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The significance of the painting history of Li Yan's "Southern Song Dynasty Painting Catalogue":
There are two or three cases of errors in the "Painting Catalogue of the Southern Song Dynasty" that is not well understood
Li Fanghong
Li Yan's "Painting Catalogue of the Southern Song Dynasty" is an important historical material for the study of southern Song court painting, and is a work on the history of painting of the Southern Song Dynasty. The "Southern Song Dynasty Painting Catalogue" not only provides the history of the Southern Song Dynasty Painting Academy, but also sorts out the stylistic genealogy of the Southern Song Dynasty painting. On the one hand, the stylistic genealogy it constructs indicates its teacher inheritance through the way of the painter's biography, and on the other hand, it clarifies the influence of the Southern Song Dynasty painting on the development of Ming and Qing painting by combing the historical inscriptions of the Southern Song Dynasty paintings. In the extant version of the "Southern Song Dynasty Painting Catalogue", it is better to know less than the Jai Ben. Although this version has been carefully proofread by Bao Tingbo, there are also some errors in the knowledge of painting history.
"Southern Song Dynasty Paintings"; Courtyard Paintings; Stylistic Genealogy; Editions; Errors
Journal of Nanjing Academy of the Arts (Art and Design Edition), No. 3, 2021; Li Fanghong, Assistant Researcher, Institute of Fine Arts, China Academy of Arts.
Nansongyuanhualu
In the history of the development of Chinese painting, the relationship between painting and politics is closely linked. The political function of Chinese painting is clearly recorded in Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties" in the Tang Dynasty: "Husband painters, becoming enlightened, helping others, poor gods, measuring subtleties, and performing the same work as the six books." "Court painting, as a means of indoctrination, has always been valued by the ruling class. The Academy of Painting was the main institution that organized court painting.
During the Five Dynasties period, court painting began to flourish, and during the Northern Song Dynasty, the painting academy formed a set of relatively mature systems, which greatly promoted the development of painting and created a model for the court painting academy in later generations. The term "painting academy" first appears in Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties", Volume IX, "Fa Ming" article: "Fa Ming You Gong writes about appearance, Tu Chengjinzhi, is called good, and hides its origin in the painting academy." "Courtyard painting" refers to the paintings created by the painters of the academy, which are an important part of Chinese painting. Discussing the relevant issues of Southern Song Painting, Southern Song Dynasty painting should be the focus of research, and the "Southern Song Dynasty Painting Catalogue" compiled by Li Yan in the Qing Dynasty is a history of southern Song Dynasty painting academy. Looking at the "Southern Song Dynasty Painting Records", it is found that Li Hu recorded the documents of his predecessors, systematically described the system of the Southern Song Dynasty Painting Academy and the biography of painters in the academy. Therefore, the "Southern Song Dynasty Painting Record" is actually a history of the Southern Song Dynasty Painting Academy. Li Yan named this book "Southern Song Dynasty Painting Catalogue", in fact, he wanted to put the southern Song Dynasty painting academy into the historical tradition of courtyard painting, with the purpose of establishing a biography for the painters of the Southern Song Dynasty.
1. Li Yan and the compilation of the "Southern Song Dynasty Painting Catalogue"
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Li Yan (1692-1752), also known as Taihong, also known as Xiongfei, Fan Xie, known as Mr. Fan Xie, a native of Qiantang, Zhejiang. Because of his later years, he moved to the south of the city, and was also called South Lake Huayin. Li Was born in the thirty-first year of the Kangxi Dynasty (1692) and died in the seventeenth year of Qianlong (1752) at the age of sixty-one. His ancestors lived in Cixi and later moved to Hangcheng East Garden. Li Yan was "less poor and sexually isolated", and lived by his brother's tobacco trafficking. Li Yan's lifelong lifelong life, life deeds into the "Qing History Manuscript Wenyuan Biography" and "Hangzhou Fuzhi Wenyuan Biography", Quan Zuwang wrote "Li Fan xie tomb inscription", Zhu Wenzao wrote "Li Fan Xie Mr. Annals".
Li's path of study and scientific expeditions began in the forty-sixth year of the Kangxi Dynasty (1707). In the same year, Li Yan was employed by Hang Shijun's father Hang Ji and became a lifelong friend with Hang Shijun. In the fifty-third year of the Kangxi Dynasty (1714), Li Yan was forced to make a living, and the guest house Wang Kun listened to the Yulou until the fifty-seventh year of the Kangxi Dynasty (1718) left, a total of five years. In the fifty-eighth year of the Kangxi Dynasty (1719), Li Hu traveled to Yangzhou and lived in the Xiaolinglong Mountain Pavilion of "Yangzhou Erma", singing and interacting with Yangzhou literati such as Quan Zuwang, Yuan Mei, Li Dou, Jin Nong, Hua Zhao, Lu Jianzeng, or literati, artists, and salt officials living in Yangzhou. Yangzhou has an important position in Li Yan's life, and in the more than thirty years of living in Yangzhou, he has created a large number of poetic works. In the fifty-ninth year of the Kangxi Dynasty (1720), Li Yan took part in the township examination, and the article was quite eye-catching: "The cabinet scholar Li Fudian Zhejiang examination, The Hu Zhongzhong Volume, read his thank you table, and know that this must be a poet." Urgently recorded. The next year, Li Yan arrived in Beijing to participate in the examination and fell behind. For more than ten years, Li Hu did not participate in scientific expeditions. In the first year of Qianlong (1736), Cheng Yuanzhang, the governor of Zhejiang, recommended Li Yan to learn Hongzi, because "he miswrote the theory before the poem, and then reported it.". In the thirteenth year of Qianlong (1748), he went to Duquan and returned with a choice. In the sixteenth year of Qianlong (1751), the emperor toured Jiangsu and Zhejiang in the south, and Li Yan and Wu Cheng co-wrote the "Yingluan New Song" and submitted it to the emperor. In the autumn of the following year, Li Died of Illness.
