"Visualize" historical scenes in ancient paintings

Qiu Ying, the father of the character, is an outstanding representative of the Ming Dynasty painting world, and there are paintings such as "Spring Xiaotu of Han Palace" and "Jade Cave Xianyuan Tu". Qiu Ying worked as a painter in his early years, but he loved to paint, so it can be seen in his paintings that he attaches great importance to the decorative and exquisite nature of paintings. Qiu Ying, along with Shen Zhou, Wen Huiming, and Tang Yin, was listed as the "Four Houses of Wumen", or "Four Families of Ming". In terms of copying gu xian's masterpieces or creating character story pictures, Qiu Ying has achieved outstanding results.

Qiu Ying's "Character Story Map" volume, the content comes from historical stories, fables and legends, literati anecdotes and poetic allegories, specifically "Zilu Qingjin", "Ming Concubine Out of the Plug", "Guifei Xiao Makeup", "South China Autumn Water", "Blowing Pipe Lead Phoenix", "Alpine Flowing Water", "Bamboo Courtyard Pingu", "Pine Forest Six Yi", "Xunyang Pipa", "Catching Willow Flower Figure". These subjects have always been painted by other painters, but Qiu Ying has injected his own talents and skills into the expression of brush and ink, the intention of the work and the shaping of images, showing a distinct personality style.

Ming Dynasty Qiu Ying "Character Story Map" Book of "Zilu Qingjin"

Ming Dynasty Qiu Ying "Character Story Map" volume of "Zilu Qingjin" Part of the character situation is depicted delicately and delicately

"Zilu Qingjin" is taken from the story of Confucius when he traveled around the world, Zilu asked The ferry to Chang frustrated and Drowned. In the picture, a carriage is parked under a green tree, and a white old man on the car has his sleeves folded and his eyes are hanging down, this old man is Confucius, he sits in the car with a few ends, although he is not serene in the labyrinth. A stone blocked the way, and the river in front of it was sparkling, and there was no way to go, and the sub-road was frustrated with the farmer and drowned to find the ferry. In the distance, the cultivated land is stained with light ink and light green, and it is separated by water waves.

"Ming Edition Painted Picture of Confucius's Sacred Relics" of "Zilu Qingjin"

Ming Dynasty Wu Wei "Qingjin Tu" volume Partial character image is simple and elegant

Ming Dynasty Wu Wei "Qingjin Tu" volume Partial End presents the story of Qingjin

In the comic strip "Ming Edition Painting of Confucius's Sacred Relics" that reflects the deeds of Confucius's life, the characters on the "Zilu Qingjin" page are dressed in clothing, utensils and ceremonial guards, ox carriages, landscapes and trees are delicately depicted, and the colors are bright; the Ming Dynasty painter Wu Wei's "QingjinTu" volume also shows the historical story of the "Zilu Qingjin" of the Analects, showing Confucius's attitude of not avoiding reality. The characters in the volume are dressed in "blue leaves", soft and rigid, and the character image is simple and elegant.

Ming Dynasty Qiu Ying "Character Story Map" book of "Ming Concubine Out of the Plug"

Ming Dynasty Qiu Ying "Character Story Map" book of "Ming Concubine Out of the Plug" Part of the personal maid holding the pipa

Ming Dynasty Qiu Ying "Character Story Map" volume of "Ming Concubine Out of the Plug" Part of the desert outside the Plug, camels appear from time to time

"Ming Concubine Out of the Plug" depicts the scene of the palace lady Zhaojun during the Yuan Emperor of the Western Han Dynasty sending an envoy to the Xiongnu and trekking outside the Plug. The picture is mainly composed of two groups of characters, connected by a rope leading a horse, the Xiongnu in front, And Zhaojun and other Han Chinese in the back. Hu Han was happy and anxious to marry the Han family daughter, and showed an active mentality; Zhaojun was upset and hesitant to the Xiongnu, showing a passive mentality. Between the two groups of figures, the painter deliberately added a lively and cute hound, which not only explained the living habits of the Huns, but also made the original dull, single-line picture come alive for a while.

