On October 8, 2022, the "Harmony China" exhibition was held in the exhibition halls 20, 21 and 22, , , , Liaoning Provincial Museum. The total area of the exhibition hall is 3738.1 square meters, the length of the exhibition line is 387 meters, and the display cabinet is constant temperature and humidity. The exhibition will last for three months and will be closed on January 8, 2023.
exhibition plan to exhibit 402 components of "Harmony" cultural related cultural relics and ancient books (436 single pieces), including first-class cultural relics 
8 pieces/group, 197 pieces/group of cultural relics exhibited for the first time in our province, and 121 pieces/group of cultural relics (177 single pieces). Among them, "The Picture of the Ferry of Dongyuan, Xia Jingshankou, the Five Dynasties", "The Thousand Characters of Cursive Writings of Emperor Huizong of the Northern Song Dynasty", "The Picture of Qiuying on the River During the Qingming Festival", "The Picture of Xu Yang on the Qingming Festival of Gusu in the Qingming Festival", "The Picture of the Legend of the Confucianism of Matteo Ricci in the Ming Dynasty", "The Picture of the Peony of the Song Dynasty, the Picture of Zhu Kerou, the Picture of the Yuan brocade Hundred Birds to Paying Phoenix, and the Three Colors of the Liao Dynasty Glaze Printed Tai Chi Picture of the Liquor, and other national treasure-level cultural relics in the Liao Dynasty are all presented and will be exhibited in installments. In addition, the "Tang Lanting Preface (Yellow Silk Edition)" in the Hunan Museum, the "God of Lanting (Yellow Silk Edition) in the Jilin Provincial Museum, the "God of Jin Zhang Yu Wen Ji Returning to Han" in the Nanjing Museum, the "Complete Picture of Ming Kunyu All Nations" in the Gansu Museum, and other national treasure-level cultural relics such as the "God of the East Roman Gilded Silver Plate in the Gansu Provincial Museum will also be presented in stages in the exhibition.
This exhibition is divided into four parts and eight units, starting from the source of "harmony" in the sutra hall. The first part: the unity of man and nature, which is divided into the first unit: to understand nature with heaven and earth; the second unit: to enjoy mountains and water, to be harmonious with nature; the second part: to be kind to people, to be kind to oneself, to end at the highest good; the second unit: to study things and to be knowledgeable, to be united by knowledge and action; the third part: to be harmonious but different, the first unit: to respect morality and benevolence and filial piety as the basis; the second unit: to be respectful of virtue and kindness, and benevolence and filial piety are the basis; the second unit: to be harmonious with all nations, to be harmonious and symbiosis; the fourth part: to be harmonious with all nations, to be exchanged and mutual learning, to be one of the four seas; the second unit: to be new with the past, and beauty will last for a long time.
The key cultural relics in the four parts of the exhibition are:
The first part of the key cultural relics are:
1.Hook-connected vortex pattern colored pottery
Neolithic Hongshan culture
Diameter 13.2, base diameter 12, height 49.2 cm
United tomb No. 6,Tuan No. 4,Hiang Site, the second location of Niuheliang Site,
Milky Red Pottery ,Red Pottery ground is decorated with black color. The mouth is tight, the lips are round, the shoulders are wide, the belly is bulging, the belly is small and flat, the abdomen is decorated with vertical bridge-shaped ears, a round disc-shaped cover, and a half-ring-shaped hand grabbing at the top. The cover body is decorated with heavy circle patterns, and the urn is decorated with three-circle hooked vortex pattern belts.
As early as the Neolithic Age, the Hongshan culture distributed in the Xiliao River basin of , has gone through a process of development for 1,500 years with its nature of living in harmony with nature and an open mind of extensive communication with neighboring areas. The pottery used in Hongshan culture sacrificial sacrificial are mainly clay red pottery and colorful pottery. The painted pottery of Hongshan culture was strongly influenced by the Yangshao culture in the Central Plains region. During the development process, it has been continuously integrated into its own cultural factors, forming a unique Hongshan cultural painted pottery. The use of painted pottery originating from cultural factors in the neighboring area in the spiritual field reflects that the Hongshan ancestors had a high tolerance for foreign culture.
2. Three-color glaze printed Tai Chi picture pot
Liao
Tonghehe 21, diameter 3.7, base diameter 10.8×8.9 cm
former Northeast Cultural Relics Management Office
Collection of Liaoning Provincial Museum
The pot body is flat and round, round mouth, crank, tubular short flow, and ring foot. The body is gray and white and flashes red, and white powder is hung. The whole body is covered with yellow, green and white glaze. The water ripples, and there is a belt of wishful clouds floating above. The handle is covered with ribbon patterns, and the base of the flow is like a mouth-shaped opening of the cow's head. The same raised patterns are printed on both sides of the pot body, and a lotus in the center is decorated with Tai Chi graphic patterns, which outlines the aesthetic artistic conception of "starting from nature and carrying it in the way of heaven". This pot is ingeniously designed, exquisitely made, unique patterns and richly decorated. It is a masterpiece among Liao Dynasty ceramics.
3. Xia Jingshankou Waiting for Ferry
5th dynasty Dongyuan (birth year unknown - 962)
silk color
vertical 49.8 horizontal 329.4 cm
Dongyuan, whose courtesy name was Shuda, was from Zhongling (now Nanjing, Jiangsu). He served as the deputy envoy of Beiyuan when he was the middle lord of the Later Tang Dynasty, so he was called " Dongbeiyuan ". He was good at painting landscapes and created the "pseudo-nature" Jiangnan landscape painting style. He was a representative painter of "Nanzong" landscape painting.
This volume depicts the scenery of the south of the Yangtze River. The river water winds among the mountains, lush grass and trees, and the beautiful scenery of the south of the Yangtze River is revealed through the dots, dyes, and rubbing. The first one is a book written by Dong Qichang of the Ming Dynasty, and the last one is written by Ke Jiusi, Yu Ji, and others in the Yuan Dynasty. It is an extremely exquisite work in Dong Yuan's paintings handed down from generation to generation.
4. Taibai Mountain Picture Scroll
Yuan Dynasty Wang Meng (1308-1385)
paper color
vertical 27.4, horizontal 238 cm
Wang Meng, whose courtesy name is Shu, his nickname is Huang Heshanqiao, was from Wuxing (now Huzhou, Zhejiang), and his grandson of Zhao Mengfu . The style of painting was deeply influenced by my grandfather, and it was innovative and unique. Later generations collectively called it the "Four Yuan Schools" together with Huang Gongwang, Wu Zhen and Ni Zan.
