In fact, the creation of "A Thousand Miles of Rivers and Mountains" is still somewhat mysterious. It is said that its creator Wang Ximeng is only a young man aged 10 to 20. However, it disappeared without a trace after painting. The color of thousands of miles of mountains and rivers is also different from ordinary paintings. This is the pinnacle of green landscape. Many people have seen National Treasure, so they should know something about it. So, is the mountain in this painting imagined by the author himself, or is there really a mountain?
In typesetting, different parts of thousands of maps of Li Jiangshan still surprise me from time to time. How can this be a good thing? Can't do this? "Chen Danqing expressed such consternation in the first chapter of Strange Experience-Map of Millennium Li Jiangshan. This masterpiece was written by Wang Ximeng, an unknown young painter in the Northern Song Dynasty. This painting was painted by him 18 years old and died in his early twenties, just like a flash in the pan.
Tomorrow, this "Li Jiangshan Thousand Paintings", which is regarded as one of the "Top Ten Famous Paintings in China", will be exhibited at the meridian gate of the Forbidden City. Due to the use of a large number of mineral pigments in the picture scroll and the protection of the picture scroll, Thousand Li Jiangshan Maps has only been exhibited three times since the founding of New China. Its scale is no less than the "Riverside Scene at Qingming Festival" previously displayed in the Heroes Hall of the Forbidden City. Wang Ximeng and Qian Shan Wanshui left too many puzzles. This time, we invited members of the National Cultural Relics Appraisal Committee and researchers from the Palace Museum to decrypt the Qian Shan Map.
At the end of the Northern Song Dynasty, the picture of a thousand miles of mountains and rivers by Wang Ximeng, a gifted scholar, was the longest scroll in the Song Dynasty. This picture is made of silk. Length 5 1.5cm, width1191.5cm. There is no author's name in the photo. Cai Jing said in the postscript at the end of the book that the author of this painting is Simon. This painting was recorded by Gan Long in Historical Records. 1922, Puyi stole something from the palace in the name of rewarding Pu Jie. After the victory of the Anti-Japanese War, the map disappeared. It appeared in the cultural relics market in Beijing in the early days of liberation and was bought by antique dealers. It was handed over to the Cultural Relics Administration of the Ministry of Culture, and 1953 was handed over to the Palace Museum.
Where is the Thousand Li Jiangshan Map?
Where is the Thousand Li Jiangshan Map? Any clues about its name? This volume is a realistic landscape painting without conceptual elements. According to Wang Ximeng's short life experience and the traffic conditions at that time, he didn't have time to visit many famous mountains and rivers, so he could only summarize and extract several national victories.
The mountains and ridges in the photo stand on the banks of rivers, lakes and swamps. In the area controlled by the Northern Song Dynasty, only Lushan Mountain near Poyang Lake has this feature. This photo shows the open water with dense aquatic plants nearby and the vast mist in the distance. It looks like a narrow swamp lake, which is very similar to the wetlands and swamps in Poyang Lake area. Bamboo forest, camphor tree, osmanthus tree and other plants and bamboo products such as bamboo fences, bamboo leaves, coconut shells and hats. The labor scenes in the painting, such as punting boats with bamboo poles and digging river mud, are obviously water towns in the south of the Yangtze River. This charming landscape painting and the scenery overlooking the mountains on the lake inspired the painter. Most of the modeling elements of the mountains and Shui Bo in the painting come from the observation of Lushan Mountain by Poyang Lake Gulfstream.
There are special local sacrificial places and ships in the painting.
At the foot of the mountain in the middle of the picture scroll, a tile-roofed courtyard surrounded by bamboo fences is a place where literati live in seclusion. There are some people sitting in the front yard. There is a tall dome hut in the backyard. There is a shaft hanging in the thatched cottage. It stands in the most important place in the yard. This must be the place of pilgrimage. Zhou Wuwang's seven Guangyu brothers practiced building houses together in the mountains. Later, they all became immortals, leaving only a hermit with a value of 0. Later, they called Kuang Yu's seclusion place Lushan Mountain, also called Kuangshan Mountain. Later, Emperor Wu of the Han Dynasty named Kuang Yin the Lushan Mountain God. When Chen 1072, a poet of the Northern Song Dynasty, visited Lushan Mountain, he wrote: "There is Kuangjun Temple in the west of Tongyin Bridge." The courtyard in this painting is suspected to be Kuangjun Temple. If there is a wooden bridge nearby, is it "Tongyin Bridge"? The dome in the painting can't be a relic of Shi Kuang, but it should be a form of paying tribute to him by later generations. On one side of another temple dedicated to polytheists, there is also a dome, but Kuang Shen took a back seat. These parts show that the scenes depicted on the map have the characteristics of the landmark buildings of Lushan Mountain at that time.
