The Mid-Autumn Festival is approaching, and the atmosphere of the festival is getting stronger and stronger. In this long-standing festival, there are not only the customs of moon worship and reunion, but also many beautiful stories, legends, poems and arias, adding a lot of romantic color to it. Throughout the ages, we and our ancestors have been bathed in the same moonlight, and this round of bright and clean moon has also illuminated the hearts of countless literati and inkers, so that they have a chest, express with a pen, leaving many fine works of calligraphy and painting for future generations to chant the Mid-Autumn Festival, and specially collect some works to entertain readers, so that we can taste the ancients together in this festive festival.
Han tomb portrait stone "Chang'e Running Moon", Nanyang Han Painting Collection. The myth of "Chang'e Running Moon" originated from the ancient people's worship of stars, and first appeared in the Warring States period. In the Han Dynasty, this story was almost a household name, but chang'e before the Han Dynasty was mostly called "Heng'e", and the Han Dynasty changed its name to Chang because of the avoidance of The Han Emperor Liu Heng. The left side of the portrait stone is engraved with a january wheel, which contains a toad; on the right is a chang'e, a human head and a snake body, with a high bun on her head, dressed in a long sleeve with wide sleeves, a tail that is dragged backwards, and her hands are arched forward, facing the moon wheel as a soaring shape. In the background, there are nine stars scattered, decorated with clouds, reflecting the distinctive cultural characteristics of the Han Dynasty, giving people endless imagination and profound meaning. The Nanyang Han portrait stone often has carved pictures of sun wheels, moon wheels, lunar eclipses, jade rabbits, and stars, which are reflected in the records in the literature and reflect the astronomical concepts and people's beliefs of the Han Dynasty.
The "Three Xi" "Mid-Autumn Festival" that has gone through the twists and turns
Wang Xianzhi's "Mid-Autumn Festival" is a famous calligraphy work in ancient times, which, together with Wang Xizhi's "Qing Ti in the Fast Snow" and Wang Xun's "Boyuan Ti", was praised by the Qianlong Emperor as "Sanxi", which means that these three these posts are treasures of xishi. The extant "Mid-Autumn Festival" is written on bamboo paper, and the interpretation is: "The Mid-Autumn Festival is no longer reconciled, that is, how to defeat the people and He Qing and other armies in the province", how to break sentences makes people reverie. The calligraphy of this post is indulgent and extravagant, which should be a new body created by Wang Xianzhi, but the post is written on bamboo paper, which cannot be made in the Eastern Jin Dynasty; the brush used is a soft heartless pen, while the Jin Dynasty uses a hard pen with a heart, and the lifting, pressing, and turning are not flexible, and cannot achieve the effect of running through the qi. Later, after the study of calligraphy and painting experts, most people believe that this version was produced by the Song Dynasty, so it is equally valuable.
Ming Wen Zhengming's "Atrium Step Moon Diagram", nanjing museum collection. In traditional Chinese painting, it is not uncommon to create works with the theme of the literati's moonlit night interview, and this picture is one of the representative works. The picture shows the painter and the visitors in the autumn courtyard after a small drunken feast, the quiet and bright moonlight, with infinite emotions, emerging on the picture, and giving Chinese painting a new pictorial connotation - close to real life and kindness and leisure. This also reflects the elegant life style of the scholars at that time, with a wide range of representatives. In the middle and late Ming Dynasty, the developed economy of Suzhou, the rise of the citizen class, and the relatively relaxed social atmosphere made the life of the scribes more elegant and leisurely, and the imagery of gardens and homes became the themes of the conscious expression of literati paintings at this time.
Five Generations of Huan Yue Tu, National Palace Museum, Taipei. In addition to "moon viewing", "moon worship" is also an important custom of the court and folk during the Mid-Autumn Festival, evolving from the ancient imperial sacrifice activity of "Autumn Equinox Sacrifice Moon"--"Zhou Li" says that "Gui Bi worships the sun, moon and stars", that is, spring festival day and autumn festival moon. In the Sui and Tang dynasties, the "moon worship" fashion prevailed, and after the Song Dynasty, it became more large-scale, and the utilitarian secular desires were added during the Ming and Qing dynasties. Nowadays, there are still many monuments such as "Moon Worship Temple", "Moon Worship Pavilion" and "Moon WatchIng Tower" in various parts of China. In the folk, because the moon is yin, there is also a saying that "men do not worship the moon, and women do not sacrifice stoves". This painting clearly shows the scene of the woman "worshipping the moon" on the night of the Mid-Autumn Festival - a woman dressed in a dress, holding a pearl in her hand, and a woman who wants to take water and beads; a maid or a case of burning incense, or holding a cup, a rich and peaceful scenery.
