▲Ancient Works of Chinese Calligraphy and Painting and Ming and Qing Xinzha Handwriting Special Session
Lot 1604 Qianlong Emperor (1711~1799) Imperial Pen Songyang Han Baitu
Ink on paper Vertical shaft
Painted in 1750
Seal: A Few Pleasant Feelings (White) Not Far from the Heart (White) Gu Xi Tianzi (Zhu) The Treasure of the Eight Signs of Immortality (Zhu) The Treasure of the Emperor Taishang (Zhu) The Treasure of the Shiqu Treasure (Zhu) The Treasure of the Shiqu Treasure (Zhu) The Study of the Shu Dynasty (White) You Liu YiPu (Zhu) The Taste of the Fat (Zhu) Sketching (Zhu)
Signature: Qianlong Imperial Stroke Loose And Titled. Mouth treasures. Seal: Oral Calligraphy and Painting (Zhu)
Description: The ink pen giant cypress depicted in the picture is the oldest and largest cypress tree "Second General" cypress in China. It is 4500 years old, 18.2 meters high and 12.54 meters thick, and still stands in Songyang Academy. "Pine with a thousand years of cypress to ten thousand years," the cypress tree originally has the auspicious meaning of wishing for life, and this work was written in Mengdong, it is the birth month of Qianlong's mother, Empress Xiaoshengxian, which can be seen in the picture of Songyang Hanbai, not only following the footsteps of the first holy foot, highlighting the prosperous "Wenzhi", but also containing the beautiful hope of Qianlong blessing the Virgin of Long Life and Well-being, and Empress Xiaoshengxian has enjoyed glory and wealth in her life, and her longevity is the highest among the empress dowagers of the Qing Dynasty, which is also extremely rare among the chinese empresses, which gives this "Songyang Hanbotu" a different meaning.
This lot was made by the Qianlong Emperor on paper from the Song Dynasty Jinsu Mountain Tibetan Scriptures. According to the Shiqu Baodi bibliography, this work is not only the original copy of the Songyang Hanbaitu for Qianlong, but also the only one in the market (the other two are not Tibetan scripture paper, they are both hidden in the Palace Museum).
Publisher: 1. Exhibition Catalogue of the 2nd Beijing International Exposition of Chinese Cultural Relics and Artworks, P174-175, Beijing Municipal Bureau of Cultural Relics, 2010.
Bibliography: 2. Continuation of the Secret Temple Zhulin Shiqu Baodi, Fifty-eighth Year of the Qianlong Dynasty (1793).
3. "Siku Quanshu, Jibu, Beiji, Qing dynasty poetry two collections" volume 20, Qing Wenyuan Geben, Qianlong period.
4. The Complete Collection of Imperial Poems of Emperor Gaozong of the Qing Dynasty( Qianlong), Vol. 2, P436-437, Chinese Min University Press, 1993.
5. Forbidden City Rare Books Series, P131, Hainan Publishing House, 2001.
Exhibition: 6. The 2nd Beijing International Exposition of Chinese Cultural Relics and Artworks", Beijing Municipal Bureau of Cultural Relics, Beijing Daily Newspaper Group, Beijing Television, October 2010.
The shaft head is not included in this subject.
58×29cm
RMB: 28,000,000－38,000,000
About the author: Qianlong Emperor (1711~1799), name Ai Xinjue Luo Hongli, Qing Gaozong, era name Qianlong. The fourth son of the Yongzheng Emperor. He reigned for sixty years from 1735 to 1795. Eager to learn poetry, Qianlong compiled the "Four Libraries complete book" in the thirty-seventh year, and ordered the compilation of the "Huidian", "One Unification Zhi" and the general records of the provinces, etc., Wende martial arts were the best among the emperors of the Qing Dynasty. He was fond of calligraphy and painting, indulged in Han Mo, included the famous paintings of the fa books of the past dynasties into the Tibetan Inner House, and successively ordered his attendants to compile "Shiqu Baodi" and "Secret Temple Zhulin" and so on. In the ancient painting inscription poems, calligraphy Zhao Mengfu, round and beautiful, good at landscapes, flowers, occasionally write Buddha statues.
Qianlong "Songyang Han Baitu": Ten Thousand Years of Immortal Bai Feng Ci Min
Yang Danxia, Calligraphy and Painting Department, Palace Museum
Xiling Auction exhibited the small axis of Qianlong's imperial pen painting "Songyang Hanbaitu", using the Golden Sushan Tibetan Scripture on paper as an ink pen giant cypress, directly Xiaohan. The center of the painting is 58 cm in length and 29 cm in width.
