Understanding of Natural Section in Riverside Scene at Qingming Festival

This realistic custom picture scroll, printed in light color on silk screen, is 24.8 cm high and 528 cm long. It was made by Zhang Zeduan who was waiting to be summoned by the Painting Academy at the end of the Northern Song Dynasty. It describes the bustling scene of Bianjing Tomb-Sweeping Day. The painting was autographed, entered the inner palace, and was selected as a sacred product by the paintings at that time. However, these brilliant works were not included in the "Xuanhe Painting Spectrum" initiated by Hui Zong and completed in 1 120. Obviously, this painting was completed after 1 120 years. Royal collection, the world can't see its face at all, but just a few years later, at the end of 1 126 (the first year of Jingkang), Bianjing became the capital of national subjugation. However, the nomads from the army did not dare to enter the city, and set up a base camp in Qingcheng in the southern suburbs of the city. In the name of negotiation, Qin and Hui were detained on the 10th day of the first month and the 8th day of February in 1 127. At this time, "thousands of Tokyo people poured into Ouchi and angrily demolished the pavilion ..." (According to "Old" by Kong Xianyi of Kaifeng Historical Society), on February 15th, ... some lawless elements sneaked into the palace to steal property, and the Longde Palace where Hui Zong lived was the first to bear the brunt, and his clothes were robbed. (According to Biography of Song Emperor by Jilin Literature and History Publishing House) At this time, this picture has been lost in the northern folk, but it is not in the Jin Palace (because the inscription of five low-level officials who died in Jin Dynasty is attached to it). On February 16, the Jin people issued an order to gather officials and treasuries of the imperial court, and from March 27th to early April, they plundered the Hui and Qin families and more than 4,000 officials and treasuries of the imperial court to the north. On May 1 day, Zhao Gou ascended the throne in Shangqiu. He went south to Hangzhou with his subjects empty-handed. Because the subjects of the Northern Song Dynasty missed their homeland in the north, they hoped to build the Southern Song Dynasty on the Qingming Riverside Map, which made this painting famous all over the world. At that time, there were imitations in Lin 'an, but these imitations could not see the real thing at all. (This painting has no trace of the Southern Song Dynasty) It can only be imagined by legends and written records, forming a volume. Since the Yuan, Ming and Qing Dynasties, this painting has become more and more famous. The original has been kept in the secret rooms of emperors and ministers. It is impossible for people to copy these treasures. But there are all kinds of imitations in the world, all of which are based on names. Zhang Zeduan's Riverside Scene at Qingming Festival. Chou Ying, a great painter in Ming Dynasty, also copied a copy, which made this theory spread more widely. At present, museums all over the world have collected more than 100 volumes of The Riverside Scene at Qingming Festival. Only when the Puppet Manchukuo perished in 1945, four copies were intercepted from the last emperor Puyi. At that time, my experts mistook it for an original. It can be said that all kinds of Gui Li shapes are broadcast in the name of jy in Li Kui, which has blinded the world for nearly a thousand years. Until the winter of 1950, Mr. Yang and others excavated the Riverside Scene at Qingming Festival, which was inscribed by Yanshan Zhang Zhu and Zhang Zeduan, and was unanimously recognized as the originator and original work of the Riverside Scene at Qingming Festival by national experts! Since then, the mystery of the Millennium has been uncovered, and Lushan Mountain really began to see the light of day (1953 National Day was exhibited in the Forbidden City in Beijing), and the eternal feud between Zhang Zeduan and the Riverside Scene at Qingming Festival was cleared. However, the great master's fate was ill-fated, and the good times did not last long, because the ink on the rehabilitation was not dry, and he suffered new grievances. 1958, Mr. Zheng Zhenduo, then director of National Cultural Heritage Administration and a famous scholar, studied The Riverside Scene at Qingming Festival. It makes people feel overwhelmed. According to many later books, the scene of the Riverside Scene at Qingming Festival should be carried forward. It is likely that the second half of this book has been lost until it is painted in Jinming Pool. In the same year, the famous ancient calligraphy and painting appraiser and researcher of the Forbidden City, except Mr. Bangda, also said in the article "A Preliminary Examination of the Riverside Scene at Qingming Festival": "The picture scroll is completely over here, and I suspect that the back has been cut a lot. ......