Quote the qianlong title to the word "treasure"
Zoom in on the local area
There is also a twisty story about the collection and transmission of the "Mid-Autumn Festival": according to legend, when the emperor Puyi left the palace at the end of the Qing Dynasty, The Noble Concubine of the Jingyi Emperor carried this post out of the palace with the "Boyuan Thesis", sold it to antique dealers through her mother's nephews and grandchildren, and then escorted to an Indian. The Indian mortgaged more than 100,000 Hong Kong dollars to hsbc in Hong Kong, and then because he could not redeem it and was ready to sell, he found Xu Bojiao to discuss the way. Xu Bojiao immediately wrote a letter to Ma Heng, president of the Palace Museum, who reported the original reason for the matter to Premier Zhou Enlai, and in 1950 Premier Zhou personally instructed to "agree to buy back the Mid-Autumn Festival" and "Boyuan Post", and finally returned it to the Palace Museum.
"Leap Mid-Autumn Moon Post" Zhao Tuo
The beauty of imperial artists
Zhao Tuo's "Thin Golden Body" "Leap Mid-Autumn Moon Post" in the Palace Museum is a seven-sentence poem: "Guicai Mid-Autumn Festival is specially round, and the situation is yu yan lu cheng fresh." Because of the victory of the first menstrual month, the poet will not sigh the following year. Vientiane's light increased and the four moons helped Chan Juan. Lin Yun Qingkuo heart Tian Yu, multiplying the Xingneng without endowing the chant. This post is strong and straight with a strong and feminine pen, setting off the artistic conception of the verse itself, which is a feminine style in the "Thin Golden Book", which is represented in the calligraphy works of Emperor Huizong of Song.
The calligraphy of Emperor Huizong of the Northern Song Dynasty, Zhao Tuo, learned Xue Ji and Huang Tingjian in his early years, and later joined the Chu Suiliang families, forming his own unique style. Its lines are thin and straight, the horizontal drawing is closed with a hook, the vertical painting is closed with a dot, the skimming is like a dagger, the twist is like a cutting knife, and the vertical hook is slender. From an aesthetic point of view, this kind of book style is beautiful and beautiful. In the era of the concentration of imperial power in ancient times, solemnity, solemnity, elegance and atmosphere were the main characteristics of the royal style. However, history seems to have undergone irregular shifts in the turbulent Song Dynasty, resulting in a major reversal of imperial power and royal aesthetic standards. Zhao Tuo abandoned the government and indulged in the art of calligraphy and painting, and his aesthetic standards also became contrary to tradition, forming a unique artistic style.
The "Mid-Autumn Poetry Thesis" is a metaphor for tibetan poetry
The Mid-Autumn Festival Poetry Thesis of Mi Fu in the Osaka Municipal Museum of Art, Japan, that is, the "Mid-Autumn Festival Denghai DaiLou Poetry Post" was composed by Mi Fu Mid-Autumn Deng Hai Dai Lou. Interpretation: The eyes are poor huaihai two like silver, ten thousand rainbow light breeding mussels zhen, if there is no moon cultivator in the sky, the laurel branch is damaged to the west wheel. Write three or four times, with one or two words in between. Looking at the poor Huaihai two like silver, ten thousand rainbow light breeding mussels, if there is no moon cultivator in the sky, the guizhi branch is damaged to the east wheel, and the letter is also difficult.
