Author|Wang Lijing Editor|Chen Yaojie
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"The foundation of the world is in the country, the foundation of the country is at home, and the foundation of the family is in the body. "The family is the bridge between the individual and the country, and the excellent family education, family style, and family tradition are not only the foundation of a person's life, but also the cultural core of a country and a nation. As a material carrier of family history, the portraits of ancestors, genealogical handwritings, and family cultural relics carry the memory and glory of the family, and are important objects for future generations to remember the ancestors and inherit the ancestors.
Exhibition view Courtesy of the National Museum of China On January 25, 2024, the "Qiyang Broad & Bright - Li Wenzhong Family Cultural Relics Exhibition from the National Museum of China" hosted by the National Museum of China was exhibited in the South 3 Exhibition Hall of the National Museum of China.
Li Wenzhong, King of Wujing in Qiyang, was the nephew of Zhu Yuanzhang, the Taizu of the Ming Dynasty, the founder of the Ming Dynasty, with outstanding military achievements and good learning, and was posthumously named the King of Qiyang after his death, ranking third in the Meritorious Temple. The descendants of the Li family have been crowned marquis, and the family has lasted for more than 600 years, and the National Museum, which is called the "Qiyang Family" by later generations, has a complete collection of cultural relics of the Qiyang family, including imperial ink, imperial products, statues of ancestors of the past dynasties, line portraits, family collections, handwritten books, genealogies, etc.
Exhibition view Courtesy of the National Museum of China This exhibition displays a total of 72 sets of cultural relics and restored costumes from the Ming Dynasty, and takes the family history as the main line, and is divided into four parts: "Cangwu Fa Yan", "Hairpin Family", "Houde Streamer" and "Yu Yin Bei Wei", telling the family context of the Li family in the Ming and Qing dynasties, emphasizing the conscious protection and inheritance of the family roots of the Li family, and highlighting the Chinese nation's respect for the ancestors and the spirit of continuity.
▋ The name of "Qiyang" originated from the name of Li Wenzhong, the founder of the Ming Dynasty, "King Wujing of Qiyang". When Li Wenzhong was young, he followed his father Li Zhen to his uncle Zhu Yuanzhang, followed him in the southern and northern wars, and made frequent military exploits in brave and good battles, laying the foundation for the founding of the Ming Dynasty. Li Wenzhong Rong Ma all his life, through Tao strategy, good at poetry and writing, and in charge of military and political affairs, for the creation and stability of the Ming Dynasty has made great contributions, "Qiyang family" from its origin, opened the prelude to the family history of the Ming and Qing dynasties.
Exhibition View Courtesy of the National Museum of China In the portraits of the Qiyang family on display, Li Wenzhong and his father Li Zhen are full-body seated portraits in crown robes, which are the two portraits of Ming Dynasty crown clothes that can be seen today. The significance of its costumes in the history of Chinese clothing is extremely important, and it has attracted great attention from many clothing researchers and enthusiasts.
Statue of Li Wenzhong, King of Wujing, Qiyang, courtesy of the National Museum of China
Li Wenzhong, King of Qiyang, was born in the fifth year of the Yuan Dynasty (1339) and died in the seventeenth year of Hongwu in the Ming Dynasty (1384), and was the founder of the Ming Dynasty. Yuan's wife Bi and his wife Feng have three sons and two daughters, the eldest son Li Jinglong, the second son Li Zengzhi, and the third son Li Fangying. In the painting, Li Wenzhong wears a Xuanbiao Zhuli Nine Crowns, a gown with nine seals, holding a jade gui, a large belt around his waist, a knee covering in front of him, and a cloud-headed red tail (xì) on his feet. The top is blue, the python, the mountain, the Chinese insect, the fire, the Zong Yi are in the sleeve, the fire and the mountain are in the knee, the lower dress is colored, the exposed part of the black pattern and the jade on both sides are visible, which is the shape of the crown of the prince in the early Ming Dynasty.
Leather armor Courtesy of the National Museum of China
In order to display the cultural relics of the Qiyang family in its entirety, a set of leather armor in the family collection was specially restored and fully expanded. The last time this set of leather armor was fully unfolded was nearly a hundred years ago, during the Republic of China.
Leather armor Exhibition site: According to the "Qiyang Family Cultural Relics Description" and "Qiyang Family Cultural Relics Image Album", this is the "Ming Dynasty rhino armor". Li Wenzhong's relics. The two pieces of leather armor are similar in shape to protect the chest, abdomen and back armor, and have a trapezoidal appearance. The nail piece is a leather tire with black lacquer, and the lacquer is sprinkled with luodian powder and decorated with silk. Both pieces of leather armor are depicted in gold lacquer, with a glazed center filled with a five-clawed dragon pattern and a floral ribbon on the edges.
