Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. The daily necessities, mountains and rivers that appear in the ancient paintings truly reflect the way of life and scientific and technological level of the people at that time, combined with the record of the background of the ancient paintings, it is even more interesting to appreciate the paintings.
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Chinese Qing Dynasty painting, under the influence of politics, economy, ideology and culture at that time, presented a specific style of the times. Scroll painting continues the trend since the Yuan and Ming dynasties, literati painting is popular, landscape painting is flourishing, and ink freehand painting is prevalent. Literati painting presents two tendencies: sublime and innovative. In terms of subject matter content, ideological interest, pen and ink skills, etc., they have different pursuits, and form a variety of styles and genres. Court painting also achieved great development during the Kangxi and Qianlong periods, and presented a new style that was very different from the previous generation of courtyards. Folk painting is most prominent in the achievements of New Year paintings and prints, showing an unprecedented flourishing situation. The historical process of the development of painting in the Qing Dynasty is related to the development and changes of the whole society, and can also be divided into three periods: early, middle and late.
In the middle of the Qing Dynasty, from the end of the Kangxi Dynasty to the Qianlong and Jiaqing periods of the Qing Dynasty, with the gradual consolidation of political power, the society became increasingly stable, the economy achieved sustained development, and the field of painting also showed a prosperous scene. "Court painting" can be described as famous artists, such as Lang Shining, Leng Mei, Ding Guanpeng; landscape painters such as Yuan Jiang and Yuan Yao; flower and bird painters such as Jiang Tingxi, Zou Yigui, and so on. The appearance of these painters has added a lot of color to the court paintings of the palace in the middle of the Qing Dynasty. However, the "Eight Monsters of Yangzhou" was also born in the same period and left a strong mark in the history of painting.
"Court painting" can be described as famous artists, such as Lang Shining, Leng Mei, Ding Guanpeng; landscape painters such as Yuan Jiang and Yuan Yao; flower and bird painters such as Jiang Tingxi, Zou Yigui, and so on. The appearance of these painters has added a lot of color to the court paintings of the palace in the middle of the Qing Dynasty. However, the "Eight Monsters of Yangzhou" was also born in the same period and left a strong mark in the history of painting. We share Yao Wenhan's fine character paintings in the middle of the Qing Dynasty, and we will definitely not be disappointed.
Yao Wenhan (18th century AD) Qing Dynasty painter. Mao Ting, a native of Suncheon (present-day Beijing), date of birth and death unknown. During the Qianlong period, it was dedicated to the inner court, gongdao interpretation, figures, landscapes, and boundary paintings. When Wen Han was in the art of group craftsmanship, his chest was specially tailored, and he painted it into a miniature version, and Qianlong Xi wrote a poem and noted: "This volume is doubled in length and length compared with the original size of the selection, and the imitation of Bi Xiao, the characters are smaller, especially the essence." ”
His works include "Celebrating the Year of the Dynasty", "Purple Light Pavilion Gifting Feast Map", "Four-Order Diagram" volume, "Song Dynasty Humanistic Association Map", "Painting Rui Roe deer", "Co-painting Ice Frolic Picture Scroll", "Fuhu Luohan", "Guanyin Statue", "Pulp Selling Map", "Celebration Map", "Spring Appreciation Map", "Portrait of Emperors of Past Dynasties" and so on.
In the middle of the Qing Dynasty, Yao Wenhan's "Celebrating the Year of the Dynasty" was analyzed
Qing Yao Wenhan's "Celebrating the Year of the Dynasty" is colored on paper. Length 82.4cm, width 55cm. — Collection of the National Palace Museum, Taipei
This picture depicts the scene of the New Year's celebration and reunion of the family in the Qing Dynasty. The male and female masters sit in the hall, while the children beat gongs and drums, play puppets, light firecrackers, and play in the courtyard. Domestic servants either stand with wine jugs or deliver cakes and fruits through the cloister of the front hall; the women in the backyard are busy preparing Chinese New Year's Eve meals, and the male servants in the distant attic hang large lanterns together; the courtyard brazier is burning pine branches and sesame straw; the indoor decoration is equipped with a large screen of "flowers in all seasons", and a few bottles of peonies are inserted to set off the rich and auspicious New Year's flavor.
In the middle of the Qing Dynasty, Yao Wenhan's "Purple Light Pavilion Gift Banquet Map" was analyzed
Purple Light Pavilion Feast Map Volume, Qing, Yao Wenhan Painting, Silk, Color, Length 45.7 cm, Width 486.5 Cm. Collection of the Palace Museum in Beijing.
This section is signed "Courtesy of Yao Wenhan Gong Painting." "钤" 文" and "Han" are jointly printed. The court collected all the parties.
In the twenty-fifth year of Qianlong (1761), the renovation of the Purple Light Pavilion was completed, and Qianlong ordered that the portraits of 100 heroes of the Pingding Zhuanbu and Huibu be hung on the four walls. In the first month of the following year, the Qianlong Emperor also held a celebration banquet here, which was attended by more than 100 people from the princes and nobles, the ministers of culture and war, the leaders of the Mongols, and the soldiers of the Western Expedition. This painting depicts the grand scene of the feast at that time. The architecture in the picture is represented by western painting techniques in the traditional hand-scrolled form of Chinese painting. Located in Zhongnanhai, the Ziguang Pavilion was built in the Ming Dynasty, and became the place where the emperor paraded and tested martial arts in the Qing Dynasty, rebuilt during the Qianlong period, and still maintains the shape of the prosperous era of that year, and the building in the picture contrasts with the real scene of the Purple Light Pavilion, which is very interesting.
