In the early years of Daguan (1107 AD), a work of epigraphy documenting ancient bronzes began to be compiled, and about 16 years later, the 30-volume Xuanhe Bogutu was completed, which recorded 839 bronzes from the Shang Dynasty to the Tang Dynasty collected by the Song Dynasty royal family in xuanhe hall. Each artifact has a diagram, and records its size, capacity, and weight, examines the inscription, and the first column of each category is summarized, and the shape, name, ornamentation, use, and origin of the utensils are discussed. Not only does Seiko draw the image of the artifact, but also indicates "as is" or "reduced sample" on the side, which is similar to the scale attached to today's drawing. This illustrated and textual work of epigraphy carries the purpose of restoring the ritual system, helping to indoctrination, and serving the stabilization of the ruling order. In view of the chaos of the political situation of the five dynasties and the destruction of the ethics of the monarch, the Song Dynasty was faced with the task of restoring the ceremonial system, reorganizing the morality, and valuing and rewarding scripture. The advent of epigraphy, with the supplementary history of the scriptures as its main task, was precisely to meet the needs of the national situation at this time. The Song people had the retro aspiration of "returning to the three generations", and at the same time prevailed in the style of doubting the ancient and doubting the scriptures, and the records of the literature were no longer regarded as golden rules by the Song people, who turned their attention from the paper documents to the ancient gold and stone artifacts in order to discover a more authentic prototype of the ceremonial system than the documentary records. Some scholars have pointed out that the Northern Song Dynasty, which was established under the conditions of five generations of chaos and ethical destruction, urgently needed to maintain the ruling order, restore the ceremonial system, and reward scripture. This is the political reason for the rise of epigraphy. The prosperity of the urban economy, the improvement of transportation conditions and the universal application of cultural means of dissemination have prepared material conditions for the development of epigraphy. A group of bureaucratic literati with relatively advanced ideas attached importance to excavated antiquities and dared to doubt the classics, which was an important factor in the great achievements of epigraphy. (Xia Chaoxiong, "The Main Contributions of Epigraphy in the Song Dynasty and the Reasons for Its Rise") The ancient bronze catalogue is an intuitive reflection of the Song people's interest in the objects and people in the Bogu and Jinwen Bogu diagrams.
The Song people first attached importance to the ancient writing on the zhongding ancient vessels, with the purpose of proving the scriptures and supplementing history. The inscriptions on the bronzes show a much more ancient past, and with the help of documents, Song Dynasty scholars interpreted the inscriptions, returned to three generations, and engaged in dialogue with Han scholars beyond time and space. Since the Song Dynasty, the search, trade and bibliography of antiquities have increased, and the court yahao has derived buildings and catalogues specializing in the collection of antiquities. Song Dynasty Cai's "Discussion on the Tiewei Mountain":
The time is only three generations of the instrument. If the Qin and Han inter-materials, non-special special cover is not received, and after the Xuanhe, the Xianmeng is stored, and the accumulation is more than 10,000, if the stone drum of the King xuan of Qiyang and the painting (image) of the Western Shu Wen Weng Li Hall, all well-known, the huge and far and near, are all forbidden. After the Xuanhe Hall, the Bohol Hall was founded, and there were cabinets such as Jigu, Bogu, and Shanggu on the left and right. Xian is stored with ancient jade and seals, and Zhuding Yi, Law Books, and Pictures are salted here.