HaidaiLou, located in Lianshui, Jiangsu Province, has been a tourist attraction for many literati since ancient times. During his tenure as an envoy to lianshui, the most popular attraction to visit was Haidai Tower, which he once likened to the "Guanghan Palace" on the moon, overlooking the vast and magnificent scenery of the Huai River entering the sea, quite a sense of independence. In this poem, Mi Fu describes haikou as a sparkling water, like a silver pouring earth, and the sky appears with a thousand rainbow lights, giving birth to precious pearls. In the second half of the poem, Mi Fu quotes the allusion of "Wu Gang cutting gui", saying that if it were not for Wu Gang cutting down the laurel tree day after day, the rapidly growing laurel branches would definitely break through the moon wheel. Mi Fu uses this metaphor to symbolize that his career is often hindered by people and cannot be fully utilized. In the post, Mi Fu wrote poems twice, and added a line of annotations after the first book: "Write three or four times, and one or two words are good in between." After the book was added, the book "Letters are also difficult", which shows Mi Fu's rigorous, serious and good attitude towards calligraphy.
Southern Song Dynasty Ma Hezhi's "Moonlight Autumn Sound Map", Liaoning Provincial Museum Collection. In the work, an elder sits next to the stream, meditating and meditating, and the waiter stands next to him, accompanied by Song Gui. In the upper left, there is a poem by Zi Ang (Zhao Mengfu), "The white sand leaves the moon color, and the green trees help the autumn sound", which adds a bit of poetry.
"There is a bamboo village" in the moon under the drink
The famous volume "Youzhuzhuang Mid-Autumn Moon Appreciation Map" consists of two parts: picture and calligraphy, which can be called the magnificent masterpiece in Shen Zhou's calligraphy and painting works. The picture is a landscape of Qingsheng, a bamboo tree bridge pavilion, a bright moon hanging high, the scenery is quiet, depicting Shen Zhou's peace pavilion in his residence "There is a bamboo village", and the scene of drinking and admiring the moon with his friends in the Mid-Autumn Festival, the pen and ink are strong and old, the style is simple and vigorous, and the artistic conception is quiet and high. The calligraphy part is that Shen Zhou is full of passion, in the form of seven-word poems, he expresses with great interest the complex mood when he admires the moon in autumn, with a strict body, a calm and steady penmanship, and a vigorous and sophisticated style. The whole volume of calligraphy, painting and poetry reflects each other in chapters, which can be called the three best of poetry, book and painting.
"Fourteen Moon Night Map" volume, Collection of the Museum of Fine Arts, Boston
Shen Zhou was one of the most important literati painters of the Ming Dynasty, and he, along with Wen Zhengming, Tang Yin, and Qiu Ying, was known as the "Four Houses of Wumen" in recent times. Shen Zhou's father and grandfather all lived in seclusion, and they all worked in poetry and calligraphy and painting. Shen Zhou's father, Shen Heng, and his brother "constructed a bamboo dwelling, in which the brothers read books, and wrote poems and painted" (see "Ming Shi • Shen Zhou Lie Biography"), and the "Bamboo Village" in the title of the scroll is the residence of the Shen family for generations. According to the records of previous dynasties, Shen Zhou has created many paintings showing him and his friends admiring the moon in the Mid-Autumn Festival at Youzhuzhuang, such as the volume "FourteenThree Night Map" in the collection of the Museum of Fine Arts, Boston.
Ming Du Yan's "Moon Sacrifice Map", national art museum of China. The ancients, who had a heart of worship and reverence for nature, did not dare to neglect the moon god in activities such as worshiping heaven and earth and ghosts and gods, so there was a moon sacrifice ceremony, which was intended to eliminate disasters and pray for blessings. In the Zhou Dynasty, the moon festival became an important part of the complete ceremonial system, and called the "sacrifice month" "sunset moon". This "Moon Sacrifice Map" describes the scene of people setting up a moon sacrifice on the night of the Mid-Autumn Festival, showing round offerings such as moon cakes and moon fruits, and worshiping the moon.
"Great Thousand Edition" Chang'e Shu Sleeve
The legend of Chang'e Running Moon is almost a household name, so it has become the most popular theme of Mid-Autumn Festival folk art, and Chang'e's beautiful posture has been an object that artists have been constantly shaping for thousands of years. Zhang Daqian wrote the ink-and-paper "Chang'e Running Moon" in 1933 and "Chang'e" in 1935. Among them, the work "Chang'e" is signed by the famous flower and bird painter Yu Feimin, in the painting, Chang'e under the laurel tree embraces the jade rabbit, looks safe, does not reproduce the ancient style, giving people a sense of closeness, belonging to the typical characteristics of Zhang Daqian's early female characters.
