"Along the River During the Qingming Festival " What historical passwords are hidden?
——Preface to "Feng Ya Song"
Wu Gou
Authorized by the author Confucian website Release
Western calendar June 21, 2018
Guangxi Normal University Press Published in April 2018
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a novel that has achieved a science. It seems that only the Qing Dynasty Cao Xueqin "Dream of Red Mansions" is for "Red Learning". It seems that the only thing that can achieve a science is Zhang Zeduan's "Along the River During the Qingming Festival" in the Northern Song Dynasty is "Along the River During the Qingming Festival". Zhang Zeduan "Along the River During the Qingming Festival" has not only given birth to countless imitations, imitations, and derivatives, but also attracted many scholars of Song history and art historians to interpret it again and again. For scholars who study Chinese social history, life history, folk history, clothing history, architecture history, transportation history, commercial history, advertising history, urban history, and shipbuilding history, "Along the River During the Qingming Festival" is also a rich ore that cannot be missed and rare historical materials (the "Along the River During the Qingming Festival" has many copies. The "Along the River During the Qingming Festival" mentioned in this book refers to the regular version of Zhang Zeduan, currently collected in the Palace Museum in Beijing unless otherwise specified).
As the "Book of Changes" says, "The benevolent people see benevolence, and the wise people see be wisdom." There is also a proverb in the West saying: "If there are a thousand readers, there are a thousand Hamlets." Different researchers are also very interesting in their interpretation of "Along the River During the Qingming Festival". Ms. Cao Xingyuan, who wrote "Standards: The Conflict and Compromise between the River During the Qingming Festival and the Northern Song Dynasty Society", believes that:
"The "Along the River During the Qingming Festival" may be a response to the "Along the Refugees" under the instructed Emperor Shenzong. The work quietly expresses the prosperity and peace of the people of Tokyo during the Qingming Festival, rather than the dilemma of poverty. Or "Along the River During the Qingming Festival" was written by a minister who had figured out the thoughts of Emperor Shenzong to please Emperor Shenzong."
However, Mr. Yu Hui, who wrote "Hidden Worries and Qu Gui: Decoding Records of the Qingming River Pictures", proposed that "Along the River Pictures" "deeply reveals the various chronic diseases and hidden dangers of Kaifeng City, and has a certain social criticality. The deepness of the painter's worries hidden in his heart and the tactfulness of his paintings appearing on the paintings are only known to people of the times, but difficult to destroy by future generations. Its meaningfulness makes those who appreciate it deeply cannot bear to cover the scroll." It is confronting Cao Xingyuan's views.
, these two ways of trying to "restore" the painter's motivation to draw "Along the River During the Qingming Festival" are both risky. Pictures are different from poems and essays. Texts can clearly express the author's original intention of creating a poem, but pictures may not be possible.
Let me give you an example. According to legend, during the Five Dynasties, Luo Yin saw a "Fishing Picture in the Fenxi Palace" in the palace of the Wuyue Kingdom, the main Wuyue Kingdom, and a poem was chanted: "Lu Wang was in the temple and fishing for the country with straight hooks. If he was born on the West Lake, he would also have to provide fish in the house." Of course, this was a tactful advice to Qian Liu to abolish the tax on "Fishing Fish". But no one knows whether the painter who created the "Fanxi Fishing Picture" also had this intention.
From a landscape painting and customs painting, it is probably difficult to accurately restore the painter's tortuous intentions - except for the pictures with very obvious intentions, such as the "Picture of Refugees" by Zheng Xia of the Northern Song Dynasty, and today's current affairs satirical cartoons. The attempt to point out whether the author of "Along the River During the Qingming Festival" is to please the emperor or to make sutras to the emperor, are all the imaginations of later generations, and it is impossible to obtain detailed proofs, unless you can get Zhang Zeduan under the sacred springs and ask him to talk to him in person.
For example, in Zhang Zeduan's "Along the River During the Qingming Festival", there is a high platform outside the city painting. Mr. Yu Hui pointed out, "The only fire-watching building in the painting has been placed on tables and benches for leisure. There is no one watching the downstairs, and the fast horse that reports the fire alarm is unknown." He believes that this is the painter implying the abandonment of the fire-fighting facilities in Tokyo City.
