text / Lai Zhiqiang
Content summary: Songwang Terrace is a huge stone on the hill on the seaside of Kowloon, Hong Kong. Southern Song DynastyJing Yanzhong, the emperor who took refuge in the south, was Emperor Bing and it was named after it. After the Yuan Dynasty, it was unknown for hundreds of years. In the twelfth year of Jiaqing (1807), a stone was built to inscribe it. In the early years of the Republic of China, stone railings, hiking trails and archways were added, forming a vaguely visible humanistic monument today. Related to this, poems and paintings chanting about Song Wangtai flourished. This article focuses on exploring the historical memory contained in the humanistic landscape presented in Song Wangtai-themed paintings.
Keywords: Painting works of Song Dynasty Autumn Singing Pictures by the survivors of Song Dynasty Wangtai
1. Reappearance of Wangtai: from ruins to scenic spots
Located in Hong Kong, on the coast of southern Xinjiang, near To Kwa Wan, Kowloon, there is a famous landscape that integrates humanities and nature, named Song Wangtai. (Figure 1) This natural landscape came into people’s view in the early 20th century. With the continuous development and prosperity of Hong Kong, it became well known as a Song Dynasty tourist attraction in Hong Kong in the 1920s and 1930s. We might as well visit this lost scenic spot from the perspective of people in the Republic of China:
Figure 1 Panoramic photo of Song Wang Terrace in Kowloon, Hong Kong is published in "Red Rose" Volume 3, Issue 25, 1927
Song Wang Terrace is located in Ma Tau Chung, Kowloon On the Sacred Hill. The mountain is ten feet high and more than one hundred feet in circumference. It is one mile south of Kowloon Walled City . It borders the northwest of Kowloon Bay in the east, Ma Tau Kok in the south by a river. It is bordered by Guanbei Rock in the north. Tam Kung Road in the west. Looking to the southwest, it is Erwang. Diancun also...walking along the Ma Tou Chung from Tan Gong Road, you can reach the foot of the Holy Mountain. From here, climb up the stairs and follow the slope until you reach the Shipai Gate, which has no inscription. Beyond here, the green grass is like a blanket, and the mountain mist welcomes people. After dozens of martial arts, he arrived at the Song Dynasty King's Platform. The platform is close to the top of the mountain, but it is located in the northeast. The rock has three heads, stacked like the word "pin". The Zhou Fan is built with stone railings, which rise and fall according to the force of the rock, and are well-proportioned. Looking from a distance, it looks like a potato basket. The stone on top is the largest, more than ten feet high, and dozens of feet in circumference. Its west side is slightly flat, engraved with three characters "Song Wangtai", and next to it signed with seven characters "Dingmao Rebuilt in Jiaqing, Qing Dynasty" painted with red. There are cracks on the side. It slants from the bottom to the top, makes a slight twist, and descends to another corner. The cracks are repaired, and the grave rises like a belt. There are two rocks lying underneath, of varying sizes, both of which are half sunken into the earth. The distance between them is a small gap, allowing people to pass through. Not far from the stage, there is a rock like chair, commonly known as Taishi's chair, which can accommodate five or six people. Looking east, you can see the Li Yue Gate, the cloudy mountains and the long river. And when the breeze comes, it shakes people's clothes. Looking at Kowloon City from the north, you can see the tall buildings and criss-crossing streets. Looking at Lion Rock and Chiwang Ridge from a distance, they are as winding as a screen. Around the platform, there are dangerous cliffs and majestic cliffs. Plant trees all over the mountains to make them lush forests. There are two rocks on the coast, which stand as tall as boots, and there are huge rocks like oxen, which are extremely beautiful in shape. 〔1〕
From the documentation in the early 1940s, it can be seen that the Songwang Terrace, standing on the sea amid the vast mist, has become a fascinating and magnificent landscape in Hong Kong. The shape of the river and the sea here is not only reflected in the unique vision and broad vision of the huge stone standing proudly on the coast, but more importantly, in its unique cultural connotation, which connects a period of history of the people who have survived generations.
According to the "Dongguan County Chronicle" of the Republic of China: "Songwang Terrace, to the east of Guanfu, has a rock several feet square. The former emperor stayed here. The huge stone on the side of the terrace used to have the word Song Wang Terrace." Xin'an County Chronicle" according to " "Book Collection·Zhi Fang Dian" says that Dongguan County is two hundred and eighty miles southwest of Guan Fu Mountain, which is Guan Fuchang. "Zhi Fang Dian" also says that during the Song Dynasty, the place belonged to Dongguan . Zhou was always lucky to be here. In the history of the Yuan Dynasty, the emperor was Emperor Bing, so it was called the King of the Song Dynasty." [2] From this record, it can be seen that not long after the death of the Song Dynasty, the place was called the King of the Song Dynasty in the Yuan Dynasty.
