Transferred from the WeChat public account of "School of Humanities of the Central Academy of Fine Arts".
This article was originally published in Studies on medieval Chinese History (Volume VIII), edited by the Editorial Board of Studies on Medieval Chinese History, Department of History, Fudan University, Chinese and Western Bookstore, 2021
Abstract: Although the surviving works are still relatively insufficient, and most of them have no definite age and author, through the efforts of previous scholars over the decades, a historical context has been initially established for song dynasty landscape painting. At present, it seems that further in-depth research still needs to return to the work itself, breaking through the research dilemma caused by the lack of relevant historical information such as author attribution, chronology, and bibliographic documents. Landscape painting in the Song Dynasty has an extremely rich pictorial element. But when understanding these image factors, often because of the lack of context, we can not establish a system of understanding and interpretation well, and then can not make a specific explanation of subtle images. Therefore, this paper attempts to explore the possibility of establishing an image interpretation method for Song Dynasty landscape painting through image perusal. The paper mainly starts from the interrelationship between the transportation system, travel culture and pictorial representation of the Song Dynasty, and focuses on several major pictorial factors and their meanings, including "donkey riders", vans, carriages and ships transport images, caravanserais and so on. Try to connect these pictorial factors with each other, and then provide new ideas for understanding the image system of Landscape Painting in the Song Dynasty.
Introduction: The "Iconography" of Landscape Painting
The topic of this article is based on a simple idea: by exploring the daily experience and knowledge system of the Song Dynasty, can we capture their vision and better understand Song Dynasty painting—for example, landscape painting that became an important genre in the Song Dynasty?
People in the late Northern Song Dynasty were already confident that landscape painting was "not as ancient as near", because the three masters of the five dynasties and the early Song Dynasty, Li Cheng, Guan Tong, and Fan Kuan, created a typical style of landscape painting.[1] This view has been expanded by the late Yuan and early Ming dynasties and carried forward in the late Ming Dynasty, and has become an important knowledge of modern art historiography, and it has also become an important topic to meticulously outline the changes in landscape painting between the Tang and Song dynasties. Through the identification and dating of specific works, the scholars of previous generations have built up the framework of style history, and put forward the idea of viewing the transformation of landscape painting between the Tang and Song dynasties from the spirit of seclusion or "neo-Confucianism" [2]. On this basis, research in recent years has paid more attention to deepening the understanding of style history from the perspective of image implications. Represented by Shi Shouqian, he discussed the important role of the audience in the formation of the meaning of landscape painting images from the perspective of "painting intention". Foong Ping also discusses the socio-political reasons for the establishment of a powerful system of symbolism and metaphor in Northern Song landscape painting through a separate examination of the court context of Northern Song ink landscape painting and the context of civil servants and scholars.
These important studies have initially established a historical context for Song Dynasty landscape painting that takes into account both style change and meaning transformation, enabling us to better face the research dilemma caused by the lack of relevant historical information such as author attribution, chronology, and bibliographic documents, and the re-examination of existing works and image materials is also possible. A major feature of landscape painting in the Song Dynasty is that it has extremely rich pictorial details. To understand these pictorial factors, it is necessary to place them in the overall structure of the Landscape Images of the Song Dynasty. But on the other hand, without an understanding of the basic image factors, it is difficult to form a grasp of the image as a whole. It may be said that this involves the problem of "iconography" of landscape painting. Therefore, this paper attempts to put forward some views on the image system of understanding landscape painting in the Song Dynasty in the form of image perusal.
1. Travel and landscape painting
The theme of travel is one of the important motifs of the northern Song Dynasty landscape painting, and some scholars call it "traveling landscape"[5]. This is partly due to the high frequency of travelers in the landscape paintings of the Song Dynasty that have been handed down, and on the other hand, because the Northern Song Dynasty people often used "travel" or a word with similar meanings in the naming of landscape paintings [6].
In fact, judging from the surviving landscape images, the representation of travel and travelers is already prominent in the murals of "Wutai Mountain Map" of Dunhuang Cave 61 painted between 947 and 955. [7] The mural depicts official missions and people entering Mount Wutai on pilgrimage from Shanxi and Hebei. Dunhuang Tang Dynasty murals can also often see traveling merchants, they crossed the mountains and rivers, climbed the boardwalk, and experienced danger. The "Riding Elephant Music" on the 8th-century pipa in shosoin is an important relic of the landscape image of the Tang Dynasty. The white elephant in the foreground carries a band of Hu people singing and dancing, marching in the landscape illuminated by the sunset, which is also related to the journey in terms of theme. The Ming Emperor Xingshu Tu in the National Palace museum in Taipei is a tang dynasty painting that has been handed down for generations, and it is also mainly based on travel, and travelers of different identities and genders can be seen. The "You Chun Tu", which is rumored to be Zhan Ziqian, is also a work that may have an earlier ancestral origin, but was produced no earlier than the Northern Song Dynasty, and there are also pedestrians traveling in the painting. It can be seen that travel in the Tang Dynasty was one of the constituent factors of landscape images.
However, travel has not yet reached the status of an important motif in the Tang Dynasty landscape images. From the perspective of surviving documents, the Tang Dynasty would hardly have explicitly named landscape paintings such as "traveling", "early traveling" and "river traveling". With the prosperity of painting and writing in the Song Dynasty, in the late Northern Song Dynasty, the name "Travel Map" has become a universally accepted concept. This also echoes the theory and practice of landscape painting. The Late Northern Song Dynasty's "Lin Quan Gao Zhi Collection" and "Pure Collection of Landscapes" are the most comprehensive "textbooks" of landscape painting, which are closely related to the artistic practices of important court painters, and explain the basic pictorial factors of landscape painting in a detailed manner. When listing the basic elements of landscape painting in the "Complete Collection of Pure Landscapes", the "characters", "bridges", "guancheng", "temple views", "mountain residences", "boats and cars" and the more general "scenery of the four times" are grouped into a major category. The details of these landscape paintings, including the character image and the configuration of the scenery, are all directly or indirectly related to travel, and should be configured according to the different times of the picture (one season and one day). For example, spring scenery can be combined with "green outing"; summer scenery can be combined with "travel and rest", "Xiaoji wading", "wind and rain transition"; autumn scenery can be matched with "climbing the beard"; winter scenery can be matched with "miserable eunuchs, snow and cold servants, mules transporting grain, Snow River ferry" and so on [10]. Except for the "green outing" in the spring scenery and the "ascent" in the autumn scenery, which is a short-distance trip, the other scenery is a long-distance trip. In addition to different times, the "Complete Collection of Landscape and Water" also pointed out that it is necessary to configure characters according to different geographical spaces- that is, the mountains in the east, south, west and north of the Northern Song Dynasty, except for "Nanshan", all of which explicitly mention the traveling characters:
Dongshan yi painting village ploughing hoe, hotel mountain residence, eunuch travel and so on. Xishan should paint Guancheng, Zhandao, Mule Gang, And So on. The north mountain should be carried by a wagon, a camel, a woodcutter, and so on. Nanshan Yi painted Jiangcun Fishing Market, Shuicun Shanguo and the like [11].
In addition, roads are the most important guarantee of travel. The "Collection of Lin Quan Gao Zhi" emphasizes the representation of the road, proposing to paint the mountain "without the road is not alive" [12], and saying that "the figures of the mountain mark the road ... Mizutsu Ferry Bridge with sufficient personnel".[13] These statements can be found in the surviving Landscape Paintings of the Song Dynasty.
The Complete Collection of Pure Landscapes specifically lists a type of scenery image "boat car", which is a means of transportation for travel. However, in the Song Dynasty, it exceeded the limitations of landscape painting in the general sense and became a painting category that could be juxtaposed with landscape painting. "Boundary painting" was used as a separate type of painting in the Tang Dynasty, often referred to as "loutai" or "house wood". In the Northern Song Dynasty, "boat cars" joined in. In the "Palace Room" door of the "Xuanhe Pictorial Spectrum", a separate category of "boats and cars" is attached. In the "Painting Succession" compiled by Deng Chun in the early Southern Song Dynasty, this painting department was officially named "House Wooden Boat Car". Boats and cars appeared frequently in Song Dynasty paintings. They are the means of transportation required for long-distance travel, and unlike animals such as horses and donkeys, which are used as means of transportation, they are artificial creations that condense technology.
In general, landscape paintings from the Northern Song Dynasty formed a series of interconnected images around the underlying theme of travel, involving a range of landforms, seasons and meteorology, as well as transportation facilities and means of transport, as well as travelers with different identities and purposes. Therefore, this article will examine the transportation system directly related to travel.
Second, rethink the "donkey rider": is poetry and painting consistent?
The core element of travel is the traveler. The American scholar Peter C. Sturman was the first to notice the particularity of the image of the "donkey rider" in Northern Song landscape paintings. He believes that the prototype of the "donkey rider" is the Hanshi represented by the Tang Dynasty poet Meng Haoran, symbolizing the literati who are outside the bureaucratic system and are depressed but full of talent. Since then, the idea of defining the donkey riders, which recurred in Song Dynasty landscape paintings, as ideal "literati" has been widely recognized by researchers .[15]
We can't find the Northern Song Dynasty painter's self-description of the image of the donkey rider, and one of the materials that can partially spy on the painter's intention comes from the "painting intention" of the "Lin Quan Gao Zhi Collection", which lists the verses that Guo Xi thought could be painted, including the poem of The poet Lu Yan rang Yongxue of the late Tang Dynasty: "Crossing the water, the donkey has straight ears, and the wind shelters the servant with a shoulder high." [16] The poetic approach to painting is spoken of here, although it does not refer to the specific meaning of the image of the donkey rider, but the lame "donkey", the thin "servant" and the cold snow in the poetic tradition can indeed point to the image of the depressed and talented scribe. Painting with poetry in turn inspired the poet. Li Zhiyi of the Northern Song Dynasty saw one of Guo Xi's tuanfan and wrote a poem: "Donkeys break hats and shrug their shoulders, and the stones are long and loose to the heavens" [17]. "Shrugging the shoulders" describes the donkey rider's movement of shrugging his shoulders because of the cold. While painting an inscription poem for another landscape painting by Li Cheng, Li Zhiyi also saw horseback riders and donkey riders, who followed the poetic tradition and believed that the horse was a "section horse", that is, a slow and inferior horse, and the donkey was a lame "trampling donkey": "When a pedestrian first steps on the mountain road, the section rushes to the cold and timidly looks back. The donkey is also happy to be flat, and the ears are interesting. [18] Zhao Gan, a painter of the Southern Tang Court, painted a "section horse" and two "donkeys" very well in his "Diagram of the First Snow of the River". The man who was frozen in the cold wind and held his shoulders in the cage riding a thin horse, with a protruding bone joint at the horse's hip, and the exaggerated look of the horse's eyeball backwards did show the expression of Li Zhiyi's description of "paragraph rushing cold and timid review". The two donkeys also draw rich expressions, one of which has two earlobes, similar to Li Zhiyi's description of "ear".
It is precisely based on the view of "the unity of poetry and painting" since the Tang and Song dynasties that Shi Wancai put forward the view that the "donkey rider" in the landscape paintings of the Five Dynasties and the Northern Song Dynasty is based on the image of the Tang Dynasty poets who are bitterly chanting and looking for sentences. [20] The key pictorial element is the accompanying bookboy, who either has a full corner or has not yet tied their hair, carrying a poetry tube. However, in the Landscape Paintings of the Northern Song Dynasty, not all the images of "donkey riders" are like this, most of them do not have book children, nor do they express the poetry cylinder. Can they all be interpreted in terms of poetic themes?
Figure 1 Li Cheng's "Maolin Yuanxiu Map" volume Partial Silk Coloring Collection of Liaoning Provincial Museum
Coincidentally, in the "Maolin Yuanxiu Map" passed down as Li Cheng, there is a donkey rider crossing the water in the center of the scroll, which seems to partially show the poetry of "crossing the water and trampling the donkey" that Guo Xi believes can be included in the painting. [Fig. 1] This is a knee-deep river, although the silk surface is somewhat damaged, you can still see the donkey riders with four retinues, one with a donkey, one carrying luggage to protect the rear, and two people wearing a hat to explore the way, one of whom has already landed and is dragging the other ashore with a stick. Although the wading scene reflects the hardships of the trip, it is not a winter scene, nor is it the cold of shrinking hands and feet. The figures are small, and the only thing clearly visible is the sharp front and back brim of the dark wide-brimmed hat on the donkey rider's head. The donkey rider, who traveled with four servants, seemed to have an unusual identity. Was he a cold man, a poet, or a reclusive scribe? Is he riding a "donkey"? Is the hat he wears a "broken hat"? In the Northern Song Dynasty, did anyone travel wearing similar wide-brimmed hats, riding donkeys, and carrying a number of adult servants? Since the picture does not directly explain, to identify the identity of this character, it is necessary to first discuss the travelers of the Northern Song Dynasty.
"Donkey riders" with retinues, ranging from one to several, should be people with certain social status and economic ability. In the official proverb "Zuoyi Zizhen" written by Li Yuanbi, a grassroots official at the end of the Northern Song Dynasty, there is a volume of "Mouke Shopkeepers", which records the seven provisions of the county government against hotel operators, and the excerpts are as follows:
Zhixian restricts the guest house as follows:
First, shop by store often cut and sprinkle three or two places of the head room, and the new net recommendation seat, etc., waiting for the officials and Xiu Cai to settle down.
1. Officials and talents shall not be noisy or rude when they arrive at the store.
1. The guest travels in peace for many days, is quite suspicious, and does not make money, and does not have a graded order, or a person whose behavior is unknown, he looks up to the secret to inform the official, or reports to the nearest official who has arrested the thief.
First, the guest travel betrays the search, and the Yangzi elaborates on the edict, and can only make the people with brands of the family trade. If or has not been told to the merchants to travel, only to order people who do not have a brand of teeth to trade, so as to leak money and goods, delay and delay, their shopkeepers should be strictly judged.
(1) Say that whoever sells a tax-licensed goods, he will go to the printing tax before he can sell them, so as to prevent the unscrupulous generation from intimidating the money and goods, and the tax money paid by the unscrupulous people. [21]
It can be seen that long-distance travelers staying in hotels are generally divided into three categories: officials, talents, and guest travelers. Religious monks who often appear in Song Dynasty paintings are not among them. Officials and xiucai belong to a special status group and need special treatment from hotels. The "guest brigade" is complex, and there may even be rogue thieves. But the most popular "passenger travel" is the person who is allowed to sell goods, that is, the "business trip". In addition to the responsibility of the hotel, in the "Mu Qi Zhuang", Zhixian also stipulates the duties of the township security managers "Elder" and "Zhuang Ding", who are responsible for maintaining local law and order, as well as the maintenance of public facilities such as roads and bridges. One of them says that when maintaining law and order in the hotel, it is forbidden to make loud noises: "There are officials, talents, and merchants in the hotel, who strictly command the neighbors to patrol and drink at night, regardless of the slightest negligence." [22] It can be seen that the three categories of officials, Xiucai, and guest travel (business travel) are the overall understanding of the travel group by the Officials of the Northern Song Dynasty. This understanding was still valid in the Southern Song Dynasty. The Qingyuan Articles and Laws and Regulations contained a number of official laws and regulations of the Southern Song Dynasty, among which the general name for travelers was also "guest travel", also known as "commercial travel" or "private travel", mainly referring to merchants or ordinary people who carried goods out with the intention of selling, which was completely different from officials. For example, in the fifth year of Chunxi (1178), there is an article that clearly mentions that when passing the tax field service, no matter whether the "official travel ship" is on board the ship, it is necessary to board the ship for inspection.[23] In the eleventh year of Chunxi (1184), "The xiaozhi guest brigade shall not rely on officials and scholars, carry goods, and wipe out the affairs of the field." [24] The "scholars" who are juxtaposed with the guest brigade and officials here should be equivalent to the "Xiucai" in the Zuoyi Zizhen, and all refer to the scribes who aim at the imperial examination.
If the "donkey riders" in Northern Song Painting are not completely fictional, there should be no above three groups. Merchant travel can be excluded first, because commercial travel usually uses donkeys to carry goods, not riding, and there is no performance of goods before and after the picture "donkey rider". Both officials and xiucai can be classified as "soldiers" in the traditional classification of "four people". Officials and xiucai usually have a transformation relationship, and the imperial examination is both their connection and their difference. Officials who have obtained official positions through the imperial examination are members of the state administrative system. "Xiucai" is an honorific title for the scholars who are preparing to take the imperial examination, who have not yet achieved meritorious names, and most of them are students of official schools at all levels established by the state, so they also have a certain social status. Because the "donkey riders" in landscape paintings are usually painted very small, the depictions are simple and frank, and there are not enough markers to judge the specific identity. So we might as well comb through the images of traveling officials and scholars in other types of paintings.
