National treasure archives

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The Volume of Eighty-seven Immortals is a hand-painted figure scroll of a generation of painting sage Wu Daozi, and it is also the most classic religious painting in past dynasties, with a frame of 292× 30cm and silk ink. 87 immortals descended from the sky and marched in procession, with rich and beautiful gestures. Pan Tianshou once commented on this painting: "All the ink lines of the figure sleeves, clothes wrinkles, flags and tassels are intertwined to achieve a harmonious interest and movement, which makes people feel that all kinds of musical instruments are emitting a harmonious music, melodious in the air. "Daqian spoke highly of this volume after reading it, thinking that it is the same as the murals in the Tang Dynasty." People who are not in the Tang Dynasty cannot do it. " Xu Beihong also put the seal of "Sad Life" on the painting.

The Yuan Chao Fairy Staff Map is 4.26 meters high and 94.68 meters long, with a total area of 403.3 square meters. It is like a ribbon around the whole hall, but there is only this painting in the whole hall, which was painted by Wu Zongyuan in the second year of Yuan Taiding (AD 1325), and some people say that it was painted by Ma and his son in Luoyang. The picture shows Taoist legend of Donghua Tiandi Group and Antarctic Tiandi Group. Eighty-seven immortals, including immortals, attendants, staff and bands, went to worship Buddha in the early Yuan Dynasty. In characterization, the emperor is solemn, the god is mighty, and the faces of the Kim couple are innocent. Some are kind and charming, some are calm and natural, and each one is extremely graceful and charming.

The author uses smooth long lines to describe the dense overlapping pleats. The arrangement of characters is uneven, complicated but not chaotic, and they are full of spirits, which won the legacy of Wu Daozi in the Tang Dynasty. In the center are eight gods dressed as emperors, surrounded by more than 290 duty gods arranged in four layers. The characters have different looks, the composition is neat but not rigid, and the organization is complex but not messy. The picture emphasizes concern, but also pays due attention to change, so that people with consistent personalities and similar costumes can get mutual echo through small turns and eyes. The lines in the painting are rigorous, concise and smooth, and some lines are several meters long. Facial expressions can be expressed through various lines, such as the change of eyebrows and eyes, frowning muscles, and the accurate and ingenious handling of the relationship between eyes and other parts, which makes the same serious face show various personalities. The color of the whole picture is pure and clear, mainly stone, bluestone and green. The clothes are covered with a lot of pink gold, and the overall tone is bright and heavy. In a word, this painting is magnificent and lifelike, which fully embodies the high level of China's traditional painting techniques.

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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.