Appreciation of Yao Wenhan's "Four Preludes" in the middle of the Qing Dynasty
The Volume of the Four Preludes, silk, color, length 31.5 cm, width 318 cm, now in the Palace Museum.
This scroll depicts the different hedonistic lives of court ladies in the four seasons of spring travel, cooling, lake tour, and snow viewing. The layout is ingenious and the realm is humorous, integrating the characters, landscapes, pavilions, different trees and flowers in spring, summer, autumn and winter, and their scenery in one volume. Carefully carved, vivid image, fine pen and ink, color with class, quite natural. Although the characters are small, they are full of various postures, the shapes and gods are ready, and although the scenery is complex, it is dense and moderate, which is just right for the various amusement activities of the characters. The "Painting of Yao Wenhan Gong" was written around the Qianlong period.
In the middle of the Qing Dynasty, Yao Wenhan's "Drawings of the Humanistic Association of the Song Dynasty" was appreciated
In the middle of the Qing Dynasty, Yao Wenhan's "Picture of the Humanistic Association of the Song Dynasty" volume 46.8x196.1cm is now extant in the National Palace Museum in Taipei.
When Tang Taizong was the King of Qin, there were eighteen strategists in the palace, and after ascending the throne, he specially ordered Yan Liben to paint eighteen scholar figures, which were often presented in the form of literati and elegant collections after the Song Dynasty. Yao Wenhan's volume was painted in the seventeenth year of Qianlong, and there is a Ji Huang Kai Book "Eighteen Bachelors Praise", which is the same as the composition of the courtyard collection "Liu Songnian Tang Eighteen Bachelors", with clear and beautiful colors, fine and strong with pens, slightly shaded on the open face of the characters, with a three-dimensional sense, and the details of various furniture utensils are depicted carefully.
The image of this volume of furniture is clearer and the shape is reasonable, showing that the painter observes the shape of the utensils in detail. The whole volume has a total of many pieces of furniture, which provide extremely valuable information in terms of quantity, type, shape and decoration.
In the middle of the Qing Dynasty, Yao Wenhan and Lang Shining appreciated "Painting Rui Roe deer"
Yao Wenhan and Lang Shining Painted on silk 216.2cm×144.6cm National Palace Museum, Taipei.
In the middle of the Qing Dynasty, Zhang Weibang and Yao Wenhan appreciated the "Picture Scroll of Ice Play"
Qing Zhang is The "Picture Scroll of Ice Play" by Yao Wenhan is a volume collected by the Palace Museum in Beijing.
Zhang Weibang and Yao Wenhan's "Ice Play Map" This picture depicts the "turning dragon shooting the sky ball". On the right side of the picture, the crowd is surrounded by the emperor's magnificent ice bed. On the ice rink, the flag bearers' shooters are arranged in intervals, hovering and gliding on the ice, and the team snakes like a dragon. There is a gate on the ice, and a ball is hung on it, called the celestial ball. When the team slides here, they turn around and shoot arrows at the celestial ball, and the winner is rewarded. There are also acrobatic performances such as handstanding, dancing, stacking arhats, dancing flags, and eagle harriers in the gliding team.
In the middle of the Qing Dynasty, Yao Wenhan's "Fuhu Luohan" was analyzed
Qing Yao Wenhan "Fuhu Luohan"
Appreciation of Yao Wenhan's "Guanyin Tu" in the middle of the Qing Dynasty
Qing Yao Wenhan "Guanyin Tu", Collection of the National Palace Museum in Taiwan, China
In the middle of the Qing Dynasty, Yao Wenhan's "Selling Pulp Map" was analyzed
In the middle of the Qing Dynasty, Yao Wenhan's "Selling Pulp Map" was painted on paper in the collection of the National Palace Museum in Taipei.
In the middle of the Qing Dynasty, Yao Wenhan's "Qinggong Map" was analyzed
Yao Wenhan QingQianlong "Qinggong Tu" color silk scroll is now in the National Palace Museum in Taipei: YangxinDian Tibetan Northern Song Dynasty Painting Garden Ben Fengxun Copy, Minister Yao Wenhan Gong wrote. Seal: Chen Han (Zhu) Jianzang Seal: Treasure of the Qianlong Imperial Pavilion (Zhu) Deshou Dianbao (Zhu) Qianlong became a court painter in the eighth year, specializing in painting figures, Taoist statues and landscapes, and was the main painter of the late Qianlong Dynasty. Together with the Italian painter Lang Shining, he was ordered to paint the White Eagle Into the White Eagle Diagram presented by the Mongolian Kharkado Lobelle Ayor, which is now in the National Palace Museum in Taipei.
In the middle of the Qing Dynasty, Yao Wenhan's "Spring Appreciation Map" was analyzed
Yao Wenhan's "Spring Appreciation Map" in the middle of the Qing Dynasty
In the middle of the Qing Dynasty, Yao Wenhan's "Portraits of Emperors of Past Dynasties" was analyzed
Yao Wenhan's "Portraits of Emperors of Past Dynasties" is in the Metropolitan Museum of Art in New York, USA. We selected eleven representative portraits for everyone to share.