Painter Jun said
Shallow and interesting deep art and aesthetic dry goods
Every collector wants to collect good things, but if you collect all the good things in the world, will it be a little boring?
This kind of trouble is not something that everyone has, but the Qianlong Emperor does.
For more than a hundred years of the Kangqian dynasty of the Qing Dynasty, three generations of emperors loved to collect, and hundreds of famous relics, through different channels, thousands of streams returned to the sect and gathered in the royal forbidden land. At that time, the known famous paintings and the best masterpieces of this dynasty were basically here, so what should he do next?
Since the Ming Dynasty, the printing and publishing technology has matured and developed, and the more systematic collectors will make a book of their own collections, this practice has been passed down to this day, the Qianlong Emperor is naturally not exempt from the vulgarity, but he is the emperor, and this collection is naturally the first in the world.
In the ninth year of Qianlong, in 1744 AD, on the tenth day of the first month of February, the emperor's holy decree "< Shiqu Baodi > Initial Compilation of the Upper Edict" opened the prelude to the Qing Palace Tibetan Painting Bibliography Project. Yes, the Collection of the Qianlong Emperor is called "Shiqu Baodi".
There is no building in the Forbidden City called the "Stone Canal", which was borrowed from the Han Dynasty.
Liu Bang, the ancestor of Han Gaozu, was a jerk who initially did not understand the importance of culture, but his chancellor Xiao He told him that it was impossible to govern the world without culture. Therefore, after the establishment of the Han Dynasty, the Tianlu Pavilion and the Shiqu Pavilion were built in the Chang'an Imperial Palace to preserve these archival documents.
Among them, the "Stone Canal Pavilion" was built next to a flowing stone canal in the imperial palace, hence the name. At that time, it was both a storehouse for storing archives and a place for historical writings and academic exchanges. When later generations looked back at the Han Dynasty, "Shiqu Pavilion" and "Tianlu Pavilion" became synonymous with the royal library.
The Qianlong Emperor was born with a good nature and preferred elegance, and his collection borrowed the names of these two pavilions in the Han Dynasty. "Tianlu Linlang" is the place where the emperor hid books, while "Shiqu Baodi" does not have this place, it is a book title. Because the paintings were to be hung for viewing after all, in the Qianlong period, the calligraphy and paintings of the Qing Palace were scattered everywhere, and there was no fixed warehouse to store. The Qianqing Palace, the Yangxin Hall, the Sanxi Hall, and the Imperial Study Room all have calligraphy and paintings, and the Summer Resort and the Yuanmingyuan also have collection and storage places. But all of them must be registered, and they are recorded in the "Stone Canal Treasure Pipe".
If there is a Bible in the world of painting and calligraphy, there is no doubt that it is the "Stone Canal Treasure". "I'm in a stone canal, eight seals." This sentence is very bullish to say.
As a greatest composer in the history of calligraphy and painting, Shiqu Baodi is a collection of 7757 works in the third series, bringing together all the works from the heyday of the Imperial Collection of the Qing Dynasty. The top calligraphy and paintings before the Qianlong Dynasty, from the "Qingming Upper River Map", "Thousand Mile River Map", "Five Bull Map" to the representative works of court painters in the Kangqian period, are basically written in the "Shiqu Baodi".
However, after these calligraphy and painting treasures collected by the Qing Palace were included in the "Stone Canal Baodi", they began their different fates. After experiencing the disasters of the Burning of the Yuanmingyuan by the British and French coalition forces, the fall of Beijing by the Eight-Nation Alliance, and the fire in the Yanchun Pavilion where the royal calligraphy and paintings were stored, Puyi later left the palace and took away a large number of calligraphy and paintings, so in addition to the Forbidden City on both sides of the strait and major museums around the world, a small number of surviving paintings were scattered among the people and even overseas.
Some people have done statistics, in the past two decades, all the "Shiqu Baodi" works that have appeared on the auction floor are less than 300. Therefore, once there is a "Shiqu Baodi" bibliography that has been verified, it will definitely become the focus of the whole audience.
