The cultural relics in front of you are rugged and chatty, and watching children catch willow flowers - enjoying Qiu Ying's "Character Story Map" book

In Qiu Ying's "Character Story Map" book, we can not only see the specific details of the characters' activities, but also perceive the atmosphere of the surrounding environment, and each picture is not only clear in theme, but also has a strong ornamentality.

Ming Dynasty Qiu Ying "Character Story Map" book of "Blowing The Flute leads to the phoenix"

Ming Dynasty Qiu Ying "Character Story Map" volume of "Blowing Flute lead phoenix" part of the blow pipe to attract phoenix

Since the Han Dynasty, mythical stories have always been loved by people. By the time of the Wei and Jin Dynasties, paintings of such subjects began to appear on paper silk, some for funeral purposes, and some handed down. Whether it is death or life, it carries a certain desire of people. The story of "Blowing Flutes and Attracting Phoenix" is taken from Han Liu Xiang's "Biography of The Immortals", which tells that in the early Spring and Autumn Period, Qin Mugong's daughter Nongyu was good at blowing flutes, and she married the immortal Zhenshi, who was also good at blowing pipes. Qin Mugong built a phoenix platform, and the two of them, Rong Yu and Xiao Shi, blew the flute to attract the phoenix, and they both ascended to heaven by the dragon and phoenix to become gods.

Qing Dynasty Reform Qi "Blowing Flute Introduction Phoenix Diagram"

In the Qing Dynasty, Gai Qi and Ren Xuan also painted "Blowing Flute and Leading Phoenix Figure". Under Ren Kaoru's pen, the picture mood is quiet and quiet, and the lady of the flute is beautiful and feminine, showing a kind of yearning for beauty in the painter's heart; the "Blowing Flute Lead Phoenix Diagram" painted by Gai Qi shows the woman's goose egg-shaped face, thin eyebrows and phoenix eyes, cherry red lips, and shoulders and willow waist, showing the aesthetic image of the painter's era.

Ming Dynasty Qiu Ying "Character Story Map" book of "Mountain Flowing Water"

Ming Dynasty Qiu Ying "Character Story Map" volume of "Alpine Flowing Water" part of the Bell Period to pick up the steps

"Alpine Flowing Water" is based on the story of "Boya Drum And Qin Meets Zhiyin". In the picture, Yu Boya is sitting in the grass hall, next to the piano book, he is thinking deeply on the side of his head, a child next to him is making tea, the grass hall is full of long pines; the bell woodcutter dressed up and walks up the steps. When Qiu Ying depicted the plot of the two people meeting, he also arranged a quiet and quiet environment such as pine forest flowing water and alpine waterfalls, which more vividly expressed the musical content of alpine flowing water and also set off the elegant sentiments of the characters.

Yuan Wang Zhenpeng "Boya Drum And Qintu" volume partial

Alpine flowing water or Boya drum and piano are the painting subjects of painters over the centuries who have expressed sympathy and conformity with each other. Yuan Dynasty painter Wang Zhenpeng's "Boya Drum and Qin Diagram" is a typical character story painting, Bo Ya is shirtless and focused on playing the piano; Zi Period sits with his feet cocked, holding his breath.

Ming Dynasty Qiu Ying "Character Story Map" book of "Bamboo Courtyard Pingu"

Ming Dynasty Qiu Ying "Character Story Map" volume of "Bamboo Courtyard PinGu" part of the bronze ware listed around

Pingu has always been a great hobby of literati and scholars, and since ancient times, this wind has continued unceasingly. In Liu Songnian's "Bogutu" of the Song Dynasty, literati and doctors gathered together to taste and play with ancient utensils. After the Song and Ming Dynasties, artifacts were mostly used for the matching of figure paintings, and independent paintings began in the late Ming and early Ming dynasties. The relics of the literati yaji of "gathering four guests in the leisurely court to play with the ancient" gradually materialized into artifacts and scenery supported.

