Who is the narrator of Dream Back to Prosperity?

The description object of Dream Back to Prosperity is The Riverside Scene at Qingming Festival.

I. Introduction:

This article is an explanatory article introducing the Riverside Scene at Qingming Festival created by Zhang Zeduan, a famous painter in Song Dynasty. When introducing this painting in words, the author did not introduce it too much from the perspective of painting skills, but kept the realistic content depicted in this painting and showed the "prosperity" of the capital city of Bianliang in the Northern Song Dynasty as much as possible.

Second, the original text:

Dream back to prosperity in Mao Ning

During the Northern Song Dynasty, the commercial handicraft industry developed rapidly, and the urban layout broke the strict boundary between Fang (fāng) and the city, resulting in unprecedented prosperity. During the Northern Song Dynasty, the business of the capital of Liang was prosperous. Besides the gathering of nobles, there were a large number of businessmen, craftsmen and citizens living there, and the cultural life of the city was also very active.

Therefore, the theme of painting has been greatly expanded in reflecting real life, from the Tang Dynasty to depicting major historical events and aristocratic life, to depicting all aspects of the lives of ordinary people in urban and rural areas. The Riverside Scene at Qingming Festival by Zhang Zeduan is the most representative genre painting in the Northern Song Dynasty.

Zhang Zeduan's activities in Mabian were from the late Northern Song Dynasty to the early Southern Song Dynasty. The year of birth and death (zú) is unknown. He is a native of Wudong, Shandong, and a literary friend. When he was a child, he studied in Bianjing, and Hui Zongchao /(cháo) entered Hanlin. According to Zhang Zhuming (bá), he learned painting late and was good at boundary painting.

In addition to the Qingming Riverside Map, there is also a map of the West Lake, which is said to have been painted by him. Accordìng to later scholars' research (ding), The Riverside Scene at Qingming Festival may have been written between Zheng He and Xuanhe, which was the period when the rulers of the Northern Song Dynasty created the illusion of prosperity before Fu (24

In their eyes, this picture book must have its special significance, which is a portrayal of their looking back on their homeland and dreaming of prosperity. Looking at this pair of masterpieces through this concept, we will find the hidden artistic conception behind the prosperity.

The Riverside Scene at Qingming Festival was written by Zhang Zeduan. The silk edition is colored, with a length of 24.8 cm and a width of 528.7 cm. The work depicts the bustling scene of Bianliang in Beijing, from the suburbs and Bianhe to the market in the city. The whole long scroll is like a movement, with adagio and adagio, gradually entering the adagio and adagio, and then ending, leaving endless aftertaste.

The opening of the picture depicts the scenery in the suburbs of Bianjing (biàn), with sparse forests and sparse fog, and the farmland of the farmhouse (chóu) is chilly in spring. Villagers in the market are rushing to deliver charcoal to the city with a donkey (tuó) team. On the fork road leading to the main road, there are many servants (pú) riding in the sedan chair (shèng) team from the cluster (cú). From the sedan chair covered with willow branches on the top, we can know that powerful people are returning from grave robbery, while riding donkeys on nearby roads is a long journey.

The new branches and buds of trees adjust the color and density of the picture, showing the breath of early spring in the north. /The middle part of the picture is the passage of north-south traffic at that time, the hub of national water transport (cáo) in the Northern Song Dynasty-the bustling scene on both sides of the Bi 'an River.

Huge Cao (cáo) boats are connected with each other. Busy boatmen unload heavy grain bags from the grain boat moored in the river (bó), while qiàn people drag the boat against the current, which is a busy scene. There is a large arch bridge (ch m 4 ng) on the Bi 'an River. The bridge has no columns, but is made of huge wooden frames. Its structure is exquisite, just like a dancing rainbow.

The two ends of the bridge are close to the market and the traffic is very busy. A detailed description of a huge Cao (cáo) ship about to cross the arch bridge has always been said as (wéi): the ship is lowering its mast (wéi) to cross the bridge, and the boatmen are shouting to hold the pole (gāo).

The bridge echoes from afar, and the shore shakes hands to help out. Passers-by gathered at the bridge to watch, but those who were in a hurry, pushing and carrying the burden were too busy to care. This tense scene became the climax of the whole painting. The second half describes the streets in the capital city. On both sides of the tall and majestic towers, the streets are criss-crossed, and there are many houses, including teahouses, restaurants, foot shops, butcher shops, temples and public toilets.

All kinds of shops deal in Luo Jin (jǐn) cloth, Tan Shen (tán) spices, fragrant paper horses, medical clinics, cart repair, fortune-telling, shaving and shaping, and so on. Pedestrians in the street jostle shoulder to shoulder (zhǒng), an endless stream. Scholars, farmers, businessmen, men, women and children, all walks of life are prepared.

The Riverside Scene at Qingming Festival adopts the unique hand scroll form of China traditional painting, and captures the object from a dynamic perspective. The content of the whole picture is huge, but it is complicated but not chaotic, long and not redundant (rǒng), with clear paragraphs and rigorous structure. There are more than 500 people in different shapes in this painting. It is different from ordinary boundary painting, using the technique of writing while working, with rich lines and clever brushwork.

The Riverside Scene at Qingming Festival is a very realistic work, and the scenery painted in the painting is basically consistent with the records of the edge beams in the literature. The streets, restaurants, fruits and vegetables in Tokyo described in Chinese Dream, as well as "zh people enter the market at dawn" and "zh people are selling things of various colors" can be vividly illustrated in this picture.

There is no difference between "Sun Yang Store" and "Foot Store" in the painting, but there are 72 households in "Cao's Meat Pie" and "Head Store" ... and the rest are called "Foot Store" in Tokyo Dream. The details of the picture are also very real, and guān is the structure of the bridge, the style of horses and chariots, the clothes of the characters, and the activities of people from all walks of life.

It is not a record of general lively scenes, but a vivid description of people's activities at all levels, which profoundly reveals the social life situation in this particular historical period. The rich content in the painting has irreplaceable historical value, which is not only an artistic expression, but also an important image material of China's urban life in the12nd century.