The feeling of farewell is a feeling that we all share as human beings. The Southern Dynasty River Flood's "Farewell" wrote a total of seven parting scenes, the most widely circulated is the summary of the beginning of the text: "Those who have lost their souls, only others." ”
Early farewell drawings evolved from poetry. For example, Wang Wei, a Tang dynasty poet and painter, once painted "Yangguan Tu" based on his poem "Sending Yuan Er Envoy Anxi". This is seen in the early parting drawings recorded, but unfortunately the painting has long been lost.
In the Northern Song Dynasty, Li Gonglin repainted the "Yangguan Map" imitating Wang Wei, although the work does not exist, Huang Tingjian and others have inscription poems, mentioning Yangguan, Liushi and other imagery. In this way, the imagery in the poem can be said to be truly transformed into a painting element.
In the "Yulin Bell" written by the Northern Song Dynasty poet Liu Yong, there are images such as "Lan Zhou urging hair" and "Yang Liu'an", which provides more pictorial elements for the farewell scene.
In the Ming Dynasty, the farewell map and the number map popular in the Jiangnan region belonged to the products of friends and friends singing, and some were circulating works of art used to entertain patrons. Next, we will mainly introduce some representative Ming Dynasty farewell maps and other number maps.
"Qiu Ying's Farewell Map of Xunyang"
The farewell chart is mainly divided into three types: historical themes, friends and friends, and calligraphy and painting entertainment.
The "Xunyang Farewell Map" made by qiu Ying, a famous painter in Suzhou in the Ming Dynasty, belongs to the allusion category (historical theme) farewell map. The diagram meticulously depicts the poetry in Bai Juyi's "Pipa Line":
Xunyang Jiangtou night to send guests, maple leaves and flowers autumn serpent. The host dismounted the passenger in the boat, holding up a drink without orchestra. Drunk is not happy and miserable will be goodbye, don't be a vast river soaked in the moon. Overhearing the sound of pipa on the water, the host forgot to return to the guest. Who is the bomber? The lute stops talking late. Moving the ship to invite each other to meet, adding wine back to the lamp to reopen the banquet. Thousands of calls began to come out, holding the pipa half-covered.
This "Xunyang Farewell Map" is the composition style of both sides of a river: the close-up view is the riverbank; the boat is moored on the water near the middle shore, and the woman in the boat can be seen on a closer look; the opposite distant view is also a mountain and a shore. This compositional style of a boat on both sides of a river and a boat in the middle of the water was very common in the farewell map at that time.
The type of farewell to friends and friends is the most common type of farewell map, representative of which are Tang Yin's "Rainbow Farewell Intention Volume" and Shen Zhou's "Jingjiang Farewell Map" and "Jingkou Farewell Map".
Tang Yin's "Scroll of Farewell intentions in the Rainbow" depicts the side of Wujiang City in Suzhou and the side of the Weeping Rainbow Bridge to bid farewell to his disciples. Ancient Suzhou people bid farewell to friends, generally the farthest is to go out of the city to send to the Rainbow Bridge here. Because the distance was just right, the friends got on the boat and left, and they could return to Suzhou before dark.
There is a rainbow bridge in the painting, and someone inside the passenger ship is saying goodbye. Tang Yin also inscribed a parting poem: willow crisp frost before green, bridge hanging water rainbow. Deep cup regret parting, tomorrow road west and east. Laughter and a full moon, peace and wind. Home to talk about experience, pick out the short red.
According to the inscription of the "Rainbow Farewell Intention Volume", it can be known that the disciple that Tang Yin sent away was named Dai Zhao. Dai Zhao's father was a wealthy businessman and sent his son to Suzhou to study. Dai Zhao followed several teachers and learned the Book of Poetry from Tang Yin. A few years later, when he returned home from school, Suzhou Celebrities bid him farewell at the weeping rainbow bridge.
The person with the inscription was named Dai Guan, and Tang Yin's classmate Wen Zhengming wrote a biography of Mr. Dai for him, and there are also his materials in the Suzhou FuZhi. The ancient characters and names are related, wearing the crown character Zhangfu, Zhangfu is an ancient top hat, from "Zhuangzi Getaway".