Li Yan did not succeed in his life, and most of the time he focused on writing books and sayings, and achieved certain achievements, becoming a leading figure in the poetics of the Zhejiang school in the Qing Dynasty. Li Yan's poems are lonely and thin, and he has a unique path, becoming the founder of the Zhejiang school in the Yong and Gan dynasties, and presided over the Jiangsu and Zhejiang poetry circles for more than 30 years, which has a considerable influence on the fashion of Jiangsu and Zhejiang poetry in later generations. Li Yan also worked on the southern Song Dynasty Jiang Kui as the sect, leading the Zhejiang Western Poetry School. In his early years, Li Yan lived in the Xiaolinglong Mountain Museum in Yangzhou and exhibited the secret books and rare books collected by Ma Shi, laying a solid foundation for future writings. Li Yan had a collection of poems "Fan Xie Shan Fang Collection" in twenty volumes, and the "Outline of the General Catalogue of the Four Libraries" commented on this: "The ten sons of Xiling in the early days of the country are far away." In addition, he also has 100 volumes of "Chronicle of Song Poetry", 24 volumes of "LiaoShi Shi Shi Zhi", two volumes of "Dongcheng Miscellaneous Records", one volume of "Lake Boat Record", eight volumes of "Southern Song Dynasty Painting Record", one volume of "History of Yutai Books", and four volumes of "Qiulin Qinya", and also participated in the revision of "West Lake Chronicle" and "Supplementary Yunlin Temple Chronicle", and cooperated with friends to compile seven volumes of "Southern Song Chronicle Poems", and "Wonderful Good Words" with careful notes. In September of the seventeenth year of Qianlong (1752), Li Hu was critically ill, and on his deathbed, he entrusted all the manuscripts to the doorman Wang Xun.
The Southern Song Dynasty Painting Catalogue is a history of Southern Song Dynasty painting. Following the writing mode of traditional painting history works, Li Yan systematically sorted out and compiled the painting academy system, painters and works in the Southern Song Dynasty. The whole book consists of eight volumes, the beginning of the volume has a self-order of Li Yan and a chronology of the painters of the academy, and the existing versions are found in the self-order, and the chronology is missing. Volume 1 is an overview, describing the history of painting in the Southern Song Dynasty, the address of the academy, the promotion system, the examination topic, the title of the painter, the famous painter of the academy, the type of painting, the characteristics of the painter's brush and ink, the painting technique, and the paper silk used. Volumes II to VIII are all biographies of painters of the Southern Song Dynasty, and according to the chronological order, according to the pattern of painter biographies, teacher teaching, heirloom paintings, depictions of paintings, and inscriptions of posterity, each of which has a clear source. The number of entries cited by each painter ranged from one to nearly a hundred. A total of ninety-eight painters are listed in the book.
The "Southern Song Dynasty Painting Record" is a detailed and rich collection of previous documents. In the preface, Li Yan clearly stated the source of the book's data, namely: "Yu jia gu hang, di le ji people's name traces, examination of the "Dream Liang Record", "Wulin Old Things" and other books, the surname of the few survivors, is it not because of the courtyard paintings less? In his spare time, because of the two books of "Picture Painting Treasure Book" and "Painting History Society", he was like a dry person, searching for Ming Xian chants and inscriptions, and collecting connoisseurs with his husband, which was called "Southern Song Dynasty Painting Record". I am ashamed that my family lacks secret books, my knowledge is narrow, and there are gaps, but fortunately, the ancient gentleman helps me. From the above description, it can be seen that There are three sources of data for Li Yan to write this book: one is the note novel, such as "Dream Liang Record", "Wulin Old Things", etc.; the second is the painting history works, "Picture Painting Treasure Book", "Painting History Will Be", etc.; the third is related inscriptions, such as "Ming Xian Chant, Inscription, and Connoisseur Of The Husband's Collection". As for the secret books mentioned in the good ancient gentlemen to help each other, from the content of the "Southern Song Dynasty Painting Records", such secret books are not clearly marked, referring to rare ancient books, or paintings passed down from generation to generation, the author cannot make a judgment. Regarding the literature cited by Li Yan, the "Fine Arts Series" is followed by a brief catalog, and there are ninety-one kinds of citations in the "Southern Song Dynasty Painting Catalogue". Looking through the incomplete Zhai benefactory "Southern Song Dynasty Painting Catalogue", it can be seen that there are 214 kinds of bibliographies cited.