According to the book "Zhang Daqian" (Hubei People's Publishing House, 2002), Zhang Daqian and Yu Feimin met in Beiping in the late 1920s. At this time, Zhang Daqian often traveled to and from Beijing to observe, travel, hold painting exhibitions, and make friends with celebrities and predecessors, and his painting colleagues also admired and admired his talents and personalities. Yu Feimin is eleven years older than Zhang Daqian, the two have a temperament, appreciate each other, often as a newspaperman for Zhang Daqian to write articles to promote, so that his reputation in Beijing gradually became famous, in Zhang Daqian's development of painting played an indispensable role, therefore, in this work the two people made a painting inscription is not surprising.
Under the moon put the cup figure Ma Yuan Song
In addition, the Song Dynasty Ma Yuan's works "Cup Diagram Under the Moon", Feng Zikai's "Mid-Autumn Festival", "Reunion Night", "Reunion" and other works also describe the scene of the Mid-Autumn Festival reunion, the scene of bathing in the moonlight, and the scene of drinking wine. Whether ancient or modern, the Mid-Autumn Festival has brought us too many rich spiritual connotations, and in addition to watching the works of predecessors, let us carefully appreciate their creative feelings.
Qing Chen Mei's "Moon Appreciation of Qiongtai" in "Moon Man QingYouTu", collection of the Palace Museum. The custom of "moon viewing" in the Mid-Autumn Festival evolved from the ancient "moon festival". After the Sui and Tang Dynasties, people's understanding of the moon faded into mystery, and the Mid-Autumn Festival "moon viewing" and "playing with the moon" fashion with a joyful nature prevailed, and it is said that the birth of the "Neon Dress Feather Song" was related to the Tang Ming Emperor's moon appreciation. In the Song Dynasty, a Mid-Autumn Festival was formed centered on the moon-viewing activities, and the literati's moon-viewing was more of a sentimental sentimental sentiment. After the Ming and Qing dynasties, the custom of viewing the moon in the Mid-Autumn Festival became more prosperous, and many places formed special customs such as burning incense, lighting tower lights, and walking the moon, and the Mid-Autumn Festival of the Ming Dynasty also became the Women's Guining Festival and the Reunion Festival. Chen Ming's painting and the other 11 paintings are a holistic representation of the court life of a Qing concubine for one year. In this august mid-autumn moon appreciation chart, in addition to showing the living conditions of harem women, you can also see their spiritual world under the life of the rich and idle palace.
"Fairy Riding Luan Diagram", no author's print, the old inscription of this picture and the inscription of Geng Zhaozhong of the Qing Dynasty are all said to have been composed by Zhou Wenju of the Fifth Dynasty, and collected by the Palace Museum. Regarding the "chengluan", in ancient times, there was a legend of "Xiao Shi LangYu, Riding Luan across the phoenix", and later generations took Xiao Shi and Nong Yu as symbols of love and beauty of husband and wife, and gave birth to many imaginations about the fairy of ChengLuan. In the Tang Dynasty, there is also a legend of the Guanghan Palace "Su'e Riding luan". The fairy in this work is reminiscent, especially the full moon behind it, highlighting the meaning of the Celestial Realm or Guanghan Palace. The moment the fairy looks back at the moon, the melancholy exudes vivid depictions, the fairy streamers flying, the birds soaring, and the full moon in contrast.
Qi Baishi "Dangui Double Rabbit"
At sotheby's Autumn Auction in Hong Kong in 2011, Qi Baishi's "Dangui Double Rabbit" sold for HK$6.26 million, and the following year, at the Beijing Metropolitan Alliance's 2012 autumn auction, the work fell for 6.21 million yuan, adding commissions for a total of 7.1415 million yuan.
Feng Zikai's hometown tonight moon
Modern Ren Zhiying "Chang'e Running Moon". Ren Zhiying is a modern Chinese comic strip artist, Nian painter and Chinese painter, who is good at painting heavy color figures, mostly based on national heroes, classical novels, myths and legends and folk tales, and has long been engaged in the creation of Chinese paintings, new comic strips and New Year paintings. His comic strip "Chang'e Running Moon" was widely loved by the public after its publication.