Chapter 14 Chapter 6 Paintings of the Five Dynasties and Song Dynasty (AD 907-1279)

The figure paintings of the Five Dynasties inherited the tradition of the Tang Dynasty and evolved towards the secular and realistic aspects.Famous figure painters whose paintings have been handed down to the present include Zhou Wenju, Gu Hongzhong, Wei Xian, Wang Qihan, Guan Xiu, Ruan Gao and others. Zhou Wenju, whose birth and death are unknown, was born in Jurong, Jiankang (now Jurong, Jiangsu).When Li Yu, the empress of the Southern Tang Dynasty, was in power, he served as an imperial edict.Good at painting court figures and ladies.Learn from Zhou Fang.For example, the palace ladies painted in the existing American "Pictures in the Palace" are similar to Zhou Fang's paintings of ladies in terms of shape and mood, but they are more delicate.Ming Zhang Chou's "Qinghe Painting Boat" said that his "handwriting is thin and hard" is derived from Li Yu's calligraphy brush.Zhou Wenju's famous surviving works include "Picture of Playing Chess on Double Screen" (Song facsimile).This picture is 40.3 cm long and 70.5 cm wide, and it is now in the Palace Museum, Beijing.It depicts the scene of Li Jing (jing Jing), the master of the Southern Tang Dynasty, playing chess with his brothers.There is a screen behind the characters, on which the poetic intentions of the Tang Dynasty are painted, and there is a landscape screen in the picture, so it is called "playing chess on the double screen".According to Wu Rongguang's "Xin Chou Pin Xia Lu" written by Wu Rongguang of the Qing Dynasty: "One person sitting upright with a book in the south is the statue of Li Zhongzhu in the Southern Tang Dynasty; one person sitting on the same couch and slightly to the left is Jin Wang Jingsui, the eldest brother; two people sit in the corner of the couch The chess players are Qi Wang Jingda and Jiang Wang Jinglu (ti for)".The mood of the characters painted is delicate and subtle, full of personality.For example, Li Jing, who sits and watches chess quietly, and Li Kai, who moves his chess indecisively and thoughtfully, are portrayed vividly.The lines are twisted and thin, with a slight setback, just like the "war brush" mentioned in the records.Because the characters in the painting are the emperors at that time, the painter must be extra careful in painting, so we can also regard this picture as a portrait of a historical figure.

Wei Xian, a native of Jingzhao, was also a court painter during the reign of the Empress Dowager of the Southern Tang Dynasty. He was good at painting figures and palaces and pavilions.There is "Gao Shi Tu" handed down from generation to generation.This picture is 134.5 cm long and 52.5 cm wide, and it is now in the Palace Museum, Beijing.Draw the story of Liang Hong and his wife Meng Guang respecting each other as guests, raising their eyebrows together.Liang Hong was a famous hermit in the Han Dynasty, and his wife Meng Guang was ugly but virtuous.The husband and wife live in seclusion in the Baling Mountains, farming and weaving.Every time Liang Hong came back from work, Meng Guang prepared meals and brought them to him as a show of respect and love.Wei Xian's "Gao Shi Tu" placed figures and houses among the high mountains, with strict composition and vigorous painting techniques.Especially in the lower part, there are strange rocks, old trees, green bamboos and mountain streams, surrounded by courtyard houses. Although the characters are small, their expressions and movements are portrayed in detail.This painting is a successful example in pursuing the combination of figures and natural surroundings.

Wang Qihan, born in Jiankang (now Nanjing), is another famous figure painter in the Southern Tang Dynasty. He was a prolific Hanlin Daizhao.During the reign of Xuanhe, there were more than 100 pieces of his figure paintings in the inner mansion, but unfortunately, all of them have been lost, and only one "Kan Shutu" has been handed down.This picture is 28.4 cm long and 65.7 cm wide, and it is now in the collection of Nanjing University.It shows that a literati is entertaining himself by digging his ears in his spare time while surveying books.He is dressed in a white robe, with a flowing green beard, his head tilted slightly, his left eye closed, and his special demeanor of scratching his ears and scratching his ears is vivid on the paper, full of wit and wit.