This time, Huayi International Hong Kong Autumn Auction, very fortunately, collected an important "Shiqu Baodi" bibliographic work, not only the Qianlong Emperor's beloved object, the author is also the editor-in-chief of "Shiqu Baodi Continuation"!
This is Dong Yu's "Ten Views of Jinling Atlas".
The author Dong Yu (1740~1818) is 28.7 × 39.5 cm×10
It was created in 1775
Valuation Inquiries
Special Session hanmo guizong - Chinese painting and calligraphy
Auction time2019-11-24
Auction Huayi International (Hong Kong) Autumn Auction 2019
Description:
1. "Secret Temple Zhulin Shiqu Baodi Co-editor", volume 6, P3008-3010, photocopied and published by Shanghai Bookstore, 1988.
2. "Xuanhuitang Calligraphy and Paintings", vol. 2, pp. 208-209, January 1972, Xuanhuitang, Hong Kong.
3. Collected Poems of Emperor Gaozong of the Qing Dynasty, Vol. 29 of four, pp. 30-31, Volume 561 of the Forbidden City Rare Books Series, And The Twelfth Volume of the Imperial Poems of Emperor Gaozong of the Qing Dynasty, pp33-34, edited by the Palace Museum, published by Hainan Publishing House, 2000.
4. Collected Imperial Poems of Emperor Gaozong of the Qing Dynasty, Vol. 72, pp. 22-24, Volume 562 of the Rare Books Series of the Forbidden City, And The Thirteenth Volume of the Imperial Poems of Emperor Gaozong of the Qing Dynasty, p303-304, edited by the Palace Museum and published by Hainan Publishing House, 2000.
Seal: "Courtier"
Tibetan Seals: "Treasures of The Qianlong Imperial Collection" (2 times), "Qianlong Appreciation", "Yi Descendants", "Sanxitang Jingjian Seal", "Shiqu Baoji", "Shiqu Dingjian", "Baodi Re-editing", "Leshoutang Treasure Collection", "Ningshou Palace Continues to Enter Shiqu Baoji", "Double Song Lou", "Cheng Bo fen treasure seal", "Bo Fen Zhen Appreciation", "Famous Relics Obtained after 50 Years of Ke'an Gengzi"
Inscription: 1. Qixia Mountain. 2. Lingfeng Pool. 3. Zifeng Pavilion. 4. Wansong Mountain House. 5. Tiankai Rock. 6. Secluded Nunnery. 7. Dilang Cliff. 8. Pearl Springs. 9. Rainbow Spiegel. 10. Tokuun-an. Chendong Zhenjing painted.
Inscription: Qianlong Emperor Imperial Pen double questions 20, one in the late B and early summer, one in the late Spring of Gengzi, Pai Wenluo.
"Painting The Second Generation" + "The Second Generation of Officials": Dong Yu
The surname Dong seems to have a special fate with landscapes, and in the five generations, there was the great master Dong Yuan, the Ming Dynasty had Dong Qichang, the head of the Nanzong literati painting, and the Qianlong period also had a lyricist painter who was good at landscapes, Dong Xiaodong. Da Dong is Dong Bangda, the Qianlong Emperor regards Dong Bangda as an in-depth confidant of painting, and the talented son Ji Xiaolan and Qian Weicheng, the most popular Qing Dynasty painter in 2018, are both students of Da Dong. And Xiao Dong is Dong Bangda's eldest son, Dong Huan.
Dong Yu is both the second generation of painting and the second generation of officials, although it is the second generation, but it all depends on his own talent and hard work. He was 24 years old and took the tanhua (third place) exam at once, and Qianlong was afraid that he was too proud and changed to the fourth place.
His career was quite smooth, successively serving as a ceremonial, worker, household, official, criminal minister and Hubu Shangshu (minister of finance), and later he became a university scholar and a master of the study, and worked as an errand boy in the military aircraft department of the most core power organ for more than forty years, and was a senior minister.