For documentary materials such as note novels, painting history works, and inscriptions, Li Yan used them in detail. By examining Li Yan's handling of these documentary data, we can glimpse the principles of his compilation of documents: note-taking novels and painting history are a kind of useful supplement, which can not only corroborate historical facts with painting history, but also supplement painter anecdotes. Nevertheless, Li Hu's citations in this book are limited in the number of novel entries, only in an overview of the art academy system, promotion examinations, etc., and almost no reference to painter anecdotes. There are not many cited notes on novels, such as "Past Events of Wulin", "Dream Liang Record", "Zunsheng Eight Notes", "Chronicles of Long Objects", "Notes on LiuYanzhai", "Notes on Visiting the West Lake", "Notes on Xiangzu" and so on.
In terms of painting history works, Li Hu attaches great importance to the names, places of origin, teachers, positions, paintings and other contents of the painters, in order to provide historical facts for the painters of the academy. In order to solidify this part of the historical facts, Li Yan also cited documents such as Chen Shan's "Hangzhou Fuzhi", Shen Chaoxuan's "Renhe County Chronicle", Fang Peng's "Kunshan Zhi" and other documents as mutual verification or supplement to the history of painting.
The inscription related to painting is the focus of Li Yan's attention, and it is also a significant feature of the "Southern Song Dynasty Painting Record" in the citation of materials. The inscription exists on the basis of works, and Li Hu's attention to the inscription also indirectly reflects his emphasis on the "courtyard painting works" of the Southern Song Dynasty Painting Academy. For these inscriptions, Li Yan carried out systematic processing, mainly reflected in the completeness of the data. Li Yan quoted a large number of painting history books on the inscriptions of paintings such as "Preparation for The Examination of Paintings", "Examination of Calligraphy and Painting in Shigutang", "Coral Network", "Notes on Calligraphy and Painting Inscriptions", "Records of Calligraphy and Painting", "Records of Qinghe Calligraphy and Painting", "Records of Authentic Deeds", etc., in addition to a large number of personal anthologies related to inscriptions and bibliographies, such as "Four Drafts of The Mountain People of Yizhou", "Dongtu Xuanlan", "Gucheng Mountain House Collection", "Seven Revision Drafts" and so on. All this shows the efforts made by Li Yan in the pursuit of completeness, just as Bao Tingbo's annotation in the "Records of the Southern Song Dynasty" of the Zhibei Zhai Ben: "Zhang Taijie's "Treasure Painting Record" twenty volumes, inscribed in the last year of the Shengguo, has been circulated very little, and few bibliophiles know its name. Bian Zhongcheng carved "Calligraphy and Painting Examination", and the collection was not enough, which showed that Mr. Fan Xie read a lot. The above statement does not mean that the "Southern Song Dynasty Painting Catalogue" has reached complete completeness in Li Yan's hands, but aims to illustrate the breadth of Li Hu's collection of literature.
From the literature data cited by Li Yan and the use of data, it is explained that the "Southern Song Dynasty Painting Record" is a work of painting history, a painting history of the Southern Song Dynasty Painting Academy, and a compilation of historical materials of the Southern Song Dynasty painting.
2. The historical value of the Painting Catalogue of the Southern Song Dynasty
The Southern Song Painting Academy is an important part of the Southern Song Dynasty painting, and compared with the rich research results of the Northern Song Painting Academy, the research of the Southern Song Painting Academy is much inferior. It is undeniable that the reasons for this situation are manifold, the most important of which is the lack of relevant original materials of the Southern Song Dynasty Painting Academy. The narrative of the paintings of the Southern Song Dynasty is rare in the literature handed down from generation to generation, mainly including the elaborate "Past Events of Wulin", Zhuang Su's "Painting Succession Supplement", Tang Gao's "Painting Book", Xia Wenyan's "Picture Painting Treasure Book", and Li Yan's "Southern Song Dynasty Painting Catalogue". Modern art historians have different discussions about whether there was a painting academy in the Southern Song Dynasty, and researchers who admit that the Southern Song Dynasty existed basically focused on the above documents; while deniers also based on deconstructing the above documents, believing that the Southern Song Painting Academy was just a virtual existence in the history of painting, and that the Southern Song Dynasty never existed as a physical painting academy. In this academic controversy, the importance of the "Southern Song Dynasty Painting Catalogue" to the Southern Song Dynasty Painting Academy has not received enough attention from researchers.