However, the shape of this high platform in "Along the River During the Qingming Festival" is completely different from the structure of the Wanghuo Tower stipulated in " Creation French Style " (according to the standards of "Creation French Style", the Wanghuo Tower consists of three parts: a brick and stone foundation, four giant wooden pillars and a tower-shaped building, and is a tower-shaped building), and is also very different from the shape of the Wanghuo Tower depicted by "Creation French Style" of the Southern Song Dynasty.
Obviously, this is not a fire building, but a pavilion for citizens to climb high and look far, drink and have fun. The Ming Dynasty Qiu Ying's version of "Along the River During the Qingming Festival" collected by the Liaoning Museum also painted such pavilions.
(a high platform in Zhang Zeduan's "Along the River During the Qingming Festival")
(left: a sectional view of the Song Dynasty Wanghuo Tower drawn according to the "Creation of the French Style", quoted from Liu Diyu's "Research on the Restoration of the Wanghuo Tower in Tokyo in the Northern Song Dynasty"; right: a Wanghuo Tower depicted in the "Qiuying Picture of West Lake" in the Southern Song Dynasty)
(a pavilion in Qiu Ying's version of "Along the River During the Qingming Festival")
For example, there is no city defense fortifications and no troops stationed. Instead, a tax office is arranged on the inside of the city gate to collect commercial taxes from passing merchants. Based on this, Mr. Yu Hui believed that this detail "really reflects the increasingly declining military strength and increasingly indifferent awareness of prevention in the early days of the Song Huizong Dynasty", as well as the "heavy commercial tax" problem. However, if we look at it from another perspective, we can also say that Zhang Zeduan actually used a brush to illustrate the openness of Tokyo City in the Song Dynasty and the importance of the Song government on commodity tax.
The first reaction of the literati scholars who have read Zhang Zeduan's "Along the River During the Qingming Festival" in all dynasties is usually to think that the painter painted it, "is that it was a great view when Bian Jing was prosperous." They even feel that "the viewer sees the bustling houses in the town, the prosperous boats and cars, and the fullness of merchants' wealth and goods. They all admire and admire, wishing they could be born at the time and look at the matter with their own eyes."
After the Song Dynasty moved south, many imitations, copies of "Along the River During the Qingming Festival" and "carved boards" printed materials appeared in the markets of the Southern Song Dynasty, which were used to "remember the prosperity of the old capital and write about the prosperous scenery of the Qingming Festival". "The capital sold shops, each volume of "Along the River During the Qingming Festival" was priced at one gold price. The size and style of the work were different, and most people in the painting academy made it."
Because of the demise of the Northern Song Dynasty, the Tokyo Dream Hua disappeared like smoke and clouds in a blink of an eye. Many people who view paintings would also feel "what will the rise and fall have been found in the past?", and even regretted the demise of the Northern Song Dynasty because of its comfort: "Now the old man is crying, and he still hates Xuanhe and Zhenghe (the extravagance of the Song Dynasty was especially popular in Xuanzheng)." However, this is just the impression of later generations reading paintings, and it is hard to say that it is the original intention of painters to draw. In fact, future generations will never be able to explore the original intention of the painter.
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We say this, of course we do not deny the rich historical information implicit in "Along the River During the Qingming Festival".
"Along the River During the Qingming Festival" is like a "small encyclopedia" in the society in the Song Dynasty. From the boats and oars on the Bian River , we can imagine the prosperity of the Bian River ferry in the Song Dynasty (but Mr. Yu Hui believes that the painter implies "severe problem of merchants hoarding grain" here, which is just Mr. Yu's own imagination);
waving from the wine flags in the market, we can also imagine the development of the Tokyo restaurant industry in the Northern Song Dynasty. Da (Mr. Yuhui believes that the painter wants to use this to reflect the "flooded wine disaster", which is also an irrefutable imagination);
"Along the River During the Qingming Festival" paints much more donkeys and mules than horses (there are only 20 horses in the picture, and 46 donkeys and mules) is also a true portrayal of the lack of horses in the Song Dynasty; researchers who want to understand the structure of the city gates, shapes of houses, bridge structures, and citizens' clothing in the Song Dynasty can find the most intuitive and real image materials from "Along the River During the Qingming Festival".
