Su Shi of the Song Dynasty wrote in the Baohuitang Chronicle that "a gentleman can imply things, but cannot pay attention to things." Allegorical to things, although the micro things are enough for pleasure, although the special things are not enough for the disease; pay attention to the things, although the micro things are enough for the disease, although the special things are not enough for the pleasure", advocating the pursuit of the free spirit of not being enslaved by the things, and summarizing the characteristics of "allegory" and "attention". The difference between "allegorical to things" and "paying attention to things" lies in the depth of the mind's involvement, "allegory" is to temporarily perch the mind in many kinds of things, and "attention" is that the mind is too attached to all things and becomes obsessed. Ancient connoisseurs generally regarded allegory as a realm of pursuit of connoisseurship. Many ancient people's calligraphy and painting bibliographies are also named "allegory", such as the "Allegorical Compilation" of Du mu in the Ming Dynasty, and the "Allegorical Record" of Miao Yuezao in the Qing Dynasty.
After Emperor Huizong of song, Qianlong was the collector with the largest collection of ancient Chinese paintings and calligraphy. So, did Qianlong talk about the "allegory of things" of the ancient ideals? How does Qianlong view "allegorical to things"? How did this standard affect Qianlong's collection of paintings and calligraphy?
Qianlong's "Meaning of Things"
Among the paintings in his collection, Qianlong's favorite is Huang Gongwang's "Fuchun Mountain Jutu" (Ziming scroll). The discussion in this article begins with Qianlong's collection of this painting.
Qianlong inscription Huang Gongwang "Fuchun Mountain Jutu" (Ziming volume) one and two
In the winter of the eleventh year of Qianlong (1746), Qianlong inscribed on this volume: "In the summer of Yi Ugly (1745), Shen De sneaked into his poems and ancient manuscripts, and after a few leisures to read them, then Huang Zijiu's "Fuchun Mountain Residence Map" was in Yan, and the inscriptions and collections were very detailed. It was the winter of the year, and I occasionally got Huang Zijiu's "Mountain Residence Map", the pen and ink Canggu, the real handwriting. The Five Treks of Shen, Wen, Wang, Dong, and Zou contained in the Deqian text have Dong and Zou and lack three of them, and they are porous and one trek, thinking that "Mountain Residence" and "Fuchun" are from two figures. However, he loved his stream and made it a natural success, moved me to groan, but he had a long word, and he also ordered virtue to dive and harmonize, and asked why he was more like "Fuchun". Deqian Zhibao, with "Fuchun Mountain Residence", belongs to the An clan as an unobtainable place, and the An clan does not know it. The next year (1746) Ying Yin Winter, the An family will fall, will be out of the collection of ancient traces, for sale to people. Holding the "Fuchun Mountain Residence" volume, and Xizhi's "Yuan Sheng Ti", Su Shi's "Erfu", Han Gan's "Painting Horse", Mi Youren's "Xiaoxiang" and other figures, a total of several kinds, to show Fu Heng. Fu Heng said: "It is a thing, hunger is inedible, cold is not clothed, will be used for peace." 'In the midst of the few, he constantly lifted up to warn him, and said: 'Or Rufu knows the ear.' 'Since the attempt, cutting candles and looking at it roughly, Huang Zijiu's "Fuchun Mountain Residence Map" is also ..."
From the inscription, we know that in the tenth year of Qianlong (1745), Shen Deqian's "Fuchun Mountain Residence Map" in the collection of essays attracted Qianlong's attention. Qianlong then saw the Neifu's "Mountain Residence Map", but the inscription on it was inconsistent with Shen Deqian's record, he asked Shen Deqian about this map and ordered Shen Deqian and poetry, thinking that the "Mountain Residence Map" (Ziming Scroll) and Huang Gongwang's "Fuchun Mountain Residence Map" (useless division volume) were two pictures. Since then, I have been thinking about this volume until I saw anqi's collection of Fuchun Mountain Jutu (useless master volume). In the spring of the eleventh year of Qianlong (1746), Qianlong inscribed on the Ziming scroll: "The "Fuchun Mountain Map" is a masterpiece of Huang Gongwang's life. This volume writes about mountain scenery... I don't know which is in order as "Fuchun Tu". ”
Therefore, in the winter of the eleventh year of Qianlong (1746), the useless master scrolls entered the palace, and Qianlong could not wait to watch it at night, saying that "then Huang Zijiu's "Fuchun Mountain Jutu" is also", which has the meaning of seeing each other and hating the evening.
