Since the Northern Song Dynasty branch member Wailang Song Di created the "Eight Views of Xiaoxiang", the poem and painting motifs have been recited through the titles of Huihong, Su Shi, Zhou Dunyi, Sima Guang and others, which has become a classic intention widely circulated in cultural history. Furthermore, Guanzhong, Luoyang, Yanjing, and Jinling were all objects of love and chanting written by literati of past generations.
1. Eight views of Jinling to ten scenes of Jinling
Jiangnan Jialidi, Jinling Imperial Prefecture. Nanjing has experienced the baptism of the wind and rain of the Six Dynasties, which can touch the sensitive mood of the literati even more. During the Hongwu period, Shi Jin, a scholar, for the first time sang "Eight Views of Jinling" in the "Collection of Du Drunken Pavilions", and titled "Zhong Fu Chaoyun", "Shicheng Jixue", "Longjiang Night Rain", "Fengtai Autumn Moon", "Tianyin Qiao Song", "Qinhuai Fishing Flute", "Wuyi Xizhao", and "White Heron Spring Wave" in turn.
Zhong Fu Chaoyun
[Zhong Fu Chaoyun] Mountain shape Gao Li Cui smiled, and the rocky clear clouds were sealed. The rising sun becomes five colors and turns into a thousand peaks of rain locks. Flying or chaotic pine crane, shu roll long with the bottom of the cave dragon. If you want to visit Zhao Ti, there is nowhere to be found, and you can only listen to the forest bell.
Shicheng Jixue
[Shicheng Jixue] Shilu moss traces snow gradually dawned, and the morning light reflected the clothes. A thousand chapters of glass trees are columns, all the way to the clouds and the sun. The shadows of the trenches scattered ink, and the female wall opened with frozen jade. Suddenly taking advantage of the thin and thin to find plums, how many people are still hiding.
[Longjiang Night Rain] Black clouds drag rain over Changting, trance like beads scattered purple Qing. The sound to the pillow frightened butterfly dream, the wind back to the bottom of the dragon fishy. The fishing lights are faintly isolated in the village, and the reed leaves are whispering on both sides of the strait. I have woken up late at night, full of thoughts.
[Fengtai Autumn Moon] In the middle of the cloudless moon, the people leaning on the Guanghan Palace. Several rows of geese fall into the sky, and a song of sheng passes the crane leeward. Incense whisks a few feasts of cinnamon seeds, dew with brilliant drops of sycamore. Late at night, I felt sleepless and lay down to watch the ice wheel crush the blue sky.
Heavenly Seal Tree Song
[Tianyin Qiao Song] Sandwich road green mountains surrounded by green snails, every smell of trees singing away smoke lotus. The dark crane dreams through the clouds, and the soft answer comes out of the stream, and listens to it with a half-hearted staff a few degrees, and sometimes a song is wiped over. Late to relax the long Matsushita, Fuwa Iwama buckle horn song.
Qinhuai fishing flute
[Qinhuai Fishing Flute] A ting red indigo is embellished with remnants of xia, and two fishing boats are moored in shallow sand. The horizontal flute blows a tuneless tune, and the forest is scattered and roosted with crows. The sound echoed back to the Shen Jiao Room on the wild shore, and the sound of the river wind and waves. How many people have not returned to the end of the world, but they have listened to it in the middle of the night and missed home.
Dark night light
[Wuyi Xizhao] Deep Lane winds through jiuyuan, and the south lane of the lane is as far as the north of the building platform. The curtain was put into the sun by itself, and Wang Xie Nan came with the swallow. The spring light of the flower bucket is full of clouds, and the mountains contain twilight paintings. Several drunken groans were whipped, and the shadows of the trees weighed heavily on the green moss.
Egret Spring Wave
[Egret Spring Wave] A river of clear green ripples, the flat embankment rain at night. Warm peach blossoms follow the painting of the quail, and the shadows of the inverted trees blow the Milky Way. Flocks of gulls lie on the algae piles of residual snow, and double herons stand on thin sand. He Ri tied the boat to the willow bank, drunk and listening to fishing songs.
If you look around the specific locations of these eight landscapes on the map, they are all closely related to the areas through which the Yangtze or Qinhuai Rivers flow. Shi Jin was eager to learn since childhood, and also worked in calligraphy and painting, and traveled from Ni Zhan, Gao Qi, Even Huan, Yang Weizhen and others, and was a guest of Gu Ying's Yushan Caotang. The existing historical data cannot confirm whether Shi Jin ever created a painting with the theme of "Eight Views of Jinling", but his poetry had an impact on the painting world of later generations.