Dong Xuan's most powerful thing was that he was able to write and be able to use martial arts, and he made great contributions in the two battles of pacifying Taiwan and Gurkha, so Qianlong personally praised his portrait and was selected as a hero of the Purple Light Pavilion.
What is even more rare is that Dong Yu was a clean and honest official, just and righteous, and later assisted the Jiaqing Emperor and won the Great Tiger and Yan!
The Qianlong Emperor's "Imperial System to Pacify Taiwan's Twenty Meritorious Heroes Portrait Praise" dong yu
Can you imagine that a minister who pacifies Taiwan, in addition to governing the country, paints so well! Of course, this is also because Dong Huan's other important identity is a poet painter.
We have said that the poet painters, like the court painters, served the emperor primarily. But there is an essential difference between the two. The court painter painted according to the emperor's intentions, and his status was similar to that of the craftsmen in the court. And there are many first and second class members, their main responsibility is to be an official, the creation of calligraphy and painting, singing and poetry is only a side business.
During the Qianlong period, the calligraphers and painters not only used their own creations to serve the emperor, but also helped the emperor to appreciate calligraphy and painting, sort out ancient books, examine bronzes, imitate Fa thesis, compile books, etc., which was actually a set of cultural teams of the emperor.
Dong Bangda, his student Qian Weicheng, and his son Dong Weicheng were the leading figures of the Cichen painters. The "Qing Dynasty Painting History Supplement" evaluates Dong Yu as "inheriting family learning, and the landscape is extraordinary", and his landscape is based on inheriting his father Dong Bangda, and everyone since the Yuan Dynasty, especially Huang Gongwang and Wang Meng, has both the grace of the royal weather and the elegance of literati painting, which was widely respected at that time.
When Dong Huan died, the Jiaqing Emperor personally came to pay tribute, and the imperial mourning poem said that only the article was passed on to his children and nephews, and there was no currency to put on the farm. It is not only a praise for Dong Yu's character, but also an affirmation of his talent.
"Ten Views of Jinling Atlas": the emperor's favorite Qixia Palace
In the forty years of Qianlong (1775), the 36-year-old Dong Yu had just returned from jiangning (Nanjing) to do business, and he received a task from the Qianlong Emperor: Since you have just returned from Nanjing, draw two albums of Jinling scenery for you to see! Qianlong thought to himself, I can't travel to Nanjing, it's always okay to look at the paintings.
He gave two propositions, one of which was the scenic spots and monuments of Nanjing, and the other was the Ten Views of Qixia Mountain in Nanjing. Why did Qixia Mountain have to draw a single volume, because this place was the Qixia Palace of Qianlong's southern tour, and it was also the emperor's favorite.
——Even the TV "Ruyi Zhuan" said that "this Jiangning Palace is on the Qixia Mountain, compared to the West Lake Palace, there is no beautiful scene." ”
According to historical records, the Qixia Palace was built by Yin Jishan, the governor of Liangjiang at the time, and his local officials and lianghuai salt merchants before and after 6 years.
Qianlong's six southern tours, except for the first time when the palace was not repaired, the other five times lived in the Qixia Mountain Palace, leaving more than a hundred poems, more than fifty plaques and couplets, and the Qixia Palace and Lingfeng Pond and other scenic spots were crowned as "Qixia Ten Views", which shows the emperor's love for Qixia Mountain.
The first panoramic view of Qixia Mountain
Painting the emperor's favorite scenery, Dong Yu naturally paid special attention. The opening work of the first opening shows the panoramic scenery of Qixia Mountain.
Qixia Mountain has three peaks: the main peak Fengxiang Peak, the east is Longshan Mountain, the west is Tiger Mountain, the whole mountain looks like a Taishi chair, can be relied on, from the perspective of feng shui, as the emperor's palace is very suitable.
Qianlong praised Qixia Mountain as "the first Jinling Mingxiu Mountain". Only to see this mountain majestic south bank of the Yangtze River, the mountains are green, the ancient temples and palaces are surrounded by mountains, the great river goes east, the artistic conception is vast, the weather is varied, and it is indeed both bright and beautiful.