(Ming) Qiu Ying Bamboo Courtyard Pin Gutu (partial) Silk color
Length 41.4 cm Width 33.8 cm Collection of the Palace Museum
When the Song people talk about the goodness of personal collection, they often try to clear the suspicion of playthings. Lü Da Lin said in the "Archaeological Map": "When there is nothing to do under the world, the good deeds are reserved, and the only good tools are played well for the eyes and ears. ...... Look at its instruments, recite its words, describe it as if, to trace the legacy of three generations, as if to see its people. To rebel against the will, or to explore the origin of its production, to make up for the demise of the scriptures, to correct the fallacies of Confucianism, and the gentlemen of the world and the hereafter, who are interested in the ancients, will also have a test. "The taste of appreciation and the interest of research, the love of thinking about the past and the idea of seeking innovation are intertwined with each other." (Wang Guowei's "Song Dynasty Epigraphy") The scope of Song Dynasty art literature not only covers calligraphy and painting, but also involves Bogu and art collection. Li Gonglin, a famous painter of the Northern Song Dynasty, painted a Bogu atlas: "After Yuanfeng, there were scribes Li Gonglin out, Gonglin, Zi Boshi, Shi shan paintings, sex Xigu, then took the income of life and its hearers, as a pattern, said that it was so, and the name of the "Archaeological Map", passed to the YuanFu. "Historical writings on art are not new to the Song Dynasty, but the recognition of the differences between ancient and modern times is a sign of historical self-awareness. The custom of collecting and bibliographing ancient artifacts is actually to excavate and highlight the history and culture. The moral experience and sense of responsibility of song dynasty scholars for history were achieved in the real material world, and what they pursued was the academic interest of the ancient and the modern, and it was a style display of the life of the scholars.
The Ming Dynasty's attitude towards antiquities was more practical, and many types of antique artifacts appeared. In the late Ming Dynasty, books such as "Xuanhe Bogutu" were able to play their role as catalogues, and the development of the printing industry in the late Ming Dynasty and the circulation of Bogu catalogues enabled the Ming Dynasty people to know the Bronze Ware of the Shang Zhou Through the Catalogue, and also promoted the popularity of bronze appreciation at that time. At the end of the Ming Dynasty, Hu Yinglin once said: "Zheng Jinyipu re-engraved a small Bogu map, and his reproduction of ancient texts and the elephants of yunlei and hungry beasts is more proficient than before." And the volume is simple and simple, making it easy to hide, although the cold and thrifty, all have to see the Shang Zhou heavy equipment, which is very useful to the connoisseurs..." There are even professional imitation and counterfeit activities. "Guangzhixuan" says: "The Gusu people are intelligent and ancient, and they are also good at imitating ancient methods, copying calligraphy and painting, and quenching of Ding Yi, which can make the truth unrecognizable." ”
The collection and appreciation of private antiquities is mostly carried out in the study, and these artifacts gradually become part of the study furnishings. Gao Lian described in detail the stationery utensils placed on the desk in the "Eight Notes of Zunsheng", including the location, quantity and style of other furniture in the study and related utensils, and the ancient bronze ware was also included in the list of study furnishings, which were both the objects of appreciation of the study and the functions of decoration and use. The literati of the Ming Dynasty liked to talk about "ancient", and in their minds, "ancient" and "elegant" were always closely related, with exquisite and playable qualities, reflecting the literati's leisurely and elegant taste in life. (Bai Qianshen, "The World of Fu Shan: The Transmutation of Chinese Calligraphy in the Seventeenth Century") After the appearance of catalogues such as Xuanhe Bogutu, its exquisite images became models borrowed by painters. In the "YajiTu", "Wenhui Tu" and "Bachelor's Diagram" that express the life of the literati in the middle and late Ming Dynasty, antiquities images appear frequently and become important props for creating picture metaphors.
Zhang Heng of the Han Dynasty", "Xijing Fu": "Those who rely on false princes, have a heart and a body, are good and good, and learn from the old Shi clan, which is based on the previous generation of knowledge." This is the earliest word "Bogu" ever seen. The term "Bogutu" first appeared in the Xuanhe Bogutu compiled during the Huizong period of the Northern Song Dynasty. The earliest record of this name used for scroll painting is in the Ming Dynasty", the Southern Song Dynasty collector Si De used the scroll painting in the Tang Dynasty TangZi's "Bogu Tu", only with the four words "Bogu Tujia" to describe, today people have no way of knowing the content of the picture. There are also few paintings in the existing Ming and Qing dynasties that are directly named "Bogutu", and the naming of paintings with such themes is mostly recognized by later collectors.
