Excuse me, who is the author of The 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.

During the Northern Song Dynasty, Bianjing was extremely prosperous, with four rivers passing through the city and four land routes. It is a national land and water transportation center, and its commercial development ranks first in the country. At that time, its population exceeded 1 10,000. There are many lively markets, shops and even night markets in Bianjing City. On holidays, the capital is even more lively. In order to show the prosperity of Beijing, Zhang Zeduan chose the scene of Qingming, an important festival, and gave 59 performances. The Riverside Scene at Qingming Festival shows the land and water transportation and busy market in the capital of Northern Song Dynasty.

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.

Zhang Zeduan has a high artistic generalization, which makes The Riverside Scene at Qingming Festival reach a high artistic level. The Riverside Scene at Qingming Festival is unprecedented in its rich content, numerous characters and grand scale. The picture of Riverside Scene on Qingming Festival is dense and orderly, from quiet suburbs to bustling city streets, attracting people everywhere.

Before the Northern Song Dynasty, China's figure painting was dominated by religion and aristocratic life. Although Zhang Zeduan worked in the Hanlin Painting Academy, his works were all called "courtyard paintings" or "courtyard paintings", but he extended his brush to the lives of people from all walks of life and created social genre paintings describing urban and rural life. The Riverside Scene at Qingming Festival draws a large number of various figures. Moreover, the movements and expressions of each character in Zhang Zeduan are vivid. This fully shows that Zhang Zeduan's life is very rich and his creative skills are very skillful.

Detailed introduction of Qingming Riverside Map

The Northern Song Dynasty genre painting Riverside Scene at Qingming Festival. A masterpiece handed down from generation to generation, a first-class national treasure. The Riverside Scene at Qingming Festival is one of the most famous works in China's painting history. It is not only of superb artistic level, but also has many interesting stories circulating around it.

The Riverside Scene at Qingming Festival records the architecture and people's livelihood in the suburbs of Bianjing (now Kaifeng), the capital of Hui Zong era, and on both sides of the Bianhe River in the city with exquisite brushwork. This painting depicts the bustling scene and natural scenery on both sides of Bianliang and Bianhe, the capital of the Northern Song Dynasty, during the Qingming period. In the form of a long scroll, the work uses the composition method of scattered perspective to bring complicated scenery into a unified and changeable picture. There are more than 500 people in the painting, with different clothes and expressions, interspersed with various activities, paying attention to drama, dense composition, changing rhythm and rhythm, and ingenious brushwork. The whole picture is divided into three sections.

The first paragraph, Bianjing rural spring:

In the sparse forest mist, there are several huts, grass bridges, running water, old trees and boats. 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, returning from a walk in the suburbs of Beijing to sweep 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:

Bianhe River is the hub of national grain transportation in the Northern Song Dynasty, and it is also the main road of commercial traffic. As can be seen from the picture, the population is dense and there are many grain ships. Some people are resting in the teahouse, some are telling fortune, and some are eating in the restaurant. There is also the "Wang's Paper Horse Shop", which is a grave sweeper selling sacrifices. Ships in the river come and go, end to end, pulled by trackers or rowed by boatmen. Some are full of goods, going upstream, and some are nervously berthing to unload. Across the Bianhe River is a large wooden arch bridge with exquisite structure and beautiful shape. Such as flying rainbow, hence the name Hongqiao. There is a big ship waiting to cross the bridge. The boatman is supported by bamboo poles; Hook the bridge with a long pole; Lead the boat with hemp rope; Several people are busy lowering the mast so that the ship can pass. People in the neighboring ship are also pointing, as if shouting something. Both inside and outside the ship are busy crossing the bridge for this ship. People on the bridge are also sweating over the tense ferry scene. This is the well-known Hongqiao pier, which is full of traffic and bustling, and is really the intersection of land and water transportation.

