Song Huizong's "Returning Boat in the Snow River" looks like a simple snow scene, but it reflects the unusual political atmosphere of the Huizong palace around 1110 years, as well as natural disasters with sudden climate decline and frequent snow and droughts.
Song Huizong's "Picture of Returning the Boat in the Snow River" Volume Palace Museum Collection
Huizong This volume depicts the distant winter scenery of the countryside, with extraordinary artistic conception. The snow is endless, the peaks and valleys are hidden above the rivers and valleys. Although there are many people in the depressed mountains and rivers, the beginning of the painting is dotted by fishermen and woodcutters, but to the middle section, thousands of rocks and mountains are blocked, and the far-reaching realm even keeps the viewer away thousands of miles away. Bystanders are actually out of reach and it is difficult to enter this world-separated snow realm.
"Snow River Returning Boat Picture" Volume Identification
Northern Song Dynasty Traditional fishermen and woodcutter themes such as Xu Daoning "Fisherboat Singing Evening Picture" and Wang Sheng " Fishing Village Little Snow Picture " is commonplace to see many fishing boats coming and going and gathering to fish in groups, but "Snow River Returning Boat Picture" is very different. With the core position in the center of the scroll, it depicts a single boater who is independent of the world. The joyful atmosphere of the fisherman's picture since the Northern Song Dynasty seemed to have changed so far. The person who replaced it was a lonely and melancholy fisherman, which strongly implied the extraordinary meaning of the "fisherman" in "The Returning Boat of the Snow River". The traditional fisherman's picture praises the simplicity of the village thatched cottages, but the "Snow River Returning Boat Picture" deliberately points out the temple jade , and the shore pilot who welcomes the return sails.
One of the ways to re-understand the theme of snow scenes during this period, in order to explore how painters, sponsors and viewers since the Northern Song Dynasty, view and understand snow scenes. Interestingly, among the four seasons of the middle and late Northern Song Dynasty, the proportion of winter or snow paintings increased day by day. Secretary-General painter Wang Shu, bureaucratic painter Wang Jing, Li Gongnian, eunuch Liang Shimin and others are all keen on depicting snow scenes. Taking "Xuanhe Painting Book" as an example, 19 of the 827 landscapes of Yansu are snow scenes, half of which are snow scenes of Xu Daoning and Song Di are snow scenes, and 750% of the snow scenes of Guo Xi, Wang Xi and Zhao Xiaoying are snow scenes, while the remaining paintings of Wang Ju and Zhao Shichi are both winter scenes. Among the landscape paintings collected in "Xuanhe Painting Book" from the Five Dynasties to the end of the Northern Song Dynasty, the winter scenery pictures also tend to increase in proportion compared to the other seasons. In addition, calligraphers of the Northern Song Dynasty, such as Huang Tingjian and Chen Guan, both complained about the coldness of the winter in their letters. These calligraphers and painters have different origins, regions, religious beliefs and family backgrounds, but they often pay attention to the theme of snow scenes, which reflects the climate constraints external to humanities: Climate change may be one of the reasons for the increase in snow scenes in the middle and late Northern Song Dynasty .
Liang Shimin's "Luting Milk Snow Picture" Collection of the Palace Museum
According to tree rings, changes in carbon elements of ice cores and various scientific surveys and analysis, ancient atmospheric scientists speculated that the period 800-1000 AD was the "Medieval Warm Period" with relatively high temperatures. Snowfall was called "Auspicious Snow" during this period. During this period, the king often summoned his ministers to pray for snow, or called painters to draw theme landscapes such as "Snow Appreciation Picture". In contrast, the "cold period" between 1100 and 1190 entered the "cold period". This winter, which lasted nearly a hundred years, affected China's ecology, economy and environment very deeply. Due to the abnormal warm climate in the previous two hundred years, the low cold of the "cold period" can be said to be a drastic change compared to the low cold.
compiled documents of the Northern Song Dynasty. The severe cold temperature in the late Huizong period made it difficult to harvest crops in autumn and winter, people's livelihood suffered from snow disasters, and agricultural and economic crises were rampant, which eventually led to the decline of the country and the people's changes. According to Meng Yuanlao "Dream of Tokyo", the winter of Kaifeng in Huizong Dynasty was very cold, and there were no vegetables to grow. "Mo Ke Hui Ji" also records that millions of lychees in Fujian, located in the subtropical region, suffered from cold and cold. By 1110, there were countless displaced people, including wind, snow, snow, cold and famine. Finally, the " cold period" became one of the many causes of the invasion of the northern cavalry of the Liao and Jin Dynasties and the demise of the Northern Song Dynasty.