This picture depicts Taibai Mountain and surrounding scenery in Yin County, Zhejiang Province. Here, the mountains are stacked and endless, with small bridges and flowing water, and high arches and long bridges. The whole article uses a lot of brushwork, and is stained with cinnabar and green flowers. It has superb techniques and unique styles.
5. Tang Dynasty copy Lanting Preface (yellow silk), 24.5×65cm, collection of Hunan Provincial Museum.
Tang Dynasty Anonymous
horizontally 24.5 vertically 65.6 cm
Collection of Hunan Museum
This volume was originally named "Lanting Preface" written by Chu Suiliang . The main text is made of silk, yellow-brown, also known as "yellow silk". Under the "Shiwen" at the end of the main text, there are two red seals: "Fu Seal" and "Zi You". The first in front of the volume is the two words "Mobao" written by Dong Qichang, a famous calligrapher and connoisseur of the Ming Dynasty (remaining). There are many seals in the volume of calligraphy and painting connoisseur Xiang Yuanbian of the Ming Dynasty. At the end of the volume are Xu Chu of the Ming Dynasty, Wang Shu, He Tianjun, Tang Yujian, Gu Yu, Liang Zhangju, Liang Tongshu, Sun Xingyan, Shi Yunyu , Li Zuoxian , and Han Chong Postscripts.
Although this volume of "Lanting Preface" is not a copy of Chu Suiliang, it is not easy for it to be passed down to this day as a calligraphy work in the early Tang Dynasty. It is precisely because of its existence with other Tang Dynasty copy "Lanting Preface" that we can still understand the calligraphy style of the early Tang Dynasty while feeling the artistic charm of Wang Xizhi's calligraphy.
6. Lanting Collection Preface Scroll
Ming Dynasty Zhu Yunming (1461 -1527) Wen Zhengming (1470-1559)
Paper Running Scroll Color
Book Heart: 22.9 vertical 48.8 cm horizontal
Paint Heart: 20.8 vertical 77.8 cm horizontal
Zhu Yunming, whose courtesy name is Xizhe, is from Changzhou (now Suzhou, Jiangsu). Because he looks strange, he laughs at himself as ugly. Because he has a branch with fingers on his right hand, he calls himself Zhishan. He is known as "Zhu Jingzhao". He is good at poetry and prose and is particularly good at calligraphy. He is known as "Four Talents of Wuzhong" together with Tang Yin, Wen Zhengming and Xu Zhenqing. In his early years, he was meticulous in regular script and learned from Zhao Mengfu and Chu Suiliang, and followed Ou and Yu to catch up with the "Two Kings". cursive mastered Li Yong, Huang Tingjian, Mi Fu, . He has profound skills, especially in his later years, and his character is poor.
Wen Zhengming, whose original name was Bi (or Bi), was named Zhengming. He was 42 years old and used his name as Xing, and his name was Zhengzhong. from Changzhou County. In the second year of Jiajing (1523), he was awarded the post of the Hanlin Academy as an tribute student taking the Ministry of Personnel Examination as an annual tribute and was awarded the position of attending the imperial examination of the Hanlin Academy. In the fifth year of Jiajing (1526), Wen Zhengming resigned from office and returned home, specializing in creation. Wen Zhengming was well-versed in poetry, literature, calligraphy and painting, and was known as the "Four Greats". He and Shen Zhou jointly created " Wu School ". In the history of painting, together with Shen Zhou, Tang Yin and Qiu Ying, they are collectively known as ", Ming Four Schools ". In literature, he is known as the "Four Talented Men of Wuzhong" together with Zhu Yunming, Tang Yin and Xu Zhenqing.
7. Return to the future and the picture scroll
Ming Dynasty Ma Shi Li Zai Xia Zhi (birth and death year unknown)
paper ink
vertical 27.7 horizontal 60 cm
Ma Shi, whose name is Jingzhan. Jiading (now Shanghai). Xuande years, with Dai Jin and Xie Huan were famous in the capital. He was good at poetry and prose, good at painting, and learned from the style of the Southern Song Dynasty.
Li Zai, whose courtesy name is Yizheng, was from Putian, Fujian. During the Xuande period, he entered the Painting Academy and was waiting for recruitment for the Painting Academy. Good at landscape figures, he is a master of Guo Xi.
This painting depicts Tao Yuanming's "Returning to the Return" in total, with nine sections. There are three sections in Li Zai, three sections in Ma Shi, one section in Xia Zhi, the original work of the first section and the eighth section have been lost. These two sections are supplemented by painters of the Qing Dynasty painting academy.
The second part of the key cultural relics are:
8. The picture scroll of the filial piety
Southern Song Anonymous
silk color
vertical 19.7 cm horizontal 529 cm
collection of Liaoning Provincial Museum
This painting is based on the Confucian classic "Filial Piety", with eighteen chapters, and the right calligraphy is written on the left. This volume is recorded in the Qing Dynasty, including "Gengzi Suixia Records" and "Shiqu Baoji Chubian" and other works. They are all considered to be written by Chu Suiliang and Yan Liben paintings, and is now identified as a work by a person from the Southern Song Dynasty. Judging from the word "avoid taboo", there is no shortage of strokes for both words "Jing" and "Rang", but Chapter 16: "Shen" lacks strokes for the word "Shen", avoiding the taboo of Zhao Ling of Emperor Xiaozong of the Southern Song Dynasty, and Chapter 17: "Kang" also lacks strokes. It can be seen that this volume was first written during the reign of Emperor Xiaozong of the Southern Song Dynasty.
9. Quick chapter volume
Yuan Dynasty Zhao Mengfu (1254 -1322)
paper cursive
vertical 24.7 horizontal 278.4 cm
"Qijiu" was written by Huangmen Lingshi You during the reign of Emperor Yuan of the Western Han Dynasty (48 BC to 33 BC). This book is a book that teaches children to learn literacy, increase their knowledge and broaden their horizons in ancient China. It was often used as a literacy textbook and common sense textbook in ancient times. Books that taught children to read in the Han Dynasty, such as "Cangjie Pian", "Xunzan Pian", "Fan Jiang Pian", and "Pang Xi Pian" have all been lost, and only "Jijiu Pian" has been passed down. The whole book is composed of three-character, four-character and seven-character rhymes. Three and four words rhyme each sentence, while seven words rhyme each sentence for recitation. The chapters describe various names and objects, such as surnames, names, beauty, food, clothing, subjects, utensils, insects, fish, clothing, music, as well as palaces, plants, animals, diseases, medicines, official positions, law, geography, etc., which are not only designed for literacy, but also the meaning of spreading knowledge to meet actual needs. The original script may have been written in official script. In the Eastern Han Dynasty, the cursive script was popular, and calligraphers like to write in cursive script. In the Wei and Jin Dynasties, Zhong Yao, Suo Jing, , Wei Madam , and Wang Xizhi all had manuscripts, but none of them were passed down. Only the manuscripts of the Emperor Xiang of Wu during the Three Kingdoms were passed down. This book is divided into 32 chapters. According to legend, the Huangxiang manuscript is 3l chapters, and the written by Emperor Taizong of Song is 34 chapters. Different characters in this article also have slight similarities and similarities. Due to the reason of sub-chapters, some people call it "Qijiuzhe".