There are many kinds of ships in the photo, mainly passenger ships and grain ships. A strange bipedal boat is also sailing in the lake. It uses the physical principle of power rolling transmission, just like a treadmill, and keeps digging water. It is said that this kind of ship first appeared in the Eastern Jin Dynasty. In A.D. 13 1 year, peasant soldiers Zhong Xiang and Yang Mo near Dongting Lake invented a large vehicle and boat by using captured Song craftsmen. They used pedals to increase the speed of the ship in response to the pursuit of the government water army. Its principle is the pedal catamaran depicted in the painting, such as the Chronicle of Song Zhongxing: the owner of the ship can move back and forth by putting people on the front and rear pedals. "In the Tang Dynasty, the origin and use of clippers were mainly in lakes in the middle reaches of the Yangtze River.
The most prominent in this painting are the double waterfalls and the four waterfalls. The four waterfalls are rare natural landscapes. They appear at the same time as the double waterfalls, which is very unique. This natural landscape can only be seen in Jiuli Lake, a tourist resort of Xianyou in Tang and Song Dynasties. Artists can get in close contact with the waterfalls with strong regional characteristics and integrate the magnificent scenery of the triple waterfalls in Lushan Mountain into the picture.
Thousand Li Jiangshan Map has the richest architectural style. Teacher Fu Xinian made a thorough and detailed study on the types, structures and uses of various buildings on the map, and confirmed that they have the characteristics of Jiangnan or Jiangsu and Zhejiang. The only bridge in the Northern Song Dynasty is Changmu Bridge. In order to shelter from the wind and rain, a street corridor was built in the middle of the bridge The upper and lower floors are crowded with passers-by. Cross-shaped buildings were very popular in the Tang and Song Dynasties. Teacher Fu Xinian, academician of China Academy of Engineering and director of the National Cultural Relics Appraisal Committee, wrote in Architecture of Wang Ximeng in Northern Song Dynasty that the prototype of this long bridge was probably taken from the long bridge in Wujiang, Jiangsu. Built in the Northern Song Dynasty in the eighth year of Li Qing. It was originally a wooden bridge. Su Shi once said: "The bridge is long, the bridge is long, and the waves are big." This bridge was changed into a stone bridge in the Yuan Dynasty, with a total length of 230 meters.
Therefore, "Thousand Li Jiangshan Map" is not a schematic diagram of Lushan Mountain. It takes Lushan Mountain and Poyang Lake as the main scenes, including scenes of other areas visited by painters. This provides us with an opportunity to study the "world" he saw. Geographically, the southernmost scenery in Thousand Li Jiangshan Map is Fujian Xianyou Double Waterfalls and Four Waterfalls along the southeast coast of Fujian, followed by Lushan Mountain and Poyang Lake in the northwest of Jiangxi. And photographed the outline of Lushan and Poyang Lake wetlands, lake boats and houses. In Wu Jun, Suzhou Dragon Bridge was filmed. On the way to the north, the oil tankers and passenger ships we saw were included in the picture.
Wang Ximeng's understanding of the history of painting comes from the postscript of Cai Jing, then the left and right minister, in the later volume "A Thousand Pictures of Li Jiangshan": "The first day of April was a political leap, which lasted for three years. Simon 18 years old, used to be a painter. He was called into the banned China Library. There are not many paintings on display. Knowing its nature can be taught, he teaches it and gives it in his own way. No more than half a year old, according to this number. I was able to reach the top of Jia family because I gave it to my minister, Beijing. It is said that people all over the world are doing this. " It can be seen that Simon 18 years old when Cai Jing wrote the inscription, that is, Wang Ximeng was born in Zhezong for three years. The most direct message of this postscript is that Simon is studying painting in Kaifeng. After graduation, he went to Wenshu Xiaoguo and became a small official. Later, under the guidance of Hui Zong, from112 to 1 1 13, he was given a book "A Thousand Li Jiangshan Maps". In the early Qing Dynasty, the collector's Poem on Painting said that his surname was Wang. After painting this painting, he died in his early twenties.
