How long did the Riverside Scene at Qingming Festival last?

How long did the Riverside Scene at Qingming Festival last?

It took Zhang Song Zeduan 1 year to paint the famous painting 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. This painting is 25.5 cm high and 525 cm long. This painting depicts the prosperity of Bianjing in the Qingming period. It is a witness to the prosperity of Bianjing in that year and a portrayal of the economic situation of the city in the Northern Song Dynasty. Through this painting, we learned about the city appearance of the Northern Song Dynasty and the life of people from all walks of life at that time. In a word, The Riverside Scene at Qingming Festival is of great historical value.

According to the statistics in volume 8 of Zhuo Tang Wenhua by Qian, there are 1 643 people and 208 animals on the riverside in Qingming Festival, which is higher than Romance of the Three Kingdoms (1 654,38+0), Dream of Red Mansions (975 people) and Water Margin.

How long did Zhang Zeduan's Riverside Scene at Qingming Festival last?

History books do not record how long it took Zhang Zeduan to paint The Riverside Scene at Qingming Festival, so it is unknown.

The Riverside Scene at Qingming Festival is one of the top ten famous paintings handed down by China. It is a genre painting of the Northern Song Dynasty and the only masterpiece that Zhang Zeduan, a painter of the Northern Song Dynasty, has ever seen. This is a national treasure, which is now in the Palace Museum in Beijing.

The Riverside Scene at Qingming Festival is 24.8 cm wide and 528.7 cm long, and it is in silk color. In the form of a long scroll, the work vividly records the city appearance of Tokyo (also known as Bianjing, now Kaifeng, Henan), the capital of China in the Northern Song Dynasty in the12nd century, and the living conditions of people from all walks of life at that time. It is a witness to the prosperity of Bianjing, the capital of the Northern Song Dynasty, and also a portrayal of the economic situation of the Northern Song Dynasty.

Extended data:

Creative background:

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 (1100-1/26). 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.

Zhang Zeduan lived in the late Northern Song Dynasty, and the Southern Song Dynasty confronted Jin in the12nd century. Class contradictions and ethnic contradictions are extremely acute and have reached an increasingly intensified level. At that time, the superficial scene of peace concealed profound social unrest and crisis. Under this historical background, he created a long historical scroll "The Riverside Scene at Qingming Festival".

Sogou Encyclopedia-Riverside Scene at Qingming Festival

Sogou Encyclopedia-Zhang Zeduan

When did the author start to draw the Riverside Scene at Qingming Festival? By what time?

Research on circulating doubts: (the number of doubts, the whole article is sorted in a unified order, the same below. )

Since Zhang Zeduan was already a famous painter in the Palace Painting Academy at that time, why didn't the Painting Spectrum of Xuanhe be recorded? The 20-volume Painting Spectrum of Xuanhe was written in the second year of Xuanhe (1 120). The book contains 23 1 painters from Wei and Jin Dynasties to the Northern Song Dynasty, with a total of 6,396 works. But there is no Zhang Zeduan in Xuanhe's paintings.

Later generations know little about Zhang Zeduan's life and achievements. If Zhang Zhu doesn't introduce Zhang Zeduan very simply in the inscription and postscript of The Riverside Scene at Qingming Festival, who is the author of this the world famous paintings will become an eternal mystery. There are two opinions about the query that Zhang's name is not recorded in Xuanhe Huapu. One is that there is no Zhang Zeduan's name in Xuan He Hua Pu, which was written in the late Northern Song Dynasty. Presumably, he entered the Painting Academy late, and the editor didn't have time to enter the book "(quoted from China Wenyuan and Shan Zong's The Riverside Scene at Qingming Festival).

In addition, there is an article saying that Zhang Zeduan's "The reign of Emperor Xuanhe (AD 1 19- 125) is the imperial court academician to be summoned" [1], if Zhang Zeduan started to write the Riverside Scene at Qingming Festival in the imperial court academician to be summoned, then he. Suppose Zhang Zeduan became famous later, and other paintings, such as Application for the World Heritage of West Lake, Spring Dawn of West Lake and Night Bell in Nanping, were also completed later. If so, it is fair to say that there is no information about Zhang Zeduan in Xuanhe's picture books.

Another way of saying it is: Cai Jing deliberately did not include Zhang Zeduan in Xuanhe's paintings. The author has compiled four related materials: ● The completion time of the Riverside Scene at Qingming Festival was in the period of "political propaganda", that is, A.D.11-1125.

