1. Opening: Thoughts (1) Art history is originally the "history of works" [1]. Painting and calligraphy works in Chinese history have been appreciated, observed, and interpreted in specific contexts, and have achieved remarkable research. Art history has become one of the academi

1. Opening: Thoughts on

(I)

Art history, which is originally the "history of works" [1]. Painting and calligraphy works in Chinese history have been appreciated, observed, and interpreted in specific contexts, and have achieved remarkable research. Art history has become one of the academic categories that has the most profound influence on the historical community today.

A study of art history, first pay attention to the internal rationale of the development of the form and style of the work, and do not easily lead to other fields, and avoid making rigid or vulgar political interpretations. At the same time, scholars have also observed that the content and presentation of calligraphy and painting works, the author's aesthetic taste, way of thinking, and artistic style are the result of the nourishment and influence of social life and cultural atmosphere; while different schools of calligraphy and painting, the excellent products of many authors, are moistened with certain coexistence marks in the differences, penetrate into certain emerging directions, and jointly create the unique mood of the times.

Art historians observe the mainstream "style and world changes" of painting in different historical periods from a relatively macro perspective, and think about the evolution of cultural spirit from the perspective of the combination of the two axes [2]. By paying attention to mainstream figures that influence the changes in painting history, observe the interaction between creators and their cultural environment; start with the good style and taste, observe how the sponsors behind the painter group influence artistic creation. The full connection and combination of various materials and the so-called "three-dimensional political atmosphere" [3] make the relevant discussions more layered, more appropriate and effective, and also open up a deeper and broader research prospect.

is also a work of art. Calligraphy and painting undoubtedly have many similar properties. Its carrier, instrument, technique, and way of expressing one's feelings are all similar or similar [4]. But in terms of its content, calligraphy works are expressed in words, and the writer usually directly expresses a certain specific meaning; while painting works are the crystallization of observation and imagination, and the intention of the painter/painter is gracefully reflected through its "art language". There are many works with indifferent political meaning in calligraphy and painting works; some of which actually contain political "telling", are relatively revealing, while others are very obscure.

's appreciation and disclosure of the political and cultural implications in paintings depends on the prompts of relevant text materials; however, simply treating the documents as illustrations of images, or simply treating the images as evidence of words, cannot truly clarify the meaning of the picture itself. Although the attached contents of the paintings such as inscriptions, poems, prefaces, etc. may provide certain clues to understanding, in general, the implicit metaphorical characteristics of "art language" leave people with endless open reading and cognitive space.

is a broad historical material. The grid layout, composition components and even symbolic "symbols" in the image, the special perspectives of the painter to capture the scene and the usual ways of condensing the theme are all things that we cannot accidentally analyze when reading the picture [5]. The expression of the painter's thoughts depends on the recognition of the picture reader; and the understanding of the picture reader varies according to the differences in his era, personal experience and thinking background.

Many art history issues naturally meet with political history issues on their extension. The fruitful research results of art history have positive inspiration for the content that history focuses on and the way of historical questioning.

(II)

Tang people Zhang Yanyuan In his "Records of Famous Paintings in All Ages", he clearly stated:

The man who paints is to educate, help people's ethics, to lose the spirit and change, and to measure the subtle. It has the same achievements as the six books, and the four seasons are in harmony, and it is produced in nature, not from the description. [6]

in the Northern Song Dynasty, Guo Ruoxu's "Pictures and Paintings and Learnings" also said in his opening remarks:

The ancients must use the image of sages to depict the past facts, containing the essence of life, and make pictures as pictures, to point out the wise and foolish, and invent the governance of chaos. ⋯⋯ This is not the text that has not been completed and cannot be described by writing, and then it is followed by painting? It is also appropriate to have the same achievements as the six quotas and the four seasons together. 【7】

These statements make us feel that in China's long cultural traditions, the first thing that graphic works are valued is their "function" rather than their artistic nature. The social and cultural history orientations of art history research over the years are to seek appropriate understanding of the "meaning" of the work in an appropriate context.

Why can "painting" be paralleled with "political power" and how can it be related? This kind of issue has long been positively discussed in the art history community [8]. From a historical perspective, calligraphy and painting works are not only topics of art history. Their significance is not limited to "auxiliary" text documents, nor should they be used only as illustrations of "illustrated history" [9].

simply read calligraphy and painting works with the will of "finding materials" may bring one-sided and misinterpreted danger. People express everything they face and understand, either in words, or in calligraphy and painting, or in a straightforward manner, or in a tactful and obscure manner, with all kinds of presentations.

's drawings produced in historical time and space are a special "language" system that reflects historical reality in its unique way. As the "material" of history, calligraphy and painting works have been solemnly introduced and studied, providing different expression forms and different observation angles from the historical documents, conveying different types of information, bringing different reading feelings, and may also promote different "problem points" and different ways of thinking.

Although art historians and historians regard historical calligraphy and painting works as the object of research, the training backgrounds of the two are different, academic traditions are different, and the focus is different, and the focus and cognitive angles are usually different: art historians often "pull" the scrolls of a specific background and conduct concentrated and focused situational analysis; historians tend to "include" calligraphy and painting materials into a specific background as a "entry" to observe the era. The difference in

's perspectives provides a wide range of possibilities for the multifaceted and in-depth research. The complementarity of history documents and calligraphy and painting materials, and the integration of historical research and art history research will open up a deeper and broader world of understanding.

