For painters of different dynasties, due to the aesthetic and technical limitations at that time, the portraits painted by empresses of one dynasty are basically the same in scenery and composition. If you cover your face, you may not know who is who.
There are many portraits of empress concubines handed down from ancient times, but at first glance, they seem to have seen "online red face" and can't tell who is who. Why is there such an illusion?
For painters of different dynasties, due to the aesthetic and technical limitations at that time, the portraits painted by empresses of one dynasty are basically the same in scenery and composition. If you cover your face, you may not know who is who.
There is a Nanxun Hall in the southwest corner of the Forbidden City, which is basically symmetrical with the cabinet and guards in the east of the palace. Nanxun Guild Hall is the only building called Guild Hall here.
Nanxun Pavilion in Qing Dynasty specializes in collecting figures of past dynasties, mainly emperors. These ancient sages, emperors, queens, heroes and celebrities are all stored in the inner museum of the Ming Dynasty. Emperor Qianlong of the Qing Dynasty specially decorated it and moved it to Nanxun Hall. The portrait of Ming Taizu was originally hidden in the Ministry of Industry, and it was also hidden in the Westinghouse of Nanxun Hall during the Qianlong period.
There is a large collection of portraits here, including most emperors from Han to Tang, all emperors and queens after Song, sages including Confucius, Han Yu and Zhu, famous ministers including Zhuge Liang, and literati including Li Bai and Du Fu.
From the paintings of Nanxun Pavilion, we can see many portraits of queens after the Song Dynasty. We also learned how to elegantly draw the portrait of the queen in the palace of the Song Dynasty.
The National Palace Museum in Taipei collects portraits of Queen Song Renzong.
Let's take a look at this famous statue of Queen Song Renzong in Song Dynasty. The Five Dynasties and the Song Dynasty first advocated thin fashion. In this respect, the portrait of Empress Cao Renzong in the Song Dynasty provides a good model for future generations. Palace painting in Song Dynasty is famous for its authenticity and exquisiteness. This portrait of Empress Injong is dominated by the empress, and the two maids are separated from each other, forming a master-slave relationship. Judging from the overall posture, all three women in the photo are very thin, especially the queen. She seems to exaggerate her overall image, showing an obvious relationship between master and servant, with little maids on both sides.
All three women's dresses adopt straight collars to highlight the length of the neck. Coupled with the waist effect of the belt and the natural drooping of the clothes, the characters look slim and full of vitality, expensive without losing the royal style. Empresses and ladies-in-waiting all over the world are selected from thousands of people, representing the ultimate beauty of mankind in that era. The "thin beauty" shown in the photos should be the aesthetic standard of that era.
So, what you see is painting. In fact, behind this is the aesthetics of that era. To paint a queen, she must be the representative of the world's aesthetics and the most beautiful and noble woman in the world. This beauty is not necessarily the beauty of the face, but the overall impression.
The most striking thing is that their heads are covered with flowers. As long as women in the Song Dynasty have some financial resources and status, they will wear various crowns and tie a bun on their heads. There are many styles of crowns in the Song Dynasty, some are extremely exaggerated, and some are even as high as two or three feet. Wearing a crown is not enough. Besides flowers, moths and snow willows are also very popular. So when you draw, you must draw a clear crown map. The more luxurious and complicated this painting is, the more noble the queen is.
The National Palace Museum in Taipei collects portraits of Queen Yuan Shizu.
Looking at the portraits of the Yuan Dynasty, there are many ethnic colors. Queen Yuan Shizu is like the beginning of the album "Bust of the Yuan Dynasty" of the National Palace Museum in Taipei. Today's mounting form should be the result of self-assembly during the Qianlong period of the Qing Dynasty.
The oboe of Queen Yuan Shizu in the painting was later named Chabihong Jiji, and officially named Queen Shunsheng of Zhao Rui. The outstanding feature of the portraits of Empress Dowager Cixi in Yuan Dynasty is the portrait of the chest, while the portraits of Empress Dowager Cixi in other dynasties are all complete portraits of the human body, which may be due to the differences in the aesthetic quality of Mongolians. The face of the portrait has been carefully baked and dyed, while the third element has been rubbed and dyed, showing subtle colors. Some researchers believe that this superb dyeing technique may be related to Anika, a painter from southwest China, especially Nepalese. According to records, a portrait of Queen Heguan was painted. Although it is not certain whether it is this painting, there is no doubt that their style originated here.
In the statue of Queen Yuan Shizu, the Queen's hat is very conspicuous, accounting for almost half of the picture. This hat is called "Crown". The origin of the original name "Coucoureux" is rarely recorded. In the Yuan Dynasty, Qiu Chuji thought that there was a cluster of bird feathers on the top of "Tuanzi", so he put forward the sound of "Tuanzi". Jurchen also called this beast "cow", thus inferring "cow" and "taking beast" in Yuan Dynasty.