At the beginning of Hui Zong's reign, he called world-famous painters to see the Five Mountains. Hundreds of candidates took the exam. Most candidates are dissatisfied with Hui Zong. /kloc-in 0/04, Song Huizong established China painting, which was the only royal painting school in the history of China and lasted only 23 years. According to the report, the number of students is "30".
There is little information about painting, which can be supplemented by imperial academy in the Northern Song Dynasty. If you enter Imperial College, you must have the recommendation of a quality officer, and so does the enrollment of Imperial College. It takes about three years to complete all kinds of exams in imperial academy, so the educational system in imperial academy will not surpass that in imperial academy. Three years later, 1 107, the first batch of students graduated. Wang Ximeng started painting when he was about 13 years old. According to the admission regulations, Wang Ximeng entered the studio in advance with the help of an officer. Students who study painting enjoy accommodation, stationery and painting tools provided by the government at school, but the children of Liu and Zha Liu live separately.
First of all, painting, like business school, belongs to the Royal College, but it is one level lower than business school. In the room built by imperial academy, calligraphy and painting are combined. The status of the Royal College is unique. Go out from Xuande Gate in Yujie Street, cross Zhuquemen in the south, and cross Jinlong Bridge on Caihe River. To the south of the bridge is the Royal College, where there is painting research, not far from Imperial College, Hiran Hospital and downtown areas in the south of the city.
Wang Ximeng and his disciples studied "Painting: Buddhism and Taoism, figures, mountains and rivers, birds and animals, flowers and trees". Painting attaches great importance to improving students' comprehensive cultural quality. The cultural course of "scholar flow" and "miscellaneous flow" is different. Common cultural classes include Yi, Shangshu, Chunqiu Biography, Gu Liang Biography, Zhuangzi and Liezi. His painting test requirements are the same. Song Yao Gao Ji Rusang said: "Examination of paintings and similar things is not based on imitation of predecessors, but on the natural form and high-quality words of things." Painters must also pass the exam to enter the Hanlin Painting Academy. Huizong personally wrote the topic of recruiting talents and scholars, and often asked students to take poetry as the topic as far as possible, abandoning the dull and vivid artistic conception of painting, so as to promote court painters to improve their literary accomplishment and create in the artistic style of painting. According to the records of Deng Chun in the Southern Song Dynasty, a volume of painting quotations is titled "Bamboo Lock Bridge Selling Restaurants", and mediocre people only paint spires or cormorants, even hotels, with no hidden meaning. Only Li Tang "painted on barren hills and used banners and poles to express hidden meanings". Li Tang later became the leader of the "Four Masters of Southern Song Dynasty".
1 10 years, Wang Ximeng, after about three years of study, was afraid that he had failed the entrance examination of Hanlin Painting Academy and was called into the forbidden library, which is the central warehouse of tax files. Ku Wen Shu is located at the Golden Kiln Gate outside Kaifeng. From 65438 to 0995, Song Taizong tried to establish a strict tax declaration system. The central government, Du Zhi Salt and Iron Bureau, Hubei Salt and Iron Bureau and local governments were ordered to set up shelves to store tax files. Local archives should be sent to the archives room of the Central Finance and Taxation Bureau of the Northern Song Dynasty. They have been stored for 10 years and cannot be stacked. Therefore, in 1005, Shinjuku set up a special warehouse to manage these tax files, that is, ku, and Jaegeku sent the files that had been completed for five years to Wen Shu for archiving. Wang Ximeng works in this administrative organization that has nothing to do with painting. His job is to register the documents handed over by three financial personnel. Like the basic shopkeeper, he will "make long rolls of paper and write them down in actual order" and "write accounts". He will sign and seal without any damage or loss. The year of "The Country" not only objectively laid the foundation for Wang Ximeng to create large-scale picture scrolls in the future, but also wasted almost all his previous painting experience.
Did Song Huizong personally teach Wang Ximeng?