The most outstanding work handed down from the Five Dynasties is "Han Xizai Night Banquet Picture".This picture is 28.7 centimeters in length and 335.5 centimeters in width, and it is now in the Palace Museum, Beijing.It depicts the scene of Han Xizai, the minister of the Southern Tang Dynasty, entertaining guests at night. Han Xizai (907-970 A.D.) was born in Donghai, Shandong.Born into a wealthy family.A Jinshi in the late Tang Dynasty, he wrote good articles.Fleeing to the south of the Yangtze River due to the war, he was appointed as the Minister of Zhongshu by the Southern Tang court.He once had great ambitions to restore the Central Plains, but the later master Li Yu was suspicious of the northerners and even killed them.In order to avoid accidents, Han Xizai indulged in sensuality and expressed his inaction in politics by living a dissolute and decadent life.At that time, the Song Dynasty, which was first established in the north, was threatening the Southern Tang Dynasty.Li Yu wanted to use Han Xizai as the prime minister many times, but he also heard that he often gathered guests and kabukis for banquets and fun at night, so he secretly sent Gu Hong, a painter of the Academy of Painting, to his home at night, "peeping at him, knowing what he sees and remembering", Then draw a picture.This is the origin of "Han Xizai Night Banquet Picture".It is said that Li Yu later gave this picture to Han Xizai to persuade him to change this way of life, but Han "regarded it as safe" and continued to enjoy himself to "avoid the fate of the country and become a prime minister".

"Han Xizai's Evening Banquet" is a long scroll-style continuous painting. The author cleverly uses screens to divide the picture into five sections, each of which represents a scene of a night banquet.The first paragraph depicts the scene where Han Xizai and the guests stop drinking at the banquet and listen to the sister of Li Jiaming, the deputy envoy of Jiaofang (the official in charge of music) playing the pipa.Sitting cross-legged on the bed and wearing a high hat is Han Xizai.With his eyes fixed and his hands hanging loose, he seemed to have been brought into the realm of wonderful music.Although the other guests sat in different postures, they all listened attentively.Especially the number one scholar in the red robe, who leaned forward with forgetfulness, was fascinated by what he heard.The second section depicts Han Xizai taking off his coat, rolling up his sleeves and beating drums to accompany the "Liu Yao Dance" performed by the maiko Wang Wushan.Some of the crowd played the board, some clapped their hands, and they all moved rhythmically to the beat of the drums.A monk appeared here, with his head slightly lowered, not looking directly at the dancer, and clasping his hands on his chest, as if clapping or clapping his hands together, showing a complicated mood.The third paragraph describes the scene of Han Xizai resting in another room after beating the drums.He was sitting on the bed washing his hands, his face was somewhat tired and smoggy after drinking.The person holding the basin is Wang Wushan, and the four women sitting on the bed are supposed to be Han Xizai's concubines.There is also a maid who is carrying a pipa and is ready to put it away, and another maid is walking towards the master with a tray containing refreshments.The fourth paragraph depicts the scene of Han Xizai listening to a musician playing wind music after taking a rest and changing clothes.He was dressed in casual clothes, bare chested, sitting cross-legged on a low chair with his shoes off, waving a fan, and was leisurely ordering something to the concubine standing in front of him.Five musicians, spread out one by one, sit on the embroidered pier and play.They have different postures and expressions, some concentrate on playing, while others pay attention to every instruction issued by the master.The former is a person who concentrates on clapping and accompaniment, and there is another person behind him who looks back and seems to be whispering to the woman behind the screen.The fifth paragraph depicts Han Xizai making fun of guests and kabukis.At the end of the song, Han Xizai stood sideways, staring ahead, with a blank and blank expression.The other two guests are flirting with the kabukis. There is no background behind them. The author seems to imply that this is a scene in three different spaces.