First of all, the fake is blue-green, like the Chou Shizhou School. Second, the houses are neat, with fair-faced brick walls and Hongqiao also made of bricks and stones, much like the scenery of Suzhou Qili Mountain Pond. How can there be some Bianjing scenery? It can be seen that most of them are copied from Qiu, and I have never seen Zhang Zeduan's original works. As for the scribbled alteration of the inscription, it is even more ridiculous. It's just that there is often Miyagi Garden Pool at the end of the fake version-some people say it's Jinming Pool. Is this what is missing behind the real version? That is worthy of attention and study, because from the structure of the previous paragraph, all imitations are similar to the real thing. Liu Lingcang, a famous painter, said in his essay "Random Talk on Genre Painting" in China Painting and Calligraphy in April 1985 that "The Riverside Scene at Qingming Festival by Zhang Zeduan entered the city from the gate, which was the second climax and the most wonderful part of the picture scroll. Just when we were fascinated by it, the picture came to an abrupt end. According to my inference, this picture came to an abrupt end. 19941On February 5th, People's Daily reported that the Riverside Scene at Qingming Festival had a complete volume, saying, "1 1 On February 29th, amazing news came from the Palace Museum. The Riverside Scene at Qingming Festival, a national treasure, was cut off in the second half of circulation, and it was only recently completed ... In the morning, at the appraisal meeting of Shufangzhai in the Palace Museum, famous domestic experts spoke highly of the whole volume, and the Palace Museum in Beijing immediately accepted it as its collection. Xu Bangda, a researcher at the Palace Museum and an expert in ancient calligraphy and painting, is the most serious expert. He left the finished paper at home for three days, savored it carefully, and then left an appraisal opinion at the end of the paper and solemnly stamped his own seal. The article said,' Zhang Zeduan's The Riverside Scene at Qingming Festival is a masterpiece handed down in the Northern Song Dynasty, which has been copied for thousands of years. Zhang Zhu, a gold man, inscribed the latter as the manuscript and is now in the Palace Museum. Yang, honorary curator of Liaoning Provincial Museum and an expert in ancient calligraphy and painting, said: "The second half of this scroll was really destroyed in the circulation process", and the whole volume added "exquisite technology and profound skills". The Riverside Scene at Qingming Festival occupies an important position in the history of China fine arts, but it is an eternal regret that the original work is incomplete.

It is precisely because of the speculation of these experts that the whole volume was attracted, and the whole volume was collected by the Palace Museum as a collection. (Now published) This is equivalent to solemnly announcing to the whole world that the Riverside Scene at Qingming Festival, our national treasure, was originally a broken-tailed painting! This announcement is not a trivial matter, but a major event involving the cultural inheritance of Chinese descendants! So, is our Millennium national treasure a remnant painting without a tail? (1) To study this problem, we must first study the theme of The Riverside Scene at Qingming Festival, and to study the theme of this painting is inseparable from the most authoritative Tokyo Dream in China, which came out at the same time with this painting and described the customs of Bianjing in detail. In the chapter "Tomb-Sweeping Day", the book says: "... on this day, all new graves will be swept, the capital will enter and leave the suburbs ... the scholar is full of doors, and the paper horse shop will be folded into a pavilion on this street, and the fields will be like the city. Often under the tree. Or in the garden, list cups and plates and reward each other ... All dates, cooking cakes, butter, knives, famous flowers, exotic fruits, mountain pavilions, ducks, eggs and chickens are called "earthenware utensils outside the door", sedan chairs and willow flowers, and "four shadows" have all gone out of the city to go to the grave since then. The activities of Bianjing people, Tomb-Sweeping Day, filling the gate and going to the suburbs described in this paper are consistent with the title of the Riverside Scene on Qingming Festival in this painting, which can be summarized as: going out of the suburbs, going to the river, going to the market and sweeping the grave, which is eight words. This character should be the theme of The Riverside Scene at Qingming Festival. Next, let's study this painting carefully: Open the picture scroll, it is a quiet country, the sun moves first, and there are five Xiao Lv carrying charcoal, which seems to have opened the curtain in a quiet atmosphere. On the way to Nenliu Qingqing, there are a group of people returning from the grave. The man rides a horse, the woman sits in a sedan chair, and the servant carries a sedan chair, picking sacrifices. The