Song Taizu has established a children's department. In order to adapt to the development of literature and political education from generation to generation, it is very popular to train children to learn. Hui Zong is a very popular child prodigy. From Injong to Hui Zong, there were 20 gifted scholars from Jinshi. Simon Wang is just the kind of new painting that Hui Zong wants. His appearance was influenced by the social custom of attaching importance to prodigies in Song Dynasty. Wang Ximeng was most likely recommended by Cai Jing and presented his works to Hui Zong many times. Hui Zong was not very satisfied with his painting skills, but he found that he still had artistic talent and was worth teaching, so he taught himself to paint.
This is not the only reason why Huizong treats himself well. The material used by Wang Ximeng to draw the Millennium map of Li Jiangshan is palace silk. This must have been donated by Hui Zong to Wang Ximeng and Guangming Mineral Pigment. At the same time, many court painters and alternate painters were presented by the emperor. In the years around 1 1 12, many colorful figures and flowers and birds were painted, such as Hui Zong's "Ruihetu" volume and the anonymous "Qin Ting Tu" axis. It can be inferred that during this period, Hui Zong hoped to promote the application of color in court painting.
Has a generation of talented teenagers dried up?
Wang Ximeng completed the 1000 maps of Li Jiangshan in less than half a year. Obviously, he is on his way to work. Is it an unusual day for Zheng He to present such a huge and exquisite work in the first three years? After receiving this book, Hui Di seemed very satisfied and gave it to Cai Jing on April 1.
If Simon really died early, it was probably because he was in a hurry to go to work. The area of "thousands of maps of Li Jiangshan" is equivalent to more than 60 square meters. According to the experience of contemporary meticulous painters and the lighting conditions at that time, it will take at least half a year, let alone the Northern Song Dynasty. The young man has too much physical strength and energy, which urges him to work so hard, mainly because he wants Hui Zong's approval to leave the library as soon as possible and enter the Hanlin Painting Academy.
Wang Ximeng is a practitioner of Song Huizong's "Feng Heng Yuda" painting aesthetics. "Feng Heng" and "Yuda" originated in the year of Zhouyi: that is to say, "kings" can make use of human wealth and peace to do something. Cai Jing misunderstood this meaning, persuaded Xu Huixin to enjoy the wealth on earth, and built a series of palaces such as Tang Ming, Yanfu, Longde Palace and Genyue. Catering to the great wish of Huizhou emperor. After the completion of these luxurious palaces, the paintings and decorative walls of the inner halls of the palaces must be in harmony with the palace architecture of "Feng Heng Yuda": the walls must have gorgeous screen paintings, murals and axes, the techniques must be realistic, exquisite, delicate, gorgeous and luxurious, and the pictures must be "big and complete".
On the Continuation of Water, compiled by Xuan He Hua Pu, made a clear statement on the landscape painting form of Feng Heng Yu Dafu: "Yue Zhen, negative morality, as for the manifestation of divinity, Yin and Yang are thousands of miles apart, and you can get a stone." This is an impossible vertical panoramic landscape painting. Feng Heng Yuda's aesthetic view matches the landscape composition, that is, his vision is broad, continuous and broad. He compiled his royal works and a large number of works of Hanlin Painting Academy into Xuan He Rui Lan, 15, 15000 pages. These are completely in line with the political function of painting advocated by Huizong, "whitewashing the world and enlightening the world, which is why the audience has eyes, harmony and harmony." They are also the concrete embodiment of Feng Heng's and Yu Dafu's aesthetic views. 1 10 years ago, Hui Zong completed "Snow River to the gallows", which horizontally showed the snow scene in the northern countries. Inspired by this character, Wang Ximeng continued to lay out the composition. He further improved and broadened his horizons.
All kinds of "Feng Heng Yuda" construction projects which consumed manpower and financial resources accelerated the demise of the Northern Song Dynasty, but its aesthetic consciousness established a new painting aesthetics in the court in the late Northern Song Dynasty, leaving a batch of cultural wealth. Using turquoise as landscape painting is a very important artistic breakthrough in Huizhou court painting. In a sense, Emperor Hui Ximeng's "Jiao" painting "Thousand Miles of Mountains" advocated green landscape painting, especially created the painting language of green landscape painting, embodied the concept of "Feng Heng Yuda", and used color in landscape painting to form a complete aesthetic system. It seems that Song Huizong Wang Ximeng was chosen to achieve this artistic breakthrough. Apart from basic painting training, Wang Ximeng is almost a blank sheet of paper. It is extremely easy to understand and realize the intention of Huizhou emperor. He dared to use azurite in large quantities and lived in harmony with azurite, which was very rare in the past. I believe this is his view of mountains: green hills, green in the vicinity and green in the distance. The reason is that the thickness of the air has changed the natural color of the distant mountains. The painter inherited the previous methods of using colors and summarized and refined the two colors of green.