Reconstructed by contemporary scholars of ancient meteorology in China's historical period temperature changes
If we re-examine the "Snow River Returning Boat Picture" and the Cai Jing inscription on the first day of March 1110, we can find that this postscript was written in the year of snowfall and famine in the late cold and peak period of the Northern Song Dynasty. If we link the "Snowy River Returning Boat Picture" with the declining people in the country such as snow, drought, famine, and crop failure, then we have to ask whether the attitude towards snow scenes in the Huizong era is exactly the same as the singing mentality of the monarch and ministers to appreciate snow during the warm period of the Middle Ages? Did Huizong, who was young and passionate about snow scenes, realize that the season in which this scene is ruthlessly destroying his world? Do we need to reinterpret the theme of "The Returning Boat in the Snow River" and snow scenes during the cold period?
It is worth noting that Cai Jing changed the subject in the last part of the poem "The Snow River Returning Boat Picture", praising Huizong for his wonderful painting of "preparing the scenery of the four seasons and exploring the mood of all things" with his wonderful pen, and praising Huizong for his wise and spirituality and creation. At this time when the world was in a state of coldness and suffering, Cai Jing still flattered Huizong. Here, we can certainly interpret it as a minister who whitewas the peace to the king, but Cai Ba's intentions and the implicit sounds in Huizong's paintings are probably even worse.
Song Huizong's "Snow River Returning Boat Picture" volume was tailed by Cai Jing's poster
Cai Ba's title is even more unusual: "Daguan Gengyin Festival, Spring Festival, Taishi Duke of Chu retired, and the ministers in the capital remember." The so-called retirement refers to the retirement of powerful officials or resignation. The Grand Tutor Chu Duke retired and was dismissed from office before Cai Jing wrote an inscription in the Gengyin year of Daguan.
The dual ranks of "Duke of Chu" and "Tai Shi" have been removed. When Cai Jing was watching the painting topics, he was at the low point of his career in the officialdom. In the early years of Emperor Shenzong's Xining period, before Cai Jing became the prime minister, he opposed the new law, Su Shi and his old party, so he wrote a letter to blame the flood and drought disasters on the heavenly precepts that the heaven was angry at the new policy:
Hu caused flood and drought, and officials were unvirtuous. If you lose your power, you will be like a disaster, and you will not know how to turn it into yourself. Rain means sunny, drought means thirsty and snow.
In addition to accusing the snow and drought of the snow and drought, the old party also took the opportunity to criticize lies such as Wang Anshi , "The change of heaven is not enough to be afraid." From 1073 to 1074, the three seasons of autumn, winter and spring were all cold, followed by a severe drought that lasted for five months, and the Northeast region was full of hunger. Zheng Xia uses this to introduce Shenzong to the "Immortals" to the "Immortals" to force the harm of Wang Anshi's new policy, and imply that the new law disrupts yin and yang, and is punished by heaven and has brought drought to the people. The unbearable images of hungry people, disaster victims and other beggars beg for food in "The Picture of Refugees" are vividly remembered, which surprised the Empress Dowagers of Shenzong and Cisheng and Xuanren. In April 1074, Wang Anshi resigned from office and was dismissed from prime minister, and his old party won.