In the second half, busy city streets:

Centered on the tall towers, there are rows of houses on both sides, including teahouses, restaurants, foot shops, meat shops, temples, public halls and so on. Silk, jewelry, spices, incense, paper horses and so on all have specialized businesses. In addition, there are medical clinics, car repair, fortune telling, shaving and plastic surgery, and all walks of life have everything. Large-scale shops are also tied up with "colorful buildings and happy doors", and banners are hung to attract business, and pedestrians in the market are jostling with each other. There are businessmen who do business and people who look at street scenes. There are monks walking around with baskets on their backs, tourists asking for directions from other places, street children who have heard of books, children of rich people who drink heavily in restaurants, disabled elderly people begging on the edge of cities, men, women and children, scholars, farmers, workers and businessmen, and so on. Means of transportation: sedan chair, camel, ox cart, rickshaw, flatbed, flatbed, all kinds of things. Vividly displayed in front of people.

In a total of more than five meters long picture scroll, * * * painted more than 550 people of various colors, including fifty or sixty cattle, horses, mules, donkeys and other livestock, more than 20 cars and bridges, and more than 20 ships of different sizes. 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 by Zhang Zeduan is a realistic genre painting depicting a corner of Bianjing in the Northern Song Dynasty, which has high historical value and artistic level.

In the history of painting, there are many paintings called The Riverside Scene at Qingming Festival, but there is only one original. After many scholars and experts have studied this topic, everyone's opinions are basically the same. They all think that this painting in the Palace Museum in Beijing is an original of Zhang Zeduan in the Northern Song Dynasty. Other paintings of the same name were later copied or imitated by Zhang Zeduan.

At present, there is no artist's own seal on this picture scroll collected by the Palace Museum in Beijing. According to an inscription by Zhang Zhu of Jin Dynasty in the postscript after the picture, it is confirmed that its author is Zhang Zeduan. Zhang Zhu's inscription has only a few words: "Hanlin Zhang Zeduan was born in Wudong (now Zhucheng, Shandong)." When I was young, I studied in Beijing, and later I learned to draw. I am a painter, and I especially like boat trips, bridges, Guo Jing and other families. "However, in the book Xuan He Hua Pu written at the end of the Northern Song Dynasty, Zhang Zeduan's name could not be found. Some people speculate that it may be that he entered the painting academy late and the editor had no time to compile it into the book.

The Riverside Scene at Qingming Festival has great artistic charm in detail description! Copying paintings are beautifully made, which is also a commercial art and an excellent artistic gift for you to collect and give to your friends!

Bai Shouyi's General History of China (Color Picture Book) Comments on Riverside Scene at Qingming Festival. There are more than 500 people, more than 50 livestock, more than 20 vehicles, many houses, countless props, huge scenes, clear paragraphs, tight structure and orderly. Skilled technique, meticulous pen, vigorous lines, dignified and sophisticated. It embodies highly pure painting skills and outstanding artistic achievements. At the same time, because the painting was a social record at that time, it provided important historical materials for future generations to understand and study the urban social life in the Song Dynasty.

The Concise Encyclopedia of Britain's evaluation of the section "Zhang Zeduan" in The Riverside Scene at Qingming Festival is a custom picture scroll with important historical value. The painter successfully described the life scenes of all walks of life in Bianjing City and its suburbs during the Qingming period. Mainly for workers and ordinary citizens. The handling of the relationship among people, buildings, cars, trees and water is very clever, with a strong sense of integrity and great historical value. Since then, the urban genre paintings painted in previous dynasties have been influenced by it.

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.

Zhang Zeduan, a native of Wu Dong (now Zhucheng, Shandong Province), was a painter at the turn of the Northern and Southern Dynasties. The Riverside Scene at Qingming Festival was written by Zhang Zeduan when he was making history at Hanlin Painting Academy in Song Huizong. This long scroll is made of silk and light color. The frame is 24.8 cm high and 528.7 cm long.

After Zhang Zeduan finished this long scroll praising the history of the Millennium, he first presented it to Song Huizong. Song Huizong became the first collector of this painting. As a master of calligraphy and painting in the history of China, Song Huizong loved this painting very much. He wrote the words "The Riverside Scene at Qingming Festival" in his famous "Shoujin Style" calligraphy, and made a seal script of Shuanglong (now lost).

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 experienced many wars and disasters ... It entered the palace five times and was stolen from the palace four times. After many disasters, it interpreted many legendary stories.