10. Thousand Characters Volume
Song Zhao Ji (1082-1135)
Paper Cursive
Vertical 31.5 Horizontal 1172 cm
Zhao Ji, the eleventh son of Song Shenzong and the younger brother of Song Zhezong, and the eighth emperor of the Song Dynasty. He was successively named , Suining King , and Duan Wang. When Zhezong died of illness in the first month of 1100 AD, he had no son, so Empress Dowager Xiang made him the emperor in the same month. The second year was changed to "Jianzhong Jingguo". Huizong A self-created calligraphy font was later called " thin gold ". He loves painting flowers and birds to create his own "court style". He is one of the rare artistic geniuses and all-round talents in ancient times.
This volume of calligraphy was copied by Huizong in cursive script, written in "Hansiyi Wen" in " Xuanhe Renyin" (1122), at the age of 40. "Thousand Character Text" was originally a textbook for children's literacy in history. During its circulation, it was also used as a text for artistic creation by calligraphers of different eras.
11. Thousand Characters Volume
Tang Dynasty Ouyang Xun (557-641)
Paper Running
Vertical 25 Vertical 304.8 cm Horizontal
Ouyang Xun, whose courtesy name is Xinben, is from Linxiang County, Tanzhou (now Changsha City, Hunan). The son of Ouyang He. He was a senior official in the Yin Dynasty, the chief minister, the prince, and the bachelor of the Hongwenguan, and was appointed as a male county in Bohai. He was in charge of compiling "Arts and Literature Gathering". Ouyang Xun is proficient in calligraphy and is known as the "Four Great Masters of the Early Tang Dynasty " together with Yu Shinan , Chu Suiliang, and Xue Ji .
"Thousand Characters" is an article written by Emperor Wu of Liang of the Southern Dynasty, who ordered Zhou Xingsi to use a thousand different characters. Four words and sentences are rhymes for pairs, which are easy to memorize and are used as children's enlightenment reading book. They have become popular since , in the Tang Dynasty, and are still circulated today.
12. Wood Chicken Collection Sequence Volume
Song Dynasty Wen Tianxiang (1236-1282)
Paper Cursive
vertical 24.5, horizontal 38.5 cm
Wen Tianxiang, whose first name was Yunsun, whose courtesy name was Song Rui, and whose pseudonym was Wenshan. People from Luling, Jiangnan. He was sentenced to Ganzhou for many years. The Yuan army invaded the south and fought against the stubborn enemy. He was defeated and captured and died calmly. Before leaving, I wrote "Song of Righteousness" to show that my determination and righteousness are respected and loved by future generations.He is good at calligraphy, and his calligraphy is from "Chunhuage Tie". He learns from the Two Wangs. He has the charm of the Jin people and is well-known in cursive script by famous Tang people, but also has his own unique style. He has written "Wenshan Collection" and "Wenshan Poetry Talk".
"Preface to the Collection of Wood Chicken" was written by Wen Tianxiang in response to the request of his fellow villager Zhang Jiang. Muji means "Zhuangzi Dasheng Chapter". The article explains the opinions on academic research and emphasizes that learning should be difficult and strict. You must first learn the Book of Songs and then read the Selected Works of Wen to gain faster.
13. "University or Questions" manuscript
Song Dynasty Zhu Xi (1130-1200)
Paper running script
vertical 33.5, horizontal 113.6 cm
Zhu Xi, whose courtesy name is Yuanhui, his nickname is Hui'an, his posthumously named Wen, and his name is Zhu Wengong. His ancestral home is Wuyuan County, Huizhou Prefecture, Jiangnan East Road (now Wuyuan, Jiangxi Province), and was born in Youxi, Nanjianzhou (now Youxi County, Fujian Province). A famous Neo-Confucianist, thinker, philosopher, educator, poet in the Song Dynasty, a representative figure of the Fujian School of Min School, and a master of Confucianism. The World Honored One is called Zhu Zi. Zhu Xi is the only one who was not a disciple of Confucius who worshipped Confucius and was ranked among the twelve philosophers in Dacheng Hall. Zhu Xi is a student of Li Dong, a disciple of Cheng Hao and Cheng Yi, who was appointed as the prefect of Nankang, Jiangxi, Zhangzhou, Fujian, and the governor of Zhejiang. He was a clean and upright official and was able to build a college. The official was appointed as the attendant and lecturer of Huanzhang Pavilion, and gave lectures to Emperor Ningzong of Song. He has written many works, including "A Collection of Chapters and Sentences of the Four Books", "Explanation of Tai Chi Pictures", "Explanation of the General Stories", "Reading Book of the Zhouyi", and "Chuci Collection of Notes", and later generations have compiled "The Complete Collection of Zhu Zi", "The Collection of Zhu Zi Yu Xiang", etc. Among them, "Collected Notes on the Four Books" became the standard for textbooks and imperial examinations.
"The University or Question" is Zhu Xi's work interpreting "The University", which is in line with "The University Chapter and Sentence". It is published in Volume 14 of "Zhu Zi Yu Li". Because it adopts the question and answer form, it is called "or question". After Zhu Xi wrote "The Great Chapter and Sentences", he was afraid that scholars still did not understand it, so he wrote this to explain his doubts. He claimed that "Chapter and Sentence" is like the footnote of the "Great Learning", and the "Article" chapter is "a footnote of the footnote". The teaching staff "have read the main text of the "Great Learning" carefully and read the "Chapter and Sentence" carefully. He did not want to read the "Article" and waited until there was any doubt before he could read it."
Part 3 key cultural relics are:
14. A group of bronze ritual instruments: seven tripods, eight guis and eight calves, a group of chime bells, , a group of chimes
(1) Western Zhou Guoguo wave curved pattern stringed tripod
1991 Unearthed from Guo Prince’s tomb in Guoguo Cemetery M2011, Sanmenxia City, Henan Province
Maximum: 38.4 in height, 39 in diameter, 18.2 cm in belly depth;
minimum: 24.6 in height, 21.2 in diameter, 11.6 cm in belly depth.