1100, the old party once again took advantage of the topic. There was a solar eclipse in March of this year. Chen Guan , together with the old members of Yuan You and Yuan Fu, wrote a letter to Zhezong, using the solar eclipse as a "bad omen" to overthrow Cai Jing. From March 1100 to March 1102, Cai Jing was dismissed and exiled to Taiyuan Prefecture, Yongxing Army, Jiangning Prefecture, and was promoted to Dongxiao Palace, Dingzhou, and even Daming Prefecture in Hangzhou. In January 1101, the Empress Dowager Xiang died, and Emperor Huizong, who was only nineteen years old, ascended the throne. Cai Jing's chance to gain power came. In March 1102, Cai Jing was summoned to Beijing and served as a Hanlin bachelor's entrustment, forming a large number of party members to cultivate power. In May 1102, Cai Jing replaced Han Zhongyan as the Left Chief of the Shangshu, and in July of the same year, he replaced his political enemy, Zeng Bu, as the Shangshu Youpushe and the Secretariat of the Central Secretariat. On July 11, 1102, he established the Lecture Department to launch a new policy. He was promoted to Shangshu Zuopushe in January 1103, and was promoted to Taiwei in December 1107, and was appointed as the Grand Tutor in January 1108.
"Snow River Returning Boat Picture" Local
Man-made disasters can be avoided, natural disasters are blocked. The frequent occurrence of severe cold, snow and drought in the late Northern Song Dynasty has profoundly shaken the economic structure of the Huizong Dynasty. In the severe cold climate, Caijing's new policy requires additional resources and new relief institutions such as Anjifang, Anjiyuan, General Office, and Residential Home to supply hungry people's food, residence, firewood and winter clothes to help them survive the cold winter years. Most relief institutions were founded in autumn and winter, which shows the burden on Cai Jing's new policy due to the cold weather. The measures of Cai Jing's new policy related to agriculture and poverty alleviation were also wasted due to financial exhaustion. Wang Anshi's new policy was set in the midst of the natural disaster, and Cai's reform was also withdrawn due to the cold weather.
At this time when the natural ecological environment in the cold period is getting worse, Huizong is increasingly superstitious about the theory of disaster and auspiciousness. On June 1, 1109, anti-Tai Party members Mao Zhu, Shi Gongbi, Zhang Ruming, Zhang Kegong and others jointly wrote a letter to impeach Cai Jing, and three days later, Cai Jing was dismissed from the prime minister. Although the fierce impeachment of the anti-Tsai party members slightly shook Huizong's trust in Cai Jing, Huizong still favored Cai Jing for personal gain. Although Cai Jing was dismissed from prime minister and demoted to the position of the Imperial Palace of Kaifu Yitong Sansi and Zhongtai Yigong. Although he was demoted from "Duke of Wei" to "Duke of Chu", Huizong still allowed him to "retire the Grand Tutor of Guarding" and "give him the capital to the capital" and "please give him kindness and follow the current prime minister's rules."
The anti-Tai Party members' mass criticism cannot really defeat Cai Jing. Ironically, it is the innocent little stars (the so-called "changes of heaven", or the connotation of the astronomical phenomena) that led to Cai Jing's fall. In the early years of Huizong, there was no preference for Buddhism and Taoism, and Cai Jing liked Buddhism. Therefore, the covetous love for Taoism and Taoism in the middle and late periods of Huizong was not instructed by Cai. Perhaps Huizong's Taoist belief was caused by the inciting sorcerers and using the changes of heaven to compete for the competition. Under fierce political struggles, solar eclipse and Taibai daylight were interpreted by the opposition party (anti-Tai party members) as signs of the prime minister's stealing the country. Any changes in this star are mostly bad omens for the prime minister of the current dynasty. The comet indicates that the king lost his deceased minister and his rebellion, or that the northern diva attacked the border, or that "when the troops were seen, the flood... the light was in the direction of change."
1106 From the beginning of March, "the comet out of the west, and its growth ended in the sky", "Huizong was frightened." On February 13 of that year, Cai Jing was dismissed from prime minister and was exiled to western Zhejiang. Cai Jing's political enemy Zhao Tingzhi replaced the prime minister. In May of the following year, Huizong "ordered all states to ask for information on astronomy and numerology to send people to the palace", and thus the sorcerers' influence in Huizong's court increased.