The artistic nature of calligraphy and painting works in the Song Dynasty is not an issue that the author can discuss. Now, regardless of the shallowness, I try to draw common examples based on the calligraphy and painting materials I noticed in the study of political history of the Song Dynasty, and to learn from the two or three common examples based on personal contact, and briefly talk about the superficial understanding to teach the students and friends in the academic circle.

2. Study on the political history of the Song Dynasty

(I)

has different ways of reading of the picture works. Ordinary viewers may be immersed in the atmosphere in the scroll and care about the content and story of the scroll; historians often consider the background of the work and pay attention to the relationship between the content, characters and the times; art historians pay more attention to the painter's style and techniques, pay attention to the situations permeated in the painting and specific expression methods.

In recent years, the combination of "art" and "history" (including political and cultural history) has become more careful. Researchers will expand from the analysis of single style and meaning to explore the meaning of certain types of paintings (such as Song Dynasty Academy paintings) [10]; the choice of painters' styles will also be understood from the perspective of "political discourse". The reason why

paintings may become the subject of research in political history is first of all because there is indeed a "political theme" in Chinese paintings [12]. A painting may be the manifestation of power or a form of power acting [13].

The creative activities of that year, the collection and appreciation of calligraphy and paintings, and the compilation of calligraphy and posts and painting books may themselves contain political implications; the artistic talents of concubines, ministers, and painters may all become capitals to gain political status.

In the history of Chinese art, the Song Dynasty has always been famous for its prosperity in court painting, active professional painters, and formation of literati painting trends. The first two aspects are in response to the current affairs background. As the main participants in the political life of the Song Dynasty, scholars and elites also worked hard for the political goals that the official needs, the group admires, or the individual pursues in activities such as painting and appreciation, gifts, and collections. Even the literati paintings that seem to be transcendent to politics are the result of a specific political and cultural environment. Their beliefs and intentions are permeated with direct and indirect responses to the contemporary political situation at that time. The expression of

paintings is different from that of text. Because painters often express complex political significance in their works through various techniques such as deep suggestion, symbolism, metaphor, anthropomorphism, homophones, etc. [14], compared with documentary materials, it depends more on the perception and interpretation of the readers.Therefore, clicking on the symbolic image "symbol" in the implicit picture becomes the key to identifying metaphors.

Some researchers choose this perspective and reveal the political hidden behind the painting through delicate comparison and analysis. Reading paintings based on history, interpreting paintings through poetry, and discussing history with paintings, which is similar to the "Suoyin School" research method. The "text analysis" that is closely related seems to go further than historians [15].

The rulers have never ignored the political function of painting. Many of the Song Dynasty paintings that have been passed down to this day were painted according to the intention of the monarch. Especially the palace paintings, which directly face the needs of the upper class, reflect the royal interests, and use the magnificence of mountains and rivers, the wealth and wildness of flowers and birds, and the customs and activities of characters to set off a harmonious atmosphere, forming an ideal environment with order and order. The political scenes, etiquette scenes, court activities, and even natural images displayed in the scroll are concentrated reflections of the painting talents of artists at that time (including court painters, even emperors, concubines, etc.), and are mostly imbued with the meaning of praising prosperity and rendering peace.

In the Song Dynasty, just like the previous dynasties, the portraits of emperors showing the authority of the imperial system and the order of the ranks and lies in a strong political and cultural concept [16]. Some scholars pointed out from different perspectives that welcoming, relocation, and worshiping the Emperor and Empress were all solemn and solemn ceremonies at that time; the statue of the Divine Imperial Palace is not only "integrated as part of the dynasty ritual system", but its true power "relying on its personalized and anthropomorphic artistic presentation" [17].

Yingzong Zhiping (1064-1067) At the beginning, he not only built the Renzong Shenyu Palace in the west garden of Jingling Palace, but also "suggested the ministers of civil and military affairs to rise on the wall of the palace." Li Tao in "Such Zizhi Tongjian Changbian" stated that civil and military officials "painted portraits from now on" [18]. Since then, he has also enjoyed the heroes of Jingling Palace wall painting [19]. These works should be similar to the huge "standard image" of today's special characters.

During the Song Dynasty, many scrolls of pictures that praised the civil and military achievements of the dynasty and praise the times were drawn in the palace, such as Xiangfu's "The Four Barbarians' Report on the Jobs" and Qingli's "The Picture of Jingde's Demons" [20]; there were also some pictures that exaggerated the sacred virtues of the world, such as "The Four Barbarians' Views on the Jobs", which were actually political propaganda posters.

From the records of various classics, we can see that at that time there were many picture scrolls related to classics and historical allusions, gods, ritual vessels, ritual books, and rituals. Among them, there were not only those who made the imperial preface, but also pictures of the imperial preface [21]. At the same time, the auspicious signs offered by various places, such as Jiahe, Zhicao, double-headed peony and even nectar, are usually also reflected in the picture [22], aiming to express a peaceful and clear scene.

The paintings presented by ministers through different channels, such as "The Empress Wu of Wu" presented by Cheng Lin and "The Eight of Wu" presented by Empress Dowager Liu, and "The Everlasting Representatives" presented by Zheng Xia and Shenzong, etc., through the microcosm of specific events and the depiction of "realistic" scenes, they express the political attitude of the painter to either offer suggestions or criticize current affairs. All of these are a vivid reflection of the political ecology at that time; it also makes people today notice the efforts of the royal family and specific groups to guide public opinion through paintings, occupy the "discourse" and even the commanding heights of culture [23].