According to Yang Zhun's postscript in Yuan Dynasty:' There is an inscription of Huisi before the scroll', and Li Dongyang's inscription:' There is a five-character sign of Youling Fine Rib in front of the scroll, and the seal of Shuanglong Small Seal', which proves that the painting should be made in the political propaganda room as the title is determined. (Quoted from Lu Xiansheng's rare treasure "The Riverside Scene at Qingming Festival", use superscript [2] when quoting this article. )。

● Xuanhe painting spectrum and Xuanhe book spectrum are companion pieces, and the author is unknown. Some scholars believe that the book was written by Evonne, while others believe that it was compiled by Cai Jing and Mi Fei. However, as far as the content and style of the book are concerned, it seems that it was written collectively by official organizations with the inspiration and participation of Song Huizong.

● Cai Jing (1047- 1 126) was the right servant in Huizong (1 102), and later served as a teacher, rejecting dissidents in the name of restoring the new law. Meticulous calligraphy, the word potential Hao key, its own style.

(Quoted from Ci Hai) ● The Riverside Scene at Qingming Festival is a treasure in the history of painting for more than 800 years. Although they are fascinated by dignitaries, literati, collectors and even contemporary people, they all feel sorry that they know little about the author, and some people have done some discussions. Some of them questioned Cai Jing, editor-in-chief of Xuanhe Huapu.

There are different reasons for thinking that Zhang Zeduan's painting name is not included in Xuanhe Huapu. For example, Lu Wan's postscript said,' Xuanhe's calligraphy and painting works are dedicated to Cai Jing', and Beijing used power to rape dissidents, so Zhang did not enter the painting spectrum and did not enter the book spectrum.

This is very correct. (Excerpted from The Riverside Scene at Qingming Festival in Zhang Zeduan on October 20th, 2002/KLOC-0 +065438+.

When this article is quoted below, it is indicated by superscript [3]. ) Because the specific completion time of Zhang Zeduan's Riverside Scene at Qingming Festival is unknown, these two statements have their own reasons. The author thinks that Lu Wan, an ancient man, discussed it in 1524 and thought that he had exclusive rights in Cai Jing.

It is meaningless to say that there is no living painter. Su Shi died in11kloc-0/,and Huang Tingjian died in 1 105. At this point, it is a bit unfair to refer to Cai Jing only as a traitor dictatorship.

Combined with the study of the first doubt, the author thinks that Xuanhe's books, paintings and music do not contain the three, which may be related to the great calligraphers and painters at that time and the emperor at that time, so it is not appropriate to overestimate Su, Huang and Zhang. From this point of view, the view that "Cai Jing intentionally doesn't carry anything" is more credible.

2. From1127 (April of the second year of Jingkang), the Riverside Map on Qingming Festival went out of the palace gate and flowed into Beijing folk. In the leap November of the first year of Jingkang (winter 1 126), the nomads went south to attack Tokyo (now Kaifeng).

In April of the following year (1 127), the nobles of the state of Jin plundered and searched. According to the records in Volume 23 of the History of Song Dynasty, in the second year of Jingkang (1 127), in the summer of April, Gengshen (Gengshen is a "dry branch" to record the day, indicating the day in the middle of the month), Jin people returned to the north with the emperor, queen and crown prince.

All drivers, halogen books, cars from the Empress, crown dresses, ritual vessels, implements, musical instruments from Taylor and Jiao Fang, ritual vessels, eight treasures, Jiuding, Guibi, armillary sphere, bronze figures, carved leaks, ancient ships, offerings from Jingling Palace, books from Taiqing Building, secret pavilions, maps of state capitals in the world, officials and my wife. "Among them, some generals and officers at all levels in the Jin People's Army took advantage of the shuddering time to look for it.

Therefore, there are also a lot of treasures falling into their pockets. The Riverside Scene at Qingming Festival is an old collection of Song Palace, so it was brought to Zhongdu (Beijing) of Jin State, but it did not enter Jin State Palace, but became a private collection.

It was said before that the Riverside Map on Qingming Festival was introduced to the people in 1 126, and it was clearly recorded in the Song Dynasty that it was the summer and April of the second year of Jingkang (A.D. 1 127). The second question: Who kept the Riverside Scene at Qingming Festival in Beijing during the 60 years from the second year of Jingkang (1 127) to the summer of April-1 186? This question is likely to become a mystery in The Riverside Scene at Qingming Festival.

3. 1 186 (Jin Yuan: Bingwu Year of Dading) The first inscription of Zhang Zhu's Riverside Scene at Qingming Festival. Postscript of Zhang Zhu's Riverside Scene at Qingming Festival in Dading (1 186). The full text of the postscript reads: "Hanlin Zhang Zeduan is the right word, and Wu Dong is also a native.

When I was young, I studied in Beijing, and later I learned to draw. I especially like boats and cars, Shiqiao and Guo Jing. I'm not married. There is a cloud in the picture:' the auction picture of the West Lake and the picture of the Qingming Riverside are selected as sacred objects', which should be treasured by Tibetans.