"Snow River Returning Boat Picture" Some
Then another comet appeared, and added a slander to Cai Jing's political enemies, which was explained as a sign of heaven. Cai Jing's strong rival Zhang Shangying Zhang Shangying is well aware of the two major weaknesses of Huizong: superstitious about disasters and suspicion of ministers, so he secretly colluded with the sorcerer Guo Tianxin to eradicate Cai Jing. In June 1109, Guo Tianxin secretly reported that there was a black boy in the day. Huizong ordered Guo to let him down. Guo said that this elephant was very bad because Cai Jing violated the anger of heaven. When King Duan (Huizong) was in Qiandi, Guo Tianxin once predicted that he should "take the throne of heaven". After Huizong ascended the throne, Guo "often called himself the inner court" because of the fulfillment of the prophecy, and his divination became a dangerous political weapon in the court. Zhang Shangying "also wanted to use the help of the left and right to talk, and it was dangerous to get along with each other." Within a few days, Guo secretly reported to Huizong that there were as many black spies as many times a day, and it was called a sign of Cai Jing's chaos in the country. "The emperor first doubted the capital, so he stopped it." So in the same month, Cai Jing was dismissed from the position of Minister Zuo Pushe and Minister of the Jung-secret. On November 12 of the same year, Cai Jing "issued to retire", and the original titles of "Tai Shi" and "Duke of Chu" were both expelled.
1109 to March 11100, "the censors discussed their evils", and Cai Jing, who should have been expelled from the capital, used the excuse of "still proposing to edit the "Records of Zhezong"," and stayed in the capital, approaching Huizong. Later, Huizong "gives the title" Cai Jing to the South Garden of Suzhou, hinting that he would be exiled from Suzhou. On the second day of February 1110, Huizong revealed his dissatisfaction with Cai in front of Zhang Shangying. The "talk" between Huizong and Zhang Shangying made Cai Jing's career worse. In the same month, Huizong promoted Zhang Shangying to the Secretariat of the Secretariat, and Cai Jing's situation became even more embarrassing. In March 1110, when Huizong summoned Cai Jingguan to "The Return of the Boat in the Snow River", Cai Zheng was in a period of losing power. At this time, he was unable to protect himself and could not escape the fate of demoting Suzhou in the south. Cai Jing may have committed a disaster star, but when he was out of favor, he still mastered two major strategies: one is calligraphy and the other is the best way to express his auspiciousness, and use auspiciousness to eliminate the disasters and strange words that once brought him down.
Calligraphy is Cai Jing’s first choice weapon for turning over. His handwritten book " Chongning Qianwen" was printed on Chongning paper banknotes from 1102 to 1106. The handwritten book " Yuanyou Party Monument ", the six-character inscription "The Monument of the Grand View Holy Works" and the stele "The Emperor's Gives the Bible" are all widely published and spread throughout the world. His writing skills are far stronger than his political enemies.
Song Huizong's " Listening to the Piano Picture " Postscript Cai Jing's Postscript in the Palace Museum
Cai Jing's postscript in large-character running script "Picture of Returning the Boat in the Snow River". The "Xuanhe Calligraphy Book" written around 1123 also records two "Snow Poems" collected by Huizong's Imperial Palace."Xuanhe Calligraphy Book" praised him for "running scripts are like nobles, with a brilliant spirit and glorious spirit", and said that he "made edicts and seals with detailed work and brilliant style. When responding to the rules, he was diligent and quick in writing, without adding points to his writing. If he had long been constructed, he would never have drafted it." Such a high evaluation, coupled with the 77 pieces of Cai Jing's calligraphy collected in the Imperial Palace, makes us understand why Huizong, who is so kind to calligraphy and painting, belongs to him. With his inscriptions, poems and inscriptions and seal scripts, Cai Jing cleverly praised his outstanding talents as a political literati. Based on this, we can further understand that when Cai Jing, who was politically insulted, wrote the inscription on Huizong's "Picture of Returning the Boat in the Snow River", why did he choose a large-character running script with a spirit of spirit? Why did the postscript include poems and articles as the intention of the chapter? The best calligraphy is nothing more than a wonderful step to impress Huizong, who is proficient in appreciation.
When auspiciousness reappears, or is created, Cai Jing borrowed the art of the old party's astrology calendar and immediately listed the "Commentary on He Furui" to please Huizong. In the past, the new party king Anshi became the handle for the old party to criticize because of words such as "the change of heaven is not enough to be afraid", but now Cai Jing is seeking a countermeasure and turning disasters into good fortune. He persuaded Huizong to lure astronomical phenomena not to disasters, but auspicious responses. Through the double-sided interpretation of good and bad words, as well as the forged "fu Rui", Cai Jing can be said to be an invincible place with full of literary and eloquence. On April 19, 1103, the sorcerer observed the sky and reported the sign of the five-star gathering of Kui (Since the Han Dynasty, the five-star gathering was regarded as a bad sign of the destruction of the empire), but Cai Jing was called the sign of peace.
