. After the founding of New China, the Riverside Scene at Qingming Festival was returned to the China Municipal Government, first stored in the Northeast Museum, and then transferred to the Palace Museum. This is the fifth time it has entered the palace, but it is no longer a forbidden place in the previous palace, but an art hall of the Chinese nation. Until the end of last year, the Shanghai Museum held 72 national treasures exhibitions to celebrate the 50th anniversary, and the Riverside Scene on Qingming Festival once again walked out of the Palace (see attached photo). But this time, it was very beautiful and decent, just like a distinguished guest visiting a different place, and was treated and welcomed by the highest level. Later, he successfully returned to the Forbidden City in Beijing. The Riverside Scene at Qingming Festival, like other ancient paintings and calligraphy treasures, is constantly being counterfeited for various reasons. Because the Riverside Scene at Qingming Festival had a great influence at that time and later, there were many volumes in the Southern Song Dynasty, and each volume had to be "one gold". In the Yuan Dynasty, there was a framer in the palace who stole the original and left the palace. So, where is this copy today? According to legend, Tomson (known as "Tang Biao"), Huang Biao, Zhang Si, Wang Sheng and others were forgers in the Ming Dynasty. Wang Shizhen's younger brother Wang Shimao has a fake Riverside Scene at Qingming Festival. According to Wang Shizhen's "Continued Four Drafts of Zhoushan People" and Zhang Zeduan's "The Riverside Scene at Qingming Festival", the rest have been recorded. Real people's hair is thin, but it is definitely old. When he first came to Mo Xiang's home in Yan Song, he found a place in Tianfu (Palace), which was loved by Mu Temple (Emperor Zhu Zaizuo of Qin Long) and decorated with painters. The fake was made by Wu people, or the last edition was polished and abridged by Yun Xuan, but it didn't match the real edition. It is also self-made, can read, and lacks strength between the wrist and fingers. At home now (Wang Shimao). "In the more than 200 years after Feng Bao, the eunuch of Wanli, the copy of Riverside Scene at Qingming Festival was widely popular in the society. At present, more than 30 such fakes have been found all over the world. Among them, there are more than a dozen in Chinese mainland, nine in Taiwan Province Province of China, five in the United States, four in France, one in Britain and one in Japan. How much in the world is still a mystery. It is a mystery as to how many copies or counterfeits of later generations are circulated in the society. Today, my generation is fortunate to witness the national treasure "The Riverside Scene at Qingming Festival", observe it and cherish it. It is my great honor to chat and have fun with you now! (Shen) According to

By the river during Tomb-Sweeping Day.

China's painting has a long history. Even from the Warring States period, the silk paintings in Tanzhou (now Changsha) of Chu State have a history of more than 2,000 years, which is at the forefront of human civilization compared with other civilizations in the world. Egypt, an ancient country, may be a little earlier than ancient China in the origin of civilization, but its so-called paintings are all painted on papyrus, which is inferior to our China in the preservation of materials, and even worse in India. It is difficult for us to find its early paintings, most of which are related to sculpture and Buddhism, which was founded in the sixth century BC until the third century BC. Compared with China, we are all behind. Of course, we only look at it from what we have seen so far. If there are new discoveries with the deepening of underground archaeology, there may be older and more amazing discoveries. We also know that Venus discovered in Europe more than 10,000 years ago probably predates any sculpture unearthed in our country. However, through the comparison of civilizations, regardless of time. For China, his art is quite unique. Not to mention the unique art of calligraphy, painting alone is something to be proud of. Unlike Egypt, China's early paintings were painted on silk. Of course, from now on, this kind of painting is not purely for aesthetics, on the contrary, it has a little witchcraft nature. In the eyes of previous experts and scholars, two silk paintings of Changsha ammunition depot were used to inspire people to ascend to heaven, full of the mystery of Chu. However, the times are always advancing, and the content of yesterday will change today. The same is true of painting, from mysterious religious supplies to human aesthetic supplies. In the Song Dynasty, although immortal thoughts and Taoist worship became more and more popular, painting was increasingly used as a medium to cultivate temperament. Although Song Huizong was not a good emperor, he made a certain contribution to culture. Just like Li Yu, Queen of the Southern Tang Dynasty, Song Huizong was intoxicated with the days of "spring flowers and autumn moon" all day, and he shaped a thin gold body with a pen. Splash ink and ink the starry sky to create a professional painting academy; Here *, * "Tanaka", holds out a generation of famous * Li Shishi. If you are near Zhu Zhechi, you will be black, if you are near Mexico. Perhaps, because of this, the Song Dynasty was one of the relatively prosperous periods of ancient culture in China. Eight masters in Tang and Song Dynasties and six masters in Song Dynasty. However, no dynasty can match the words of the Song Dynasty. Painting is also a prosperous time, with many famous artists and experts. Landscape painting, in particular, should be said to be the peak of China's ancient landscape painting. And genre painting and boundary painting are also "women don't let men." The Riverside Scene at Qingming Festival, which is to be described below, is a treasure that has been handed down through the ages.