Figure 2 Chuan Song Ren "Recruiting People Xiaofa Tu" Page Partial Silk Color 25.2x25.6 cm Collection of the Palace Museum
It is not easy to find a clear image of traveling "Xiucai" in the images of the Northern Song Dynasty. In the paintings of the Southern Song Dynasty, the "Recruiting People and Xiaofa Map" in the Forbidden City in Beijing is an example. [Fig. 2] There is a simple country inn in the painting, and a gentleman wearing a hat is lying on the dinner table, napping, waiting for the woman in the hotel to prepare breakfast. At the entrance of the courtyard, a retinue and a donkey are ready to go, suggesting that he is going to embark on a journey to catch the exam. Another example is the Southern Song Dynasty painter Chen Qingbo's "Spring Dawn of Lakes and Mountains". A taximan riding a red tassel with two retinues was marching along the shore of the lake. He may have been a scholar who went to Lin'an to take the exam.
Figure 3 Southern Song Dynasty Anon. "Spring Tour Late Return" Tuan Fan Partial Silk Color collection of the Palace Museum in Beijing
In comparison, the images of travel officials are more common, which can be seen in paintings such as "Qingming Upper River Map" (Beijing Forbidden City), "Filial Piety Map" (Liaoning Provincial Museum), "Spring Tour and Late Return Map" (Beijing Forbidden City) and so on. There are several versions of the Filial Piety, each of which depicts a scene of an official taking up his post. The officials, on horseback, with a number of retinues, had already marched to the gates of the city where they were greeted by officials with bones in their hands. In the Southern Song Dynasty version in the Liaoning Provincial Museum, officials wear round-necked official uniforms, black heads, and silk whips. There were three retinues at the side of the horse, one of whom was carrying a burden, carrying two boxes, and a large hat hanging from one end. This hat is an important feature of officials' travel, called "heavy wearing". The side of the big hat cover is painted, and you can see the woven structure of light and thin materials such as bamboo grates. The surface of the cap is dark black, indicating that the hat is covered with a layer of black fabric. The black fabric has been cut and hangs from the brim of the hat in a circle to form a fringed decoration. A clearer "heavy wear" appeared in the Southern Song Dynasty's "Spring Tour and Late Return Map". [Fig. 3] The horseback riding officer in the painting is of a very high stature and a larger pomp, with ten retinues, marching towards the city tower. [27] One of his entourage specially carried "heavy wear". It can be seen that the "heavy wear" of the hat is an erect trapezoidal body, and the wide brim is divided into four pieces, almost a flat rectangle, rather than a circle.
Figure 4 Zhang Zeduan "Qingming Upper River Map" Volume Partial Silk Coloring Collection of the Palace Museum in Beijing
In earlier Northern Song dynasty images, the curly part of Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty" also has an official traveling on horseback, accompanied by nine tolerances wearing curved feet and heads. [Figure 4] Unlike several examples in the Southern Song Dynasty, this official did not wear an official uniform with wide cuffs, but a round collar robe with narrow sleeves. The "heavy wear" was also not carried by the entourage, but was worn on the top of the head, clearly showing the scene of officials traveling with the "heavy wear". Several features of "heavy wear" are displayed, one is large, the length of the front and back exceeds the human half, the second is that the top of the hat is trapezoidal, and the third is that the surface of the hat is dark black, and the lining is light, indicating that the surface of the hat is covered with black fabric.
Figure 5 Northern Song Dynasty "Halogen Book Bell" partial rubbings Liaoning Provincial Museum collection
The relationship between "heavy wear" and officials can be seen more clearly in the collection of the Liaoning Provincial Museum, which may have been cast on the large bronze bell of the halogen book during the Song Huizong period. In the honor guard of the traveling halogen book, four horsemen with wide-brimmed hats appeared. 【Picture 5】Among the entourage, one person controls the horse on foot, and one person holds the umbrella cover. This image should be the standard image of officials "heavy-wearing" travel during the Northern Song Dynasty.[28] The "heavy wear" of officials in the "Qingming River Map" is quite similar to this, with a person behind the official's horse carrying a put away umbrella, which, in terms of size, should also be an umbrella cover for officials to travel. The horse whip he holds in his hand can also prove his identity. The whip is long and slightly curved, indicating a soft texture with a tassel-like decoration at the top. This is the "silk whip", or "silk whip", which, like the "heavy wear", is a symbol of middle and high-ranking officials, and is more clearly represented in the "Spring Tour and Late Return".
Figure 6 Li Cheng's "Qingluan Xiao Temple" Axis Partial Ink on silk light color Nelson-Atkins Art Museum collection
Figure 7 Transmission of Li Cheng's "Qingluan Xiao Temple" Axis Ink and light color on silk 111.8 x 56 cm Collection of the Nelson-Atkins Museum of Art
The "heavy wear" officials in the Qingming Shanghe Tu and the Halo Book Bell are quite similar to the donkey riders wearing wide-brimmed hats in the Northern Song Dynasty's Maolin Yuanxiu Tu. If you look closely at the "donkey rider" in other Northern Song Paintings, you can find more evidence that he is a person who "wears" travels heavily. Li Cheng's "Map of The Qingluan Xiao Temple" is a well-preserved vertical shaft, and the picture reveals more details about the depiction of the donkey rider. The key detail is the trapezoidal structure of the wide-brimmed crown, which clearly shows the side of a short line representing the square crown. This is the same structure as the hat structure of the heavy wearing of officials in the "Qingming Upper River Map". It's just that there are differences in height and shortness. But the height of the heavy hat should not be the main feature. The heavy hat of the halogen clock is shorter than that of the Qingming River Map. In the Southern Song Dynasty's "Spring Tour and Late Return Map", the heavy hat top is shorter, but the style of the trapezoid is very clear, and the proportion of length, width and height is basically the same as that of the "Qingluan Xiao Temple Map". 【Figure 6, 7】
Figure 8 (Biography) Yan Wengui's "Xishan Lou Guantu" Axis Partial Ink on silk Taipei National Palace Museum
Figure 9 Chuan Yan Wengui "Xishan Lou Guan Tu" Axis Ink on silk light color 103.9x47 cm Collection of the National Palace Museum, Taipei
Several other landscape paintings of the Northern Song Dynasty depict "donkey riders" relatively briefly, but from the perspective of official wear, they can still find a connection with each other. Among them, Yan Wengui's "Xishan Lou Guantu" (National Palace Museum in Taipei) is more interesting. Although the "donkey rider" black hat can not see the sense of volume, but the shape is clearly drawn, the top of the hat is trapezoidal, the brim is straight, in line with the characteristics of "heavy wear". [Fig. 8 and 9] It is worth noting that the mount of the "donkey rider" is a light-colored horse, and in front of it is a black donkey, short, with long ears, carrying luggage. In addition to the long ears and short stature, the donkey also has characteristics such as short mane and thin tail. The horse's mane is long and prostrate over the neck, and the tail hair is fluffy. Officials mostly travel by horse, and in addition to preparing their own horses, they can also use stagecoaches equipped by government stations. In Guo Xi's 1072 Early Spring Tu, the mount of the "donkey rider" is mostly blocked, the ears are not too long, and the horse is more likely to be represented by the dark lines from the top of the head to the neck.
Figure 10 Guo Xi's "Early Spring Map" Axis Partial Silk Ink Pale Color Collection of the National Palace Museum in Taipei
Figure 11 Guo Xi's "Early Spring Figure" Axis Silk Ink Pale Color 158.3×108.1 cm Collection of the National Palace Museum, Taipei
Guo Xi has a meticulous design for the riders in "Early Spring Diagram", and the picture shows the moment when the rider and his entourage come out from behind the rocks and walk towards the trestle. Most of his body was obscured by mountain stones, and only the dark wide-brimmed hat on the top of his head was revealed. This means that the hat is a hint of identity in the eyes of northern Song viewers. Although brief, the basic features of the long and straight brim and the square tip of the hat are still in line with the "heavy wear" style. Under the "heavy wear", you can see a dark turban wrapped around his head. [Figures 10 and 11] "Qingluan Xiao Temple" is drawn more clearly. Most of the "donkey riders" who "wear heavily" have their heads wrapped in black turbans, and the hem hangs on their backs, only their faces exposed. The same attire can also be recognized on the head of the "donkey rider" in Song Huizong's "Map of the Return of the Snow River". This is not a necessary configuration to be heavy-fitted. The heavy-wearing officials in the "Qingming Upper River Map", the Halo Book Bell, the Southern Song Dynasty's "Spring Tour and Late Return Map", and the "Filial Piety Map" do not have such turbans. This dark turban is a hood used to keep warm in autumn and winter. In the Song Dynasty images, it is a common attire of the scribes, so it is understandable that it appears in the above-mentioned Northern Song Paintings with heavy wear, because most of the paintings are relatively cold autumn, winter or early spring.
If the "donkey rider" in the Northern Song Dynasty landscape painting is to show "heavy wear" officials, is there any special purpose? This requires an examination of the system of "heavy wear".
Third, "heavy wear" and seat hat
"Heavy wear" is a wide-brimmed hat transformed from a so-called "big tailor hat" in the Tang Dynasty. The "Song Shi Youfu Zhi" has a special account:
Heavy wear, Tang Shiren Duo Shangzhi, Gaigu's great cut hat, Honno fu Iwaso's clothes. With soap for it, square and hanging eaves, purple inside, two purple silk groups for the wisp, hanging and knotted under the chin. The so-called heavy wearers, covered with a scarf and then hated. At the beginning of the Song Dynasty, the Imperial History Terrace was heavily worn, and the Yu officials were worn or not. Later, the new soldiers also wore it, until the brown was released. In the second year of Emperor Taizong's purification, Yushitai said: "The old yi, the imperial history of the three courts is in Taiwan and sent envoys, and it is worn heavily, and the matter has been abandoned for a long time." Its imperial history was promulgated as a provincial official and a person who served in Beijing, please still be polite, and the offender was punished for January. "From there. He also decreed that the two provinces and the Shangshu Province should wear more than five products, but the three envoys and deputies of the Privy Council were not. After Zhongxing, the three people of Yushi, The Two Systems, the Zhigong Officials, and the New Jinshi were xu obeyed. [31]
This account explains that the heavy wearing is a wide-brimmed hat, which has the following characteristics: first, the surface of the hat is made of black silk fabric; second, the plane of the hat is square, not round; third, there is a vertical eaves; fourth, the lining of the hat is purple silk fabric; fifth, there are two purple silk fabrics. Compared with the "heavy wearing" of the large hat worn by officials traveling in the Paintings of the Southern and Northern Song Dynasties, it can be seen that its basic form is fully in line with the text description, but the specific materials and colors are not well represented. Even in the fine depiction of the Southern Song Dynasty's "Spring Tour and Late Return", we can only see the outside and top of the big hat, and we can't see the situation inside the hat. Only the heavy wear in the "Qingming Upper River Map" can see that the inside of the hat is light colored. Therefore, two later paintings have certain reference value.
Figure 12 Ming Dynasty Anon. "Seven Sons Passing through the Pass" Volume Partial Silk Set ColorIng the Collection of the Friar Museum
The first is the late Song and early Yuan painter Gong Kai's "Zhongshan Outing" (Friar Art Museum), depicting the travel of Zhong Kui, the god of ghost hunting. Zhong Kui sat on the steps, dressed as an official. Behind him was a small ghost carrying his big hat. You can see that the little devil is pulling the black strap of the big hat and carrying it behind him. The big hat is surrounded by a black hanging curtain, the length of the hanging curtain is about half of the face, which is undoubtedly the "hanging eaves". This hat is very similar to the large hat of Zhong Kui in the 12th-century Japanese Hell Straw Paper. The other is the "Seven Sons Crossing the Pass" in the collection of the Friar Museum of Art. [Figure 12] Although this painting is a Ming Dynasty painting book, there may be early image sources, and there are similar paintings in the Forbidden City in Beijing, the Forbidden City in Taipei, and other places. Judging from the bibliography, the painting theme of "Seven Sons Passing the Pass" has appeared in the Yuan Dynasty as late as the Yuan Dynasty. Regarding the identity of the "Seven Sons", there have always been different theories, some say "Seven Sons of Jian'an", and some say that they are the seven talents of the Tang Dynasty. In the painting, one of the seven sons rides a horse, one rides a bull, and five rides a donkey. The horseman wore a round neck purple robe, dressed as a civilian official, and the retinue behind him held his "heavy wearing" hat. The other six were uniformly dressed, all wearing light-colored robes, dark hoods wrapped around their heads, and "heavy-wearing" large hats. The seven "heavy-wearing" hats in the painting have different angles, fully showing the structure of the big hats. The rectangle of the hat plane is very clear. The inside of the hat is woven from rattan grass, and the part of the pullover is lined with purple silk fabric. The front and back brim parts also have cross-shaped purple silk decorative tapes. In addition, the ears of the hat cover are tied with two purple silk ties, similar to the "Purple Li, two purple silk groups are wisps" mentioned in the "Song Shi Youfu Zhi".
The name "Heavy Wear" appeared in the late Tang Dynasty.[32] The Song Dynasty had two versions of the meaning of "heavy". One says that it is wearing a hat on the head, so it is called "heavy"; the other is saying that it is wearing both a hat and an umbrella cover, so it is "heavy". The main reason for the controversy is that this is an institutionalized transformation of the scarf hat in the late Tang Dynasty and five generations, so the traceability is not clear. In short, as a kind of clothing that was gradually institutionalized during the Northern Song Dynasty, "heavy wear" was associated with the central civil officials of a specific identity, and played a role in rectifying the official style and appearance and strengthening the status of civilian officials. Combined with the History of the Song Dynasty and other documents in the Song Dynasty that record "heavy wear", it can be seen that the "heavy wear" system was derived from the five generations of the old system in the early years of the Northern Song Dynasty.[33] Beginning in the second year of Emperor Taizong of the Song Dynasty (991), the imperial court formally established "heavy wear" as a special uniform for the officials of the Northern Song Dynasty, and stipulated that all officials of the Imperial History Terrace should be "heavy wear" on their daily outings or official travels. This should be aimed at strengthening the civilian status of the monitoring system. [34] The scope of application of this provision was soon extended to almost all "Qingwang officials", who were middle and high-ranking civil servants who were of advanced military origins, usually with literary talent and moral reputation. The relevant system stipulates that officials from Zhongshu and Menxia provinces, as well as officials of Shangshu Province with more than five pins and bachelors of The Hanlin Academy, must wear "heavy wear" when entering and leaving. In addition, the new section of the jinshi can also obtain the "heavy wear" qualification during the examination to the assignment of official positions. After the Southern Song Dynasty, the scope was greatly reduced, no longer including the officials of the three provinces, and the new section of jinshi was limited to the first three. It can be seen that "heavy wear" was always a costume system for the civil officials of the Song Dynasty's "Yushitai" and "Imperial Court" as the main system, while there were no very clear regulations and requirements for other central civil officials.[35]
It is worth noting that there is some confusion between the "heavy wear" that seems very clear in terms of the system and another popular "seat hat" in the Song Dynasty. For example, in the Northern Song Dynasty Wu Chuhou's "Miscellaneous Records of the Green Box", when telling the story of Li Xun's participation in the imperial examination in the early Song Dynasty, he said: "At the beginning of the country, the Tang style was attacked, and the disciples were all dragging robes and heavy wears, and when they came out, they accompanied themselves with a seat hat." [36] This reflects the system in which the new section can be "re-worn" before obtaining official positions, but it is not made clear that the "seat hat" is equated with "heavy wearing". There is also a story in the Southern Song Dynasty Hongmai's Yi Jian Zhi that tells the story of a scholar who was about to take the imperial examination dreaming that someone was "holding a hat and holding his head", and he woke up happy because "the scholar wore a seat hat when he ascended to the throne". This also reflects the system that the new section can be "re-worn", but it is also the same that the "seat hat" is equated with "heavy wear".
Figure 13 Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty" Volume Partial Silk Coloring Collection of the Palace Museum in Beijing
The reason for the above confusion is that the "seat hat", as a popular hat style in the Song Dynasty, has no obvious identity difference. And because of the popularity, there are more changes. Guo Ruoxuan said in the section "On the Different System of Clothing and Crowns" in the "Picture Seeing and Hearing Chronicle": "The drapery hat is now a seat hat, and the zhou hui hangs the net." [38] This kind of Northern Song Dynasty seat hat, which resembles a Tang Dynasty drapery hat, can be seen in the "Map of the Upper River of the Qingming Dynasty". The picture shows 5 travelers wearing hats. They rode horses, donkeys or mules, and the hats were basically the same style, the top of the hat was very wide, the brim part of the hat appeared narrow, and the surface of the hat was covered with dark black tulle, which could sag. Among them, the tulle of the donkey or mule rider is the longest, hanging down to the waist, similar to the hood of the Tang Dynasty. Fig. 13: A traveler with his back to the viewer, blocked by a large part of the eaves, also hangs below the shoulder blades of his back. Another one on a donkey appears in the distance, as does his back. The remaining two men's tulle sags shorter, with only about half a palm-length drape around the brim. The hats of these 5 travelers should be "seat hats". [39]
Figure 14 Zhang Zeduan's "Qingming Upper River Map" Volume Partial Silk Coloring Collection of the Palace Museum in Beijing
In addition to the hats worn by these five travelers, there is another similar hat in the painting, except that the latter has a high and pointed cap. It appears twice in the painting, one of which is worn on the head of the rider at the beginning of the scroll. Another hat hung from the burden carried by an entourage behind a horseman. The inside of the hat faces the viewer, clearly showing radial lines to account for the structure of the hat. [Fig. 14] There is reason to believe that this is also a kind of "seat hat". There may be more variations of the "xi hat", and it is said that in Li Cheng's "Reading Stele Stone Map" (Osaka Municipal Museum of Art), there is a scribe riding a white donkey, who should be a reclusive high priest. The hat he wore had a distinct concentric circular texture, suggesting that the hat may have been woven from rattan and should also be a type of "seat hat".