The origin of Song Wangtai is related to the historical event of the Song Dynasty clan's escape to the south. Before, this place was just an ordinary deserted coastal area. According to " History of the Song Dynasty ": "(1276) On the first day of the fifth month, Yizhong was established in Fuzhou as the ruler of the Song Dynasty. He changed the name to Jingyan of the Yuan Dynasty and named Concubine Yang Shu as the queen mother to listen to the government together. A letter was sent to Wang Bing as "[3] The Yuan army invaded south, and Duanzong was forced to flee southward along the coast, from Chaozhou to Jiazimen in Huizhou. "In April of the second year of Jingyan, the emperor's boat was second to Guan Fu. Field" [4].Guanfuchang is named after Guanfu Mountain. It was opened as a salt field before Xiaozong of the Southern Song Dynasty and was one of the four major salt fields in Dongguan during the Song Dynasty. [5] Panyu scholar Qu Dajun in the late Ming Dynasty and early Qing Dynasty once recorded it as "Guanfu Mountain" in "Guangdong New Language": "Guanfu Mountain is to the east of Jishui Gate in Xin'an and to the west of the Buddhist Hall Gate. During the Song Dynasty, the royal boat was stationed there. Below, there is a palace. In front of it is Daxi Mountain, which is covered by trees and is rarely visited. Many loyal ministers and righteous people of the Song Dynasty are buried there. In front of it is a mountain called Meiwei, where there is also a palace. To the west is Dahutou Gate, where Zhang Taiwei is buried. This is the Fengdi Baoxiu Mountain. To the east of Xiushan, there is a mountain in front of Chiwan, which is called Lingding Mountain. The inner ocean is called Xiaolingding Ocean, and the outer ocean is called Dalingding Ocean. This is what Prime Minister Wen said in his poem, "Lingding in the Lingding Ocean". There are two stones in Xiaolingdingyang, one black and one white, facing each other in the middle of the stream, which can be more than a hundred feet high. At that time, it was thought that there were two palaces. Today, fishermen call it Shuangqi Gate, and its sea gate is called Shuangqi Gate. These are all relics of the subjugation of the country. Alas! The great fate has passed, even if it is a small continent or an island, the sky will not allow it to be the foundation of the vast waves. It will be left behind in the belly of the fish. It was so cruel and poisonous to the Song Dynasty, why should it be suppressed?" [6] Guan Fushan has described it in the "Xin'an County Chronicles" of the Kangxi Dynasty and the "Guangdong Archeology Collection" of the Guangxu Dynasty. 〔7〕
九龙 The historical sites of the Southern Song Dynasty left by this include palace ruins, the tomb of the Princess of Jin, Erwangdian Village, hou Wang Temple, etc. As far as the author has read, before the Jiaqing period of the Qing Dynasty, there were very few detailed descriptions of the "Song Wangtai" in local historical records of Guangdong. As a landmark of Kowloon's historical relics, during the British colonial period, the Sung Wang Toi Reservation Ordinance was passed and Sung Wang Toi was initially protected. Song Wangtai really came into public view, thanks to a group of late Qing elders who lived in Kowloon in the early years of the Republic of China, among whom Chen Botao made the most contributions. In 1912, Chen Botao arrived in Kowloon, climbed up with a stick and looked out, feeling that "to this day, there are still smoke and grass, and woodcutters and old people are wandering along the stream." "When I retreated and read the historical records, I realized that this place was the place where ancient officials were rich, and Taiwan This is where Song Jingyan stayed." [8] In 1915, the Hong Kong Public Works Bureau planned to sell the land at the foot of Songwangtai Mountain. The builder Li Ruiqin learned about it and informed the survivors Lai Jixi and Chen Botao who came from the south. They all worked together to go to the Hong Kong government and finally delineated the boundaries of the Songwangtai site; subsequently, Li Ruiqin’s With donations, stone railings, hiking trails and archways were added, thus forming the scale of the historic site that is vaguely visible today. Chen Botao wrote "A Note on the New Stone Walls Built at the King's Tower of the Song Dynasty in Kowloon" to record its prosperity. Chen Jinghong (1903-1993), a modern scholar who has lived in Hong Kong for more than 40 years, once wrote an article describing the details. 〔9〕
Chen Botao (1855-1930), whose courtesy name was Xianghua and whose name was Zili, also known as Jiulong Zhenyi, was born in Fengyong, Zhongtang, Dongguan, Guangdong. In the 18th year of Guangxu's reign (1892), he became a Jinshi in the Renchen Department and won the third place in the imperial examination. He has successively served as deputy examiner of Yunnan, Guizhou and Shandong rural examinations, school manager of Wenyuan Pavilion, editor of Wuyingdian , general editor of National History Museum, first-class consultant of the Constitutional Affairs Compilation and Inspection Office, and president of the Guangdong Education Federation. After the Revolution of 1911, he lived in seclusion in Kowloon City, Hong Kong, and wrote about his great wealth as an old man. 〔10〕After the completion of the railings of the Song Dynasty Wangtai, on October 13, 1916 (September 17, Bingchen year), Chen Botao convened a gathering in Hong Kong on the grounds of wishing the birthday of the Southern Song Dynasty Dongguan survivor poet Zhao Qiuxiao (1245-1294). Survivors of the former Qing Dynasty gathered at Song Wangtai to worship, write poems and sing songs to pay homage to the ancients. This gathering was called the "Songtai Elegant Gathering" in subsequent literary history. Chen Botao recorded: "In the autumn of Bingchen, I compiled "Records of the Survivors of Dongguan in Song Dynasty". The Festival of Cortex passed by suddenly, and the cinnamon wheel gradually disappeared. I went to the palace of the king of the Song Dynasty, burning incense and pouring cinnamon wine. Oyster Mountain Horse At the feast of Si Changli, chamomile and yellow essence were collected from the garden on the east slope to worship Mr. Qiu Xiao on his birthday and to worship the spirits of the Yinjuns. At that time, the flowers in the garden were blooming with gold, the leaves on the mountains were dyed red, and the dragons were clear at dawn. , Limen is not wavering. Because of the four chapters of Qiuxiao's poems, pressing the divine string, Su Lingjian, although the sable is still funny, the concubine is attached to Ji and shines! I am over a thousand years old. If I ask about the world, I will definitely know that I will return home safely now. Looking at the peaks on the sea, I will talk about the high mountains and look up at the clouds."[11] As one of the results of the elegant collection, the collection "Autumn Sings of Song Dynasty" compiled by Dongguan scholar Su Zedong was published the following year, including Wu Daorong's "Preface written three days before the Dingsiduan Festival", Huang Cibo's " "Preface" and poems written by 37 people including Chen Botao, Yonghui, An Gong, Qingxi Yuyin, He Dingyuan, Ling Heshu, Huang Yanchang, Huang Foyi, Zhao Zhijie, Zhao Jiuchou [12] Here are two sentimental poems by Chen Botao as follows:
. Congratulations to the bridegroom (Mr. Qiu Xiao’s birthday, the previous poems are not finished, Qiu Xiaosheng once again answers Chen Xinluyun)
A cold spring chrysanthemum, the pain of the past, the millet desolate ruins, the beautiful house in Qiu Mountain, the golden-armored god is seen in the clouds, on the cliff. The seal jade is buried in the sea, and the river is filled with tears. The heart of serving the country is long, but it has not received Wang Mingfu for three years. , Zhou Jia Zhongzhu. Songxuezhai Zhongdan was not willing to eat in Zhishang Valley. The red bird cried out sadly in the black water of the river, and played a return song for the land near the sea.