In addition to paintings related to the court or government affairs, local officials in the Song Dynasty would use paintings as a means of governance to inform the people; scholars and officials who lived at high a temple and far away from the rivers and lakes would also express their thoughts in a straightforward or concise manner. The connection between these paintings and political background has long been paid attention to by the academic community.

(II)

used to persuade and advise the pictures of "Viewing the Ancient Pictures of Literature and Learning the Three Dynasties" and so on, which can be said to directly serve contemporary political goals. In May of the fifth year of Yuanyou (1090), Fan Zuyu, who was an official in the imperial examination, once told the Empress Dowager Gao and Emperor Zhezong about the "Preview of Ancient Pictures of Viewing Wenjian" and "Preview of Three Dynasties" that were completed in the Renzong Dynasty:

minister Fujimi Emperor Renzong released the imperial "Preview of Ancient Pictures of Viewing Wenjian" in July of the first year of Qingli to show his support ministers. In November of the first year of Huangyou, he summoned his close ministers, censors and royal family members to read the "Three Dynasties Training and Review Pictures". I personally believe that ancient emperors often view pictures of history to warn themselves. In addition to teaching, Emperor Renzong learned from the ancient times and did not forget to warn him, so as to cultivate his holy heart. He also wrote about the deeds of the three dynasties, and wanted his descendants to know the achievements of his ancestors, just like he saw him. Both pictures were once given to ministers, and there must be a basis for the ban.I hope that Your Majesty can read this picture in the leisure time of reading books forever, so that you can see the beautiful and evil traces of the emperors of the previous generations and know the difficulties of their ancestors in starting a business. It is not only a warning or advice, but also easy to remember and memorize, but also a matter of learning that is always tireless. [24]

In March of the following year, Prime Minister Lu Dafang once again suggested that the thirty-six things (or thirty-five things) written by Renzong were also adopted.

The great Confucian of the Southern Song Dynasty Lu Zuqian written by "Praise of Ancient Pictures of Qingli Guanwen". From the perspective of rules and regulations, he explained the meaning of "picture":

Books are more common than the general and the latitude. The classics are written with books to record the success or failure of the previous generation, and readers are excited; the lattice is drawn with pictures to depict the success or failure of the previous generation, and those who observe them can learn from it. ⋯⋯生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合彩子生合� 【26】

Like the "Four Pictures of Jingde", the pictures used to induce and educate the examination were all equipped with text at that time to invent and understand each other. In the eyes of people at that time, "picture" has its special function: it is intuitive to the form, opens the heart, and is easy to view.

"On the Ancient Pictures of Guanwen" twelve volumes and 120 events (one says "painting a hundred chapters" and combined into ten volumes), "Pictures of the beautiful and evil traces of the emperors in the previous dynasty can be used as rules and regulations", "The first Huangdi dreams of the wind and the last emperor, and Empress Changsun rewards Wei Xuancheng's advice." Renzong personally wrote a note on it. On the first day of the seventh month of the first year of Qingli (1041), the imperial manuscript "Records of Guanwen Ji" was released to show the auxiliary ministers [27]. On February 19th, the fourth year, Bingchen, the emperor welcomed Yangmen and summoned the ministers to view the paintings. At that time, "the paintings were all drawn on the four walls", "the paintings were all those that were the beautiful and evil traces of the emperors of the previous dynasties, which is the "Guanwen Jijian Ancient Picture". Then, "I ordered the lecturer of Tianzhang Pavilion Zeng Gongliang to teach "Mao Shi", Wang Zhu read "Records of the Holy Politics of Ancestors", and the bachelor of Hanlin School Ding Du to read "Han Shu for the pre-Han Shu ", and then stopped for a few moments" [28]. It was during the New Deal of Celebration. Viewing pictures and reading became a way to learn from the past and declare political determination. "Three Dynasties Training and Appreciation Pictures" seems to appear a little later.

In the bibliography of the Song people, this picture is listed alongside "The Sermon on the Three Dynasties" and "The Political Essence of the Three Dynasties", and is both placed in the category of "allusions" of the current dynasty [29]. The "Sermon on the Sermon on the Treasure" (including the picture album) became popular since the Renzong Dynasty. The reasons for this have been analyzed in the academic community [30], and I will not elaborate on them here.

"The Three Dynasties of Examinations and Reviews" was formed on the basis of "The Three Dynasties of Examinations and Reviews of Taizu Taizong Zhenzong", and is generally an illustration of Jiamo Yixing in the Three Dynasties. In August of the eighth year of Qingli (1048), Yang Wei, the master of the imperial edict, was ordered to review the deeds of the three dynasties and compiled them together with Hanlin scholar Li Shu. "A hundred items of practical matters that have obtained the ancestors' stories" began when Taizu personally conquered Xiazelu and Pingweiyang, and finally Zhenzong banned Zhongguanjia and Feishanguanbao. Renzong ordered the Hanlin Attendant Gao Keming [31] and others to set up colors on it, and the imperial order was given a name. The following year (the first year of Huangyou), completed in February, with ten volumes [32]. In the picture, "The characters are more talented, and the palaces, mountains, rivers, chariots and guards are all prepared" [33] should be the coexistence of words and pictures, similar to the independent deeds of comic strips. The four maps of Jingde that we have seen at present are very close to the graphic pattern of "Three Dynasties' Training and Learning Pictures". The text part is first narrated and followed by the structure of "memorials and others". It is also the arrangement of the practice of "Three Dynasties' Training and Sermons", providing an cognitive example for the understanding of today's people.