"Han Xizai's Night Banquet" successfully reproduces various scenes during the night banquet through the above five connected and divisible pictures, and brilliantly depicts the identities, ages, personalities and mental states of various characters.The portrayal of Han Xizai is particularly prominent.The painter not only depicts his indulgent behavior, but also reveals his depression and anguish masked by laughter.It makes figure painting have the characteristics of portrait description in plot description at the same time.The whole picture is neat and delicate, the line drawing is accurate, vivid and not floating.The characters are usually painted in bright colors such as vermilion, light blue, light green, orange yellow, etc., and the interior furnishings, tables and bed curtains are mostly used in calm and dignified colors such as black gray and dark brown. An elegant characteristic.

Gu Hongzhong (907-960 A.D.), a native of Jiangnan, waited for an edict from the Southern Tang Academy of Painting.Good at drawing characters.According to records, in addition to "Han Xizai's Night Banquet", he also painted "Ming Emperor Attacking the Parasol Tree", "Shanyin Picture" and so on.Unfortunately it has been lost. If the Tang Dynasty was the first peak of Chinese figure painting, then the figure painting of the Song Dynasty entered its heyday.The main features are a wide range of themes, diverse expression methods and forms, styles, and a large number of painters.For example, Wu Zongyuan, Wang Juzheng, Li Gonglin, Zhang Zeduan, Li Tang, Xiao Zhao, Liang Kai, Su Hanchen, Li Song, etc. are all great painters with independent ideas.

Li Gonglin (1049-1106 A.D.) was born in Shuzhou (now Shucheng, Anhui).In the third year of Shenzong Xining (1070 A.D.), he was a Jinshi and an official to Chaofenglang. In 1100, he resigned due to illness and retired to Longmian Mountain in his hometown. He called himself Longmian Jushi.His father, Xu Yi, was once the prime minister of Dali Temple and a doctor in the Zuo Dynasty. He liked to collect, so there were many ancient calligraphy and paintings in his family.Li Gonglin often watched and copied the paintings of Gu Kaizhi, Lu Tanwei, Zhang Sengyou and others when he was young. , if you don’t follow the predecessors, you will realize the essence of the Yin method.” It means that he can learn from the strengths of all the masters without repeating the painting methods of the ancients.The skill is profound and has a style of its own.He is diligent and tireless, painting without a day's rest.Characters, pommel horses, landscapes, flowers and birds are omnipotent, especially fine figures.He also developed and created the line-drawing painting method that is light and ink, not painted but brilliant and moving, that is, to summarize the shape and characteristics of the painted object with light and heavy, straight, rigid and soft, thick and thin lines, which greatly enriches the painting. expressiveness of line drawing.This painting method had a great influence on the figure paintings of later generations.

Li Gonglin's works handed down from generation to generation include "Linwei Yan Shepherd Picture" (collected by the Palace Museum in Beijing), "Five Horses Picture" (the last three old collections in Tokyo, Japan).There are also "Vimo Performance and Teaching Picture" (collected in the Palace Museum in Beijing) and "Mianzhou Picture" (collected in the National Palace Museum in Taipei) as Li Gonglin's line drawing works. Liang Kai, whose birth and death are unknown, was originally from Dongping (now Dongping, Shandong).He is bohemian, likes to drink, and calls himself Crazy Liang.It is said that he is highly talented and never bound by etiquette.He once hung the gold belt given by Ningzong in the courtyard and walked away.Liang Kai could paint figures, landscapes, flowers and birds.It is best to draw characters with simple strokes and splashed ink.For example, the "Picture of Immortals Splashed Ink" in the National Palace Museum in Taipei shows the fairy's toga and sleeves and staggering drunkenness with smooth splashing ink.The drunken and dazed expression is depicted with a few strokes, and the brushwork is excellent, which is amazing.Another example is the "Taibai Xingyin Picture" (collected in Tokyo National Museum, Japan) written by Liang Kai, which shows the poet's arrogance and free and easy temperament with elegant and concise brushwork.This succinct and relaxed method of reducing strokes opened up a new style of figure painting, and had an important influence on freehand figure painting in Yuan, Ming, Qing, and even modern times.