What is the painting significance of Meng Haoran's "Thousand Li Jiangshan Maps"?
Hui Zong likes to use Tang poetry as the proposition of ministers, and Wang Ximeng is no exception. Judging from the overall momentum and many details of "Thousand Li Jiangshan Map", Meng Haoran's five-character landscape poem "Wangli Penghu Lushan Mountain" is the most picturesque with "Thousand Li Jiangshan Map".
Poyang Lake was called Lake in ancient times, and Meng recorded here: "If there are few bright moons, then the boat will know the wind." . Hang it on the mat and wait for the light to come out. The lake overflowed. Look at the middle-class madman and press Jiujiang Gong. It's dark and bright, when the dawn is equal to 0. On the first day of the incense burner, water poured into Chen Hong from the waterfall. For a long time, I wanted to catch up. Besides, I'm thinking about you. I'm just here to serve. I have no time to rest. Huaihai Road is abandoned halfway, and the star frost will be broken. "If you send messages to people who live on rocks, Biqu should go with you. '
This was done by Meng Haoran when he was in the shogunate of Zhang Jiuling. At that time, I went to Yangzhou on business in 736 and passed by Poyang Lake. The painter did not simply describe Meng's poems. In the "space" in the painting, he shows the "outstanding" bearing of "seeing a madman in the middle stream and overwhelming Jiujiang Xiong". He also wrote a poem "Pinghu Willow" by Poyang Lake under the Wind of the Day. Pinghu has formed a sharp morphological contrast, showing the painter's view of "Kuangfu" based on the lake, which is very poetic. This poem was written from the "halo of the moon" at night to "the sky at dawn" and "the incense burner on the first day". Meng's poems are colorful: "The color of darkness is dark, and many things make heaven." The painter tried his best to show the bright and warm sky. The chromatography of green landscape is most suitable for infection with "auspicious color". Blue is enough to dye towering peaks "dark" and "prominent". The sky was lightly dyed to 0 by green flowers, and the sky curled at the edge of 0, revealing warm yellow silk, just like the first ray of light at dawn. The time depicted in this painting is extremely subtle. The morning rain falls and the incense burner rises. The rain flowed into the stream, which accelerated the operation of the waterwheel. Waterfalls pour into C.
The increasingly developed commercial economy in Song Dynasty accelerated the pace of people's life and formed the atmosphere of getting up early and leaving early. The people in the picture are busy in the early morning. Just like the poem says, "Sit on the floor and wait for the light", some boats have raised their sails on the ground, some children are cleaning the yard, some passengers are driving to catch the boat, some woodcutter is getting off the market, some caravans are going up the mountain, and so on. Early risers take different leisure ways: talking with guests in pavilions, wandering in bridge pavilions, sitting alone in vegetarian restaurants and watching waterfalls with friends. The poet envied the rough life of senior officials in Lushan: "You should be interested in coming here if you send a message." He also revered Yi Yuan, a hermit businessman in the Eastern Han Dynasty and a monk in the Eastern Jin Dynasty, who lived here: "If you want to pursue children for a long time, you must cherish the public."
From Wang Ximeng's Thousand Pictures of Li Jiangshan, we can see the characteristics of court painting education in the late Northern Song Dynasty. On the one hand, it emphasizes "quickness" and "timeliness" to cultivate students' ability to operate painting tools in practice, so as to improve students' control level of large long scrolls and meet the needs of wall decoration in court halls. On the other hand, it should reflect the creativity, poetry and aesthetic feeling of the painter, so as to enter Hui Zong's "Feng Heng Yuda" painting aesthetics. After all, The Millennium Map of Li Jiangshan is the first work of a boy of seventeen or eighteen. After him, almost no green landscape painting has reached such extraordinary tolerance and height.