The poem is inscribed in the small line book above this page and it is written: "I once read Du Fu's poems quickly, and Qianqiu was absolutely sighing. Song Yang saw Han Shibai now, and the toddler groaned and could not stop. Jiu and Gongsun were named together, and Yingchuan Songyue was within easy reach. The Yingchuan Horse Mane still exists, and the Song Yue Dragon is still in his old body. The world is as safe as rushou, and the two are destroyed in one. It was cool after the rain, and the sound of the sun was full of sounds. The Golden Jade Festival danced and the Ruifeng Xiangluan gathered to a halt. Lay down the golden corn paper, and write the shape to write its reasoning. Fu Qiu Bo, Prince zhou, the wind and rain obscure soaring is? If it is more than that, it is also another. Patrolling through Songyang Academy, there are two hanbai plants, ancient stems and high branches, dry xiao cover the sun, to Pan Huan Jiuzhi, to figure its big one to return, because the department is on the right. Qianlong Geng Noon Meng Dong Shuo Day Imperial Knowledge. ”
The white square seal of "a few moments of pleasant feelings" and the white square seal of "will not be far away"; the introduction of the first plutonium "sketching" Zhu Changfang seal. In the middle of this painting, there are Zhu Wenyuan seals of "Guxi Tianzi" and Zhu Changfangyin of the "Treasure of the Eight Signs of Immortality"; Zhu Fangyin of the "Treasure of the Emperor Taishang" in the upper right; Zhu Fangyin of "Taste of taste" on the trunk; Zhu Fangyin of "Zhi Ji Dian Xue" in the lower left of the banner; Zhu ChangfangYin of "Youliu Art Garden"; and 10 zhu fangyin of "Shiqu Baodi" in the lower right of the banner. Qianlong Gengwu was qianlong for fifteen years (1750), and Qianlong was 40 years old. In the same year, the Qianlong Emperor imitated Yao Yushun's "Five Peaks" and specially arranged a large-scale patrol of Zhongyue. On August 17, the Qianlong Emperor appointed empress dowager and led the prince Belle Wenwu to tour Henan. On September 30, he went to Songshan. On the first day of October, the Qianlong Emperor drove east to Songyang Academy, one of the four major academies in China, to view Hanbai and overlook the peaks of Songshan Mountain. The poem in the picture is titled "Han Bai Xing", which is one of the 13 poems written by Qianlong during his tour of Songshan, which is found in the second volume of the Complete Collection of Imperial Poetry of Emperor Gaozong of the Qing Dynasty.
According to legend, the three Han cypresses of Songyang Academy were once sealed by Emperor Wu of Han, and in the first year of the Western Han Dynasty (110 BC), Emperor You Zhongyue of the Han Dynasty mistakenly named the cypress tree that he saw first and had the smallest physique as a "great general", and when he saw two larger trees after going deep into the academy, he had to be named "second general" and "three generals" in turn. Folk songs and rumors say that the oldest and tallest "three generals" died of dissatisfaction with the third indignation, and the rest were the stout and tall "second generals" and the twisted "great generals". We compare the Han Cypress in the picture with the existing photographs of the "Second General", and infer that combined with the Qianlong inscription that "the figure is larger", we can confirm that what Qianlong painted is exactly this tree that is 4500 years old, 18.2 meters high, and 12.54 meters thick, which is the oldest and largest cypress tree in China - the "Second General" cypress.
Part of Qianlong's "Songyang Han Baitu"
By comparing the physical photos, it can be seen that Qianlong's pen faithfully and vividly reproduces the Hanbai-shaped god. It is more than a thousand years old, with an ancient shape, mottled skin, a thick trunk, a knotted branch, a bulging gall, and a hollow root of the tree, but a brilliant dry cloud, pulling up the sky. Three or two large branches in the canopy of the tree escape obliquely, like the Kunpeng spreading its wings, and the young leaves of the branches are delicate, and a derivative of vitality is thriving. The angle of the upward view and one of the most spectacular and touching sides of Humber are selected, and through precise and slightly trembling brushstrokes, the mental outlook of Humber is depicted in a green and lush and upward trend, although the dragon bell is old. And this appearance also pinned Qianlong's hope for his mother's longevity and well-being. In the "Qunfang Genealogy", there is a saying that Pine is a thousand years old, so The Pine is longer than The Pine, and the birthday of Qianlong's mother is in November, so the significance of the picture of Songyang Hanbai has gone beyond the documentary itself.
In this year, Qianlong drew the "Songyang HanbaiTu" more than once, which is found in the "Shiqu Baodi" bibliography and physical objects in a total of four paintings. Of these four paintings, except for the "Hanbai Tu Scroll" of the three editions of the "Yanchun Pavilion" of the "Shiqu Baodi", the other three were all made in the winter of 1750. Its creation time is as follows: the "Xiling Ben" written in MengDong, the "Xiling Ben" written in Midwinter, the "Giant Axis Ben" of the same name written in the "Shiqu Baodi" continuation "Prudential Siyong", the "Horizontal Axis Ben" of the same name written in Lari and with the chancellor Ji Huang, Liang Shizheng, Wang Youdun Shu Gong and the imperial poem of the same name. The last two of them are in the Palace Museum.
