. The cultural relics expert Zhu Jiaqing , who has 60 years of experience in the Forbidden City, led the expert team to select 100 of the more than 900,000 cultural relics treasured in the Forbidden City and compiled it into "100 National Treasures of the Forbidden City".
The whole book has been divided into five categories: bronze ware, calligraphy and painting, ceramics, arts and crafts, and weaving and embroidery. Each category and every piece have a brief introduction, involving the past and present of cultural relics, historical values, excavation stories, production processes, etc.
328 rare images, each of which was unique in the era of silver salt film. Zhu Jiaqing took color samples to the Forbidden City warehouse many times to carefully compare, accurately restore the colors and details of the cultural relics.
40 years ago, "100 National Treasures of the Forbidden City" was often given to foreign heads of state as a "national gift".
40 years later, the editor re-arranged the design in a way closer to young readers, showed details from multiple angles, understood history through national treasures, and compiled this set of "Family Heirloom Books" worth putting in the study.
This newspaper selects four national treasures to introduce to readers.
volume square japan
shang (1600 BC-1046 BC)
column height is 28.5 cm, diameter is 11 cm in length, horizontal is 13.3 cm, total width is 16.2 cm, weight is 3.12 kg
utensil, it is a wine vessel that can hold wine and heat it up. The inscriptions of this kind of bronze ware generally have very few words and do not have their own names. The copper sulcus first appeared in the middle of the Shang Dynasty and also originated from the Tao sulcus. Early copper slabs were mostly round. After Shang moved to Yin ( Anyang ), more copper ware was made, and the types also changed, and square ward appeared. The reason why bronze wine utensils were the most popular in in the Shang Dynasty was because the Shang Dynasty people were addicted to alcohol. The lifestyle of princes and nobles is to drink day and night. Especially in the last emperor of the Shang Dynasty, King Zhou 2, the country was destroyed because of "living and loving wine, loving and loving, and being humble to women." The emperors of the early Western Zhou Dynasty learned from the lessons of the Shang Dynasty's demise of the country due to alcoholism and strictly prohibited alcohol. Due to this reason, many wine vessels that were popular in the Shang Dynasty gradually disappeared after the Western Zhou Dynasty.
This book has a square body, a square body, a cover, a slightly closed neck, a bulging belly, and a slightly convex base. There is a pàn on one side of the abdomen. Two square umbrella-shaped columns are erected on the edge of the mouth on both sides adjacent to the abdomen, and four legs are outwards. The cover is flat and thin, with two birds in the middle. The two birds stand against each other, with their heads facing outwards and their crowns connected. The cover is decorated with two animal face patterns and a beast's head is decorated with one animal head. The main pattern on each side of the abdomen is a group of large animal face patterns, and the paper pattern is the ground. The upper abdomen and neck and the umbrella-shaped column cap are decorated with triangular patterns, with pointed corners facing upwards, and the four feet are decorated with banana leaf-shaped Kui patterns. This item is a treasure with gorgeous decoration and beautiful shape. The inscription of this instrument only has one word "生" and is cast on the inner bottom of the instrument. This single inscription is mostly used as the owner's name or clan emblem.
Most of the four-legged cervical and bulging belly like this device come from Anyang, and most of them have been scattered abroad. This one is now the only one in China. A small square ward with a cover unearthed from Fu Hao’s tomb in Anyang in 1975 is similar to this tool. Accordingly, this tool should have been cast in the late Shang Dynasty.
Han Xizai's night banquet picture
5th generation Gu Hongzhong (birth and death year unknown)
silk color, 28.7 cm in height and 335.5 cm in width
Southern Tang Zhongshu Shesan Han Xizai is a very talented but not polite person, with a good mood, and has a lot of Kabuki at home, often invite guests to drink for the night. The last master Li Yu wanted to understand this situation, so he sent the painter Gu Hongzhong to his house to spy on it. Gu's remembers the mind through his eyes and when he comes back, he draws a picture to communicate with the back. This is the famous " Han Xizai Night Banquet Picture ". "Han Xizai Night Banquet Picture" adopts the expression technique of Gu Kaizhi " Luo God Fu Picture ". The protagonist Han Xizai appears five times in the painting, which means that the entire process of the night banquet is described through five scenes.
The first paragraph "Listen to Music" is the most complete paragraph with the characters in the whole picture. Han Xizai is the one who has a long beard and a high gauze hat sitting cross-legged on the couch. He lowered his head slightly and placed his hands on his knees weakly. He was listening to the music but was not fully focused and seemed to be very worried, which was a sharp contrast to the top scholar Lang Can, who was sitting next to him in red clothes. Lang Can young, with a chic posture, both listening to music and appreciating the performer. One of the other two young people is Xizai's disciple Shu Ya.The other women are Kabuki. The composition arrangement of this picture places the performer on one side and the listener concentrates on the other side, highlighting the word "listen". It depicts the different psychological reactions of people with different identities, status and personality when listening to the same music. The two guests sitting sideways were probably Dr. Taichang Chen Zhiyong and Ziwei Zhu Rui. They are completely devoted to the artistic conception created by the music. Judging by their deep-locked eyebrows and tight lips, it was by no means a brisk pastime.
second paragraph "Watch the dance". Han Xizai personally beats the drum to accompany his beloved dancer Wang Wushan. Lang Can still feels immersed in appreciating the dance posture. Others, either making a decision or high-five, were all in joy. Only one monk held his hands in front of his chest, lowered his head and said nothing, thinking.