The National Palace Museum in Taipei has a collection of "Playing With Ancient Pictures" by the Ming Dynasty painter Du Yan. Born in Jiangnan and settled in Beijing, Du Yan often wandered between the north and south capitals, and his works were highly praised among officials for their gorgeous color design and ancient style. He was a literati professional painter who won the admiration of literati officials with his erudition and painting skills, and had close contacts. The picture inscription of "Playing Ancient Map" reads: "Playing with ancient times is often the case, and Bo Zhizhi is ambitious." Shangxiang makes names, where the liturgy is. The day is not polite, and the people are ashamed. I have to do it right, I have to do it. Tamari Du Yan, the Eastern Crown Expedition plays with ancient pictures and titles, and Yu seems to seek the form, meaning to speak the table, and the viewer can learn from it. In the middle of the picture there are two men, one master and one guest, the master is sitting on a front circle chair, and sitting cross-legged, leaning over to look at the antiques on the right table. The invited guests are bending down to look at the ancient Ding Yi utensils. In front of them on the left, a servant is walking with a scroll and a chessboard, and on the right is a maid, holding a round fan, and is fluttering butterflies between the Hibiscus rockeries. In the right rear of the picture, two maids are sorting out antique artifacts on the table. On the case is placed a round furnace with a base double vertical ear mite pattern, which contains incense ash; The nearby kiln spoon bottle is filled with incense sticks and incense sticks. In addition to bronzes with green patina, there are also white, light green and open porcelain, and gold ware with elaborate decorations. Scholars have compared the artifacts in the painting with Lü Dalin's "Archaeological Map" and Wang Yi's "Reconstruction of Xuanhe and Bogutu", comparing the details of the vessel type and decorative pattern with the ancient artifact atlas or the artifacts handed down from various dynasties, and found that the artifacts painted by Du Yan are similar to the ancient artifacts of xia, shang, wednesday or Han and Tang dynasties, but always mixed with some places that escape from the style of the times. It is speculated that the image of these artifacts in Du Yan's paintings may be based on the antique artifacts made by later generations, or it may be the result of Du Yan's original understanding of these artifacts and mixing some imagination and creativity. Du Yan himself also uses the phrase "as if seeking form" in the Traverse to imply that his paintings are not sketches of ancient artifacts.
(Song) Anon. Acacia Shade Summer Diagram (Partial) Silk Coloring
Length 25 cm Width 26 cm Collection of the Palace Museum
In the form of material ming, bogu images played a special role in the construction of literati identity in the middle and late Ming Dynasty. The fifth "Yanxian Qing Appreciation Notes" written by Gao Lian in the Ming Dynasty involves a wide range of utensils, the identification and appreciation of bronzes, jade and porcelain, the identification and appreciation of historical inscriptions, paintings, and guqins, and the quality of the four treasures of the study room, all of which are listed one by one, and the preparation methods of Aoi Notes, Song Notes, and Pine Flower Notes are described in detail, and the structure of more than 20 kinds of study room utensils is described in detail. In addition, there are various famous incense tastings, production methods, etc. In the opening chapter of the previous volume, Gao Lian talked about the literati's interest in wandering. "Therefore, Yu Zi idle day, all over the examination of zhong Ding Yi, calligraphy and painting Fa Ti, kiln jade antiques, study room utensils, slender and delicate heart. More proofreading of ancient and modern algae, right and wrong, all for judgment. If the eyes and ears are as far as the eye can see, and the true knowledge is true, it seems that every matter is addendum, as if it is necessary to have a discerning view. He burned incense and drums, planted flowers and bamboo, did not go to the square family, examined the old garden, made remarks, and used to help Qing Huan. When sitting Chen Zhongding, a few columns of piano books, under