The changes in hats are inseparable from their origins, nothing more than making a fuss about materials and decorative patterns. The name "Xi Hat" already existed in the Tang Dynasty. The late Tang Dynasty scholar Li Kuangqi was the first to introduce the "seat hat" [41]. According to Li's records, the difference between "seat hat" and "felt hat" is mainly reflected in the difference in the material of the hat surface. The so-called "mat" should refer to the skeleton of the hat woven by grass vines, and if it is replaced by wool, it is a "felt hat". According to Sun Ji's research, the tang dynasty's seat hat was often covered with oil, becoming a waterproof "oil cap", and even the "drapery hat" was also based on the seat hat as the main body, and there was no essential difference between the two [42].
At this point, we can summarize the relationship between "re-wearing" and "seat hat". The "heavy wearing" of Song Dynasty officials is a kind of public opinion uniform system, and the direct source is a kind of wide-brimmed hat since the fifth dynasty of the Tang Dynasty. Due to the similarities between the form and the "seat hat", and the fact that the "seat hat" is a hat style widely used by the people, the two are sometimes confused, and "heavy wear" is regarded as a special style of "seat hat". However, the pictorial images of the Northern Song Dynasty tell us that they have clear boundaries in the pictorial world and are hardly confused.
In addition to the "Qingming River Map", Guo Xi's "Early Spring Map" actually draws the coexistence relationship between "heavy wearing" and the hat. Following the route of the "heavily worn" officer and his entourage who were crossing the trestle, two other hikers could be seen on the steep mountain road, one of whom was wearing a dark, fuched hat with a large round top and a small brim. Similar in shape to several of the hats in the Qingming River Map, the painter deliberately creates a contrast between the identity of the official who wears the big hat and the ordinary traveler who wears the hat.
At this point, we can discuss the significance of "heavy wearing" the image of officials in the Landscape Paintings of the Northern Song Dynasty. If we strictly follow the northern Song Dynasty's system of "heavy wearing", the officials who have to "wear" big hats and maintain official style when traveling long distances are all middle- and high-ranking civilian officials who are sent by the central government to serve in local areas and who are born from jinshi. In particular, officials of the Taiwan advisory system are the mainstream, because this system was originally established for them. They were the central supervisory organs, from the emperor down to the hundred officials, all within their sphere of competence, with a high status, and were often stationed in local posts. Of course, painting is not a mirror image of reality after all. The extent to which painting can be contrasted with the actual system requires careful consideration. The works in Song Dynasty painting that show a more explicit "heavy wear" image have a certain relationship with the official, and their creators are mostly painters who serve the court and the government, and they should have a certain understanding of the state system. At the same time, in the painting evaluation system of the Northern Song Dynasty, great importance was also attached to the correct representation of "yiguan" costumes.[43]
Judging from the "heavy wear" officials in the image, the image on the bell of the Northern Song Dynasty is obviously of an unusual status. The officials in the "Map of the Upper River of the Qingming Dynasty" have nine retinues, and their status should also be higher. The status of the elderly in the Southern Song Dynasty's "Spring Tour and Late Return Map" is also quite unusual. These three kinds of images do not represent long-distance travel, but travel in or near the capital. As for the riding figures in several Northern Song Landscape Paintings, they were all in the process of long-distance travel, and their mounts were not only changed to donkeys, but the number of entourage was also greatly reduced, usually only one or two. This difference shows that the "heavy wear" image in landscape painting has a special meaning.
The rider image is a contradictory image. "Heavy wear" is a system, but riding a donkey is not a system; it is a system for central civil officials to be sent by the imperial court to serve in local areas, but the number of people accompanying them is at least not a system. The significance of donkeys has been studied a lot.[44] First of all, donkeys are the daily means of transportation and transportation tools of ordinary people, and many people riding donkeys can be seen in the "Qingming Upper River Map", which is a symbol of civilian life. Second, the donkey is also the favorite mount of the hermit and maverick scribe in the literary tradition, symbolizing their seclusion, their high-mindedness, or their "weariness with the pursuit of worldly success, and yearning for a natural and carefree state of life." In addition, in song dynasty poetry, there are some literati bureaucrats who like to use the image of riding a donkey to create "the image of a seasoned bureaucrat who is frustrated in his career".
In the Landscape Paintings of the Northern Song Dynasty, although not all of the riders who "wear heavy wear" ride donkeys, but also ride horses, they are not flaunted images with many followers. As a middle and high-ranking civilian official who travels between the central and local governments on official business, such a simple way of travel means a simple, people-friendly and honest and self-disciplined quality. In particular, considering that the civilian officials of the Taiwan counseling system are the main group that "wears the system", it is all the more necessary to consider the implications of honest government. A comparable example is Sima Guang. Sima Guang was an extremely incorruptible official, and his family motto "Training and Thriftiness" is a famous article about honesty and frugality, and his story of incorruptibility began to circulate widely in the Southern Song Dynasty. One of them is that during his tenure in Luoyang as the governor of the "Western Jing Liusi Yushitai", he rode only a donkey and brought only two or three retinues with him every time he traveled between Chang'an and Luoyang on official business. [46] He kept a low profile, never alarmed the magistrates, and refused any form of gift. If this story is true, it is conceivable that Sima Guang, as a Hanlin scholar and a Taiwan counselor official, will strictly abide by the system and "wear" travel. In this way, he is almost exactly the same as the image of the rider in the Northern Song Dynasty landscape paintings. This incorruptible, frugal literary image of Sima Guang is not so much a reproduction of the official system of the Song Dynasty as it is the result of the intertwining of reality and imagination, just like the art of painting.
This image of a clean and frugal official can be used to a certain extent to illustrate the arrangement of the foreground in the "Qingluan Xiao Temple Map". In the lower part of the picture, the "heavy wear" donkey riding officer with only two retinues is about to cross a simple and broken wooden bridge to the village at the foot of the mountain. Only two types of buildings are painted in the village, juxtaposed from side to side: a simple thatched village tavern marked by a wooden scoop hanging from the eaves and a long table and chairs in the house, and a large official restaurant with a prominent wine flag and ornate official architecture. The people who dine in the two types of hotels are also completely different. The people in the village taverns dressed like the retinue of officials riding donkeys, and the people in the large restaurants sat in front of calligraphy screens wearing official hats. What does this obvious contrast illustrate in the painting? The biggest possibility should be the contrast between "luxury" and "frugality". It can be inferred from the simple image of the "heavy wear" donkey-riding official that he will definitely choose a country tavern instead of a restaurant terrace where he can watch the scenery.
"Heavy wear" of officials has a specific denotation rather than an abstract representation of all officials, because it is not the whole image of officials in Song Dynasty landscape paintings. The old legend of Wang Wei's "Map of the Journey to the Snowy Mountains" (The Palace Museum) may be a Southern Song Dynasty painting imitating the style of Guan Tong, which is very similar to the "Map of the Journey of Guan Shan" of the National Palace Museum in Taipei. At the center of the traveling procession in the lower right corner of the painting is a standard Image of a Song Dynasty official, wearing a round-necked official uniform and wearing the "curved winged head" common to officials. Although he also carried only three people, he not only rode his own horse, but also another horseman with a small flag. There are also those who carry the "bone" of the guard weapon on their backs, and the whole team looks formal and serious.
Guo Xi's "Mountain Village Map" collected by Nanjing University is a good example, further revealing the intentional creation of two different official images of "luxury" and "frugality" in Song Dynasty landscape paintings. This is an interesting painting that magnifies a lot of the characteristics of Guo Xi's "Early Spring Diagram". On the right side of the picture appears an official on horseback, wearing a skull, and his entourage behind him wearing a Qingluo umbrella cover that can only be used by officials. He carried in front of him and behind him nine retinues, including the horse controller and the one who carried the chair, which is the standard image of the front and back of the official. On the way up the mountain, there is also a figure of a donkey "heavy wear", who seems to have only one retinue, who is trekking along the hillside. It is self-evident that the two kinds of officials who are hidden and explicit are "extravagant" and "thrifty."
In addition to conveying the incorruptible and frugal official style, the image of "heavy wearing" officials in landscape paintings can also reflect the general importance of the state to the civilian class born of jinshi. The Northern Song Dynasty explicitly associated "heavy-wearing" officials with the imperial court's "Qingwang officials", which were distinguished from military attachés and various technical bureaucrats. As generally literate civil servants, they are good at conveying various emotions and experiences, including travel, through poetry, and are one of the most frequent people who sing about natural landscapes. Therefore, their images in landscape painting are not just point scenes, but have the role of "finishing touch".
Judging from the layout of the picture, whether it is a vertical scroll or a hand scroll, the "heavy wear" official often appears in the best and most distinctive viewing position created by the picture. In "Qingluan Xiao Temple", he appears next to the wooden bridge at the bottom of the picture, which is not only the connection between the inner and outer waters of the mountain, but also the place where the depth of the space can be appreciated more than all the other people in the painting - you can see the spectacular multi-stacked waterfall from a distance. In "Early Spring", he appears on a small bridge leading to the depth of the picture near the visual center of the picture. Compared to the others in the painting, only he can see the most profound space in the painting here--to the left is the extremely vast valley, and to the right, he can see another piece of water and the pavilions and pines on the boulders. In "Maolin YuanxiuTu", he appears in the small river in the middle of the scroll. Here, he is facing the most spectacular "V" shaped deep valley in the painting, and can see the mysterious building complex and the flying waterfall inside. The most interesting is "Xishan Lou Guantu". He appears on the wooden bridge in the lower left corner of the picture. There was no view at all, because to his right was a barrier-like hill, which blocked his view completely and seemed very depressing. But if you imagine his whereabouts, he will soon follow the path in front of him and bypass the hill. What will appear before his eyes at that time will be a magnificent and majestic mountain scene with a towering path. This is exactly what the viewer of the painting has already seen, and through the immersive imagination of the "heavy-wearing" official, the visual experience of the viewer is enhanced with a dramatic reversal.
Due to the presence of the "heavy wear" official, all the important landscapes in a landscape painting seem to be related to him. He is like a tour guide, guiding the person who looks at the painting to observe and experience the scenery of the mountains and rivers in the picture along the path he imagined. One possible reason why this incorruptible, frugal, and literaryly talented central civil servant connected the paintings was the connection between the common and official ideology in the landscape paintings of the Northern Song Dynasty. In this sense, the civilian official who "wears" the travel can be seen as the "agent" of the abstract "state" in landscape painting.
Fourth, look for the image of the Song Dynasty Van Army
When Song Dynasty officials traveled on official business, they could enjoy the relevant benefits of state civil servants according to the system, and these benefits could be divided into personnel welfare and facility welfare. [49] Personnel benefits refer to state-appointed retinues and non-commissioned officers to ensure the safety of official travel, and facility benefits refer to transportation and accommodation provided by officials without compensation.
According to the Southern Song Dynasty's "Qingyuan Articles and Laws", the entourage provided by the government to traveling officials, including the servants of the official government and the soldiers of the army, were collectively called "officials". They are provided by the local governments through which officials travel, so every time they go to a place, a new group of people is changed. Soldiers are collectively referred to as "pick-up and drop-off people", who are responsible for transporting officials and ensuring their safety, among which there will be "soldiers" who are specially responsible for carrying luggage. The servants appointed by the local government are responsible for logistics, and there are various categories, and there are people responsible for picking up and dropping off documents, from the local government's "General Introduction Department"; some are responsible for the copying of documents, from the "Book And Table Department"; there are responsible persons for Ma Diet, from the "Tea and Wine AccountIng Division, Cooks, and Back Slots". Institutionally, this is relatively strict, because different regulations have emerged according to the purpose and nature of official character and official travel. Roughly speaking, according to the level of official quality, the number of pawns decreased, with a maximum of nearly 400 and a minimum of only 10.
Among the aforementioned Song Dynasty paintings, the largest number of people accompanying the "heavy wear" officials was the Southern Song Dynasty's "Spring Tour and Late Return Map", a total of ten. In the Northern Song Dynasty landscape paintings, there are one, two, and four people, mostly two entourage, one of whom must carry a burden, and the other who carries other items, either umbrellas or other miscellaneous objects. Obviously, reality and institution do not coincide perfectly, let alone painting as an art form, which is never a simple imitation of reality or system. So, if the number of entourage is limited in numbers and uses a schematic technique due to the limitations of the form of the painting, is there any other way to show their official identity?
According to the system of the Song Dynasty, the burdens for officials' travel were all military pawns, and most of them were mainly "van army" soldiers. In the case of the "Qingluan Xiao Temple", the bearer wears a tight and narrow dress, leggings are tied to the trouser cuffs, and the turban he wears on his head is tied up on the top of his head. He undressed and half of his body, looking very muscular. Can this image match the image of the Fan Army in the Song Dynasty? [52]
First of all, we need to find the image of the van army that can be used for comparison. The Song Dynasty Jingde Si Tu in the National Palace Museum in Taipei is a record of Song Zhenzong's inspection of the flood control work of the Beihe River, including a depiction of the Van army during the Northern Song Dynasty. In the picture, on the bank of the flooded Beihe River, Song Zhenzong Luan has arrived, but he does not show his face. Soldiers who rushed to repair the river lined up to receive the emperor's condolences. They are called "service soldiers" in the inscription, specializing in various kinds of labor for the country, belonging to the van army system, and are specialized "river soldiers". The soldiers in the painting are dressed in gray-green knee-length robes, with round necks, narrow sleeves, missing hakama, leggings, and a turban similar to the "Qingluan Xiao Temple", tied high at the top of the head. Soldiers in the front row were receiving the emperor's reward of "money ropes", and they carried bundles of money bundled with strings of copper coins back to the barracks. The soldiers in the middle col were transporting things, and the soldiers in the back row had all faded their clothes to their waists, bare-chested, holding a rope with a round spherical object hanging down, which should be some kind of water control tool.
Figure 15 Northern Song Dynasty Anon. "Gate Plate Car Diagram" Volume Silk Color 53.3× 119.2 cm Collection of Shanghai Museum
Another painting reproducing images of the Northern Song Dynasty van army is the Zhakou PanChe Diagram from the Shanghai Museum. [Fig. 15] Previous research has pointed out that the painting depicts two kinds of official industries in the Song Dynasty, one is the water mill, which is used to grind flour and tea powder, and the other is the liquor industry, that is, the officially operated "official liquor storehouse" restaurant.[55] Both Tokyo and Zhengzhou have "water mill services" that manage official water mill workshops. The Song Dynasty army was divided into three types: the forbidden army, the van army, and the township army. Both the Forbidden Army and the Van Army were regular armies. The forbidden army was under the direct jurisdiction of the central government, and was mainly responsible for defending the capital and fighting on the border. Although they can also assist the forbidden army in foreign operations, they mainly undertake various miscellaneous services and projects of the state and the government. [56] Tokyo's east and west water mills are large, with a quota of 205 workers, the main staff of which should be the van army. The bodies of the vans operating the water mill in the painting are very strong, several of them are half exposed, and some even wear only crotch panties, revealing exaggerated chest muscles. They have roughly two kinds of dress, one is strong, may be engaged in heavy physical labor, the lower half wears pants, the upper body is bare, only wearing an open sleeveless short vest, the head has a turban, tied behind the head, wrapped in a raised bun. The other wore a narrow-sleeved hakama knee-length robe on the upper body. Replacing civilian workers with government-recruited vans to undertake most of the national engineering and service industry work was a major feature of the Song Dynasty's van army system. There are also several people in the water mill of the Gate Pan Car Chart who have tattoos on their arms, chest and back, and thighs, which also echoes the relevant provisions of the Song Dynasty system on the tattoos of soldiers.
Between the water mill and the restaurant, there is also a caravan of scalpers, which may belong to the "Taiping Car" with the lid on the carriage. In addition, there were two empty cars parked in front of the restaurant, one was a two-wheeled "flat-headed car", which was often used by large restaurants in Kaifeng to transport barrels according to the Tokyo Dream Record. The other unicycle is the "string of cars" mentioned in the Tokyo Dream Record. It is no accident that these three kinds of cars are the most important transport trucks in the Song Dynasty. The water mill and wine industry depicted in the "Gate Plate Chart" are made of grain, the former is wheat, the latter is rice, and the finished product is flour and rice wine, all of which require a lot of manpower for transportation. In addition to being responsible for the transportation of goods in official water mills and official hotels, the Van army of the Song Dynasty also played an important role in the process of transporting military grain and grain. Therefore, in the painting, whether it is the escort of the water mill, the restaurant or the ox cart, the image is almost the same, because they are the same group of people.
