The author of The Riverside Scene at Qingming Festival

First of all, do you have any typos? Is it the Riverside Scene at Qingming Festival?

The author of The Riverside Scene at Qingming Festival is Zhang Zeduan. Zhang Zeduan, a famous painter in the Northern Song Dynasty, painted the immortal masterpiece The Riverside Scene at Qingming Festival, which is priceless in the painting history of China. It is a long scroll genre painting created by realistic means, which vividly reproduces the prosperous scene of Bianjing Chengping period in the Northern Song Dynasty through a detailed description of street life. The first collector of this painting was Song Huizong, who wrote the words "Riverside Scene at Qingming Festival" in fine gold. This masterpiece, which is well-known at all times and at home and abroad, has been appreciated by countless collectors and connoisseurs for more than 800 years after its publication, and is the goal of later emperors and dignitaries. It went from one place to another, and suffered many disasters after several wars ... The book "Dust Settled —— Documentary of the Disasters of Precious Cultural Relics in China" (Shandong Pictorial Publishing House) describes the experience of "Riverside Scene on Qingming Festival". The following is an excerpt from the book.

Treacherous court official Yan Song robbed the painting and plotted unjust cases.

Yan Song was one of the great traitors in the Ming Dynasty. With their power, he and his son Yan Shifan plundered a lot of paintings, calligraphy and antiques.

Li Rihua's Wei Shui Xuan Diary in the Ming Dynasty records that after Lu Wan's death, his wife sewed the Riverside Scene at Qingming Festival into her pillow, never leaving her body, and regarded her as her own life, even her own son could not see her. Mrs. Lu has an unmarried nephew named Wang, who has a clever speech and is very popular with her. Wang is good at painting and prefers celebrity calligraphy and painting. I tried my best to beg my wife to borrow the Qingming Festival to go to the river. After repeated entreaties, the lady reluctantly agreed, but he was not allowed to bring a pen and inkstone. He is only allowed to enjoy it in the lady's attic and is not allowed to pass it on to others. Wang Xinran did it. After two or three months, he watched it for more than a dozen times, and actually copied a somewhat similar painting. At that time, the overbearing Yan Song was looking for the Riverside Map on Qingming Festival. When Wang Yun, the independent suggestion, learned about it, he bought a fake from Wang Mai for 800 taels of silver and gave it to Yan Song. Tomson, the painter in Yansong, recognized the painting as a fake and blackmailed Wang Baoyu for 40 taels of silver, but Wang Shuyu ignored it. Tomson became angry from embarrassment. When Yansong held a banquet to celebrate, he washed the old color of the painting with water. Yan Song was embarrassed in front of everyone, and then he found a way to kill Yun3. The king in the painting was also implicated, arrested and starved to death in prison.

Shen Defu, another man in Ming Dynasty, once wrote an addendum to Wild Goods, but he put it another way: Yan Song's henchmen, Prime Minister Huai and Zhejiang Salt Administration, and the military affairs of Wu Heyue, the governor of Hu Zongxian, all collected famous paintings for Yan Song. When they learned that The Riverside Scene at Qingming Festival was in the home of Qin Wang, the late cabinet record, they went to ask for it, but Wang Jiafu was not moved by money. In desperation, the two men consulted the Mounted Police Tomson in Yan Song Palace. Tang and Wang Shouyu's son, Wang Shouyu, have a long history, and they were enemies with Shi Zhen and Shi Mao, so Wang Shouyu was encouraged to buy paintings, but Wang Shouyu could not buy them either. Tomson Bianjian then designed Wang Youyu to buy a copy of Suzhou People for Song. When Yan Song was happy, he told the truth. Embarrassed and angry, Yan Song killed Wang Youyu.