This is exactly the charm of "Along the River During the Qingming Festival".
In addition, this is also the charm of Song paintings. Gao Juhan, an American sinologist who studies the history of Chinese art, introduced:
"The early Western research on Chinese painting often believed that the Chinese painting tradition experienced its great period - the Song Dynasty, declined to the Yuan Dynasty, declined again in the late Ming Dynasty, and even the late works were not worthy of any rigorous collectors and museums. Pullen (a collector of Song paintings in the United States) was a firm supporter of this prejudice, and his status as a researcher was never shaken throughout his life.Pu'eren asserted that even if those "Song paintings" were not really painted in the Song Dynasty, they were still more beautiful than any Ming and Qing paintings. ”
Pulen’s admiration for Song paintings is only due to personal aesthetic preferences, but for historical researchers, the value of Song paintings as “image evidence of history” is indeed far greater than that of paintings from other eras.
The painters of the Song Dynasty were full of interest in everything in the world. The subjects they “depicted are multifaceted, almost all-encompassing. From the magnificent scenery of nature to the tiny weeds, idle flowers, dragonflies, and beetles, they were all caught in the paintings, and with carefulness and wonderful writing, they became a grand view. The descriptions of urban life and farm society, portraits of characters, and satirical philosophical works can still be outstanding in the history of painting, and give examples and inspiration to people thousands of years later. Therefore, those who discuss the history of Chinese painting must focus on the glorious era of Song Dynasty." For historical researchers, they can obtain all-inclusive image historical materials about Song Dynasty society from Song paintings.
Furthermore, Song painting emphasizes realistic, in the words of the Song people, "the art of viewing painting is only realistic. Those who get the completeness of truth are ultimate; those who get more are superior; those who get more truth are inferior. ” It is very different from the style of literati paintings in later generations. Mr. Lang Shaojun, a scholar of art history, once gave the realistic spirit of Song paintings:
"Song Dynasty art has reached the pinnacle of Chinese classical realism in terms of realistic techniques. ...In terms of the level and achievements of classical realist art in the East and West countries during the contemporary era, it is undoubtedly first-class. It is not an exaggeration to say that it occupies the highest position in the art of human painting in the contemporary era. ”
verbal statements are unfounded, and the Southern Song painter Li Di 's " Snow Tree Cold Bird Picture " (collection of Shanghai Museum) and "Greeting in the Snow" (collection of Yamato Manhua, Japan) are proved. The snow, branches, shrike feathers and cow fur in the picture are all very textured and have the effect of modern oil paintings.
(collection of Li Di's "Collection of Snow Tree Cold Bird Picture")
(Li Di's "Returning to the Shepherd in the Snow")
The very popular boundary painting (the boundary painting is a kind of painting that uses boundary ruler leads, striving to accurately and meticulously reproduce objects such as houses, palaces, utensils, boats, and chariots on the picture) and pursues realistic visual effects. Deng Chun, a native of the Song Dynasty, said:
"The painting academy is the most skillful in the painting industry, and is dedicated to new ideas. I saw a scroll, which was very cute and fun. A palace gallery is painted with golden green and green, a rich door is half open, and a palace maid is exposed half of her body outdoors, and she stores the peel of a basket as a thrown shape. Such as duck feet, lychee, walnut, torreya, chestnut, hazel, and starch, each can be distinguished, but each does not have the same relationship. The brush and ink are so subtle! ”
The picture written by Guo Zhongshu, a master of painting in the Northern Song Dynasty, “The pillars and pillars are wide, and the pillars are empty, and if you can look at them, you can open and close them. Inch is measured by hair, inch is measured by fraction, and inch is measured by zhang, and it is increased and doubled to make the world. They are all in a standard way, and there has never been a small difference. Nothing can be done without being detailed or compromised by the rules." Studying the architectural shape and structure of the Song Dynasty, the boundary paintings of the Song people are absolutely unignorable.