Many capitals of the poem were written by famous literati in Suzhou, and it can be said that the Suzhou cultural circle has basically moved. But this does not mean how successful Dai Zhao's study is, everyone cherishes him and is reluctant to let him go, perhaps mainly because Dai Zhao's father is a very successful Huizhou businessman, who can afford to pay money, so many Suzhou celebrities can write poems to their sons, and it is very face-saving to go back.
Shen Zhou's "Farewell Map of Jingjiang" depicts Shen Zhou and others going to Zhenjiang to bid farewell to Wu Yu. Wu Yu was Wen Zhengming's father-in-law and the ancestor of the famous poet Wu Meicun in the late Ming and early Qing dynasties. Wu Yu wanted to leave from Suzhou to Sichuan, and he was appointed as the Taishou of Xuzhou, the road was far away, and his friends were also sent far.
The composition of this painting is also a river in the middle of the two banks, with boats in the water carrying people away, and friends on the shore handing them away. But the characters are all sketchy, not portrait-like depictions.
The pattern of boats on both sides of a river and in the water can also be subdivided into water farewells and shore farewells. Shen Zhou's "Farewell Map of Jingkou" depicts the host and guest bidding farewell in the boat; his other painting, "Tiger Hill Love Farewell Map", is a shore farewell after the Suzhou Tiger Hill Yaji.
"Dong Yuan's "Xiaoxiang Diagram""
The composition of the two banks of the river can be traced back to the "Xiaoxiang Tu" of Dong Yuan of the Five Dynasties, and the two sides of the painting are the inscriptions of Dong Qichang in the Ming Dynasty.
Dong Yuan was a court painter of the Southern Tang Dynasty, which centered on Nanjing, so he mainly painted the landscape of Jiangnan, with low and gentle hills and a feeling of smoke and rain. When this work was handed down, it had no name, and Zhao Mengfu of the Yuan Dynasty gave it a name called "Hebo Marrying Woman" according to the folk plot of fishing nets and fishing in the painting.
Dong Qichang of the Ming Dynasty eventually named it "Xiaoxiang Tu", "cover the xuanhe painting spectrum and use the selected poems as a context", the so-called "Dongting Zhang Ledi, Xiaoxiang Emperor You".
Zhao Mengfu's "Water Village Map" is deeply influenced by Dong Yuan's landscape paintings, which have water, boats, and distant mountains, but his boats represent fishing boats, and the people on the fishing boats are not real fishermen, but represent hermits. Although Zhao Mengfu is Shiyuan, he has not been really reused, so he always has a secluded mentality.
Sheng Mao's "Autumn River To Be Crossed" of the Yuan Dynasty also has the elements in Dong Yuan's painting, but the ship did not stop at the shore. If you stop at the shore, you can say goodbye to the people on the shore.
In this painting, two people are waiting on the shore, waiting for the boat to come and take them away, so it is called the Autumn River to be crossed. If the boat comes and one person walks and one person does not go, it is a farewell map.
Therefore, the painting elements on both sides of the river were fully available in the Yuan Dynasty. For example, all of Ni Zhan's works in the Yuan Dynasty were of the same river and two banks, and sometimes they did not even paint pavilions, which were purely desolate landscapes.
Li Sheng's "Farewell Map of Dianshan Mountain" in the Yuan Dynasty is a typical landscape painting, and Dianshan Is the Dianshan Lake in Qingpu, Shanghai today. There is an inscription of the Qianlong Emperor in the painting; Li Sheng's own inscription is in the upper left corner, and the inscription is clearly said to be to bid farewell to Gao Shi Cai Xia. At the end of the Yuan Dynasty, social turmoil and peasant uprisings were raging, so many literati lived in seclusion.
The late Yuan and early Ming Dynasty painter Zhao Yuan's "Qingchuan Sending Guest Map" was changed from a long scroll form to an axis vertical composition. In the painting, there is a farewell on the shore, a small boat waiting in the water, and the patterns on both sides of a river and the orchid boat, all of which are available.