During the Longqing period, the cloth poet Huang Keyi traveled to Nanjing and created a set of "Eight Views of Jinling" album, which is now in the Jiangsu Provincial Art Museum, each with the theme of "Zhong Fu Chaoyun", "Qinhuai Fishing Flute", "Tianyin Qiao Song", "Shicheng Jixue", "Longjiang Smoke and Rain", "Fengtai Night Moon", "Egret Spring Tide", "Wuyi Xizhao" ("Zhong Fu Chaoyun" and "Longjiang Smoke and Rain" have now dispersed) The objects of expression selected by the painter are completely consistent with Shi Jin's "Eight Views of Jinling", and only the individual titles have text differences, which shows the close connection between the two.
The conscious consciousness of the literati group in constructing urban landscapes in the form of poetry and painting is obviously related to the gradual prevalence of travel customs since the middle of the Ming Dynasty, and Huang Keqian's life tour is only one of them. As an important capital of the Ming Dynasty and a political, economic and cultural center, Nanjing naturally became a hot spot for literati to travel. After Wen Zhengming traveled to Nanjing, he once painted "Ten Views of Jinling", "the painting method is delicate and elegant, detailing its penmanship, and Gai Shengnian zuoye." Unfortunately, this set of works has now been lost.
2. Eighteen views of Jinling to twenty scenes of Jinling
Wen Boren, a member of the Wen family at the same time as Huang Keqian, tried to depict similar themes, expanding the ancient and modern scenic spots of Nanjing to the "Eighteen Views" in an unprecedented way. Eighteen Views of Jinling: One, Three Mountains. Second, the grass hall. Three, rain flower platform. Fourth, Niushou Mountain. Fifth, Mochou Lake. Sixth, shoot the mountain. Seven, Phoenix Terrace. Eight, the new pavilion. Nine, Stone City. Ten, long dry. Eleven, Egret Island. XII, Green Creek. Thirteen, Swallow Rock. Fourteen, Taiping Causeway. Fifteen, peach leaf ferry. Sixteen, the White Gate. Seventeen, Fang Shan. Eighteen, New Forest. Created in the sixth year of Longqing (1527), "Eighteen Views of Jinling" (now in the Shanghai Museum) has its own special value compared with the "Eight Views" of Shi Jin, Huang Kehan and others. This is not a quantitative difference in the simple sense, but it profoundly reflects the Ming Dynasty literati's understanding of Nanjing's urban landscape, which is undergoing potential changes.
After careful analysis, it is not difficult for us to find that the "Eighteen Views of Jinling" drawn by Wen Boren basically revolves around the four major themes of the Yangtze River, Qinhuai, Hushan, and City Walls, and has two important characteristics. First, he implemented the originally grand landscape intention in the old "Eight Views" into a more specific situational narrative, examining the humanistic connotation and nostalgic intention in the urban landscape from a mesoscopic or microscopic perspective, so that the viewer has a lofty imagination space. Second, the choice and trade-off of the "Eighteen Views" is certainly a reflection of the general interests of the Ming Dynasty society, but it can still reflect the subjective influence of the painter.
Zhu Zhifan
During the Years of Wanli and The Apocalypse, the literati groups led by Yu Menglin, Jiao Shao, Zhu Zhifan, Gu Qiyuan, etc. began to lead the literary world, and they tried to break the traditional calligraphy and painting in the literati bookstore to entertain themselves, and established the cultural picture of the urban landscape of Nanjing in the Ming Dynasty by means of engraving and printing. Yu Menglin (Chinese: 余孟麟; pinyin: Jīng Menglin), also known as Jiang Ning (江宁), was the author of the Wanli Second Year (1574) and later served as the editor of the Great Ming Huidian (大明会典), and in the fourteenth year of the Wanli Dynasty (1586), he served as the superintendent of the Nanjing Guozi, and six years later (1592) he was promoted to the sacrificial wine. Just when his reputation was rising, he went to the book to beg for return, traveled all over the best places in jinling landscapes, and whenever he felt it, he helped to take notes, and then collected these poems with the initiatives of Jiao Zhu, Zhu Zhifan, Gu Qiyuan and other three people, known as "Yayou Compilation".