The process of the formation of "Three Dynasties Training and Learning" was achieved in the middle of the Northern Song Dynasty Guo Ruoxu's "Pictures and Learnings" and Wang Pizhi's "Mianshui Yan Tanlu" and different from the records in the Southern Song Dynasty, such as Wang Yinglin's " Yuhai ", "Search on Shantang Quns", and "Solutions on Zhizhai Shulu". The records in "Yuhai·Yiwen" and other places focus on the writing compilation of the deeds of the three dynasties. The order of writing in the "Xunjiantu" is also written in front and drawing in the back. Volume 6 of "Pictures and Learnings" "Explanation and Revelation" says:

Huangyouchuyuan, and the emperor ordered Gao Keming and others to write the great virtues of the three dynasties. The characters were more talented, and the palaces, mountains, rivers, chariots and guards were all prepared. The order of the scholar Li Shu and others to compile the compilation of it was praised. There were 100 items in ten volumes, called "Three Dynasties of Examination and Review Pictures" [34].

According to this statement, Gao Keming and others painted first, and Li Shu and others wrote praise later.But now I see Volume 5 and 6 of "Yuhai" "The Three Dynasties of Qingli", which summarizes the preface of the imperial system of Renzong, saying:

Taizu found the foundation of Shenwu, Taizong restored the English language, and Sihuang Zhenxiu, and all of them were diligent in the court, worrying about diligence and pursuing the king, and controlling the power of the ministers, and carefully controlling the world's orders. I am wise and vigilant, and I am vigilant of strictness in the evening. I declared the imperial edict to believe in history, and discussed old news, and gained the great importance of the facts of ancestors. The paintings are decorated with accented words, and the colors are arranged in the top. Each of them contains the source of the original text, and the book is simple and the meaning is also explained. A few sticks are placed inscriptions, and the □ picture is taken to take the right path; analyzing the ancient examples and maintaining the country's achievements. However, who is lying about the ancestors is better than lying about the past?

From the perspective of "Declaration of the imperial edict, and discussing old news, we can obtain the most important practical things of the ancestors; paintings and embellishments, and the ten meanings are divided into the above, each with the source of the outline, and each with the simple and inherited the original text, and also with the meaning of the meaning", we should first search and compile the actual facts of the ancestors, then draw the drawings, and then explain the meanings. The pictures and texts seem to be interactively progressing.

On the first day of November of the first year of Huangyou (1049), Renzong summoned his close ministers, censors and royal family to observe the "Three Dynasties Training and Review Pictures" [35] in Chongzheng Hall. Later, he was also imitated the printing and dyeing of the engraved and dyed papers, and was awarded to ministers and recent royal families [36]. Volume 11 of "Wengong Collection" contains a chart of the "Shumi Su" thanking the three dynasties for the treasures of the three dynasties by Hu Su, and praised it:

. He left the sage thoughts at the lecheng, ordered the servants to be of the same sort, and the shapes are in the square sheet, and the bright colors are compared. The preface is to place the seal of the palace, and it is forbidden to sit, and it is about to write a piece of paper, let alone the inscription of a few sticks, follow the plan of Yan Yi, and use the warning of being cautious in daily life. This is the immortal thing to make a never-ending rest.

There is another question about the book "Viewing the Ancient Pictures of Ancient Texts" and "Three Dynasties Training and Learning Pictures". Wang Mingqing "Huoli Houlu" Volume 1 has a passage:

Renzong ascended the throne, and was ten years old, and Empress Dowager Zhang Xianmingsu was in the court. Zhang Xian was very wise and ordered Confucian ministers Feng Zhangjingyuan, Sun Xuan Gongshi, Song Xuan Xianshou, etc. to collect the deeds of monarchs and ministers of all dynasties, and to write the book "Guanwen Lan Gu"; the story of ancestors is "The Sermon on the Three Dynasties", each volume of ten things... The Hanlin Appointment Gao Keming and others painted them very exquisitely, narrating them to the left, and asked Fu Mu to attend the emperor every day and night, explain and lure them into the forbidden area. At the end of Yuanfeng, Zhezong ascended the throne at the age of nine. Some people who made his case informed Queen Xuanren Shenglie, and ordered the board to copy the seal, imitating this as the power of the emperor's school, and distributed it to the close ministers and the halls. At that time, the eldest father also gave it to him, and the Ming and Qing dynasties had it. It was taken by Qin Boyang in Shaoxing. (The ancestor said) [37]

The so-called "The Sermon on the Three Dynasties" is ten volumes, each volume and ten things." There are also pictures of Gao Keming and others on it. It seems that the "Sermon on the Three Dynasties" should be called "The Sermon on the Three Dynasties", and the compilation date is different from the previous theories [38].

For this narrative, Ma Duanlin said in his article "Wenxian Tongkao·Qingji Ji" "Ten Volumes of Three Dynasty Trivia Pictures": "The Forbidden Printing and Drawings in the "Hui Li Lu" says that the "Shi Yi Lu" has a forbidden print and there are drawings, which is similar to this book of "Shi Yi Zhi Ji" "Ten Volumes of Three Dynasty Trivia Pictures". However, Zhizhai used this book as compiled by Emperor You during the Qingli period, which is inconsistent with the words "Fu Li" that Fu's mother served the emperor in the early years of Ren Huang's reign. The quality of those who are precise should be examined [39].

