The ancient paintings of 12 national treasure taken away by Chiang Kai-shek are really rare.

The 12 national treasure ancient painting taken away by Chiang Kai-shek is rare! China's ancient paintings and calligraphy amazed the world. Although Chiang Kai-shek was baptized by war during his reign, he never lost thousands of years of Chinese treasures left by his ancestors and was highly praised by compatriots on both sides of the strait. He himself is a big collector who loves to collect, and he also brought a batch of beloved art treasures to Taiwan Province Province. As commander-in-chief of the Republic of China, what kind of ancient paintings does Chiang Kai-shek like? Let's take a look! 0 1, "Palace Music of Tang Dynasty" Hougong Concubine Entertainment Evening ▲ Palace Music of Tang Dynasty is 48.7 cm in vertical direction and 69.5 cm in horizontal direction. This painting depicts the gathering of concubines in the harem. Tv dramas often describe the plot of the harem concubines fighting for each other. I didn't expect such a harmonious scene in the harem In the painting, there are ten concubines in the harem, sitting around a huge square table, enjoying a party attended only by women. Some of the hairstyles of the figures in the painting are combed to one side for the sake of "falling horse bun", some are combed to both sides, tied into a spherical "hanging bun" by ears, and some are wearing "corollas", all of which are in line with the costumes of women in the Tang Dynasty. What is the reason why Jiang likes this painting? Let's look at the details in the painting together! Four people in the Central Committee are responsible for playing music and entertaining. From right to left, the instruments used are cymbals, pipa, guzheng and sheng. One of the two maids standing next to Pipa Sheng knocked on the dental board and beat the time for them. Judging from the intoxicated expression on everyone's face, the lady-in-waiting armchair who knocked on the dental board concluded that the music at the dinner should be beautiful, because even the puppy curled up under the table was not disturbed! Listening to the music, the princess's expression is comfortable and cozy. The princess is even more indifferent to the image. In addition to music, there is another detail that is very attractive, that is, the concubines who drink tea. The tea soup is cooked and put on the table. The procedures of preparing tea, baking tea, grinding tea, boiling water, throwing tea, cooking tea, etc. must be completed by the maid in another place. When drinking tea, take the tea soup out of the teapot with a long-handled tea spoon and scoop it into the teacup for drinking. The teacup is bowl-shaped with round feet, which is easy to hold. It can be said that this painting is a partial representation of the typical scene of "frying tea", and it is also one of the evidences of the prosperity of court tea affairs in the late Tang Dynasty. Why did Chiang Kai-shek like Gong so much? We really don't know the exact reason. But judging from the beautiful scenes of beautiful music, beautiful tea and beautiful women in the painting, this painting is really beautiful, which even we modern people yearn for. These beautiful women are attractive enough for people like Jiang who have experienced war and unpredictable political situation. 02. Journey to the West Mountain is a famous painting handed down from ancient times by celebrities ▲ Journey to the West Mountain by Fan Kuan in Song Dynasty is 206.3 cm long and 103.3 cm wide. A Journey to the Western Hills by the National Palace Museum in Taipei is the work of Fan Kuan, a painter of the Northern Song Dynasty in China. This painting is the only original handed down from ancient times, and it is also a treasure of the National Palace Museum in Taipei. This work is exquisitely composed of light colors. All the mountains, rivers and rocks can be carefully outlined, showing a three-dimensional sense of space, which is cherished by collectors of all ages. Jiang, who loves painting, naturally cannot miss such a good product. There are many traces in this painting. Among them, the seal and color of Fangxi, the treasure of imperial books, have obvious characteristics of the Song Dynasty, indicating that this painting was collected in the Northern Song Dynasty Palace. With the nomads from the south and the demise of the Northern Song Dynasty, a large number of treasures in the palace began to spread among the people, including The Journey to the West in Fan Kuan. Look at the painting carefully, and the seal that Emperor Qianlong specially used for collection is also among them. A group of business teams appeared on the mountain road, and a bay of water flowed by the roadside, which was a waterfall flowing down from the mountain. Although the proportion of figures and beasts in the painting is small, the face, costumes and props are not sloppy, and the movements are very vivid, which proves that Fan Kuan is not only skilled in rock modeling. Figures and horses can be lifelike under the extremely small size limit, so that viewers can point out the theme of the trip to the Western Hills when looking at this