Cai Jing used Taiping Ruiying's explanation to resolve Huizong's anxiety and played with the celestial phenomena and the Chaogang in his hands. In February 1106, a comet appeared, and Zhao Tingzhi joined forces with more than 30 gangs to impeach, which led to Cai Jing's second resignation. However, the comet had become a double-edged sword against Cai Jing at that time: in March of the same year, Cai Jing reported that "Dragon Soaring Changes on the Day" (that is, the appearance of the comet, at best, led to the death of a palace horse). In January 1107, Cai Jing was appointed again and summoned the Minister of Shangshu Zuo Pushe and the Minister of the Jung-secret. Six days later, Cai Jing praised Furui to Huizong, but surrendered to the imperial tripod because of nectar. One month later, Zhao Ting stopped prime minister, and five days later, Zhao died and Cai Desheng. As mentioned earlier, the solar eclipse in 1100 led to Cai Jing's first abolition of prime minister. When the solar eclipse in November 1107 reappeared, Cai Jing was able to turn bad luck into good fortune and took the lead in submitting the report that Huizong "had a edible sun, but it was not as good as the food he deserved, so he led his ministers to congratulate him."
"Listening to the piano picture" partial
New and old parties make full use of Huizong's superstition weaknesses. The two parties compete to use pictures as political tools to present Huizong's Ruiying image. In September 1109, when there was a severe drought in southern provinces, Zhang Shangying presented Huizong's "Yuanzhou Ruihe Picture" and Jiahe Song and the so-called "Jiahe Dali". The Beijing Party retorted and refuted the image of Jiahe with high stems and sinking ears as a "match". How paintings influence the government and how they are transferred and transferred became the political discourse of the Huizong Dynasty to interpret loyalty, treacherous, good and evil. All of these are interesting examples. The auspicious and auspicious arguments and the debate on disasters have become the sharp blades of the party's common deeds, so that everything is accompanied by the meaning of the words. Both parties can attack political enemies and speak eloquently and disagree. If even the high-stem and large-grained can be interpreted in both directions as Jiahe or a mediator, in this context, other paintings similar to this can also have two-way meanings. Can the snow scene pictures in Huizong Dynasty have a subtle sound? Is the "Snow River Returning Boat Picture" also explained by both parties, or is it involved in the debate on disasters and auspiciousness?
Let us return to the discussion on the meaning of snow scene pictures. During the "Medieval Warm Period", winter snow is auspicious snow, which symbolizes auspicious signs of a good harvest in the coming year. The pleasing winter scenery and snow scenery pictures both make viewers provoke poetry thoughts. The records include the pictures of Wang Wei Xuejiang Sheng, the pictures of "Snow Appreciation Pictures" drawn by Li Yuling court painters, and the winter landscape pictures of the murals of the Liaoqing Mausoleum are all filled with romantic and leisurely poetry. In the early Northern Song Dynasty, Emperor Taizong and Emperor Zhenzong also led their ministers to pray for snowfall.
But the snow scene pictures during the "cold period" may be sad. Zeng Minxing's "Du Xing Magazine" records: "A scholar from Dong'an is good at painting. When he writes the river and sky without snow, there is no snow, which shows his clear, clear, bitter and cold state." Guo Xi said that "the winter mountains are light and as light as sleeping." "Xuanhe Painting Book" and "The Complete Works of Landscapes" also have the grievance that "the haze of winter mountains blocks people's silence." The sufferings of people's livelihood during the cold period have caused the viewers to associate with the snow scene pictures with disasters.
1110 Cai Jing’s postscript to the poem “The Returning Boat in the Snow River” may be called “Snow Poem” to a certain extent.According to Chen Guan (Zhang Shangying Party member) impeached Cai Jing in October 1113, the crime of bewitching the sages:
Disasters and strangeness are not spoken, but auspicious words are written. What's more, the thunder finger in the twelfth lunar month is auspicious thunder, and the snow finger in the thunder finger in the thunder month is auspicious snow. I pay homage to express my congratulations and write poems to replace me. I think the changes of the sky are not as good as the childish child.--Chen Guan discussed the evil of Cai Jing and said: I am not afraid of heaven, but it is contrary to my feelings.