I once again rhymed to commemorate the autumn dawn and the princes
In the days of wild pines and chrysanthemums, I remember the poet, hiding together in the sea, and the portrait of Wen Xinguo, weeping and carrying jade. . Like the Yuequan Yinshehe, the name is changed, the sky and the earth are closed, the water is rising, and the grapes are green. The ancestral hall is built in the mourning place, and one case is moved to the mausoleum. Valley. The tiger fights with the dragon for a few games, and there is no Huangguan returning home. Who can talk about the heart tune? Traumatism was the obvious background of the poetry of Wangtai of the Song Dynasty, represented by Chen Botao. At that time, Chen Botao, together with Lai Jixi, Zhang Xuehua, Wu Daorong, He Zao, Ding Renchang, were called hermits. The elders of the school gathered in Hong Kong and devoted themselves to discovering local cultural and historical relics, injecting a more classical literary tradition into Hong Kong, which was a mixture of Chinese and foreign countries. Some scholars pointed out its significance: "Since the Song Dynasty, it has written the stories of the two emperors' migration to the south in the late Southern Song Dynasty. Poems are almost all based on Yashan in Xinhui, Guangdong... Yashan writing therefore has the characteristics of highlighting the cultural spirit of Lingnan survivors, and has always been of great significance in Lingnan literature and regional culture. By the Qing Dynasty poets, in addition to the theme of Yashan, there was also Guanfu Mountain, which was close to the Kowloon area. However, there has never been a definite description of the scenery of Songwangtai. The poems are not titled "Songwangtai" and the word "Songwangtai" is not found in the poems. From this point of view, although the textual research and writing of Song Wangtai can be seen as Chen Botao's continuation of the existing Yashan writing tradition, Chen Botao's landscape maintenance and reconstruction, poetic discussions and inscriptions using Song Wangtai as a symbol As a result, another wave of Song Wangtai craze arose in Hong Kong in the early Republic of China. It was obviously different from individual expressions of memories of Yashan, but showed the collective will and political aspirations of the survivors of the Qing Dynasty who had fled to Hong Kong. ” [14]
The rediscovery of Song Wangtai by the late Qing Dynasty elders also completed the shaping of their own cultural identity. This place has become a rare place of ancient meditation in Hong Kong, and it is also the object of praise by cultural people from the south and the north, giving birth to They may have different political stances or different life experiences, but they share the cultural connotation of Song Wangtai, and the consciousness of survivors gradually forms the background of Song Wangtai theme poems and paintings.
2. Two paintings. The color of the surviving people in the "Song Wangtai Autumn Singing Picture"
After the early Republic of China, two of the paintings produced as a result of the Songtai elegant collection are particularly noteworthy. One is the one published in the first volume of Su Zedong's 1917 collection of "Songtai Autumn Singing". The painting "Autumn Singing at the King's Terrace of the Song Dynasty" (Picture 2) by the painter Wu Yi depicts the overall view of the King's Terrace of the Song Dynasty. In the foreground is a group of trees, with willows and bamboos vaguely visible; three groups of houses are hidden in the forest. and the foot of the mountain; climb the steps from the back of the house on the right, and there is an archway; pass through the archway, go around the rocks, and go up to a platform that is not very wide; there are two people on the platform, one standing with his arms raised and pointing into the distance, and the other sitting down On the ground. The words "Songwang Terrace" are written on the high stone, and the distant view shows the sailing ship and the flying geese.The postscript shows that this painting was specially made for the "Songtai Elegant Gathering", but the artist did not depict the scene of a crowd gathering, but instead used the image of two people sitting and standing in a chanting manner to understand it.
Figure 2 Wood Yi’s picture of Autumn Singing at Wangtai in the Song Dynasty is recorded in "Autumn Singing at Song Tai" compiled by Su Zedong. It was painted by Wu Yi (1864-1927) in 1917, also known as Yizhuang, Yizhuang, and also named Yigong. He was a native of Nanhai, Guangdong, and was born in the late Qing Dynasty. A famous calligrapher and painter from the Wu family in Guangdong. The Wu family was a wealthy merchant family that started out in Guangdong selling foreign goods. "During the Daoguang period of the Qing Dynasty, the wealthy family in eastern Guangdong was called Pan Lu Wu Ye, followed by Tan Zuo Xu Yang, and later added the surnames Zou and Qiu. They were all very wealthy at that time." [15] Wu Yanliu, the father of Wu Yi, had the courtesy name Jinquan and the pseudonym Shaoxi. He had a rich collection of calligraphy and paintings and was good at landscape paintings. After middle age, he devoted himself to painting plum blossoms. He once wrote sixteen frames of "Plum Blossoms" and was one of the famous governors of Guangdong . Cave is called reward. 〔16〕 His ancestor Wu Guoying was a merchant of the Guangdong Customs Supervision Commission as early as the 49th year of Qianlong (1784), operating Jardine Matheson . After several generations of hard work, the Wu family has become a powerful family with economic, cultural and even political influence in Guangdong from the second half of the 19th century to the early 20th century. With the opening of Shanghai and other places in modern times, the trade pattern of Guangzhou was broken and the economic center of gravity shifted. By the time of Wu Yi's later years, the Wu family was completely in decline. [17] The Wu family’s Wansongyuan was once a prestigious private garden in Guangdong in the late Qing Dynasty: “The Wu family’s villa in Nanhai has a rich collection of French calligraphy and famous paintings... Wansongyuan’s forehead, Liu Shi’an’s calligraphy, and deep spring In the book of Zhang Nanshan , there is a Taihu stone standing in the garden gate, with clouds and rain feet, an exquisite cave, more than ten feet high, and a pond of several acres, connected to the stream, with long and short stone bridges leaning on it. The pavilion has a picturesque reflection. There is a gate at the water entrance, which is connected to the stream gorge. In the past, there was a water moon palace, and there was the Haizhuang Palace on the top of the mountain. "It's so interesting." [18] Li Jian'er (1895-1941), a journalist who lived in Guangzhou, once recorded the decline of Wansong Garden: "When I was traveling to the south of the state in peacetime, I saw the so-called Wansong Garden. The grass is scattered, and the pond is full of blue water. There is still an old pavilion near the pond, and there are a few old pines and wild birds singing among them. But this abandoned area has changed its name." [19] The "peaceful times" referred to should refer to the 10s to 20s of the 20th century. When Wansongyuan declined, the Wu family's properties were sold off one after another. Gao Boyu (1906-1992), a scholar familiar with Guangdong's anecdotes, once recalled: "After the Wu family failed, they sold the house, and someone organized a consortium to buy it. But the house was too big and it was not easy to sell for a while. Later, I came up with a method of "dividing" and demolished the building to the ground and opened it as Fushan Street . The street was divided into Fushan West and Fushan East. Shanxi Street is divided into Head Alley, Second Alley, and Third Alley.” [20] You can imagine how big the Wu family’s house is.