Because of rewriting and photo art, Song Dynasty painters left precious historical images for future generations, such as photos and documentaries of later generations. It goes without saying that the magical works of boundary paintings such as "Along the River During the Qingming Festival" can provide valuable evidence for our study of history.
For example, if you want to understand the common types of butterflies in the 12th century, if you look up the literature, you may get half the result with twice the effort, and you may even get nothing, but just go Looking at the Southern Song painter Li Anzhong 's "Sunny Spring Butterfly Play Picture" (collection of the Palace Museum in Beijing), you can immediately know what kinds of butterfly varieties are familiar to the Song people.
(Li Anzhong's "Sunny Spring Butterfly Play Picture")
But the realistic style of the Song people transformed during the Yuan Dynasty, giving way to freehand literati paintings. The Yuan and Ming literati painters lost their interest in "reappearance" in the external objective world, but paid more attention to expressing their inner feelings. The painter Ni Zan , who lived in the late Yuan and early Ming dynasties, said: "What I call painting is just a leisurely brush, and does not seek to resemble the shape, and I am just for the sake of entertaining myself.I am talking about the bamboos in my heart and mind. How can I compare the similarities and non-stops, the complexity and sparse leaves, and the oblique and straight branches? ”
The boundary painting that was popular in the Song Dynasty also declined rapidly during the Yuan and Ming dynasties. The Qing people wrote "Ming Painting Records", pointing out: "Since the Ming Dynasty, fewer people have good at this. People like Yuan brushes (Yuan brushes refer to literati paintings), and even paintings in the world are despised as craftsmanship. This school will be destroyed later. "
From the perspective of aesthetic art, which one of the realistic Song paintings or freehand literati paintings has higher artistic attainments? This can only be a matter of opinion. But from the perspective of historical research, the historical material value of Song paintings is enough to throw the paintings of later literati in a few streets.
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In the Western academic community, "using pictures to prove history" as a historical research methodology, has developed into an independent historical science Branches - Image History.
However, in the Chinese historical community, people seem to have achieved awareness of image history. They either only regard image materials as illustrations or use image materials as circumstances of documentary materials. The use of images is just to make up for the shortcomings of documentary materials.
In fact, friends who study Song paintings may find that the amount of information in historical images is sometimes richer than documentary records. A (a group) of historical images often include Contains three levels of historical information. The first level: the image information consciously depicted by the painter is usually reflected in the inscription of the picture.
For example, "Along the River During the Qingming Festival", what Zhang Zeduan wants to depict is obviously the city scene in a corner of Tokyo during the Qingming Festival in the late Northern Song Dynasty. People who view paintings can see the "prosperous scenery" of the Song Dynasty city from this picture, or think of the fragility of prosperity.
The second level of historical information is the "society" unconsciously revealed by the painter Traces of life. For example, the Southern Song painter painted " Han Xizai Night Banquet " (collection of the Palace Museum in Beijing), the scroll depicts a historical story that took place in the Southern Tang Dynasty . However, when the Song Dynasty painters were painting, they naturally unconsciously brought in a lot of information about social life in the Song Dynasty, because painters cannot imagine a scene of a wealthy night banquet out of thin air, and will only describe the various details of the Han family night banquet based on their own experience and experience.
Today, when we When we unfold the "Han Xizai Night Banquet", we see more of an infographic of the social life of the Song Dynasty than a story of the Southern Tang Dynasty. The Han house furniture in the picture, from the supporting tools to the seats, from the screens to the frames, from bedding, from bedding, are actually typical Song-style furniture portrayals. From this we can truly understand the home layout and furniture characteristics of the Song people. Scholars who study the furniture of the Song Dynasty will definitely not miss the "Han Xizai Night Banquet".