It is also recorded in Ji Xian, Xia Qing in the Qing Dynasty. The Riverside Scene at Qingming Festival is included in Wang Yuyu's library in Taicang. Yan Song's son Yan Shifan knew about it and forced him to ask for it, so Wang Yuyu gave him a copy. Tomson happened to be nearby. Once upon a time, Wang Yun was sent to the governor of Zhejiang Province. Seeing that Tang was poor and poor, he recommended him to. Tomson didn't want to repay the kindness, and wanted to frame Wang You for prosperity, so he told Yan Yun that he had seen this painting at Wang You's house, and Wang You gave it to him as a fake. If you don't believe me, just look at the bird in the corner and see if it's a foot and two tiles. Yan Shifan looked at it carefully. As he said, he deeply hated Wang Yu. Just then, Anda invaded the Central Plains, and Wang Yu was appointed Governor of Hebei and Liao, and Yan Song and his son took the opportunity to kill him. Since then, later generations have written the legend of a handful of snow, but changed the riverside scene at Qingming Festival into a white jade cup of snow, and Wang Yuyu changed it into Mo Huaigu.

Although the above statements are different, they are all somewhat different from the facts. In fact, after Lu's death, his son was in a hurry to use money, so he sold The Riverside Scene at Qingming Festival to Gu's house in Kunshan, which was forced by Yan Song and his son. Before that, Yan Song did ask Wang Baoyu to buy a "famous painting", and Wang Shuyu did buy a painting of Suzhou Wang Biao as a gift for Yan Song, only to find out later. Only southerners are "kings" and "yellows", and Huang Biao should be Wang Biao.

In Qin Long, Yan Song and his son were impeached by Zou Yinglong, and the officialdom finally fell out of power. Yan Shifan was beheaded, Yan Fu was copied, and The Riverside Scene at Qingming Festival was once again included in the palace.

Try your best to grab the waves and finally get home.

The Riverside Scene at Qingming Festival was first written by Lu (a native of Xiangxiang, Anhui Province) in the late Qing Dynasty. Lu Feiyong was a scholar during the Qianlong period. After he got the painting, he also printed an inscription on it. Bi yuan bought it. Bi Yuan (1730— 1797), a native of Zhenyang (now Taicang, Jiangsu), was a scholar in Qianlong for twenty-five years (1760). Bi Yuan loved epigraphy and calligraphy all his life, and he had a rich collection of books at home. After the painting "The Riverside Scene at Qingming Festival" was won, I learned from it with my brother Bi Long (a connoisseur of collections in Qing Dynasty), and now the painting is marked by two people.

When Bi Yuan worked in Guanzhong, he devoted himself to restoring and protecting local cultural relics, but these became his "crimes". Shortly after Bi Yuan's death, Huguang people revolted against the Qing Dynasty. The Qing court believed that during his tenure as governor of Huguang, Bi Yuan not only took Gaby's post, but also killed all his family members, and his property was stolen into the palace.

After the Qing court put the Riverside Scene at Qingming Festival into the palace, it was placed in Yingchun Pavilion in the Forbidden City. Emperor Jiaqing cherished it and ordered it to be included in the third edition of Shiqu Baodi. Since then, the Riverside Map on the Qingming Festival has been kept in the Qing Palace. Although the British and French allied forces invaded Beijing twice in 1860 and Eight-Nation Alliance invaded Beijing twice in 1900, they both escaped the disaster and were not damaged.

19 1 1 years later, the Riverside Scene at Qingming Festival, together with other precious paintings and calligraphy, was stolen from the palace by the last emperor of the Qing Dynasty, Puyi, in the name of giving it to Pu Jie, and was first stored in Bird, a concession in Tianjin. 1932, Puyi established the Puppet Manchukuo with the support of the Japanese, so this famous painting was taken to Changchun and stored in the library building of the East Courtyard of Puppet Manchukuo Palace.