Portrait of Zhang Sanfeng Exhibition view Courtesy of the National Museum of China
This time, a portrait of Zhang Sanfeng from the Li family's collection was also exhibited. According to the inscription and genealogical records, Li Wenzhong was hospitable and happy to mingle with celebrities, including Zhang Sanfeng. After Wen Zhong's death, his son Li Jinglong became friends with Zhang Sanfeng. Zhang Sanfeng once told Li Jinglong that he would have a big disaster, but Jinglong did not understand. Zhang Sanfeng gave him a portrait, a wooden box, and a coat and left, after which Li Jinglong was convicted and beheaded. According to the genealogy cloud, the Li family originally had the clothes left by Zhang Sanfeng, which has been lost so far. This portrait has survived for a long time, the original has been cracked, and when it was enshrined in the family temple, it was burned by fireworks for many years, and it was seriously damaged, and then it was re-framed by Zhu Qichuan and others in the Republic of China, so that it could regain its appearance. The portrait is made of silk ink pen, the eyebrows of the person in the painting are clear, and the clothes and belts are flying, as if there is a fairy atmosphere. ▋ Li Wenzhong, a hairpin clan, was awarded the title of Duke of Cao Guo for assisting Zhu Yuanzhang in pacifying the world and making great contributions. His son Li Jinglong inherited the title of lord, but was cut down and imprisoned in the Yongle Dynasty. In the early Jiajing period, Sejong restored the titles of the four founding heroes of the Sun Title, and the Li family was able to renew the title. During the Jiawan period, the 8th Li Tingzhu Pingkou supervised Cao, and his political achievements were remarkable; the 9th Li Yangong was good at learning and poetry, striving for poetry, and made great achievements in governing politics and literature, and the Li family regained the prosperity of hairpins. The Qiyang family has a total of 12 generations in the Ming Dynasty, and the descendants of Sun Shao continued the ancestral virtue of Qiyang, and won the knighthood, still adhering to the family style of Nengwen and Wuwu, so that the Li family Lan Fen Gui flourished.
Exhibition view Courtesy of the National Museum of China
Courtesy of the National Museum of China
"Ming Taizu Imperial Pa and Ji En Book", courtesy of the National Museum of China
This is the Ming Taizu Zhu Yuanzhang Yupa and Li Jinglong wrote the "Ming Taizu Yuluo Pa Ji En Book". According to the genealogy, after the death of Li Wenzhong, the king of Qiyang, Zhu Yuanzhang, the Taizu of the Ming Dynasty, thought of his relatives and regarded Li Jinglong and Li Fangying as his heart. In the eighteenth year of Hongwu (1385), Li Jinglong was ordered to march north, and Zhu Yuanzhang ordered Li Fangying to try the book for the first time every ten years, and the test book was completed in one day. After Fangying returned home, the old and young worshiped the steamed buns, and treasured the royal pap in the family temple to thank the holy grace and the heirs.
Victory of the Ordinary Season (detail) Courtesy of the National Museum of China
According to the title of the list, it is a military history painting of the Ming court pacifying Shaanxi, Gansu and Ningxia between the second year of Wanli (1574) and the fourth year (1576). Its content is roughly as follows: the military gate Guyuan sent troops, the Guyuan army was prepared by Liu Boxie to supervise the troops, the Shaanxi chief military officer Sun Guochen commanded the troops in a hurry, the Ming army pacified the battle of the various departments, and the military gate Guyuan rewarded the merits. The buildings of ethnic minorities in the northwest of the Ming Dynasty, the armor of the Ming army, and the ceremonial guards depicted in the scroll are quite consistent with the documentary records, and are important materials for the study of military and folk customs in the Ming Dynasty. The frontispiece has the inscription "Qiyang Shize" by Xu Shichang of the Republic of China. ▋ Houde Liuguang Qiyang family to the twelfth Li Hongji suffered the change of Dingge, and died in the Ming Dynasty. At the beginning of the Qing Dynasty, in order to avoid the war, the thirteenth Li Zushu moved to Beijing with his family members from Jinling, and accepted the title of third-class Adaha Haha in the Shunzhi period, which was the first generation of the Li family to enter the Qing Dynasty. In the eighth year of Qianlong, the fifteenth Li Yanji went out of the flag and changed his nationality. The Li family inherited the ancestral virtues in the Qing generation, practiced steadfastly, rejuvenated the family and educated people, and did not fall into the door. The 14th Li Decan, Li Deyi brothers, and the 15th Li Yanji are especially famous for literature and political affairs, among which Li Yanji not only became an official, but also did a lot of work to protect the relics of the ancestors. In the late Qing Dynasty, even if the family was in the middle of the road and the country was in danger, the descendants of the Li family still spared no effort to protect the family relics.
Exhibition view Courtesy of the National Museum of China
Portrait of Li Zushu and his wife Fang Courtesy of the National Museum of China
Portrait of Dr. Zhongxian, Fujian Shuikou Yanyun Tongzhi Li Yanji Courtesy of the National Museum of China ▋ Yu Yin Wei
The cultural relics of the Qiyang family can be increased and circulated in an orderly manner from generation to generation, thanks to the conscious continuation and protection of the Li family for generations, and to the Republic of China. The Li family enjoyed a certain social status in the Ming and Qing dynasties because of Li Wenzhong's exploits, and although there were ups and downs, they did not deviate from the connection with the ruling class, which engraved a rich imprint of the two dynasties for the cultural relics of the Qiyang family. The inheritance of cultural relics of the Qiyang family originates from the family consciousness of the Li clan, which is the self-memory of a family, and because of its integrity, orderliness, and closeness with the times, it provides future generations with the possibility of cutting into themes such as social history, institutional history, cultural history, clothing history, and art history. From ancient times to the present, the writing of the "Qiyang family" has left a family history spanning 600 years for future generations.
Exhibition view Courtesy of the National Museum of China In order to highlight the significance of the portrait of the Li family in the history of Chinese clothing, the exhibition specially restores four sets of official costumes of the Ming Dynasty, including the crown dress, the life woman dress, the gift dress and the court dress, showing the contemporary value of this set of cultural relics, and also emphasizing the research and revitalization of this set of cultural relics in the collection.
Exhibition view
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