Another example is "Wen Ji Returns to the Han Dynasty" collected by the Palace Museum in Taipei Pictures are composed of pictures, which are said to be painted by Li Tang of the Southern Song Dynasty, but may not be conclusive. Judging from the style of painting, it is undoubtedly from the hands of painters of the Southern Song Dynasty Painting Academy. The eighteenth shot is "Return Home". The first layer of information told to us is of course the story of Cai Wenji returning to the Han Dynasty in , which occurred in in in in in the Southern Song Dynasty. The painters of the Southern Song Dynasty painted this story, perhaps to cater to the filial piety of Emperor Gaozong of Song Dynasty, but the painter's motives are not difficult to investigate in depth.
But the second layer of historical information hidden in this "Return Home" is It can be verified - for example, scholars who study architectural history can understand the architectural shape of the Song Dynasty (rather than the Han Dynasty) from the picture scroll.
(Story of "Wen Ji Returning to the Han Dynasty" by Li Tang of the Southern Song Dynasty, "Returning to the Home")
The third level of historical information is the spirit of the times implicit in the painting style. We have said before that the characteristics of Song painting are full of realistic spirit, so why does Song painting show such a distinctive collective style?
We believe that this is actually the embodiment of the Song people's spirit of the times that "studying things and seeking knowledge" in paintings. "studying things and seeking knowledge" is a methodology that the scholars and officials of the Song Dynasty, especially Neo-Confucianists, like me, and let me quote a view from Professor Liu Jingmin of Taiwan University of the Arts:
"The spiritual world of the Song people is not quite the same as the Tang people. You see, the Song people's spirit of investigating things is very developed, just like there were a large number of frontier poems in the Tang Dynasty. They had a large number of poems about objects, concentrated on many special objects, and the Jiangxi School of Poetry is an example.They began to be curious about a single thing, such as there were a large number of tea classics, bamboo shoots, and research articles on various plants at that time. This was the cultural background at that time. ”
The "research article" mentioned by Professor Liu Jingmin refers to a large number of records of studying all things in the Song Dynasty, such as "Mo Tu", "Fragrance Tu", " Yunlin Stone Tune ", " Tea Tune ", " Wine Tune ", "icing frosting Tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune tune Written by, actually written in the Southern Song Dynasty (Quanfang Beizu", "Chaozhizhi", "Eryayi", "六文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文文� Those who draw feathers must know the body and body of birds, including the beak, mouth, face, eye edge, jungle, brain hair, and straw hair. The wings have wings and clam wings. There are large and small sections, small sections, small sections, small sections, and six sections, as well as the six sections, as well as the wind, grass sweeping, scattering, pressing tails, belly hair, leg burrs, and tail cones. The feet have claws (three sections), claws (two sections), claws (four sections), and claws (one section)....”
simply advocates training painters to be a botanist and ornithologist, so that they can draw good flower and bird paintings realistically and vividly.
The rise of literati paintings after the Song Dynasty is closely related to intellectuals' loss of enthusiasm for "studying things and seeking knowledge" and instead caring about the inner world. Literature and scholars in the Ming and Qing dynasties rarely showed a strong interest in research on objective things, which is one of the reasons why the scientific spirit was lost after the Song Dynasty.
Let's look at the paintings of ladies in the Qing Dynasty, such as Jiao Bingzhen "Lady Pictures" series and "Stories of the Virtue of the Past Dynasties" series, and the anonymous "Princess Yong's Inscription on the Book of the Book of the Book of the Palace Museum in Beijing) in the Qing Dynasty, and the female images of the Qing Dynasty painted by the painters are almost all melon-shaped faces, shoulder-cutting, slender figures, and the proportion of the head to the body. Improper clothing is mostly blue and blue in cool tones, and the whole image looks weak.
(one of Jiao Bingzhen's "Lady Pictures")
I believe this is also a reflection of the spirit of the times. In the art of character creation, clothing is symbolic, such as "Qingyi" in Peking Opera and "Wushandan" in Chao Opera, are usually serious women with tragic colors, and are coquettish and charming. Female characters dressed in gorgeous clothes and were called "dressing and dantian".
The aesthetic tendency of literati in the paintings and dramas of the Qing Dynasty may just reflect the information that women were bound by ethics and education at that time.
公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公公It gradually fades and will eventually revive. ”
Whether in terms of the living standards of residents, social development, cultural development, commercial prosperity, and political civilization, the Song Dynasty was at the peak of Chinese history, and opened the world's earliest modernization, and was praised by overseas sinologists as the "modern dawn time".