Chen Guan's impeachment also shows us how Cai Jing pointed out disasters and how to influence the holy intentions with the saying "auspicious response". The postscript of Cai Jing's poem "The Snowy River Returning Boat" was written in March. As Chen Guan said, Cai Jing pointed the snow in March as "auspicious snow" and "wrote poems to replace the snow", then the words "successful" in Cai Boat in "The Returning Boat of the Snow River" also imply the meaning of "auspiciousness". "Auspiciousness" does not refer only to the auspicious response of natural phenomena in the political context of Huizong's palace; the interpretation of celestial phenomena often depends on the comments and demerits of human affairs. The debate on auspiciousness and disasters can be regarded as the political sharp sword of the Huizong palace, and the snow scene pictures also contain multiple meanings.
"Hydrangea and Golden Elf Picture" by Emperor Huizong of Song Dynasty. The Palace Museum was collected by the strange cold and severe drought between the years 1109 and 1110 made Emperor Huizong very worried and anxious. Cai Jing was also worried at this time, but the king and his ministers had different feelings. After June 1109, Cai Jing was dismissed from prime minister and was about to be demoted, but his political enemies still used their old tricks to blame the snow and drought as a disaster for heaven's punishment, because Cai Jing was angry and violated the destiny of heaven. From the twelfth lunar month to 1109, the old party attacked Cai Jing again, saying that the poverty alleviation institutions he had set up to deal with the cold were one of the culprits that exhausted national strength. But what does this have to do with the prime minister, such as star change, strange cold, and severe drought? Why did Cai Jinglu get dismissed from prefecture three times due to natural disasters? When Huizong showed him the "Picture of Returning the Rowing in the Snow River" in March 1110, how should Cai Jing defend himself and how to turn the tide? In the loneliness of his predicament of official career, he used the inscriptions of the poems of snow to reveal his innocence to Huizong, and was just a scapegoat for natural disasters?
The way of heaven is infinite and fate is impermanent. The honor and disgrace of slaughtering the world depends on the phenomena of celestial phenomena. Cai Jing's inscription on the middle part of the inscription on "The Returning Boat in the Snow River" is very serious, and he borrows the changes of all things in the world without any direction. Slowly reflects its ups and downs in the political fortune:
The Qi of the four seasons of heaven and earth
Different things are born between heaven and earth
According to the fortune
(climate)Fresh
(star transformation)Mingming
(crops) rebirth
(political) boom and drought
fly away
change inconsistent
Nothing can be exhausted
The moment of sighing moved, Cai Jing's thoughts were faintly flowing. Comets and blackspots caused their fall, and the snow, drought and famine years were also blamed on him. This is Cai Jing's political winter and he is about to be exiled in the near future. However, he hopes to see the flow of "luck". The energy of the four seasons will reincarnate with the cycle of movement, and will return with spring after the cold winter. Cai Jing suffered from the "cold winter" of his career, but he hoped for the spring of politics. The postscript emphasizes "the fate" and "change" because one is sitting and waiting for "change".
Cai Jing used his postscript to express his ambitions, but what about Huizong? Can Huizong understand the code words here? The reason why Cai Ba said this was that because he received some secret message from Huizong's paintings, was in line with the inscription?
Huizong created a majestic and quiet state of the country in the first half of "The Return of the Snow River". Let’s see how Cai Jing interprets the volume and how to show his literary talent:
号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号� Did Cai Jing describe himself as a "traveler" far away from the temple? Does the "flowing in the drum and oar" secretly illustrate the political dilemma he is in? I'm afraid Cai Jing does have this intention - if we expand the whole scroll, the most prominent part of the middle section of the scroll is a thin fisherman sailing alone, sitting in the hills and valleys facing the viewer (Huizong is the reader and viewer of Cai Shi). Behind the fisherman was a mountain village house, and in front of him were thousands of rocks and dangerous valleys (suggesting the treacherous government affairs), and the overlapping peaks blocked the fisherman's return.The Taige Temple at the end of the scroll—or the metaphor of the imperial temple—is the place where the fisherman returns to the boat or the ultimate hope for Cai Jing, the painter. However, at this time of depreciation, the fisherman is sailing in a dangerous place, and the temple at the end of the scroll is still out of reach.