painting, such as the sound of water, voices and mules and horses. That's great! Fan Kuan hid his signature in the bushes in the lower right corner. This signature was not discovered by Li Lincan (then vice president of the National Palace Museum in Taipei) until1August 5, 958. Li Lincan used the tennis method, that is, dividing the picture into several small squares, and looking at them one by one, only Fan Kuan's signature was found. It is said that people who like landscape painting must be open-minded and open-minded. The Journey to the West's first impression is majestic. Giant peaks stand on the wall, almost occupying the picture. There are dense trees on the top of the mountain, waterfalls flowing down from the mountainside, and boulders at the foot of the mountain. The whole work is complicated. Towering mountains stand on the top of the mountain, and the bushes on the top of the mountain form a dense forest, which looks like a fungus and is surrounded by squire-like mountains on both sides. The building can be seen in the Woods, and a group of wolves are running between hills and rocks. As thin as a waterfall, the sound of the stream echoes in the valley, and the description of the scenery is extremely magnificent and realistic. The whole rock depicts the vigor of the rock with raindrop-like dense ink and jagged rock lines. The greatest beauty of The Journey to the West is that its still pictures have an inexplicable sense of movement, while a painting of space art has a sense of time art. Facing this painting of the ancients more than 0/000 years ago, even Gong Jiangdu, who has seen all the good paintings in the world, can't help but exclaim! 03. Early spring picture "Xanadu in Song Painting" ▲ Song Guoxi's early spring picture is vertical 158.3 cm and horizontal 108. 1 cm. The Picture of Early Spring in the National Palace Museum in Taipei is the masterpiece of Guo, a famous painter in the Northern Song Dynasty. The picture depicts the arrival of early spring in the mountains: winter goes and spring comes, the earth recovers, and there is a faint fog floating in the mountains, conveying the message of spring. The mountains in the distance are magnificent; Near the dome, the rocks are abrupt; The mountain spring pours down and flows into the valley, and the scenery of the bridge road is hidden between cliffs and trees. People living by the water and in the mountains have added infinite vitality to nature. There are trees between rocks, straight or dense, sparse or dense, with different postures. The trunk is flexible with a pen, and there are many insect branches on the tree. There are many twigs like eagle claws and crab claws on the branches. The rocks in the painting are outlined with the ink pen with cadence and thickness change of seventeen, and the painting method uses "tongue altar", which is bold and unrestrained and has the effect of dry and wet shades; Some stones have strange shapes, like grimaces, while distant mountains are "more active and powerful." The whole painting is vigorous and concise, and the brushwork is vivid and changeable. The pen and ink are clear and elegant, and the gas grid is quiet, open and vigorous. Emperor Qianlong's imperial poem: the tree is frozen and the stone leaves are around the stream, and the pavilion fairy lives upstairs. Without the embellishment of willows, steam will be seen early in the spring mountain. People who walk near the water have magnificent halls and pavilions in the deep mountains, mountains, water as companions, rare stones and trees to enjoy and magnificent halls and pavilions to live in. It's really a paradise on earth, a paradise. The early spring map echoes in subtle places, facing each other at the big opening and big closing place, which is magnificent and interesting, creating a realm of "feasible", "promising", "swimable" and "livable" for the viewer. Such beautiful scenery, of course, Jiang Gong likes it! 04. One bird and one bird map in Song Dynasty ▲ Song Huang's "One bird and one bird map in the mountains" is 97 cm in length and 53.6 cm in width. This painting is a masterpiece handed down by Huang Jucai, the son of the famous flower and bird painter Huang Quan. The scenery in the painting is dynamic and static, and it is well coordinated. Just like a partridge jumping on a rock and stretching its neck to drink a stream, it is very vivid. Another example is the sparrow flying, singing, or looking down, which is the moving side; The two clumps of weeds, Phyllostachys pubescens, Pteris pteridoptera and close-range weeds, some face to the left and some face to the right, showing a stretched posture when there is no wind, giving people a sense of calm and tranquility. On the big rock below, the woodchuck's body spans almost the whole frame from the tip of its beak to its tail. The background is a huge rocky slope with sparrows, thorns and ferns, which fills the whole picture. The center of gravity of the painting is in the middle of the frame, which forms the composition method of landscape painting in the Northern Song Dynasty close to the central axis. The layout with pattern meaning has decorative effect, which indicates that the author