At the beginning of the Ming Dynasty, Wang Fu's "Fengcheng Rao YongTu" is also a vertical composition, and people gather in a pavilion at the foot of the mountain, and there is a boat moored on the bank of the river. In addition, there are Also Ming Dynasty painters such as Dai Jin and Zhou Chen, who have also painted the composition style of the two banks of the River. It can be seen that at that time, this compositional pattern was already widely popular.
"Wen Zhengming's "Huxi Caotang Map""
Let's go back to Tang Yin's "Rainbow Farewell Intention Volume". In addition to the common composition of a river on both sides of the river and a boat in the water, what is more interesting is that there are 38 inscriptions of Suzhou literati and famous artists at that time behind this painting, which is the key.
Tang Yin certainly has more outstanding works, such as "The Farewell Scroll of Jin Zhang". In the complete "Golden Farewell Scroll", there are several poems framed together. Tang Yin inscribed a verse: "Send people under the Golden Pavilion, and the remnants of the sun in the sky are pouring on the wine." Attach importance to the precious tune without saying anything else, and rely on the willow to be overwhelmed. ”
Tang Yin's poem cannot be said to be particularly good and decent, but it is painted very carefully, and the elements of farewell are all available. According to the inscription poem at the back of the painting, it can be seen that this was painted by Tang Yin for a certain Suzhou official, and the attitude is still more serious.
Of course, there are also those who are not very seriously drawn. The National Palace Museum in Taipei, China, has the same name as the "Golden Farewell Scroll", but this painting is more crude than the previous one. The trees in the painting are all cold branches, and the season should be winter; while the previous painting is all willow trees. Judging from the tree species, the fallen leaves of the willow tree will not grow like this, indicating that Tang Yin painted very casually.
I think that Tang Yin painted more than one volume of the "Golden Farewell Scroll", or that we can see at least two volumes now. So far, the "Complete Works of Tang Bohu" still contains one poem each of "Jin Zhang's Farewell Intention" and "Jin Zhang's Farewell Map", which should be an inscription poem of the same kind of work.
Of course, Tang Yin also painted the historical theme of "Xunyang Farewell Map", but unfortunately the paintings have not been handed down, leaving only two inscription poems.
Tang Yin's life path is very bumpy. In his early years, he entered Beijing to participate in the examination, and was expected to be a high school champion, but he was imprisoned for being involved in a fraud case in the field. Although after later investigation, it was found that this matter had nothing to do with Tang Yin, but it was basically out of his career. Tang Yin did not want to be sent to Zhejiang as a petty official, so he chose to return to Suzhou to sell paintings for a living.
We know that "Pipa Xing" was written by Bai Juyi when he was relegated to Xunyang, and he was depressed during that time. Tang Yin's two poems titled "Xunyang Farewell Map" have the meaning of feeling nostalgic for Bai Juyi's deeds- "The dedication of relatives will criticize the scales, and suddenly abandon them to the wild with rumors" "Rumors do not need to be in danger of current affairs, and loyal ministers and heroes are the most miserable." A pipa with tears, even when the autumn wind bids farewell", can make people feel his sadness and indignation.
Tang Yin also has a "Map of the Southern Journey" to bid farewell to the guqinist Yang Jijing. The interesting thing about this painting is that there are rivers and banks, but in the painting, Yang Jijing is walking by land, with someone pushing a peace car next to her and someone leading a donkey. Tang Yin also inscribed two poems on the painting, using "If you meet a person who has a voice, everywhere you have a good knot" and "Ji Kang's old days are scattered, and the lonely millennium tone is dead", to lament Yang Jijing's encounter.
Wen Zhengming's "Huxi Caotang Diagram" is a mixed composition style, which is not only a number diagram, but also a number diagram, but it is also a completely farewell diagram, sometimes it is really confusing.
This picture was originally a long scroll, and the calligraphy inscription was attached to the back. The inscription says that Shen Tianmin Huxi, although it is not clear, but the shore is painted with a grass hall, which can be named Huxi Grass Hall. In the painting, on both sides of the river, there are two people standing on the shore, and there is a boat in the water, and these two people are walking towards the grass hall. If one of them turns around and says goodbye face to face, it's a farewell chart.
