"Gangnam is good, the scenery used to be familiar." For thousands of years, the culture and customs of the Gangnam area have been desirable. The Paper has learned that from December 22, the Suzhou Museum's year-end exhibition "Jiangnan of the Yuan Dynasty" will be exhibited at the main hall of the Suzhou Museum (No. 204 Northeast Street) and will last until March 22, 2022.
The exhibition planning takes the impressions, customs, beliefs and elegant collections of Jiangnan as the context, selects calligraphy, paintings, utensils and treasures, reconstructs the timeless picture of Jiangnan, and reproduces the diverse and inclusive Style of the Yuan Dynasty. Among them, there are famous calligraphy and paintings such as Zhao Mengfu, Xian Yushu, Ren Renfa, Huang Gongwang, Ni Zhan, Wu Zhen, Wang Meng and other famous calligraphy and paintings in the Collection of the Palace Museum, Liaoning Museum, Nanjing Museum and other collections, as well as important Yuan Dynasty Jiangnan cultural relics collected by Shanghai Museum, Tianjin Museum, Suzhou Museum and so on.
Yuan Dynasty Zhao Mengfu 'Drinking Horse Scrolls' Partial
According to the information released by Su Bo, after the fall of the Southern Song Dynasty, Yuan set up the Imperial History Terrace in the Provinces of Jiangnan in his hometown to supervise the three provinces of Jiangsu, Zhejiang, Jiangxi, and Huguang, among which the Jiangsu and Zhejiang rivers and lakes were belted, and the canals were through, controlling overseas, which can be described as the fundamental place of Jiangnan in the Yuan Dynasty. In the Yuan Dynasty, Jiangnan lost taxes and grain, goods were sold in all directions, and production and trade continued to prosper. At that time, the geographical barriers were eliminated, the north-south passage was opened, and the northerners went south and the southerners went north, and there were still overseas guests who came to fame. The people of the four directions converge in Jiangnan, in life to ethnic groups, classes as different, according to their own customs, according to their rules, but also in the exchange of mutual understanding, mutual influence, there are Jiangnan people compete to admire the northern iron reduction as an ornament, there are also outsiders bachelor culture, Shang Jiangnan craftsmanship. Different beliefs spread here, and churches and mosques were built in many places in Jiangnan, but they failed to shake the fundamentals of the Tao, and the ideas of Confucianism, Buddhism, and Taoism were further integrated.
Under the sudden increase of social elements, there has been a new force in the field of arts and crafts in Jiangnan, and blue and white porcelain has flourished since then, exported to overseas; traditional categories and styles have not died, Zhang Cheng, Yang Mao's lacquer works, Zhu Bishan's silver chalk cup, all of which are exquisite in technique and have strong literary interest. The social trend dominated by Jiangnan literati does not stop there. The wind of the collection is becoming more and more prosperous, a large number of celebrities have formed poetry and singing gatherings, and the Kunshan Gu Ying's Jade Mountain Collection is even more extremely popular. The art of painting has also bred a new fashion because of the Jiangnan literati, the literati painter Togu reformed the system, taught the law of nature, entered the painting with calligraphy, painted landscapes and grass halls, lyrically wrote the breath in the chest, free entertainment, fresh and unworldly.
A Gangnam impression
The Yuan Dynasty was an era of unprecedented change in the history of Chinese art, especially painting. From the New Style of Chinese Painting nurtured during the Tang and Song Dynasties, it became a fashion in the Yuan Dynasty. Under the comprehensive action of political, economic, cultural and other factors, the Painters of the Yuan Dynasty turned to the Song Dynasty painting strictly in the shape, rich and gorgeous style of smelting, combining the author's personal knowledge and cultivation with the brushwork and dynamics of calligraphy, and writing poetry and literary heart into the painting meaning, full of paper and air, otherworldly.
The Yuan Dynasty painting affairs are flourishing in Jiangnan, where the long and strong cultural atmosphere, unique natural scenery and relatively relaxed cultural policies have made many Yuan Dynasty literati who have no door and no hope of advancement live in seclusion here, and for a time gave birth to calligraphy and paintings such as Zhao Mengfu, Xian Yushu, Ren Renfa, Huang Gongwang, Ni Zhan, Wu Zhen, Wang Meng and other calligraphers and painters.
Jiangnan, for these literati painters, is not only the home of the body, but also the dwelling place of the spirit. They silently tell their stories on the land of Jiangnan with their hands, or write about Xiao's neglect, or write about the thick and lush, or do the calligraphy of radiance, and record the feelings brought to them by the smoke and rain in Jiangnan. Above the silk, it is actually the heart of Jiangnan.
calligraphy
The calligraphy of the Yuan Dynasty focused on Jiangnan, thanks to Zhao Mengfu. He advocated retro, taking the Law jin tang dynasty, seal, li, kai, line, grass five bodies at the same time, especially the long kai shu, with fresh and unworldly, elegant dust as a model for future generations.