The author uses a segmented narrative layout. Between paragraphs, the screens of one of the interior furnishings are used as the interval, and the characters are looking at each other as the connection, making it both segmented and an indivisible whole, which is natural and clever. The entire picture is drawn with fine iron wire, and the brushwork is vigorous and accurately shaped the appearance and texture of various objects. The following sections are "rest", which are "rest", which are used to wash their hands and rest; "clear blow", which are used to play the audience; "farewell" are used to make the paintings of thin and thick, which are colorful, just right to show the luxury and luxury of the night banquet scene. "Han Xizai Night Banquet" represents the highest level of character creation in character creation and psychological portrayal, online drawing techniques, composition layout and color design in the Five Dynasties.
Dasheng Yiyin Piano
Tang Dynasty Zhide First Year (756)
120.3 cm in length, shoulder width 20.2 cm, tail width 13.5 cm,
thickness 5.2 cm, bottom thickness 20.2 cm
"Dasheng Yiyin Piano", made of paulownia , chestnut shell color paint intersects with black lacquer, and some slight vermilion lacquer repair. The golden emblem and jade pegs are thick in shape, with a round dragon pond, a round plaque and a phoenix squash. The title, seal and inscription on the back of the zither are all engraved during the making of the zither. The four characters "Zhide Bingshen" written on the belly are next to the pond. When the piano was made, just when the An Lushan rebelled, the Emperor Minghuang of Tang entered Shu, and the prince changed his reign to Zhide when Lingwu ascended the throne. This piano is beautiful in shape and bright in color, and is the treasure among the piano.
"The Great Sage's Relic of Music" was originally hidden in the Nanku of Yangxin Palace. 官网新官新 is the bedroom of the emperor of the Qing Dynasty. The Nanku is a library for collecting valuables, which shows that it was indeed taken seriously at that time. Although Nanku is the emperor's treasure library, after Puyi left the palace, when the Qing Dynasty's aftermath committee entered the palace to investigate, Nanku had been disrepaired due to years of disrepair. The mud and water dripped under the leaking roof, and the mud and water dripped in the face of the piano. I don't know how many years have passed. The mud and water have been stuck for a long time, and a layer of solid rust has condensed on the surface of the piano. The piano is gray and dilapidated. So it was stored separately in the warehouse. In 1947, it was edited by , the Palace Museum, and was identified as a rare product of Tang Qin . In 1949, with the consent of Ma Heng, the former president of the Palace Museum, he invited the famous Guanpinghu family to come to the courtyard for repair. After several months, a layer of water rust was completely removed. It turned out that the paint surface was not damaged at all, and the Zitan Yueshan (the name of a component on the piano) was re-arranged as it was. Although it has been eroded by mud and water for several years, the zither antler paint tire is still extremely strong. The thousand-year-old guqin can be passed down to future generations because of its excellent manufacturing.
"The Great Sage's Literary Piano" has been renovated this time and has restored its due appearance. After the repair was completed, I tried playing Guanpinghu, and the sound of the piano was crisp and loose. The books of piano books since the Ming and Qing dynasties summarized that the ancients believed that the best piano sounds had nine characteristics: strange, ancient, transparent, moist, quiet, round, uniform, clear, and fragrant, and were called "Nine Virtues". The ancients said that pianos with "Nine Virtues" were rare. According to the identification of modern guqinist Zheng Minzhong, the "Great Sage's Literary Piano" belongs to both "nine virtues", which means it can give people a perfect and pleasant sound experience.
Qingyu Dayu Flood Control Tushanzi
Qing Dynasty Qianlong 52nd year (1787)
height 224 cm, width 96 cm, height 60 cm, weight about 5330 kg
"Qingyu Dayu Flood Control Tushanzi" is made of Mileta Mountain green and white jade , and the bottom is made of copper embedded gold wire and burned ancient mountain-shaped base.Yushan is carved with steep mountains, ancient trees, caves, streams and streams as backgrounds. Dayu works on the front mountainside. The people who followed him were hammered, some used picks to thrust, some used levers to thump, and some used levers to chisel stones to open mountains, so that the water could go down. This vivid and lively labor picture is made according to the natural situation of jade materials and is a rare treasure. The back of Yushan is engraved with the imperial poem "Inscription on the Water Dayu of Mileta Mountain" in the first month of the 53rd year of Qianlong (1788). The general idea is that if such a large piece of jade material, like a mountain, is used to make objects such as Zunluo, it will be useless. The "Song people's painting of Dayu's flood control" collected in the palace is a famous painting. Embodying it on Dayu Mountain will be a memorial that will never be damaged. Only the holy traces of "merits last forever" are carved on such a big jade. Now the jade mountain has been made. Since the jade picking, it has been spent ten years on manpower and material resources. Qianlong also warned his descendants that if they were just to pursue treasure, they would never be allowed to do such things in the future.