Therefore, when Wood Yi was commissioned to create the "Autumn Singing Picture of the King of the Song Dynasty", he must have had empathy ; the creation of "The Picture of the Autumn Singing of the King of the Song Dynasty" was also a reflection of the fate of the family and individuals in the changing times. Hong Kong critic Zheng Chunting once said: "Yizhuang grew up in a family of literary and embroidery people who had no hobbies and only devoted themselves to calligraphy and painting. Although it cannot be said that they play with things to lose their ambition, but because of this, they did not care about production and died of poverty. In the past, there were poems that were poor. Then when it comes to craftsmanship, why not be like this in literature and art! Those who are good at being rich are often surprised and have no time to devote themselves to art. However, Yizhuang's view of art is not the ultimate in craftsmanship, but God will do it. It is not God's will to make him become poor. Although the workmanship of his painting will depend on his own merits. Now that he can pass on the name of the painting, people in the world will love it and will not rot with the grass and trees. Those who have obtained it from heaven will be rich.” [21]
It is worth noting that Wu’s work also appeared in “Song Tai Tu Ode” compiled by Su Zedong in 1922. This book is inscribed by Chen Botao, and includes "Preface to the Song Dynasty Picture Ode" written by Su Zedong, "Song Tai Autumn Song Song Preface" written by Huang Cibo, as well as Su Xuanlou, Wu Daorong, Zhang Qigan, Wan Qi, and Yao Yun. Poems by 55 scholars including Liang Yu, Huang Foyi and others. 〔22〕The organic combination of pictures and poems in the book jointly creates a strong color of survivors.
Following the publication of "Autumn Sings of Song Dynasty" in 1917, Chen Botao's disciple Chen Buchi (1870-1934) published "Song of Song Dynasty" in about 1918.The book publishes "Autumn Singing in Song Dynasty" (Picture 3) by Liu Yangfen, as well as poems, calligraphy, paintings and photos on related themes. 〔23〕 In addition, both "Songtai Qiu Sing" and "Songtai Collection" cited ancient poetry anthology conventions and published a woodcut print of the same name at the beginning of the volume. The poetry and painting complemented each other, and jointly constructed a visual image of Songwangtai in the first ten years of the Republic of China. Classical narratives and survivor spaces at the center.
Figure 3 Liu Yangfen’s Autumn Singing in Songtai is recorded in the "Songtai Collection" compiled by Chen Buchi, about 1918
Different from Wood Yi’s works in temperament, Liu Yangfen’s "Autumn Singing in Songtai" expresses a completely different and vibrant pastoral scene. Entering the picture from the lower right side of the picture, the five words "Former Site of Song Dynasty Palace" are engraved on the flat stone tablet to remind the viewer of the scene they are about to see; bypassing a forest, an open countryside with criss-crossing roads spreads in front of you; three groups of people walking in different moods On the road, there is a donkey rider and a servant, a servant pushing an old man in a wheelchair, and an old man and a child walking with a stick. At the foot of Tianbian Mountain, a series of houses are hidden in the forest; walking along the road on the right, a person is sitting on the ground in front of the archway, and another person is standing with his arms raised and pointing into the distance. The combination and dynamics of the characters are almost consistent with the aforementioned works of Wood Yi, which is obviously a deliberate design and arrangement. The plaque on the archway is inscribed with the title "Old Site of Songtai" and is engraved with a couplet "A Hall of Fame and Emperor's Cry in Desolation, a Hundred Battles and Mountains and Rivers See the Sunset". In Liu Yangfen's writings, the deceased elders seem to have completed their identity change, found their paradise, and lived a secluded life in the countryside with Song Wangtai.
Just like the elegant gathering pictures of the past dynasties, these two works are documentary in nature. Therefore, the appearance of Song Wangtai, such as huge rocks, stone carvings, railings, archways, pedal paths, etc., are accurately depicted; the scene of the gathering of people is blurred, and two people standing one by one are used as symbols. In the view of the artist, or rather to the planners and audiences of these two books, it is more important to accurately and prominently depict specific scenery than to restore the gathering scene where literati worshiped and recited poems. The arrangement emphasis of the two books is also different. The "Autumn Sings of Song Dynasty" published by Wood Yi Painting is a pure collection of poems. Its style, form and structure are completely similar to those of traditional poetry collections, and it more concentratedly presents the essence of this elegant collection. Nostalgic and sentimental, Wood Yi's paintings also focus on expressing the bleak ancient atmosphere; "Song Taiji" published by Liu Yangfen's paintings also typeset photos in addition to poetry, calligraphy and painting, and is a book printed based on modern photolithographic technology. , more inclined to reflect the current living conditions of the elderly living in seclusion in Kowloon. Regarding Liu's paintings, Gao Jiaqian pointed out: "What stands out is the folk perspective. The poems collected in this book are mostly in the category of farewell and travel, showing the leisurely and self-contained elegance of Hong Kong's traditional literati's social life. The pastoral scenery here Intentionally embedding the potential intention of the survivors to settle down freely and create another peach blossom garden." [24]
In addition to the two "Autumn Singing Pictures of Songtai" published in Su Zedong's "Songtai Autumn Collection" and Chen Buchi's "Songtai Collection", the author is also fortunate to have the same name. I saw another version of these two paintings - the engraved version that exists in the form of a single-line painting page (hereinafter each is referred to as a single-line version). 〔25〕
In the separate edition of Wood Yi's "Autumn Singing Pictures of the King's Terrace of the Song Dynasty", an ancient poem collected by Wood Yi is included in the painting. This poem was also published in "The Picture Ode of the Song Dynasty" compiled by Su Zedong. It is copied as follows:
Carrying a wine glass and meeting guests on a high platform ( Song Qi ), I am delighted that yellow flowers are blooming everywhere (Shen Kuo).
