Zhang Zeduan was born in Wu Dong (now Zhucheng). He studied in Bianjing in his early years, then studied painting, and worked in Hanlin Painting Academy during the reign of Song Huizong Evonne (11-1124). Chinese painting uses a marker and ruler to draw lines, which is used to express themes such as palaces, terraces and houses, especially boats, cars, shops, bridges, streets and battlements. His paintings are unique and unique. Most of Zhang Zeduan's paintings are scattered, and only The Riverside Scene at Qingming Festival is well preserved. This painting is 25.5 cm high and 525 cm long. This painting depicts the prosperity of Bianjing in the Qingming period. It is a witness to the prosperity of Bianjing in that year and a portrayal of the economic situation of the city in the Northern Song Dynasty. Through this painting, we learned about the city appearance of the Northern Song Dynasty and the life of people from all walks of life at that time. In a word, The Riverside Scene at Qingming Festival is of great historical value.
During the Northern Song Dynasty, Bianjing was extremely prosperous, with four rivers passing through the city and four land routes. It used to be the national land and water transportation center, ranking first in the country in commercial development, with a population of more than 654.38+0 million. There are many lively markets, shops and even night markets in Bianjing City. On holidays, the capital is even more lively. In order to show the prosperity of Beijing, Zhang Zeduan chose the scene of Qingming, an important festival, and gave 59 performances. The Riverside Scene at Qingming Festival shows the land and water transportation and busy market in the capital of Northern Song Dynasty.
The center of the Riverside Map on Qingming Festival consists of a rainbow-shaped bridge and the street surface of Qiaotou Street. At first glance, crowded and chaotic; A closer look shows that these people are from different industries and engage in various activities. There are some vendors and many tourists on the west side of the bridge. There are knives, scissors and groceries on the stall. There are tea sellers and fortune tellers. Many tourists lean against the railings by the bridge, or point at them, or watch the ships coming and going in the river. On the sidewalk in the middle of the bridge, there are bustling people; There are people who ride cars, ride horses, carry loads, drive donkeys, transport goods and push unicycles ... The south side of the bridge is connected with the street. On both sides of the street are teahouses, pubs, pawn shops and workshops. There are many vendors with big umbrellas in the open spaces on both sides of the street. The street extends eastward and westward to the quiet suburb outside the city, but there are still pedestrians on the street: some are carrying goods, some are driving ox carts to deliver goods, some are driving donkeys to pull trucks, and some stop to watch the scenery of Bianhe River.
There are many boats coming and going on the Bian River, which can be described as a race in Qian Fan. Some are parked near the dock, and some are driving in the river. Some big ships were overloaded, and the owners hired many trackers to tow them. A big ship carrying goods has passed under the bridge and will soon cross bridge opening. At this time, the boatman on this big ship is very busy. Some people stood at the top of the canopy and put down their sails; Some people are struggling to support the pole by the boat; Some people hold the ceiling of bridge opening with long poles, so that the boat can pass safely with the water. This tense scene attracted the attention of tourists on the bridge and nearby boatmen, who stood by and cheered. The Riverside Scene at Qingming Festival vividly depicts the busy and tense traffic scene on the Bianhe River, adding more vitality to the painting.
Zhang Zeduan has a high artistic generalization, which makes The Riverside Scene at Qingming Festival reach a high artistic level. The Riverside Scene at Qingming Festival is unprecedented in its rich content, numerous characters and grand scale. The picture of Riverside Scene on Qingming Festival is dense and orderly, from quiet suburbs to bustling city streets, attracting people everywhere.
Before the Northern Song Dynasty, China's figure painting was dominated by religion and aristocratic life. Although Zhang Zeduan worked in the Hanlin Painting Academy, his works were all called "courtyard paintings" or "courtyard paintings", but he extended his brush to the lives of people from all walks of life and created social genre paintings describing urban and rural life. The Riverside Scene at Qingming Festival draws a large number of various figures. Moreover, the movements and expressions of each character in Zhang Zeduan are vivid. This fully shows that Zhang Zeduan's life is very rich and his creative skills are very skillful.