Figure 16 "Gate Plate Car Map" part
It is worth noting that the "Gate Plate Car Map" depicts two van soldiers at the entrance of the restaurant. Judging from the action of one of them holding the burden with one hand, the two flat square boxes picked up are not very heavy. The other man was carrying the same box along with the umbrella. [Figure 16] This image is very similar to the retinue of officials in the "Qingluan Xiao Temple Map" and the "Early Spring Map", who also picked a pair of similar boxes on their shoulders and hung down only to the chest position. Relatively speaking, the boxes in the "Qingluan Xiao Temple Map" appear smaller and flatter, like two long boxes. The box of the Early Spring Diagram is slightly larger and hangs down to the pole. As an important item for officials, what exactly is in this small box? One possibility is official documents and official seals, which are encapsulated in boxes for transport and transmission. Another possibility is to show that the government appoints officials to serve in local areas. It can be seen from the title that it is similar to a lightly packed light suitcase, which is used to hold official hats, official uniforms, etc., and is shaped like a bucket. If we look closely at the box carried by the van army in the "Gate Plate Car Map", we can indeed find that its shape is not a standard rectangle, but slightly up and down, showing a bucket shape.
Figure 17 Zhang Zeduan "Qingming Upper River Map" Volume Partial Silk Coloring Collection of the Palace Museum in Beijing
If the van army depicted in the "Gate Plate Car Map" is one of the common images of the van army in the eyes of the Northern Song Dynasty, we will see many similar images in the bustling cities depicted in the "Qingming Upper River Map", who only wear open sleeveless vests on their upper bodies, wrap their headscarves, and tie leggings. One of them appeared near a large "ten thousand foot shop". According to the monopoly system of the liquor industry in the Song Dynasty, the "foot shop" is privately operated relative to the "main store" directly operated by the government, but the liquor sold needs to be wholesale from official channels and belongs to the liquor distribution outlets allowed by the government. [63] There was also a "string car" parked in front of the hotel, with five people in vests in front of them carrying bundles of money from the hotel entrance. The image of the money is similar to the money given to the van army in the "Four Pictures of Jingde", which may be a hint to the income obtained by the official liquor store from selling liquor to the foot shop. Fig. 17 If this speculation is credible, then the person escorting the money should also belong to the van army serving in the official liquor storehouse. [65] There are many people with the same image in the "Map of the Upper River of the Qingming Dynasty",[64] some of which are clearly related to the authorities: they carry grain from a boat to the shore, open the way for officials on horseback on the Hongqiao Bridge, and inspect bows and arrows next to the "main shop" of the official restaurant, preparing to escort the barrels of the official liquor store.
In short, there are similarities between these van troops engaged in labor in the "Jingde Si Tu", the "Gate Plate Car Map" and the "Qingming Upper River Map". Because of the intense physical exertion, their bodies are often exposed. They all wrapped their heads in dark turbans and wore short sleeveless vests, similar to a type of overalls. However, as a large group in the Northern Song Dynasty, the Van Army engaged in a very wide range of types of labor, and the image would obviously not be single. The construction and repair of buildings was also one of the main labors of the van army. There is an architectural map (Shanghai Long Art Museum) passed down as a Song Dynasty painting depicting the construction of a magnificent official-style building. All construction workers are uniformly dressed, wearing black turbans and short knee-length robes with narrow sleeves. It also depicts an official patrolling, accompanied by an entourage carrying his chair.
In all kinds of servitude, transportation was one of the most onerous tasks undertaken by the van army. In the "Gate Plate Chart", the ox cart team is the official transport convoy. There is a detail in the painting: each car has several logs behind the wheels, which is not seen in other paintings in the same type of ox cart. If it is not a few pieces of wood that are carried in passing when transporting supplies, it is most likely used to stabilize the vehicle, indicating that the cargo carried is heavy. So what will they be transporting?
V. Images of "Gang Yun" and Transport
"Panche Diagram" is a category of its own in Song Dynasty painting, and it belongs to the "house wooden boat car" in the painting classification at that time. The relationship between van troops and transportation described in the previous section makes it necessary for us to rethink the image of "panche" in Song Dynasty paintings.
In her study of the "PancheTu", Wen-chien Cheng proposed that the development of the "Panchetu" in the Song Dynasty was related to the activities of the Northern Song Dynasty to transport military grain to the frontier areas, which is an important observation. However, she believes that such images are closely related to the Northern Song Dynasty's policy of "entering the Chinese border grain", and this interpretation may be somewhat simplified. The so-called "grain into the border area" refers to the fact that because the transportation organized by the government cannot fully meet the needs of the troops stationed at the border, the merchants are encouraged to organize themselves and transport the grain to the front line of the border pass, and then the government buys it at a high price, or allows the merchants to buy the goods sold by the government and sell them for profit [66]. However, this policy was mainly implemented in the military tension of the early Northern Song Dynasty, and was only a small part of the entire Song Dynasty grain transportation system. In the freight transportation system of the Song Dynasty, the most important thing is still the "gang transport" system under the government organization.
The so-called "gangyun" is a system that has existed since the Tang Dynasty, which refers to the organization of bulk goods into different "programs" and the transportation of them in groups to ensure the needs of the capital region and the army. In the "GangYun", according to the differences in transporters, it can be roughly divided into the official movement and the people's movement, but the official movement is the mainstay, that is, the government organizes and mobilizes the soldiers who are mainly van troops, supplemented by civilian recruits or hired civilian husbands. The "gang transport" of state materials is transported by ship by water, that is, "cao transport", and by land, it is mainly carried by vehicles and mules and donkeys, and the Tang Dynasty is called "che gang" and "mule class" [67].
The official "Gang Yun" is an important theme of painting. The four ox carts in the "Gate Plate Chart" suggest that the huge fleet of car whether it is transporting mill or hotel products, belongs to the scope of the national program. The most important material for Gangyun is grain. At the end of the Northern Song Dynasty, the "Complete Collection of Landscapes and Waters" mentioned that painting winter landscapes should be accompanied by "mules transporting grain", that is, the government organized manpower to transport grain with mules or wagons. The reason why it is associated with the winter scenery is to highlight the hardships and difficulties of transportation. The Xuanhe Pictorial Notation records the paintings of Wang Wei of the Tang Dynasty held by the court, namely the "Mule Gang Tu" and the "Grain Transport Map". However, according to Mi Fu's History of Painting, the Sichuan region of the Northern Song Dynasty often forged the "Mule Gang Map" of Wang Wei, especially associating it with snow scenes. This reflects the tendency of "mule gang" theme painting to be commercialized and modeled in the late Northern Song Dynasty. At the turn of the Southern and Northern Song Dynasties, the famous painter with the theme of "Gang Yun" and Panche was Zhu Rui, a painter who served the courts of the two Song Dynasties. However, the earliest records of him are from the Yuan Dynasty, and the Illustrated Treasure Book says that he was "especially good at writing mules, snow hunting, panches, etc." Many of the surviving works on the theme of panche are entrusted to him, although the specific age has yet to be discussed, but it can be roughly seen that the image pattern reflected in it.
Figure 18 Southern Song Dynasty Anon. "Journey in the Snow" Tuan Fan Silk Color 23.4X25.4 (cm) Private collection in Japan
"Mule" is a collective term that includes transportation with mules and donkeys. The "Journey in the Snow" (Private Collection of Japan) is a kind of "Mule Map". Fig. 18 depicts a caravan of eleven donkeys carrying heavy pockets across the valley. The donkey caravan was escorted by nine people, and the order was orderly. There were those who carried luggage and goods, and there were those who commanded the donkey caravan, and their leader was the last man on horseback. The men all wore light-colored hats on their heads, reminiscent of soldiers' military hats.
A more complex "mule diagram" can be seen in the poem. Li Hong, a native of the Southern Song Dynasty, had a long poem titled "Titled Qi Zhong< Mule Gang Tu >". Interestingly, the painter Qi Zhong was born in the military and was a "sergeant of the Temple Division" during the Baoqing period of Emperor Lizong of the Southern Song Dynasty, that is, a sergeant of the central institution that commanded the forbidden army, the "Commander of the Imperial Guards in Front of the Temple". His painting goes like this:
The north wind blows snow and flies thousands of mountains, and the snow deep mountain trail is difficult to return. The long forest trees are beautiful and colorful, and the cliffs are carved and carved.
The mountain belly is cold and moist, and the mountain peak is not full of inches. The rocky waterfalls of the stream are noisy, and the tracks of the hooves and birds have fled.
There are emissaries who lose the imperial program, and the mules are heavily dressed. The flag does not show the moisture of the lan qi, and the saddle is stable and the sound of Luan is inducted.
The dangerous bridge is not crossed, and the angry whip drives away laziness. The stack pavilion is haunted by iron and cold, and the thorn hazel is darkly pierced and the felt clothes are torn.
The mules are windy and windy, and the tired who comes to the whip is repeated. Suddenly, dadu is cold and bone-chilling, and when it is deep, it is like a lurking dragon.
Hurry up and call the boat to cross the water, and find the boat people to count the miles. A boat has gone to a boat trip, falling into a deep pool and the waves are rising.
The boat moved to the shore and the people scrambled to be the first, leading the mule to bundle the goods and waving the whip. The lu deep gorge is slippery and slippery, and the ten steps and nine stop the worries.
Mules and mules defeated people's abdomen, and the people borrowed yellow sorghum to cook. The human meal mule is Yukihira, and the door to the nai gate goes to Cheng.
Plum blossoms bloom in front of the mountain and after the mountain, and the dead trees in Woxi have cold teeth. Under the green smoke, three or four homes were closed deeply.
The line gradually exited the Pingchuan Road and looked back at the clouds of a thousand mountains. Knowing that the inn is more of a ride, pointing out the deep part of the mountain pass to live.
The saddle picking caravan is wide, and the floor furnace is full of smoke and acid. The group of mules into the stables is full of sleep, and the Ming Dynasty can lose the official.
The silk fell and the knife was a few feet away, and the balance opened the chest from the pen and ink. Make this scene as this picture, lightly drawing thick without condensation. [71]
According to the description of the long poem, this "Mule Diagram" should be a long scroll depicting a difficult journey through the mountains of the west. The mule gang is organized by the government, and the poem refers to the escort as the "emissary", and also mentions that there are unopened "flags" in the procession, which shows that the escort team is composed of soldiers.
Although the "Journey in the Snow" is a small painting, it has similarities with Qi Zhong's "Mule Gang Tu", which seems to show several parts of the latter. The opening scene of Qi Zhong's "Mule Gang Tu" is "the peak of the mountain is not full of inches", while the "Journey in the Snow" adopts the truncated composition of the mountain being cut off by the picture, only revealing a small piece of the sky in the interlacing of the mountains, showing the feeling of not seeing the top. Qi Zhong's "Mule Gang Map" uses "the mountain belly is cloudy and cold", that is, there are clouds floating on the mountainside to show the sense of height and distance, and the "Travel Map in the Snow" also blurs the distantest mountain above the picture in a large area. In Qi Zhong's "Mule Map", there are "streams and rocks and waterfalls fighting for noise" on the high mountains, that is, there are streams and waterfalls, and the nearest mountain peak in the "Journey in the Snow" does hang a meandering mountain stream waterfall. The character of Qi Zhong's "Mule Gangtu" is the "emissary" escorting the national gangyun, and he rides a horse "saddle and steady", just like the horse escort in the "Journey in the Snow". Qi Zhong's "Mule Gang Diagram" sets off the winter with "dead trees and cold teeth" and "deep closed firewood doors" of the village. The prospect of "Journey in the Snow" is also the tall dead trees on the slope and the village dwellings of all the firewood. This similarity reflects the basic pattern of the "Mule Chart" during the Southern Song Dynasty.
Figure 19 Song Dynasty "Snow Creek Travel Map" Page Silk Color 26× 24.8 cm Collection of Shanghai Museum
The opposite of the donkey mule is the transportation of wagons. The National Palace Museum in Taipei, which is rumored to be Zhu Rui's "Snow Stream Pan Car Map", is also a manifestation of Gang Yun. The painting depicts a procession of wagons traveling in a steep mountain range in heavy snow, including two ox pan cars and four ox pan cars, the carriages are not completely enclosed, but can be seen to be piled with white cargo pockets. Each vehicle is escorted by one or two horsemen, and is escorted by a number of people on foot, and is well organized. In the distance of the procession revealed a hilltop building, which should be a castle tower that represented the border pass. [72] Most of the characters wear hats, which resemble military figures. Another album, "Snow Creek Travel Map" (Shanghai Museum), is also showing the carriage of the car on a snowy day. Fig. 19: In the painting, there are four three-ox carts appearing near and far, each equipped with two or three coachmen wearing heads. Three cars nearby, centered on two bullock carts crossing a steep wooden bridge, each with one man standing at the rear to prevent the wagon from suddenly descending and weightless, was evident that they were an experienced convoy. In the distance was a buffalo wagon.
The above work shows a picture of a car with "Gang Yun" as the only scene, and only they are wading through the mountains in the cold winter. But there are other modes of "cart charting". The vertical axis of the "Panche Diagram" of the Forbidden City in Beijing, the axis of Zhu Rui's "PancheTu" of the Museum of Fine Arts in Boston, and the Fan Painting of the Beijing Forbidden City "Mountain Shop Wind Curtain Diagram" embody another model - centered on the mountain village hotel and comprehensively displaying a variety of representative panches and transportation modes of the Song Dynasty. Of these three works, although the earliest in the era of the Forbidden City in Beijing is the "Panche Tu", the other two are relatively better understood in content.
Figure 20 Zhu Rui's "PanChe Diagram" Axis Partial Collection of the Museum of Fine Arts, Boston
Figure 21 Zhu Rui "Pan Che Tu" shaft Silk color 104.2× 51.4 cm Collection of the Museum of Fine Arts, Boston
First look at the Boston Museum of Fine Arts Zhu Rui's "PanChe Diagram". [Figures 20 and 21] There are three large disc cars in the picture, and the lowest one is crossing the river. In addition to being equipped with 3 people to catch the car, there are two horse-riding escorts behind the car. One of them wore a light-colored felt hat and carried a long strip of objects with slightly curved ends around his waist, which should be a sabre, reflecting his military status. The other was a taller man, wearing a fur-turned fur hat, which, despite the damaged picture, could still be seen with a tassel on the top of the hat, which is also a typical hat style for soldiers. It can be seen from this that "gang luck" is still a potential theme. The plot of the picture is that the "Gang yun" pan convoy is about to go to a mountain hotel to rest. There were already resting other cargo transporters outside the hotel, including a caravan of four camels and a flat-headed cart pulled by a single cow. Inside the hotel, travelers were drunk and resting on the table. We can see three modes of transport of goods in different forms and meanings: the large convoy of ladies is a government-organized "gang transport" escorted by soldiers; the camel caravan is the classic image of an ordinary caravan, which is further evidenced by the image of a northern ethnic merchant wearing a fur hat feeding the camels.[75] And a single flat-headed car lacks information to judge its attributes and can only be regarded as a civilian truck.
Structurally similar to this painting is the Palace Museum's Tuan Fan "Mountain Shop Wind Curtain Map". At the center of the picture is a mountain village hotel deep in the mountains, with drunken travelers lying on the table, four camels resting outside the store, and a flat-headed car full of goods. On the mountain road below the hotel is a team of wagons, and there are also horsemen wearing hats escorting them, indicating that this is also a "gang luck" team. It can be seen from this that the picture also shows the diversity of transportation methods through the juxtaposition of the "Gangyun" disc convoy, the merchant camel caravan, and the civilian freight of flat-headed cars.
Figure 22 The Axis of the Southern Song Dynasty Anon. "Panche Diagram" Part of the Silk Book Coloring The Collection of the Palace Museum in Beijing
Relatively speaking, the vertical axis of the Forbidden City in Beijing is the earliest and the most detailed depiction.[76] 【Picture 22】The center of the picture is also a mountain village hotel, where there are tourists who are drunk and resting on the table. Outside the shop were four camels eating, their cargo unloaded and placed aside, and a flat-headed cart full of goods. There is also a car coming at the bottom of the picture. The difference is that the wagons do not form a procession, but drive from two roads to the hotel, one of which is a large disc car and the other is a single-cow string. Compared with the previous two works, although the vehicles in this painting have one more kind of string of cars, thus painting all the three main trucks of the Song Dynasty, only one car is painted for each car, so it does not show the feeling of "Gangyun" convoy. Nevertheless, the "PanChe Map" of the Palace Museum in Beijing comprehensively shows the three mainstream modes of carriage transportation and camel transport in the Song Dynasty, and makes a relatively complete image representation of land transportation in the Song Dynasty.
In these three paintings, different cars and travelers, all gathered in the country hotel, the hotel is the center. The combination of a cart and a country hotel can also be seen in typical landscape paintings. The end of the "Maolin Yuanxiu Map" depicts the "Taiping Car" crossing the bridge, and after crossing the bridge is a rural hotel with a high wine flag. Wagons represent transportation and travel, while country hotels represent amenities on the road.