intends to present the Gu Zhuo and gorgeous heritage of flower-and-bird painting in Tang Dynasty. Although this composition originated from this tradition, it has entered the era when Song people paid attention to sketching. Huang Ju's paintings of mountain birds and sparrows show his more detailed and vivid observation and description, as well as his in-depth study of animal and plant ecology. Because tits are not ordinary sparrows, they have no black spots on their cheeks, and unlike sparrows, they like to live near human houses or around development zones. Therefore, it not only conforms to its natural ecology, but also has the significance of staying away from the hubbub. This part of the picture depicting the boulder slope has no horizontal stripes, and the thorns painted with ochre ink are almost boneless. The pinnate leaves of ferns, the beak and claws of partridges are all dyed with cinnabar, and their techniques are similar to the expressions of Yin and Yang in the costume patterns in Gu Kaizhi's A History of Women (346-407), which all have a quaint meaning. Painting mountain birds and mountain sparrows reveals a detailed and vivid new idea of sketch, especially the vivid mode of mountain sparrows. 05. "Double Happiness" is a realistic flower and bird with both form and spirit ▲ Song Cui Bai's "Double Happiness" is 193.7 cm high and 103.4 cm wide. The Picture of Double Happiness collected in the National Palace Museum in Taipei is a masterpiece handed down from ancient times by Cui Bai, a painter of the Northern Song Dynasty. This picture depicts two magpies warning a hare. The mountain magpie belongs to the family Corvidae and has habits in the field of health care. One flew into the air to help, and the other leaned down to sing and spread its wings to the intruder. The hare knows that this is a bird without much threat, and it doesn't need to be as nervous as when it meets a falcon (sǔn), so it stops and looks back. The strength and echo of the three forms an S-shaped rhythm. There are also branches and leaves of trees, bamboo and grass that are easily blown by the wind, which adds a lively momentum and charm. Magpie details, hare details, dried bamboo shoots details "Double Happiness Map" was originally titled "Song People Double Happiness Map". Later, because the inscription "Cui Bai Pen in Jiayou Xin Chou Period" was found on the trunk of the map, it was attributed to Cui Bai. Jia You's New Ugliness is the sixth year of Jia You's stay (106 1), and it is the mature period of Cui Bai's painting art. The pictures of Jia You's New Ugliness Year, Cui Bai's Pen and Double Happiness at the Door capture the audience with gripping plots. Whether two magpies and the mysterious rabbit under the tree are flying in the air or jumping for joy, they all show their magical powers when they meet unexpectedly in the autumn wind. Ancient oak and bamboo swaying in the wind are organically combined. The composition is open, the layout is chaotic, but the fineness is not stagnant, and the beautiful brushwork just shapes the state of different textures. The color is dark and the artistic conception is far away. It is a typical work of China's meticulous flower-and-bird painting, which pays attention to the aesthetic realm of both form and spirit. 06. The Picture of Wanhe and Song Feng is one of the three masterpieces of painting in Song Dynasty ▲ The picture of Wanhe and Song Feng in Li Tang in Song Dynasty, with a vertical 188.7 cm and a horizontal 139.8 cm. The Picture of Wanhe and Song Feng in the National Palace Museum is the work of Li Tang, a famous painter in the Song Dynasty. It's a famous landscape work by Li before crossing to the south, which is as famous as Guo's Early Spring Map and Fan Kuan's Journey to the Western Hills. There is a Songtao map of Jiangnan in the picture, overlapping alum heads; In the deep valley, the clear spring runs, and the bank of the stream is shaded by shade; Along the winding ridge, there are dense pine forests, and the "Feng"-shaped pine trees sway with the wind, as if to let the viewer feel the moist cool wind. Clouds gather in the ravine and slowly rise; There is a water mill under the mountain waterfall and a wooden bridge on the stream, leaving fireworks in this paradise. The picture shows the deep valley of Changsong, the main peak is towering, the rocks stand on the wall and the mountain springs run. Although the painter adopted the panoramic composition of landscape works in the Northern Song Dynasty, the view of framing has been narrowed. Sharp and hard rocks are displayed with a solid axe, and the magnificent landscape is well displayed with strong pen and ink, which gives people a strong visual shock, and the landscape looks particularly clear, which also makes the viewer feel immersive and turn out a different landscape atmosphere. 