During the Song Dynasty, the interest and focus of figure painters also shifted from emperors, nobles and court ladies to secular life, and a large number of works reflecting secular human feelings appeared.For example: Zhang Zeduan's "Surfing the River During the Qingming Festival", Wang Juzheng's "Textile Picture", Su Hanchen's "Purchaser Picture", Li Song's "Futian Picture", and famous painters' "Village Doctor Picture" and "Character Picture of Zaju" , "Fishing Picture", "Plowing and Harvesting Picture", "Village Animal Husbandry Picture" and so on.Among them, Zhang Zeduan's "Surfing the River During the Qingming Festival" is the most outstanding masterpiece.

"Along the River During the Qingming Festival" is 24.8 centimeters high and 528.7 centimeters wide. It is a long scroll showing the customs and customs of the Qingming Festival in Bianliang, the capital of the Northern Song Dynasty, and on both sides of the Bian River.The whole picture can be divided into three sections from left to right.The first paragraph describes the suburban scene.In the early spring morning, the mist has not yet cleared. In the small forest with sprouting branches, there are several farmhouses hidden. The farmland is green and the fields are criss-crossed.There are several large ships moored at the Bianhe wharf, one of which is full of grain bags, and someone is moving back and forth to unload it.Looking along the shimmering Bianhe scroll, the picture enters the second paragraph.The houses are scattered, the ancient willows are scattered, and the teahouses near the river are full of tables and stools.The boats in the river are constantly coming and going.An exquisite arch bridge, like a flying rainbow, connects the two banks.The pedestrians are bustling, the traffic is busy, the voices are full of people, and it is very lively.A wooden boat was about to cross the arch bridge, the mast had been lowered, and the boatman held the pole and reeled the rope.On and off the bridge, many pedestrians stopped to watch this tense scene.From the movements of people opening their mouths and waving their arms, it seemed that they could hear the chanting of the boatmen and the exclamation and cheers of the crowd.Go down the bridge and cross the street, walk through a majestic city gate, and you will come to the most prosperous market.This is the scene shown to us in the third paragraph.There are restaurants, teahouses, mansions and shops lined up here, and the goods are colorful and varied, and the market signs are high, and the business is booming.In the street market, scholars, farmers, businessmen, men, women, old and young, people riding horses, sedan chairs, shopping, and peddlers are bustling with each other. scene.After crossing the crossroads and going forward, will it be close to the important palace of Bianjing?The picture ends here abruptly, leaving room for the viewer's imagination. "Along the River During the Qingming Festival" is a great masterpiece of realism in ancient Chinese paintings.No matter in ideological content or expression skills, he has made artistic achievements that cannot be underestimated.First of all, in terms of the choice of subject matter, it jumped out of the cliché [ke jiu 树九] in which ancient figure paintings were mostly based on religion and the life of the aristocrats, and focused on various phenomena in real life, including interpersonal relationships, customs and feelings, The in-depth and meticulous depiction of bridge buildings, road traffic, and people from all walks of life makes this work not only occupy an important position in the history of painting, but also has extremely high historical value. It has become an extremely precious image for studying all aspects of society in the Song Dynasty in my country material.Furthermore, this picture depicts the fields in the suburbs, the banks of the Bian River, the market wells, and the streets. The scale is large and the scenes are complicated. , On the screen that is no more than one foot high.Visually, it produces the magnificent momentum of "within a square inch, a hundred miles away".This not only shows the painter's extraordinary ability to summarize life and extract materials, but also shows the painter's skillful skill in using traditional "scattered perspective".It should also be particularly mentioned that this picture has reached the realm of vividness, accuracy and lifelikeness in terms of the depiction of characters and scenery.According to the statistics of relevant experts, there are