The Riverside Scene at Qingming Festival is a genre painting in the Northern Song Dynasty in China. By Zhang Zeduan. Zhang Zeduan was born in Wu Dong (now Zhucheng). Song Huizong is a court painter. When I was a teenager, I studied in Beijing (now Kaifeng City, Henan Province) and then studied painting. I am good at boundary painting, especially like painting boats, bridges and outlines, and have become my own family. In addition to The Riverside Scene at Qingming Festival, his works also include an auction picture of the West Lake painted for him. The Riverside Scene at Qingming Festival, long scroll, silk edition, light color, longitudinal 24. 8 cm, horizontal 528. 7 cm, Palace Museum. "Tomb-Sweeping Day" is one of the twenty-four solar terms in the China lunar calendar. According to folk customs, the main activity of this festival is to sweep the graves of ancestors. Some people think that this picture "Qingming" refers to the Qingming Square in the eastern suburb of the outer city of Bianliang. However, it is generally believed that the Riverside Scene at Qingming Festival depicts the prosperity of Bianliang and Bianhe, the capital cities of the Northern Song Dynasty, during the Qingming period. At the beginning of the book, it depicts the suburbs of Bianjing, the misty forest, the fields of farmhouses, the chilly spring, and a little donkey carrying charcoal into the city. Gradually, the willow branches are clustered, green as new, and pedestrians come and go. Among them, there are sedan chair teams returning from grave-sweeping, and there are also long-distance trips. In the middle section, the Bianhe River connects with the Yellow River, crosses the south of Bianjing City from west to east, and flows into Huaisi. It was a traffic tunnel between the north and the south at that time, and it was the national water transportation hub in the Northern Song Dynasty. The huge waterwheel in the painting, either parked at the dock or driving in the middle of the river, creates a busy scene. There is a large arch bridge on the Bianhe River. The bridge has no columns, but is made up of huge wooden frames. It is exquisitely structured and beautifully shaped, just like a dancing rainbow. This bridge is called "Shangtu Bridge", which is outside the entrance of the east corner of Bianjing, and is seven miles away from Hongqiao in Bianjing. Both ends of the bridge are closely connected with the market, and the traffic flows from south to north. A huge oil tanker is lowering its mast and preparing to cross the bridge. The boatmen were shouting and operating nervously, which attracted a crowd of spectators and became the climax of the whole painting. The second half is about city streets, with tall and majestic towers as the center, with streets on both sides and rows of houses. There are teahouses, restaurants, limb shops, butcher shops, temples, public temples and so on. All kinds of shops operate brocade, sandalwood, fragrant paper horses and so on. There are also medical clinics, car repair, fortune telling, shaving and plastic surgery, and all walks of life have everything. Pedestrians in the market are jostling with each other, and people from all walks of life are ready. The Riverside Scene at Qingming Festival is a very realistic work. Everything painted is typical and has a strong flavor of the times. The details of the picture are very real, such as the structure of the bridge, the style of horses and chariots, the clothes and costumes of the characters, the different activities of people from all walks of life and so on. The description is meticulous, vivid and rich, which reflects the vastness and diversity of social life and material civilization, and has irreplaceable historical value. It is an extremely important image material for understanding the urban life of China in the12nd century. The Riverside Scene at Qingming Festival is painted in the traditional hand scroll form, and the whole painting captures the required scene by constantly moving the viewpoint, that is, the "scatter perspective method". From the vast Yuan Ye, the vast rivers, the towering battlements, to the nails and rivets on ships and cars, the small commodities on vendors, and the words on the market are all harmoniously organized into a unified whole, which is complex but not chaotic, long and not redundant, with clear paragraphs and rigorous structure. More than 500 people in the painting not only wear different clothes, but also have different looks and temperament. Various activities are arranged alternately, full of dramatic plot conflicts, which makes viewers look at the industry and have endless aftertaste. Its pen and ink skills, combined with writing and vigorous lines, are very different from the general interface. The Riverside Scene at Qingming Festival has no author's seal. According to the postscript of Zhang Zhu's Bing Wu Nian (1 186), the author is known as Zhang Zeduan. Other poems with inscriptions include Zhang Gongyao, Wang Jian and Zhang Shiqi in the Jin Dynasty, Yang Zhun in the Yuan Dynasty, Li Xian, Li Dongyang, Wu Kuan, Lu Wan and Feng Bao in the Ming Dynasty, which shows that this picture was collected by the imperial court in the Northern Song Dynasty, Jin Dynasty, Yuan Dynasty, Ming and Qing Dynasties and many folk people, and it is quite famous.

A macro system like this, although there is no shortage of future generations. During Emperor Kangxi's southern tour in Qing Dynasty (169 1), Wang Shigu, one of the "Four Heavenly Kings", was immediately ordered to draw a map of Kangxi's southern tour, which took three years to complete. This work seems to be divided into thirteen paragraphs. When I was engaged in the auction business in my early years, I once saw the draft of this picture. At that time, nine volumes were displayed, each of which was more than two feet, and drawing was no problem. Mr. Yang Xin of the Palace Museum once lingered in front of that work, and according to his research, it is an original. But at the time of auction, it was aborted because the reserve price was set too high. Of course, judging from the handwriting, it is obviously done by many people, including Jin Yang, Wang Shigu's proud disciple. At this time, ghostwriting and forgery often happen, which is also a headache for contemporary collectors. As far as I know, in the auction market in China, paintings such as Ming and Qing Dynasties are often difficult to auction, and the transaction rate is quite low. In this climate, it is not surprising that Kangxi's southern tour was aborted. However, when we look back at the paintings of the Song Dynasty, we will find their great value more and more. About 1995 An auction company in Beijing once saw a painting of Ten Poems by Zhang Xian in the Song Dynasty. In view of the fact that there were at least two famous Zhang Xian paintings in the Song Dynasty, the appraisers at that time were not sure who made this rare treasure, but what is certain is that it was a work of the Song Dynasty, because the inscriptions behind it were all new things in the early Yuan Dynasty. But the paintings are still auctioned. And its transaction price is rock-breaking, close to 20 million. Although only a little more than 1000 million was paid in the end, it is still a record, and no one can deny it. As one of the most outstanding paintings and calligraphy works in the Song Dynasty, The Riverside Scene at Qingming Festival, which is also in the Song Dynasty, will be of great value, at least not lower than a Terracotta Warriors and Horses of the First Qin Dynasty.