Water shield and sea bass are in good season ( Chen Guan ), and the white clouds and mangroves are full of poetic talent (Fan Cheng).
html In October, the cold sand and willows are falling (He Jingming), and at dusk, the sails on the river are coming (Xia Yan).The sky connects with the color of autumn water in Haimen ( Du Mu ), and the clear scenery is equally divided and wandering together ( Yang Jisheng ).
Bingchen Chongjiu Nanhaiwood Yi painted it in the Xianghai Apartment Building, and collected an ancient sentence as the title.
From the signature, it can be confirmed that the time and place of the creation of this work is "Bingchen Chongjiu" and "Xianghai Apartment". On the right side of the painting, there is a handwriting and poem inscribed by Su Zedong to Chen Botao, and the seal "Select the building to hold the gift" Zhu Wenfang's seal. From this we can see that it should be a gift from Su Zedong to Chen Botao.
Although the scenery depicted in the two paintings is the same from a distance, upon closer inspection, there are still slight differences. For example, the collected version of "Song of Song Dynasty" has six pieces of sailing boats on the sea, while the single version has five pieces.The centralized publication of "Autumn Singing in Song Dynasty" painted by Liu Yangfen is even more different from the single version. In Liu Hui's single volume, the three groups of characters on the road were changed to four groups, with the addition of shepherd boys riding bulls; the river running through the fields and entering the sea was even more rapid; the two people in front of the archway were both seated; the architectural proportions of "Former Site of Song Dynasty Palace" were marked in the lower right corner It's even more majestic. However, despite many changes in details, they are still the same parent. The origin of these version differences requires further study.
3. Songtai Painting: Vision, Emotion and Memory of the Survivors
Songwangtai, as a famous geographical landscape in Hong Kong, attracted the attention of many famous artists in the 20th century, especially in the first half of the 20th century. As far as the author has seen, Huang Binhong, Li Tiefu, Yuan Songnian, Fang Rending, Huang Prajna, Lu Shoukun, Zhao Shaoang, etc. all have involved works [26]. The visual and cultural emotions of the survivors connect the historical memory of this realistic landscape.
Guangdong painter Li Tiefu (1869-1952), known as "the first Chinese oil painter", lived in To Kwa Wan, Kowloon, Hong Kong in the early 1930s. In January 1935, he held a personal painting exhibition at the Hong Kong Bell Charity Society. "The works in this exhibition are divided into four types: oil painting, watercolor, charcoal sketch, and Chinese ink... The landscapes in oil paintings are mostly based on Kowloon Peninsula , and mostly in the corner of To Kwa Wan ... Li Jun's (watercolor paintings), such as "Song Wang Terrace", are very vivid, but the tone is not harmonious." 〔27〕 As an eye-catching work in the exhibition, Li Tiefu's "Song Wang Terrace" was specially selected by viewers for comment. Unfortunately, it has not been included in various published albums of Li's paintings and public and private collections so far. If this work is found, it may have been lost in the war and chaos. It is worth noting that in the Li Tiefu collection of the Guangzhou Academy of Fine Arts Art Museum, which has the largest collection of Li Tiefu's works, there is a watercolor painting titled "Under the Stage of the King of Song" painted in 1933. This work does not directly depict the majestic boulders of Songwang Terrace, but focuses on the vegetation, fishing boats and coastal scenery below the terrace. The dripping effect of ink in the painting can quite confirm the comments of viewers at that time. There is also a pencil handwriting on the back of this painting, "Song Emperor disembarked from the boat, watercolor, No. 20", or the mark of an exhibition.
Li Tiefu "lived in seclusion in Kowloon for several years and rarely interacted with the Jin Dynasty. His only ambition was painting." "There was nothing long in his apartment except painting tools and frames. Entering his room, there were paintings hanging on the four walls and scattered all over the floor. "[28]; "Whenever the sky is bright and the air is clear, I often come out with my painting bag to discuss painting materials, and I always return home. It is a common thing to cover the sky and the earth in my house. "It's easy" [29]. As a "remnant of the Revolution of 1911", Hong Kong in the 1930s became an ideal retreat for Li Tiefu to connect his feelings about his homeland with the Western-style lifestyle he had developed after years of studying abroad. 〔30〕Among the relics of Li Tiefu in the collection of the Guangzhou Academy of Fine Arts, there are three photos taken by Li Tiefu and the Hong Kong-based painters Wang Shaoling and Liang Dingming at the King of the Song Dynasty. A limited number of rare photos. Li Tiefu retired to the Songwang Terrace and painted the mountains and seas of Songwang Terrace and Hong Kong's Kowloon with his brushes. This is nothing less than the confirmation of self-identity completed by the late Qing Dynasty elders who used poems to commemorate the Songwang Terrace.