Sanmenxia Guoguo Museum has
in a group of 7 pieces, similar in shape and pattern, and the size should be a group of cauldrons.
are all squinting, with narrow edges folded upwards, upright ears, hemispherical abdomen slightly bulging, flat bottom, thick and short hooves, concave inner side of the foot, and warts under the foot. The edge is decorated with C-shaped, eyeless curved patterns, abdomen are decorated with wave patterns, and heavy ring patterns on the ears. This group of objects is solemn and elegant, and is well-made, and is an empirical material for the Western Zhou Dynasty's tripod system.
is located at the end of the cauldron, the belly is deeper than the former, and the patterns and shapes are rougher, which is suspected to be cast at the same time as the former.
"The Analects of Confucius·Xueer": "The use of rituals is the most important thing." The ritual and music system of the Western Zhou Dynasty was mainly reflected in the configuration of bronze ritual vessels, with strict hierarchical regulations. During sacrifices, banquets, and burials, the corresponding number of tripods and guis is arranged according to the user's identity. The emperor has nine tripods and eight guis. The princes and ministers have decreased in turn, with distinction between high and low, and they cannot be overruled. The ritual and music system is conducive to the harmony and stability of the relationship between the Zhou king and the princes, and social harmony is the original intention of the sages to make rituals and music.
(2) Zhengguo chime
spring and autumn
bell: height 32.5~27.1 cm; milling length 22.7~17.70 cm.
button clock: height 27.7~14.10; milling length 16.8~8.4 cm.
Under the Zhengguo sacrificial site in Xinzheng City, Henan Province
Henan Provincial Institute of Cultural Relics and Archaeology House
Bronze musical instruments, a group of 24 pieces, 4 bells and 20 bells. The button clock is divided into two groups, each with 10 pieces.
bells are all convex buttons with a square and round shape, flat dance. There are semicircular outer frames on both sides and dance surfaces, with thirty-six pieces on the surface, and there are shades of outer frames, seal, seal and drum parts. The plain part is the plain part, the seal part is decorated with clouds and thunder patterns, and the drum part is decorated with the dragon pattern and round eye pattern. Flat in the mouth.
buttons and clocks are trapezoidal flat square body buttons, with tiles and flat dances. There are thirty-six pieces on the face. The Mei, Zi, seal and drum parts have Yin line patterns and outer frame patterns, plain faces of the stern part, cloud patterns in the seal part, and triangle patterns in the drum parts and cloud patterns.
The homophone phenomenon formed by the harmonious coexistence of different sounds is a natural phenomenon. Basic music theory reveals that octaves, fifth degrees, and large and third degrees are harmoniously condensed in homophone columns, and are selectively expressed by early instruments such as bone whistle, bone spring, pottery till, and pottery bells, which has cultivated people's auditory preferences. The first-tone, double-tone, three-degree interval structure of the Zhou Dynasty double-tone clock is a reflection of this preference. People compare the "sum of intervals" of natural phenomena to the "harmony but different" social concept, symbolizing the initial formation of the traditional Chinese concept of harmony.
"Book of Rites·Music Records": If you have the best music, you will not complain; if you have the best ritual, you will not fight. The chimes and chimes of the Zhou Dynasty were ritual instruments and were the carriers of "harmony" from natural phenomena to humanistic concepts.
(3) Warring States Stone Chimes
Maximum length 74.5, Gubo, 13.7, Gubo 11.5 cm
Minimum length 18, Gubo 5.2, Gubo 4.9 cm
October 1988 Unearthed from the Warring States tomb of Xibei Village, Chengguan Town, Yangxin County, Shandong Province
Stone collection is
, a set of 13 sides. When unearthed, the surface was accompanied by vermilion pigments, with unique shapes, regular edges and corners, and an orderly size. The sound of knocking was pure and semitone.
15. The Southern Song Dynasty Gaozong wrote Ma He's paintings of Zhou Song and Qing Temples.
silk color
painting heart 27.4, horizontal 742 cm
collection of Liaoning Provincial Museum
This volume is based on ten poems and essays of "The Book of Songs·Zhou Song·Qing Temples". "The Legend of Qing Temples" is a dance song for the Zhou Dynasty to worship the ancestral temples in the early Western Zhou Dynasty. It uses allusions to praise the merits of ancestors and pray for blessings to descendants.
This picture is written by Emperor Gaozong of Song Dynasty, "What is the Qing Temple" written by Ma He, the painting intention of painting, the left picture is written on the right, each of which is intersected with ten paragraphs, and the order is: "Qing Temple", "Wei Tian's Destiny", "Wei Qing", "Lie Wen", "Heaven's Works", "Hao Tian's Destiny", "I will", "Shima", "Shima", "Shen Jing", "Si Wen".
This volume is the best volume among the volumes of "Mao Shi Tu". The content of the picture is mainly sacrificial scenes, with groups of bronze ritual instruments such as tripods, gui, and calves, as well as musical instruments such as chimes. The atmosphere is solemn and solemn, and the "ritual and music system" of the Zhou Dynasty was shown in a colorful and colorful way.
This volume is not collected during the Song and Yuan dynasties. According to Wu Sheng's "Da Guanlu", "The three Song seals are not missing", but they are now unrecognizable. During the Yuan and Ming dynasties, he entered the Hongwu Palace and was successively collected by Zhu and Xiang Yuanbian. In the Qing Dynasty, it was collected by Anqi and Liang Qingbiao and , and later entered the Qing Dynasty's inner palace. It was recorded in the "Spectacular Life" of Gu Fu of the Ming Dynasty, "Daguan Lu" of Wu Sheng of the Qing Dynasty, and "Shiqu Baoji".
16. Qing Xuyang Gusu Funny Picture Scroll
Liaoning Provincial Museum
Paper color
Painting heart horizontal 1243.4cm, vertical 35.9cm
Liaoning Provincial Museum
Painter adopts the "scattered perspective" method, connecting the picture with a flowing perspective, with green landscapes as the main tone, and writing the work, boundary painting techniques, and Western perspective method to highlight the character portrayal. With exquisite realistic skills, the cultural relics of Suzhou in the Qing Dynasty vividly and vividly reproduced. The painting shows scenes such as workshops, boats, car and sedan chairs, weddings, dance halls, and examination halls, and records the happy life status of the people in the prosperous times. It is one of the outstanding representative works of court painting in the Qing Dynasty and can be regarded as a classic work of Chinese art history and customs painting.