The Riverside Scene at Qingming Festival, a masterpiece throughout the ages
Located in the southeast corner of the city square, Liaoning Provincial Museum will be grandly opened in mid-June165438+1October. By then, the national treasure The Riverside Scene at Qingming Festival, which has lived in Shenyang for six years, will return to "mothering". The Riverside Scene at Qingming Festival has been ups and downs for nearly 900 years, leaving many confusing mysteries for future generations. On September 13, the reporter inquired about the life story and little-known experience of the Riverside Scene at Qingming Festival-
The Riverside Scene at Qingming Festival, a masterpiece throughout the ages
Zhang Zeduan, the author of The Riverside Scene at Qingming Festival, was a painter in the Northern Song Dynasty and was born in Wu Dong (now Zhucheng, Shandong). In his early years, he studied in Bianjing (now Kaifeng, Henan Province) and then studied painting. During Huizong period of Northern Song Dynasty, Zhang Zeduan worked in Hanlin Painting Academy, and was good at painting palaces, especially boats, shops, bridges, streets and battlements. Later, "I lost my home, sold paintings for a living, and wrote" West Lake Auction Map "and" Riverside Scene at Qingming Festival ".
The Riverside Scene at Qingming Festival was once collected by Xuanhe Neifu in the Northern Song Dynasty. It is a light-colored silk replica, 24.8 cm high and 528.7 cm long. The original is now in the Palace Museum in Beijing. The Riverside Scene at Qingming Festival is the best example of Tokyo's dream of Lu Hua, the ode to the sacred site and the ode to the border capital, and it has high historical value. It inherits and develops the long-lost ancient genre painting in China, and inherits the fine tradition of historical genre painting in the early Northern Song Dynasty. It recorded the capital Bianzong period in the late Northern Song Dynasty with exquisite and meticulous brushwork.
According to Qian's "Zhuo Juan Ba", there are 208 animals (only) in The Riverside Scene at Qingming Festival, which is higher than Romance of the Three Kingdoms (1 1) and A Dream of Red Mansions (975). Wandering in the Four Sides: The Riverside Scene at Qingming Festival
The Riverside Scene at Qingming Festival has attracted the attention of later generations for its unique artistic value and historical value. Aisin Giorro Puyi, the last emperor of the Qing Dynasty, was sheltered by "preferential treatment for clearing houses" after his abdication 1 1 year. He also died alone in the Forbidden City in Beijing, stealing from himself and taking the opportunity to steal thousands of rare cultural relics collected in the palace for many years. Give an excuse to steal a national treasure.
/kloc-at the age of 0/2, Puyi was instigated by Zhang Xun to re-enter the throne of the Hall of Supreme Harmony, but soon she abdicated again, and was in jeopardy in the "small court". At this time, Puyi set about the next step: studying abroad.
The first step for them to study abroad is to prepare funds. So, he took the most valuable calligraphy and paintings and ancient books out of the palace and stored them in the house of the British Concession in Tianjin. Calligraphy and painting and ancient books are outstanding treasures, among which there are about 1000 hand-rolled calligraphy and painting, more than 200 kinds of hanging picture books and about 200 kinds of Song blackboard writing. Among them is The Riverside Scene at Qingming Festival by Zhang Zeduan in Song Dynasty.
Despite the "preferential conditions for cleaning the room" as the backing, Puyi still dared not openly steal palace treasures. He stole cultural relics in the name of rewarding his younger brother. Around 1922, the situation in Beijing was turbulent, and my father bought a building on behalf of Puyi in the 13th Road of the British Concession in Tianjin. Starting from 1922, in the name of rewards, they secretly smuggled the ancient books, calligraphy and paintings of famous people in the palace out of the palace in batches.