In 1956, the painter Lu Shoukun created the banner "Song Wang Terrace" (color on paper, 21.5 × 47.5 cm). This work is the only one seen so far that shows the ruins of the old site of Song Terrace. Lu Shoukun (1919-1975) was a native of Heshan, Guangdong, and a junior fellow countryman of Li Tiefu. He was born in Guangzhou and studied in the Department of Economics of Guangzhou University. In the spring of 1948, he moved to Hong Kong with his family. Influenced by Huang Prajna, he began to paint a large number of Hong Kong scenery in the 1950s. He was an important ink painter in Hong Kong in the 20th century. 〔31〕Zheng Chunting once said: "His (Lu Shoukun's) research on the entire Chinese and Western painting methods has determined that it is a semi-abstract painting that is a mixture of sketching and modeling. It is a deformed and discolored Chinese painting art that originates from the heart and is based on literature and philosophy. Therefore, He is known as a modern painter."[32] In the painting, Songwangtai has been blown up beyond recognition, and large and small stones are scattered on the flat ground; on the left side of the picture, workers are cutting the huge stone with the words "Songwangtai" into square stone tablets; two trucks and digital figures Workers are carrying other scattered stones. The small size of the vehicles and figures highlights the hugeness of the Song Wangtai stone tablet and the remaining stones. Lu used unusually bold tones and realistic techniques to depict this slightly tragic scene, creating a bloody dusk. There is an abrupt sense of time and space. The inscription reads: "Vicissitudes of life are ever-changing, ups and downs, rises and falls; if you don't feel the changes, you can already cherish them." After seeing the painting, the painter's father Lu Weiming wrote: "The emperor's family is in danger of being exiled, and the mountains and rivers are broken. It is extremely sad." The lonely minister sheds all his tears at the end of the world, and the remaining light stops reading the blue monument. "This work also won the praise of Jian Youwen, a famous scholar from Guangdong who has lived in Hong Kong for a long time. Later, this work was given to Jian. For this, Lu Shoukun wrote a margin: "This painting is from British Culture. The committee organized one of the eighteen frames of a personal Chinese painting exhibition for the first time. His father-in-law Wen Ren fell in love with it when he saw it, and he paid homage to it. "Jian Youwen devoted himself to the study of Guangdong's local history and culture. He once wrote the "Stele Inscription of the Songhuangtai Site in Kowloon" and edited the "Songhuangtai Memorial Collection", leaving important documents for the Songhuangtai.
Figure 4 Huang Banruo's paper design of the Songhuangtai Color 34×65.1 cm, 1957 Collection of the Art Museum of the Chinese University of Hong Kong
In 1957, Huang Banruo, a painter living in Hong Kong, "reminisced about the old days" and created the banner "Song Wang Tai" (color on paper, 34×65.1 cm, 1957, Hong Kong Chinese University Cultural Relics Collection, Figure 4). Huang Banruo (1901-1968) was a native of Dongguan, Guangdong, and lived in Hong Kong for a long time after 1926. Although he was a member of the Guangdong Traditional Chinese Painting Research Association in his early years, he devoted more to painting in his later years. When it comes to depicting Hong Kong’s local landscapes, Wong Prajna once said: “It is of course necessary to follow the example, but the content of the painting style is not only to describe the mountains and rivers, but also to combine it with the human affairs to express one’s own views on society. "[33] Expressing his views on society through painting is what he has repeatedly emphasized. Huang Miaozi accurately revealed the meaning of Huang's paintings: "Prajna's paintings in his later years used ethereal pen and ink to describe Hong Kong in the 1950s and 1960s. The mountains and rivers in the Jiuyi area, he sketched these mountains and rivers where he often lingered, which is his love for nature, his attachment to his motherland, his disdain for the fame-seeking and glamorous cities just around the corner. The pursuit of the Buddhist state of compassion. "[34] The theory that "Hong Kong River enters the painting" later attracted the attention of many scholars. "Songwang Terrace" is a scene of Xiangjiang. The painting shows the overall shape of Songwang Terrace from a close perspective. Like many of his paintings, the artist ignores a The abrupt composition is like a bonsai using flat ink to stain the rocks, or as the artist himself said: "The shapes of objects in the painting are purely expressions of the artist's emotions toward the objects, and they must all be expressed through self-reflection. Of. "[35] According to the author's understanding, the striped waves in the background seem to be a metaphor for the continuous passage of time, while the Songwang Terrace remains motionless. This is not only pointing to the entity. After all, the Songwang Terrace had been bombed when Huang Banruo created the painting. For Huang, "Song Wang Terrace" is more like a monument rooted in his heart.
Figure 5 Zhao Shaoang's Song Wang Terrace, ink and color on paper. 61×106.5 cm. 1966
In 1966, Hong Kong painter Zhao Shaoang (1905-1998, from Panyu, Guangdong) painted the banner "Song Wang Terrace" (color on paper, 61 × 106.5 cm, collected by Zhao Zhitai, Hong Kong, Figure 5). This work was displayed on July 25, 2002 On February 5, 2003, it was exhibited in the special exhibition of Zhao Shaoang Art Gallery of Hong Kong Heritage Museum, and was printed as a postcard. Zhao recreated the panoramic view of Song Wangtai with a distant view, with huge rocks standing tall in the dusk. On the coast, the composition of the picture almost reaches the top of the painting, while the lower part is covered with haze, which seems to block the viewer's way to climb. The mottled and dignified mountains and trees set off the high platform. Under the background of the sea, It presents a vast and vicissitudes of atmosphere. The entire landscape is shrouded in ocher-brown gray to highlight the color of dusk. The painter carefully outlines the railings with titanium white paint, making the Songwang Tower stand like an altar between heaven and earth. .Borrowing from the comment by the painter Guan Shanyue , Zhao Shao'ang's "composition is strict enough to use risks and sparse to allow galloping. He is also good at expressing the rosy colors of morning and sunset, the mist of rain, fog and smoke, as well as the coldness of the snowy moon and the reflection in the water. It expresses that confused sense of space and produces intoxicating superb skills." 〔36〕 From Zhao’s inscription, we can vaguely see the painter’s thoughts: “The old site of Song Wangtai existed thirty years ago. At dusk, I often lingered here. Not long ago, it was destroyed by war, and the nearby houses were razed. It was a Qiu Ruins. After the Restoration of China, it was turned into a park. The name "Songwang Terrace" is only preserved in the park. It is like a dream to remember the past. "Shao'ang." "Song Wang Terrace" was created in 1966, 690 years after the two kings of the Southern Song Dynasty stayed here. As a member of the Zhao family clan association, Song Wang Terrace embodies the glory and sorrow of the clan.