"Snow River Returning Boat Picture" The whole volume of the whole volume of the fisherman who walks alone
Why did Huizong highlight the fisherman in the snow scene? When the painting was completed, did Cai Jing be regarded as the potential "viewer"? Although this problem cannot be directly known, the title of the painting "Snow River Returning Boat Picture" was previously rare. Huizong did not call traditional names such as snow maps or snow maps of peaks, but was unique and wrote a special title to clearly state the five words "Snow River Returning Boat Picture" in the opening book. This title may have revealed the meaning of Huizong's "returning boat" that implies that the viewer of paintings will be demoted (in the danger of "Snow River") and then summoned to the court again.
History records that "Beijing started from expelling ministers", and when Cai Jing was writing the inscription "The Picture of Returning the Boat in the Snow River", he was dismissed from his third resignation. According to his experience, he was once exiled to the distant place, and was summoned to Beijing for a few months or a year or two later. After several ups and downs, by March 1110, Cai Jing, who had a rich experience, was probably already sensitive to the implicit sound of Huizong's words.
The meaning of "returning boat" depicted at the end of the "Snow River Returning Boat Picture" is about returning from a boat
If Huizong really became disgusted with Cai Jing, he would probably not have to bother to summon the ministers to view this volume, and tolerate his inscriptions on the imperial scroll and the holy name. If Huizong had never been lingering in Cai Jing, perhaps there was no need to carefully design, and he would draw the fisherman in the snow river, and at the end of the volume, he used the temple to indicate his return. Huizong summoned Cai Jing to see the mountains and rivers of the four seasons. The cycle of the four seasons is like the ups and downs of the officialdom. Cai Jing saw himself walking alone in the winter scenery.
Passing ministers speculate on the emperor's thoughts. Is Cai Jing's interpretation correct? Can you fully appreciate the implicit sounds in Huizong's paintings? Especially one month before this postscript, Huizong had just "issued it with his Nanyuan". Suzhou Nanyuan was often the place where the ministers were exiled in the Song Dynasty. The Nanyuan was given to the Nanyuan, and the Nanyuan was implied that the southern exile was about to be exiled. This evil sign, Cai Jing should be deeply worried. Cai Jing's postscript in "The Returning Boat in the Snow River" is low-key and sad. Wang Wei's "A Brief History of Dongdu" records:
Although Huizong favored and used it, he also rose up and served many times. Whenever he heard that he was about to retreat, he would see Huizong and kowtowed to mourn.
Is this inscription in "The Returning Boat in the Snow River" another "please ask for sorrow" or compromise? We can at least assume that Cai Jing had already appreciated the holy intention when he was watching the paintings, and his hints towards Huizong were tacitly understood.
Cai Jing used calligraphy, poetry and prose to seek mourning. Did Huizong also use Cai Jing to read paintings and write inscriptions to take the opportunity to eliminate the private friendship between the monarch and his subjects? Since both the monarch and ministers are well versed in poetry and prose and have high attainments in appreciation of calligraphy and painting, did Huizong use "art" as a means to summon Cai Jing with painting caress?