07. Shuangsongtu is a masterpiece handed down from generation to generation in the Yuan Dynasty ▲ The portrait of Zhenwu Shuangsongtu in the Yuan Dynasty is 180 cm in vertical direction and1/0.4cm in horizontal direction. The "Shuangsongtu" collected in the National Palace Museum in Taipei is a 49-year-old work by Zhenwu, one of the four famous painters in the Yuan Dynasty. It is the earliest painting with a model of the year number among his paintings handed down from generation to generation. In the painting, the two trees stand upright in the sky, and a winding stream gradually pushes back behind them. Several houses are located on the shore, with deep space. Although the title of this scroll is "Double Pine Map", judging from the branches of two trees, it seems to be a juniper tree painted by Wu Zhen. The tangled branches of juniper in the painting still retain the style of Li Cheng and Guo Hua Shu. The bark is represented by a long ponytail, and its brushwork is similar to that of Dong Yuan and Ju Ran. Making alum heads on the hillside is also an important feature of Dong Ju's landscape paintings. The whole work has a strong brushwork, heavy pen and ink, and a simple charm. 08. Childishness in Song Dynasty painting ▲ The baby picture of autumn court in Su Hanchen in Song Dynasty is vertical 197.5cm and horizontal108.7cm.. The Baby Picture of Autumn Pavilion in the National Palace Museum in Taipei was painted by Su Hanchen, a painter in the Northern Song Dynasty. In the courtyard where the atrium was painted, two brothers and sisters gathered around a small round stool, absorbed in the game of pushing jujube mill. Exquisite toys such as turntables, small towers and cymbals are scattered on stools and grass not far away. In the background, the bamboo-shoot-shaped Taihu Stone stands tall, surrounded by blooming hibiscus flowers and daisies. This layout not only weakens the masculinity of Taihu Stone, but also fully points out the autumn season. Gan Long wrote a poem for "A Picture of a Baby in an Autumn Court Play": The Mid-Autumn Festival in the courtyard falls to Bordeaux, picking children's dancing plays, and Danqing stops telling stories, implying that the original existence gives way to the wind. Hibiscus and daisy porcelain embroidery piers and scattered children playing jujube mill games, two younger brothers and sisters of Taihu Stone, are bamboo shoots, which are carefully depicted from the aspects of bun, eyebrows, clothing, etc., both silk dyeing and extremely rich changes. They draw clothing patterns with long and round lines, and then carefully dye the patterns on the clothes, which not only draws the softness and delicacy of the materials, but also gives the clothes a gorgeous texture. These subtle treatments make children rich and powerful. It makes people feel pity and realistic, and can be described as lifelike. We can understand why Su Hanchen's painting style is described as "fresh and vivid". 09. A model of secularization of religious themes in Lohan Tu ▲ Lohan Tu in Liu Songnian in Song Dynasty 1 17 cm, with a horizontal length of 55.8cm. Liu Songnian, one of the four famous artists in the Southern Song Dynasty, is the author of "Luohan Tu" in the National Palace Museum. He studied under Zhang Dunli, drawing figures and landscapes, but he has exquisite style, which his teacher can't reach. Since the Sui and Tang Dynasties, many painters have painted "Luohan Tu", which was more popular in the Song Dynasty. Influenced by Zen thought, Liu's "Luohan Tu" changed the image of Luohan, a guardian bodhisattva in Buddhist murals, into a secular monk wandering between mountains and rivers, which can be called a successful work of perfect combination of landscape painting and figure painting. Painting "Luohan Tu" is not for sacrifice, but for enjoyment, secularizing the religious theme, which is a great change in the history of painting in China. In front of the detailed map of Lohan's face is a dead tree that has experienced many vicissitudes. The trunk is "S" shaped from bottom to top, and the dead leaves have been picked, leaving only the uneven and chaotic tree rights. Behind is a leafy broad-leaved tree with a small tree full of fruits in the middle. In the painting, Lohan's hands are crossed, with thick eyebrows and high nose. He looks like an Indian monk. Dressed in a right-handed cassock, he leaned against a tree and meditated. He looked at the two tame deer in front of him, with a kind and gentle expression, showing secular joy. Lohan's head is accurate, although slightly larger than the whole body, but the facial features are meticulous and full of charm. Two apes in the tree are commanding and vivid, picking ripe fruits. Under the tree, a handsome and elegant young monk rolled up his sleeves to pick up the fruit dropped by one of the apes, and a deer looked up. This description full of life interest not only shows the close relationship between man and nature, but also dilutes the religious atmosphere of the works. Details of the attendant monk: the gibbon on the right side of the gibbon directly above the deer. This painting is rigorous in composition, exquisite in brushwork, vivid in image and high in artistic level. Among them, the clothes of the characters are drawn with iron wire, and the pen is the center. The face and muscles are drawn with lines and then rendered with light ink and color. Draw the outline of trees and stones with the pen in the center, and then rub them with a dry pen. The branches and leaves are