The Paper's reporter Xu Minghui
It is also the Mid-Autumn Festival, which is one of the traditional festivals that the Chinese people value most. The heavens will be tonight and the moon, and the whole world will be washed over and over again. The summer retreats nine clouds, and the autumn clears the scenery. Looking up at the moon, the ice wheel is refreshing. People also use the reunion of the moon to miss their hometown and their loved ones.
Today's people do not see the ancient time and month, but this month once looked at the ancients. In addition to the customs of worshiping the moon and reuniting, this round of bright and clean moon has also illuminated the hearts of countless literati and inkers, leaving many fine calligraphy and paintings for future generations to chant the Mid-Autumn Festival. What did the ancients of a thousand years ago tell through this round of bright moon? Let's follow the imprint of ancient paintings and slowly explore.
"Fairy Riding Luan Diagram" Song, silk, color, Beijing Palace Museum collection
In the picture, a phoenix flutters its wings and flies in the thin clouds and mist, and a fairy on its back is looking back blankly at a full moon behind it. The painter vividly portrays the melancholy emotion revealed by the fairy looking back, making the original monotonous scene extremely interesting and imaginative. In the shaping of the character image, the shape of the fairy exceeds the plump and robust posture of the female paintings in the Sui and Tang dynasties, showing the characteristics of reasonable proportions and symmetrical shapes of women.
There is no author's print on the painting. The opposite is Qing Geng Zhaozhong's ink inscription: "The style is high and fluttering, there is Ling Xia's absolute dust posture, it is Gai Zhou Wen's chest out of the heavenly opportunity, so the pen is beyond the table, Zhang, Wu, Gu, Lu He is difficult to follow." Xiangping Geng Zhaozhong question. The old inscription of this figure and the inscription of Geng Zhaozhong both state that the author is the Fifth Dynasty Zhou Wenjue. Influenced by the calligraphy of Li Yu, the master of the Southern Tang Dynasty, Zhou Wenju liked to paint with a thin and trembling brushwork, with many twists and turns in the lines, and there was softness in the rigidity. The line work of this figure is delicate, such as spring silkworm spitting silk, soft in the seeing rigidity, and does not match the characteristics of Zhou Wenji's pen, so it should be composed by a famous painter of the Song Dynasty.
"Cup Drawing Under the Moon", Southern Song Dynasty, Ma Yuan, color on silk, national palace museum in Taipei, China
Although this painting is only an album, the composition of the picture is small and large, and the scenery in one corner or half highlights the vast secluded space of the mountain forest. There is also a poem inscribed by Empress Yang of the Southern Song Dynasty Ningzong: "Meet the lucky season, and put the cup before the flowers under the moon.".
"Yaotai Step Moon Chart" page, Song, silk, color, Beijing Palace Museum collection
This picture depicts the mid-autumn festival female moon viewing scene, the characters are delicate, the style is elegant, and the scenery is empty. In addition to depicting the panorama of a complete single building or complex, the pavilion paintings in the Song album also have works depicting parts of the building. This page is the part of the boundary painting platform, although it is only used as a background for the activities of the characters, but the dark brown inlaid jade balustrade, the lotus pillar decoration and the bucket arch style of the platform are accurately and clearly explained, which is complementary to the works depicting the whole picture of the building, showing the lively expression and rich expression of the Southern Song Dynasty pavilion sketch paintings.
"Terrace Moon and Night Map" Yuan, Zhang Keguan, silk, color, collection of the Metropolitan Museum of Art in New York, USA
The Yuan Dynasty painter Zhang Keguan inherited the painting style of the Southern Song Dynasty Ma Yuan, and his works were simple and complex, which had both a gorgeous temperament and appeared refined and vigorous. Zhang Keguan grasped the close-up of the scene, and let the distant view be obscured by the diffuse smoke, blending with the sky, reflecting the taste of deep and wide. On the picture, a literati admires the moon by the water on the platform, adding a subtle beauty to the artistic conception.
"Ming Emperor Youyue Palace Map" Ming, Zhou Chen painting, gold note, color, Beijing Palace Museum collection
This is a painting with the author's beautiful imagination, showing the scene of the Ming Emperor Li Longji sleeping in the moon palace with fangshi in the Tang Dynasty novel. The whole picture penmanship is meticulous, inheriting the exquisite tradition of pen and ink in the Southern Song Dynasty, paying attention to the display of character personality, the cooperation between characters and the environment, and the portrayal of the demeanor and costumes of characters from different social classes, from which we can see the noble and elegant demeanor of The Tang Ming Emperor, the respectful and humble expression of the attendants and the dignified and elegant temperament of the maids. The fan page has its own inscription: "Written by Dongcun Zhouchen, Ming Emperor Youyue Palace Map." ”
"Chang'e Zhi Gui Tu" Ming, Tang Yin, vertical axis, color on paper, collection of the Metropolitan Museum of Art
In the painting, Chang'e's skirt is fluttering, the god is gentle, holding the osmanthus flower, and the flowing and beautiful state of the beauty is revealed. The color of the face is white and smudged, such as the moonlight condensation, clean and elegant. Tang Yin inscription poem on the upper right: Guanghan Palace Que old tour, Luan crane Tianxiang roll gui flag. Since Chang'e loves caizi, osmanthus folds with the highest branch.