All three works use the same composition, i.e. not facing the decaying void at the root of the tree, but taking the position from one side. Except for the "giant scroll book" in the hollow with a double hook to write the word "Hamper", the image of the three books of The Hubbar is almost like a "copy". From this, we can infer that the image of Han Bai should have been ordered by Qianlong to be written when he was in Songyang Academy, and these three Han Bai tus were all born and processed by this sketch. Among them, it is not excluded that there is the assistance of the lyricist or the court painter, because in the creation of many Qianlong imperial brush strokes collected in the Forbidden City, the bottom draft is first outlined by others with light ink thin lines, and then drawn by Qianlong, or Qianlong draws first, and then others clean up and beautify the situation. Even if they are all the handwriting of painters or lyricists, Qianlong will write without any obstacles and cover his own prints, but these kinds of works are large in size and can be exquisite in pen and ink. But whether it is handwritten or not, it will not lose its historical and cultural value.
I carefully compared these three books and found that there was almost no difference in the way the leaves of the three trees were dyed, among which the "Xiling Ben" was the smallest in size, but in the use of the trunk and branches, it was more clumsy and sloppy than the other two books, especially compared with the "giant axis book" compared with it, the difference between the "clumsy" and "clever" in the painting technique of the two was still quite large.
In addition, although they all adopt the same theme and composition, there are still no small differences between the three pictures, in addition to the difference in the date of creation, the size of the work, and the stamp of the plutonium, there is also the location and content of Qianlong calligraphy, although the books of the "Xiling Ben" and the "Horizontal Axis Book" are "Han Bai Song", but the former calligraphy is directly above the cypress tree, almost the same width as the painted cypress tree; the latter will be the song and inscription book on the upper left of the cypress tree; the inscription text after the poem of the second picture is also very different, "horizontal axis ben" said: "This autumn tour of Songyang Academy, see Han Bai erzhu, Its great one, Yu Qiwei Pan Yu, the title is a piece and the picture is returned, the winter night is revived into this map, retrospective of the previous tour, it is urgent to change the original work, and the years and clouds. Imperial Pen of gengwu lari". The "Giant Axis Book" alone has a width of more than three feet, and its imperial system "Gu Bai Zan" and records the clouds: "Yu Yu Song Yang, Mei Mei Academy, Xian Bai Tingsheng, Dai Ji Yan Han." At the beginning of the bandit, the tin name began to be seen. Bo Zhong da Tsubaki, swaggering envy. To Feng Ci Min, provincial Fang Zhoudian. Looking at the ancient wandering, wishing for a feast. Drawing to return, Xuan Palace worship. Positive value weighs, day long color line. Feng Yi Luan Xiang, Jin Hui Yu Can. Yi Yan took care of it, and added to the calculation. If you call it three, you will live forever in ten thousand. Qianlong Geng's Midwinter Moon Wrote and Praised", which is found on page 7 of volume 28 of the Qing Gaozong Imperial Collection.
For the imperial paintings and calligraphy of the Qing Dynasty, it is not surprising that a title or composition is repeatedly created in multiple books, especially in Qianlong's pen. For example, there are at least one or two pieces of "Year Dynasty Chart" every year, such as the "Four Friends Map" that is similar and different, as well as the "Lion Forest Picture Scroll" with as many as four copies, the "Yiqi SongTu" volume with three copies, the "Lindong Qichang Book Gubai Xing and Painting Gubai Atlas", and the twins' imperial reward "Game Huangting Picture Scroll", "West Lake Picture Scroll" and so on. Most of these works have one thing in common, that is, everything he values, whether it is the object of his royal use or the unforgettable beauty, he always tirelessly depicts them, compared with the hundreds of inscription poems on the four "Lion Forest Diagrams", and compared with the "Lion Forest" that cost tens of thousands of silver to imitate in Beijing and Chengde, Qianlong's painting of four "Songyang Hanbaitu" paintings is too "rational".
Qianlong's painting of Songyang Hanbai is not so much documentary as it is that the form is greater than the content, and the symbol is more important than the image. Although his inscription poems are compared with Du Fu's "Gu Bai Xing", there is no "poetic history" to bow down to his life, expressing uneven depression and sadness, and his paintings do not reflect the history and current situation of the Millennium Academy with dot ink, but instead borrow the classics of Han Fu Qiubo and King Wu of Zhou, not without pride and showing off his paintings to the world, so that his poems and paintings have become the traces of his footsteps, highlighting the prosperity of the "Wenzhi", and even the carrier of blessing the Longevity of the Virgin Mary, a tree is endowed with many meanings, which can be described as the cleverness of Qianlong's "learning steps".
Xiling Printing Society Spring Auction 2021
Preview / 21 July to 23 July (Wednesday to Friday)
Auction / 23 July to 25 July (Friday to Sunday)
Location / InterContinental Hangzhou International Convention Center 1st Floor (No. 2 Jiefang East Road, Hangzhou, Zhejiang Province