Puyi officially "rewarded" his younger brothers, starting from 1922 and the so-called "July 13th, 14th year of Xuan Tong". Puyi took advantage of the opportunity that his two younger brothers "entered the palace" every morning to accompany Puyi to study, and wrapped precious cultural relics in bags, which were transported out of the Forbidden City by his younger brothers after school every day. From the first two months of "reward", sometimes it is a day-to-day "reward", for example, from August 1922 to August 14 to 26, without a day's interruption. These palace cultural relics were piled up in 70-80 wooden boxes and then transported to the buildings in the British Concession in Tianjin for storage. Take national treasures to other countries.
Until June 5th, 1924, 165438+ 20 short gunmen led by Lu and Zhang Qian, the commander-in-chief of Beijing garrison, suddenly broke into the Forbidden City, drove Puyi away and scattered the "small court", and Puyi's plan to steal all the cultural relics in the palace was interrupted.
1924165438+1October 5th, Puyi returned to his father's "Drunk Palace"; 165438+1On October 29th, Puyi fled to the Japanese army barracks, demanded "asylum" and openly moved to the Japanese legation to live, thus restoring the "small court" under the egg wing of Japanese militarism. 1On February 23rd, 925, Puyi fled to Tianjin under the escort of Japanese police, and settled down in Bird, a private house marked by Japanese concession. However, the financial resources at that time were far from meeting his numerous expenses, so he made up his mind to sell the China treasure in the palace. The National Treasure in the Puppet Manchuria Palace
Through the conspiracy planning of Japanese spy Kenji Fujiwara and the close cooperation of Tianjin Japanese army, Puyi disguised himself as a Japanese soldier. On the first day of October of the lunar calendar 193 1, he sneaked into the Baihe River by a small steamboat, passed through Dagukou, boarded the Japanese merchant ship "Awaji Maru", sneaked into Yingkou, stopped at Anshan Tanggangzi, and then entered the Japanese colony in Lushunkou. 1April, 932, Puyi entered the Puppet Manchukuo Palace in Changchun and ascended the throne of the Puppet Manchukuo Emperor.
Puyi fled from Tianjin and had to go through the area where the national army was stationed, so she had to dress lightly and simply, and a large number of Gong China treasures were still stored in Tianjin.
From 1932 to 1934, there are about 70 boxes of famous calligraphy and painting, rare books of Song and Yuan Dynasties, jewels and jade articles. It was stored in Jingyuan, Tianjin, and transported to Changchun Pseudo-Palace. The wooden cases containing paintings and calligraphy were stored in the East Room of the Library Building of the East Campus of the Pseudo-Palace, namely "Xiaobailou". Store the vault containing antiques and jewels in the living room of Jixi Building in the inner courtyard. Captured with the escaped national treasure.
1945, on the eve of War of Resistance against Japanese Aggression's victory, the traitors in Manchukuo were frightened and went their separate ways. At that time, the Puppet Manchukuo Palace in Changchun, which had been guarded by the Japanese Kwantung Army, was replaced by the Puppet Manchukuo Army. The puppet emperor Puyi saw that the general trend had gone, and he lived in fear all day long. What worries him most is that it is impossible to take away all the national treasures stored in the Puppet Manchuria Palace, and only a large number of famous calligraphy paintings in the Jin, Tang, Song and Yuan dynasties can be taken away selectively. In order to bring more national treasures, he threw away the nanmu boxes, filigree bags and animal skins painted in the title of the Protection Law, and stuffed these national treasures into big wooden boxes.
On August 1945, 10, Yasuo ODA, commander of the Japanese Kwantung Army, announced that the puppet Manchukuo had moved from Changchun to Tonghua. On August 13 of the same year, Puyi fled from Changchun to Dalizigou, Tonghua; /kloc-in August of 0/7, Puyi attempted to flee to Japan by a small military plane. When the plane passed through Shenyang, Puyi was captured by the China People's Liberation Army and the Soviet Red Army. Puyi's famous calligraphy and painting and a batch of jewels and jades were detained by the China People's Liberation Army and kept by the Northeast People's Bank. Experts reveal "Riverside Scene on Qingming Festival"
On July 7th, 1949, Northeast Museum (now Liaoning Provincial Museum) was established and opened in Shenyang, becoming the first open museum in new China. Most of the exhibits in the Northeast Museum are precious paintings, calligraphy, jewelry and jade ornaments handed over by the People's Bank of Northeast China, which were seized from Puyi by the People's Liberation Army of China. Have a unique eye for treasures
Mr. Yang, a people's connoisseur, found the Riverside Scene at Qingming Festival with his unique vision among many famous calligraphy paintings that Puyi escaped with.
