Who is the millennium national treasure? Northern Song Dynasty Zhang Xian's "Ten Yong Tu" hand scroll appreciation

In the middle of summer, the ancient capital of Beijing, it is also rumored that the Beijing Hanhai Art Auction Company has collected the hot topic of the Northern Song Dynasty Zhang Xian's "Ten Yong Tu" volume, which is undoubtedly a major discovery in the cultural relics industry, and also fully demonstrates the importance of the establishment of an art auction company by the state cultural relics department and its advantages and strengths.

Zhang Xian's "Ten Yong Tu" is a large scroll with a high head of 52 centimeters and a length of 178 centimeters, plus the 125 centimeters long introduction of the Qianlong Imperial Inscription "Recitation of Fen's Writing Miao" and the 304 cm long trek of the four families of Song, Yuan Chen Zhizhai, Yan Yaohuan, Xian Yushu and Gao Chang Tuomu'er, with a length of 651 cm. The paintings are landscapes, figures, pavilions, flat boats, etc. The plutonium is printed with 3 parties of Song Xiangjia XiangDaoyin, 1 party of the MingHong WuneiFu Ceremony Inspector Officiation, 17 seals of the Qianlong "Respect for Heaven and Qinmin" and "Heaven and Earth as The Teacher", 1 side of the Qing "Treasure of Jiaqing Imperial Pavilion", and 3 indians of the Qing "Treasure of Xuantong Imperial Pavilion". There are detailed works in Song Zhoumi's "Qi DongYe Language", Yuan Zhao Meng's "SongXue Zhai Collection", Qing Qianlong's "Shiqu Baodi", Qing Ruan Yuan's "Shiqu Essay", as well as Xia Chengtao's "Annals of Tang and Song Poets" and Yang Renkai's "National Treasure Sinking and Floating Records: The Forbidden City Scattered Calligraphy and Painting Observations and Examinations".

Zhang Xian's "Ten Wing Diagrams" hand scroll

Zhang Xian's "Ten Yong Tu" and the famous Song Dynasty poet and painter Zhang Xian, taken from his father Zhang Wei's self-love poems "Wu Xing Tai Shou Ma Tai Qing Hui Liu Lao Yu Nan Garden", "Ting He", "Jade Butterfly Flower", "Lone Sail", "Su Qingjiang Xiao She", "Wen Anvil", "Su Hou Chen Zhuang", "Send Ding XiuCai to Lift", "Poor Girl" Ten poems. Although the literati paintings with a strong literary atmosphere in the Song Dynasty have been formed, they are mostly painted for a painting and a poem or a poem or a poem or two in a poem, while a painting is a collection of ten poems, ten poems are connected in a painting, and it is rare that the entire composition is coordinated. These ten poems have seven poems and nine poems, one poem of five words, some describe the life and gathering of scholars, some describe the labor feelings of poor peasant women in the countryside, and some have beautiful and leisurely scenes of lyricism, poems and paintings match and complement each other, fully showing the northern Song Dynasty ending the chaotic situation of five generations of feudal division and reunification, the economy has been restored and developed, and the city's handicraft industry and commerce have flourished. Wu Xing is on the south coast of Taihu Lake, with fertile soil and fertile water, and the spirit of the people, tending to enter the world of the great prosperity of the Taiping, and depicts its grand situation in the poem "Wu Xing Tai Shou Ma Tai Qing Hui Six Elders in the South Garden". Taishou Ma Xun Nai cited the "Mao Poems" to be pedantic, tired of judging Dali Temple, known for its Ming law, and knew the eight prefectures of Hu, Fu, Ru, Xiang, Hong, Xuan, Deng, and Shui, which can be described as the weight of xueyuan; invited the highly respected Lang Jian, Fan Shu, Zhang Wei, Liu Yuqing, Zhou Ningzhong, and Wu Yan to write poems, and invited Mr. Anding Hu To write a preface, which is really a grand event in the literary world. The painter used the painting technique of boundary painting to accurately depict the grandeur and majesty of the Northern Song Dynasty Pavilion. TaiShou sat in the hall, the six old dresses were crowned, some chanted poems, some leaned on the pavilion to look at the distance, and the attendants were busy and hurried, shuttling between the buildings. In the midst of this busy crowd, there is a crane on the jade railing, leisurely and self-reliant, a jade butterfly flower branches are flourishing and blooming, moving and moving, it is really a fairyland on earth. With the hall as the center of the gaze, the lone sailing ship in the river sailed away with the wind, and another Qingjiang cottage in the Pingyuan Mountains, and the swallow flew in the smoke and mist. On the peninsula opposite the platform, the sound of the village woman's anvil pestle and the houchen Zhuangchun ploughing cattle were heard. Looking further away, huixi cliffs, rocks and mountains, peaks and peaks, clouds and smoke become extinguished, between the smoke and mist, on the Panhuan path, there is Ding Xiucai riding a horse to Beijing to catch the exam, and several people are sent to leave. The other end of the painting is the opposite of the platform of the building, which the author has drawn with a large axe splitting method, which is regarded as a sudden peak that is close to the eyebrows, and under this majestic and solid mountain, there are several grass huts looming, and from time to time there is a sound of machine, and the poor women of the peasant family and the hao people in the city who only know how to draw eyebrows and paint eyes are in stark contrast.