17. The Qingming Festival of the Ming Dynasty, the Qingming Festival,
silk color
painting heart horizontally 987.5cm, vertical 30.5cm
collection of Liaoning Provincial Museum
This volume was painted in the Ming Dynasty. "Shiqu Baoji" contains two copies of Qiu Ying's works, and this is "Qiu Ying Shifa's father". The painter reproduced the familiar customs and customs with vivid brushstrokes, reflecting the lively and joyful life of the people in the Jiangnan region. Through the prosperous commercial scene of "the goods store flows overflowing with gold chang"; the landscape paintings of the four Yuan styles hanging on the walls of the house; the children's Antu pictures in the "Children's Inner and Outer Pharmacy Medicine Room" reflect the development of the commercial economy in the Ming Dynasty, people's cultural taste and psychological hopes. It can also show the people's enthusiasm for life, their yearning for peace and well-being, and their prosperous life.
The fourth part of the key cultural relics are:
18. Wen Ji Returns to Han Picture Scroll
Zhang Yu of the Jin Dynasty (Century AD)
Colored silk
29 cm vertically 129 cm horizontally
Jilin Provincial Museum
This picture is the scene on the way back to Han. At the front, a Han man rode an old horse to lead the way, carried the full moon flag on his shoulders, bowed his head and shrank his head, walked in the wind and sand, and a horse was closely following him on the back. A few steps later are the central figure of the scroll Cai Wenji , wearing a sable crown, gorgeous beard outfit, leather boots, riding on a horse, holding a saddle bridge with his hands, staring at the front with his eyes. Behind Wen Ji were the groom and attendants who were escorting on horseback. The Han and Hu officials rode together in front. The Han Dynasty officials on the left were wearing scarves and holding a round fan with fur in his left hand to cover the surface to avoid wind and sand. The Hu official on the right, wearing a leather hat, a long robe with a tight-sleeved lace, a wore a wristy on his waist, and was holding a sad face. He was stalking his horse, and the horse was also kicking his hooves and stumbled. There were five attendants following him, some wrapped around his arms, some carried bags, some carried falcons, and some carried felt blankets immediately. At the end of the picture, there is a warrior wearing a leather hat, a narrow-sleeved robe, a robe with an arrow on his waist, a erected eagle with his right hand, and a reincarnated with his left hand, driving the horse to chase the marching team, followed by a hunting dog.
drawing on the upper left side of the painting "Ji Yingsi Zhang Yu's painting". The volume contains the written inscription written by Emperor Gaozong of the Qing Dynasty: "The picture of Wen Ji from the Song Dynasty returning to the Han Dynasty." The four words "Inner Palace Appraisal" are marked with the seals of "God" and "Qianlong Chenhan". Emperor Qianlong still had not finished his thoughts while appreciating the paintings, so he also wrote a poem on the volume to record it. At the end of the poem, two small square seals "Bide" and "Langrun". The front end has two seals of "Emperor's Book" and "Baowan's Record" on the Wanli Book, the back end has one seal of "Wanli Seal", and the Qianlong, Jiaqing and Xuantong collection seals.
This picture shows the exchange between the early Chinese nation and surrounding ethnic minorities, especially nomadic peoples such as the Huns: on the one hand, from Wang Zhaojun to Cai Wenji, etc., were all people who worked hard for the peaceful development of the nation. They were also contributors to the Silk Road and were also an embodiment of the simple concept of family and country of the Chinese nation; on the other hand, the historical event of Cai Wenji's return to the Han Dynasty also showed strong cultural identity.
19. Hu people eat cake and ride camel figurines
Sui Dynasty
height 45.7 cm
Unearthed from Huluche’s tomb in Shagou Village, Taiyuan City, Shanxi Province
Shanxi Museum 对文
年后文版
年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1年1� The most interesting thing is that he is still holding a pancake in his hand, and he is eating while walking. He thinks that the journey is hard and he has to hurry up before he has time to rest. If we observe carefully, we will find that the cake in the hands of this Hu merchant was called "naan" locally, which is a food that can be stored for a long time. After it was introduced to the Central Plains, it was called "Hu cake". At that time, everyone from nobles to ordinary people liked to eat it.
The goods carried on the camel's back were textiles such as silk and silk in the trade at that time. This also shows that after the Hu merchants arrived in the Central Plains, they sold the gold and silver utensils, gems, spices and other goods they brought, and then took the local silk fabrics back, and the quantity was very large.
This figurine was discovered in Huluche's tomb in 2008. Hu Luche, the owner of the tomb, served as the official positions of Huang Yue, the Northern Qi Dynasty, the Prime Minister, and the governor of Shuozhou. The tomb is rich in burial objects, with a total of 328 items. Among them, there are many pottery figurines, including ceremonial figurines, female attendant figurines, musical and rider figurines, and warrior figurines, which show some life scenes of the tomb owner before his lifetime.
20. Three-color Hu people riding terracotta
Tang Dynasty
Height 32 cm long 27.5 cm
Unearthed from the tomb of Prince Yide of Tang
Shaanxi History Museum (Shaanxi Provincial Cultural Relics Exchange Center)
This Hu people wear a bull head, a green round neck, narrow sleeves, Hu clothes, deep eyes, high nose, thick beard, holds reins in both hands and sits on the horse's back, and a small beast is accompanying him. The horse's head is slightly raised, with a straight posture and a full spirit, and its limbs are standing upright on the four square platforms.
Capital Prince Yide's tomb is located in the north of Hanjiabao in the southeast corner of Qian County. It is the burial tomb of Qianling Mausoleum. Crown Prince Li Chongrun, Yide, is the eldest son of Li Xian, the Emperor Zhongzong of Tang Dynasty.
From July 1971 to May 1972, the tomb was excavated. The tomb has been robbed and more than 1,000 cultural relics have been unearthed. The discovery of guest pictures and Hu people figurines provided important physical information for us to study the integration of diplomatic politics and culture in the Tang Dynasty.
21. Printed cotton
Eastern Han
Remaining length 89 cm wide 48 cm
Xinjiang Uygur Autonomous Region Museum
Unearthed from the Niya site in Minfeng County, Xinjiang Uygur Autonomous Region.
In 1959, Xinjiang archaeologists discovered a tomb from the late Eastern Han Dynasty (Century AD) in the Niya site in Minfeng County, Xinjiang. Two fragments of blue and white printed cotton cloth were unearthed from the tomb. One of the cotton cloth was missing in the center, and only half of the naked feet and a lion tail were seen. Fortunately, there is a box about centimeters square in the lower left corner of it, with a half-body statue painted inside the box. The goddess should be the harvest goddess Demeter in Greek mythology; the image in the center is a picture of a human and lion fighting, which is now very incomplete, leaving only one foot, a lion's tail and a lion's claw. From the direction of the foot, the man was rushing towards the lion, trying to subdue the lion. Evil-proof birds and colorful flower belts are also seen at the border. From the perspective of artistic style, this batik cotton may have been produced in the Maratu region of the Kushan dynasty in the 2nd to 3rd centuries AD.