The "Southern Song Dynasty Painting Catalogue" established the existence of the Southern Song Dynasty Painting Academy from the literature. Although there are 214 kinds of books cited, the most important sources are concentrated in Deng Chun's "Painting Succession", Zhuang Su's "Painting Succession", Xia Wenyan's "Picture Painting Treasure Book", Wang Zhenyu's "Coral Net", Zhang Qiu's "Qinghe Calligraphy and Painting", Zhu Mouyuan's "Painting History", Wu Qizhen's "Book of Calligraphy and Painting", Bian Yongyu's "Examination of Calligraphy and Painting". Examining the above documents, the time span is from the Yuan to the Qing Dynasty, which basically includes the relevant records of the painting history documents on the paintings of the Southern Song Dynasty. Of course, there is a problem of mutual plagiarism and error in these painting history documents, but the documentary value and rigorous examination of Deng Chun's "Painting Succession", Zhuang Su's "Painting Succession Supplement", and Xia Wenyan's "Picture Painting Treasure Book" are publicly discussed. The biographies of the painters cited in the "Painting Catalogue of the Southern Song Dynasty" are mostly from these three painting history works. Not only that, Li Yan also quoted a collection of writings by the Song and Yuan dynasties, as evidenced by the fact that the Southern Song Dynasty Painting Catalogue cites as many as two hundred and fourteen kinds of bibliographies. Li Yan's multi-faceted examination of the cited literature and striving for accuracy is the credible basis of the "Southern Song Dynasty Painting Catalogue". History should have a fair evaluation of this. Regarding the extensive quotations from the "Catalogue of Paintings of the Southern Song Dynasty", the "Compendium of the General Catalogue of the Four Libraries" commented: "The quotation is profound, and the relics have been collected and exhausted"; for its rigor, Yu Shaosong commented: "All have detailed provenance, and there is a sign by faith."
The "Southern Song Dynasty Painting Catalogue" is written according to the traditional painting history model on the basis of extensive quotation of historical documents and detailed examination. For the system, address and other items of the painting academy are quoted from the works of Zhao Sheng, Zhou Mi and others who are familiar with the southern Song Dynasty canonical system, and adhere to the literature examination, adhering to the principle of "words are more valuable than documentary", scholars' works are selected; while the biographies and related articles involving painters are quoted from the "Painting Succession", "Painting Succession Supplement", "Picture Painting Treasure Book", etc. "Are special books of a strong nature, first they start from examples, then they are diligent in searching, and finally they are strict in pen cutting, so as to make a family's words"; the painting titles are quoted from the poetry collection of detailed and proofreading. And combined with the comparison of the works passed down from generation to generation, this can be confirmed by the inscription inkblots of the few painters of the Southern Song Dynasty.
Li Hu never questioned whether there were painting academies in the Southern Song Dynasty. In Li Yan's knowledge system of painting history, the Southern Song Dynasty Painting Academy did exist, but it was only a lack of systematic collation in the historical documents. Based on this historical responsibility, Li Hu did the work that had not been done before, and wrote the "Painting Catalogue of the Southern Song Dynasty". This is not only the fundamental motivation for Li Yan to write this book, but also proves that Li Yan has no doubt about the existence of the Southern Song Dynasty Painting Academy in history. In the "Self-Introduction" written by Kangxi in the sixtieth year (1721), Li Yan said: "During the Song Dynasty, Siling was idle in several affairs, obsessed with art learning, and ordered Bi Liangshi to open a field, and collected the north to scatter calligraphy and paintings, while the courtyard people often sprinkled Chenhan to favor them. Therefore, for more than a hundred years, he has been waiting for the edict and waiting, and he has been able to produce a lot of hands, and he has also announced and left behind the political legacy. Gu Li Tang's following, such as the "Jin Wen Gong Fu Guo Tu" and "Guan Chao Tu" and the like, rely on the rules and regulations, and so on, and are almost in line with the relics of the ancient painting history, and must not be played with everything that should be given. Yujia Guhang, Di Le Ji people's famous deeds, examination of "Dream Liang Record", "Wulin Old Things" and other books, the surname of the few survivors, is it not with its courtyard paintings less? It can be seen from this that, first, Li Yan expounded on the historical inheritance and mission of the painting academy, that is, "during the Song Zhongxing, Siling had several idle duties, he was obsessed with art studies, he ordered Bi Liangshi to open the field, and collected calligraphy and paintings from the north", the purpose of which was to publicize the Southern Song Dynasty Zhongxing and highlight the cultural achievements of the Song Gaozong in rebuilding the painting academy, Li Yan believed that and achieved the historical achievements of "being able to produce a lot of hands, but also publicizing and political legacy"; secondly, Li Yan felt that the painting language of the Southern Song Dynasty Academy in the historical books was not clear, that is, "Examination of "Dream Liang Record" and "Wulin Old Things" and other books, there are few surnames, Isn't it because of its courtyard paintings? It can be seen that Li Yan wanted to paint a book for the Southern Song Dynasty; finally, he determined the historical status of the academy, that is, the works produced by the academy were for the purpose of "relying on the rules and regulations of irony", and believed that it was "a relic of the history of ancient painting, and must not be played well with everything", emphasizing the indoctrinating role of the academy.