Postscript of Zhangzhu in Yanshan Mountain on the second day after Qingming Festival in Dading (from China Calligraphy and Painting Newspaper), Mr. Liu Zheng wrote: "The riverside scene on Qingming Festival is an anecdote". Whenever this article is quoted again, it is indicated by superscript [4].

Same as Peninsula

What is drawn on the riverside map of Tomb-Sweeping Day?

The Riverside Scene at Qingming Festival is a genre painting in the Northern Song Dynasty, written by Zhang Zeduan. The architecture and people's livelihood in the suburbs of Bianjing, the capital of Hui Zong era, and on both sides of the Bianhe River in the city were recorded with exquisite meticulous brushwork, and the prosperous scene and natural scenery of Bianliang and Bianhe River in the Northern Song Dynasty during the Qingming period were described. This long scroll adopts the composition method of scattered perspective, bringing complicated scenery into a unified and changeable picture. There are more than 500 characters in the painting, with different clothes and expressions, interspersed with various activities and paying attention to drama. The composition is dense, paying attention to the change of rhythm and rhythm, and the brushwork is very clever.

The whole picture is divided into three sections.

The first paragraph, Bianjing Guochun. There are several huts, grass bridges, running water, old trees and boats hidden in the sparse forest fog. Two porters are driving five donkeys loaded with charcoal. They are going to town. A willow forest, with faint green branches, makes people feel that although it is chilly in spring, it is already spring back to the earth. In the sedan chair on the road, a woman sat in it. The top of the sedan chair is decorated with willows and flowers, followed by riders and bearers who come back from the suburbs of Beijing to visit the grave. The description of the environment and characters points out the specific time and customs of Tomb-Sweeping Day, which opens the curtain for the whole painting.

In the middle section, the busy Bianhe Wharf. Dense population, grain ships gathered. Some people rest in the teahouse, some people go to tell fortune, and some people eat in restaurants. There is a "Wang's Paper Horse Shop" that sells grave-sweeping sacrifices. Ships in the river come and go, end to end, either pulled by trackers or rowed by boatmen, some full of goods, upstream, some docked at the dock and nervously unloaded. Across the Bianhe River is a large wooden arch bridge with exquisite structure and beautiful shape, hence the name Hongqiao. There is a big ship waiting to cross the bridge. The boatmen either propped up the bridge with bamboo poles, hooked the bridge with long bamboo poles, pulled the boat with hemp ropes, or were busy putting down the mast to pass the bridge arch smoothly. The people in the neighboring ship also pointed to something, as if shouting loudly. People on the bridge also leaned out and talked nervously, expecting the ship to pass smoothly.

In the back, busy downtown street. Centered on the tall tower, there are rows of houses on both sides. Teahouses, hotels, shoe stores, butcher shops, temples, public halls ... These shops specialize in silk, jewelry, spices, incense, paper horses, medical clinics, car repair, fortune telling and plastic surgery ... all walks of life have everything; The big stores also put up "Happy Doors with Coloured Buildings" in front of their doors and hung banners to attract business. Pedestrians in the market, shoulder to shoulder, are in an endless stream. Businessmen who do business, gentry who watch street scenes, officials who ride horses, peddlers, family members who sit in sedan chairs, monks who walk with baskets on their backs, foreign tourists who ask for directions, children in the streets who have heard of books, children of rich people who drink in restaurants, disabled elderly people who beg on the edge of cities ... men, women, children, intellectuals, farmers and businessmen, and people of various religions. Sedan chairs, camels, ox carts, rickshaws, flat cars ... everything. In this five-meter-long picture scroll, more than 550 characters are depicted. Fifty or sixty cattle, horses, mules and donkeys, and more than twenty cars and sedan chairs; More than 20 large and small vessels; Houses, bridges, towers, etc. They also have their own characteristics, reflecting the characteristics of architecture in the Song Dynasty.

The Riverside Scene at Qingming Festival is rich in scenes, but it is not trivial. It shows the painter's ability to grasp the macro scene and see the subtle painting realm in reality, which makes people admire his meticulous observation and vivid expression.

This picture is a copy of the Qingming Riverside Map. The Riverside Scene at Qingming Festival (Qingyuan Edition) was written by five painters of Qing Palace Painting Academy, including Chen Mei, Sun Hu, Jin Kun, Dai Hong and Cheng Zhidao, in the first year of Qianlong (1736). It can be said that on the basis of the copywriting of each dynasty, it collected the works of various directors, plus the special customs of the Ming and Qing Dynasties, such as hiking. At the same time, due to the influence of western painting style, the houses on the street are painted according to the perspective principle, and western-style buildings are also listed among them. This volume has bright colors, exquisite brushwork and delicate boundary paintings of bridges, houses and figures. It is a masterpiece in the courtyard.