sedan chair is filled with willow branches (confirming the "willow mixed flowers" in "Dream of China in Tokyo"). Because the livestock are in estrus, the scene is thrilling. Then there was the Bianhe River. There are ship unloaders on the dock, rows of boats moored, restaurants selling steamed buns on the street, shops selling "paper horses of the Wangs", paper horses in front of the door, and "yellow fat" (clay figurines) used for sweeping, and so on, all marked with Tomb-Sweeping Day. Near the rainbow-like bridge. The gathering of scholars makes the transportation hub more lively. On the bridge, the sedan chair collided with the horse, and the vendors competed for sales and jostled each other. At both ends of the bridge, there are three places selling festive things such as "yellow fat". Under the bridge, a full ship had an accident, and everyone on board panicked. They supported themselves with poles in deep water and threw ropes at the bridge in an attempt to pull the bow to the other side, reducing resistance and avoiding danger. Such a big accident will inevitably cause the companions to shout and run away, and also make the people on the river and bridge who go to the market to see the scenery sweat. Once again, the master made people through the ages thrilling, thus pushing the picture to a climax. In the part about rivers, "Tokyo's Chinese Dream" said: "... from seven miles outside Dongshuimen to Xishuimen, there are thirteen bridges on the river. From seven miles outside Dongshuimen, it is called Hongqiao, and its bridges have no columns. Like the upper and lower soil bridges, the second time it was called Shuncheng Cang Qiao, the second time it entered the sluice was called temporary bridge, the second time it was called lower soil bridge, and the second time it was called upper soil bridge ... "From the above account, it can be clearly seen that the Rainbow Bridge on the verge of farmland described by Zhang Zeduan (there is no grain field in the city, no matter what the name of the gate is) is obviously as big as the upper and lower soil bridges in the eastern suburbs. This is the flood and drought wharf, the largest grain distribution center in the southeast of Bianjing, and the transportation center in the eastern suburb of Bianjing. Nature is a must-see place for people from Bianjing, Tomb-Sweeping Day, to go to the river, go to the fair and sweep the grave. After crossing the Hongqiao river, the picture was turned out. Going forward, there are onlookers selling medicines, car makers, fortune tellers, mansions with several servants in front of the door, and ox carts and sedan chairs running to Hongqiao. There are vendors selling apricot branches. In front of the towering city gate, people of all colors gathered on the flat bridge of the tributary of the Bianhe River. There are women who have just left the city wearing veils and riding mules, followed by slaves, and people who kneel down and beg for money. Passing through the city gate, there are many shops, teahouses and restaurants in the city, and the "color building and happiness door" is also luxurious. The characters' clothes are getting longer and longer, the festive atmosphere is strong, and the sedan chairs and horses are crowded and jostled. A military attache looks like a man riding a horse, holding a fan-shaped sacrifice with a cloth bag and branches as handles, as well as several servants, family members, picky eaters and other things. Obviously, he left the street after he went out of the city to sacrifice. Later, a commoner-looking horse came to the street, and several servants were carrying umbrellas and things, and they also wanted to go out of the city to offer sacrifices. There is a double donkey cart pulling wine below, which is near the street center. Another rider and two servants want to go up from the street corner. In the already crowded Cross Street, a group of people crowded in the right corner to see an old artist, and several people gathered around the paper horse shop in the left corner. However, in this crowded cross street, people suddenly broke into two four-set empty mule carts (a donkey in front) and roared back and forth. Frightened, a rider and two servants were startled, and the accident happened in an instant, causing suspense. Just around the corner of the mule cart, there is a "yellow fat" stall. Then the picture was abandoned. There are only two people sitting around the gate above, and the other two are standing at the door. One person put a big cloth bag at his feet, and another person carried the same angular big cloth bag and portable paper with the words "108" written on it. It is as bright as a jade, with little skill and effortless waist. It must be that the "paper horse of the Wangs" is going to burn, and the two are waiting for someone to go to the grave together. Then, the author changed the painting of Qianchailiu, cleverly drew a weeping willow, let its branches hang down and connect with the branches below, sealed the picture, and cleverly announced to the readers that the volume was finished.