more than 550 people in the whole picture, 50 to 60 various livestock, more than 20 different cars and sedan chairs, more than 20 large and small boats, and more than 30 various houses.Whether it is a shape or a person, the brushstrokes are precise and meticulous.Such as the exquisite and novel arch bridge, which depicts a real and mechanical structure.The painter also portrayed characters from all walks of life concretely, vividly and with vivid expressions through many details and plots.The human figure in the painting is only an inch, and the small ones are only one or two cents, but there are all kinds of people, including officials and gentry, merchants and citizens, shopkeepers, monks, Taoists, doctors, beggars, coolies, boatmen and porters, and male and female servants.They walk or stand, ask questions or answer questions, buy or sell, push or pull, ride horses or sedan chairs, drink wine or tea, pole poles or pull fibers...their postures are vivid and their expressions are different.The vast majority of them are ordinary laborers, showing the painter's great concern for ordinary laborers and his superb realistic skills.Viewers can get a glimpse of the rich scenes of life in the world, as well as the strong contrast between luxury and idleness and poverty and hard work under the cover of prosperity and prosperity.In addition, this picture adopts the method of writing with work and embellishing work in the brush and ink technique, which is different from the rigidity of boundary painting, but also neat and elegant; The vividness of freehand painting has formed a unique style.This style exerted a profound influence on the genre paintings of later generations. Since the publication of "Surfing the River During the Qingming Festival", it has become a rare treasure that the emperors and dignitaries of all dynasties competed for. In the Jiajing period of the Ming Dynasty, there were many injustices for this painting, and innocent people were imprisoned.Afterwards, it was handed down through many public and private connoisseurs, and it entered the Qing Palace in 1799 (the Jiaqing period of the Qing Dynasty).After the Revolution of 1911, Puyi, the last emperor, brought this picture to Tianjin and Changchun successively.After the victory of the Anti-Japanese War, this precious cultural relic was returned to the hands of the people, and it is now housed in the Palace Museum in Beijing. Zhang Zeduan, the author of "A Picture of Shanghe during the Qingming Festival", whose style name is Zhengdao, was born in Dongwu (today's Shandong cities), and lived from the end of the Northern Song Dynasty to the beginning of the Southern Song Dynasty.He loved reading when he was young, and later studied painting. He entered the Hanlin Academy of Painting during Huizong's reign.Shanjie paintings, boats and vehicles, figures, streets, city outlines.Few of his other works have been handed down, but only this one "Surfing the River During the Qingming Festival" made him famous in history and famous in the painting circle. During the Song Dynasty, the creation of historical story paintings was also very prosperous.History is like a mirror. The creation of history paintings stems from the painters' understanding of real life, and often twists and turns to express their views and ideals implicitly.For example, Li Gonglin's "Mianzhou Tu" shows the fearless spirit of Guo Ziyi, a famous general in the Tang Dynasty, who took off his uniform and rode out to meet the leader of Huihe; , not eating Zhou Su, and starving to death in Shouyang Mountain's unyielding integrity; the famous author's "Folding Threshold Picture" shows Zhu Yun's noble personality of upright and upright in the late Western Han Dynasty, etc.Among the many historical story paintings, "Wen Ji Returning to Han Picture" by Jin Zhang Yu is very representative. "Wen Ji Returning to Han Dynasty" is 29 cm high and 129 cm wide, and it is now in the Jilin Provincial Museum.It is a painting of historical figures with a plot.The heroine Cai Yan (yan mask) in the painting, styled Wenji, is a famous writer in ancient China.She has been intelligent since she was a child, has a good temperament, and is good at poetry and calligraphy.Married to Wei Zhongdao for the first time, her husband died and had no children.Later, at the end of the Han Dynasty, there was a great war, and he was taken captive to the Xiongnu and married to King Zuo Xian of the Southern Xiongnu.She lived in Beidi for 12 years and gave birth to a pair of children.Cao