Shen Deqian called the useless master scroll "Lanting in the painting", and from the above inscription, it can be seen that Qianlong was also very attentive to this painting, but the story of Xiao Yi earning lanting during the reign of Emperor Taizong of Tang was not repeated in the Wenchen of qianlong.
Between qianlong's income ziming scrolls and useless master scrolls, many of Qianlong's courtiers had contacts with An Qi. Zhang Zhao, who Qianlong called "one of the Five Words Minister", was the main compiler of the initial compilation of the Shiqu Baodi, and he had close contacts with An Qi. Zhang Zhao once signed an extrascript for An Qi's collection "Dong Qichang Landscape and Water Album", and also received Lu Zhi's "Plum Stone Daffodil Double Dove" gift from An Qi. Qian Chenqun, another important minister of Qianlong, also had contacts with Anqi, saying that Anqi was "a noble and spirited person in his life, and a Taoist family treasure of calligraphy and painting in the Mi family".
Not only that, many of Anqi's collections had previously become the collections of Qianlong Cichen. Zhang Ruoyi, who participated in the compilation of the "Shiqu Baodi", collected a lot of Anqi collections, such as Zhang Ruoyi's collection of Huang Gongwang and Xu Ben's painting of "Qingtu of the Fast Snow" in Anqi, and pasted Anqi's old signature on the front water, and the signature was titled: "Jiazi (1744) Summer Moon was obtained from Anshi, worth thirty-five taels, and the original signature is attached here, Qinglan Ji." The collection of Anqi collected by the court, Zhao Meng's "Linwang Xi's Thesis" volume, and Shen Zhou's painting "Spring Grass and Autumn Flowers" volume, were also once collected by Zhang Ruoyi.
Shen Deqian said that "'Fuchun Mountain Residence' belongs to the An clan, for the undeserved place, the An clan does not know also." In the "Ink Edge Huiguan", which was written in the seventh year of Qianlong (1742), An Qi really did not pay special attention to this volume, but only placed it in the "Continuation of Famous Paintings" in the book, and the introduction was very brief.
That is to say, Qianlong and Wenchen did not need to go to the trouble of tang taizong and Xiao Yi to deceive the Lanting at all, and they could easily obtain the useless master scroll. However, Qianlong did not take the initiative to collect this volume, but waited until An Qi's family was backward in the middle of the road and was sent into the palace by Fu Huan, and then paid for it. Why?
Qianlong inscription Wang Xizhi (biography) "Qing Ti when the snow is fast" ("Sanxitang" seal)
Qianlong's cherished "Qingti when the Snow Is Fast" and "Fuchun Mountain Jutu" (Ziming Scroll), in addition to being inscribed by Qianlong many times, their collections are also different from ordinary collections. The main preservation places of the calligraphy and painting collection of Qianlong Inner Province are in several major palaces such as the Qianqing Palace, the Imperial Study, the Yangxin Hall, the Chonghua Palace, and the Ningshou Palace. "Fast Snow And Sunny" was placed in the "Sanxi Hall" of the West Pavilion of the Yangxin Hall. The "Fuchun Mountain Residence Map" (Ziming Scroll) is stored in the "Painting Zen Room" in the apse of Xianfu Palace. The "Sanxi Hall" and the "Painting Zen Room" are specially named for the collection of calligraphy and paintings. Researchers called such books the Qianlong Emperor's "special exhibition room", and although the collection in the "special exhibition room" was small, they were all works that Qianlong cherished at that time. This type of "special exhibition room" also includes "Sanyouxuan", "Four Beautiful Tools", "Spring Couplet", "Learning Poetry Hall" and so on.