In fact, village hotels are often tied to country inns. The village hotel in these "panches" is preceded by a storefront where you can eat and drink, and there are more houses in the back, implying that this is an overnight hotel. This is the most important public facility during the trip. For the "Gangyun" organized by the government, the demand for accommodation will be more convenient to meet. In the Southern Song Dynasty Qi Zhong's "Mule Gang Tu", there should be a caravanserai, because the inscription poem clearly says: "I know that the post house is more of a journey, and I point out the deep living of the mountain pass." The saddle picking caravan is wide, and the floor furnace is full of smoke and acid. The group of mules into the stables is full of sleep, and the Ming Dynasty can lose the official. [77] The "Map of the Snow Stack Oxcart" held by the National Palace Museum in Taipei, which is said to be the Song Dynasty, provides clues to the role of the caravanserai in the carriage of the panches. 【Figure 23】
Figure 23 Scroll of the Song Dynasty "Snow Stack Oxcart Diagram" Partial Silk Color 164×104 cm Collection of the National Palace Museum in Taipei
The courtyard in the foreground is a transit station, and the car in the painting has to pass through here. The compound is next to a large water mill. The hilltop with bucket arch reflects that this is an official building, and it can be seen that it is also an official water mill like the earlier model "Gate Plate Car Map". Therefore, looking back at the courtyard next to it, it is reasonable to speculate that it is not an ordinary home or hotel, but a station.
The structure of the courtyard building also provides clues. The buildings on the right side of the courtyard are all grass halls, but the buildings on the left are three official-style buildings with enclosures. It can be seen that the grass hall is a livestock shed and a kitchen – the cattle unloading the cart are resting here, and the women are busy in the kitchen. The official building is the guest room of the caravanserai - on the stone steps at the entrance, two people wearing black hoods salute each other, they should be the escort officials of the carriage, so they can stay in the official caravan.
6. The official road of the picture is written: The Station and the Station
Whether it is a car, a tavern or a post station, most of them appear on the official road. The land route is official, and the waterway also has a standard route. Official roads were the core of the transportation system of the Song Dynasty and the core of the landscape paintings of the Song Dynasty. The official road in Song Dynasty landscape paintings appears in an extremely complex form, because from the overall landform, a Song Dynasty landscape painting integrates a variety of different geographical environments. The concept of "panoramic" landscapes proposed in Han Hun's "Complete Collection of Pure Landscapes" requires that a landscape painting with a variety of different landforms be presented in a landscape painting [78]. Therefore, from plains, hills to mountains, from waterfalls and streams to large rivers, from waterways to land routes, diverse landscapes are often expressed simultaneously in a landscape painting.
Whether in the theory or practice of landscape painting in the Song Dynasty, "bridge" is very important. The Complete Works of Landscape and Water distinguishes between "bridges" and "彴": those built on a relatively wide water surface that can be accessed by boat are "bridges", while "Yan" is a small bridge made of wood, built on mountain streams and streams, and can only walk people. Both types of bridges are clearly represented in landscape paintings. They combine with roads of different nature or different conditions to form different meanings. Taking "Maolin Yuanyue Map" as an example, two bridges appear at the end of the picture, the near one is the "bridge", and the one in the distance is the "Yan". The "bridge" side is a taiping car with a bridge, and the "bridge" head is a rural hotel, which means that this is a relatively flat official road. There is no one on the "彴", which connects another road leading to the depths of the picture, and may not be a well-developed official road. In Chuanyan Wengui's "View of The Castle Tower" (Osaka Municipal Museum of Art), the two bridges are combined in another way. As the picture progresses from right to left, the terrain gradually becomes higher, and the transition from the flat land and hills along the river to the mountains gradually transitions. With this change, the bridge connecting the road also changed from "bridge" to "yan" and finally into mountain road.
Since the Tang and Song dynasties, there has been an important symbol of official roads - "Li Wei". In the Song Dynasty, there were 6 main roads in the traffic road network, and there were various branches under them. The Government of the Song Dynasty attached great importance to the construction and maintenance of the road system. At that time, most of the official roads were dirt roads, but some official roads focused on the hardening of the pavement and were paved with masonry. There will be officially erected ribs on the main official roads. However, because the main road in many Song Dynasty landscape paintings is a rugged mountain road, the image of Li Wei rarely appears. At present, only li song's "Skeleton Illusion" depicts the "Five Mile Single" depiction.[81] But if you look at it from the perspective of traffic, you can still find an example of "Li Wei" in landscape painting.
Figure 24 Ming Ren Ge Xia Gui's "Twelve Landscapes" Volume Partial Ink on Silk Yale University Art Museum Collection
Figure 25 (Biography) Wang Qihan's "Ear Picking Diagram" Volume Partial Silk Coloring Collection of Nanjing University Museum
The Nelson Museum of Art houses fragments of The Twelve Views of Landscapes by Xia Gui of the Southern Song Dynasty, while the Yale University Art Museum has a Ming Dynasty facsimile that preserves twelve complete views, but each scene on the screen does not have a four-character inscription. The first scene is "Jianggao Playing", depicting a civilian officer on horseback with a whip and a "heavy wear" on his head, and two retinues marching towards the right side of the picture. They walked the official road. After passing through a mountain of stone trees, you will come to a small village, and here is the third scenic spot "Qingshi Cooking Smoke". The main attraction is the mountain village hotel with the wine flag. Next to it is a large rainbow bridge, there are several people on the bridge, looking at the boats on the river, this is the fourth section of the "Qingjiang Writing Look". After crossing the bridge, on the side of the official road near the river, two small buildings with strange shapes, with two parts of size, were erected. Below is a trapezoid and above it is a small square. This should be the inner circle, and the trapezoid below is made of rammed earth bricks, on which are erected stone carved ribbed tablets or wooden signs. The two juxtaposed ones are "double-hembo". [Figure 24] Usually, the "Shuangbei Ten Mile" is the main road pass, so there are supporting travel facilities, especially hotels and inns, and there are usually government stations. On the other side of the official road where Shuangbei is located, there is a brick and tile building and a terrace facing the water. This is in stark contrast to the huts such as hotels across the bridge, which should belong to the post, and it is the officials and scholars who have settled in the past. Coincidentally, in the "Ear Picking Diagram" of The Fifth Dynasty Wang Qihan in the Nanjing University Museum, a similar pair of small buildings are also erected on the banks of the river painted on the large screen behind the civil official, which should also be a representation of the double. [Figure 25] This is reminiscent of the poetry of Liu Zongyuan's "Zhao Chao To Du Ji Zhi Ling Ling": "There should be countless ancient tombs on the shore, and the second line should look at the other road." ”[83]
The reason why "堠" is rare may be that it is very small and is not suitable for travel and traffic conditions on official roads marked in landscape paintings. The most common way to identify travel passages in landscape paintings is to depict bridges and hotels where travelers can rest. Important bridges and ferries are face-saving projects for local states and counties, and the government will focus on operating transportation facilities in these key areas and encouraging people to open hotels and inns. Therefore, in the landscape paintings of the Song Dynasty, it is not surprising that these travel-related facilities have become important pictorial factors in the picture.
Commercial hotels and inns are where the average traveler can get food and lodging, while for officials and government officials, the caravanserai is the most important travel facility. The station in the Snow Stack Oxcart Diagram has been discussed above. Because of the large size of this picture, the building is depicted in detail, providing us with a lot of information for us to judge the nature of its architecture. But the buildings in landscape paintings are usually very small. We see many buildings in Song Dynasty landscape paintings, some of which are large in scale with bucket arches, and they are often referred to as temples, Taoist temples, palaces or villas. However, with the exception of some religious buildings with obvious markers (such as towers), the attributes of the buildings in the paintings are often difficult to accurately discern. Will the station architecture be overlooked in our past understanding of Landscape Painting in the Song Dynasty?
In describing Guan Tong, the Xuanhe Pictorial Notation states that he liked to paint "Muraju Nodo" and "Fishing City Mountain Station". "Village residence", "wild ferry" and "fishing market" are all common landscapes in Song Dynasty landscape painting, where is the "mountain station"?
Figure 26 Wang Hong's "Eight Views of Xiaoxiang" Volume Partial Silk Coloring The Collection of the Princeton University Art Museum
"Mountain Yi" appeared frequently in the travel poems of Song Dynasty civil officials, and it was a post station in a remote area, generally relatively simple. In the section of the "Mountain Temple Qingluan" of Wang Hong's "Eight Views of Xiaoxiang" in the Southern Song Dynasty Wang Hong's "Eight Views of Xiaoxiang" in the Princeton University Art Museum, on the wide river, several ships are preparing to anchor at a ferry port on the shore, that is, "Wild Ferry". The small bridge next to the mai transition entrance goes up the hill and comes to a "village residence". It is the main traffic route for north-south travel, and it is neatly arranged. In the middle is the road, flanked by various buildings where travelers of all colors, including donkey riders, can be seen. There was a house that was very special, and next to it stood a building that resembled what later generations called the archway. [Figure 26] In the Song Dynasty, this kind of gate building that does not have practical functions or is mainly ceremonial is called "Aconitum Gate", because its style is closely related to Huabiao, LifangMen, etc., so it is often called "table disclosure" and "valve reading", with a strong official color. Aconitum doors can be equipped with door leaves, equivalent to actual doors, and are often used for the gates of official buildings such as altar temples, temples, official palaces, and royal gardens. The government also allowed officials of six pins or more to use this aconitum gate in the gate of the mansion, which has the meaning of a table portal. If the aconitum gate is not equipped with a door leaf, it will become a purely ceremonial building, often erected in some important places as a sign. What does this aconitum gate in Wang Hong's painting mark? On this traffic artery, the building where the Aconitum Gate is erected should belong to the official building, which is likely to be a "mountain station". Although the building is small and the location is remote, it is still a government agency that embodies state power.
Figure 27 (Biography) Li Tang's "Floating Jade Map of the Great River" Tuan Fan Part Ink on silk Collection of the National Palace Museum in Taipei
The same aconitum gate also appears in the Tuan Fan (National Palace Museum in Taipei) of the "Floating Jade Map of the Great River" (National Palace museum in Taipei) that is rumored to be Li Tang of the Southern Song Dynasty. [Figure 27] The picture in the picture may be Jiaoshan Mountain, a famous scenic spot in Zhenjiang. In the center of the picture is a mountain floating from the river, but to cross the rushing river to reach this small island, you have to take a boat from the riverside pier where only a corner is drawn in the lower part of the picture. In addition to a few boats moored by the dock, there is a three-bay official building on a hillside near the pier, and next to it stands a black head gate. Apparently, like Wang Hong's paintings, the official nature of the building is prominent, and it is a related institution set up by the government at this ferry port, which is used as a traffic artery, and it is likely to be a post station. In the Southern Song Dynasty, Cheng Bi of Fuyang Zhi County once described the past of building "Fuchun Yi" on the banks of the Fuchun River during his reign, which is quite contrasting with the "Floating Jade Map of the Great River": "Give the bullets between the branches, build the Yi River Zhu, the one who returns, the mountains are picturesque, the golden brakes are jagged, and the poems of the grass halls next to them are absolutely similar." When the sun goes, tie the boat down, collect the smoke and rain of Wu Yue, and do everything into the end. ” [87]
Stations of different sizes are the facades of governments at all levels. Magistrates generally attached importance to the maintenance of the post and regarded it as one of their achievements. Local governments often place a notice at the entrance of the station in the tone of a county order, which is called "Yi Yi Zi Zhen" as the "Yi She Pavilion Ma Pu Zhi Bai Small Plate", which reads: "A certain prayer." Officials and talents in the past, if they come here to rest, have few things, sprinkle sweeps that are not clean, or the caretakers do not wait here, eager to show them, and should be dispatched according to reason. ”[88]
In fact, the station is a collective term, set up by the government with reception function of the field all kinds. The larger ones are called "stations", which are set up in the main traffic arteries, and the food and accommodation conditions are better. The smaller ones are called "pavilions", while those who are mainly responsible for the transmission and reception of official documents are called "horse shops" or "delivery shops". Depending on the level and financial resources of the local government, the construction of the post station is also different. Coaching inns in transport hubs are often gorgeous. In 1056, Su Shi took the entrance examination, passed by Fengmingyi in Fufeng, Shaanxi, and found that the conditions were simple and uninhabitable, and it was better to live in a hotel. In 1061, as an official of Fengxiang Province, he visited his friends here and found that the current accommodation conditions had greatly improved and became very luxurious:
Depending on the dwelling place of the guest, and all the capital it uses, such as the official palace, such as the temple, such as the house of the rich in the world, the four parties, if they return to their home, they are happy and forget. Will go both to drive, though the horse will also look at its soap and hiss. Yu summoned the official and asked. The official said: "Now I am too guarding the new place of the Song Gong." From the beginning of the ugly August to the beginning, the end, the construction of the month, fifty and five days. Thirty-six thousand men, wood in roots, bamboo in rods, tiles and nails in each count, and stones in stone counts 214,720 and 8, and the people have not yet known. ” [89]
Su Shi highly praised the grandeur of the brand-new Fengmingyi, whose scale and style were comparable to the official buildings, religious temples, and mansions of rich families. Moreover, whether it is materials or manpower, all of which are the responsibility of the government, which highlights the achievements of local officials. The construction process may be expressed in the Architectural Drawings discussed earlier. This large caravanserai was even used as a palace for the emperor to tour in the Northern Song Dynasty.
Figure 28 Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty" Volume Partial Silk Coloring Collection of the Palace Museum in Beijing
Among the reliable Song Dynasty paintings, the clearest image of the station appears in the "Qingming Upper River Map". There is a square courtyard outside the city gate. There are pointed objects on the walls of the courtyard for protection. There are rows of nails on the door and a sign posted on it. It may be a sign similar to the kind recorded in the Zuoyi Zizhen. After entering the doorway, there is a wall. There was a horse in the yard, the saddles all unloaded, resting. The horseman sat with the reins. Eight soldiers were also resting at the gate of the caravanserai, and there were Qingluo umbrella covers, flags, weapons, and other items used by officials for their travels, and they should also be van troops, waiting for the officials who were resting in the caravanserai to leave. 【Figure 28】The Ming Dynasty book "Three Talents Tuhui" has a picture of "DiYi", although it is a Ming Dynasty map, but it has similarities with the "Qingming Upper River Map". At the entrance of the caravanserai sat idle soldiers waiting to travel, and there were stagecoaches in the courtyard.
Figure 29 (Biography) Li Cheng's "Maolin Yuanxiu Tu" Volume Partial Ink on Silk Collected by the Liaoning Provincial Museum
Figure 30 Chuanyan Wengui's "View of Jiangshan Lou" Volume Partial Ink on Paper Pale Color collection of the Osaka Municipal Museum of Art
Post stations are often in the same area as bridges, riga, and country hotels, and if there is water, it is often also a ferry port. Therefore, if a painter wants to depict a station in a landscape painting, he should paint it near a bridge, a ferry, an intersection, and other traffic arteries. In some Song Dynasty landscape paintings, large architectural complexes are often painted in gentle areas such as watersides, which is likely to represent large stations. For example, the opening part of the "Maolin Yuanxiu Map" is a dock with a large complex of buildings built by the water on the shore, and one of the buildings has two people talking. Fig. 29: In ancient texts, the station was also called "pavilion", "post pavilion" and "postal pavilion". In the Qin and Han dynasties, "pavilion" referred to a kind of architectural complex of grass-roots local management agencies, often with a high-pavilion-style observation building. At the same time, the "pavilion" is also a building on the official road that plays the same role as the road sign, that is, the so-called "long pavilion" and "short pavilion", which has become a place for people to welcome and send them. After the Wei and Jin dynasties, the "pavilion" gradually evolved from a complex to a pavilion-like building, with more viewing functions. However, the function of the "pavilion" for people to temporarily rest their feet has been retained. During the Song Dynasty, in order to facilitate long-distance travel, local governments would build various facilitation measures. For example, trees are planted on both sides of the road to protect pedestrians from rain and sun. Or dig a well on the official road to provide drinking water for travelers. A pavilion will also be built at some distance for people to rest. Therefore, the connection between the pavilion and the station is relatively close. In Chuanyan Wengui's "View of Jiangshan Lou", there is an inland river area accompanied by low hills, and there are many large buildings, including the terrace by the water. This group of buildings is next to a pavilion on the hillside. The pavilion is located on a high hillside with views on all sides, making it a great place to see the view. You can look up at the distant mountains or overlook the mountain streams. [Fig. 30] It is possible that this is a large station, with "station" and "pavilion". This scene is very similar to the "YunjinYi" passed by Liu Changshi of the Southern Song Dynasty in Raozhou, Jiangxi, and there is a "Seeing Pavilion" built on the hill next to the station. This pavilion is also known as the "Pavilion of the Immortals", and the Southern Song Dynasty man Zhao Fan also passed by here and wrote three poems:
The ancient wood yin house is numbered rafters, and there are several mountains and rivers underneath. Late fast rain is still a new bath, and the end feels fluttering and intended to be immortal.