In the above-mentioned "Self-Introduction", Li Hu started from the inheritance of the painting academy, believing that the Southern Song Dynasty painting academy completely inherited the Xuanhe Painting Academy. He used phrases such as "painting by the courtyard people" and "waiting for the edict, waiting for the emperor, and being able to produce a generation", which is enough to prove that Li Yan confirmed the existence of the Southern Song Dynasty Painting Academy. In the history of Chinese painting, terms such as "courtyard people", "to be commanded", "waiting" and so on have their specific usages and specific meanings, that is, in the narrative of art history, such terms are only used in the narrative of court art. Li Yan used such a term to describe the Southern Song Dynasty Painting Academy, indicating that he not only inherited the views of his predecessors, but more importantly, he had a systematic understanding of this issue. Li Yan clearly judged that there was a painting academy in the Southern Song Dynasty, and inherited the institutional model of the Northern Song Painting Academy, with the direct support of Emperor Gaozong of Song, there was a specific operating mechanism. With such a systematic understanding, Li Yan was more comfortable and certain in his writing, such as determining that Ma Hezhi, Su Hanchen, Li Anzhong, Chen Shan, Lin Chun, Wu Bing, Xia Jue, Li Di, Ma Yuan, Ma Lin, etc. were painters of the academy; the painters of the academy must first submit small drafts, and then present the creative process of the real works; the address of the painting academy is in wulindi, which is known as the former garden; Emperor Gaozong's self-made ideas are painters; And Emperor Gaozong's cooperation with the painters of the academy is completely born out of the Northern Song Dynasty Painting Academy, and from this point of view, Gaozong and his father Huizong are extremely similar.
The "Southern Song Dynasty Painting Catalogue" not only provides the history of the Southern Song Dynasty Painting Academy, but also sorts out the stylistic genealogy of the Southern Song Dynasty painting. On the one hand, the stylistic genealogy constructed by Li Yan pointed out the inheritance of his teachers through the way of the painter's biography, and on the other hand, he clarified the influence of the Southern Song Dynasty painting on the development of Ming and Qing painting by combing the historical inscriptions of the Southern Song Dynasty paintings. Regarding the painters of the Southern Song Dynasty Painting Academy, the Southern Song Dynasty Painting Catalogue records a total of ninety-eight people. Li Yan clearly explained the positions and teachers of these painters in the academy, among them, Li Tang, Li Anzhong, Yang Shixian, Jiao Xi, Zhou Yi, Gu Liang, Zhang Huan, Zhu Rui, Li Rui, Yan Zhong, Li Congxun, Li Di, Su Hanchen, Liu Zonggu and others came from the Northern Song Dynasty Xuanhe Painting Academy, and the painting academies after Emperor Gaozong were mostly their disciples and students. Therefore, Li Yan put these painters in the context of the development of the entire history of Chinese painting to investigate, and the meaning of their painting history is very obvious, such as "the landscape in the painting, the position of the law, each has a court, can not be connected." However, the trees are not the case, although Li Cheng, Dong Yuan, Fan Liao, Guo Xi, Zhao Danian, Zhao Qianli, Ma Xia, Li Tang, Shang Zijing, Guan, and Huang Zijiu and Wu Zhonggui can all be used. Or it must be a family of its own, this can not be, such as willow Zhao Qianli, pine is Ma Hezhi, dead tree is Li Cheng, this eternity is not easy, although it is changed, not far from the source, how can there be an original creator of the ancient law. Although this is only a quotation of Li Yan, it is indeed a quotation after selection, and from the selection criteria, it can be shown that Li Yan's position on the style genealogy and technical origin of the Southern Song Dynasty painting can be indicated.
From the "Southern Song Dynasty Painting Catalogue", it can also be seen that the influence of southern Song Dynasty painting on the later Ming and Qing paintings is carried forward from top to bottom, such as "landscape, size Li Yiyi; Jing, Guan, Dong, Ju and Yiyi; Li Cheng, Fan Liao; Liu, Li, Ma, Xia and yiyi also." Based on the factors of the times, Li Yan only excerpted Wang Shizhen's exposition, in fact, Wang Shizhen's original text was discussed more clearly, that is, "Landscape, big and small Li Yiyi; Jing, Guan, Dong, Ju and Yiyi; Li Cheng, Fan Yu also changed; Liu, Li, Ma, xia changed again; Big Fool, Yellow Crane changed again." Through Wang Shizhen's exposition, it is not difficult to understand Li Yan's view of the history of painting. The influence of Southern Song Dynasty painting on later paintings is also reflected in the inscription, as Tang Yin said in the inscription Liu Songnian's "Spring Mountain Immortal Hidden Map": "Liu Songnian's family Qiantang, for the Straight Southern Song Painting Academy, has a high physique and is painted cleanly, so at that time, the commentators were known as Liu, Li, Ma, and Xia, and also had the reputation of Bingqing, and the name was consistent, and the letter was not false. Only this volume is to get rid of this habit, and to specialize in the right side, it can be said that it is more superior. Yu wanted to imitate it, suffering was limited by energy, and whispered: It is better to let the other side end. From this, we can see the influence of Southern Song Dynasty painting on Ming Dynasty painting. From the perspective of paintings passed down from generation to generation, the paintings of the Southern Song Dynasty also influenced the painting styles of later generations, such as the works of Dai Jin and Wu Wei of the Zhejiang School in the Ming Dynasty, from composition to brush and ink, which were obviously influenced by Ma Yuan and Xia Jue. In summary, the Painting of the Southern Song Dynasty not only inherited the tradition of the Northern Song Dynasty, but also created its own style, which influenced the development of the painting style of later generations, which also proves that the Painting of the Southern Song Dynasty is real in the history of painting.