Judging from the works of these "special exhibition rooms", Qianlong has collected a certain type of collection, and the name of the study is not deliberately searched and collected into the "special exhibition room". The "four beauties" of the Qianlong Inner Province are Gu Kaizhi of the Eastern Jin Dynasty (biography) "Female History Zhentu" and the Northern Song Dynasty Li Gonglin (biography) "Xiaoxiang Lying Tour Map", "Shuchuan Sheng Overview Map", "Nine Song Map", which were collected by Gu Congyi of Songjiang in the late Ming Dynasty and were once the titles of Dong Qichang. In the summer of the eleventh year of Qianlong (1746), Qianlong saw Dong Qichang's inscription on the "Four Scrolls" on the end paper of the "Xiaoxiang Lying Tour", and found that the four volumes were reunited again, and the emperor imitated the example of sanxi hall and specially placed the four volumes in the West Room of Jing Yixuan in the Garden of the Forbidden City Jianfu Palace, and Yan Qi's room was called "Four Beautiful Tools". In 1747, Qianlong imitated Dong Qichang and established a painting zen room. In the painting Zen room" "Famous Paintings Grand View Album" and "Fuchun Mountain Residence Map" (Ziming Scroll), Qianlong has the same inscription: "Tang Wangwei's "Snow Creek" and Yuan Huang Gongwang's "Fuchun Mountain Residence" two pictures, for thousands of years of famous pens, both Dong Xiangguang painted the objects in the Zen room, the inscription ink still exists, and now it has been successively included in the Inner House, and it is hidden in the West Room of The Xianfu Palace, that is, the meaning of imitation incense, Yan Yue painting Zen. The same is true of the collections of other "special exhibition rooms".
Qianlong Inscription Huang Gongwang "Fuchun Mountain Residence Map" (Ziming Volume)
Many of the paintings that Qianlong cherished, when explaining their origins, Qianlong claimed to be "occasional". For example, the Ziming scroll Qianlong inscription cloud: "It is the winter of the year, and occasionally Huang Zijiu's "Mountain Residence Map". For the collection of the "special exhibition room", Qianlong is quite proud that these collections are all "coincidentally met" in the Qianlong Inner Province under accidental circumstances.
Qianlong said in the poem "Title Three Friends Xuan" that "the sound of natural morality should follow, implying that things have adventures". Qianlong titled "Li Boshi Shujiang Tu Song": "It is a room with four beautiful tools, and the pleasure is unparalleled." The implication is that things are not noticed, and aggressiveness is why I am. In the inscription of Han Di's "Five Bull Diagram", Qianlong once again stressed that "if you do not pay attention to the meaning, you will take Luo Zhi as a noble." He believes that it is his "allegorical meaning" that has "adventures", such as "three friends", "three Xi", "four beauty", "five bull diagrams" these treasures can be included in the palace.
Qianlong is engraved with the seal of "Allegorical to The Thing", which is stamped on a large collection of calligraphy and paintings. Qianlong also repeatedly emphasized the meaning without paying attention. Qianlong also declared: "To take advantage of the benefit means not to plaything." In fact, this is also the view of appreciation that Qianlong's side of the word often emphasizes. Wang Youdun, one of Qianlong's five-word courtiers, wrote in the "Forty Scenic Poems of the Imperial Yuanmingyuan": "Only the meaning is in the object and not for the material service, and si has no entry and is not self-satisfied." He wrote in the inscription for Zhang Ruoyi's "Yunzhen Ge Tu": "Qinglan is not paying attention to things, so he is in si language." ”
Unlike Emperor Huizong and Emperor Gaozong of the Song Dynasty, although Qianlong was obsessed with calligraphy and painting, the author has not yet seen him have an edict to collect calligraphy and painting. Qianlong attached great importance to engraving, but when the poet suggested that the kuixuetang carved stone be collected, Qianlong did not agree. Qianlong generally did not accept all the tributes to the calligraphy and paintings of his subordinates. Even for some of the famous products that were well circulated in the service of the ministers, Qianlong also returned them after the titles. For example, Wang Tujiong, the son of the collector Wang Hongxu in the early Qing Dynasty, paid tribute to the emperor his father's "Zhao MengShizha" (now in the Shanghai Museum), and Qianlong "returned it with an inscription". Qianlong was doing his best to achieve what he called "allegory without noticing."
Qianlong title Wang Xizhi (biography) "Qing Ti when the snow is fast" at the end of the poem
Qianlong wrote a poem on the tail paper of Wang Xizhi's (biography) "Qing Ti at the Time of Fast Snow" (now in the National Palace Museum in Taipei) "Earn lanting Xiao wing energy, no jade box with Zhaoling." Leaving the world of fast snow, a vein and now see the ancient friends", he was quite dissatisfied with Xiao Yi's earning of "Lan Ting" and Tang Taizong's martyrdom "Lan Ting", and was pleased that "Qing Ti of The Fast Snow Time" was passed to future generations and announced to the world.