Unanswered Taoyuan Fruit, Forest Pavilion World Bank Map. This pavilion is empty, like a fairy mountain to sit in.
The rain on the opposite side is moving, and I am also given new poems. Even if the flat boat is to promote the trip, it will not waste a small pavilion and a branch. [95]
Earlier, the Northern Song Dynasty civil official Song Yu once enjoyed the beauty of Shuipo Liangshan in the remaining pavilion of an abandoned post station in Shandong:
"Sitting on the Old State Pavilion" (under the pavilion is Liangshan Po, hundreds of miles of water):
The abandoned fortress isolated pavilion is surrounded by winds on all sides, and it is suspected that he is in the east of the five lakes.
The long days and wild waves are green, and the sunset clouds are red.
The fishing ring is a thousand boats, and the alley PuMing extinguishes the hundred sails.
Suddenly, no one will be happy, idle to the green meditation number Sai Hong. [96]
Zhang Fangping of the same era also climbed the pavilion attached to a station to view the scenery, and wrote a poem "In the Rain, Climbing the Pen Yihou Huaigu Pavilion": "The cold rain of the mountains is urgently aware of the darkness, and it is even more creepy on the cliff on the stagecoach." The deep xiu forest is gone, and the white cloud pile is chaotic. [97] In Lin'an, the capital of the Southern Song Dynasty, there is a famous "Zhejiang Pavilion" on the banks of the Qiantang River, built on the site of the Tang Dynasty post "ZhangtingYi", fifteen miles from Qiantang County. It is both a station and a viewing platform to watch the tides of the Qiantang River. In the Tang Dynasty, the "Zhangting Station" was built with high-rise buildings to watch the tide. The "Zhejiang Pavilion" of the Southern Song Dynasty, also known as the "Zhejiang Yi", has the dual meaning of both a post station and a viewing pavilion. The National Palace Museum in Taipei is rumored to be Zhao Lingyong's "Liuting Travel Map" Tuan Fan, which may show the scenery of the Qiantang River and the "Zhejiang Pavilion". On the bank of the zigzag river in the painting is a dock where several boats are moored, and the tide in the river is surging. [100] A scribe on horseback with two retinues was on the shore, and there was a pavilion building on the shore, probably representing a ferry crossing along the Qiantang River. This waterside caravanserai building is also known as the "Linliu Pavilion". Therefore, the pavilion in the landscape painting of the Song Dynasty also needs to be considered from the perspective of travel.
Figure 31 Guo Xi's "Early Spring Diagram" Axis Partial Silk Ink Pale Coloring The National Palace Museum in Taipei
On the hillside in Guo Xi's "Early Spring Map", there is a pavilion painted, and two sitting piers are placed in the pavilion. In the lower valley to the left of the pavilion there is a large official complex. [Fig. 31] The pavilion in the painting is generally regarded as the embodiment of the elegance of the literati, but the building complex next to it is regarded as a large temple and belongs to the religious building. This makes it somewhat difficult for us to understand this combination of images. If you think of the combination of this pavilion and the building complex not far away as a large pavilion and a pavilion, you can get another kind of vision. The riding civilian officer who is the center of the picture will also stay here. There are guardrails at the edge of the hillside where the pavilion is located, indicating that it has been well renovated and is a safe place that people can often visit.
Figure 32 Southern Song Dynasty Anon. "Autumn Creek to Be Crossed" Volume Silk Color 29×54.4 (cm) Collection of the National Palace Museum, Taipei
The combination of yi and pavilion is also found in the Southern Song Dynasty "Autumn Creek To Be Crossed" in the National Palace Museum in Taipei. Fig. 32 depicts a major traffic artery with bridges, ferries, coaching inns, and pavilions. On the bridge on the left side of the picture are two travelers on donkeys, with three retinues of burdens. One of the donkey riders' whips was pointing to a courtyard in front of them on the right, where they were going. On the river below the bridge, a small boat is paddling to a small ferry on the right, where two burden-bearers are already waiting. Judging from the attire of these two bearers, it should be just a retinue, and their master has not yet arrived. The right side of the painting is occupied by a large courtyard that appears to be a courtyard building with a square pool in the courtyard. A large screen is installed in a hospitality hall. The pavilion appears next to the boulders on the hillside outside the courtyard, and is a four-cornered pavilion with a sharp edge, which is slightly higher than the courtyard floor, and can look up at the flowing spring of the distant mountain, as well as the water surface under the hillside and the travel on the bridge. This painting dilutes the hardships of travel, and uses various quiet things to vividly reproduce the beauty of the Song Dynasty's travel. The travel of the Song Dynasty, especially the travel of civil officials, was often combined with tourism. This painting is rich in the significance of this kind of tourism.
Guo Xi's "Mountain Village Map" is an interesting painting. The figures and landscapes of the painting are on the left and right sides, divided into two roads and unfold upwards. The road on the right is predominant and the route is clear. The road on the left is supplemented, and the route is more winding. On the road on the right, officials and retinues on horseback were going to a building ahead. The building has tall terraces that occupy almost the entire road. After entering the courtyard, you will see that the gate of the building is a red lacquered gate with door nails, indicating that it is an official building. There is a pavilion on the rock on the right side of the courtyard overlooking the landscape below the mountain. The building was most likely a coaching inn. There are also many travelers on the road to the left, resting and eating around the water-facing thatched huts and pavilions, while also watching the scenery in the building. The pavilions here are also obviously used by travelers to rest and enjoy the view. At the top of the hill further afield, there is a third pavilion and complex looming, marking another stop on the journey.
In the landscape paintings of the Song Dynasty, the viewing effect of the pavilion is sometimes magnified and becomes the protagonist of the picture. In the Princeton University Art Museum's collection of Li Gongnian's "Winter Landscape Landscape Map", in the cloud-filled distant slope, there stands an empty pavilion, which is very critical in the picture. The pavilion on the shore of the water is actually a transportation facility for water farewell. In the "Map of Sending the Return of the People of Haidong Shangren" (Tokiwasan Bunko, Japan) painted and depicted by famous painters of the Southern Song Dynasty who bid farewell to the return of Japanese monks, there are pavilions on the shore and people who send farewells. In the Tuan Fan of Zhu Weide's "View of the River Pavilion" collected by the Liaoning Provincial Museum, there are also pavilions by the river, but there are people in the pavilions, so that the transportation facilities are transformed into viewing sites, and travel is transformed into tourism. In the Southern Song Dynasty's "Sail Map of distant waters" (Taipei National Palace), the pavilion of a very typical ferry port is also depicted. Boats on the surface of the water are sailing away from the shore. The grass pavilion on the high slopes of the shore is more distinctive, with two layers of thatched roofs. A scribe with a cane was walking towards the pavilion with a violin boy.
The pavilion that served as a travel facility was transformed into a space for sightseeing events, a phenomenon that already appeared in the earlier Guo Xi's "Tree Color Pingyuan Map". The grass pavilion in the painting is built on the bank of the river, which is also located at a connection point for land and water transportation. On the right side of the painting, there are two boats on the water nearby, seemingly waiting to pick up passengers to ferry, and in the distance are travelers crossing the small bridge overland to the distance and donkeys carrying goods. [101] The grass pavilion, located high on the shore, is being laid out by people, and the pavilion will welcome a meeting of two scribes. There is also a plaque hanging on the grass pavilion, suggesting that the pavilion is a famous pavilion. The Xuanhe Pictorial Notation records that Wang Yu, a literary painter of the Northern Song Dynasty, got his painting inspiration from a tour in the pavilion:
Ju Hao City, The South City of Yi has a small pavilion, and the lower part is The Water, and the list is called: Hao Jing Pavilion. Nantong Huai, Cai, North Wangji, Ying, Kawahara Mingxiu, and even similar Jiangguo scenery. ...... The grain often swims on it, gets a lot of help, and sometimes it is wonderful to the ear between the ends of the pen. [102]
The "Haojing Pavilion" in the south of the city is also a water pavilion on the river, located on the main traffic road. As a local, Wang Yu often came here to climb and look out, and painted the scenery he saw.
7. The reality and romance of water travel
The water pavilion on the river marks the waterway travel. Waterway traffic is also a landscape that often appears in song dynasty landscape paintings. In the "House Boat Cart" painting section, the boat is an extremely important painting subject, like the wagon. Similar to land travel, water travel involves several factors: ports and terminals, types of vessels, and travel patterns.
Figure 33 (Biography) Qu Ding's "Xiashan Tu" Volume Partial Ink and Light Color on Silk Collection of the Metropolitan Museum of Art
The port is where ships are moored. In Qu Ding's "Summer Mountain Map", the waterside scenery depicted in the opening volume is actually the port. On the shore of the water is a harbor with many boats moored at three piers near and far. Two hotels with wine flags are also painted on the harbor. [Figure 33] Chuanyan Wengui's "View of Jiangshan Lou" is similar, the open part is a wide river surface, the river bank is also a port, there are 2 docks moored near and far, and the masts are lined up. Most of the ships in these ports are passenger ships with van cabins. Regarding the ships of the Song Dynasty, there are fine depictions in the "Qingming Upper River Map". It is divided into water ships, cargo ships and passenger ships, and some passengers and cargo are taken into account. [103] The cabins of the boats are highly enclosed, the cargo ships have more cargo space on the deck, and the passenger ships have van cabins with windows.
Song Huizong Zhao Tuo's "Map of the Return of the Snow River" is a landscape with a large area of water surface. In the unwinding and tailing sections, a passenger ship is drawn separately. The unwinding part of the passenger ship is against the wind, so it requires a porter to drag the ship on the shore. Inland waterway shipping, downwind by water, against the wind by the porter. The passenger ship in the tail of the capplate is in the distance, sailing downwind towards a city in the distance. These two passenger ships are very special under the background of different types of small and medium-sized boats such as fishing boats, cargo ships, and canopy boats, and they reproduce the travel of the waterway from two different directions back and forth.
Like land travel, officials were the subject of Song Dynasty waterway travel, and they had free access to government-provided ships. According to the Southern Song Dynasty's "Qingyuan Articles and Laws", the use of ships by Song Dynasty officials was specified in detail according to the level and reason for travel. Government vessels are called "official ships" and are divided into seat boats, long-distance boats, and house boats. The first two types of boats are generally used for travel. The highest level is the "Taichu Doctor Observation Order", which can use four seat ships and one long-distance ship. The lowest-ranking officials could only use one ship and were limited to overland access on the travel route. The seat ship is a large passenger ship, the long-distance ship should be the main cargo ship, and the house ship should be a passenger and cargo ship, which can be used to replace the long-distance ship. Officials travel by boat, there is a lot of luggage, in addition to the ship equipped with a fixed captain, porter and other sailors, the government will also be the same as the land travel, for them to allocate a certain number of entourage. The official ships used by middle and low-ranking officials will also carry government cargo in proportion to each other.
Figure 34 (Biography) Guo Zhongshu 'Xueji River Map》 Axis Silk Color 74.1×69.2 (cm) Taipei National Palace Museum Collection Map Tuan Fan Part Silk Color Collection The Palace Museum in Beijing
Guo Zhongshu's "Map of the Xueji River" (the National Palace Museum in Taipei has a remnant of the Left Half of the Song Dynasty, and the Nelson Museum of Art has a complete facsimile of the Ming Dynasty) can be found in the perspective of official travel. Fig. 34 depicts two large boats moving in parallel on a cold snowy day. The large ship also has a small boat tethered to its side, which is a footboat equipped with passenger ships, which is light and fast, and is used for some emergencies. The sailors on board and the porters on the shore wore exactly the same costumes, that is, they all wore round necks and cedars and black veils, which was similar to that of government officials. Therefore, these two ships should belong to the official ships on which the officials travel.
Compared with land travel, it is much more difficult for officials to apply for official ship travel. The two ships in the painting reflect the rank of the traveling officer. If, in light of the provisions in the Qingyuan Articles and Matters, there is only one case in which two-seat ships are used instead of long-distance ships, and that is "the current officials in Beijing take and send their families" [107] who are above the university degree. The two ships in the painting are close together and are traveling in parallel. Ships generally do not do this during normal sailing, and it can be assumed that they are heading to the dock to berth for rest. The two ships in the painting also have chicken dogs on the roof of the tail compartment. The front boat housed a chicken coop with a pair of roosters and hens, and the back boat squatted with a dark dog barking. The imagery of the "chicken dog" has always been related to home, and they are also in line with the theme of official ship travel and moving family members. At the same time, the cabins of both large ships were topped with tables, chairs, charcoal, and altar jars as containers. In the past, some scholars believed that it was showing the dual use of passengers and goods. However, according to the provisions of the Qingyuan Articles and Matters, officials above the level of Taizhong Doctor and Observer Are not required to carry the goods of the government with them like ordinary officials when using official ships. Therefore, these items in the painting should be the items used by senior officials during winter travels. Traveling in the cold season is painful, but thanks to the large number of ships and plenty of sailors, plus enough charcoal and wine, the howling cold wind is also poetic and picturesque.
Figure 35 Southern Song Dynasty Anon. "Moonlit Boat Map" Page Silk Coloring 25.3 x 19.2 (cm) Collection of the Cleveland Museum of Art
The Southern Song Dynasty", the fan of the Southern Song Dynasty", which is in the Collection of the Cleveland Museum of Art, is such a highly poetic work of boat travel. [Fig. 35] The painting also shows two large boats, moored at an out-of-town dock in a city. The willow trees on the banks of the river outside the city gate hint that the picture should depict the lukewarm spring and summer seasons. A full moon appeared on the hazy distant mountain. The two ships were not one, the one in the distance was a richly decorated passenger ship, and the one nearby was a cargo ship. [109] The passenger ship was long, had a large cabin area, had several different compartments, and was painted red, so it was supposed to be a large cruise ship. The cargo ship had a large area on the deck that was empty and could be stacked with a roof. Although the two ships are moored together, it can be seen from the direction of the rudder at the stern that the passenger ship is inside and outside the bow, and the cargo ship is inside the bow and tail. It is difficult to determine the specific ownership of the two ships. It doesn't matter whether it's an official ship or a civilian ship here, what matters is the hidden connection between the two ships. The cabins of both ships were open, and there was a scribe on the passenger ship, and a letter of letter was placed on the table next to the cabin. In the cargo ship's cabin sat a woman dressed in red, and the two seemed to be looking at each other. The meeting of the water under the hazy moonlight is full of romantic poetry, and all this is brought about by the arduous travels that were once made.
Figure 36 Liu Songnian 'Snow Mountain Travel Map》 Axis Silk Color 160×99.5 cm Collection of Sichuan Provincial Museum
The strong poetry is more clearly expressed in the imagination and imitation of the song dynasty painting themes by later generations. Liu Songnian's "Map of the Journey to the Snowy Mountains" (Sichuan Provincial Museum) is such a peculiar painting. [Fig. 36] The picture seems to deliberately juxtapose several of the painting motifs discussed in this article: traveling officials, van troops, Gangyun, official ships of jiangxing, and official caravanserai, all of which are unified in the snowy landscape. The lower part of the painting is centered on a stone arch bridge, with two horsemen escorted by two retinues on the right and a convoy of three donkeys on the left. Civilian officials wore dark hats, and the burdens of the retinue were hung with a violin on one end and a dark hat on the other, but similar to a seat hat, not a heavy hat. The retinue in front of them wore light-colored kasako and carried sticks, and should be the accompanying sergeant. The two men escorting the donkey caravan across the bridge were also dressed as officials, including one wearing a sergeant's felt hat, which seemed to suggest that this might be part of a "mule" team. The meeting of the two groups of travelers on the bridge will have a dramatic effect. The horseman looked up at the upper part of the picture, which was a different sight. In the distance, on the water's surface there is another wooden bridge that leads to a complex of buildings on the shore of a river in the valley. You can see an official-style building and a grass pavilion hidden in a bamboo bush. This layout and location is close to a large coaching inn. An official ship with a footboat moored on the shore of the water is further evidence of the station nature of the complex. The upper and lower parts of the picture thus form an organic connection, which means that the officials traveling on horseback will come to a warm and comfortable station during the cold journey. Although the various scenes in the painting have appeared in Song Dynasty paintings, they have never been juxtaposed in such a way. This kind of collection of techniques reveals a romantic imagination of the later people for the travel of the Song Dynasty.
epilogue
This paper conducts a preliminary investigation of the images of Landscape Painting in the Song Dynasty through transportation and travel, and attempts to provide a new perspective for further understanding the artistic history and historical significance of Landscape Painting in the Song Dynasty on the basis of the study of style history, the study of the relationship between poetry and painting, and the study of symbolic meaning. The transportation system of the Song Dynasty can be said to have been jointly created by the central authorities, local governments and all the people of the Song Dynasty. It is a comprehensive system of politics, economy and culture. Everyone gets caught up in it, and the makers and viewers of Song Dynasty paintings are no exception. In a sense, transportation and travel is an important experience of the times, but also a visual experience. In the visual arts, it is similar to the "Eye of the Time" proposed by the British art historian Michael Baxandall. This paper argues that in the interaction with travel experience and transportation system, landscape painting since the Song Dynasty has continuously generated new pictorial factors, which have promoted the formation of landscape painting image systems, and then derived the pursuit of more complex meaning systems.