Wen Zhengming also has an early work called "YuYu Spring Tree Map", which is very meticulous and serious, and the beautiful scenery of Jiangnan is painted, but there is no painting boat in the water, which can be regarded as a non-conventional farewell map.
Speaking of works such as "Huxi Caotang Tu", it can lead to the other number map that will be talked about next.
"Du Qiong's "Yousong Tu""
The theme of the alias map was first proposed by the Ming Dynasty connoisseur Zhang Ug. When summarizing the ancient and modern painting titles in the book "Qinghe Calligraphy and Painting", which he compiled, he said:
Ancient and modern painting titles, handed over to the beginning, until I am clear and prepared. The two Han Dynasties are invisible, and the Jin Dynasty is still real, such as Gu Kaizhi's "Night Tour to the West Garden"; Tang Ornament's new titles, such as Li Sixun's "Xianshan Pavilion"; Song Tu classics, such as Li Gonglin's "Nine Songs" and Ma Hezhi's "Mao Poems"; Yuan's Xuanting Pavilion, such as Zhao Mengfu's "Oubo Pavilion" and Wang Meng's "QinHexuan"; Ming system aliases, such as Tang Yin's "Shou Geng", Wenbi's "Jupu", "Bottle Mountain", Qiu Ying's "Donglin", and "Yufeng".
Nickname refers to the ancient name, the name of the new name, the origin of the other name can be traced back to at least the Han Dynasty. Ge Wanli of the Qing Dynasty wrote nine volumes of the Records of Other Numbers, which were included in the sub-section of the Siku Quanshu during the Qianlong period. Siku Guanchen inspected the early character names and believed that "Shangshan Sihao" had both names and titles, so the nicknames of later generations should be imitated from this. "Shangshan Sihao" refers to Tang Bing, Duke of Dongyuan, Cui Guang of Xia Huang, Wu Shi of Qiliji, and Zhou Shu of Luli at the time of the Qin and Han Dynasties.
The synopsis of the Siku Quanshu summarizes the contents of the "Bei Number Record": "Its book takes the song, jin, yuan, and Mingren aliases, and the following one word rhymes and edits, and the Song Jinyuanren has a total of one volume and the Mingren have eight volumes." "From the proportion of volumes, we can see the grandeur of the Mingren alias, which seems to have become a popular way for literati to express themselves and self-proclaim at that time.
The earliest surviving Ming Dynasty alias map is the "Yousong Map" painted by Du Qiong, a hermit scholar in Suzhou. Zhang Qiu believes that this was painted by Du Qiong to his brother-in-law Wei Bencheng (号友松), who was reclusive in the official' resignation. There is a grass hall in the painting, a pine tree in the close-up, which means that pine is a friend, and a man-made fence courtyard, showing the fusion of man and nature.
Although many of the inscriptions of the "Yousongtu" scroll are missing, some are still left. The poems and treks of "Anli Sanren" particularly emphasize two points: One is "just shadow and shadow and end up old", that is, the meaning of seclusion. This is the active choice of a person who has been floating in the official field for more than twenty years. There is no garden, a roll in hand, can be used to make a tour in the painting. The second is "infinite shortage of children and grandchildren", that is, the descendants continue endlessly.
The postscript of "Yousong Tu" reveals the mentality of the Ming Dynasty scholars and doctors who longed to live in seclusion in the mountains and forests, especially in Suzhou, where there has been a tradition of seclusion since the beginning of the Ming Dynasty.
Mr. Qian Mu believes that there are two reasons for the deterioration of the political ecology of the Ming Dynasty: First, the Ming Emperor Zhu Yuanzhang used the "Hu Weiyong Case" to abandon xiang power and form the emperor's dictatorship; second, he severely tortured and punished the scholars, flogged chu, resulting in the deterioration of the dynasty after the middle of the Ming Dynasty, and the scholars were tired of the party strife in the imperial court and angry at the humiliation of the court staff, so they asked for retirement.
