What is the description in The Riverside Scene at Qingming Festival?

Long live the Riverside Scene at Qingming Festival.

Tangshan Yanhuangxuan Wang Kairu

First, the original works were not seen in Song, Yuan, Ming and Qing Dynasties, and were falsely usurped.

1. Oral imitation in the Southern Song Dynasty

The great realistic custom picture scroll The Riverside Scene at Qingming Festival is a light-colored silk book. It is 24.8 cm high and 528 cm long. It was written by Zhang Zeduan in the Painting Academy at the end of the Northern Song Dynasty. This painting depicts the bustling scene of Bianjing Tomb-Sweeping Day. It is painted with Song Huizong's autograph. That is, when entering the inner mansion, it is difficult for the world to see its true face, and it was selected as a sacred product by the evaluation map at that time. However, these brilliant works were not included in the 120-year-old xuanhe map advocated by Hui Zong, indicating that this painting was completed after 1 120 years, but a few years later, Bianjing became the capital of national subjugation at the end of 1 126. According to historical records,11In early February of 27, ten Jin people detained Hui Di and Emperor Qin, and in February of 15, thousands of Bianjing people broke into the palace to plunder property. Zhang Zeduan's original works have no traces of the Jin people's ouchi and Ju Qing, but only the inscriptions of five humble officials who died in the Jin people, indicating that the Riverside Scene at Qingming Festival was exiled to the northern folk before the Song Palace was confiscated by Jin people 16 in February. After being robbed, those who were outside did not return to Bianjing at that time, but fled from Shangqiu to Lin 'an in panic to establish the Southern Song Dynasty. There is no trace of the Southern Song Dynasty in this painting, which means that this painting has never been to the Southern Song Dynasty.

However, in history, the Qingming Riverside Map in Lin 'an is expensive. I'm afraid even the author himself can't keep the manuscript of this work written by the emperor. The picture stayed in the north, and Lin 'an people could only compile it into a volume by word of mouth and written records. Even those who had seen this painting in the academy could only remember its outline. Although these imitations are now lost, it can be asserted that they will lose their original appearance.

2. Yuan Dynasty false escape map.

It can be seen from the inscription and postscript of this painting that although it entered the Yuan Dynasty, it was not taken seriously. It was stolen by official craftsmen and changed hands several times. It was bought by Jiangxi Yang Zhun in Zheng Zhi11[1351], and no celebrities got their hands on it.

Today, the Riverside Scene at Qingming Festival, which is hidden in the Palace Museum in Taiwan, is regarded as the original work of Zhang Zeduan. It is said that there is a word on the rock at the end of the painting: Hanlin Zhang Zeduan's painting history is presented. But a few years ago, the media knew:

(1) There are two words "new" on this picture, which were written by Su Shunju on 1295: "The Riverside Map on Qingming Festival is newly built, and the Bianhe Bridge has new smoke", which shows that this picture is a new one at that time, and it is by no means the original picture of Riverside Map on Qingming Festival.

(2) The words in Yi Tu are "Kuizhangge", namely the Ministry of Culture at that time. This building and its name were built in the second year of Yuan Dynasty (1329), and only 1 1 year exists. As early as 200 years ago, Zhang Zeduan would never have written this term.

(3) There is the word "Wusong fine cloth" on the Yi map. China's textile processing was still relatively backward in the Song Dynasty. It was not until Huang Daopo reformed textile processing in Yuan Dynasty that "fine calico" appeared in China. From the above three points alone, it is enough to prove that this volume of Riverside Scene at Qingming Festival was forged by Yuan people. And the word "present" at the end of the volume is also false.

The Ming Dynasty forged a climax.

During the Wanli period of Ming Dynasty, there was a climax of forging "Suzhou Film" in Tomb-Sweeping Day. These imitations spread all over the world in the name of Chou Ying, with the greatest influence. Although they are all copied from Zhang Zeduan's The Riverside Scene at Qingming Festival, the picture is quite different from the original:

(1) was originally light; Revenge is turquoise.

(2) Open the book, it turns out that there are five Xiao Lv carrying charcoal in the cold and lonely countryside; There are several green hills in the countryside by the Qiuben River.

(3) Hongqiao, originally a wooden structure; Revenge is a masonry structure.

