Written by | Zhao Mengde
The perfectionist character of Yongzheng's artistic style is very obvious, so he left a large number of court portraits behind him. One of the earliest is a reading portrait of the Prince's era, the picture is a man, micro-bearded, full of civilian clothes, sitting in a precarious position, looking ahead, holding a book in his right hand to open close to the front chest, and placing a set of line-bound books around him, and has been opened, obviously to the outside world to express the image of a scholarly, hard-working young man.
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Today's painting is not the subject of this article, but another "Yin Chan Cultivation and Weaving Map", which is a painting imitating his father Kangxi, who at this time was only the Prince of Yong, and he followed the trend of Kangxi's style, keeping up with the pace, and seemed to send some kind of signal to the outside world. As the name suggests, "Cultivating the Map" is a hypothetical of agricultural life as a royal prince. The farmers, peasant wives, and children in it all have their own meanings.
Returning to natural agricultural life expresses yin chan's ideals? Through the picture, we can see that Yin Chan is very comfortable to participate in agricultural production and life.
Just like Tao Yuanming, under the eastern fence of picking chrysanthemums, leisurely see the South Mountain.
Where is Yin Chan's Nanshan? Looking at the seedling map first, you will see a small stream, on the other side of the river bank is the rice field that has not yet had time to plant seedlings, and on the other side is a farmhouse covered by trees, the houses are like houses, and there is a small bridge in the middle, with a curved path. There are two birds on the surface of the water, chasing and playing at a low altitude, and the close-up of the picture is of a farmer in the image of Yin Shu. He had a bucket of manure on each side of his body, facing the nursery field, holding a long-handled scoop, and was pouring manure water into the field, fertilizing and raising seedlings.
One of the cultivation charts
On the path behind Yin Zhen, a farmer who was carrying a burden was delivering manure water to the front to supply Yin Zhen with fertilizer. The meaning of the intuitive picture, the hard work of the farmer, the peace of the world, the joy of the farmer. In another ploughing picture, a farmer in the shape of a man, dressed in a cloak, stands on his feet in the water, his left hand skillfully supporting the plough rake, his right hand raising the whip, and the cow is very obedient. This plough rake paddy field prepares for the planting of rice.
Yin Chan and his wife played a model peasant couple, expressing their emphasis on agriculture and frugal life, and also hinted at their own indifferent feelings. Yin Chan seemed to want to give the outside world a transcendent color.
The Yin Chan Cultivation and Weaving Diagram is based on Kangxi's Imperial Cultivation and Weaving Diagram. The Imperial Cultivation and Weaving Map, also known as the Peiwen Zhai Cultivation Weaving Diagram or the Kangxi Cultivation Weaving Diagram, has Kangxi inscription poems on it, a total of 46 paintings. Taking the rural production in Jiangnan as the theme, the specific operation process of grain production and sericulture production is depicted in detail and vividly, which is an intuitive picture to understand the cultivation and weaving situation in the Qing Dynasty, and it is also to highlight the beautiful vision of Kangxi attaching importance to agricultural cultivation and weaving.
Tillage map partial
Similarly, there are 52 original manuscripts of "Yin Chan Cultivation and Weaving", and from the first one, almost every one of them has a young woman and a 2-year-old child appear on the screen. The first painting is "Impregnation", in which he himself did not participate in the impregnation, but watched. Along with him, a young woman and a 2-year-old toddler were watching. The young woman leaned against the door, as if she did not dare to go out. Who is the young woman in the painting? Who is this 2-year-old? All this adds some doubtful speculation to the painting, and adds a foreshadowing to the mystery or fun of the picture.
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On the fourth painting of the "Yin Chan Cultivation and Weaving Map," Prince Yong personally wrote an inscription: "Yesterday, the beginning of the yun was dismissed, and now the dynasty is revived." Youyun: "Butterflies are chaotic wildflowers late, and swallows return to the grass in spring." The spring breeze should not be negative, only the people of the field. "Typical of the poetry. A young child was in another grass hut, looking out to prince Yong's cattle cultivation land. Next to the grass huts, there are not only ancient trees, but also rivers and ponds. Obviously, spring is full of life, and it seems very comfortable. In the painting "Pulling Up the Seedlings", Shiyun, the Prince of Yong: "Fight for the old and the young, for the insertion of strangers." Self-satisfaction for the pleasure of farming, hard work always do not know." Because of the rhythm of the busy farming, he has forgotten the physical fatigue, and this feeling is quite real, as if to tell outsiders that Prince Yong is not unfamiliar with agricultural life.
In other scenes, not only is a woman carrying a water jug and leading a young child to Prince Yong of Eryun, but there is also a slightly older child in front of her to lead the way for the woman. In this regard, Prince Yong has a poem recorded: "The line is busy with women, and the childish children lead the skirt." At this point, Prince Yong finally confessed in person and in his own handwriting that the young child held by the woman was Prince Yong's son Hongli, that is, the future Qianlong. In the painting "Holding the Spike", a young woman once again appears holding a child in her hand, staring at the scene of Prince Yong and the farmers threshing together. The grass house where Hongli mother and son live in the Lion Park is based on stone blocks, thatched as the roof, and branches as thorn doors. In this painting, including a large number of other paintings in the "Yin Chan Cultivation and Weaving Map", they are all fulfilled, can be intuitively understood, and are vividly remembered.