In the modern era of political changes, Hong Kong has witnessed the political choices and cultural tendencies of many painters. The group of painters represented by the Human World Painting Society returned to the mainland to participate in the reception of the new regime and the creation of new culture, including Li Tiefu [37]; there were also some calligraphers and painters who generally used Hong Kong as a temporary transit place, such as Huang Junbi, Pu Ru, Zhang Daqian, Ou Haonian and others went to Taiwan or further away and obtained different development situations. Lu Shoukun, Huang Banruo, Zhao Shaoang and others finally chose Hong Kong as the habitat of their art and life. As the current situation changed, they invariably focused their attention on the disappeared Songwang Terrace. After Lui Shoukun moved to Hong Kong from Guangzhou, he started multiple experiments in the creation of localized themes and techniques and languages; Huang Banruo emphasized more spontaneous aesthetic taste and lyricism; and for Zhao Shaoang, the uniqueness of staying in Hong Kong after seven hundred years The ethnic identity of the Zhao family has created a monument for Song Wangtai. After the destruction of Song Wangtai, artistic creation continued to reflect different individual situations, which to a certain extent had the meaning of activating historical memory.
Conclusion
On January 9, 1943, the Japanese army that occupied Hong Kong blew up the Song Wang Terrace boulder in order to expand the runway of Kai Tak Airport. After the end of the " World War ", the Hong Kong government continued the airport expansion plan, eventually razing the Holy Mountain and the Songwangtai site on it. Only the remaining stone with the words "Songwang Terrace" engraved on it was cut into a rectangular stone tablet, and a Songwang Terrace Park was built offsite. In February 1943, the month after the bombing of Songhuangtai, the writer Mao Dun wrote in Chongqing: "Tourists seem to have a formula when visiting Kowloon: Kowloon City, Songhuangtai, this is the first place to go. Not because These two places are historical sites because China has been resisting the aggression of Japanese imperialism recently; visiting these two places means not forgetting patriotism while visiting." [38] Japan's invasion of Hong Kong and the bombing of Songwangtai made Songwangtai even more beautiful. It has an added meaning of national struggle.
Song Wangtai and the series of depictions that spanned time caused by it present the specific historical memories of people in different eras; when later generations pay attention to it again, historical memories are awakened and reappeared.
Note:
[1] Huang Peijia "Kowloon Song Wangtai and Others", Hong Kong "Gale" No. 90, 1941.
〔2〕Chen Botao's "Dongguan County Chronicles" Volume 38 "Historical Sites 2", Dongguan Yanghe Printing Bureau 1921 edition, page 14.
〔3〕 "History of the Song Dynasty" "The Forty-seventh Anniversary of the Duke of Ying·The Second King", Zhonghua Book Company, 2013 edition, page 940.
〔4〕[Qing Dynasty] Gu Zuyu's "Minutes of Reading History Fangyu" "Volume 11 Guangdong II", cited in "Xing Chao Lu", Zhonghua Book Company 2005 edition, page 4606.
〔5〕Rao Zongyi's "Historical Materials of Kowloon and the Song Dynasty", "Rao Zongyi's 20th Century Academic Collection" "Volume 6 Historiography (Part 2)", Renmin University of China Press, 2009 edition, page 830.
〔6〕[Qing Dynasty] Qu Dajun's "Guangdong New Language" "Volume 3 Mountain Language", Kangxi Gengchen Year (1700), p. 45.
〔7〕 "Xin'an County Chronicles" "Yiwenzhi Volume 12", manuscript of the Wuchen Year of Kangxi (1688), page 50; "Guangdong Archeology Collection" Volume 6 "Mountains and Rivers", manuscript of the 19th Year of Guangxu (1893), page 50 8 pages.
〔8〕Chen Botao, "Record of the New Stone Wall Built at the King's Terrace of the Song Dynasty in Kowloon", "Volume 2" of "Gualu Wensheng", printed version in 1931, page 41.
〔9〕Chen Jinghong's "A Brief History of the Rise and Fall of Wangtai in the Kowloon Song Dynasty" is contained in Chen Jinghong's "A Brief History of Lingnan Scenic Spots", Guangdong People's Publishing House, 2009 edition, pp. 2-3.
〔10〕 Zhang Xuehua's "Public Biography of Chen Wenliang, Jiangning's Scholar", contained in Chen Shaonan's "Generations: Chen Botao Memorial Collection", self-printed in Hong Kong in 1997, pp. 31-34; Yan Xiaoqing's "Exploring Chen Botao's Person and Tomb in the Late Qing Dynasty" ", "Luogang Literature and History" 2007, Issue 1, pp. 22-30.
〔11〕Zhenyi's "Another Rhyme to Sacrifice the Autumn Dawn and the Hidden Dukes Together" by Zhenyi, compiled by Su Zedong's "Autumn Sings of the Song Dynasty", printed in Hong Kong in 1917, collected by the Guangdong Provincial Sun Yat-sen Library; this book is included in the Continuation of the Modern Chinese Historical Materials Series. No. 83, see Su Zedong's "Autumn Sings of Song Dynasty", Taipei Wenhai Publishing House, 1981, pp. 6-8.
〔12〕Su Zedong compiled "Autumn Sings of the Song Dynasty", printed in Hong Kong in 1917.
〔13〕Quoted from "Autumn Sings of Songtai" edited by Su Zedong, Modern Chinese Historical Materials Series Continuation No. 83, pp. 6-8.
〔14〕Gao Jiaqian, "The History of the Survivors Carved in Stone: "Autumn Singing of Song Tai" and the Landscape of the Survivors in Hong Kong", "National Taiwan University Chinese Literature Journal", Issue 41, 2013; see also Gao Jiaqian, "The Survivors, Borders and Modernity: The South of Chinese Poetry" Dispersion and Lyric (1895-1945)" Chapter 5, Taipei Lianjing Publishing Co., Ltd. 2018 edition, pp. 301-345.
〔15〕Wuzhi "Kan Yin's Essays", "Ancient and Modern" Issue 17, 1943. The poet Su Manshu once discussed the cultural achievements of the four major families in 1907: "I can trace the rich people of the Yin Dynasty back to Guangdong: Daoxianjian, Lu, Pan, Ye; there is no need to comment on their luxury and noisy, but there is "Haishanxian" about Pan. "Guan Cong Shu" and the ancient calligraphy copied from them are treasured by those who know them. Ye's "Fengmanlou" calligraphy is also treasured by scholars. Lu has found nothing about it; As a beginner, Wen Jin personally wrote the preface, so Lu also knew that he respected Confucianism and valued scholars." See Su Manshu's "Preface to "Twenty Years of Prosperous Dreams"", which is published in "Selected Prefaces and Postscripts of Ming and Qing Novels" edited by Du Yun, published by Guangxi People's Publishing House. Society 1989 edition, page 437.