the Tuo Tuo pine window, in the gallery of the exhibition, the curtain is fragrant, the railing sill flower research, although the throat water and the food cloud, it is enough to forget the hunger forever, the ice jade Wu Zhai, a wash of the atmosphere of the world. Pure heart, what is too much?" Like the antique appreciation books of the same era, bronze is listed in the first chapter of the book, which shows how much it is valued. Because of this, antique and forged bronzes came into being, and porcelain made of imitation bronze forms was also developed. It can be seen from the collection and appreciation books published in the Ming Dynasty that the four types of objects such as bronze, jade, porcelain and calligraphy and painting were regarded by the people of the time as the most ancient imagery and cultural factors. Among the four categories, bronze and calligraphy and painting appeared most frequently in the Bogu theme paintings of the Ming Dynasty, which shows the status of the two in the hearts of the people of the time. Among the antiques, the Ming people's preference and attention to calligraphy and painting and bronze ware were directly reflected in the Creation of Bogu paintings in the Ming Dynasty. Among the existing paintings on the subject of Bogutu, bronze objects appear the most. This is closely related to the background of the rise of epigraphy since the Song Dynasty. The central figure in "Bamboo Courtyard PinguTu" is appreciating the fan album of the group, the characters in "Pingutu" are also appreciating the album, and in the "Bogutu" collected by the National Palace Museum in Taipei, which is said to have been made for the Song people, several literati are jointly appreciating an ancient painting. In the "Playing Ancient Map", "Jian Gu Tu" and the "Bo Gu Tu" written by Liu Songnian, the scribes all paid attention to the bronze and carefully identified the authenticity of the ancient artifacts. Paintings and calligraphy are the mainstays, with bronzes, porcelain, and guqin as foils, indicating that antiques are in different positions in people's minds, which can also be confirmed by the publication and distribution of books such as the study of antiques. In the late Ming Dynasty, the style of reverence was prevalent, and the use of old objects from the former dynasty as bamboo talks during the yaji was even more interesting.
Qiu Ying's "Character Story Atlas" of the "Bamboo Courtyard Pin GuTu", colored on silk, 41.4 cm in length and 33.8 cm in width, is now in the Palace Museum. Other contents in the album can be recognized, such as Zilu Qingjin, Guifei Xiaochang, etc., and the titles are added by later generations. The picture depicts a private garden owner and a confidant of three or five people playing with ancient treasures in the bamboo courtyard. Through the furnishings in the paintings, the viewer can imagine them cooking tea, talking to the players, and playing the piano. The activity of the characters in the enclosure is the subject of this painting. The bamboo forest above is painted with four young spring shoots of different heights and heights, indicating that the painted season is spring. Qiu Ying used metaphorical images such as chess, dogs, cranes, and lake stones to build a long-range view of "Bamboo Courtyard Pin Gutu", pointing out the leisure of the people in the painting returning to the countryside. In the open space on the right side of the wild bamboo forest, a stone square table is painted, and around the table are three embroidered piers, and the vermilion column is supported by a pillar painted green, with a pillar head. The boy was wearing a light brown collared right-hand robe and holding a blue drum-shaped chess jar in his hand, and was placing it on a stone square table, and the black checkerboard on a white background had been set up. In the upper right of the picture, the two yellow dogs raised by the owner are playing each other comfortably under the stone table, and the crane hides behind the towering Taihu Stone on the left and watches the surrounding movements vigilantly. The lower part of the Taihu stone is obscured by the screen, and through the hole vaguely painted the crane's red top and long beak, the characteristics of the Taihu stone are fully displayed, and the thinness of the stone and the life of the crane are interesting.