Now, let's cover up the whole picture, with the banks of the Bianhe River near the city gate as the background and Shanghe as the center, and describe the activities of Bianjing people going out to market and sweeping graves in the suburbs. Very consistent with the theme of the painting! But it was the master's eye that chose this typical position in real life and summed up all the activities of Tomb-Sweeping Day with three plots, which perfectly expressed this theme. On the contrary, as Mr. Zheng Zhenduo and others said, the picture will be extended again, and like the later copy, it will pass through the city and be led to Jinming Pool outside the 13th Bridge in the west of the city. Then, the picture should be stretched several times. The main content of the whole painting is the pavilions and downtown areas in the city. Isn't this against the theme of filling the gate, going to the river, going to the market and sweeping the grave? ? I forgot that the typical activity in Tomb-Sweeping Day is ancestor worship. People go to the wild to worship their ancestors, and the stage is in the suburbs, not in the city. Therefore, the common problems of all fake versions are bloated and lengthy, stylized and straightforward, and the text is irrelevant. Obviously, this is a misinterpretation of the original intention of Zhang Zeduan's Riverside Scene at Qingming Festival. So there are hundreds of volumes of The Riverside Scene at Qingming Festival in the world, none of which is concise in content, distinctive in theme and exquisite in brushwork, and can be compared with Zhang Zeduan's original works! (2) According to the eight-character theme of going out to the outer suburbs, going to the river, going to the market and sweeping the grave, the narrative order of this painting should be written at the city gate first, and people will go out of the city in droves with sacrifices. However, Zhang Zeduan cleverly reversed the end of the plot into the beginning of the picture scroll in flashback. The book was opened in the countryside, and the main plot was not that people went to sweep the grave, but that they came back after sweeping the grave and reversed the plot in the middle of the picture scroll. At the beginning of the plot, people gather in the city, and as the end of the picture, the main plot is reversed outside the city. This has formed a push from both ends of the picture to the middle, just in the middle of the picture Hongqiao reached its climax. It didn't take the plot away from the theme of the city, but also omitted the indecent scenes such as burning, crying, eating and drinking. For example, in Han Xizai's Night Banquet in the Five Dynasties, Han Xizai's tail turned right. This not only conforms to the right-to-left hand-painted format of China, but also conforms to the actual geographical orientation of Bianjing and the reality of life in Tomb-Sweeping Day. It is this unique structure that makes people read that the opened book is a beautiful and peaceful country; Then, with superb skills, more than 700 people of all colors, hundreds of all kinds of livestock, dozens of cars, boats, sedan chairs and camels jumped out of the silk, and everything in the world was vividly interpreted; Finally, I suddenly closed my pen like a leopard's tail, leaving an immortal portrait of China at the beginning of 12 century. It is a master drama, just like Bao Zheng meets Chen Shimei, Guo Tai meets Bao Zheng, and the Peking Opera My Beautiful Case, with the theme of "My Beauty", comes to an abrupt end, leaving the audience with a suspense for a thousand years. It is this structure that makes The Riverside Scene at Qingming Festival surpass all similar paintings of the same name in history and call it an unparalleled spectacle! With the silk of five meters, its influence in China and even the whole world is no less than A Dream of Red Mansions! For thousands of years, countless craftsmen have failed to achieve the purpose of telling the truth, but they can be forgiven because they have never seen the original. Today, the truth of the original Riverside Scene at Qingming Festival is revealed. In order to rehabilitate it, workers do not pay attention to the textual research of first-hand materials, do not analyze the epic theme and structure of Riverside Scene at Qingming Festival, and are influenced by thousands of years of forgeries. On the contrary, they suspect that the original work has been cut off and the theme of the city gate has been expressed. Strictly speaking, they have to watch the second climax. (3) In addition to the author's inscriptions, other people's inscriptions are also important evidence to judge ancient paintings. The earliest postscript of this painting is the inscription of the dead gold owners. The first is the postscript of Yanshan Zhang Zhu. "Hanlin Zhang Zeduan is the son of heaven, and Wu Dongren is young. They study in the capital, and then learn to draw things. This work is devoted to its border painting, especially ships and cars. There are many different families in Shiqiao, Guo Jing. In terms of the evaluation map, Yunxi Lake is the plot, and the riverside map on Qingming Festival is selected