In the selection and treatment of painters, the "Southern Song Dynasty Painting Catalogue" also reflects Li Yan's understanding of the Southern Song Dynasty Painting Academy. For the selection of painters in the academy, Li Yan took the reconstruction of the history of painting as his responsibility and strived to be comprehensive and objective, and the two could not be abandoned, such as about the painter Li Xingzong, only because Li Hu checked that Zhu Yunming's home contained Li Xingzong's "Mao Nu Tu", but did not know his teacher' inheritance, good at painting, painting style, Jueli and other information, and finally was deleted from the catalog. This is enough to prove the rigorous historiographical attitude of the "Southern Song Dynasty Painting Catalogue". Li Yan has his own understanding and judgment on the painting style of the Southern Song Dynasty Painting Academy, which is also reflected in the painters he chooses, such as the "Southern Song Dynasty Painting Record" spends a large number of chapters on the teachers, works, styles, etc. of Li Tang, Liu Songnian, Ma Yuan, Xia Jue and other painters of the Academy to discuss in detail, and also has extremely detailed explanations of his work style, historical records, and inscriptions. This all reflects Li Yan's attitude and value orientation towards the painting history of the four masters of the Southern Song Dynasty. The most emblematic example of Li Yan's historical values towards the Southern Song Dynasty Painting Academy is that he put Ma Hezhi into the painting academy system to narrate. His own explanation was: "The officials of the Peace Department to the Servants of the Ministry of Works, the Xia Clan are not listed among the people of the courtyard." Kao Zhou Cao Window "The Past Affair of Wulin", containing only ten people in the Imperial Painting Academy, and hezhi is at the head of it. Or the art of peace, the general of life to pick up the affairs of the academy, I don't know. The old man left behind by the grass window south will have some basis, and now he will follow it. From this, we can see Li Yan's basic attitude toward the participation of sergeant doctors and painters of the Southern Song Dynasty Painting Academy in this historical fact, that is, he believes that a "Southern Song Dynasty Painting Record" is to a large extent a history of Southern Song Painting.
Based on the above, the relevant research that negates the existence of Southern Song Dynasty paintings based on the lack of literature is not rigorous. Through the analysis of the literature sources of the "Southern Song Dynasty Painting Catalogue", it is precisely explained that the Southern Song Dynasty paintings are real. Li Yan was very sure of this, and it was reflected in the writing process of the "Southern Song Dynasty Painting Record", which should be paid attention to and considered by later researchers.
3. An example of an error in the history of painting in the Book of Ignorance
As mentioned above, the "Southern Song Dynasty Painting Catalogue" is a history of Southern Song Dynasty painting compiled by Li Yan of the Qing Dynasty, which has an important position in the history of Chinese painting. Needless to say, even if the belly is full of economy, there are also flaws. Li Yan's strength lies in the extensive reading of books, and "searching for Ming Xian chants, inscriptions, and connoisseurs with his husband", and he is familiar with the painter's behavior and the palm of the painting world. As Bao Tingbo commented in the "Southern Song Dynasty Painting Record" of the Zhiyi Zhai Ben: "Mr. Fan Xie's banknotes often delete ancient books with intention, so the "Notes on the Six Yan Zhai" and the "Bao Painting Records" cited in the book are already there. Heavy money clearance, must find the original book, not sloppy. This shows that Bao Tingbo found many problems when he was proofreading the "Southern Song Dynasty Painting Catalogue" and wrote down the above criticism. Suo inspected bao Tingbo's correction in the "Southern Song Dynasty Painting Record" of the Zhai Ben, and he could see that his words were true.
Li Yan did not publish a separate engraving of the Southern Song Dynasty Painting Catalogue, leaving only a manuscript. Whether it was Li Yan's life or death, the Southern Song Dynasty Painting Catalogue was not included in his anthology. Qing Dynasty bibliophiles, engravers, and publishers obtained the manuscript of the Southern Song Dynasty Paintings from different sources, and carried out independent proofreading and engraving, and finally formed several versions that have been handed down to generation. At present, there are twelve versions of the Southern Song Dynasty, and these versions belong to five different systems. After comprehensively considering the various editions of the Southern Song Dynasty Catalogue, the academic community believes that Bao Tingbo's lack of knowledge is the best surviving version. This version is Bao Tingbo's "Qianlong Yan Wei Qiu from Fan Xie Shan Fang Manuscript", Bao Tingbo himself did in-depth proofreading work, and left many annotations.