As for the structure of the staggered crown, it is divided into two parts: the upper part is a long tube with a slightly wider top, made of birch, willow branches or iron wire, and then wrapped with velvet, brocade, silk and so on. Outside the fetal skeleton. The crown is decorated with rare bird feathers, such as jade beads or golden cocks, and the front center of the damaged part of the crown is usually inlaid with dazzling pearls and green. The lower part is the scratch on the forehead, which is very delicate in this painting.
In addition, the queen's "straight eyebrows" are also very distinctive. Don't underestimate this detail. This eyebrow shape is not only slender, but also flat. It has been circulated for a long time in the Yuan Dynasty, and it is a unique ornament for Mongolian women. The usual practice is to shave off the natural eyebrows first, and then draw a slender "straight eyebrow".
As for the clothing style of Mongolian aristocratic women, it is obviously influenced by the clothing of Han women. In this portrait, the queen's clothes are bright red, which is the most expensive in Yuan Dynasty. The color of clothes also symbolizes different social classes. The most outstanding class wears red and purple clothes, the middle class wears cyan and green clothes, and ordinary people are only allowed to wear dark brown clothes.
Therefore, for the portrait of the Yuan Empress, we must understand the specific structure of the "staggered crown" with Mongolian national characteristics, and we should not draw a pole foolishly. I also know the popular eyebrow shape at that time, and what color clothes the nobles wore at that time.
Empress Ren Xiaowen of Ming Dynasty in the Palace Museum.
Nanxun Temple also has many busts of Ming Empress, which are divided into two volumes. The first volume *** 10 shows Emperor Taizong and Empress Xiaoci, Emperor Taizong and Empress Ren Xiaowen, Injong and Empress Injong, Emperor Xuanzong and Empress Xuanzong of Tang Dynasty, Emperor Yingzong and Empress Yingzong, the present, filial piety and self.
She was the princess of Ren Xiaowen Judy when she was emperor, and the eldest daughter of founding heroes Sun Yat-sen and Xu Sen. Judy became queen after being declared emperor. He has a noble character. Yongle died of illness in five years and was demoted to Queen Ren Xiaowen. After that, Judy no longer awarded the title of queen.
Compared with the portrait of the emperor, the portrait of the queen has more beautification factors, beautiful appearance, dignified manners and stylized style. However, the clothes on the crown are still realistic and can understand the crown system at that time.
That's right. Only by understanding the royal service system at that time can we know why the queen painted what kind of clothes.
Empresses of the Ming Dynasty wore formal clothes and official uniforms when accepting books, visiting temples and parties. This crown is decorated with jade. There are four phoenixes, twelve big flowers and twelve small flowers in Kowloon. The two temples are decorated with twelve cymbals. Later, people decided to put a big bead in Longkou, cover the crown with a layer of green skin and hang a bead knot on the crown. The crown is inlaid with 40 pearls, Lv Yun and countless beads, and the temple is decorated with golden dragons and Cui Yun.
There are two kinds of clothes, one is cotton-padded jacket and the other is lent clothes. Shenfu is dark blue, quick painting, quick red and five colors; A collar with red ribs at the cuffs; Large belts and clothes are decorated in the same color; Green socks and horses. Zhai Yi is dark blue with Zhai Yi patterns and small round flowers. The collar, cuffs and hem are all decorated in red. With jade belts, ribbons and Yu Pei clothes. The uniforms of the Empress of the Ming Dynasty are very elegant, including crested rockhopper, Xiaguan and jade belt. All these should be carefully reflected in paintings, including embroidery on clothes, which should conform to the prominent position of all parties.
On the other hand, the entry of western missionaries made China's paintings more realistic and reflected in people's faces. Compared with the previous dynasty, later generations can see the face of the queen more clearly and have a general imagination of the appearance of the characters.
There is a portrait of sourdrang queen in the Qing Dynasty in the Palace Museum.
In the Qing dynasty, the perspective of western painting became more obvious. During the Ming and Qing Dynasties, the introduction of western art had a positive significance for the development of China art. The shading method and focus perspective enriched the expression of Chinese painting, and later Chinese painting also absorbed some factors of western painting to varying degrees. However, due to being imprisoned in the Forbidden City, it failed to have a wide influence in China painting circles.
In the photo, Empress Xiaozhuangwen sat on the throne in gorgeous costumes, solemn and solemn. The face absorbs western painting skills and has a strong three-dimensional effect. Phoenix chairs and carpets have not yet adopted focus perspective. The brushwork is exquisite and the color is much richer than that of previous dynasties.