In addition to the Zhao family, Jiangnan in the Yuan Dynasty also had calligraphy masters such as Xian Yushu, Yang Weizhen, Ni Zhan, Lu Juren and so on, and their position in the history of calligraphy cannot be ignored. The calligraphy works exhibited this time present to us the life of the Jiangnan literati in the Yuan Dynasty through the form of texts.
Yang Weizhen Sleepwalking in Haitang City
Yuan, on paper, book, Tianjin Museum Collection
Zhao Mengfu Prajnaparamita Heart Sutra Yuan Book on Paper Book Collection of Liaoning Provincial Museum
Zhao Mengfu Linhuang Xiangqiu volume Yuan Paper Cursive Collection of Liaoning Provincial Museum
painting
Under the impetus of jiangnan scribes in the Yuan Dynasty, the process of "literarization" of Chinese painting from the Song Dynasty continued to ferment. On this basis, Zhao Mengfu put forward the concept of "calligraphy and painting homology", which is undoubtedly a technical standard.
Later, Huang Gongwang, Wu Zhen, Ni Zhan, and Wang Meng, who were known as the "Yuan Sijia" by later generations, were deeply influenced by it, and in the long-term practice of painting, they placed their personal pen and ink interest in the mountains and rivers and forests and streams and springs of Jiangnan.
The exhibition will feature Zhao Mengfu's "Drinking Horse Scrolls" in the Liaoning Provincial Museum. On paper, ink. The center of the painting is 25 in length and 59.8 cm in width. Bai Painted a Xi official, dressed in a robe, wearing a black hat, pedaling leather boots, holding a wooden basin in both hands, holding a clear spring inside, bending down and struggling to move forward. Facing him was a pillar, tied to a horse, and was pulling the reins with his head held high to drink. There is no background, the characters look beautiful, the lines of the clothes are delicate and smooth, the ink hooks the horse body, the local smudge, the bones are strong, and the body posture is fat and cute. Accurate shape, precision with the pen, carved into the subtle, simple and elegant, deeply rooted in Cao Han's method. At the end of the signature "Zi Ang" single paragraph, plutonium "Zhao Zi Ang" and "Song XueZhai" two seals. The lead has stopped?? The three characters of the large-character seal book "Drinking Horse Diagram" are painted with the inscriptions of Song Lian Xiaokai in the late Yuan and early Ming dynasties, and the inscriptions and poems of more than 20 people in the late Yuan and early Ming dynasties, such as Ke Jiusi, Ding Fu, Tang Jue, Zu Ying, Liu Ji, Shi Shouren, Han Sheng, Zhang Dake, Hu Yizhong, Buddha En, Ling Shuo, Pan Qi, Yao Andao, Ben Wu, Li Xiaoguang, Wei Su, Qian Zai, Shi Hongdao, Zheng Jia, Wang Yi, Li Xun, Wang Yi, Zhou Qifeng, etc. Successively, he was the Qin of the Yuan Ji Gaoshi and the Shi BeiFeng, and later passed on to the beginning of the Shi Dao. At this time, they were all collected in the Baolin Temple of Shaoxing. Ming Yongle fell into the hands of Li Yanzheng. At the end of the Ming Dynasty, Li Zhaoxiang collected, which was acquired by Gao Shiqi in the early Qing Dynasty and soon entered the Qing Palace. Famous collector Gu Fu's "Spectacular Life", Wu Sheng's "Records of the Great View", Gao Shiqi's "Records of Jiangcun Pinxia", and Kangxi Shi's "Peiwenzhai Calligraphy and Painting Notation" have been written.
Zhao Mengfu of the Yuan Dynasty, "Drinking Horse Scrolls", Liaoning Provincial Museum
Yuan Dynasty Zhao Mengfu 'Drinking Horse Scrolls' Text (Partial)
Huang Gongwang Fuchun Daling Tu Axis Yuan Ink on Paper Collection of Nanjing Museum
Wang Meng Bamboo Stone Diagram Axis Yuan Ink on Paper, Suzhou Museum Collection
Zhao Tianyu, Ke Jiusi, and other Seven Gentlemen Picture Scrolls Yuan Ink on Paper, Suzhou Museum Collection
2. Gangnam style
The territory of the Yuan Dynasty was unprecedentedly vast, and the social composition was diverse and complex. The Government of the Yuan Dynasty implemented the policy of simultaneously adopting various systems and governing according to customs, and in more than a hundred years, it engraved a unique mark on the land of Jiangnan.
