The Background of Riverside Scene at Qingming Festival

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, peace carts, flatbeds … all kinds of things. 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.

After many disasters, the Qingming Riverside Map.

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.