Judging from the existing materials, the records in the middle of the Northern Song Dynasty and the records based on them are called "Three Dynasties Xunjian Tu" compiled during the Qingli Emperor You period; even Fan Zuyu, who was keen to "support" to educate the young Zhezong, said that Emperor Renzong "took to write about the deeds of the three dynasties, and wanted his descendants to know the achievements of his ancestors", rather than praising Empress Dowager Liu how he educated Renzong.

Wang Ming and Qing grandfather Wang Xin was awarded a copy of the "Three Dynasties' Examinations and Chronicles" during the Yuanyou period. His statement in "Hui Li" may be inferred in reverse based on the situation of Zhezong Dynasty. But Wang Mingqing's understanding is not groundless. When Renzong ascended the throne, how to educate the emperor who was still young in the Spring and Autumn Period, how to provide a reading book for emperors that was both targeted and interesting to him, and how to ensure that his future rule does not deviate from the political track since Taizu Taizong, is indeed an important issue in the court's internal and external relations.

Wang Zeng, who served as prime minister, recorded 60 deeds of ancient sages in the early years of Tiansheng, drew pictures and presented them to the emperor; the palace was engraved with molded seals and given them to the servants, and ordered the ban on drawing twenty axes monthly to enter [40].During the Shaoxing (1131-1162), Emperor Gaozong of Song also said: I have reviewed the stories of ancestors, but there are also things that the outside dynasty do not know about in the palace. I saw Mao Gangzhong's "Jian Gua Tu" yesterday, which was the beginning of Emperor Renzong's ascension to the throne and was still young in the spring and autumn. Therefore, I took pictures of the ancients' actions and made them easy to read and read them. [41]

No matter where such paintings were written in the precepts, from the view of Emperor Gaozong, it is likely that "Guanwen Jian Ancient Pictures" would not be retained in the palace in the early Southern Song Dynasty. The situation of "Three Dynasties Training and Review Pictures" is roughly similar, but there are still printed copies among the people. Chen Zhensun once said:

The "Guange Bibliography" records this book and says "all the paintings are missing", but in the "Suan Bibliography" it says "get the complete". I don’t know what the original result was at that time, but it is also a copy of the original meaning.

He also said: If you have this book sold in Putian , you should look for it urgently, and you will have obtained it for those who are good at it, which is probably the one who is engraved by the Imperial Palace at that time. The volume is a volume, and all ten things are a picture, decorated with blue and red. I am urgently ordered to record the characters, the size, the width and narrow lines, and the size of the colors, everything is based on the old ones. The view of the sacred temple is like the Emperor's Blessings during the Qingli period, witnessing the prosperity of the sage's writings. [42]

"Three Dynasties Training and Review Pictures" is not only used as a textbook for both "imperial studies", but is also regarded by the Song people as a historical material for understanding this pilgrimage and the stories of the ancestors. The famous historian Sima Guang Volume 1 of "The Record of the Wind Water" is from "Taizu's Conquest of Hedong" to "Taizu's Intelligent and Open-minded". At the end of the article, it is stated that "the right-handed all come out of the "Three Dynasties Training and Learning Map"".

(III)

In the early Southern Song Dynasty, many historical paintings (story paintings) appeared successively as political propaganda to gather people's hearts. Among them, the "Picking Weiwei" written by Li Tang paints the story of Boyi and Shuqi not eating Zhou grain and avoiding picking Weiwei in Shouyang Mountain to praise their integrity; at the end of the volume, Song Qi of the Yuan Dynasty wrote an inscription on it, pointing out that "the intention is to prove the rules, and those who express the Yi and Qi do not minister to Zhou are the ministers who pass the south to surrender." "The Scroll of Duke Wen of Jin's Restoration of the Country" and "Guangwu Crossing the River" echo the statement in "Written by the Handwritten by the Emperor Meng of Yuanyou" that "The Han family's misfortune for ten generations is suitable for the revival of Guangwu; the nine sons of Duke Xian are still there" [43].

In addition, there are also themes related to the theme of resolute chaos and restoration of the country, such as "Looking for the Virtue to Welcome the Lord"; those who exaggerate the auspicious signs of revival, such as "Rui Ying Tu" (also known as "Rui Ying Tu", "Gao Zong Rui Ying Tu" and "Zhong Zhen Hui Tu") [44]; those who express the thoughts of family and country, such as "Zhao Jun Going Out of the Frontier" and "Wen Ji Returning to the Han Dynasty". Since then, there have been rules and guidelines that promote the monarch's acceptance of advice, such as "The Threshold Picture" and "The Threads of the Sit" and "The Threads of the Sit" have appeared one after another. The portrait painting " ZTE Four Generals" that praises ZTE characters also has a propaganda meaning.

"(Zhongxing) Ruiying Picture" is a special comic book recording the auspicious response of Emperor Gaozong of Song Dynasty Zhao Gou's "being destined by heaven". His painting style makes it called "typical Southern Song Academy painting" [45]. The text of this scroll was written by Cao Xun, and the painter is unknown. As you can see at present, there are at least several statements such as Li Song , Xiao Zhao , Su Hanchen , etc. [46]. The picture is divided into twelve paragraphs, describing the various "auspicious responses" of Emperor Gaozong of Song Dynasty, Zhao Gou, who "birth the sacred and the sacred Zhang Cheng" to prove that he is the true emperor who has been favored by God.