(4) structure. The original work is roughly divided into three sections: Dongjiao, Hongqiao and Tower. At the beginning of the painting, a group of grave-sweepers return to Hongqiao on the left, and at the end of the painting, the literati file out of the city and go to Hongqiao on the right, with two-way flashbacks.

Qiuben is roughly divided into four plates: the eastern suburb, Hongqiao, inner city and western suburb. From the mountainous area in the eastern suburbs along the river to Hongqiao, then straight into Dongshuimen, through the urban area, one-way to Jinming Pool in the western suburbs. (Figure 1: original part) (Figure 2: enemy part)

We can't help asking why the distance between Chou Ying's copy and the original is so great. Today, 500 years later, we have to look at this replica. With Qingzhou in Shandong as the background, there is the postscript of Wen Zhiming. At the end of the volume, there is the words "The real father Chou Ying copied Zhang Zeduan's pen". Although the picture was not written by one person, its structure and content are exactly the same, and it is a typical "Suzhou film". Surprisingly, the viewer will always feel something after reading the painting, and this inscription is the second postscript of Li Dongyang to the picture in the original excerpt of Wen Zhiming (the back of the postscript describes the spread history of the painting). It is said that the author saw the powder copy of The Riverside Scene at Qingming Festival in Zhu Dali's home, and then Chou Ying copied it, and the inscription guided the picture. Now let's see what kind of postscript Li Dongyang wrote (Figure 3: Li Dongyang's postscript) (Figure 4: Wen Zhiming's inscription).

A total of 13 people wrote the postscript of 14 on the tail paper of Zhang Zeduan's original work. As a famous calligrapher and connoisseur, Li Dongyang saw this painting three times in his life and got it in 15. It is his masterpiece in his later years, and it is also the most detailed description of the picture content and spread history in the postscript of 14, and only this postscript says that there are mountains in the painting, which are tall and humble (the sound is decadent, basically synonymous with decadence: the meaning of collapse and decline). Imagine that if there are several green hills in the original, as abrupt as Qiu Ben's, and there are indeed several green hills, then other postscript, especially Zhang Zeduan's contemporaries who died of gold, will be involved, but all the postscript doesn't even have a word "mountain". Only Li Dongyang's second postscript says:' From far to near; Concise and detailed; From the mountains of rural areas and cities, it is towering and humble. Empty but empty; According to the language of this passage, the highest mountain in the whole painting is towering and humble, and the lowest is an empty depression and water surface, not the mountain in front and the depression and water surface behind it. But also shows that this' mountain' is in an inconspicuous place; (all the people who wrote the inscription didn't see it) is the tallest thing in the whole painting; And it is a high and humble mountain. These three lines limit this' mountain' to the tallest towering tower (Figure 5: the picture of a high and decadent mountain).

At first glance, it looks like the city gate and the city wall, and it has been said all the time, but after careful observation, there is only one person and one drum and one shop on the rostrum. The cloister is narrow, the road is isolated, and it is built without walls. Narrow and steep, it can neither lead horses nor accommodate soldiers. How can such gates and walls resist the nomads from the besieged border? Historical records clearly record that the outer city of Bianjing was rammed by the outer skin of Hulao Pass Mountain in the last week of 956 AD. The bottom of the city wall is 5.9 feet wide and 4 feet high. "its high sky is as strong as iron." Today, thousands of years later, the residual wall is still 8-9 meters high. Therefore, it is impossible that the city wall, which was only 170 years old after the renovation in the Northern Song Dynasty, is not as simple and overgrown as it was completed. It does not conform to the description of the city gate in Tokyo Dream Record and Song Yao Hui Ji. Obviously, it is not the city gate of Bianjing, but an isolated landmark tower building (name to be determined) near Hongqiao in the eastern suburb of Bianjing, also called' Wanghuolou'. And that piece full of miscellaneous trees is by no means a city wall. It dislocated from the tower and couldn't find any connection. This is an isolated, high and crude earth mountain. However, at the top of the tower, that is, on the other side of the tower, stands a larger and heavier earth mountain, and the top of the mountain has extended beyond the painting. In other words, they are two high-decayed earth mountains in the scenic area. But because it was inconspicuous, it was not seen by all the inscription people including Li Dongyang for the first time. As a famous connoisseur, Li Dongyang read the painting day and night after receiving it at 15 15, only to find that the hidden earth mountain was high and declined. In the second postscript, it was interpreted as an artificially high and humble earthen mountain in the widely placed gardens in Hui Zong, and the position and shape of the mountain were accurately defined.