Looking at the insufficient knowledge of the Jai Ben, it can be seen that Bao Tingbo's collation and collation are divided into three types: correction, proofreading, and annotation, and each type is divided into many different situations. Although the "Painting Catalogue of the Southern Song Dynasty" was proofread by Bao Tingbo, there were still some errors in the knowledge of painting history. The examples in this article are purely brick-throwing arguments:
First, is it Qiao Dazhi, or Qiao Zhencheng? The original text of the second volume of the Southern Song Dynasty Paintings "Qiao Dazhi" is: "Qiao Luzhi Zhi Cheng, Zhongshan, the collection of Li Tang Jin Wen Gong Fu Guo Tu one volume, another volume of Gaozong inscriptions and three imperial seals, characters, trees and stones, and Qi Class Bo Shi." "The Southern Song Dynasty Painting Record" believes that Qiao Dazhi, the character 篑成, the number Zhongshan.
Yuanren Mou Wei recorded: "Qiao Hou's name is Zhencheng, and the character Zhongshan Fuyun. The Ming dynasty Wang Zhenyu wrote in the Coral Net that Zhao Mengqian's "Thought Post" about Wang Xizhi (this post does not exist now) has the inscription "Qiao Jicheng Zhongshan, Yang Kentang Zi structure" and other words. The Ming Dynasty Li Rihua's Notes on the Six Yan zhai, Volume II, records that Qiao Jicheng has Wang Xizhi's "Dry Vomit Post" (this post is now in the Tianjin Museum), and on it there is Qiao Jicheng's own inscription, which is written as follows: "December Shuo of the second year of Huangqing, Qiao Jicheng Zhongshan's father inscription." This is confirmed by the fact that Wang Shizhen's "Yizhou Continuation" has "Qiao Zhencheng, the word Zhongshan." The Examination of the "History of the Yuan" is not contained, only the King Right Army's "Dry Vomit Post" (inscription). "According to the above can be judged: Qiao Zhencheng, the word Zhongshan, Yuan Ren. Qiao Jicheng has a rich collection and has an inscription in the collection. As for Qiaoda, Yuan Ren Cheng Jufu had a deep relationship with him. The "Snow Building Collection" records a number of inscription poems written by Cheng Jufu for Qiaoda's paintings, and clearly states That Qiaoda and the character Dazhi. The inscription of the extant Yuan stele "Daxinglong Zen Temple Creation Scripture And Collection Monument" reads "Hanlin Zhi Bachelor, Fengxun Doctor Qiao Da wrote and wrote a book." Volume V of Xia Wenyan's "Illustrated Treasure Book" of the Yuan Dynasty records: "Qiaoda, Zidazhi, Yanren, Guanzhi Hanlin Zhi Bachelor." Shan Danqing, Li Cheng of Landscape Studies, Wang Tingjun of Mozhu Studies, and later Studied Wen Tong. "In the Qing Dynasty Bian Yongyu's "Style Gutang Calligraphy and Painting Huikao" volume 32, there are six paintings by Qiaoda. According to the above, it can be judged: Qiaoda, Zidazhi, Yuanren. Qiao Dashan painted, under the tutelage of Li Cheng, Wen and others, and his works were still passed down to the Qing Dynasty.
From the above analysis, it can be seen that Qiao Zhencheng and Qiaoda are obviously not the same person. In this regard, the Qing dynasty Qiao Songnian also came to a conclusion in the "Records of Qiao Shi": "Qiao Dazhi, Qiao Zhongshan is a person, mistakenly also." After combing through the historical documents, Li Jianfeng believes: "Qiao Jicheng and Qiao Da are not the same person, although the two are in the same period, but 'Qiao Dazhi' is actually the Yuan Dynasty painter Qiao Da, who was a former official Hanlin Zhi, and the word 'DaZhi' has nothing to do with Qiao Jicheng." Therefore, it can be judged that Qiao Zhencheng and Qiaoda are two people. The "Southern Song Dynasty Painting Record" This material is compiled from the careful "Records of Clouds and Smoke Passing through the Eyes", and Bao Tingbo did not proofread it.
Second, is it Shao Hongyuan, or Shao Yuan? The "Southern Song Dynasty Painting Record" Volume II "Li Tang" article, the original text is: "Li Tang, the character Xigu, heyang Three Cities people, Huizong Dynasty supplemented into the painting academy, Jianyanjian Taiwei Shao Hongyuan recommended it, was ordered to become a loyal lang, the painting academy was to be edicted, and the golden belt was given, and the age was nearly eighty." According to the "Song Shi Xiaozong Benji" record that in the first year of Xiaozong Longxing (1162), Shao Hongyuan, with the support of Zhang Jun, presided over the Longxing Northern Expedition with Li Xianzhong, and his official position began to flourish. From this, it can be inferred that Shao Hongyuan did not hold the position of lieutenant during the Jianyan period (1127-1130). Li Tang once entered the Northern Song Dynasty Huizong Dynasty Painting Academy, and his work "Ten Thousand Pine Wind Maps" has Li Tang's handwritten inscription "Huang Song Xuan and Jiachen Chunheyang Li Tang Pen", Xuanhe Jiachen is 1124. According to the history of painting, Li Tang entered the court of Emperor Gaozong after the rebellion, "was ordered to become a loyal lang, the painting academy was to be edicted, and the gold belt was given, and the year was eighty years old." As for the specific time when Li Tang entered the court of Emperor Gaozong, the history of painting is not recorded. According to research, it can be determined that Li Tang entered the court of Emperor Gaozong after the sixteenth year of Shaoxing (1146), when Li Tang was nearly eighty years old. Therefore, Li Tang could no longer serve the court during the reign of Emperor Xiaozong (1163-1194), and it was nonsense to be recommended by Shao Hongyuan. In addition, according to the "Picture Painting Treasure Book", "Painting History Society", "Pei Wen Zhai Calligraphy and Painting Notation" and other painting history records, Li Tang was recommended by Meng Shaoyuan to enter the Southern Song Dynasty Painting Academy.