The second open Lingfeng Pool
The second open "Lingfeng Pond" is located at the waist of the middle peak of Qixia Mountain, painting the undulating peaks, lush trees, pavilions, and large blank spaces to show the smoke and smoke, very fairy.
The third opens the Purple Peak Pavilion
The third open "Purple Peak Pavilion" is located in the middle peak of Qixia Mountain. The mountain springs between the stone walls, the small bridges flowing water, the temple houses on the shore are lined up, and the miscellaneous trees and bamboo reflect each other.
The people of Nanjing said: "Spring cow head, autumn Qixia". The autumn leaves of Qixia Mountain have always been the most beautiful autumn colors in Nanjing, in fact, it is not all red, but it is dotted with dark red and light yellow in the green, which is more prominent and very vibrant. Dong Xuan's opening is also very similar to the real scene.
The autumn colors of Mount Qixia
The fourth open Wansong Mountain House
The fourth "Wansong Mountain House" is located halfway up the main peak, which is the "most scenic" scenery of Qixia Mountain. Most painters like to express quietness with minimalist and blank techniques, while Dong Yu knows Qianlong's preferences and deliberately paints the picture full, but the use of color and composition is harmonious. As soon as you open the picture, there is the breath of the mountain wind blowing through and the pine waves.
Fifth Open Heaven Open Rock
The fifth open "Tiankai Rock", the surrounding rocks are abrupt and steep, like a line of tiankai, so it is named.
The ink color is stained layer by layer, the layers are rich and do not appear dirty, and it has the characteristics of Wang Yuanqi's brushwork.
Sixth open Surrogate Temple
The sixth open "Secluded Nunnery", a few small nunneries, surrounded by pines and green bamboo, and the mountain springs flowing, like a fairyland in the world.
According to Yuan Ming's "Suiyuan Poetry", the construction of qixia mountain hermitage nunnery, Zifeng Pavilion and other scenic spots is very difficult, and the strange stones of qifeng in front of the door are "all searched out from the ground, brushed sand to remove soil, to three or four meters deep." ”
The formation of this scene is also like Dong Chen's painting, which seems to be natural and natural, but in fact, the layout and conception are all painted with great effort.
Seventh open Stacked Wave Cliff
The seventh opening of the "Stacked Wave Cliff", only to see the cliff rocks stacked in layers, in the shape of high and low undulating, far away like the tides of the sea, the waves are stacked, so it is called "Stacked Wave Cliff".
The eighth opens Pearl Springs
The eighth "Pearl Spring" is located next to the peach blossom stream in Qixia Mountain. Pearl Spring is the first of the springs of Qixia Mountain, and it is also one of the "Twenty-four Springs of Jinling", but the spring gushes out from the stone, flows down, and the white beads float up and down, like pearls.
Qianlong likes Qingquan and Qishi, which are available here, so it makes sense for him to favor Qixia Mountain.
Ninth open Rainbow Mirror
The ninth opening of the "Rainbow Mirror" is a landscape specially created by Yin Jishan, the governor of Liangjiang, to welcome the emperor's southern tour. The peach blossom stream is stored in a flat lake, and there are pavilions and strange stones on the lake side, which are connected by a railing curved bridge.
A few wisps of willows are flicked, and a mirror is quiet, adding a little spirit to the mountain color. Dong Yu also showed this terrain and style very well.
The tenth kai tokuun-an
The tenth "Deyun'an" is close to the peach blossom stream, and the stream is babbling through. In front of you is an ancient pine forest, flying green pan air, the clouds and the sun, the autumn leaves reflected in the clear stream, very dynamic.
The blank space is also just right, and it activates the somber mountain color at once, which looks both deep and beautiful.
The private customization of these scenery is actually equivalent to today's friends going on a trip, you help me take a picture to see what it looks like over there, what the scenery is, in order to meet the emperor's anxiety that he wants to travel but can't go.