The close-up is divided into two large screens, and the activities of the main characters are displayed in the screen. The side screen depicts the distant sails of the high pavilion, and the front screen depicts a pair of white-headed men living on the branches full of red flowers, or has the auspicious meaning of "white-headed and old". The two plain tooth chucks on the side of the screen are filled with bronzes. The right case is not covered with blankets, and the upper bell, round ding, gui, horn, yao, four-legged square ding, etc., of which the round ding has a rear lid, which is changed to an incense burner. The left case is carpeted with beans, round dings, axes, and flat pots. In front of it is a piano table, and in addition to the beam, the beast foot, the bottle and the feather, there is also a guqin. The object of this antiquities appreciation is mainly the album on the painting case, but the bronzes arranged around it are very eye-catching, not only on the case, before the painting, but even in the lower left foreground, there are also cicada patterns on the body, a kettle with a ring on the head and a double ant ear pot decorated with cicada patterns around the body, and there is also a round mouth in one side of the ding, and the two instruments are light and unprinted. The three main figures are all middle-aged figures, and the two on the right sit on the Xiangfei bamboo chairs, which is a common kind of seat in the elegant room. The three of them sat next to a large rectangular painting with a large yellow felt on it, which was covered with a slightly smaller tangled peony brocade. The scribe, wearing a Dongpo scarf and an ochre round collar robe, held the case with both hands and intently appreciated the tuan fan album in front of him. A gentleman wearing a soft-legged head and a beige robe with a cross-collared right sits on a bamboo chair in the reclining. To the right of the Tuan Fan album are four hand scrolls and a letter book, one of which has the head of the hand scroll, decorated with a black turtle brocade pool. The gentleman opposite them sat on a rattan pier, wearing a soft-toed head, a beige cross-collared right tunic on top, an ochre dress underneath, and soap boots on his feet. The boy in green clothes and yellow pants on the right side held a tray in his hand and presented him with two pieces of porcelain- a gui-style stove and a straight-mouth bottle, which were common instruments in the kilns of the Song Dynasty, such as the Ru kiln, the official kiln, and the Longquan kiln. Literati often changed the use of such porcelain as incense burning utensils for study and collection, such as adding incense sticks and incense sticks to the straight-mouth bottle, and then matching them with incense boxes, that is, a set of incense burning utensils - "three things in the furnace bottle".
Dong Qichang made a detailed description of the environment in which antiques were appreciated and played in the "Thirteen Sayings of Bone Dong", which roughly corresponds to this painting by Qiu Ying:
Playing with bone Dong has the help of prolonging the disease. Bone Dong non-grass can also play, first cure the Yu Xuan room. Although in the city, there are mountains and forests, on the occasion of the wind and moon, sweep the floor and burn incense, cook springs and guests. Talk about art with the master Duanshi, and spend a long time in the bamboo and cypress of the flower moon. After the meal, sit down, don't set up a net number, supplemented by Dan Qi, attack with Wen Jin, the second out of its hiding, and play in a column. If you are in contact with the ancients, you can soothe the qi of depression and knots, and you can indulge in the habit of indulgence, so playing with bone Dong helps but prolongs the disease.
In addition to cultivating himself with the ancient, Dong Qichang also proposed that "the instrument of playing with ritual music can enter the virtue, and the old carving of ink can be refined." In this world, you can meet the ancients" view, which can represent the way people in this era hide, observe, and use things. The Ming Dynasty regarded the appreciation of ancient artifacts as the aesthetics of life, which was different from the interpretation of the "canonical supplementary history" of the identification of ancient artifacts before the Ming Dynasty.
The name "Dongpo Bogutu" appeared later, and the Ming Dynasty Wang Keyu's "Coral Net" recorded that "Jiajing's forty-four years of absence" in the "Fenyi Yan's Painting Hanging Axis" has a "Dongpo Bogutu", which may be the earliest record. Judging from the existing paintings, various types of "Dongpo Bogutu" may be variations of the part of Su Dongpo involved in Li Gonglin's "West Garden Yajitu" in the horizontal scroll. The emergence of the new theme of "Dongpo Bogu" fits the peaceful, comfortable, calm and prosperous life of the People of Jiangnan in the Ming Dynasty, and also provides a new creative pattern for other paintings with the theme of Ancient And Bogu, or simple portraits.
Zhang Chong's "Yu Jian Tu" collected by Hou Zhen ZhenZhai is similar to the Ming Ren (original title Song Liu Songnian) "Bo Gu Tu" collected by the National Palace Museum in Taipei, and the overall composition, especially the image and combination of bronzes, are basically the same, only slightly different in scene arrangement and color configuration.