Judging from the title of the painting, the alias diagram usually shows the thinking of the mountains and forests or the elegance of leisure, such as "Yusong", "Huaihe" and "Plum Valley", and sometimes "Shaofeng" and "Yutian" to convey personal character. The representative Wen Zhengming's "Lanting Repair Map" is another number map painted for Zeng Qian (Lanting) with classical themes.
Tang Yin, who makes a living from calligraphy and painting, also made many alias diagrams. For example, the "Yi'an Tu" painted for Zhu Bingzhong uses Cangsong, Xiuzhu and Basho to symbolize the quality of the master's high cleanliness; the "Crane Diagram" painted for Wang Guan not only fits the protagonist's nickname "Crane", but also uses the meaning of longevity and elegance and purity that the crane has, alluding to the identity of Wang Guan's famous doctor; the "Shou Geng Tu" painted for the Chen Dynasty, the crops and fields hint at farming; and the "Matter Ming Tu" shows the character temperament of the people in the painting with the situation of high mountain flowing water and children boiling tea.
In addition, Qiu Ying's "Donglin Tu" and "Xi Yin Tu" show the scenes of celebrities living in mountain villages and streams; Tang Yin's "Meigu Tu", "Wuyang Zi Yang Nature Map" and "Canglang Tu", etc., through the ingenious combination of people and scenery in the painting, further build the spiritual home of the client.
In fact, the alias map has appeared as early as the Yuan Dynasty, and the objects of the paintings are all well-known celebrities. For example, Gao Kegong's "Mountain Village Hermitage Map" was painted to "Mountain Village Residents" Qiu Yuan; Huang Gongwang's "Iron Cliff Map" was painted to Yang Weizhen, a Tieya Daoist; Wang Meng's "Nancun Zhenyi Tu" and "Nancun Caotang Tu" were painted by his cousin Tao Zongyi (Mr. Nancun), and after painting, Qian Yun's "Nancun Fu", Shen Xuan's "Nancun Caotang Record", and the whole section "Nancun Record" have a lot of respect for Tao Zongyi's character, learning, and character of being willing to live in seclusion.
Some Suzhou painters in the early Ming Dynasty followed the theme of the Yuan Dynasty, almost consistent with the "Wumen School" in Suzhou. At that time, the recipients of the alias map were officials, literati, doctors, and businessmen of low social status. This phenomenon is similar to the flourishing of epitaphs in the Ming Dynasty. In the early Ming Dynasty, only officials, celebrities, etc. were eligible to ask the great literati to write epitaphs; by the middle and late Ming Dynasty, not only the urban middle class and the flow of skilled people, but also the merchants had paid for the literati to write epitaphs for their parents or ancestors.
What are the different characteristics of the Ming Dynasty's alias diagram compared to the Yuan Dynasty? Compared with the relatively rigorous painting of the late Yuan Dynasty, the middle and late Ming Dynasty is accustomed to using a relaxed tone to depict the ideal life realm pursued by people from all walks of life - the combination of man and nature, the return theme of "returning".
In terms of thematic type, the aliases belong to the landscape of gardens, pavilions and books, or the synthesis of flowers and portraits. The figures in the painting are generally not large, but they are generally in an important position near the eye of the painting. This kind of relatively generalized and freehand character image is not a realistic portrait, but after all, it is the ideal personality image in the client's mind, and it can also best see his personal feelings. To some extent, it resembles a spiritual portrait.
In short, the nickname usually conveys a deeper level of life interest and pursuit, and can also express personal feelings. Compared with the specific landscape paintings of gardens and Pavilions, the garden depictions in the alias map have more ideal colors, and the painting realm is relatively more desolate and cold, and it can be more integrated with nature. Perhaps, the heaven and earth in this painting are the places of spiritual exile that the clients in the world yearn for, far from the hustle and bustle.
(The author Zhang Changhong is a professor at the Shanghai Academy of Fine Arts of Shanghai University, and the pictures in this article are reprinted from "Jiangnan Ji" published by Xuelin Publishing House)
Column Editor-in-Chief: Gong Danyun Text Editor: Xia Bin
Source: Author: Zhang Changhong