Lao Xiaozhuang wears beautiful clothes and sits in the phoenix chair. She looks solemn and dignified, and she can vaguely see the dignity and beauty of her youth.
Empresses and concubines in the Qing Dynasty dressed in strict accordance with the hierarchical system. The clothes they wear are bulky, and at the same time, they can better reflect many old customs of Manchu costumes. Take the Empress costume as an example, including Chao Guan, Chao Fu and Chao Hang.
The Queen's crown is decorated with three layers of golden phoenix at the top of the center, and there are seven golden halls in golden phoenix and Zhu Wei. The golden village in the back is decorated with beads hanging on the back of the head.
There are obvious differences between the queen's robe and the emperor's robe: the robe is ribbed at the shoulder, the leader is azurite, the twelve chapters are unadorned, and the distribution of decorative dragon patterns is different.
The imperial robe is a dress worn by the queen and aristocratic women in ceremonial occasions such as ceremonies and sacrifices. The gowns of empresses in Qing Dynasty can be roughly divided into three types: the gowns of Empress Dowager, Empress and Imperial concubine have five-claw golden dragon patterns, while the gowns of Imperial concubine, Imperial concubine and Imperial concubine have five-claw python patterns. Prince Jin's dress has only one style, decorated with python skin.
Empress Dowager Cixi and Empress Dowager Cixi have the same clothes. The clothes of the imperial concubine are slightly inferior. The robes below the imperial concubine are all golden yellow, and other ornaments are downgraded.
During the Qianlong period, due to the contribution of foreign painters such as Lang Shining, the portrait of the Queen had a complete set of standards.
The Qing Palace Museum collects filial piety and New Year Queens.
When it comes to Queen Qianlong, we have to mention this filial queen. Focha, the filial queen, was the concubine of Emperor Qianlong. In the second year of Qianlong, she was made a queen and was favored by Qianlong. This painting was painted at the beginning of Qianlong's inheritance. The painter grasped Focha's identity, temperament and image characteristics, and described him in detail, showing Focha's mother's elegant, beautiful, dignified and confident spiritual temperament.
The most obvious feature of this work is that the author makes full use of the focusing perspective principle and technical principle of western painting to paint, so that the texture, decoration and perspective depth of the objects in the picture are vividly expressed. For example, sitting on the throne, carpets, sleeves and robes all have strong empty inspiration, while the shawls, cuffs and black fluff on the edge of robes have strong wool texture, and the silk texture and ribbons of robes are also full. Espe
At the same time, portraits are also processed according to the aesthetic habits of China people and the concept of oriental painting. If the front image processing is adopted, the behavior of having to describe the shadow part of the picture due to light and shadow is skillfully avoided, and the front illumination image processing is also in line with the aesthetic psychology of Chinese people. "The Statue of Queen Gan" should be regarded as one of the most successful precedents for the transformation of western painting since China first came into contact with it.
This portrait is also very unique in layout and color. Basically, the hue is yellow, and the yellow robe, throne, carpet and yellow silk basically support the whole picture, because the basic color is empty. Red is second, black and green are slightly embellished, and the picture will not be too simple because of the single tone. The red pattern of the carpet, the red hat and beads, the yellow background, the green throne, the black edge of the black shawl, the black edge of the cufflinks, the brim of the hat and the robe all play the role of enclosing, decorating and unifying the picture from different angles, so that the picture is rich in color without confusion, and does not show the feeling of being forced by the cold, thus obtaining a bright, beautiful, fresh, neat and gorgeous picture effect.
Judging from the portraits of the emperor's royal robes in Qianlong period, most of these portraits have no artists' names. The reason is that the palace is full of portraits of emperors or queens, and worshipping painters is a very humble job. In order to show respect for the emperor and queen, painters usually can't sign these royal dresses.
However, judging from its various forms, styles, techniques and Qianlong's appreciation of Lang Shining's portrait, most of the portraits of emperors and queens in the early years of Qianlong were created by Lang Shining. These portraits have some remarkable characteristics: the author is familiar with the anatomical structure, the proportion of the five senses to the characters is accurate, the faces of the characters are slightly brighter and darker, and the front light source is always used without projection. The western highlight method keeps simple and light, and the facial description is positive, clear and soft; Bright and harmonious colors show that it has the basis of color difference; The description of facial skin and clothing fabrics shows a strong sense of texture and physics; In addition to being very realistic, the painting methods of props, thrones and carpets are also more obvious than the previous one.
Interestingly, Gan Long asked Lang Shining to draw a portrait of his queens, and the final result was basically similar to that of the queens, but their facial details were different. I'm afraid this is also a helpless move. After all, where there are women, there are comparisons.
After the emperor ascended the throne, the concubines "wrote a plan with peace of mind."
It can be seen that how to draw the queen in the palace is not only an art, but also a science!