If you quote the civilization of the Song Dynasty, it will inevitably give people a boring feeling. At this time, we might as well look at Song paintings. Song paintings present a historical world that is more vivid than written records, allowing us to see a unique and lively "Elegant Song" up close.
Elegantness is a manifestation of civilization that will only be formed when the form of social civilization has developed to a high level. Tianshui deserves the title of "Elegant Song".
From Mao Yi's "Days of the Daylily Lisman Playing with Dogs", "Hollowshoe Playing with Cats" and Li Di's "Dog Pictures" and "Dragonfly Flower Cyclops Pictures", you can learn about the habits of the Song people in raising pet cats and pet dogs;
From the "Eighteen Bachelor Pictures" written by Liu Songnian , you will see an ice plate containing fruits. It turns out that the people of the Song Dynasty also like to eat iced fruits in summer;
From the "Chasing Tea Pictures" and "Fighting Tea Pictures" that appeared in the Song Dynasty in large numbers, you can By feeling the prosperity of tea drinking and tea fighting among the markets in the Song Dynasty;
From the anonymous "Night Banquet Picture" by the Song Dynasty, Ma Lin's "Night Travel Picture by the Candle" by Ma Lin's "Night Travel Picture by the Candle" by Li Song's "Light Viewing Picture" by Li Song's "Light Viewing Picture" by Li Song's "Handle the Lantern Picture" by
, and Li Song's "Handle the Flower Basket Picture " series not only shows the painter's superb skills in still life sketching, but also reflects the exquisiteness of flower arrangement art in the Song Dynasty.
From the "Gate Gate Dish Car Picture" signed by Wei Xian and the actual author should be Zhang Zeduan, you can see the development of hydraulic machinery in the Song Dynasty and the prosperity of official handicraft industry; from the "Golden Mingchi Contest Picture" signed by Zhang Zeduan, actually copied by the Southern Song Dynasty, you will find the openness of the royal gardens of the Song Dynasty;
And the "Golden Mingchi Pond" in various Ming and Qing imitations of the Ming and Qing Dynasties only paint luxurious dragon boats, magnificent palaces, towering and closed palace walls, but there is no civilian visiting the garden, showing the alienation of the openness of the Song Dynasty's royal gardens in the Ming and Qing Dynasties, and you will also experience a sighing historical change when viewing the paintings.
Song paintings not only show the Song Dynasty style that is more vivid and lively than the text description, but also show us the Song Dynasty style that is obscured and smeared by the text.
Many people believe that the aesthetics of the clothing of the Song people changed the gorgeous and gorgeous style of the Tang Dynasty clothing because of the influence of Cheng and Zhu Neo-Confucianism, and became restrained, restrained and dull. Not only do netizens have such prejudices, but many academic papers also discuss this.
I think these commentators have probably never looked at Song paintings, because the women in Song paintings, whether they are concubines and palace maids in the Southern Song Dynasty "Ruiying Tu", the ladies in the Yaotai Pagoda", the female artist in the Southern Song Dynasty "Songyue Pagoda", the Taoist nun in He Chong's "Size of Lu Meiniang", or the housewife in the Liang Kai "Silks and Silkworms in the Scroll", and the women in the market in Liu Songnian's "Mingyuan Gambling Market Picture", their clothes are generous and sexy, without the scent of restraint that people imagine today.
There are also some scholars who study the history of Chinese library insisting that "because culture is monopolized by the ruling class, books and documents are regarded as private treasures. Not only are private books 'books not out of the house', but even the national books were regarded by the emperor as 'retiring from the court for self-entertainment' and owned by the royal family."
"Retretiring from the court for self-entertainment" is Song Zhenzong: In April of the second year of Jingde (1005), Zhenzong added Longtu Pavilion books and said: "I have no intention when I retire from the court, so I gather these books for self-entertainment." But the Longtu Pavilion here is not a national library organization, but a royal library.