In specific discussions, the focus of this article is on travel-related images, such as the people who travel, the tools of travel, the system of travel, and so on. The nature and significance of the image of the rider wearing a dark hat in the landscape paintings of the Northern Song Dynasty, the image of the van army as an official travel attendant of officials and their performance in the song dynasty images, the relationship between the images showing transportation and the Song Dynasty gangyun system, and the performance of means of transportation and facilities for land and water travel in landscape paintings are discussed in turn. Of course, this is only part of the pictorial factor of landscape painting, and it is only a small part of the experience of the era related to travel. Different people's different perceptions of natural landscapes and the understanding and performance of different regional topographies are all aspects that need to be further investigated in the study of Landscape Painting in the Song Dynasty.
Whether it is "to prove the history of the picture" or "to prove the history of the map", in the final analysis, it is necessary to examine the image in a contextual way. When we rediscover specially identified civilian officials and soldiers in song dynasty landscape paintings, and rediscover image elements such as large and small caravanserai, likui, ports, and official ships, we may be able to grasp some of the same and different things from the eyes of the Song Dynasty people now!
exegesis
[1] (Song) Guo Ruoxuan, Deng Bai's Annotations on "Pictorial Insights and Chronicles", Vol. 1, "On the Advantages and Disadvantages of Ancient and Modern Times", "On the Three Landscapes", Sichuan Fine Arts Publishing House, 1986, pp. 78, 65.
[2] James Cahill, "Illustrated History of Chinese Painting" (Translated by Li Yu, Life, Reading, xinzhi Sanlian Bookstore, 2014, p. 28): "Tang Dynasty landscape painters clearly analyzed, described, and then aggregated into the expression of landscape paintings, which could no longer satisfy the Song Dynasty artists, who now wanted to understand the material world in an intuitive way." They transform visual impressions into very coherent forms to embody their own firm belief in a coherent order underlying the natural appearance. The same belief also inspired Song philosophers to establish the vast and well-organized structure within the Song-Confucian cosmology." Michael Sullivan defines Song Dynasty landscape painting as the "peak of realism", arguing that it is to "explore the absolute truth of nature", and the reason for its formation is: "to restore the Confucian spirit of joining the world." ...... A philosophy (known to Westerners as Neo-Confucianism) that blends Buddhist metaphysics with Confucian ethics emphasizes the importance of knowledge of qualities as the only way to know all things. ...... This is undoubtedly also reflected in the paintings of the Northern Song Dynasty." (Su Liwen, Hong Zaixin's translation of "Mountains and Rivers Long Distance: The Art of Chinese Landscape Painting", Lingnan Fine Arts Publishing House, 1988, pp. 50, 52) In "Heart Seal" (translated by Li Weikun, Shanghai Calligraphy and Painting Publishing House, 1993), Wen Fong called the landscape paintings of the five dynasties and early Song Dynasties "majestic style landscape paintings", believing that they were the products of "Neo-Confucianism": "Escaping the turmoil of the late Tang Dynasty, the hermit painters of the five generations and the early Years of the Northern Song Dynasty begged for the truth of the universe in landscape painting with the principle and nature of establishing things." (p. 30) "As a constant and orderly macroscopic image of the universe, Northern Song landscape painting is said to contain the theory of physics and the neo-Confucian philosophy of social order at that time. (p. 42).
[3] Shi Shouqian, "Shanming Valley Ying: The History of Chinese Landscape Painting and the Audience", Shanghai Calligraphy and Painting Publishing House, 2019. See Chapters 1 and 2.
[4] Foong Ping, The Efficacious Landscape: On the Authorities of Painting at the Northern Song Court,Harvard University Press, 2015.
[5] Shi Shouqian, Shanmingguying: A History of Chinese Landscape Painting and the Audience, p. 28.
[6] Paintings of the Five Dynasties and Northern Song Dynasties recorded in the Xuanhe Pictorial Notations show paintings directly named "Travel Map", "Early Travel Map", "Pedestrian Map" and "Boat Map". The "Early Journey Map" is also found in the earlier Liu Daool's "Five Generations of Famous Painting Supplements" and Guo Ruoxuan's "Picture Seeing and Hearing Zhi", which records that the Southern Tang Dynasty painter Tao Shouli painted the "Mountain Road Early Journey" mural in the grass hall where he lived (Guo Ruoxu recorded as "Mountain Journey Early Travel Map"). There are five generations of Southern Tang Zhao Gan's "First Snow Map of Jiangxing" in the paintings, and there is an inscription of "Jiangxing First Snow" on the picture, which is generally believed to be written by Li Hou lord. It is worth noting that among the paintings of Wang Wei recorded in the Xuanhe Pictorial Notation, there are many paintings on the theme of snowy sky travel, such as "Morning Travel Map", "Valley Travel Map", "Summoning Ferry Map", "Snow Crossing Map", "Degree Pass Map", "Snow Gang Crossing Map", "Snow River Detention Travel Map", "Snow Scenery Waiting to Be Crossed", etc. However, according to the general view of the academic community, the Northern Song Dynasty was one of the peaks of Wang Wei's painting. See Liu Heping, "The Color of The People of The Boat: Xu Jun, Guo Zhongshu, Wang Yuwei, su Xian's exile perspective< The First Snow of the River and the> > of the < Snow And Hailing River", "Research on Art and Archaeology of Zhejiang University" (Special Edition 1): Proceedings of the International Academic Conference on Song Painting, Zhejiang University Press, 2017, especially pp. 505-508.
[7] There have been many related studies, and Zou Qingquan's article "Dunhuang Mural < Wutai Mountain Map> Xinkao - Centered on Cave 61 of Mogao Caves( National Museum of China, No. 2, 2014) also combines the landscape paintings of the early Song Dynasty in the five dynasties.
[8] Although it was made late, there is a view that the Zuben era may have been earlier. Yang Xin, "The Discovery of Hu Tinghui's Works and the Discussion of the > of the Ming Emperor Xingshu Tu <", Cultural Relics, No. 10, 1999; Chen Yunru, "< Ming Emperor Xingshu Tu>", "Daguan: Special Exhibition of Calligraphy and Paintings of the Northern Song Dynasty", National Palace Museum, Taipei, 2007, pp. 147-151;
[9] Fu Xinian, "Discussion on the Age of "Zhan Zi Qian<You Chun Tu >"," Cultural Relics, No. 11, 1978.
[10] Yu Jianhua, ed., Chinese Painting Theory, People's Fine Arts Publishing House, 1986, pp. 670-671.
[11] Yu Jianhua, ed., Chinese Painting Treatise, p. 662.
[12] Yu Jianhua, ed., Compilation of Treatises on Chinese Painting, p. 639.
[13] Yu Jianhua, ed., Chinese Painting Treatise, p. 639.
[14] Peter C. Sturman, "The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting", Artibus Asiae, vol. LV, 1/2 (1995): 43-97.
[15] Kong Yibing, "Riding a Donkey: An Pictorial Expression of the Changes in the Thoughts of literati in the Tang and Song Dynasties", Master's Thesis of Shaanxi Normal University, 2019.
[16] Yu Jianhua, ed., Chinese Painting Treatise, p. 641.
[17] Li Zhiyi, "Title Guo Xi Painting Fan", reprinted from Chen Gaohua, ed., "Historical Materials of Song And Liaojin Painters", Cultural Relics Publishing House, 1984, p. 344.
[18] Li Zhiyi, "Titled Prince Re-emerges from Li Cheng's Landscape Paintings", reprinted from "Historical Materials of Song Liaojin Painters", p. 162.
[19] See Liu Heping, "The Human Colors of The Boat: The First Snow of the < River and the > of the < Xueji River from the perspective of Xu Xuan>, Guo Zhongshu, Wang Yuwei, and Su Yuan".
[20] Meng Hui, "Counting Bags and Poetry Tubes", Forbidden City, No. 8, 2011.
[21] (Song) Li Yuanbi et al., Yan Jianfei et al., "Five Kinds of Official Proverbs of the Song Dynasty", Zhonghua Bookstore, 2019, pp. 45-46.
[22] Five Kinds of Official Proverbs of the Song Dynasty, p. 44.
[23] Edited by Yang Yifan and Tian Tao, Dai Jianguodian, "Continuation of Rare Chinese Legal Classics", vol. 1, Qingyuan Tiao Legal Affairs, vol. 36, Heilongjiang People's Publishing House, 2002, p. 555.
[24] Qingyuan Articles and Matters, vol. 36, p. 556.
[25] Hotels and restaurants are generally connected. The long table and chair where the figure sits in the painting is the symbol of the restaurant. The wood door of the courtyard is directly opposite the dining room and kitchen, which is also the general layout of the restaurant. The reason why it is considered that the head is a scholar rather than an official is because the top of the head is rounded, and there are two lines that intersect on it to represent the special shape of this part. The same style of head can be seen in the Southern Song Dynasty "Hundred Sons", a couple dressed by children, the husband is wearing this head with an "X" shaped cross in the top. He was obviously not an official, but a talent or a Confucian.
[26] Huang Xiaofeng, "The Spring of catching up with the Examiner: Interpretation of the Spring Xiaotu of the Southern Song Dynasty < Hushan Spring Xiaotu>", Chinese Heritage, No. 5, 2018.
[27] Yang Zhishui, "The System of Famous Objects in a Song Painting and the Excavated Tools of the Song Tombs: A Detailed Reading of the Late Return of the Spring Tour <>", "Research on Image Historiography (2015/Second Half of 2015)", People's Publishing House, 2016, p. 131.
[28] For a study of this bell, see Wang Mingqi, "Chronological Study of halogen clocks", "Examination of Cultural Relics in the Liaohai Sea", Liaoning University Press, 2000, pp. 157-197. The text believes that the image of the big hat on the bell is a bucket hat, and the identity of the character is the imperial guard "Tenbu officer", according to the "Tokyo Dream Record" volume 10 "Driving Ceremony Guard", "the heavenly military attache is wearing a zhu lacquer gold hat". In fact, Kasako is a common hat style for Song Dynasty soldiers, made of leather, called "Pi Kasako", and its image can be seen in song paintings such as "Zhongxing Ruiying Tu", and the brim of the hat is much narrower than the "heavy wear" of civilian officials. For a brief discussion of song dynasty military costumes, see Zhou Xibao, History of Ancient Chinese Costumes, Central Compilation Publishing House, 2011, pp. 330-332.
[29] See the former Ying Yang Zhishui, "The System of Famous Objects in a Song Painting and the Excavated Instruments of the Song Tombs: A Detailed Reading of the Late Return of the Spring Tour < >", p. 135.
[30] Shi Slow believes to be a donkey, see op. Peter C. Sturman, "The Donkey Rider as Icon", p.59.
[31] History of the Song Dynasty, vol. 153, Youfu Zhi V, Zhonghua Bookstore, 1985, p. 3570.
[32] (Southern Tang) Wei Chi Wei's "Tales of the Middle Dynasty" volume: "Emperor Dazhong's many micro-troughs, crossed the donkey and wore it heavily, looked around, and often returned to The Great Interior with the Twilight Fang. (Notes on the Five Dynasties of Tang Dynasty Novel Daguan, Vol. II, Shanghai Ancient Books Publishing House, 2000, p. 1781) Emperor Dazhong, Li Chen, reigned from 846 to 859.
[33] The main Song Dynasty texts on "heavy wear" are listed below:
1. (Song) Song Minqiu 'Records of the Retreat of the Chunming Dynasty (Outer Four Types)" Scroll down: "The Qingwang officials of the two provinces of this dynasty and the Lang officials of Shangshu Province, and the entry and exit of the heavy wear." The two systems were the same in the ancestral period. Shanghai Ancient Books Publishing House, 2012, p. 35.
2. (Song) Pang Yuanying's "Miscellaneous Records of Wenchang", Volume VI: "The officials of the three provinces, the counselors, the counselors, the counselors, the zhengyans, and the langs are in and out of the heavy wear." Gai Xi Menxia, Zhongshu Province, from Shilang, Chang Shu, Giving House, Consultation, to Living, Supplement, Shangshu Province from Shangshu, Yulang to Zhenglang are all heavily worn, is for the Qingwang official. Only the foreign groom shall not anticipate this. YuShitai has been worn since the middle and the inspector, and this is the only ear. None of the three provinces is a story either. "The First Edition of the Book Series", vol. 2792, The Commercial Press, 1936, p. 64.
3. (Song) Ye Mengde's "Shi Lin Yan Language" Volume III: "In the middle of the imperial history, and in the six Cao Lang, a full soap veil is added before the seat hat, and only half of it is circumferential, which is a cut hat; non-Taiwan officials and from the middle of the Lang, and from the outside down, there is no seat hat, I don't know what the meaning is." Zhonghua Bookstore, 1984, pp. 43-44.
4. (Song) Wang Dechen's "History of the Crane": "The old Shang Shu Lang was heavily worn, and after the official system, the doctors were not allowed to wear it again." If the emperor is below the request for lang, although he is straight and consulted, he shall be one of the various priests and shall be worn heavily. The First Edition of the Series of Books, vol. 208, The Commercial Press, 1937, pp. 3-4.
5. (Song) Jiang Shaoyu edited the "Song Dynasty Fact Class Garden" Volume 25: "Heavy wearers, big tailor hats also ... For five generations, only the imperial history has served it. At the beginning of Chunhua, the prime minister, the bachelor, the imperial history, the northern provincial official, and the Shangshu province were all ordered to obey. Shanghai Ancient Books Publishing House, 1981, p. 316.
6. Liu Lin and other schools pointed out the fourth volume of the "Song Hui Zhi Manuscript": "On the eighteenth day of the first month of the seventh year of the seventh year, Li Kam, the governor of the imperial history, said: 'From the attendant officer from Qi Ju Lang to Zheng Yan, the small two provincial officials and the Taiwan official, and the Southern Province Zheng Lang enter and exit and wear it heavily, and carry the silk whip. It is not worn against the deputy envoys of the three divisions, such as she, lang, and the three divisions. Shanghai Ancient Books Publishing House, 2014, pp. 2387-2388.
[34] Jin Yingkun, "The Relationship between the Imperial Examination and the QingWangguan in the Five Dynasties of the Middle and Late Tang Dynasties", Journal of Chinese History, No. 1, 2003.
[35] For the Song Dynasty Taiwan Consultation System, see Yu Yunguo, "Research on the Song Dynasty Taiwan Counseling System", Shanghai Bookstore Publishing House, 2009.
[36] (Song) By Wu Chuhou, Li Yumin dianxue", "Miscellaneous Records of the Green Box", vol. II, Zhonghua Bookstore, 1985, p. 15.
[37] (Song) Hongmai Yijian Jiazhi vol. 18 "Xi Hat Covered Head", Guangxu Fifth Year Lu Xinyuan 100,000 volumes lou from the book, page 4 right.
[38] Yu Jianhua, ed., Chinese Painting Treatise, p. 451.
[39] For a discussion of heavy wearing and the hat, see also Meng Hui's "Northern Song Dynasty "Heavy Wear"", Shanxi Youth, No. 3, 2014.
[40] There may be many more types of "seat hats", and in the Song Dynasty prince's wife-taking ceremony, there is a kind of "purple silk seat hat" in the woman's return ceremony, see Wu Yuanjing's "Song Dynasty Dowry and Tea", Edited by Jiang Xidong and Li Huarui, "Song History Research Series", Vol. 9, 2008, p. 521.
[41] The Zihui Ji scrolled down: "Before Yongzhen, the group vine was covered, and the seat hat was called the seat hat, and the lighter one was also taken. After or too thin, winter is not resistant to frost and cold, summer is not hindered by summer, is a fine color of the vine, felt hat, expensive and thick also. Non-noble Modai, and people are not yet. ...... At the end of Yamato, it is dyed and reincarnated, and the folded hat is beautiful, and the shelter of the felt hat is hanging. Huichang has come, Wu people are dazzling, or there are knotted hats like nets. p. 27.
[42] Sun Ji, "Women's Clothing and Makeup in the Tang Dynasty", Treatise on Ancient Chinese Public Opinion, Cultural Relics Publishing House, 2001, pp. 231-233.
[43] Guo Ruoxuan's "Pictorial Insights and Heards" volume 1 specifically lists the section "On the Different System of Clothing and Crowns". In addition, in the section "On Making Models", it is also said that painting characters needs to distinguish between "dynastic clothing".
[44] Zhang Huanhuan, "Research on Donkey Culture in Tang Dynasty Literature", Master's Thesis of Northeast Normal University, 2017.
[45] Zhang Cong, Li Wenfeng, translation of The Journey of Ten Thousand Miles: Travel and Culture in the Song Dynasty, Zhejiang University Press, 2015, p. 134.