"Forty Views of Jinling" of the niushou Yanlan
Gu Qiyuan's "Guest Sayings" recorded this grand event in detail: Mr. Yu Youfeng visited twenty famous places in Jinling in his lifetime, each of which wrote poems, Such as Zhong Shan, Yue Niu Shou Shan, Yue Mei Hua Shui, Yue Yan Zi Ji, Yue Ling Gu Temple, Yue Feng Tai, Yue Tao Ye Du, Yue Yu Hua Tai, Yue Fang Shan, Yue Luo Xing gang, Yue Xian Hua Yan, Yue Mo Shuo Lake, Yue Qing Liang Temple, Yue Hu Cave, Yue Chang Gan Li, Yue Dong Shan, Yue Ye Cheng, Yue QiXia Temple, Yue Qingxi, Yue Da mo cave.
The four celebrities who participated in the "Twenty Views of Jinling" initiative were all natives of Nanjing, including two champions, one bangyan and one tanhua. Such a luxurious lineup of literati groups does have enough social appeal and influence.
3. Twenty views of Jinling to forty views of Jinling
At the age of sixty-six, Zhu Zhifan, a friend of the Ming Dynasty scholar Yu Menglin, simultaneously submitted Chen Yi's "Ancient and Modern Tu kao of Jinling", Yu Menglin's "Yayou Compilation" and his own compilation of "Forty Images and Poems of Zhu Zhuangyuan Jinling", obviously in order to more extensively display the humanistic value and historical connotation of Nanjing's urban landscape in the form of publication. "Jinling Ancient and Modern Tukao" is an atlas of the evolution of Nanjing's urban pattern, accompanied by the author's textual reference. The "Forty Views of Jinling Pictorial Poetry of Zhu Zhuangyuan" transformed the pen and ink tuyong that originally belonged to the literati's study into a widely disseminated form of printmaking, and for the first time in history expanded nanjing's historical sites into forty scenic spots: Zhong Fu Qingyun, Shicheng Jixue, Tianyin Qiao Song, Qinhuai Fishing Singing, Egret Spring Tide, Wuyi Evening Illumination, Fengtai Autumn Moon, Longjiang Night Rain, Hongji River Stream, Pingdi Lake Water, Chicken Cage Cloud Tree, Niushou Yanluan, Taodu Linliu, Xingcun Qingjiu, Xiedun Qingxing, Xiongguan of The Lion Ridge, Qixia Shengjiao, Rain and Flowers, Listening to the Rain by Falsehood, Temple of Heaven, Changgan Spring Tour, Yanji Xiaowang, Shogun Sendai, Dharma Lingdong, Linggu Deep Pine, Qingliang Huancui, Suyan Lingshi, Dongshan Chess Villa, Jiashan Stone Wall, Qize Longchi, Qingxi Youfang, Tiger Cave Yuxun, Hoshioka Drinking Xing, Mo Shuo Kuang, Bao'en Lighthouse, Celestial Jingyu, Zutang Buddha's Traces, Huayan Xingcha, Yelu Youqi, Changqiao Yan appreciation.
Zhu Zhifan not only strictly inherited the "Eight Views of Jinling" by Shi Jin and Huang Keyan, but also drew inspiration from Wen Boren's "Eighteen Views of Jinling" and Yu Menglin's "Twenty Views of Jinling", and also updated them with his own vision, including historical sites from the Qin and Han dynasties and the Six Dynasties period, as well as new or reconstructed attractions of the Ming Dynasty. Whether it is the drawing of the picture or the explanation of the text, it is infiltrated with the author's attachment and enthusiasm for the historical city of Nandu.
"Forty Views of Jinling Tuying" of the Heavenly Seal Fang Mountain
To sum up, the Ming Dynasty was an important historical period in the construction of Nanjing's urban scenery. Starting from the "Eight Views of Jinling" by Shi Jin, Huang Keyi and others, we tried to combine poetry and painting, through our own historical cognition and aesthetic experience, to shape the wonderful fragments of urban memory that are enough to stand in the annals of history. The emergence of Wen Boren's "Eighteen Views of Jinling" has further strengthened and confirmed this tradition of mutual interpretation of pictures and texts. With the rapid development of the concept of travel and consumption, Zhu Zhifan and others established the "Forty Views of Jinling" as the landscape coordinates of Nanjing's urban culture with more practical means of publishing and dissemination. Behind these seemingly personal subjective intentions, in fact, they all implie the group consciousness of the literati society.
bibliography:
Tang Yuxing, "The Construction of Nanjing CityScape in the Ming Dynasty: From "Eight Views of Jinling" to "Forty Views of Jinling"", Art Work, No. 9, 2019.