In the third year of Jiajing in the Ming Dynasty (1524), the picture of the riverside scene in Qingming Festival was transferred to Lu Wan, a Changzhou native (Lu Wan was a scholar of Chenghua, and his official rank was to protect the prince and the minister of war, and his name was heavy for a while). 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, so he tried his best to ask his wife to borrow The Riverside Scene at Qingming Festival. 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 treacherous court official Yan Song, who had a high eye but a low hand, was looking around for the Riverside Scene at Qingming Festival. Quan Wang, the independent suggestion, bought a fake from Wang Mai for 800 taels of silver and presented it to Yan Song. Tomson, a framer in Yan Song, recognized the painting as a fake, so he blackmailed Wang Tong and asked him to pay 40 taels of silver to bribe himself, but Wang Tong ignored him. Tomson became angry from embarrassment. When he gave a banquet in Yan Song to celebrate, he washed away the old color in the painting with water. Yan Song was very embarrassed in front of everyone, and then he found a way to kill Wang Huan. The king in the painting was also implicated, arrested and starved to death in prison.

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 Huan to buy a "famous painting", and Wang Huan did buy a painting by Suzhou Wang Biao as a gift for Yan Song, only to find out later.

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.

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 wrote 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. Zhang Kewei, a cadre of the People's Liberation Army, collected more than ten volumes of precious calligraphy and paintings scattered from 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.

However, during the Cultural Revolution, Li Zuopeng, one of Lin Biao's four generals, took advantage of his power to "borrow" the Riverside Scene at Qingming Festival from the Palace Museum and took it for himself. 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.

What did the Riverside Scene at Qingming Festival draw? Why is its charm enduring?

According to the statistics in Volume 8 of Qian's Zhuo Tang Wen Hua, the Riverside Scene at Qingming Festival has 1643 people and 208 animals, which is more than the classical novels Romance of the Three Kingdoms (11person) and A Dream of Red Mansions.

The whole picture of Riverside Scene at Qingming Festival can be divided into three sections. When the picture unfolds, the first thing you see is the scenery on the outskirts of Bianjing. The middle section mainly depicts the busy scenes on both sides of Shangtu Bridge and Bianhe River. The second half depicts the street view of Bianjing City. The size of the word is less than 3 cm, as small as a bean. If you look at them carefully, they are both physically and mentally interesting.

The riverside scene on Qingming Festival ranges from Yuan Ye, Haohe and Shanglang to boats, car figures, pavements, decorations and market signs. Real and natural, it makes people feel as if they are there. The whole work is long but not redundant, complicated but not chaotic, tight and compact, as if in one go, which fully shows the extraordinary brushwork of the painter Zhang Zeduan and deserves to be a rare treasure in China's art treasure house.

According to the textual research on the inscription of Li Dongyang, a Ming Dynasty man, there should be a landscape map of the outer suburbs in front of The Riverside Scene at Qingming Festival, which is inscribed with Song Huizong's fine gold lettering and Ssangyong's small seal for his collection, but now these have disappeared from the painting. There are two reasons. One possibility is that this picture has been circulated for too long, and the beginning part was broken after being enjoyed by countless people, so it was cut off when later generations mounted it; One possibility is that Song Huizong's inscription and Ssangyong Xiao Zhuan are valuable, and later generations deliberately cut them off and sold them as another painting.

Many experts suspect that the second half of The Riverside Scene at Qingming Festival is missing, because this painting should not come to an abrupt end just after entering Kaifeng City, but should be painted all the way to Jinming Pool.

Along the River During the Qingming Festival

In China ancient paintings and calligraphy, besides the author's inscriptions and seals, there are often collectors' inscriptions and seals. There is such a famous painting in our country that many people wrote it and stamped it with countless seals. It can be seen that it has passed through the hands of many official and private collectors. This is the famous Riverside Scene at Qingming Festival. After eight or nine hundred years of vicissitudes and hardships, some collectors suffered misfortune for it, and the works finally survived and were preserved.

The author of The Riverside Scene at Qingming Festival is Zhang Zeduan, a painter in Song Dynasty. Zhang Zeduan, a native of Shandong Province, studied painting in Bianjing (now Kaifeng, Henan Province) in his early years, and then entered the Northern Song Dynasty Painting Academy to paint. Although there are few records about him, this masterpiece has made future generations remember him forever. The Riverside Scene at Qingming Festival is a silk scroll with a length of 528 cm and a height of 248 cm. 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.

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