This eloquently proves that Zhang Zeduan's immortal brushwork is completely consistent with the 14th postscript of Song, Yuan and Ming Dynasties. The hidden high rot mountain is near the gatehouse, while the abrupt castle peak in autumn is caused by misinterpreting Li Dongyang's postscript. Moreover, when I copied the Riverside Scene at Qingming Festival in 1997 and proofread it with the original, I found that according to the theme of Riverside Scene at Qingming Festival, the original had completely expressed the theme of the whole painting when it returned to the end of the painting from a group of grave-sweepers. Perhaps the master considered that the opening ceremony was too abrupt and put Hongqiao in the center of the picture, but in another draft, he chose a cold and lonely village, five loads of charcoal fire in Xiao Lv and an empty grain field, and added it to the painting as a prelude. Make the painting more perfect. Today, as long as we carefully observe the original, we can find that although this passage was written by Zhang Zeduan alone, it was not created at the same time, and its brushwork, land color, willow color, degree of warmth and coldness, and treatment of the horizon, although there are several transitions between the old willows, are still out of harmony with the whole painting behind. This also proves that it is impossible for Zhang Zeduan to add mountains in front of the mountain. Moreover, it is impossible for a master of realism to draw mountains in Bianjing, where there are no mountains. Even if Song Huizong's inscription is still preserved, it is complete and there will be no mountains. It also proves that several green hills headed by Qiu Ben were fabricated by imitators who misinterpreted Li Dongyang's postscript.

Li's postscript didn't mention that Hongqiao was a "huge wooden frame", so the imitator could only draw a rainbow-shaped bridge with the usual masonry structure at that time through hearsay.

Because the imitator hasn't read the original "The Riverside Scene at Qingming Festival", he doesn't know that Zhang Zeduan painted an isolated tower building in the eastern suburbs, and he doesn't know how to perfectly express the theme of "Going out of the city for Qingming Festival" with the structure of two-way flashback, let alone take life as a teacher. Instead, the East Watergate related to the river was painted with vulgar imagination, and it naturally entered the city downstream. It was straightforward "going into the city as a riverside", and the stylized one-way riverside painting was drawn to Jinming Pool in the western suburbs.

Imagine that if the original works are to enter the city along the river, even the bridge decorations of Hongqiao should be faithfully painted on Zhang Zeduan, as described in Dream of Tokyo:' Its doors cross the river and its windows are covered with iron. At night, they hang down from the water like gates, and there are doors on both sides that allow people to walk. Draw the East Watergate like that. I will never draw such an isolated tower that has nothing to do with the Bianhe River. It is enough to prove that the original work has no intention of going to the city at all, which is in line with the theme of "going out of the city to be bright". Moreover, according to the first postscript of the original work, Zhang is famous: according to the evaluation chart, it says,' The West Lake bid for the picture, and the Riverside Scene at Qingming Festival was chosen as a masterpiece'. Zhang Zeduan once painted a picture of the West Lake for bidding, but there is no need to draw the West Lake (Jinming Pool) in The Riverside Scene at Qingming Festival, which also proves that the city and Jinming Pool in Autumn Book are fabricated out of thin air.

The imitators of the above irrefutable evidence have never seen Zhang Zeduan's original work or Li Dongyang's postscript, but only got the manuscript of the postscript. Based on misinterpretation and hearsay, under the banner of copying the Riverside Scene at Qingming Festival by Zhang Zeduan, they not only distorted the original work, but also violated the dream and actual situation of Tokyo and Bianjing, and made the Riverside Scene at Qingming Festival by copying the authenticity.

Li Dongyang's only postscript with the word "mountain" is the soul of Akimoto. That is to say, no matter at home or abroad, only Wen Zhiming's autograph and Chou Ying's autograph are the originators of all Ming and counterfeit products!