In the picture of "Spring Pillar", Prince Yong confirms the identity of this young child. At the top of the painting, there is Prince Yong's own handwriting: "Erjie also loves himself, grasps the mozi". This kind of father-son self-satisfaction means that under his leadership, the son has also received this kind of education. "Qin Man is one year old". This "one-year-old" boy was, of course, the "child" and "child" that Prince Yong had mentioned several times before. In the painting, Prince Yong and the farmers are moving grain into the warehouse. Near the cowshed, a young child appeared to be carrying things with another older boy. The cute shape of the "diligent man" jumped on the paper. The biggest obvious difference between the twenty-fourth "Bath Silkworm" diagram of the "Yin Shu Cultivation and Weaving Map" and the first twenty-three "Cultivation Maps", the front volume is farming, and the back volume is weaving; Then there is the grass house where it was originally lived, which has been completely converted into a high open tile house.
Judging from the picture of the "Weaving" volume "Bathing Silkworm", there are trees and flowers next to the tile house, and there are other women who are accompanied by Hongli mother and son. It can be seen that at this time, the living environment and interpersonal environment of Hongli's mother and son have become much closer than those in the first painting of "Dip Seeds" in the first volume of "Yin Chan Cultivation and Weaving Map". In the poem "Two Sleeps", there is a sentence that "women are busy and children do not go". When silkworm farming is busy, the woman does not even have time to take care of her young son. The key sentence in the poem "Bathing Silkworm" is the sentence "Women's work begins from here". This "woman" is no one else, but Hongli's biological mother, which shows her diligence.
"Children don't go" is a backward sentence when the poet wrote the poem, which actually means not to go to the children's place, because the silkworm house must be separated from the living place of the mother and son of Hongli, and it is two different houses. In another picture, on the one hand, "the young woman picking mulberry room", on the other hand, Xiao Hongli took out all his strength and held the basket with both hands and marched hard, causing his mother and neighboring women to laugh and point or praise. This is consistent with the previous Praise of Prince Yong as a diligent man, which is also consistent with the past.
In the picture of "Cai Sang", Prince Yong wrote the sentence "Branches are high and learn to ascend, and The leaves fall to teach children to pick up". This "child", of course, is the Hongli calendar, which is already two or three years old. In other scrolls, there is not only the sentence "Female Red is also quite "Lamp Dim Silk", indicating that Niu Shi is also busy with silk at night, but what is more interesting is that the heart is not busy, and the heart is busy and chaotic." Not only did it once again point out that the woman was a concubine, but also, with two hearts and two purposes, the heart was busy. Busy taking care of the young children's calendar, but also busy taking care of the silk, as a result, the silk is also chaotic. This description of Prince Yong is very specific and vivid, and it is very documentary.
Through the extensive content of the Yin Chan Cultivation and Weaving Map, especially Prince Yong's own propaganda of his son Hongli, there is a desire and even a purpose hidden, he hopes that this painting will be seen by Kangxi, and how cute his grandson is.
Kangxi had a total of ninety-seven grandchildren, and due to the busy government affairs, most of them did not have the opportunity to meet. Under the propaganda of Prince Yong, Kangxi did not summon Sun Zi Hongli in the near future, and asked him about his homework in person, Xiao Hongli was able to answer calmly and naturally, and soon, let Prince Yong give him the "birthday eight characters" of Hongli, and finally announced an important decision: to bring Hongli back to the palace for upbringing. In the last year of Kangxi's life, this lovely Hong calendar brought a lot of joy to the old emperor, personally teaching him to shoot arrows" or ordering rifles to show the crowd of subjects, holding a full company, the emperor will be moved. Even the old emperor, because he loved Hongli, specifically brought the supporting role of Hongli's mother in Prince Yong's painting to see, and finally praised: "If it is a blessed person, a blessed person!" "The Record of Emperor Gaozong of the Qing Dynasty" The woman who finally became the empress dowager indeed became one of the long-lived and well-off people of the Qing Dynasty, and enjoyed all the honor and wealth.
Yongzheng and his son Hongli
Therefore, the "Cultivation and Weaving Map" is a propaganda scroll that perfectly records prince Yong and Hongli and his mother, expressing harmonious, industrious and pragmatic family customs, if you have to interpret it from the perspective of purpose, obviously, when the old emperor summoned Hongli, it had been achieved. The details of history lie in the fact that in an instant, perhaps "Cultivating and Weaving" has played a huge influence on the temporary release of art, thus ultimately influencing the direction of history.
References: Yongzheng Biography, Qianlong Emperor, Qing Dynasty Court Paintings