Qiu Ying's "Character Story Map" book in the "Bamboo Courtyard Pingu" depicts a screen in front of the green bamboo forest, one side of the screen painting flowers and birds, the other side painting landscape, landscape is a typical Qiu Ying fine brush painting features. On the right side of the screen, two people sit on a Xiangfei bamboo chair, intently appreciating the ancient painting album on the table. In the front part of the right side, a child comes over with a hanging scroll. On the left, a coat of arms is carefully inspecting the porcelain presented by the boy in front of him. Surrounded by bronze vessels such as 觚, Knight, 簋, 卣, 罍 and so on. There are two children behind the screen, one making tea and one placing chess equipment. There are two puppies in front of the chess piece, one of which is lying on his side, just like the horse form that Qiu Ying is good at. Although there are many colors of the artifacts in the painting, there is no sense of dazzling, and the faces of the characters are relaxed and their looks are prepared.

Ming Dynasty Qiu Ying "Character Story Map" book of "Songlin Liuyi"

Ming Dynasty Qiu Ying Part of the "Six Yi of the Pine Forest" in the "Character Story Map" The characters in the picture are dressed as Confucians

"Songlin Liuyi" is based on the life experience of the Tang Dynasty poet "Shi xian" Li Bai, who settled in Donglu with his family in middle age, and lived in seclusion with the famous scholars han zhun, Pei Zheng, Kong Chaofu, Zhang Shuming, Tao Yuan, and others at that time, secluded in the Wandering Mountains, chanting poems and indulging in wine, which was called "Zhuxi Liuyi" at the time. The "Six Yi" in the picture are all dressed as Confucians, and there is no hermit appearance of "gargling pillow stones", just like the civil officials sneaking around in their busyness. At the same time, the pine trees that appear in the painting are leafy and leafy, which is also often used to symbolize the upright character of the courtiers.

Qing Dynasty Hua Lun "Zhuxi Liuyi Map" part

Historical stories about Gao Shiya, such as Zhuxi Liuyi and Zhulin Seven Sages, are the subjects of painting that literati painters were keen on. The Qing Dynasty Hua Lun's "Zhuxi Liuyi Tu" and Jin Tingbiao's "Zhuxi Liuyi Tu" depict the tang Dynasty's six high priests meeting in literature, drinking tea and singing, and hiding in the bamboo forest.

Ming Dynasty Qiu Ying "Character Story Map" book of "Xunyang Pipa"

Ming Dynasty Qiu Ying "Character Story Map" book of "Catching Willow Flowers"

Both the Xunyang Pipa and the Catch the Willow Flower are taken from ancient poems. "Xunyang Pipa" takes the poetry of Bai Juyi's "Pipa Line" of the Tang Dynasty, the picture story is strong, in front of the old tree on the shore, there are two servants, one of them carrying a lamp, one leading a horse, they are waiting for the master to send the guests home. Behind the trees were two small boats juxtaposed, one of which was spacious and ornate, topped with woven reeds, which was a boat for Bai Juyi to send guests, and the table was displayed with delicacies on the table; the other slightly exposed bow, which was the ship of a merchant woman who was half-covered with a pipa.

Ming Dynasty Qiu Ying "Character Story Map" volume of "Xunyang Pipa" part

Ming Dynasty Qiu Ying "Character Story Map" volume of "Catching Willow Flowers" part

Ming Dynasty Zhou Chen "Idle Children Catch Willow Flowers" part

"Catching willow flowers" is often used in the poems of Tang and Song poets to borrow idle and brisk moods. Bai Juyi's "Don't Willow Branch" has a verse "Who can learn more about children's drama, look for the spring wind and catch willow flowers". Qiu Ying's "Catching The Willow Flower" not only writes the idle mood of the scribe watching the willow flower, but also vividly expresses the lively emotions of children playing. The Ming Dynasty painter Zhou Chen also wrote "Idle Watching Children Catch Willow Flowers", which also shows the scene of children catching tidbits in the spring wind.

Qiu Ying's "Character Story Map" book, using the heavy color method of craftsmanship, depicts the characters in a delicate and subtle way, the literati behave elegantly and elegantly, and the ladies look dignified and beautiful; the construction utensils are finely crafted, and the mountain stones and trees have their own forms. The pen is fine and not stagnant, smooth and natural, rigid and soft. The painting is bright and colorful, and there are many harmonic colors, the overall tone is harmonious and elegant, and the works have the artistic effect of elegant and popular appreciation, which is the innovation and development of Qiu Ying's heavy color method of Tang and Song Gong's pen.