"Great Group Photo" of Qing Dynasty Figure Painting

With the further development of the commodity economy and the increasing strength of the citizen class, a humanist trend of thought pervaded the literature, philosophy, opera and other fields of literature, philosophy, opera and other fields at that time, the culture of the whole society tended to be secularized and citizenized, and the art forms with the people as the protagonist gradually increased. Therefore, the painters of the Qing Dynasty were very willing to depict the reality of life, and they paid great attention to secular themes, and vividly expressed the aesthetic needs and emotional imagery of the citizens. The painters' paintings became commodities circulating in the market, and dealers, buyers and painting markets also agreed with the concept of secular society, so they and the painters jointly promoted the development of Qing Dynasty figure painting.

In addition to the further emancipation of social thought, the attention and support of the Rulers of the Qing Dynasty to calligraphy and painting was also an indispensable factor. In the Qing Dynasty, from Shunzhi to Kangxi to Qianlong, they were all good Danqing, and they also personally participated in the creation of paintings, which led to the prosperity of the entire painting world in the Qing Dynasty.

One of the most prominent features of Qing Dynasty figure paintings is that they depict figures from all walks of life, unlike the previous ones, which were either dominated by emperors and heroes, or highlighted by famous scholars and sages. Of course, it does not mean the complete abandonment of celebrities and dignitaries, its real breakthrough is the emergence of many merchants and common people images, which is also a shift in the focus of figure painting, and is a true expression of the change of painting style from nobility and literati to secularization. From the themes and style of the works of many painters such as Huang Shen, Jin Nong, Qian Hui'an, etc., it can be seen that qing dynasty figure paintings are breaking through the original aesthetic style and striving to be close to secular life. During this period, the collection of music and art that reflects the scenes of the worldly home hedonistic life also appeared frequently. This kind of picture is no longer a single gathering of literati, but a "big group photo" of various people, etc., which more realistically freezes their daily leisurely life.

Qing 《同堂悟對圖》

Part of the Qing Dynasty "Tongtang Enlightenment to the Picture" Fei Junshi was drinking tea with great interest

Part of Fei Junshi's parents and uncle sat around the table

Qing Dynasty painter Fei Junshi's "Tongtang WuZhitu" shows the scene of people's leisurely life at that time. Eight figures are depicted, five of whom are the main figures and three of whom are servants. According to the title, the two older people under the pavilion are Fei Junshi's parents, the two younger people sitting side by side are Fei Junshi's uncle and sister-in-law, and the "sitting next to him alone" is Fei Junshi himself, and one of the servants is pouring tea for Fei Junshi's uncle and sister-in-law. The painting is taken in the courtyard in front of the hall, with banana trees and artificial rocks, and the characters in the painting are dressed in regular clothes, showing a happy and harmonious scene of life. Fei Junshi's "self-deprecation" and the relationship between the pairs of characters in the inscription both exude a relaxed and ridiculous atmosphere, which also shows the author's inner pleasure and harmonious communion with the peripheral world when painting this painting.

Qing 《Xue Family Spring Feast Map》

Part of the Qing "Xue Family Spring Feast" The man sitting in front of the audience is Xue Jianhou

For another example, a "Picture of the Spring Feast of the Xue Family" in the late Qing Dynasty was drawn by Xue Jianhou according to the scene of the ancients entertaining guests in the courtyard, drinking wine and chanting poems. Through the inscription on the canvas, it can be seen that the protagonist of the portrait, Xue Jianhou, has a longing and yearning for the famous collection of "Spring Night Feast Peach and Plum Garden". The second half of the picture is an inscription made by Xue Jianhou's brothers and nephews.

Ming Cui Zizhong "Spring Night Feast Peach and Plum Garden Map" part

Ming Qiuying Part of "Spring Night Feast Peach and Plum Garden Map"

Qing Leng Mei "Spring Night Feast Peach and Plum Garden Map" part

Qing Lu Huancheng "Spring Night Feast Peach and Plum Garden Map" part

"Spring Night Feast from The Preface to the Peach and Plum Garden" is a poem written by the Tang Dynasty poet Li Bai, which vividly portrays the scene of the author and his brothers gathering on the spring night, drinking and composing poems. Li Bai first felt that life was short, time was fleeting, and the heavens and the earth were vast, and then he used the ancients' "night tour with candles" as a guide, depicting the beautiful scenery of the party, expressing the sentiment of drunken moon poetry, showing the author's happy mood of loving nature and life. Many painters have painted the subject matter of this collection, the Ming Dynasty figure painter Cui Zizhong's "Spring Night Feast Peach and Plum Garden", the friends and Li Bai in the painting are full of pride, showing a beautiful night and a picture of talents gathering. In Qiu Ying's "Spring Night Feast Peach and Plum Garden" of the Ming Dynasty, four poets sit around the table, and they are deeply immersed in the embrace of poetry, wine and spring. Lü Huancheng, Huang Shen, Leng Mei and others of the Qing Dynasty all have paintings with this theme. In Leng Mei's "Spring Night Feast Peach and Plum Garden", in addition to the literati drinking and chatting, there are also ladies playing with puppies and children napping, and the whole picture gives people a pleasant and relaxed feeling.

Qing 《Couples Walking Music Diagram》

Qing "Couples Walking Music Diagram" Partial The proportions of the characters in the painting are out of proportion

A painting of a couple in the late Qing Dynasty depicts a couple watching a boy and a woman play on a summer afternoon. The image of the couple in the painting is tall, and the proportion of ladies and children next to them is very small, highlighting the identity of the protagonist. In the second half of the picture, the author draws scenes of children teasing ducks and playing with dragon boats, capturing a fragment of daily leisurely life. Another "Wedding Map" shows the ancient picture of marrying relatives, the wedding palanquin is placed in the middle of the courtyard, and the wedding ceremony of the newlyweds is held in the high hall behind. On one side of the high hall, music is playing, and on the other side are guests presenting congratulatory gifts, depicting in detail the guests' banquet and drinking and the interior of the boudoir, a happy and peaceful atmosphere.

Qing 《Wedding Map》

Qing "Wedding Map" partial marriage scene

In the Qing Dynasty, there are also many paintings depicting scenes of women's lives in the boudoir, and the "Boudoir Yanju Tu" is one of them, the right side of the work is painted with pine trees and cranes, and two women are leaning on the railing and chatting. With the continuous development of figure painting, "family fun" paintings continue to appear, showing multiple family members through the way of walking music diagrams. The characters in the painting are lively and interesting, not rigid, perfectly presenting the daily situation of the citizen class, and implying the picture of social stability and people enjoying themselves at home at that time.

Qing 《Boudoir Yanju Map》