There have been works like Ai Yingtu in history, usually "carrying the auspicious things in heaven and earth, and sorting them out" [47], and there are also records that auspicious things for a while. During the Zhenghe period of Emperor Huizong of the Northern Song Dynasty (1111–1117), local bureaucrats in Tokyo gathered together with their prefecture and the capital county, "the auspiciousness of the sweet dew, the grass, the wood, the auspiciousness of wheat, and the carriage and the imprisonment is empty, and the road is not to be picked up by the people" and wrote "Zhenghe, the Ruihui Response Picture" and accompanied by paintings [48]. This type of work would also be stored in the History Museum at that time.

In the Southern Song Dynasty, Cao Xun made contributions to Emperor Gaozong's succession and the invitation of Empress Wei due to his special identity, and also maintained a different relationship with Emperor Gaozong and his son. His family contains "Pictures of Welcome the Empress Dowager Returning to the Lord" (Pictures of Welcome to the Lord) [49]; after his death, Zhao Gou, as the Supreme Emperor, once wrote a letter to Chenhan, praising him:

, who has been engaged in state affairs in all four dynasties, hunting from Huikao to Yan, was secretly ordered to stay in the day and walk at night, holding imperial letters and clothes, so that I could continue to rule.The Jin people defeated the alliance and invaded Jiang, so they tried their best to go. When they saw the enemy's commander's strength to show good fortune and good fortune; when the enemy retreated to Huai, they ordered the Empress Dowager Tianjun to go to the throne to the filial piety and moved them, so that the mother and son would be as good as before. [50]

Cao Xun himself, since he returned to the south, followed the upper class of the time, worked hard to maintain the "orthodox" of Emperor Gaozong, and also disclosed some "inside stories" from time to time to show his special status. In the early years of Shaoxing, he stated in the "Fourteen Things to the Emperor's Book" that Emperor Gaozong ascended the throne, saying:

Those who heard that there were great virtues would have good fortune and would have good fortune to respond, and those who cares for the great treasures would have good fortune to help the world and the people. If there are few people living in a high position, they must first lose their lives. ……Hong Wei Your Majesty inherits the heaven with virtue and is the son of heaven. It is so great that God’s protection will show Your Majesty’s piousness and spirit, and support Your Majesty’s godly fortune. It is verified by the times of heaven and man, and is as bright as the sun and the moon. These "Lingrui" were sorted out into seven items including "returning to the enemy camp and returning to the ground" [51]. Although the picture was not completed at that time, these talismans should have been widely spread under the auspicious rumors of Emperor Gaozong's default, along with other auspicious rumors such as Jingkang Xi and Nima Crossing the River.

"Zhongxing Ruiying Tu" was created during the reign of Emperor Xiaozong. After Emperor Gaozong abdicated, Cao Xun compiled the twelve Ruiying Tu and created the picture from the Painting Academy. In the preface to the Songyin collection of Cao Zhongjing Gong who wrote in Lou Yu, Cao Xun said that "entered and left the two palaces in the Qiandao of Shaoxing, worshiping the leisure of Qing Yan, and was the most favored" [52]. Although there is no specific period in "Sheng Ruitu Praise" in "The Preface to the Year of the Emperor Gaozong, Guangyao Shou Shengxian Tianti Taoist Taishang Emperor"; the preface was signed as "Taiwei, Zhaoxin Army Jiedushi, and the Imperial City Officer" [53]. According to "Song Huiyao Edited Manuscripts·Job Officials", on October 6, 2018, "The Grand Marshal Cao Xun was ordered to retire and be promoted to the Imperial City Officer", which is exactly the same as the title of this period. It can be seen that the preface and official text of the picture should be completed between the end of the seventh year of Qiandao (1171) and the beginning of the first year of Chunxi (1174). Although the completion of the drawing may be more afterwards, it should have been conceived with text and pictures at the beginning.

After Emperor Gaozong was "dedicated" to the point, he still organized many cultural projects to declare "sages" behind the scenes. The Deshou Palace where he lives is actually another political and cultural center in Lin'an City.

Cao Xun claimed that according to the "Empress Xianren's edict and the proclamation of His Majesty in China", "a briefly compiled the "Saint Rui" that promoted the "Sheng Rui" that "reconstructed the four directions and recreated the royal family" was mainly based on the personal memories of Empress Dowager Wei and Emperor Gaozong of Song, as well as rumors from all directions. The collection and compilation at this time was obviously based on the monarch's "ruly order", intending to impress the viewer and influence people's hearts with events that "shock the heart and eyes", and then declare the orthodox to those who are in the "remaining leap position" [55].

Qing Dynasty Ruan Yuan "Shiqu Essays" Volume 3 "Song (II)" has a special article on "Xiao Zhaorui's Essays" and says "Cao Xun's preface to praise regular script, and calligraphy and painting intersected with twelve paragraphs". However, the preface of Cao Xun recorded in the picture volume is different from the preface of Sheng Ruitu and the preface of Volume 29 of "Songyin Collection". Prince Cheng Yongyan's Volume 8 of "Yijinzhai Collection" Volume 8, "The Appendix" records "The preface to Cao Xun's praise in one volume of Xiao Zhaorui Yingtu collected in the inner palace", which is roughly the same as Ruan Yuanben.