〔16〕Compiled by Wang Zhaoyong and supplemented by Wang Zongyan, "Lingnan Painting Survey", Guangdong People's Publishing House, 2011 edition, pp. 180-181.
〔17〕Li Jian'er's "Biography of Modern Painters of Guangdong", Hong Kong Jianlu Literature and Art Garden, 1941 edition, page 3.
〔18〕Compiled by Huang Renheng and compiled by Huang Foyi, "Volume Three" of "Panyu Henan Xiaozhi", Guangdong People's Publishing House, 2012 edition, pp. 138-139.
[19] is the same as [17].
〔20〕Gao Boyu's "Memories of Tingyu Tower", see Gao Boyu's "Tingyu Tower Essays" Volume 3, Hong Kong Oxford University Press, 2012 edition, page 38.
〔21〕Zheng Chunting, "Biographies of Modern Lingnan Painters", Hong Kong Guangya Society, 1987 edition, page 33.
〔22〕Su Xuanlou compiled "Ode to Song Dynasty Pictures" (with poems to "Brick Picture Ode"), engraved in 1922, collected by Guangdong Provincial Sun Yat-sen Library.
〔23〕Chen Buchi compiled "Song Taiji" (Twenty-one kinds of Xiushilou series), collected by Guangdong Provincial Sun Yat-sen Library.
〔24〕Gao Jiaqian, "The History of the Survivors Carved in Stone: "Autumn Singing in Song Dynasty" and the Landscape of the Survivors in Hong Kong", "National Taiwan University Chinese Literature Journal", Issue 41, 2013, page 305.
〔25〕 Mr. Zhang Zhi, a collector in Dongguan, collected one piece each of "Autumn Singing in Song Dynasty" by Wu Yi and Liu Yangfen. The paintings were incomplete and were restored by Mr. Liang Bo in 2011. When the author was invited by the Dongguan Cultural Center to plan the "Dongguan Cultural Celebrities Exhibition" from January 29 to March 31, 2021, Mr. Zhang graciously lent these two works, which added a lot to the exhibition.
〔26〕As far as the author has seen, there are 10 paintings with the theme of Song Wangtai.In addition to what is introduced in the context of this article, there are also: the sketch of "Song Wangtai" published in the 84th issue of "Half-width Comics" published in Guangzhou in 1933; Huang Binhong's small "Song Wangtai - Sketches of Travel in Guangdong" painted in 1935 Landscape painting (dimensions are 22.5 cm high and 22.4 cm wide), published in "Huang Binhong Landscape Sketches" compiled by Zhejiang Provincial Museum, Beijing: People's Fine Arts Publishing House, September 1962; Fang Ren scheduled the exhibition from September 5, 1935 to The Chinese painting "Kowloon Song Wangtai" was exhibited at the "Chunsui Painting Academy Welcomes Fang Su Yanghuang's Return to Chinese Painting Exhibition" on the 15th; in 1939, the first issue of Shanghai's "Yong'an Monthly" published Yuan Songnian's "Song Wangtai" traditional Chinese painting. The above-mentioned works are different from the writing perspective of this article, so they will not be listed here for now.
〔27〕Shen Xiong's "Li Tiefu Painting Exhibition", Hong Kong "Industrial and Commercial Evening News" January 22-23, 1935; included in "Li Tiefu Research Document Collection" compiled by the Guangzhou Academy of Fine Arts Art Museum, Guangxi Fine Arts Publishing House, 2019 edition, pp. 26-27 Page.
〔28〕 Luo Luo's "The Painting Monster Li Tiefu", Hong Kong "Industrial and Commercial Evening News" February 19, 1935; included in "Li Tiefu Research Document Collection" compiled by the Art Museum of Guangzhou Academy of Fine Arts, page 30.
〔29〕Peninsula Sanren "Sun Zhesheng's letter urging the painting monster to go north", Hong Kong "Sea Lantern" November 23, 1935.
〔30〕For a discussion of Li Tiefu’s identity as a revolutionary survivor, please refer to my article “Returning to Song Wangtai—Li Tiefu’s Situation and Painting Creation of the Survivors Living in Hong Kong”, Journal of Fine Arts, Issue 2, 2022, pp. 42-52.
〔31〕"Lu Shoukun", Volume 15 of "Biography of Figures of the Republic of China" edited by Liu Shaotang, Shanghai Sanlian Bookstore 2016 edition, pages 88-92.
〔32〕Zheng Chunting, "Biographies of Modern Lingnan Painters", Hong Kong Guangya Society, 1987 edition, page 75.
〔33〕Xiao Lou compiled "Huang Prajna on Art" and included it in "Huang Prajna's Art Collection", People's Fine Arts Publishing House, 1997 edition, pp. 179-180.
〔34〕Huang Miaozi, "Water is like a ring and the moon is like a lapel - Huang Prajna, his person and his paintings", "Huang Prajna Art Collection", page 207.
〔35〕Huang Prajna "Expressionism and Chinese Painting", included in "Huang Prajna Art Collection", page 23.
[36] "On the Painting Art of Zhao Shao'ang" by Guan Shanyue, included in "Guan Shanyue on Painting" edited by Huang Xiaogeng, Henan Fine Arts Publishing House, 1991 edition, page 31.
[37] Ouyang Shan, chairman of the Preparatory Committee of the South China Federation of Literary and Art Circles, said in his speech at the meeting to welcome Li Tiefu on September 2, 1950, see Chen Jianghong's "Record of the Return of the Revolutionary Painter Li Tiefu to Guangzhou", "Ta Kung Pao" on September 6, 1950.
〔38〕Mao Dun's "Miscellaneous Collection on the Return", "The Complete Works of Mao Dun" "Volume 12 Prose Collection 2", People's Literature Publishing House, 1986 edition, page 172.
Lai Zhiqiang, Assistant Researcher at Guangzhou Academy of Fine Arts
(This article was originally published in "Art Observation" Issue 7, 2022)