"Portrait of Hou Zheng", also known as "Tongyin Bogutu", in the collection of the Shanghai Museum, is a portrait of the Ming Dynasty painter Zeng Whale and Zhang. Hou Zheng once sat alone on the Luohan bed surrounded by three screens, and the two boys in the lower left of the picture were sorting out and arranging various bronzes on the square table. The towering Taihu stone and the half-hidden plane tree form the background behind Hou Zhi's body, and the lotus pond on the other side meets the green leaves, and the lotus flower pavilion stands. On the lake stone is written "Puzhong Zeng Whale Portrayal", and the right end is signed "Chongzhen Ding Ugly New Autumn, Zhang Chong Set Scene". Hou Zhizeng (1591-1645 AD), also spelled Yuzhan and Guangcheng, was a native of Shanghai County, Songjiang Province (now Minhang District, Shanghai), a scholar of good poetry and antiques. The Ding Yi Zun Pan in the painting may be his private collection, which not only creates a general image of Hou Zhi zeng as "seeing the Shang Zhou", but also more intuitively reflects his literati identity and social class than the written narratives such as epitaphs, biographies, and xiangzan. The figure does not see the guqin, calligraphy and painting commonly found in Bogu's paintings, but the unique painting of ancient bronzes can be regarded as a metaphor for the political image of the government, sound, and upright. The utensils on the table include Square Ding, Yuan Ding, Zun, Dun, Mane, etc., and the painter also carefully depicted the two pieces of ding abdomen and the ribs on the feet. The tomb of Zhang Shupei, a late Ming dynasty scholar, unearthed a Shang Dynasty Fang Ding and a Warring States Yuanding, which provides valuable excavation examples and cases for the study of the collection of bronzes in the late Ming Dynasty.
In the paintings on the theme of playing with the ancient, reading and tasting the ancient since the Ming and Qing dynasties, the literati's activities of appreciating the ancients have mostly been carried out in the garden environment, of which there are either screens, two or more books, one is furnished with ancient utensils, and the other is placed with musical notations, scrolls, and books. The host and guest sit around the case, and the servants sweep and cook tea, deliver or wipe the ancient utensils. This kind of scene also often appears in various bachelor's charts, literary drawings, and art collection diagrams, reflecting the scholar's appreciation of art, hobbies and pursuit of life interest. In the expression of Bogu's subject paintings, some consensus and fixed patterns of picture elements have been formed. This consensus was based on the combination of the aesthetic preferences of the literati and the real scenes of the literati gardens at that time. Pine, bamboo, plantain, and Taihu stone were all objects of appreciation for the literati of the Ming Dynasty, and Wen Zhenheng's "Chronicle of Long Things" at the end of the Ming Dynasty pointed out their characteristics and the criteria for judging their advantages and disadvantages from the perspective of appreciation.
The Qing offering painting originated from the flower arrangement offerings in front of the Buddha statue, the earliest were fragrant flowers, vegetables and fruits, and later gradually developed into many cultural relics that can be enjoyed on the desk, including gold stones, ancient utensils, and bonsai. Qing offering paintings provide a pure land for the reader's study life, adjust the imbalance between the inner mind and the external reality of the literati, and access the literati's elegant thoughts.
In the late Qing Dynasty, the Shanghai area appeared in the "Bogutu" with the mutual configuration of bell ding Yi utensils and flowers, vegetables and fruits, which was completely different from the "Bogutu" depicting the literati appreciating antiques and calligraphy and paintings in the middle and late Ming Dynasty. On the basis of three-dimensional expansion, flowers, utensils and furniture are used to form a unique artistic style of painting, forming a peculiar artistic phenomenon. The mottled imprints and ancient shapes of the artifacts themselves convey the literati painter's inner pursuit of eternal tranquility and life experience.
In the context of China's sublime cultural practice, the collection and appreciation of antiquities has not been interrupted. The literati examine the artistic and cultural connotations embodied in ancient artifacts in the world style of advocating elegance. The figure of ancient artifacts and depictions of collection activities also appear in the creation of calligraphy and painting. The painter uses antiques to paint, and what he loves is the quaint atmosphere created by the antique artifacts and the literati identity they imply.
(Song) Anon. Southern Tang Dynasty (partial) silk color
Length 30.4 cm Width 29.6 cm Collection of the Palace Museum
The author works at the School of Fine Arts of Capital Normal University
The full text was published in the Beijing Academy of Painting "The Master's Gate" (29).