According to previous records, it is necessary to make a special special car with a shaft length of three or five feet from Xinjiang to Beijing. There are copper handles on the cart. In front of it, more than 100 horses were used to pull the cart, and in the back, thousands of men supported the handles to push the cart. When you encounter mountains, you build bridges when you encounter water. In winter, you will splash water and freeze the road surface and travel for five to six miles a day. Based on this calculation, it will take three years to transport it from Khotan to Beijing. After the jade material was transported to Beijing, Emperor Qianlong chose the scroll of "Song people's painting of Dayu's flood control" recorded in " Shiqu Baoji " as a manuscript, and sent the original picture to Shu Wen, the minister of the Ministry of Internal Affairs, and ordered Jia Quan to carve it on the jade according to the pattern. On February 27, 1781, the 46th year of Qianlong's reign (1781), four patterns of jade mountain wax and painting were drawn on the front and back. On the seventh day of the fifth month of the same year, Qianlong approved wax samples and painting samples, and passed the canal to carry the big jade to Yangzhou , and handed it to Lianghuai Salt Administration Tuming Axuan jade craftsman to make it. Later, because of the fear that the wax sample would melt over time, it would still be carved into wood. Construction started in Yangzhou in September of the 46th year of Qianlong to June of the 52nd year of Qianlong (1787). In the same year, Yushan was transported to Beijing via the canal. It is set up in the Leshou Hall of Ningshou Palace in September. On the 25th day of the first lunar month of the 53rd year of Qianlong, the jade carving craftsman from the Ruyi Pavilion ordered the imperial poem to be engraved on the back of Yushan.
The working hours and cost used by "Qingyu Dayu Controls the Flood and Tushanzi" are no accurate information available. But based on another piece of Yushan, the manufacturing data of "Qiushan Traveling to Yushan" can be inferred by approximately the number. This product is about four times the cost of "traveling in Qiushan to Yushan". According to the working hours and cost of "Qiushan Traveling to Yushan", it is estimated that "Qingyu Dayu Controls the Flood to the Mountain" will not include the engraving work hours, the mining of jade materials on the mountain, and the transportation from Xinjiang to Beijing, from Beijing to Yangzhou, and then back to Beijing. A series of freight costs are not included, and only the manufacturing is counted, which requires about 15,000 taels of silver. According to the price at that time, it can be equivalent to 16,700 dan of rice (one dan is about 60 kilograms). If the working hours of mining and transportation are added together, it will be several times more than this number. The "Qingyu Dayu controls floods and draws mountains" is a great innovation in the history of jade arts and crafts, showing the talents and wisdom of the Chinese people.
■Famous artists recommend
collections have a long history from ancient times to modern times, with all kinds of artistic and cultural relics. How to make the collections of the Forbidden City no longer unattainable and far away, but can enter the public's vision. This is the idea of planning the book "National Treasure". Let the public understand the national treasures of the hundreds of national treasures from the huge collections of the Forbidden City, and learn how to appreciate every category of art through the hundreds of national treasures through the thousands of years of Chinese art development. —— Chen Wanxiong
When I first saw "National Treasure", I was not only shocked by its exquisiteness and style, but also liked it for its popular and beautiful appearance. It is called the picture album, and there are not many words. There are 100 national treasures, each piece and each picture have detailed descriptions and stories, with a total of more than 100,000 words, but it does not conceal the colorfulness and glory of the pictures at all. Especially the techniques of cutting pictures and partial enlargement, which amazed me. ——Wang Jiaming
■Author profile
Zhu Jiaqing (1914-2003), the 25th generation grandson of the Song Dynasty Neo-Confucianist Zhu Xi .Researcher at the Palace Museum, member of the Cultural Relics Appraisal Committee of the State Administration of Cultural Heritage, librarian at the Central Cultural Heritage Research Museum, member of the Jiusan Society, famous cultural relics experts and historians, experts in the history and opera research of Ming and Qing dynasties, and have presided over the restoration and original restoration of the "Dragon Chair" of the "Dragon Chair" of the Palace of Supreme Harmony. He has been engaged in appraisal research and exhibition work in the Palace Museum for more than 60 years, and has devoted great efforts to sorting, collecting, researching and appraisal and grading cultural relics in the Palace Museum. His compilation " Imperial Books from Two Dynasties ", "Classics of the Forbidden City·Treasure Seals of Emperors and Empresses of the Ming and Qing Dynasties", "Biography of Recorded Dharma Books of the Palace Museum" and "Rare Books Collection of the Palace Museum" have become iconic works of the Forbidden City. The book "National Treasure" edited by him won the Book Award at the Frankfurt International Book Fair and is often given as a gift book to foreign heads of state.
(Editor: Li Zhengrong)