Qing Dynasty Hua Lun 《昭君出塞圖》

Qing Dynasty Ni Tian "Zhaojun Out of set"

Zhaojun's departure is a true story in the history of the mainland, and after Zhaojun arrived in the Xiongnu, he brought peace, tranquility and prosperity to the Xiongnu, thus making the Xiongnu reconcile with the Han Dynasty for half a century. Later, countless works of art such as paintings and poems originated from this story. The Ming Dynasty painter You Qiu and the Qing Dynasty painters Hua Song, Luo Ping, Ni Tian and others all painted "Zhaojun Out of the Seto". Hua Song's "Zhaojun Out of Setu" inscription "I am the son of the Han family..." describes the plot of Zhaojun and his relatives going to Saiwai and with the Xiongnu. In Ni Tian's "Zhaojun Out of the Seto", Zhaojun wears a bearded dress, holds a horse whip in his left hand, and holds the reins in his right hand, standing next to the horse, his eyes are attracted by several geese returning from the south in the air, expressing Zhaojun's homesickness.

Ming Dynasty Qiu Ying "Character Story Map" book of "Noble Concubine Xiao Makeup"

Ming Dynasty Qiu Ying "Character Story Map" volume of "Guifei Xiao Makeup" part Yang Guifei combing the mirror

"Guifei Xiao Makeup" takes Yang Guifei in the early morning in the Huaqing Palace Duanzheng Building to face the mirror bun as the center, the picture presents the palace women's music, flower picking and carrying the pipa plot, through these details to show the noble concubine's good vocal music, love peony, happy hairpin flowers, good dress life habits, but also a summary of the noble concubine's luxurious and indulgent life content.

Eastern Jin Dynasty Gu Kaizhi "Female History Zhentu" part

Qing Dynasty Chen Mei "Yueman Qingyou Tu" volume of "Water Pavilion Dressing" part

"Grooming the mirror, looking at the mirror" has been a more romantic creative theme in the women's album since ancient times. In "Female History", the creator Gu Kaizhi depicted a set of mirror grooming drawings. One picture depicts the plot of a lady combing another woman's hair, and the other picture shows the lady herself holding a mirror in one hand, lifting it with the other hand, combing her face, and reflecting her face in the mirror; in the court painter Su Hanchen's "Makeup Beautiful Lady Picture" at the time of the two Song Dynasties, a delicate lady is dressing up, through the mirror, you can see that her expression is a little sad; in the "Water Pavilion Dressing" of the Qing Dynasty painter Chen Ming's "Moon Man QingYou Map" book, a young girl wearing a blue dress and wearing a white dress sits in front of the central square table. There is a mirror on the table, and the young girl is grooming the mirror; in the "Mirror of the Twelve Beauties of Yongzheng", a lady holds a bronze mirror in her hand, and her expression is focused on self-appreciation, she is wearing a fur suit, wearing a jade pendant, and her posture is beautiful, but there is helplessness between her eyebrows.

Ming Dynasty Qiu Ying "Character Story Map" Book of "South China Autumn Water"

Ming Dynasty Qiu Ying Part of "Nanhua Autumn Water" in the book "Character Story Map" The man who gazes at the flowing water represents Zhuangzi

"Nanhua Autumn Water" is based on Zhuangzi's "Autumn Water Chapter", "The four seas are also between heaven and earth, not like the void in Dazehu!" China is in the sea, not like the rice in Okura! "The dialogue between the river god and the sea god is used to tell the relative relationship between the universe and the world; and the existence, quantity, size, and surplus of things between heaven and earth are used to extend the relative relationship between static and change." The figure of "Nanhua Autumn Water" adopts an anthropomorphic technique to be imaged, the man who gazes at the flowing water represents "Nanhua" (later people call Zhuangzi a Real Person of Nanhua, that is, represents Zhuangzi), the woman who serves as the embodiment of "Autumn Water", and the contrast between the size of mountains, jungles, river stones, trees, and people symbolizes the relative relationship between heaven and earth.