Before Qianlong was about to die, he was making a summary of his own inscriptions in the framed side of his most cherished works, "Qing Ti when the Snow Is Fast" and "Fuchun Mountain Jutu" (ZiMing Scroll), "I will not repeat the title after playing", which is to make a summary of his own inscription, and there is helplessness and reluctance.
None of the collections in the "special exhibition room" cherished by Qianlong were buried with Qianlong. Of the seventeen volumes of the Book of Poetry that Qianlong had once catalogued, including the fourteen volumes of the Old Tibetan Poetry Hall, as well as the four volumes of Mao's Poems that Jiaqing had received, only the scrolls of Zhao Nan, which Qianlong considered to be imitations, had flowed out of the palace before the reunification, and the rest were well preserved in the Qing Palace. The "Four Beauties" were still stored in the palace during the Tongzhi period, and the "Three Friends" were only carried out of the palace when Puyi was in place. Wang Xianzhi's "Mid-Autumn Festival" and Wang Xun's "Boyuan Thesis" in the "Three Xi" also flowed out of the palace when Puyi was in place. Han's "Five Bull Diagrams" were scattered in the palace during the invasion of China by the Eight-Nation Alliance. Albums such as "Daguan Album" and "Famous Paintings Huizhen" in the painting room and Mi Youren's "Xiaoxiang Tu" were also scattered at the end of the Qing Dynasty, while Jiang San's "Jiangshan Qianli Tu" volume, Huang Gongwang's "Fuchun Mountain Jutu" (Ziming scroll), and Li Tang's "Jiangshan Xiaojing Map" volume have been hidden in the Qing Palace and are now in the National Palace Museum in Taipei.
So, has Qianlong reached the realm of "allegorical to things" that he himself and his courtiers valued?
Qianlong's "Pay attention to things"
At the beginning of this article, the author quotes Qianlong's long title on the Ziming scroll. From this, it can be seen that when the useless master scroll was in the hands of an qi, a great collector of the Qing Dynasty, Shen Deqian saw this volume and included his inscription on this volume in the collection of essays. Later, he was ordered by the emperor to inscribe poems on the Ziming scroll. I don't know if these events are related, but many commentators believe that the entry of fine calligraphy and paintings collected by An Qi into the Qianlong Inner Mansion is related to Shen Deqian. There is no direct evidence for this assertion. However, the poet did have a close connection with the collection of calligraphy and paintings by the Inner Government.
The courtiers who served in the South Study often communicated with the emperor in preparation for the emperor's advisers. They were well aware of the emperor's needs and preferences. After Qianlong received Han's "Five Bull Diagrams" from the Tang Dynasty, he ordered Jiang Pu and other lyricists to write poems and sing harmony. After that, Jiang Pu presented his father Jiang Tingxi's "Five Bull Diagrams". In Jiang Tingxi's Linxiang Shengmu 's "Five Bull Diagrams", the lyricist Jiang Puyun inscribed: "The present Han was originally included in the "Shiqu Baodi", and the minister PuJin presented the father's Linxiang Bengong to the Holy Book. If the reward of The Wisdom of Mengmeng had coexisted with Han Zhenyi, and the honor was not similar, Chen Pu would be overwhelmed with hope and fear. And the Qianlong inscription "Former University Scholar Jiang Tingxi's "Imitation of the Sacred Mo Han Wuniu Diagram" still uses the inscription Han Painting Rhyme" in the small note Yiyun: "Jiang Pu saw that there is the authentic handwriting of Han's "Five NiuTu" in the "Shiqu Baodi" because it was entered into this volume and was invited to be hidden. Later, Jiang Pu also visited Xiang Shengmu's "Five Bull Diagrams" and entered the palace. Jiang Pujin's calligraphy and paintings are not only these two volumes, but also at least Yan Liben's (biography) "Portrait of the Disciples of Confucius" (now in the Capital Museum) and Cheng Tang's "Silkworm Weaving Map of Glou" (now in the Freer Museum of Art), usa.