Zhang Xian's "Ten YongTu" is a vivid historical picture with precious historical value, which provides us with new topics and evidence for our study of the history, politics, economy, literature, calligraphy, and fine arts of the Song Dynasty. This painting has been forgotten by the world for nearly a hundred years since it was lost in the Qing Palace. Beijing Hanhai Art Auction Company relied on its "iron signboard" as the only auction company of the country's cultural relics department and the trustworthy image successfully formed among the people in the previous two auctions, and after in-depth and meticulous publicity of art auction regulations and the current stability policy of the party and the state, it lifted the heavy ideological concerns of collectors, and provided the national treasure secretly treasured by generations of people to Hanhai Company, so that this deeply hidden national treasure could see the light of day and shine brightly. Beijing Hanhai Art Auction Company has undoubtedly made meritorious contributions to the protection of this cultural relic, and has attracted great attention from the cultural relics community. Xu Bangda, Qi Gong, Liu Jiu'an, Fu Xinian, and other well-known experts in the appraisal of calligraphy and painting on the mainland could not let go of their hands after reading it, and they comprehensively demonstrated from many angles such as painting style techniques, theme content, pen and ink taste, ancient construction costumes, paper silk materials, historical avoidance of poetry characters, inscriptions and seals, and historical examinations, and unanimously believed that it was the famous paintings of Zhang Xian of the Northern Song Dynasty, the world's orphan products, and the national treasures, which have been preserved so well for nearly a thousand years since the Northern Song Dynasty, which is a great fortunate thing in the cultural relics industry and a great blessing for the country. The experts also sincerely remembered the touching deeds of the beloved Premier Zhou Enlai in the 1950s when the country's economy was extremely difficult, in order to save han Zhuo's "Five Bulls Map" in the Tang Dynasty and Gu Hongzhong's "Han Xizai's Night Feast" and other national treasures, and unanimously resolved to call on the Palace Museum to buy it at all costs. Mr. Shi Shouqian, director of the Taiwan Institute of Art, made a special trip to the Beijing Hanhai Art Auction Company to appreciate the painting, saying that Zhang Xian's "Ten Yong Tu" is undoubtedly a priceless treasure that is absolutely incomparable, and there is no collection in the Forbidden City in Beijing and the Forbidden City in Taiwan, and he said that he would appeal to the Taiwan Palace Museum, the Taiwan Museum, and the Taiwan collectors to participate at that time. At present, there is an endless stream of people who ask to visit Zhang Xian's "Ten YongTu" at the Beijing Hanhai Art Auction Company, and some mainland enterprise groups have also said that in order to improve their corporate image and protect national treasures and cultural relics, they must participate in the auction meeting of Hanhai. Whoever really kills the deer depends on the economic strength of each family and the determination to protect cultural relics. (This article was published by the China National Art Network with the authorization of Zhao Yu, and excerpted from the Cultural Relics Publishing House, Zhao Yu's "Twenty Years of Auction of Chinese Cultural Relics and Artworks", originally published in Beijing Evening News, September 2, 1995)