In the Yuan Dynasty, Jiangnan continued the economic prosperity and development of the Song Dynasty, and canals and sea routes created more possibilities for mutual exchanges between different regions and ethnic groups. A large number of handicrafts such as silk and porcelain produced in the Jiangnan region are exported overseas and are favored, on the one hand, it stimulates the improvement of production technology, on the other hand, the collision of diverse cultures and customs provides new design inspiration for the handicraft manufacturing of Jiangnan in the Yuan Dynasty.
The relatively stable and open environment has also created new characteristics for the humanistic outlook of Jiangnan. Various religions spread in the Jiangnan area, showing a diversified religious ecology. The wind of social travel flourished unprecedentedly in the Jiangnan region of the Yuan Dynasty, and the scholars of various nationalities had close contacts, or played with landscapes, or tasted Bogu, expressing personal feelings through works, and the scale and influence of activities were constantly expanding, pushing the ancient Chinese literati collection to a new peak.
Scenery
The establishment of a unified empire put an end to long periods of instability and the separation of North and South. In the Yuan Dynasty, Jiangnan developed steadily and prosperously, and "the prosperity of the Hundred Sishu Mansions and the multitude of defenders and the people all depended on Jiangnan". Especially in the field of handicrafts, various categories such as weaving and embroidery, gold and silverware, lacquerware, jade, and porcelain have developed.
The arts and crafts of Jiangnan in the Yuan Dynasty retained more of the relics of the Two Song Dynasties, and at the same time, the needs of the government, the style and techniques of the northern arts and crafts, and the aesthetic orientation of ethnic minorities and even other countries also injected new elements into creation and production.
Yunlong Eight Treasures Pattern Satin Skirt Yuan Suzhou Museum Collection
Carved peony Ruyi Yunbian Marigold Yuan Collection of Nanjing Museum
"Zhu Bishan" silver maple cup Yuan Wu Culture Museum collection
Zhang Chengzao's red baby play picture plate Yuan Zhejiang Provincial Museum collection
faith
In the Yuan Dynasty, Buddhism flourished in the Jiangnan region, and Zen Buddhism and Tantra were fully developed. The Yuan government gave clergy a social status superior to that of the general commoner. Among the ten professional ranks of the Yuan Dynasty, monks ranked third and Dao ranked fourth, after officials and officials. Unlike previous dynasties, the temples and Taoist temples of the Yuan Dynasty not only occupied a large amount of land, but also vigorously engaged in commerce and handicrafts.
Under the influence of maritime trade in the Yuan Dynasty, the multiculturalism of Jiangnan in the Yuan Dynasty converged, and foreign religions had many adherents in Jiangnan and the eastern coastal areas. Thanks to the rulers' tolerant policy toward religious beliefs, Manichaeism, Judaism, Hinduism, Orthodoxy, and Catholicism also spread in the Jiangnan region, making the religious beliefs in Jiangnan in the Yuan Dynasty appear "international" in the characteristics.
Shadow green pictogram candlestick Yuan Wu Culture Museum collection
Embroidered Guanyin statue shaft Yuan Nanjing Museum collection
Longquan kiln green glaze depicting golden Buddha niches Yuan Anhui Museum collection
Jingdezhen kiln egg white glaze with color Sanskrit plate Yuan Shanghai Museum collection
Yaji
In the Yuan Dynasty, the Yaji activities profoundly influenced the communication and creation of the literati, and at the end of the Yuan Dynasty, they ushered in their prosperity in Jiangnan. At the end of the Yuan Dynasty, the literati Yaji in Jiangnan were often presided over by the rich and wealthy and rich people who were xiang Fengya. The excellent collection of calligraphy and paintings, luxurious and exquisite gardens, and fresh and beautiful landscapes are the best background of Yaji.
The Sage of Hainei smelled the scenery attached, went in and out of the Yaji Wenhui, met with friends, sang and tasted, drank and enjoyed music, wrote and painted, and moved Jiangnan with elegance. From the Yuan Dynasty Yaji, we can see the secret of the social network of Jiangnan literati and the grand creation of humanistic and artistic creations, and there are many words of appreciation and longing for this in later generations. Many of the works that have been handed down from generation to generation in the Art Collection are also praised, and their influence cannot be described as far-reaching.
No section Kaishu Nanping Ya collection of poetry volume Yuan paper small Kaishu Collection of the Palace Museum
Hua Zhao Yushan Ya Ji Axis Clear Ink Pastel Ink Pastel Collection of the National Palace Museum in Taipei
Yushan Pu Manuscript Volume (Yuan) compiled by Gu Ying Qing Codex Collection of the National Library of China
Yushan Famous Places Collection Volume 2 (Yuan) Gu YingJi Ming Codex Collection of the National Library of China
Jiangnan in the Yuan Dynasty
Exhibition time: December 22, 2021 - March 22, 2022
Venue: Suzhou Museum Main Hall (No. 204 Northeast Street)
(This article is based on the information provided by Subo and the information of related museum collections)