dense and decent, the brushwork is bright and vigorous, the layers are clear, and the works are not flat, which is perfect. Branch details 10, Snow Beach Double-Egret Map is a vibrant winter scene ▲ Song Xue Beach Double-Egret Map is light-colored 60x38 cm. Double Herons on a Snowy Beach, collected in the National Palace Museum in Taipei, is a small scene by Ma Yuan, a painter in the Southern Song Dynasty. The branches of peach trees are winding, and the sprawling branches extend to the water. On the snowy day, a few herons are cold and quiet, and two birds are crowing on the branches. Every stream, peak, cloud and tree in the picture shows spirituality and life. Curled egrets and birds that escape from the branches and sing happily symbolize the tenacity of cold life. People who paint have a deep understanding of life, so that future generations can't help but respect the vitality of life when they see paintings. Branch details of two birds on the branch The bamboo on the cliff depicted in this painting is a small scene in winter, but it can be seen that it is the whole winter. Ma Yuan's artistic innovation is a corner of a mountain, half a tree and a branch, which embodies the implicit and compact artistic fashion in the Southern Song Dynasty, and shows his pursuit of lofty and profound beauty in the inner artistic conception of Xiao Zi. Small is broad, ethereal and far-reaching, and small is singular and simple, so there is artistic beauty in which reality and reality coexist. It can be seen that the person who likes this painting must be a person with broad vision and can see the big from the small. 1 1, Portrait of the life of elegant literati in the Song Dynasty ▲ Song Dynasty's Book In this painting, people are sitting on the couch, meditating, and writing seems to want to write. There are four things around him: piano, chess, calligraphy and painting, and food and drink. The boy is pouring wine. There is a screen behind the couch, and The Scholars is hung on the screen. The protagonist in the painting is a masterpiece of literati and elegant people, playing around with interesting things and showing a leisurely and elegant life. About the characters in the painting, it may be to remember Wang Xizhi, but it actually reflects the life of the literati in the Song Dynasty. The popular taste of "burning incense, ordering tea, painting and arranging flowers" in the Southern Song Dynasty was brewed and developed at the end of the Northern Song Dynasty. This picture shows its clue. Generally, the pictures in picture-in-picture are decorated with mountains and rivers, but this one is decorated with flowers and birds, which is quite rare. It not only reflects the scenery of waterfowl in Zhu Ting at the end of the Northern Song Dynasty, but also reflects the particularly prosperous era of flower-and-bird painting in Hui Zong. This painting was once collected by emperors such as Song Huizong, Gaozong and Gaozong in the Qing Dynasty. Emperor Gaozong of the Qing Dynasty was very interested in the characters in the paintings. He once ordered Yao to draw a similar composition, and the characters in the painting were replaced by emperor Qianlong's literati suit, which showed the emperor's desire for the life of Confucian scholars. From the political factors, it is not difficult to see that Chiang Kai-shek's calligraphy skills are profound, ups and downs are distinct, the structure is moderate, the strength is strong, and the law and discipline are rigorous, which reflects his vigorous spirit and indomitable stubborn character. If he hadn't dabbled in politics, he would have become a scholar, alas! 12, "Candle Night Tour" is a picture of Song Renmeng ▲ Song Malin's "Candle Night Tour" is 24.8 cm in vertical direction and 25.2 cm in horizontal direction. Song Malin's Candlelight Night Tour of the National Palace Museum in Taipei is the work of painter Ma Lin, which is elegant and poetic. Hazy mist, accompanied by yellow moonlight, gently descended on the world. The dark low pavilions and corridors in front of us are like begonia flowers lying in the green sand with rouge, which deeply attracts the owner's attention. He called the servant and lit the candle; Against the backdrop of candlelight, he sat contentedly in the pavilion and stared at this beautiful face. Song people love to spend time, which is amazing and enviable. Among them, Haitang, also known as the "fairy in the flower", was the most loved and crazy by Song people. Begonia aroused the enthusiasm of Song people to enjoy flowers, not only rain or shine, but also day and night. The ancients lit candles at night to enjoy youth, either peony or plum blossom; However, the only thing that can make Song people "fear flowers and sleep at night, and silver candles shine red makeup" is Haitang. The low pavilions at high altitude and the promenade at low altitude show the elegance of the garden architecture of the Song people. The fragrant fog around Liao and the looming begonia in the garden not only broke the monotony of the building, but also made people daydream about being in a fairyland. Does Chiang Kai-shek, who likes this painting, look at it and dream gracefully?