Qianlong inscription Han Di "Five Bull Diagram"
The courtiers who served in the South Study room generally had calligraphy and paintings to contribute. Shen Chu, a long-time minister who had been serving in the South Study, mentioned in his notes six works in a row, which was quite self-satisfied. In the "Landscape Album" of Wang Yi in the Forbidden City and Tang Yin's "Tea Tasting Map" (both in the National Palace Museum in Taipei) hanging in the Thousand Feet Snow Tea House on The Winding Mountain, there are many seals of Li Zongwan. Before Qianlong, Li Zongwan was the most recent collector of these two works of the same era. Qianlong inscribed these two works as "Divine Products" and "Yipin", and judging from Qianlong's inscription poems, they both entered the court before Li Zongwan's death, and are likely to come from Li Zongwan's direct contribution. According to the author's statistics, there are no less than eleven paintings in the collection of Li Zongwan and the Shengqian Palace (Table 1). Zhang Ruoxiao, who also came from a large family family, died of illness shortly after the completion of the initial compilation of the "Shiqu Baodi", and in the initial compilation he wrote four paintings from his collection, which should also be presented to the palace.
Qian Chenqun, a writer who was still a resident, seemed to be deliberately collecting calligraphy and paintings for Qianlong. Qian Rucheng, the son of Qian Chenqun, said in Shen Zhou's "Han Yu Paintings" (now in the National Palace Museum in Taipei): "This volume is Shen Zhoutu's "Han Yu Paintings", which was recorded by Wen Zhengming later, and it was the Zhenye of the Xiang Clan Tianlai Pavilion shishou zhiye ... When his father, Qian Chen Qun, was young, he saw that his (Xiang Yuanbi) family had a number of han paintings, and this volume was also said by connoisseurs in Yanli to be a scroll of calligraphy and painting, which was composed of Merlin Jia. After the subject's father returned to the field, he paid attention to the relatives and visited to buy it. Taste: 'Ishida This volume is a shengnian pen, and it is called the Beiyuan and Yingqiu Youde Heart Seal, which is close to it. Hengshan recorded the Han Ji, also a book of pride. The secret that should be cherished has not yet been presented. 'The appendix of the subject is from the beginning, and the courtesy is presented with wisdom, and the tribute is a few more than a few tasting clouds. Chen Qian Rucheng is respectful. From this, it can be seen that this volume is a precious collection collected by Qian Chenqun in his hometown and is ready to be presented to the emperor. Later, his son entered the palace. Qian Chenqun not only donated the works of his mother Chen Shu, but also included Xia Gui's "West Lake Willow Boat Map" and Wang Yuan's "Plum Bird Primrose Scroll".
Researchers have observed that "all the tributes of ministers are calligraphy and painting, which is extremely rare in the entire Qianlong Dynasty." At present, the three catalogs that Shen De has sneaked into the dedication are all calligraphy and paintings. It is likely that Shen Deqian, like Qian Chenqun, focused on finding calligraphy and painting in the south to pay tribute.
Because of Tang Taizong's obsession with Wang Xizhi's calligraphy, Wang's calligraphy was searched everywhere and enshrined in the palace. Because Kangxi loved Dong Qichang's calligraphy, he "at that time, the best products in the sea, the jade gold inscription, and the Huideng Secret Cabinet". Qianlong also lamented that "the likes and dislikes of the gaijinjun must not be careless."
Although Qianlong did not openly collect calligraphy and paintings, as long as he acquiesced or even approved of the donation of calligraphy and paintings, the poets would actively collect and pay tribute. From qianlong's inscription, it can be seen that he believes that the ministers have the obligation to contribute works and establish a complete collection service for the inner government. He inscribed the "Wen Tong Pan Gu Tu" cloud collected by Zhang Ruoyi: "Wen Tong is known for painting bamboo, and the inner house tastes it, but the landscape is not seen... The volume is in the possession of Zhang Ruoyi, and Zhang Zhao also has knowledge. Or if the mist is obtained after the completion of the "Stone Canal Baodi", or if it is hidden in an attempt to be hidden, and has not been presented, it is not determined. Qianlong was surprised that Zhang Ruoyi did not enter the collection that was missing from the Inner House, and looked for a reason to explain. Therefore, it is not difficult to understand why the poet should take the initiative to enter the painting and calligraphy.