Therefore, this kind of painting must be realistic, otherwise I don't know where it is, but I can't be too realistic, and I will appear very rigid in the carrier of ink painting, and the artistic level is very low, and I will also be reprimanded. Just like a good photographic work, it must also reflect reality and reflect the photographer's conception.
Compared with folk painters who can freely volatilize, it is much more difficult for lexicon painters to face problems, so not everyone can paint such a subject well.
Therefore, it is also the emperor's private order, and the situation of these calligraphy and painting works is also different. Some may not even have a chance to unfold; some will stay in the palace or temple or reward the courtiers after seeing it; some will be highly appreciated, chanting repeatedly, and traveling with the emperor.
For example, before the first southern tour, Qianlong asked Dong Yu's father Dong Bangda to paint the "Ten Views of the West Lake", so that he could personally feel the beauty of the long-heard West Lake during the southern tour, and print the realm and painting.
Part of Dong Bangda's "Ten Views of the West Lake", collected by the National Palace Museum in Taipei.
For his son Dong Huan's album of ten views of Qixia Mountain, Qianlong also liked it very much, which could be seen from his double questions of twenty places. The first time he inscribed a poem on each painting. Five years later, in the forty-fifth year of Qianlong (1780), Qianlong's fifth southern tour came to the Qixia Mountain Palace in Jiangning, compared the album with the real scene, and inscribed poems on each painting.
Each one has an album with double titles of qianlong's imperial pen, and there are not many in the old collection of the Qing Palace. It can also be seen that the emperor likes this album.
The stone canal was collected, circulated in an orderly manner, and the bibliography was accumulated
In the fifty-sixth year of Qianlong, the emperor ordered Wang Jie, Dong Huan, Peng Yuanrui and others to compile the "Shiqu Baodi Continuation", which contained the undocumented works of the "Main Compilation" and the newly dedicated works of the ministers.
This album of ten views of Qixia Mountain and another album of ten views of Jiangning are included in the "Continuation of Shiqu Baodi", which is written under the general title of the album "Jiangdong ShuxiuTu". All of the inscriptions and poems are identical to the bibliography.
The Sanxitang Jingjian Seal, the Shiqu Baodi, the Shiqu Dingjian, the Baodi Recompile, the Leshoutang Jian treasure collection, and the Ningshou Palace continued to enter the Shiqu Baodi, all of which can be strictly aligned with the standard bibliographic parts of the "Shiqu Baodi" held by the Forbidden City on both sides of the strait.
During the Xianfeng period, the Qixia Palace was destroyed by the war between the Qing army and the Taiping army, and only the ruins remained, which is really a sigh. Today, to know the grand scene of that year, you can only see it from the old Tibetan scrolls of the Qing Palace.
Ruins of the Qixia Mountain Palace
And this Qixia Mountain "Ten Views of Jinling Album" in modern times wandered to Japan, there are Japanese sinologist Naito Hu, Wu Changshuo's friend, calligraphy and painting appraisal parent Tail Jia and collector Cheng Qi's inscription, is also an orderly evidence.
As for why it flowed into Japan, I guess that most of it was brought out of the Qing Palace to the people at the time of the fall of the Qing Dynasty, and then sold to Japanese collectors who were buying a large collection in China at that time.
After a hundred years, it appeared in Hong Kong, hoping that it could return to China.
Japanese sinologist Naito Tiger inscription
Wu Changshuo's good friend and parent of calligraphy and painting appraisal
The inscription of collector Cheng Qi
The brand value of "Shiqu Baodi"!
Finally, let's talk about the value part. In the heart of the person in charge of Huayi Auction, this landscape album is a lot of over 100 million, and there must be more than 100 million reasons.
We know that at present, the works recorded in "Shiqu Baodi", even if they are small in size or small in name, are easily more than ten million yuan.
For example, Huayi International auctioned a piece of "Linmi Fu Wu Ti" by the Qianlong period calligrapher Zhou Xingdai in the spring this year, and Zhou Xingdai's work was not auctioned much before, but this thing was written in the "Three Compilations of Shiqu Baodi", and the final transaction price was 10.35 million.