1945 In August, the Second World War came to an end, and the end of the Japanese invaders came. Puyi and his Japanese master saw something bad and fled to Dalizigou by plane. The Puppet Manchuria Palace was in a mess because of the fire. In the chaos, many people took the opportunity to enter the palace to "grab foreign fish", and a large number of precious things in the fake palace were scattered to the people in this turmoil, and The Riverside Scene at Qingming Festival was among them.

1946, Changchun was liberated by China People's Liberation Army. Comrade Zhang Kewei, a cadre of the People's Liberation Army, collected more than ten volumes of precious calligraphy and paintings scattered in the Puppet Manchuria Palace through local cadres, including The Riverside Scene at Qingming Festival. From 65438 to 0947, Comrade Zhang Kewei was transferred to the Northeast Administrative Committee. Before he left, he handed over more than ten volumes to Comrade LAM Raymond, one of the main leaders who opened up the revolutionary base areas in Northeast China at that time.

The Riverside Scene at Qingming Festival entered the Northeast Museum by Lin Feng, and was later transferred to the collection of the Palace Museum in Beijing. Since then, it has become its final destination.

During the Cultural Revolution, Li Zuopeng, one of Lin Biao's four main commanders, took advantage of his power to borrow the Riverside Scene at Qingming Festival from the Palace Museum for his own use. Together with Qiu, Wu and others, he occupies a large number of other precious cultural relics. After the fall of Lin Biao, The Riverside Scene at Qingming Festival was rediscovered, and it is still treasured in the Palace Museum.

The Riverside Scene at Qingming Festival depicts the bustling scene inside and outside the east corner of Bianjing (now Kaifeng, Henan Province), the capital of the Northern Song Dynasty, and the banks of Bianhe River during the Qingming period. The whole painting can be divided into three parts:

The first paragraph describes the suburban scenery, low eaves and criss-crossing buildings, during which people come and go.

The middle section is centered on the "Shangtu Bridge", and the Bianhe River and the scenery on both sides are also painted. The large wooden bridge in the middle, shaped like a flying rainbow, is generally called "Hongqiao" and named "Shangtu Bridge", which is the intersection of land and water transportation. Cars and horses come and go like shuttles on the bridge, with dense vendors and bustling pedestrians. An oil tanker under the bridge is lowering its mast and crossing the bridge opening. The intense work of the top engineer has attracted many people to watch.

The second half describes the city streets. There are many shops in the city. The big shop is still tied with colorful buildings and happy doors. The small shop is just an open shed. In addition, there are public temples. Pedestrians jostle each other in the street, and horses, chariots and camels come in an endless stream. There are gentlemen, officials, servants, vendors, pawns, bearers, workshop workers, storytellers, hairdressers, doctors, fortune tellers, your women, monks, naughty children and even beggars. They have different identities, different clothes, and are in the same street, but they are busy and unhappy. There are sedan chairs, camel teams, cattle, horses, donkey carts and rickshaws in the city. There are many kinds of vehicles, such as trains, Taiping cars and flat cars, which reproduce the prosperity of Bianjing city market. This tall gatehouse, named Dongjiaozimen, is located in the southeast of Bianjing inner city.

The whole picture is rich and vivid, and reproduces the life of Bianjing, the capital of the Northern Song Dynasty, in the heyday of12nd century.

This painting is written with pen and tape, and its color is elegant, which is different from the general boundary painting, that is, the so-called "not getting married". The composition adopts a bird's-eye panoramic view method, which truly and intensively depicts the typical area in the southeast corner of Bianjing at that time. The author uses the traditional hand-rolled form and "scattered perspective" to organize the picture. The picture is long but not redundant, complicated but not chaotic, tight and compact, in one go. The scenery in the painting is as big as the silent Yuan Ye, as big as the vast rivers and as big as the towering battlements; As small as the characters on the boat, the goods displayed on the vendors and the words on the market, there was no loss. The picture of more than 500 words is interspersed with various plots, which is coherent and interesting at the same time.

There are inscriptions such as Zhu and Kuan 13. In the picture behind, there are 96 square seals.