Therefore, the "Shao Hongyuan" here in the "Southern Song Dynasty Painting Catalogue" should be "Shao Yuan". Searching the manuscript of the Southern Song Dynasty Paintings, it can be determined that this is caused by Li Yan's mistake, not the clerical error of the scribe. Bao Tingbo also did not find this error in the proofreading, so he did not know that the "Southern Song Dynasty Painting Record" was still written as "Shao Hongyuan".
Third, is it Zhang Shunbin, or Zhang Aibin? The "Southern Song Dynasty Painting Catalogue" Volume IV "Lin Chun" article, the original text is: "Gu Kaizhi's discourse on painting is not as good as birds and birds." Zhang Shunbin said that the birds were the lower, followed by the grass worms. This sentence is quoted from Dong Kui's "Guangchuan Painting", the original text of which is: "Gu Kaizhi's discourse on painting, with the character as the first, the second mountain, the second water, the second dog Ma Tai Xie, not as good as the birds." Therefore, Zhang Aibin commented on the painting, taking the birds as the bottom, and the bees, butterflies, cicadas and insects followed" Dong Kui clearly pointed out that this sentence was quoted from Zhang Yanyuan in the Tang Dynasty. The Outline of the General Catalogue of the Four Libraries of the Whole Book of the Four Libraries, "Records of the Book of Laws", said: "Written by Tang Zhang Yanyuan. The beginning of the book has Yan Yuan's self-prologue, but the department of Hedong County. Guo Ruoxuan's "Picture Seeing and Hearing Zhi" and Chao Gongwu's "Reading History" are also known as their characters Aibin, and the era of Shi Lu is not detailed. "Therefore, this should be Zhang Aibin, not Zhang Shunbin." As for whether it was a clerical error of Li Yan or a mistake of the copyist, it is not known at present. In this regard, the "Southern Song Dynasty Painting Record" is still "Zhang Shunbin", and there are no relevant records in Bao Tingbo's proofreading.
In addition, there are other painting history errors in the "Southern Song Dynasty Painting Record" of the Unknown Zhai Ben, such as the "Gu Liang" article in volume TWO, the original text is: "Gu Liang can make large-scale paintings, good arrangement, and good at making "Panche Diagram". Here it should be changed to: "Gu Liang can make a large-scale giant painting, and he is good at arranging it, so that he can make a "Panche Diagram". The content of this article is from the "Painting Succession Supplement", and its original text is: "Liang can make a large-scale giant painting, and he is good at arranging and making a good "PanChe Diagram". This means that Gu Liang is good at making big paintings, and Zhang Huan is good at arranging and good at creating "Panche Diagram". Here, Li Yan's transcription is wrong, and its meaning has become that Gu Liang is good at making big paintings, and is good at arranging and creating "PanChe Diagram". This is very different from the original meaning of the "Painting Succession Supplement".
Another example is the "Ma Hezhi" article in volume 3, the original text is: "On the seventh day of the tenth month of the tenth month of Jiazi, the xiang was set to pass, and the scrolls of the Book of Guan guan were pictured, and there were Poems of The Siling Book, and ma Hezhi drew the mountain youshu, and so on." "Here", "Item Public Residence" should be "Item Public Residence". This document is from Li Rihua's "Notes on The Six Yan zhai", the original text of which is: "On the seventh day of the tenth month of the tenth month of Jiazi, there were more than twenty letters in the Xiang Dynasty", jiaxing Xiang clan in the Ming Dynasty had a rich collection, Li Rihua and the Xiang clan had many friends, and the calligraphy and paintings recorded in his "Notes on The Six Yan Zhai" were mostly collected by the Xiang family. The "Xiang Gongding" in Li Rihua was a member of the Xiang family, and Suo Guan Xiang Naibin compiled the "Jiahe Xiang Clan Qingfen Record", which did not contain "Xiang Gongding" or "Xiang Ding" this person. Therefore, this article speculates that "fixed" is a misprint of "home". There are two reasons: one is that "ding" and "house" are very similar in glyphs; the other is to examine the meaning of the text, "house" conforms to the contextual meaning, and "ding" does not understand the context.
Although the "Painting Catalogue of the Southern Song Dynasty" is an unfinished manuscript of Li Yan, its rich content is an important document for studying the painting of the Southern Song Dynasty court and examining the genealogy and style inheritance of the painters of the Southern Song Dynasty, which has important historical significance and documentary value.
This release is slightly changed.
![Li Yan's twenty-five poems are worth reading![fig]](data:image/gif;base64,R0lGODlhAQABAIAAAP///wAAACwAAAAAAQABAAACAkQBADs=)