Wen Zhiming excerpted Li Dongyang's postscript and said,' The original copy has entered Tianfu, so we can't see each other again. Its powder was collected from Zhu Dali's home, and I saw it. Because I begged my friend Qiu Jun's biological father to copy the classics, I didn't miss anything, so I could seize the opportunity to revive the old concept, and later the audience immediately regarded it as the original. Jiajing Gengzi Wen Zhiming wrote a book in spring'

As a generation, it is incredible to copy the postscript of the same generation as their own inscription and display it before painting, suggesting readers to use it for painting. But take a look at its history:

(1) The postscript of Li Dongyang 15 15 was written one year before his death, but it was not included in the publication of Huailutang Collection. Few people know it except those who have seen the original "Riverside Scene at Qingming Festival". Wen Zhiming worked as an academician in Beijing for more than three years from 65438 to 0524, and had the opportunity to get Ba Li's manuscript.

(2) The teacher (Jinshi, the official minister)149/kloc-0 years ago saw this painting in Zhu Dali's home and wrote a postscript, only claiming that this painting has a manuscript, and you can learn the manuscript and the contents of this painting from Wu.

(3) 1526, resigned and returned to Li. He made a living by painting and calligraphy with Chou Ying and others, and repeatedly cooperated in copying famous paintings of past dynasties.

(4) As far as I know, in addition to Qingzhou edition, there are places where Wen Zhiming copied the Riverside Scene at Qingming Festival for Chou Ying in 154 15438 and 1549 Wen Zhiming Painting and Calligraphy Summary (Zhou Daozhen, People's Fine Arts Publishing House).

(5) The climax of this painting is just after Wen and Qiu, and the time coincides.

(6) At that time, this picture was copied for some time. It's not the leaders who get their hands on it. Several craftsmen in the workshop are afraid that they don't have this ability.

All these prove that Wen Zhiming and Qiu Ying are suspected of forgery.

However, I have never seen the original works forged by Wen and Qiu, so it is Wen and Qiu who forged them on the basis of this postscript and copied them by Suzhou films. Or there is no so-called fake book at all, but a "Suzhou film" forged a painting according to Li Dongyang's postscript, and recorded this postscript after the painting to plant and deceive Wen and Qiu. This article is inconclusive for the time being, but it can be concluded that no matter whether it is a hostile copy or a' Suzhou film', as long as there are several green hills with Hongqiao on their heads, the main body is the city, and the Ming and fake copies painted by Jin Mingchi are all fake copies of The Riverside Scene at Qingming Festival, which misinterprets Li Dongyang's postscript. Due to mass production, it is extremely extensive and has great influence.

Gan Long Li Kui and Gui Li are in the same court.

The Ming Dynasty forged manuscripts not only influenced the Ming Dynasty, but also influenced the Qing Dynasty. It flowed into the Qing Palace before the original Zhang Zeduan (the original was copied into the Ming Palace by Yan Songjia, and/kloc-0 was stolen by eunuch Feng Bao in 578, and then it was scattered among the people). Because it is a copy of the previous generation, although it is suspected of forgery, we don't know the original appearance. So, as soon as Emperor Qianlong ascended the throne, he ordered the court painter to replace the castle peak in front of the throne with the imitation light copy on the mound, creating a well-defined riverside scene in Tomb-Sweeping Day. (Figure 6 Taiwan Province Province Collection: Qingyuan Book)

Sixty-three years later, in the fourth year of Jiaqing (1799), he became the dry dragon of the emperor's father. He saw Zhang Zeduan's original work in the property of the Garden and was good at appreciating it. But I don't know whether it was because of the golden mouth or something. He only stamped three seals on the original work, but he died without breaking the truth of The Riverside Scene at Qingming Festival. Li Kui and Gui Li lived in the same room, leaving an eternal mystery for future generations.

5. During the Republic of China, Gui Li expelled Li Kui.

It was Qianlong who couldn't tell the truth about the riverside scene in Qingming Festival, and the last emperor Puyi fled with four national treasures of the same name. Coincidentally, after four copies were intercepted by me, my experts at that time mistakenly identified one of them as an original, ignoring that Zhang Zeduan's original was a fake. It can be said that rumors spread thousands of times and become the truth! Gui Li finally deposed Li Kui! Fortunately, in the winter of 1950, the original was dug up from the pile of fakes by Mr. Yang and others, and was unanimously recognized as the original by experts all over the country. 1953 was exhibited in the Forbidden City in Beijing, and the original Zhang Zeduan was made public.