The Demeter, human-little fighting and other works in this work originally belonged to Greek mythology, and the evil-repelling comes from Chinese art. Cotton textile, dyeing, and batik technology should have originated in India. A large number of decorative patterns were very common during the Gandhara period, and the image style of naked characters belonged to the artistic characteristics of the Maratu region of the Kushan Empire. Therefore, this fabric is an extremely rare artistic treasure formed by bringing together many cultural elements and technologies in the East and the West.
22. Gilded character story pattern silver pot
Northern Zhoutianhe Four Years
Height 37.5 cm high 37.5 cm maximum abdominal diameter 12.8 cm
Ningxia Guyuan Museum
1983 Li Xian and his wife were unearthed from the joint burial tomb of Shengou Village, Nanjiao Township, Guyuan, Ningxia
Long neck, duckbill flow, slender upper abdomen, lower abdomen round drum , single handle, high ring foot seat. Two animal heads are cast at both ends of the pot handle and connected to the body of the pot. Put a portrait of a person with a deep eyes, high nose and a helmet and hat on top of it, facing the mouth of the pot. Each of the connecting parts of the neck, abdomen and base edges is decorated with beaded patterns for one week. Three groups of images of male and female counterparts were drawn in one week. The three groups of characters' hair and clothes are carved with thin lines, and the lines are simple and smooth. The lower part of the ampulla is carved with thin lines for a surrounding water ripples. In the water ripples, two monsters chase each other towards each other, and the tail of the fish is thrown out of the water.
This pot is also called Hu Bottle. According to literature records, the first time was the Western Hu, that is, the Sogdians in Central Asia, to present Hu bottles produced in Fuqi (Roman Empire) as gifts to China, and it was around the beginning of the 4th century AD. The earliest Hu bottle discovered in archaeological period was during the Sixteen Kingdoms period, and it was very popular from the Northern Dynasties to the Sui and Tang Dynasties. This gilded silver pot unearthed from Li Xian’s tomb is of great significance to studying the relationship between the Eastern Roman Empire, and China. At present, no exactly the same artifact was found in the world.
23. Eastern Roman gilded silver plate
4th to 6th century AD
Height 4.9 cm Diameter 31 cm
Collection of Gansu Provincial Museum
Unearthed from Beitan, Jingyuan County, Gansu Province
Silver plate was once gilded on the surface, but most of it has fallen off. The plate is full of embossed patterns. The pattern is divided into three areas: the outer circle is decorated with sixteen groups of grape-curved grass patterns, with birds and other small animals perched in between; the middle circle is a ring-shaped belt, and the inner twelve human avatars are arranged, each with an animal on the left side of each avatar; the center of the plate is a slightly raised circular area, and the pattern is a young man leaning on the back of a lion and leopard beast, which is the theme pattern of the silver plate. The beast sitting on the side of the round feet is a line of inscribed words, which is an important Roman cultural relic discovered on the Silk Network Road in China.
Panxin is decorated with this young man holding a stick and leaning on the beast. Scholars believe that it is Dionysus, the god of wine in ancient Greek mythology. The text engraved on the silver plate is considered to be the Great Xia text, and is a Greek alphabet cursive manuscript adopted in the Kushan period of the Great Xia Dynasty. This gilt silver plate is a typical Eastern Roman style artifact, and its production date is approximately equivalent to the Wei, Jin, Southern and Northern Dynasties in my country.The Eastern Roman Empire maintained friendly exchanges with China in the early stages. According to the Book of Wei, the Eastern Roman Empire sent missions to visit Northern Wei three times. Perhaps this silver plate was a tribute left by the Eastern Roman envoy on the ancient Yellow River Ferry, or it may have been an exchange item carried by Western business travelers in that era.
24. Changsha Kiln Green Glaze Applique Dance Character Porcelain Pot
Tang
Height 18.2 cm Diameter 8 cm Base diameter 10.2 cm
Hunan Provincial Museum
1973 Unearthed from the water well of Siqian Street, Hengyang City
This pot has a small mouth and a bulging belly. The two series and the Shuiliao are decorated with three molded decals. The Shuiliao is a man wearing a Hu dress, with his chest covered with yarn, and his folds are flowing. He stands on the futon, twists his body, and dances wildly. It should be the Hu Tengwu , which was popular in the Tang Dynasty. One person plays the flute on the right and one person stands on the left. These patterns are related to West and South Asian cultures and are witnesses of cultural exchanges between China and foreign countries.
Changsha Kiln, also known as Changsha Tongguan Kiln, began in the early Tang Dynasty, flourished in the middle and late Tang Dynasty, and declined in the Five Dynasties. It has been more than 200 years. It is one of the three major export porcelain kilns of the Tang Dynasty in China, which is as famous as Zhejiang Yue Kiln and Hebei Xing Kiln. It is also the birthplace of underglaze colorful ceramics in the world. The Tang Dynasty was strong and the economy was prosperous, and Sino-foreign exchanges and trade were frequent. Porcelain had become the most common daily necessities in the Tang Dynasty. Therefore, many foreigners living in China at that time envied the use of porcelain by Chinese people. They were both enthusiasts of Chinese porcelain and foreign disseminators of Chinese porcelain. Chinese porcelain had become a popular commodity in foreign trade in the Tang Dynasty. With the development of maritime transportation in the Tang Dynasty and the improvement of navigation technology, conditions were created for the large-scale export of porcelain.
25. Glass cup
Northern Dynasties
Height 9.7 cm, diameter 12.1 cm
Unearthed near the Qianfo Cave Cave of Kuchesem, Sim Saim, Xinjiang Uygur Autonomous Region.
Collection of the Xinjiang Uygur Autonomous Region Museum
This cup is made of free blowing without molding. The whole cup is light green. The shape is open, round belly, high foot, slightly inward. There are two rows of round cake decorations on the outside of the cup wall. The round cakes are decorated and distributed intertwined. The spacing between round cakes is not completely consistent. There are six in each row, a total of twelve. The decoration of the round cake on the cup body and the high foot parts were made separately in the later stage, and the poke marks left during processing can still be vaguely seen on the round cake. Some scholars believe that this decoration method is made by imitating the "Sassanida" glass with round convex convex, but this method is much simpler than the round convex glass cold-processed by Sassanida.