Throughout the ages, there have been many Riverside Scenes at Qingming Festival circulated in the name of Zhang Zeduan, and Mr. Yang has browsed more than 10. /kloc-in the autumn of 0/950, a batch of "Mu Mu" paintings and calligraphy handed over by the People's Bank of Northeast China have not been sorted out, and the good and the bad are mixed, regardless of jade. At that time, when Mr. Yang was sorting out paintings and calligraphy works in the temporary warehouse of Northeast Museum, he found three works with the same name, Riverside Scene at Qingming Festival. At that time, Mr. Yang thought that these were common "Suzhou paintings" in the past, but he never expected that there would be miracles in them.
However, to Mr. Yang's great surprise, the original "The Riverside Scene at Qingming Festival" written by Zhang Zeduan in Song Dynasty, which was buried in rumors for hundreds of years, was unexpectedly discovered at this accidental time and place! Mr. Yang was suddenly so excited that he could see the true face of Lushan Mountain. This excitement is beyond words. " True Books Solve the Centennial Mystery
Mr. Yang's excitement at that time was well-founded, because before that, experts and scholars knew nothing about what Zhang Zeduan's The Riverside Scene at Qingming Festival looked like. They can only infer that the Riverside Scene at Qingming Festival is similar to many Suzhou paintings they often come into contact with, thinking that the original work of Riverside Scene at Qingming Festival is basically the original work of Suzhou paintings. The true face of The Riverside Scene at Qingming Festival has been a mystery for hundreds of years. It is no wonder that Mr. Yang was "stunned" by the original Riverside Scene at Qingming Festival written by Zhang Zeduan in Song Dynasty.
At this point, Mr. Yang really realized that the author of Suzhou painting had never seen the original "Riverside Scene at Qingming Festival", but only recorded the layout and composition with reference to historical words. For example, in The Riverside Scene at Qingming Festival, the Hongqiao in front of the water gate in the Middle East is made of wood, while the paintings in Suzhou are made of stone. People's clothes, houses and pavements are also very different from Suzhou paintings, especially the realistic painting of ships is vivid and natural, reaching a superb position. Zhang Zeduan can describe the complicated scene of Kaifeng, the capital of the Northern Song Dynasty, which is more general and vivid than Meng Yuan's Dream of Tokyo. No wonder The Riverside Scene at Qingming Festival is a household name and enduring. Discrimination of Chou Ying's Linben
Since three originals have been found in The Riverside Scene at Qingming Festival, the other two are naturally fakes. However, another miracle appeared in front of Mr. Yang: one of the two works turned out to be a meticulous painting "The Riverside Scene at Qingming Festival" and signed it. This work refers to the composition form of Zhang Zeduan's The Riverside Scene at Qingming Festival, but depicts the realistic content of Suzhou's social life. From then on, the mystery of "Suzhou Map" was unveiled: The Riverside Scene at Qingming Festival painted by Suzhou in the Ming Dynasty originally came from this painting by Chou Ying. Because all the fakes of Riverside Scene at Qingming Festival are based on Chou Ying's copy of Riverside Scene at Qingming Festival, Chou Ying's copy has become a condition to measure the authenticity of Riverside Scene at Qingming Festival.
1949 On July 7th, after the opening of Northeast Museum (now Liaoning Provincial Museum), Zhang Zeduan's Riverside Scene at Qingming Festival has been kept in Shenyang. 1955 was allocated to the collection of Beijing Palace Museum by the relevant state departments. Forty-nine years later, the riverside scene on Qingming Festival is really wonderful. We look forward to seeing the Riverside Scene at Qingming Festival at home as soon as possible.