At the Japanese auction in September, a palm-sized Qianlong Emperor's imperial pen, with only two pages, almost no reserve price, all the way to the fierce bidding of 110 million yen fell, plus the commission transaction price exceeded 8.5 million yuan.
Last year's Xiling Autumn Auction, a Qing Dynasty court painter Fang Chun's "Flat Boat Carrying Crane Diagram", also because it is a bibliography of "Shiqu Baodi Three Compilations", the result started from 38,000 yuan, all the way to 18.4 million yuan!
Due to the social structure and tradition of thousands of years, Chinese very much advocating palace and official building, which is the charm of the court, which is once again presented on the auction floor.
Fang Chun's "Crane Diagram of the Flat Boat" written by Shiqu Baodi
And the famous sharp goods recorded in "Shiqu Baodi" directly started with 100 million yuan!
For example, the two pieces with the highest auction prices in ancient Chinese paintings, Chen Rong's "Six Dragon Diagrams" of the Southern Song Dynasty and Ren Renfa's "Five Kings Drunk Returning to the Map", were both recorded in "Shiqu Baodi".
In 2017, there were 8 ancient calligraphy and paintings of 100 million yuan on the auction site, of which 5 were recorded in "Shiqu Baodi".
Qian Weicheng, the most popular Qing Dynasty painter in 2018, basically photographed the bibliographic works of "Shiqu Baodi".
Even whether the works of the same painter are selected for the "Stone Canal Baodi" or not, sometimes the price difference will be more than ten times.
Why is the "Shiqu" brand so expensive? There are three main reasons.
The first is fidelity. Historical bibliography is an important criterion for judging the authenticity of works, "Shiqu Baodi" is the court collection of the heyday of the Qing Dynasty, from the collector's point of view, there is "Shiqu Baodi" to support the bottom, the probability of hitting the eye is much smaller. Although there is no shortage of forgeries in the historical works of "Shiqu Baodi", but mainly ancient paintings before the Song and Yuan dynasties, There are almost no forgeries in Ming and Qing works, especially in the Qianlong Dynasty. What's more, Dong Yu himself is one of the editors-in-chief of the "Shiqu Baodi Continuation", of course, it is even more impossible to fool the emperor with fakes.
Secondly, the works in the bibliography are basically excellent works. The quality of calligraphy and painting is a more difficult issue than a forgery. According to Jiang Baoling's "Mo Lin's Present Words", Dong Huan was busy with official affairs in his later years, often letting his disciples ghostwrite, and rarely saw the true face of his paintings. And this "Ten Views of Jinling Atlas" is just the prime of Dong Chen's 36-year-old, and it is the emperor's private customization, naturally it is desperately careful, each opening is exquisitely conceived, the pen and ink are timeless, the color is elegant, both the roundness and thickness of the Yuanren landscape, and there is no lack of the smart literary show of the Mingren landscape, far from ordinary entertainment works and ghostwriting can be compared.
The third represents the mainstream aesthetics of Kangqian's prosperous era, especially the royal aesthetics. There are often two systems for collecting, one is to chase the royal family, and the other is to chase the literati.
The porcelain aesthetics of the Qianlong Emperor were often complained about by everyone, in fact, the aesthetics of calligraphy and painting in the Qing Palace were still very orthodox. In calligraphy, Kangxi Yahao Dong Qichang, Qianlong master Zhao Mengfu, painting admired the orthodox literati painting style from the Yuan Sijia to Dong Qichang and the Four Kings.
In addition, the interest of Jiangnan literati painting and the pursuit of palatial court interest are combined, which is the mainstream of "Shiqu" collection of "contemporary art" (Qing Dynasty calligraphy and painting).
And works like Dong Yu's "Ten Views of Jinling Atlas" are just in line with the "noble atmosphere", which has both the elegance of the literati and the nobility of the royal family. This album is not only a catalogue of "Shiqu Baodi", but also a representative work of important lyricist painters, and it is also a beloved object of the Qianlong Emperor's double title 20 times, almost reaching the extreme of court aesthetics, how high should the added value be?
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