The Sassanian glassware found in China mainly appears in the Western Jin Tomb of Wulidun, Echeng, Hubei, Li Xian's Tomb of Guyuan, Ningxia, Jin Huafang Tomb of Jin in the western suburbs of Beijing, and the Six Dynasties Tomb of Zhenjiang. The discovery of "Sassanid" glass in Xinjiang has extraordinary significance for studying material and cultural exchanges between China and foreign countries. Xinjiang is located in the middle of the "Silk Road" and is a must-pass place for Rome, Persia and other countries to the east to China. The glass unearthed in this area provides important evidence for the existence of cultural and material exchange activities between China and foreign countries. In general, these precious Sassanian glass specimens are physical evidence of Sassanian glass being imported from land to China.
26. Hunting pattern gold square qi
Sui Dynasty
length 18 cm wide 14 cm thick 1 cm weight 842.1 grams
Unearthed from Gufengzhuang, Qingshan Township, Yanchi County, Ningxia Huixia Autonomous Region.
The gold version of Yanchi County Museum is cast by the lost wax method. The layout has not been polished, but the pattern is clear. The person above the center of the card wears a feathered crown, armor, long boots, gallops on horseback, bows full of tension, driving front and back, and circling among beasts of different sizes and postures. There is a warrior wearing armor and kneeling on the left and lower right sides of the card decoration. The picture shows the images of tigers, bears, leopards, barbs, pigs, elks and other beasts, and an image of a bird on the upper left.
There are inscriptions in the Wei stele style official script outside the rectangular frame on the back, with a total of 82 characters. Among them is the sentence "Good craftsmanship carves the structure, and this is a strange one". Fang Qi's explanation in "Ciyuan" is "a rare thing produced in the place", and it is unknown whether it was called "Fang Qi" at that time. In the inscription, "Han Lu Pan Po" refers to "good dog".The composition of the hunting pattern is similar to the common Persian silver plate and the carvings on the stone couch in the Anga tomb of the Northern Zhou Dynasty found in Xi'an. It is inferred that it may have been made by craftsmen influenced by Sassanian gold and silver craftsmanship or Sogdian painting art. Regarding its use, some archaeologists speculate that it may be the decoration of the chariot riveted. Since the purpose and naming of this cultural relic are still under research, it is currently named "Fang Qi" based on the content of the inscription.
As an important area of the ancient Silk Road, Ningxia region had a large number of merchants from Central Asia traveling here during the Wei, Jin, Southern and Northern Dynasties. This golden cultural relic witnesses the exchange and mutual influence of Chinese and Western cultures through the Silk Road.
27. Stone carved Hu Xuanwu tomb door
Tang Dynasty
88 cm long, 42.5 cm wide, 5.4 cm thick
1985 Unearthed from the Tang Tomb of Jianziliang, Subusheng Township, Yanchi County, Ningxia Hui Autonomous Region in
Ningxia Hui Autonomous Region Museum
Each stone door has a bas-relief in the ground, standing on a small round carpet with exquisitely woven carpet, dancing in the two, swinging skillfully, elegant and graceful, light and healthy, with a quick and unrestrained dance, full of joyful and pleasant atmosphere of life. The surroundings are carved with cloud patterns, just like a dancer leaping into the clouds, creating an artistic effect of flowing like flying. The dance displayed by the dancers on the stone gate is Hu Xuan Dance. Hu Xuanwu, also known as Tuan Luan Xuan, Reunion Xuan, etc., was originally from Kangguo in Central Asia. After Hu Xuanwu was introduced from the Western Regions, he was loved by people of all ethnic groups in the Central Plains, especially by the upper ruling class.
According to the epitaph, the owner of the tomb belongs to the Sogdians in Central Asia, namely the He people of the "Nine Clans of Zhaowu". The Sogdians in Central Asia moved to Ningxia, which was related to the establishment of a banished prefecture in the Tang Dynasty to resettle the Turkic households. The Hu Xuan dance pattern in the tomb is a place where the inheritance of music and dance art and cultural customs are transplanted. Stone carvings of the themes of
were first discovered in the tombs of the Tang Dynasty in China. They are both physical materials that reflect the all-encompassing and integrated worldview of the Tang Dynasty, and are also precious materials for studying music and dance in the Tang Dynasty. They are recognized as national treasure-level cultural relics.
28. Red-clothed monks in Western Regions
yuan Zhao Mengfu
paper, color
painting heart height 26 cm long 134.5 cm
original collection
Liaoning Provincial Museum
This picture scroll depicts a monk with a red cassock sitting cross-legged on the slope stone under the cassock tree. This monk's thick eyebrows and deep eyes, a big nose and a protruding protruding, a beard and a cheek, and a dark skin. He didn't look like a Han person at first glance. His eyes were deep and kind-hearted. His left hand stretched forward, his palm was upward, and his right hand was held in the red garment. The vines were wrapped around the Bodhi tree behind him. It seems to be preaching. Judging from his appearance characteristics, he is not a monk from the Central Plains, but a monk from the Western Regions. The
screen is followed by the inscriptions by Zhao Mengfu, Dong Qichang and Chen Jiru.
Author Zhao Mengfu (1254-1322) was a painter and calligrapher of the Yuan Dynasty. His courtesy name was Zi'ang, his pseudonym Songxue, Shuijinggong Taoist, and from Wuxing (now Huzhou, Zhejiang). Song Zong family. He entered the Yuan Dynasty and became an official, and became a Hanlin scholar, Chengzhi and Ronglu Dafu. As the leader of the art world in the Yuan Dynasty, he has always been known as erudite, knowledgeable, pure, ancient literary and lyrics, excellent calligraphy and painting, and knowledgeable about Buddhism and old people.
29. Liangyi Xuanlan Picture
Ming Dynasty Matteo Ricci painted
Height 230 cm Width 55.3 cm (each picture)
Liaoning Provincial Museum
This picture is composed of eight screens, and is drawn based on Matteo Ricci's "Kunyu Wanguo Full Picture" in the 30th year of Wanli of the Ming Dynasty (1692), but the contents of the two are different. This picture mainly represents five continents, peaks, mountains, rivers, etc., and the shape of the mountain is painted green. Next to the commentary of Chinese characters, the Qing Dynasty added the pronunciation of Manchu text. This picture may be an orphan version of the generation, and it is very precious.