The central collection of books in the Song Dynasty actually had two systems. One was the "Three Pavilions Secret Pavilion", that is, the national book collection organization, whose books were allowed to be borrowed by civil servants and bachelors; the other was the royal library such as Taiqing Tower, Longtu Pavilion, Tianzhang Pavilion , which was originally built to commemorate the late emperor. How could it be "owned by the royal family"?
Moreover, even the royal library is not completely closed, and there are images to prove it - the Song Dynasty "Four Pictures of Jingde" collected by the Palace Museum in Taipei. One of the "Taiqing Guan Shu Pictures" depicts the story of Song Zhenzong leading ministers to climb Taiqing Building to read the books in the fourth year of Jingde. It can be seen that the royal library archives of the Song Dynasty were also open to a certain extent.
(Song Dynasty "Four Pictures of Jingde" and "Taiqing Guan Shu")
From the perspective of historical research, if the Song Dynasty was an endless civilization rich mine in the long river of history, then the precious documentary materials are of course the road to this rich mine. The research of countless scholars has also opened up many routes for later generations, and Song paintings have opened up a path with more pleasant scenery for us.
The little book placed in front of you is the small result of me entering the historical scene from this path and trying to salvage out the auspicious light of the Great Song Dynasty civilization.
Postscript
Why did this book "Feng Ya Song" come about?
Before my book "Song: The Modern Dawn" was delivered to the publishing house, when sorting out the manuscript, in order to let readers read a more visually pleasing Song Dynasty, I found nearly a hundred Song paintings (including partial pictures) as illustrations of the book.
However, I gained unexpected gains in the process of searching Song paintings - those historical images are like documentaries, unfolding one by one before my eyes, allowing me to see a visual, living, and difficult to describe in words.
decided on a new creative plan at that time: starting with Song Dynasty paintings, combining literature records, and referring to and drawing on the research results of predecessors to present several aspects of Song Dynasty China. For this, I spent a year searching the Song paintings that have passed down from generation to generation - of course, electronic versions. Today, all the original Song paintings have become valuable collections.
I am a layman in art appreciation and do not intend to comment on Song paintings from the perspective of artistic aesthetics. I purely use Song paintings as image historical materials comparable to documents.
In the preface before this little book, I said: "If the Song Dynasty was an endless civilization rich mine in the long river of history, then the precious literature is of course the road to this rich mine. The research of countless scholars has also opened up many routes for later generations, and Song paintings have opened up a path with a more pleasant scenery for us. The little book placed in front of you is the small achievement of me entering the historical scene from this path and trying to salvage out the auspicious light and feathers of the Great Song civilization."
When I observe the process of Song painting, I do feel like "treasure exploration". If you find a detail hiding vivid information about the Song Dynasty society from the picture, you will feel joy like you are catching a treasure.
I used to read the notes of the Song people and vaguely felt that during the Song Dynasty, the litigants did not need to kneel down when they went to court to sue, but because they were lazy to review the documents, they could not find the confirmation for a while.
happened to be searching for Song paintings, and saw the scene of the case trial from multiple versions of the Song Dynasty's "Book of Filial Piety". Sure enough, the litigants in the painting stood and heard the trial. At that time, there was inexplicable excitement like "discovering a new world".
Taipei Palace Museum has a collection of "Huanyue Map". It was originally written as a painting by the Five Dynasties, but now many scholars believe that this is a work by the Song people.
Ms. Yang Zhishui used this picture to interpret the poems and paintings on the popular ancient "Jug the Moon" theme, which opened my eyes; Ms. Meng Hui had a unique eye and told the details of the "water tap" in the "Faced Moon Picture" about the application of "Tape Water" in the Song Dynasty, which gave me a sudden enlightenment.
Based on Meng Hui's interpretation of "Huanyue Map", I developed a research on the centralized water supply facilities in the Song Dynasty, found a detailed record of his design of the "tap water" installation in Guangzhou City from Su Shi's letters, and found another "faucet" from "Danxia Interview with Pang Jushi" by Li Gonglin of the Northern Song Dynasty, and was excited for a few days.