Although the young Huizong used poetry, calligraphy and painting to win over Cai Jing, the political situation made Huizong treat him harshly. Ascending the throne as emperor, it was innately ordered that Huizong must deal with his ministers in the future, and seek political balances and balances between the powerful ministers and the rule of the country. Huizong's vision of calligraphy and painting was no longer pure, nor could he return to the simplicity of the Duan Wang period. As scholars such as Yi Peixia pointed out, Huizong's calligraphy, painting, art sponsorship and cultural activities often hide worldly and complex political functions. As early as 1110, Huizong demoted Cai Jing from time to time. After summoning him, he held a banquet for Cai Jing, summoned him to view the imperial calligraphy and paintings and left an inscription. It is precisely because of this kind of poetry, calligraphy and painting that the old grudges between Huizong and Cai Jing were over, and their private friendship became increasingly serious. In the first month of 1107, after Huizong summoned Cai Jing to restore the country, he "gived the Prime Minister Cai Jing and others a banquet" in March. After the completion of the "Qinghui Pavilion of the King and Ministers", Cai Jing was ordered to write a poem, and in "On October Gengshen, (Huizong) and the "People who were given the title of Cai Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing Jing. In addition, Huizong personally wrote the main text of the "Eight-Line Monument" in March 1107, and ordered Cai Jing to write the six-character title of "The Monument of the Great Temple of the Great Temple" on the inscription. When the inscriptions and inscriptions of the monarch and ministers’ letters are published, the prefaces of the counties and counties in the world will be widely published, and the friendship between the monarch and ministers will be announced to the world.
In addition to calligraphy and painting, Huizong also summoned Cai Jing with symbolic meanings such as literary and art as a medium.In the first month of 1112, when Cai Jingnan was exiled to Hangzhou, Huizong secretly sent Wang Fu to Hangzhou and gave Cai Jing a number of boxes of tea medicine. When Cai Jing opened the seal, he suddenly found a white jade ring with a diameter of seven inches hidden under a box. He instantly understood the mystery and quickly ordered his family to pack his luggage and wait for the return of the bag. Cai Jing understood that the so-called "ring" is a cycle. "Huan" is not only homophonic with "return" and "call", but also "Yuhuan" is also homophonic with "desire return". On the surface, Huizong gave him a white jade ring, but in fact he secretly used his words to bring a pun. Cai Jing immediately cracked the secret message, and the king and his ministers were tacitly informed. Within two days, on the first day of February 1112, Huizong issued an order to summon Cai Jing to re-elect the government, and "he specially restored Cai Jing's Grand Secretary, but he still retired from the Duke of Chu, and was granted a living in Beijing." After
was given the jade ring, Cai Jing finally turned against the good. In March of the same year, he arrived in the capital and went to the palace, and on the 25th, he "chased the court to lead the opponent." Huizong was allowed to "remain wearing jade belts and wearing goldfish." In April, Cai Jing was given a banquet at Chuigong Hall and Taiqing Tower. Although it was ominous two days ago, it was destroyed and reappeared as many as two or three times.
Cai Jing finally returned to the spring of politics, even the Japanese-Chinese gangsters are not a threat. In May 1112, Huizong wrote an imperial edict to refute the anti-Tai Party members as "a treacherous villain who spread rumors and slandered" and slandered the crime. Not only that, Huizong also praised Cai Jing, who was re-prime minister.
1112 in June, Cai Jing restored the crown prince’s young master, and rejoined the crown prince on August 11, and rejoined the title of Duke of Lu in November. The new policy has also been restored to the same as before. Political enemy Zhang Shangying dismissed his minister in April 1111 and was repeatedly exiled to remote malaria from August 1111 to the following year. In the changing situation of the Huizong Dynasty, in a blink of an eye, the honor and disgrace of these two people had reversed their careers and feng shui took turns. Such a dramatic ending turned sharply and sharply, and the Song people often laughed at the cycle of heaven: "I don't know that Shang Ying has left, and Cai Jing will come again."
1113 leap April, Huizong gave Cai Jing a magnificent spring scenery in the spring: "A Thousand Miles of Rivers and Mountains". This green landscape was constructed by the painter Wang Ximeng, directed by Huizong. The country is endless and the momentum is majestic. From the layout of the topic, the color of the colors, and even the lush forests and bamboos, pavilions and towers, all show the atmosphere of royal wealth and the eternal congratulations of the country. At this point, Cai Jing has become the most powerful minister and has consolidated his position. What's more, Huizong signaled Cai Jing to write an inscription and said to Jing: "The scholars of the world are just doing it." In the political spring, Cai Jing's fate cycle at this time is very different from the difficult winter scene of the postscript "The Snow River Returning Boat" in the past. From the two volumes of "The Snowy River Returning Boat" and "The Thousand Miles of Rivers and Mountains", we can see the fate and ending of the Huizong ministers.
Wang Ximeng's "Thousand Miles of Rivers and Mountains" volume tailed Cai Jing
