Chuan Song Zhang Zeduan Qingming Yi Sketch Collection of the National Palace Museum in Taipei
This painting is titled "Qingming Yi Jian Tu", which is derived from the "I Ching. "Easy is easy to know, simple is easy to follow." That is, the meaning of simplicity and simplicity, the author hopes that through the picture, the viewer can see the bustling scenery of the capital at a glance. Zhang Zeduan (active in the 12th century), zizheng dao, Tobu people. He is good at painting boats, cars, bridges, and houses, and makes "Qingming On the River", which is now in the Palace Museum in Beijing, and is imitated by later painters. This painting is slightly divided into the countryside, the greeting procession, the Hongqiao Market, the inside and outside of the city wall, and the Bridge of Tianjin. The painting method of mountain stones and trees is quite different from the original painting, the pen power is weak, the color is decorative, and the space is flat, which should be a facsimile of the Ming Dynasty.
Zhang Zeduan was painting in Beijing, how could he pass the painting to the Jin court
The "Brief Diagram of The Qing Dynasty and The EasyNess" now in the National Palace Museum in Taipei has Zhang Zeduan's signature "Hanlin Painting Historian Zhang Zeduan Jincheng" on the mountain stone at the end of the volume, and according to the records of the Ming and Qing dynasty literati, the original has "Five Years of Tianfu" and Jin Zhangzong's first five-word poem, and the inscription "Give Money to Noble Concubines" is written. When the Qianlong Emperor of the Qing Dynasty remounted, he cut off the "Five Years of Tianfu" and the five-word poem.
Qianlong inscription: "Heavenly auxiliary style words, covered out of mediocre hands... Due to the fate of the reloading, the cut is fake and true. This picture is contained in the "Shiqu Baodi Continuation", NingShou Palace records the clouds: "Set color boundary paintings, paint the female tour of the Qing Ming Dynasty in Beijing, and the grandeur of Zhouche City." Paragraph: Hanlin painting history Zhang Zeduanjin [on the stone]. ”
According to Mr. Liu Yuanlin, who has seen this picture, the city signs in this picture, such as "Huixian Tavern", "Li Shishi Wahuan", "Peony Pavilion", etc., can be found in the "Tokyo Dream Hualu", which is enough to show that it is in line with the background of the times.
In addition, the transcripts of this figure, such as the inscriptions of Yue Xuan and Li Dongyang, and the records of Li Rihua's "Diary of WeiShuixuan", can also prove that this figure is the authentic handwriting of Zhang Zeduan; but the vast majority of researchers have denied Liu Yuanlin's analysis and judgment, for the following reasons: Regarding Zhang Zeduan's inscription, first of all, the Imperial Palace Painting Institute during the Northern Song Dynasty had the titles of Pending Commandment, Waiting, Art Studies, Painting Scholar, Student, and Offering, but there was no title of "History of Hanlin Painting", and "History of Painting" was the general name for painters. As for the inscription in which Jin Taizu's "Five Years of Tianfu" should be three years of Emperor Xuanhe of the Song Dynasty, if Zhang Zeduan was painting in Beijing at that time, how could he pass the painting to the Jin court? Besides, the Five-Year Golden Man of Tianfu was fighting with the Liao people in the northeast, so how could the Gold Lord be in a good mood to appreciate the pictures? As for Jin Zhangzong's five-word poem and the "gift of money and noble concubines" Yunyun, it is proved that Jin Zhangzong's favor is Li Yuanfei, and none of the concubines has the surname Qian. In short, these paragraphs and treks are contradictory and obviously falsified.
Regarding the so-called "Song Dynasty scenery" in the picture, first, there is no "peony pavilion" in Beijing. There is a sentence in the "Tokyo Dream Record": Qionglin Garden "there is a moon pond plum, pavilion peony", which refers to the plum on the moon pond, the peony at the pavilion, and the cover uses a dual sentence to describe the scenery. Second, the so-called "Huixian Tavern" does not have this name. There is a "Huixian Restaurant" in "Tokyo Dream Hualu" and no "Huixian Tavern", and Zhang Zeduan could not have fabricated it to such an extent. Third, "Li Shi Shi Wa" is not recorded by the Song people. Moreover, after Li Shishi was favored by Emperor Huizong of Song, he was named "Concubine Li Ming" and "Lady Yingguo", how could Zhang Zeduan be written into the picture to present the emperor's imperial palace? It can be seen that such so-called market moves that are completely consistent with historical materials cannot actually withstand serious scrutiny.
In addition, the "Qingming Yijian Map" is the same as the "Qingming River Map" collected in the United States, which also paints brick walls and stone arch bridges, and the format of the urn city is not consistent with the original. Moreover, at the beginning of the picture scroll, the suburban scenery of Beijing is in the shape of distant mountains and mountains, nor is it a real scene of Kaifeng.
Finally, from the perspective of the style of the painting era, "Qingming YijianTu" is the same as the "Qingming River Map" collected in the United States, without a little Song style, which even Mr. Liu Yuanlin himself has to admit. Now some scholars think that it is a facsimile of the Yuan Dynasty, and some scholars think that it is a facsimile of the Ming Dynasty, and how it is, we can continue to explore, but it is not a Song painting, but it is the consensus of people. (Text/Chen Zhao, "Interpretation of the Map of the Upper River of the Qingming Dynasty", published by Shanghai Ancient Books Publishing House)
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