[46] (Song) Ma Yongqing's "Lazy True Son" Volume II "Wen Gong Is Not Left Behind": "Wen Gong Xining and Yuan Feng, tasted between Shaanxi and Luo, and there were only three or two followers, crossing the donkey road, and people did not know that Wen Gongye was there. Each state and county is not known. One day from Luo to Shaanxi, when Shaanxi guarded Liu Zhongtong's secret voyage, Mr. Yuancheng's father also knew that the gong had come, making people fall behind, and the gong had already passed through the city from outside the city. Liu Yan made four bottles of wine bequeathed, and the public was not allowed to do so. Let the messenger say, 'If you do not receive it, you will be sinned again.' 'As a last resort, subject to two pots. Thirty miles away, to the town of Zhangdian, the hometown of Fu Yan, he borrowed someone from the town official to restore it. Photocopy of "The First Edition of the Series of Books", Zhonghua Bookstore, 1985, p. 15.
[47] Wang Gerui, "Under the Shadow of Several Wine Flag Mountains, The Strings Have Been Complicated when the Breeze Is Blowing: A Restaurant in Song Dynasty Landscape Paintings", Art Collection and Appreciation, No. 3, October 2018.
[48] Huang Nengfu and Chen Juanjuan argue that the Song Dynasty "wore a head on the head of a servant that resembled a scarf of the jie and the end, called a curved wing head". See The Art of Costume in Chinese Dynasties, China Tourism Publishing House, 1999, p. 257.
[49] For a study of the traffic system and tourism culture of the Song Dynasty, see Cao Jiaqi, "Research on the Traffic Management System of the Song Dynasty", Henan University Press, 2002; and Zhang Cong, "Traveling Thousands of Miles: Travel and Culture in the Song Dynasty".
[50] Cao Jiaqi, "Research on traffic management system in the Song Dynasty," pp. 53-59; Zhang Cong, "Walking The Road of Ten Thousand Miles," pp. 116-122.
[51] Although there are many more surviving landscape paintings of the Southern Song Dynasty than in the Northern Song Dynasty, there are fewer images of "heavy wear", and the only ones I have found so far are Chuan Yan Ci in "Mountain Village Return Riding Map" (Freer Art Museum), Chuan Zhao Boju's "Autumn Color Map of Jiangshan Mountains" (Forbidden City, Beijing), and "Qingxue Map of Minshan Mountain" (National Palace Museum, Taipei) and "Pinglin Ji Color Map" (Boston Museum of Art), which are designated as Jin Dynasty paintings. The images of the "heavy wearing" donkey riders in these paintings are very simple, and the dark wide-brimmed hats on their heads can only be judged from the similarity between the figures and the Northern Song Landscape Paintings.
[52] For a comprehensive study of the Van Army, see Huai Jianli, "A Study of the Van Army of the Song Dynasty", Zhongzhou Ancient Books Publishing House, 2007.
[53] For the relevant information of "Jingde Situ", see Deng Xiaonan," "Studies on Calligraphy and Painting Materials and Political History of the Song Dynasty", Fine Arts Research, No. 3, 2012; Yin Cheng, "< Jingde Situ Khitan Envoys to the Northern Song Dynasty>", Journal of the Palace Museum, No. 1, 2015. The inscription at the end of the picture reads: "In March of the third year of Jingde, the water soared. The kiln does not overflow five inches on the shore, and the dyeing yard overflows the house. The outer embankment is repaired at night and stopped. The car drove to see, and gave the soldiers money so. Official boats ferry pedestrians, drowning people. ”
[54] Heping Liu, "The Water Milland Northern Song Imperial Patronage of Art, Commerce, and Science”. The Art Bulletin, Vol. 84, No. 4 (Dec., 2002), pp. 566-595. Yu Hui, "Research on the Theme Painting of Panche in the Song Dynasty", Journal of Nanjing University of the Arts (Art and Design Edition), No. 3, 1993; Yu Hui, "Geological Research and < Gate Panche Chart Volume>", Shanghai Museum, ed., "Millennium Danqing: A Closer Look at the Treasures of Tang, Song and Yuan Paintings in China, Japan, Tibet", Peking University Press, 2010.
[55] For a comprehensive study of the wine industry in the Song Dynasty, see Li Huarui, "The Production and Requisition of Wine in the Song Dynasty", Hebei University Press, 2001.
[56] Afterglow was the first to indicate that the laborers in the painting were soldiers, but considered them to be forbidden soldiers.
[57] Ren also noticed the tattoos on Van Jun in the painting, see Baihua Ren, The Water Mill: Authentication and Analysis of an Ancient Chinese Jiehua Painting, Dissertation of University of Glasgow, 2020, pp.141-144.
[58] < Tokyo Dream Record > Notes, p. 113.
[59] < Tokyo Dream Record > Note, p. 114: "Flathead car ... Liquor stores often carry barrels of sake. ”
[60] < Tokyo Dream Record > Notes, p. 114.
[61] Deng Xiaonan pointed out in "Tracing Documents in the Local Administration of the Southern Song Dynasty: From the "Box"" that the "box" used by the official to keep and transmit documents had different materials such as wood and tin and different colors such as black paint, green paint, and vermilion paint. In addition to the commonly known "box", there are smaller "boxes" and larger boxes, cabinets, and bags. See The Historical Quest of the Song Dynasty: Selected Works of Deng Xiaonan, Capital Normal University Press, 2015, pp. 308-339. The image of the burden of the bound box was first seen in the "Tapestry Palindromic" mural in the Liao Tomb no. 2 in Baoshan, which is about 930 years old. One end is tied with a small box in the shape of a ballot, and the other end is a burden. Boxes are also used here as utensils for transporting precious items. See Wu Yugui, "Inner Mongolia Chifeng Baoshan Liao Tomb Mural "Sending Jintu" Examination", Cultural Relics, No. 3, 2001.
[62] The Qingyuan Articles of Law, Vol. 5: "All the envoys, the second class and above are given seals, and the rest are given to the bronze Zhu Ji, and they are still given to the bucket box." p. 48.
[63] Afterglow, Hidden Worries and Qu Zhi: Decoding the > of the Upper River Map of the < of the Qingming Dynasty," Peking University Press, 2015, p. 35.
[64] Peng Huiping, "The Shirtless man in the Xiaoice Period: The Seasonal Debate and the Myth of "Realism" in the > of the < Qingming Upper River Map", in the Palace Museum, ed., "A New Theory on the > of the < Qingming Upper River Map", Palace Press, 2011, pp. 42-77.
[65] Afterglow, Hidden Worries and Qu Zhi: Decoding the > of the Upper River Map of the < of the Qing Dynasty, pp. 159-160.
[66] Zheng Wenqian, Chen Shujun translation, "The Meaning of the Panche Diagram: A Study of the "Panche Diagram" in the Song Dynasty", Art Collection and Appreciation, No. 3, October 2018.
[67] The Tang Dynasty "Gangyun" was under the jurisdiction of the Three Divisions, see Li Jinxiu, "On the Three Sixu Officials of the Late Tang Dynasty", edited by Han Jinke, Proceedings of the '98 Famen Temple Tang Culture International Symposium, Shaanxi People's Publishing House, 2000, pp. 387-394.
[68] (Song) Mi Fu's "History of Painting": "In the secular world, the Shuzhong painting "Mule GangTu" and "Sword Gate Guantu" are wang wei, and many people use the "Snow Map" painted by Jiangnan people as Wang Wei, but those who see the pen are ordered to be killed. (Japanese) Kohara Hiroshi," "Notes on the history of < Painting > (I)," National Taiwan University Art History Research Journal, No. 12 (2002), Article 17, pp. 90-93.
[69] (Yuan) Xia Wenyan's Illustrated Treasure Book, vol. IV, Yuan to the main edition, p. 10, left.
[70] Illustrated Treasure Book, vol. IV, p. 15, left.
[71] (Song) Li Hong' "Yun'an Manuscripts", vol. 1, "The First Collection of Rare Books of the Siku Quanshu And Collected Works" (vol. 86, vol. 1), The Commercial Press, 1935, pp. 24-25.
[72] Yu Hui also believes that the scenes in the painting are related to military service, and further speculates that it is a representation of grain transportation against gold or moving south. See Afterglow, "A Study of the Painting of Panchets in the Song Dynasty", p. 11.
[73] Yu Hui noticed that there was a dining table on the carport of the cart in the foreground of this painting, and believed that it was the family that the family had carried on the migration, which was definitely not what the merchants needed for travel, so it represented the Northern Song Dynasty scribes who moved south with their families after the "Difficulty of Jingkang". See Afterglow, "Research on the Theme Painting of Panche in the Song Dynasty", p. 10. In fact, the roof of each car in the "Gate Plate Car Map" is also tied with a similar low table, which can be inferred to be the equipment used by the escort personnel of the car.
[74] This fur hat is closer to the style used by the Northern Jinyuan peoples, and whether there is a hint of the era of the drawing is worth discussing.
[75] In Tang Dynasty images, the standard image of a merchant is often to travel with a caravan of camels and donkeys, see Sha Wutian, "Images of Silk Road Transportation and Trade: Centered on dunhuang paintings of merchants encountering theft," Silk Road Studies Journal, Vol. 1, 2017.
[76] In the Study of The Panche Subject Painting of the Song Dynasty, Yu Hui believes that it is a work before and after the Northern Song Dynasty.
[77] For a study of this painting, see Liang Zhewei's "Mengyuan Imaginary Situation of Ruling the World: Taking the > of the Oxcart Diagram of the snow stack of < as an example", The Forbidden City Cultural Relics Monthly, No. 420 (March 2018), which argues that the painting should be a Yuan Dynasty painting, and the architectural complex in the painting is the home courtyard of an ideal scribe. For the relationship between Yilu road and Gangyun and Yizhan, see Cao Jiaqi, "Official Road, Private Road, Yilu Road, county road: A New Exploration of the Road Pattern Around the Prefecture (Prefecture) County of the Song Dynasty", Academic Research, No. 7, 2012.
[78] Han Huan proposed the concept of "panorama" in the Complete Collection of Pure Landscapes, and Zhang Bangmei also mentioned "panorama" in the sequel to Xuanhe Xin ugly (1121): "Yun Qingfeng Xiu, Shu Lao Yin, Xiqiao Kuiyi, QiaoYu Jiang Village, Zhan Lu Winding Path, ZhengRong Layer Pavilion, Shushi Flying Spring, go riding back to the boat, people rarely get their panoramic views." Yu Jianhua, ed., Chinese Painting Treatise, p. 681.
[79] Yu Jianhua, ed., Chinese Painting Treatise, p. 669.
[80] Cheng Minsheng, "A Brief Introduction to Land Transportation in the Song Dynasty", included in Chang Shaowen's "Collected Essays commemorating the Ninetieth Birthday of Professor Chen Lesu", Guangdong People's Publishing House, 1992.
[81] Huang Xiaofeng, "The Labyrinth of Skeletons: A Visual Context of a Song Dynasty Painting," Studies in Art History, Vol. 21 (2019).
[82] Lara Blanchard and Kara Kenney, “Traces of Collaboration: Empress Yang’s Captions for Xia Gui’s Twelve Views of Landscape”, Critical Matrix: The Princeton Journal of Women, Gender and Culture 18 (Fall 2009), pp.6-33. 黄小峰《夏圭的江山》，《中华书画家》2013年第2期。
[83] Li Dehui, ed., Compilation of Tang and Song Dynasty Pavilions and Literary Materials (Vol. 1), Phoenix Publishing House, 2014, p. 412.
[84] Chen Gaohua, ed., Historical Materials of Song and Liaojin Painters, p. 75.
[85] Chen Zhifei, "Research on the Architectural System of Ancient Chinese Phylaeometry", PhD Dissertation, Tianjin University, 2017, pp. 109-135.
[86] The existing Ming Dynasty caravanserai can still be seen with an accompanying arch, see Pan Guxi, History of Ancient Chinese Architecture, Volume IV: Yuanming Architecture, China Architecture and Building Press, 2001, pp. 413-414.
[87] (Song) Cheng Bi, "The Tale of Fuchun Yi", in Zeng Zaozhuang and Liu Lin, eds., Quan Song Wen, vol. 298, Shanghai Dictionary Publishing House, 2006, p. 84.
[88] Five Kinds of Official Proverbs of the Song Dynasty, p. 53. In the Song Dynasty, those who went to Beijing to take the imperial examination could stay at the station, see Zhang Cong," "Walking Thousands of Miles: Travel and Culture in the Song Dynasty", p. 140.
[89] (Song) Su Shi, "Fengming Yiji", included in Cheng Guozheng's "Collection of Ancient Chinese Architectural Literature, Song LiaoJinyuan" (Part 1), Tongji University Press, 2013, p. 162.
[90] Cao Jiaqi, A Study on traffic management system in the Song Dynasty, p. 18.
[91] Afterglow, in Hidden Worries and Qu Zhi: Decoding the > of the < Qingming Upper River Map, see pages 152-153.
[92] Qin Li, "A Review of the History of Pavilions", Ancient Garden Technology, No. 4, 1990.
[93] Cheng Minsheng, A Brief Introduction to Land Transportation in the Song Dynasty, pp. 332-333.
[94] (Song) Liu Changshi's Lupu Notes, vol. 10, "Poetry of the Pavilion of the Pavilion": "After the Yunjinyi in Anren County, there is a pavilion on the top of the mountain. Zheng Gangzhong Hengzhong, and then carved the poem on the pillar, the cloud: 'The eyes are all under, and the name of the pavilion is not nagged.' Be so, and should be known to be higher. Zhonghua Bookstore, 1985, p. 54.
[95] (Song) Zhao Fan's Chunxi Manuscript, vol. 19, "Three Songs of Deng'an Renyun Jinyi Hou Ru Xian Ting", Zhonghua Bookstore, 1985, p. 426.
[96] Li Dehui, ed., Compilation of Tang and Song Dynasty Pavilions and Literary Materials (Vol. II), p. 643.
[97] (Song) Written by Zhang Fangping, Zheng Handian, Zhang Fangping Collection, vol. 3, Zhongzhou Ancient Books Publishing House, 2000, p. 43.
[98] Sun Yue, "Zhangting Leaning on the Pillar and Looking at the Tide: Zhangting Yi in the History of Hangzhou", Hangzhou Publishing House, 2016, pp. 57-78.
[99] Zhang Deyong, "Interpreting the Southern Song Dynasty < Liuting Travel Map> and the Qiantang River Painting Behind It", Fine Arts, No. 9, 2017.
[100] The Edict of Sheyi in volume 10 of the Qingyuan Articles lists four facilities with official reception functions: the Station, the Mapu Pavilion, the Linliu Pavilion, and the Monk's Temple. See Qingyuan Articles of Law, p. 177.
[101] Ping Foong, “Guo Xi’s Intimate Landscapes and the Case of Old Trees, Level Distance”, The Metropolitan Museum Journal35 (2000): 87-115.
[102] Yu Jianhua's Punctuation Annotation of Xuanhe Pictorial Notation, People's Fine Arts Publishing House, 1964, p. 199.
[103] Chen Shoucheng, "Boats on the Bian River in the Song Dynasty: < The Deconstruction of Ships > the Qingming Dynasty", Shanghai Bookstore Publishing House, 2010.
[104] Cao Jiaqi, A Study of traffic management system in the Song Dynasty, pp. 47-52.
[105] Wang Yanjie, "What is a "Foot Boat"", Chinese Classics and Culture, No. 4, 2019.
[106] Chen Yunru, "< Xueji River Travels> Illustrations", Daguan: Special Exhibition of Calligraphy and Painting of the Northern Song Dynasty, pp. 243-245; Liu Heping, "The Colors of The People of The Boat: Xu Gong, Guo Zhongshu, Wang Yuwei, Su Xian, < the First Snow of the River Under the Perspective of Exile> and the < Snow Glacier >".
[107] Cao Jiaqi, A Study on traffic management system in the Song Dynasty, p. 50.
[108] The Qingyuan Articles of Law, Vol. 11: "When the officials of the order go to the que, they shall give the ship two points to the ship, and the ship shall win with the strength of the ship." Two or more people who are willing to carry the official goods together, listen. Taizhong doctor, observation to make the above free load. p. 113.
[109] There is also a modified cruise ship from a passenger ship in the Qingming Upper River Map, similarly, see Chen Shoucheng, "Song Dynasty River Boats: Deconstruction of > Ships < the Map of the Upper River of the Qing Ming Dynasty", pp. 64-73.
[110] The Qingming Upper River Map depicts a similar cargo ship, see Chen Shoucheng, "The Song Dynasty River Boats: < The Deconstruction of the > Ships in the Upper River Map of the Qingming Dynasty," pp. 38-39.
[111] Dai Dan, "The Spirit of the Times" and the "Eye of the Times": A Comparative Study of Two Concepts," Journal of Nanjing University of the Arts (Art and Design Edition), No. 4, 2013; Hu Bo, "The Cultural Analysis of the "Eye of the Times" and Vision: On Bucksondel's View of Art History," Literary and Art Controversy, No. 6, 2013.
This paper is funded by the Independent Research Project of the Central Academy of Fine Arts, project number: 19KYYB011. Thanks to the comments and suggestions of the two anonymous reviewers, they provided enlightening ideas for further revision of the paper.
author
Huang Xiaofeng
Professor of the Central Academy of Fine Arts, Vice Dean of the School of Humanities