It is like "The heaven is looking at the eyes of the world, and it is not something that can be fought against by all the people. It is better to be entrusted by the imperial edict and specially ordered the subjects from all directions to be proclaimed, so that the destiny of heaven is virtuous." "Although the strong enemy is a powerful enemy, they will be shocked when they hear the magical powers." All of them are not found in "Songyin Collection". In "Songyin Collection", "I admire Empress Meng Xianren and the Majesty of Yiyan to announce the edict and spread it to China" and "The rest of them divide the leap ranks, and want to shine for a while, and compete for the striking of the ages, which is a shocking laugh" is not found in the collection of the Qing Dynasty. Compared with

, the tone of the preface on the drawing appears to be tougher. According to Lou Yu's "Preface to Song Yin Collection of Duke Cao Zhongjing", "Song Yin Collection" was edited by Cao Xun's son Cao Zi based on the old manuscript 17 years after his father's death. It is not yet known when the changes in the preface of

Ruiying Pictures came from. The sixth picture of the twelve paragraphs of the picture volume, Zhao Gou visited the Cuifujun Temple in Cizhou, which is the origin of the widely circulated story of "King of the Mi Ma Du Kang" [56]. Although "Ruiying Tu" handed down from generation to generation is classified as "real paintings", it is far from a realistic work [57], but a typical construction of the theme first, directly serving the idea of ​​"This is God's will, but no one is planning for others".The image, which is "very beautiful and beautiful", is elegant and calm, and can see the painter's meticulous and attentiveness; his pen is in peace and harmony, the characters are calm and calm, and the clothing background is bright and shiny, without any sense of falling and falling. Its outlines the significance of the main points focuses on the "Saint Rui" recognized by the top leaders. This Fu Rui propaganda for scholars and common people reflects the efforts to create and reiterate specific political discourse.

. Calligraphy works are studied with the political history of the Song Dynasty

Although it is said that "calligraphy and painting have the same origin", writers and artists of the Song Dynasty often integrate different art forms; but in terms of their functions, the two have obvious differences. Similar to painting, calligraphy has an aesthetic, entertaining and even gaming side. It is usually considered to be a style of calligraphy in the Song Dynasty that tends to "respecte meaning", which contains the learning and sentiment of cultural elites at that time.

Compared with painting, calligraphy carries a more direct social function in real life and is an intermediary for people to communicate information. No matter in the imperial examination, no matter who is an official or an official, he cannot leave his writing skills for a moment. As a practical skill since ancient times, calligraphy reflects the basic abilities and qualities of scholars and is also one of the means of making a living. It has long been valued in the officialdom and the people in ancient China.

Most of the calligraphy works of the Song Dynasty that have been handed down from generation to generation are handed down by scholars. In terms of its calligraphy style, there is "Court style calligraphy", which is often used for the writing and copying of official documents; there is also "literati calligraphy", and the ink of literati and his poetry works are often formed as objects of appreciation of "one body and two sides". In terms of its content, it is an original creator, and it is often used for public and private documents, poems, essays, inscriptions and other materials. Most of them can be directly used as original historical materials, some of which are political historical materials themselves.

. Taking several calligraphy chapters as examples, focusing on the proclamation of officials in the Song Dynasty and the approval of the imperial edicts in the Song Dynasty, based on the relevant research of three doctors, Zhang Yi, Fang Chengfeng, , Kubota, and Okay [59], we will choose to introduce the possible significance of such materials in the study of the political system of the Song Dynasty.

(I)

Officials in the Tang and Song dynasties (official complaints, letters of appointment), such as "Zhu Juchuan's complaints", "Sima Guang's worship of Zuo Pushe's confession", etc., have long been paid attention to by researchers in institutional history.

In the Song Dynasty, officials reported their ranks and magnitudes of their positions, respectively, and were responsible for the decree of the Hanlin Bachelor's Imperial Producer and the Central Secretariat (or other officials who are authorized by the imperial edicts). The former is called the internal system and the latter is called the external system. The official report compiled by Sima Guangchong History Museum in the second year of Xining (1069) in the Kumamoto Prefecture Art Museum in Japan was a foreign official report before the restructuring of Yuanfeng in the Northern Song Dynasty [60].

The official report has a total of 59 lines, and the first to 27 lines of the document are written, which is an external edict. In the imperial edict, Sima Guang's title of exclusion should be drafted by the prime minister and approved by the emperor; while the literary lyrics were drafted by the foreign official (Editor's Edict) based on the lyrics issued. According to the "Guide to the Book of Religion and Learning", the general form of the external edict is: "The edict: If you have an official position, you can be specially appointed as an official" [61], and this volume is exactly the same as it. After the date of line 28, lines 29 to 48 are signed by officials in accordance with the three provinces’ order procedures. The officials of the Secretariat Province followed the "xuan", "feng" and "executive" of the edicts, the official positions of the officials of the Secretariat Province, and the procedures for the edicts undertaking the edicts. Lines 49 to 59 are the words of the "report" itself with official titles and issued by the official court [62].

Under the two government system in the early Northern Song Dynasty, the signing procedure listed in the official report under the name of "three provinces" is not the actual process of not being granted to officials. Most of the documents handed down in the Song Dynasty do not record this. The real things that exist in the world give us the opportunity to see the operation of the "dual track system" at that time.

Sima Guang, who was in the first year of Yuanyou (1086), was a public official report after the reform of Yuanfeng of the Northern Song Dynasty [63].

, a long scroll of the body, is also composed of lyrics, signing procedures and "公" documents, and was formed on Gengyin (the second day) in the leap month of the first year of Yuanyou. The lyrics are the same as those included in "Sima Guang, the Minister of the Men's Secretariat, the Left Prime Minister" and Xu Ziming's "Chronicle of the Song Prime Minister" Volume 9 of "Sima Guang, the Left Prime Minister" included in "Collected Song Dynasty, the Prime Minister, the Prime Minister, and the text of "Sima Guang, the Left Prime Minister" included in "Collected Song Dynasty".