The first picture of "Liangyi Xuanlan Picture" is inscribed with five words "Liangyi Xuanlan Picture". The fifth picture contains the inscriptions of Li Ying's examination. The first one is "Embroidering the Xuan Lan Picture of Liangyi"; the last one is "The autumnal equinox of the Wanli Guimao...Panglu Li Ying's examination" and other words; the other three lines are "Wuyang Zhong Boxiang, Huang Fangji, You Wenhui, Ni Yicheng, Qiu Liangbing, Xu Bidenxian, and Mr. Xitai (Matthew Ricci)...Li Ying
test is known here." This article is enough to prove that the person who engraved this map was Li Yingxian, also known as Li Baolu, which is consistent with the records of Matteo Ricci's "Records of Entering China".
Matteo Ricci was an Italian missionary and was born on October 6, 1552. In September 1583, after Matteo Ricci came to China, he published his first Chinese world map. In 1601, as an envoy of Europe, Matteo Ricci was summoned to the Forbidden City in Beijing. From 1602 to 1605, Matteo Ricci made many great contributions and published the third edition of the Chinese world map "Liangyi Xuanlan Map". On May 11, 1610, Matteo Ricci died of illness in Beijing.
30. Kunyu Wanguo All-National Map
Ming Dynasty
Long 380 cm wide 192 cm
Nanjing Museum
"Kunyu Wanguo All-National Map" is a world map drawn by Matteo Ricci and Li Zhizao, and is the earliest painted world map in China. It was based on the Western world map at that time, and changed the pattern that was popular at that time that Europe was located in the center of the map, but instead placed eastern Asia in the center of the world map. This move set a precedent for China to draw a world map. The beginning of the
picture is the picture name "Kunyu Wanguo Quanguo Map" written in regular script. Experts pointed out that in ancient times, Qiankun refers to the world. Kun means earth. The original meaning of chariot is the base of a car, which extends to carry all things. The ancients called maps the map, and the "Kunyu Wanguo Map" is what is called the world map today.
The entire map is divided into three parts. The first part is the main picture, that is, the elliptical world map. The map is depicted in a variety of colors, which is harmonious and layered, with elegant colors, comfortable visually, and easy to view. Among the five continents marked on the
map, including Antarctica, which was just discovered at that time, the content of the illustration is very new. Australia is not shown on the picture because Australia has not been discovered at that time.
In various oceans, illustrations are painted with obvious characteristics of the times, and the combination of pictures and texts makes the map vivid and vivid. The second part is the astronomical map and geographical map located at four corners, namely "Nine-level Heavenly Map", "Celestial Earth Map", "Equator North Hemisphere Map", and "Sun and Moon Eclipse Map". There were "Equator South Hemisphere Map" and "Zhongqi Map" in the lower left corner. These small maps that play an auxiliary role include knowledge of astronomy and geography, which broadened the horizons of the Chinese people at that time. Although this knowledge is well-known today, it was refreshing in the Ming Dynasty. The third part of
is an explanatory text. Matteo Ricci introduced the customs, natural resources, religious beliefs, etc. around the world. In addition, all the prefaces and postscripts of the mother book are retained, which have precious historical value.
31. Yuan brocade hundred birds pay phoenix picture scroll
horizontally 548cm, vertically 53.5cm
Liaoning Provincial Museum
This piece is woven using multi-color silk thread, gold thread and peacock feather thread. The image is mainly composed of phoenix birds, and other birds and flowers are distributed in a scattered manner. There are two consecutive groups of patterns. The birds have beautiful shapes, gorgeous color matching and superb weaving technology. They are one of the representative works of brocade weaving in the Yuan Dynasty.
The image content originated from ancient Chinese legends. According to legend, the phoenix bird was originally an ordinary bird, and used the fruits he had picked and accumulated to save other birds on the verge of starvation. To repay the kindness, these birds each gave the most beautiful feather to the phoenix, so the phoenix became the first of the most beautiful birds. The story embodies the survival principles of gratitude and mutual assistance among groups, harmonious coexistence and win-win cooperation. The story of hundreds of birds paying homage to the phoenix is still widely circulated. Embroidery pieces on this theme are often hung when there are happy events in the people's homes.
32. Song Kesi Zhu Kerou camellia butterfly picture
26 cm in vertical and 26 cm in horizontal and
Collection of Liaoning Provincial Museum
uses the Song Dynasty branch-like composition of flowers and bird paintings as the manuscript, and the main body shows camellia and butterflies. The petal color application method and leaf shape are similar to the picture of Li Dihong hibiscus in the Song Dynasty. The painting manuscript of this work is nowhere to be found, and the existing work of kesi can give you a glimpse of the style of the original painting.
is weaved in blue, and the main object uses a blended line to express the natural color transition effect. The insect erosion is made of beige and brown lines to express the color changes with the technique of "knot"; the calyx is made of layers with length and short swatter; the part of the Zhuke soft seal is woven by the shuttle technique, forming the effect of neat longitudinal edges, seamless horizontal connections and square outer contours. The details of the petals are painted in the light-colored areas of the woven body, demonstrating Zhu Kerou's painting skills.
33. Song Kesi Zhu Kerou Peony Picture
26 cm in vertical and 26 cm in horizontal and
Collection of Liaoning Provincial Museum
uses flower and bird paintings as manuscripts to weave a blue ground, and a yellow peony branch is composed in a spiral style. The color is stained outward from the center of the flower, and the edges are brightened with white, which is consistent with the color application method used in Ma Yuan's painting of white roses in the Song Dynasty. Under the influence of the "studying things and seeking knowledge" in the Song Dynasty, painters even cultivated them personally in order to draw flowers with minimal exquisiteness. Under the wisdom and creation of people, "peony" "loves its beauty and is fortunate to others."
This piece has a red square seal with the lower left corner of the piece. The whole piece is woven tightly, with uniform background color, natural transitions of lines and soft colors. Emperor Taizong of Song established the "Hanlin Painting Academy" in the first year of Yongxi, and awarded the position of painters in the academy. However, the craftsmen engaged in weaving and embroidery have a low status, and the artists dare not sign, so they only copied the names of the original authors of the original painting. Zhu Kerou used the famous chapters on his works, which shows that he had a high status at that time.
This piece has an inscription written by Zhang Xizhi during the Hongzhi period of the Ming Dynasty. "Shiqu Baoji Re-edited" records, with the seals of "Qianlong's Imperial Views", "Shiqu Detailed Appraisal", "Shiqu Baoji", and "Baoji Re-edited". There is a seal of "Ice Spring" and "The Prince of the Prince of the Painting" outside the heart of the painting. Later it was collected by Zhu Qiuqiong. There are seven pieces of handed down from the world that are publicly published with Zhu Kerou's name, and the manuscripts are all flower and bird paintings of the Song Dynasty.
(China Daily Liaoning News Agency)
Source: China Daily Network