Brief introduction to life

Zhang Zeduan Northern Song Dynasty painter. The word Zhengdao was born in Wu Dong (now Zhucheng, Shandong). In his early years, he studied in Bianjing (now Kaifeng), then studied painting, and worked in Hanlin Painting Academy when he was a member of Hui Zong. He is good at genre painting, especially ships, shops, bridges, streets and battlements. The Riverside Scene at Qingming Festival depicts the life scenes of all social strata in the suburbs of Bianjing during Qingming Festival, which is real and vivid, and is an excellent genre painting with important historical value. Another "Jin Ming Chi Biao Tu" is also an artistic masterpiece.

◇ Works ▼

The Riverside Scene at Qingming Festival is 22.5 cm high and 525 cm long. It is now in the Palace Museum in Beijing.

This paper describes the activities of people in the city and suburbs on the day of Bianjing Tomb-Sweeping Day, the capital of the Northern Song Dynasty, showing the prosperity of industry, commerce and transportation in the capital at that time and becoming a wonderful flower in genre painting in the Song Dynasty.

The Riverside Scene at Qingming Festival depicts the suburban scenery on the right, the Bianhe River in the middle and Bianjing Street on the left, which truly reflects the social features of Bianjing and has historical document value. The whole picture is rich in content, with more than 500 people, more than 50 livestock, more than 20 boats and shafts, tight and compact structure and clear paragraphs; The characters are complex and have different expressions; The pen and ink skills are sophisticated and mature, the lines are vigorous and accurate, the characters are accompanied, and the colors are elegant. The complicated scenes are displayed calmly in the painter's pen, grand and spectacular, and nuanced; The climax is one after another, fascinating. Looking at this picture gives people an immersive feeling, like hearing its voice, lifelike and amazing!

. The picture depicts the bustling scene of Bianjing, the capital of the Northern Song Dynasty, during the Qingming period. The riverside scene on Qingming Festival was a folk custom at that time, such as today's holiday party, where people took part in business activities. The whole picture is large in scale and rigorous in structure. It is roughly divided into three sections: the first section is the suburban landscape, the second section is the Bianhe River, and the third section is the urban market.

First, the scene on the outskirts of Bianjing. Farmers farm in the fields, and rich people come back from sweeping graves. On the way, people carrying teams, porters and cyclists are rushing to the city. Next is the most wonderful part-Bianhe. The arch bridge on the Bianhe River is like a rainbow. Pedestrians on the bridge are like a tide, bustling, jostling shoulder to shoulder, and ships under the bridge compete for beauty. Many small plots are very interesting. If a frightened horse on the bridge causes danger, the donkey is also frightened, and curious people are watching. Then describe the Bianjing market. Bianjing, as the political, economic and cultural center at that time, was full of yamen, houses, workshops, restaurants, scattered houses, downtown, nine schools and three religions. The picture unfolds a leisurely scene with tension and relaxation, forming an interesting contrast and rhythm. By describing the architecture, commerce and transportation of Bianjing, the painter reproduces the prosperity and development of the capital of the Northern Song Dynasty.

There are more than 550 people, more than 60 kinds of livestock, more than 20 wooden boats, more than 30 pavilions and more than 20 wheelbarrows on the Riverside Map at Qingming Festival. Such rich and colorful contents are rare in ancient paintings of past dynasties. What is commendable is that every figure, scene and detail in the painting are arranged reasonably, and the relationship between the pictures such as density, complexity, movement, gathering and dispersion is properly handled, so that it is complicated but not messy. It fully shows the painter's profound insight into social life and high artistic accomplishment and expression ability.

The Riverside Scene on the Qingming Festival is not only a treasure of realistic painting art, but also provides us with rich video materials such as commerce, handicrafts, folk customs, architecture and transportation in the metropolis of the Northern Song Dynasty. Therefore, it also has the value of historical documents.