"Raise a Glass to the Moon" Fan Page, Qing, Fan Xi Painting, Gold Note, Color, Beijing Palace Museum Collection
The fan page has a self-title: "A cup in hand, the world is idle." Ethyl unitary Qing and moon painting, like Mr. Shi Sheng Zheng. Mo Ling Fan Xi. "钤" Fan Xi's seal "White Wenyin" and "Qiagong" Zhu Wenyin. "Ethyl unitary" is the 30th year of the Qianlong Dynasty (1765) of the Qing Dynasty, and Fan Xi was 50 years old at the time.
The picture depicts a free scene of Coats raising a glass to the moon. The composition is extremely simple, the theme of the creation is clear, and the corresponding objects are depicted in different brushstrokes. The figures are shaped in white, and the smooth lines accurately outline the standing and sitting postures of the boy and Coats, and Coats' belts are fluttering and the otherworldly elegant temperament is particularly vivid. The horizontal mountain stone is dominated by ink halos, and the ink colors of different shades not only show the thick volume and hard texture of the stone, but also play a role in stabilizing the picture with heavy colors in the frame. The different pen and ink techniques are in line with Coats's mood of pleasure in wine and transcendence, and recite the poetry of "a cup in hand, the world is idle".
"Osmanthus Moon Rabbit Diagram" fan page, Qing, Li Shizhuo painting, on paper, light color, Beijing Palace Museum collection
The department is "Peng Shen Mid-Autumn Day Writing, the Head of the Garden". According to the year of Li Shizuo's birth and death, "Pengshen" is the sixth year of Qing Yongzheng (1728). This painting is cleverly conceived, a white rabbit resides in the main body of the picture, through its upward gaze, you can see the half moon in the upper left corner covered by the leaves of the laurel tree, thus vividly pointing out the relationship between the white rabbit and the osmanthus and the bright moon during the Mid-Autumn Festival, as well as the beautiful legends inherent between them. The image of the white rabbit is vivid, the shape is cute, and the beauty is cute, which shows the author's strong pen and ink modeling skills.
"Yuehua Tu" axis, Qing, Jin Nong painting, paper, color, Beijing Palace Museum collection
This picture is a painting of Jin Nong's painting to a friend in his later years. There is only one full moon in the whole painting, and inside is a undulating shadow, and the outer edge radiates a glow composed of red orange, yellow, green, blue, and purple, and the color of the picture is simple and pure. The concept of "Moon Hua Tu" is ingenious, directly expressing the brilliance of the moon in a realistic way, and winning with wonder. The traditional brush and ink method is almost invisible in this drawing method, and the performance of the shadow gives full play to the effect of ink on rice paper, contrasting with the pale light of warm colors, setting off the bright brightness of the moonlight. Zhang Geng once commented on Jin Nong's paintings in the "Records of Paintings of the National Dynasty": "What is not seen in the world, Gai is meant to do it." "This picture can be described as unprecedented and unprecedented.
"Rabbit Diagram of the Moon in the Moon" axis, Qing Qianlong, Jiang Pu painting, on paper, color, Beijing Palace Museum collection
This picture draws the full moon with ink pen, and the jade rabbit in the middle of the moon writes fur with a dry pen, and the burnt ink is the finishing touch, and the image is vivid and cute. The laurel tree draws branches and leaves with ink pens, and the brushwork is delicate and sophisticated. Osmanthus is dyed with orange dots, and its warm hue adds a little warmth to the Cold Moon Cold Palace. The layout of the whole picture is compact, and the use of color and ink is clever and very interesting. Jiang Pu wrote to himself: "Chen's sentence is clear, and he is ashamed to count the yellows." Coinciding with the birthday feast of the mountain villa, the rabbit wheel was first on the blue sky. Minister Jiang Pugonghe. Jiang Pu skillfully combined poetry, books and paintings, and interpreted the beautiful legends of the jade rabbit and laurel tree in the middle of the moon. In addition to Jiang Pu's paintings and self-titled poems, there are also imperial poems of the Qianlong Emperor and Yinghe poems of Liu Tongxun, Dong Bangda and other ministers, from which we can see the Qianlong Emperor's inheritance of the traditional customs of the Han people, and the elegant collection scenes between him and his courtiers spending the Mid-Autumn Festival with poetry and painting.
Editor-in-Charge: Chen Shihuai
Proofreader: Yijia Xu