Observing the Song Dynasty paintings I collected one by one, it was like seeing the people of the Song Dynasty who were active in front of me, burning incense and cooking, going to market and trade, and discussing affairs in court... What I want to do is to reproduce the Song Dynasty scenes I saw from Song Dynasty paintings in words.
A article after article, and gradually accumulated a small amount, and it became more than 30 articles. Maybe it can be sorted into a collection.
is different from the writing process of "Song: Modern Dawn Time". "Song: Modern Dawn Time" comes with complete text first, and then Song paintings are found as illustrations; this book comes with images first, and then forms text based on images. These words grow on images, which are not optional illustrations, but essential flesh and blood in this book.
There are only nearly a hundred illustrations of "Song: Modern Dawn Time", while the book uses more than 300 pictures, most of which are Song people's paintings (it is not ruled out that some are copied and imitated from the Ming and Qing dynasties). A small number of Song Dynasty murals, brick carvings, unearthed cultural relics, and physical documents are supplemented, as well as a few Tang, Ming and Qing dynasties as references.
is casual when writing, but when sorting it into a book, it requires consideration of the overall layout and organization. Therefore, I divided the book into six volumes. The first volume talks about the daily life of the Song people; the second volume talks about the elegant play and elegant interests of the Song Dynasty literati; the third volume describes the various social situations of the Song Dynasty; the fourth volume introduces the urban public facilities of the Song Dynasty; the fifth volume focuses on presenting the prosperity of the Song Dynasty; and the sixth volume examines the etiquette issues in the political life of the Song Dynasty.
No matter how you compile it, the theme of this book is consistent: I found a vivid and fragrant "elegant Song" from Song paintings. If I want to add a modifier to "Da Song Dynasty", I think there is nothing better than "Feng Ya". The four poems have elegant hymns, and the elegance of the Song Dynasty for thousands of years.
My friend Mr. Liang Zhibin once wrote a book on the Song Dynasty scenery with the title of "Elegant Song". I loved the three words "Feng Ya Song" as soon as I saw it. Now I wrote this little book about the elegant life of the Song Dynasty, and I couldn't help but name it "Feng Ya Song". Thank you Brother Liang Zhibin for letting me gain a wonderful word: Feng Ya Song.
also thanks Guangxi Normal University Press for its fulfillment in this small book. Thanks to the text editors, art editors and designers of this book, their expertise has made the book stunningly presented.
directory
self-sequence
first series: daily
How did people in the Song Dynasty raise pet dogs and pet cats?
What fishing people use? Pole casting
What does the Song people use to brush their teeth? Toothbrush
How do people in Song eat fruits? Ice
What lighting do the Song people use? Candle
htmlWhat toys did children play with?Second volume: Elegant and interesting
Song people love flower arrangement
Song people love "photo"
Song people love incense burning
Song people love to collect it?
The ultimate reputation of Chinese tea art
Song style furniture elegance
File 3: Society
00 years ago, the streets were full of gambling prizes Come to celebrate the Spring Festival into Halloween
Popular female chefs of the Song Dynasty
Did the Song Dynasty wrap up tightly?
How did the Tang and Song people sign a "divorce agreement"?
Song people like to talk about the twelve zodiac signs
Volume 4: City
Why do you say that a "urban revolution" occurred in the Song Dynasty
"Along the River During the Qingming Festival" tells you: The cities of the Song Dynasty are more open than those of the Ming and Qing dynasties
From the "Xinghu Qingfu Picture" Picture of the Song Dynasty
There is already "tap water" in the Song Dynasty
Why do you say that the royal gardens of the Song Dynasty are open?
Why do you say there were already urban parks in the Song Dynasty?
Volume 5: Commercial
Brothel wine flag 300
How many advertisements have been implanted in "Along the River During the Qingming Festival"?
Boat on the River in Qingming Festival
How developed was the hydraulic machinery technology in the Song Dynasty?
Volume 6: Etiquette
Procedure for the appointment of an official in the Song Dynasty
Do civilians in the Song Dynasty have to kneel down when they go to the yamen to sue?
Do civilians in the Song Dynasty have to kneel down when they meet the emperor?
From the appearance of the chair to the change of kneeling ceremony
Postscript