Cao cherished Wen Ji's talent, so he sent an envoy to bring her a large sum of money to redeem her, and took her back to the Han Dynasty, so that she could inherit the last wish of her father and brother and rewrite the Book of the Later Han Dynasty.After returning to the Han Dynasty, he married Dong Si, the governor of Tuntian.Such an erudite and talented woman was widowed at a young age, fell into a barbarian in her prime, and then threw her son back to the Han Dynasty, and experienced all kinds of pain in the world.Literati and artists of past dynasties often used her as a theme to write poems and paint pictures, expressing all kinds of emotions. "Wen Ji Returns to Han Tu" depicts this historical story.Looking around, there was a Han soldier walking in the front on horseback. He lowered his head and shrugged. He was supposed to be holding the Han family's full moon flag, which was half rolled up on his shoulders. It seemed that this group of troops had already gone against the wind. long time.The group behind is Cai Wenji riding a black horse and two horsemen walking on the ground.The two stableboys were holding the horse with one hand, and tucked the other hand into the sleeve and put it to their mouths to breathe for warmth, which showed the cold weather.Wen Ji wears a sable crown on her head, a Hu suit, long boots on her feet, and holds the reins with both hands.The headband of the skirt was fluttering backwards, clearly she was marching against the cold wind, but she still stood upright, looking up and staring ahead, solemn and dignified, with a firm and eager look on her face.Behind is a group of accompanying Hu and Han officials.Among the two leaders, the one with the headband (ze Ze) towel and the fan holding a round fan to cover his face may be an envoy sent by Cao Cao; the other one is wearing a fur hat, leaning forward and holding the reins with his hands, who seems to be escorting the Huns officials.Followed by five people, they are all dressed as Huns, riding on horses, most of them hide their heads and hide their faces, as if they are avoiding the biting cold wind and the dust blowing on their faces.Finally, there is a Hu Bing, with an eagle in his right hand and a rein in his left, galloping his horse forward, followed by a hunting dog.There is no background in this painting, but from the movements and expressions of the characters, we have already felt the traveling environment of "the wind rises to the sky, and the gravel flies away". To show the historical story of Wenji's return to Han Dynasty on the screen, we can only choose a synchronic scene among many plots.The author is quite ingenious in this respect.He neither expresses the sorrow of parting from his children, nor depicts the mixed feelings of suddenly seeing the old man after returning home, but chooses the scene of marching against the wind and sand on the way home.In terms of composition, Cai Wenji is placed in the front of the middle of the picture, which is very prominent against the background of the horse-leader.The movement of Cai Wenji with her head held high and her chest firmly forward, is in contrast to the attitude of her entourage who bowed and shrugged to avoid the wind.In this way, it not only shows the harsh travel environment, but also reflects Cai Wenji's resolute character honed in suffering, and her eagerness to return home. The upper corner of this picture has the words "Only Yingsi Zhang □painted".Zhiyingsi is an institution set up in the first year of Jinzhang Zongtaihe (1201 A.D.) to "handle all kinds of work in the palace".The ambiguous character behind the word Zhang was interpreted by Mr. Guo Moruo as "瑀".Judging from the picture, the shapes of the characters and horses are vivid and accurate, the brushwork is vigorous and vigorous, and the lines are tall, straight, smooth and full of changes.The coloring is elegant and delicate, obviously learning and inheriting the fine painting traditions of famous Tang and Song masters Wu Daozi, Han Gan, Li Gonglin, etc. There is another "Ming Concubine Exiting the Fortress" signed by Gong Suran (now in the Osaka Art Museum, Japan) and this "Wen Ji Returning to Han" are basically the same in terms of characters, composition, and painting methods.Whether the two manuscripts are the same manuscript, or one of them is the ancestor, and whether the content is whether Wen Ji returned to Han or Ming concubine went out of the fortress, is still controversial in the field of art history, and further research is needed.