as the treasure of those who want to collect it. It is scheduled for Yanshan Zhang Zhu's postscript on the second day after Qingming Festival. " This postscript is only sixty years after the death of the Northern Song Dynasty. He affirmed the identity of the author and the status of The Riverside Scene at Qingming Festival. The Riverside Scene at Qingming Festival has such a position in the art history of China, and this postscript has played an important role. & lt 2 is the postscript of Zhang Gongyao. The poem said: "The thoroughfare is full of chariots and horses, but only the first year of Xuanhe. On that day, Hanlin presented a picture book, and the Phoenix has just been handed down. Shuimen welcomes Suiqu to the east, and Jingyi is not as large as Suiqu. An old friend never gave up completely, so I know that today, the ruins of autumn have changed, and Chu dragged Wu Qiang to Wan Li, and the south bridge of the bridge was full of smoke, calling back a dream, and the drums and towers were like one side. " The third is Li Quan's postscript poem: "I am the old Liangdu, a city with twenty gates and five canals. Why is it the most flooding in southeast China? Jianghuai has the financial resources to sail, the people are trapped in cars, and the beads are full of songs. Now the old people are crying, and they still hate peace and political affairs (especially between the luxuries of the Song Dynasty). The capital has recovered from this abundance. The fourth is Wang Qing's postscript poem: "Gelou wine market is full of fireworks, and the country overflows to fill a million cities." Who will be abandoned and become a weed? Weiyuan dictatorship is evil, and the two bridges will be destroyed in the future. (Dongmen Second Bridge is commonly known as Upper Bridge and Lower Bridge). Shiliqu is connected with the house, and now I am doing my best, but I am watching the wind and smoke. " The fifth poem is Zhang Shiqi's postscript poem: "Draw a bridge and lie in the Junyi Canal. There is no wind and no smoke on both sides, and now it is full of rubble. People will still get their pearls when they are alive. Where the Chinese dream breaks two bridges, only the east tour is long. Who knows that the painting day is in a thousand curtains of smoke? "More than five Jin Wu old man, are subjects of the Northern Song Dynasty, contemporary with Zhang Zeduan, familiar with the scenery of the old capital. They are witnesses to the rise and fall of Bianjing, and their inscriptions and poems are a faithful portrayal of the riverside scene in Qingming Festival. They all described the scenery on both sides of the Bianhe River east of the Watergate and near the Bridge (Hongqiao). There are no tall buildings, downtown areas and Jinming Pool in the city. It is completely close to the content painted in the Riverside Scene at Qingming Festival, which eloquently proves that the Riverside Scene at Qingming Festival is intact. Not only that, but after the inscription of the dead Jin, there is an inscription by Yang Zhun in the first year of the Yuan Dynasty to Zhengren (1352), saying, "... there is a title of Huisi at the beginning, followed by several poems of the dead Jin ..." This postscript not only proves the contents of the painting, but also proves the poems of the dead Jin. Since then, Zheng De's "Yi Hai Shuo" in the Ming Dynasty ... Zhang Zhu has a postscript, Yanshan, Dading, ... Yang Zhunhua in Xichang bought it at a high price, but it tells a story ... Its scroll is intact, ... "This postscript not only shows that when Li Dongyang saw the painting for the third time in his later years, the scroll was intact, but also proves the postscript of the previous generation Yang Zhun. It can be clearly seen from the inscription above that although this painting has been circulated for nearly a thousand years, it has gone out of the palace four times and entered the palace five times, but it has been cared for by thousands of China people in Qian Qian. Once the topic is tight, later generations prove that the previous generation can be said to be in the same strain. More ironically, it proves that the painting is well preserved and there is no suspicion of cutting it! The distinctive theme of the above Qingming Riverside Map; The structure of the world; Extraordinary ending; The analysis of poems and postscript irrefutably proves that the original "The Riverside Scene at Qingming Festival" by Zhang Zeduan in the Forbidden City in Beijing is a complete and beautiful miracle of human art! Continuation is to misinform our treasure again! (2) Things that should not be deleted1When the Palace Museum unveiled this painting in 973, a piece was deleted at the beginning of the painting about 80 cm. According to Yang Boda, then vice president of the Palace Museum (Preface to the Riverside Scene at Qingming Festival in Rong Baozhai), "After a while, a group of people hurried back to the sedan chair in a street lined with shops on the outskirts of Bianliang, and a horse in front of them suddenly ran in estrus. At this thrilling moment, an old man hurried away to hug his toddler grandson. A large piece of silk was lost beside the post behind the old man.