Qianlong inscribed Han's "Five Bulls" Yun: "The Xuanhe Pictorial Notation contains the drawings of "Bullfighting" and "GuiMu". That is, there are still four figures listed in Zhao Wuxingba. It is the "Stone Canal Treasure Pipe" jian, but the "Fengnei" picture, this autumn fu got this volume of ears, the name is good enough for a few times to appreciate, but the meaning is not to pay attention, will Luo Zhi be noble! There is a pleasant expression in his words, claiming that he is "allegorical and not paying attention" and does not value Luo Zhi. In fact, in the early years of Qianlong, this volume was still hidden in the "Qiushi Zhai" of Wang Xueshan in Yangzhou. In the seventeenth year of Qianlong (1752), through the hands of Yin Jishan, the governor of Liangjiang at the time, he paid tribute to the Qianlong Inner Province. Although Qianlong did not "pay attention", but without the governor to seek and make offerings in the jurisdiction, this picture would not enter the court.
In the same entry list of Yin Jishan's tribute to the Five Bulls, it also includes Li Gonglin's famous "Five Horse Diagrams" and other works. As the governor of the feudal territory and the main force of the dedication, Wang Qiwang, the governor of Zhejiang, once presented more than 100 works including "one hundred paintings of the Tang and Song Dynasties and Yuanren". Interestingly, Qianlong titled "Five Bull Diagram" and "Five Horse Diagram" many times, but did not talk about Yin Jishan. In several "Five Bull Diagrams", Jiang Pu, who was serving in the South Study at that time, was mentioned many times. Looking at the poems of Qianlong Pin appreciation of calligraphy and painting, it is very rare to mention the dedication. Obviously, when Qianlong talked about entering the paintings and calligraphy, he was "avoiding the heavy and light." Although Qianlong did not order the collection of calligraphy and paintings, after the collection and tribute of the ministers, more and more calligraphy and paintings entered the court from the people and were increasingly concentrated in the Qianlong Inner Province.
Many collectors are reluctant to give away or sell their collections during their lifetime. In order not to make the calligraphy and paintings in the continuation of the "Shiqu Baodi" exceed the previous compilation, Qianlong donated a large number of calligraphy and paintings. In the preface to the sequel to shiqu baodi, the poet Shen Chu praised Qianlong for "taking playthings as a warning, and specially declaring the purpose of the people."
So, what kind of collection did Qianlong give out of the palace?
Qianlong's works in the "special exhibition room" have been mentioned earlier, and these works were only left out at the end of the Qing Dynasty. None of qianlong's truly cherished works were rewarded at that time.
In their notes, both Ruan Yuan and Shen Chu recorded that Qianlong rewarded the inner palace calligraphy and paintings to the princes and ministers when he continued to compile the shiqu baodi. Shen Chu said: "Xinhai, Shangfeng continued to compile the two books "Shiqu Baodi" and "Secret Temple Zhulin", and the calligraphy and paintings obtained by Qianlong ten years later did not want more than the previous ones. Because of the addition of the Book of King,000, he was divided into crown princes, imperial grandsons, and inner court ministers. First of all, shang had taken the painting shaft contained in the "Stone Canal Baodi" for five hundred points. To the point of repetition. A total of more than 30 pieces were obtained before and after the record. It was winter, and the Imperial Pen Calligraphy and Painting Reward was given to the military aircraft department and the South Study, and Yu Linqing and Theayi axis were obtained. Shen Chu has a special section on the famous handwriting in his notes, where the handwritten calligraphy given by the emperor is recorded, but there is no record of an ancient painting that was rewarded, which should be no famous masterpiece.
Ruan Yuan recorded that the imperial appreciation of calligraphy and paintings included "one axis of the Song Dynasty's "Cargo Lang Diagram", one axis of The Yuanren's "Baby Drama Map", one axis of Jiang Tingxi's "Peony", one volume of Dong Qichang's "Codex", one volume of Yun Shouping's "Landscape", one axis of Zhao Meng's "Infinite Shou Buddha", and one axis of Wang Weilie's "Nine Rutu" (also a joint sentence of the Ugly Spring Tea Feast, and a scroll of Du Qiong's "Xishan Ruixue"). Zhang Jian, a disciple of Ruan Yuan, pointed out in particular that "these old paintings were all inferior pieces when they were published in the Shiqu Baodi".