In his article "Research on Sima Guang's Left Pushe's Promise to the Body" [64], Wang Jingxiong pointed out: "The "Sima Guang's Left Pushe's Promise to the Body" in this institute is a system of promulgation. It was issued in the first year of Yuanyou. At the time of the implementation of the new official system, we can briefly see the official document operation at that time." It also believes that after the Yuanfeng reform, the operation process of the document of promulgation should be carried out by the three provinces, and should be signed and announced by the Secretariat in order. This article is the same as Fan Chunren's Promulgation to the Body Man in the third year of Yuanyou. After the lyrics were made, he was followed by the Ministry of Publication to review the signing records, so there are doubts. In fact, the official authorization of the Song Dynasty was originally an "internal system" (this was the case before and after Yuanfeng). It was not drafted and edited by the Minister of the Central Secretariat, but was a decree by the Hanlin scholars who worshipped the inner court.

Yuanfeng's restructuring "follow the name and responsibility" should be consistent with the actual dismissal procedure in principle. After the word "internal system" is formulated, it does not require the Secretariat to "propaganda" and directly issued a sub-district to the province to be implemented. Therefore, the Secretariat officials do not include the title.

Menshige Province's documentary procedures, Japanese scholar Yuichi Nakamura once restored the bookmaking style from the Kaiyuan period of the Tang Dynasty (713-741):

The Shizhong is the official vassal, the name

The Yellow Party Minister is the official vassal, the name

The title vassal, the name

The title vassal, the title vassal, the title

The title vassal, the title jail, and other words

The bookmaking is as right. Please implement the

system. Be cautious.

year, month, day,

, Ideal painting

According to Fan Chunren, a neighboring house in Fujii, Kyoto, Japan, the part of the Menxia Province is basically the same as the Tang Dynasty:

1·Shi Zhong Que

2·Shu Shu Zuo Shu and the Minister of the Menxia Minister Dafang

3·Shu Jue

3·Shu Jue

4·Making the book is as right, please follow

5·Making the book outside, please be careful.

6· April 5, 3rd year of Yuanyou

7·Charge

In this case, Sima Guang, who had a vain position, had a rank of officials in the lower provinces who had not yet taken office, including the Shangshu Zuo Pushe and the subordinate minister Sima Guang (who was given the title himself, he had not yet been granted), the Shangshu Zuo Chengquan, the subordinate minister Lu Gongzhu and the subordinate minister Fan Chunren. The officials who are also under the Menxia Province have been intercepted into two sections. The emperor's instructions are intercepted between the Minister of the Menxia and the Secretary of the Ministry of Justice.

can be seen in comparison with the above document style, and there is a problem with the order this time. This is probably because the person who should have been reported to be broken during the circumstance. When re-mounted, it was because he was not familiar with the Song Dynasty system and was reversed. According to the normal documentary process, the emperor's "system" should be completed and marked after the "March of the first year of Yuanyou" [66].

Sima Guang and Fan Chunren's confession were both based on the official announcements in the Song Dynasty, using "five-colored golden flowers and silk paper" [67]. All kinds of official reports reflect the solemnity and strictness of the bureaucratic hierarchy system based on the texture of paper, size, color patterns, color and white back, and number of sheets.

(II)

In the Song Dynasty, some were given to individual ministers as instructions, awards or sympathy; some were also issued to specific departments as "commanders" for government affairs. The existing physical objects of the former type of edict include "The Imperial to Given Mao Yingqi", "Cai Xinghuang" and " Yu Yunwen Edict".

This "Edict of Mao Yingqi" was collected in the Palace Museum in Beijing. After the imperial edict, there was an inscription written by Zhang Yu in the second year of Zhizheng in Emperor Shun of Yuan Dynasty (1342), saying that the post was "the original work of Mao Yingqi Zhiqiu, the Emperor Ming of Tang Dynasty, was ordered to be "a hand-in-chief of Mao Yingqiu Zhixuezhao". According to this title, "HTM4 Ancient Chinese Calligraphy and Paintings and Pictures, there is no seal in the Tang Dynasty, and Mao Yingqiu, the running script, is known for his edict" [68]. In the late Ming Dynasty, Zhang Chou speculated that the edict was issued [69] during the period of Emperor Taizong of Song Dynasty.

However, neither of the above two inferences can reasonably explain the semantics of the first sentence of the imperial edict, "I remember the love of the Three Saints to cultivate the steaming of Guizhou". In fact, Zeng Minxing, the Southern Song Dynasty, recorded this amnesty book in the full text of "Du Xing Magazine", and pointed out that its background is "In the saint of heaven, Mao should guard Douzhou, and the imperial court gave him a prisoner to imprison me" [70]. Therefore, this should be an imperial edict from the period of the period of Emperor Renzong of Song. The so-called "Three Saints" refer to Taizu, Taizong and Zhenzong.

Today's collection of Hijong Huizong's "Travel Stories Cai Xing Imperial" [71] was issued by Huizong when Cai Xing resigned from his position as governor in the palace during the Xuanhe period (1119-1125).The Sichuan Provincial Museum has the "running letter to reply to Yu Yunwen's edict" [72] in the Southern Song Dynasty. It is also an edict that refuses to accept it. Judging from its content, the edict should be awarded in the spring of the fourth year of Qiandao (1168). Yu Yunwen was the Grand Secretary of the Zizheng Hall, the Minister of the Privy Council, and the Sichuan Xuanfu Envoy [73].

Generally speaking, it is called "edict" or "edict", which has a distinction between levels and levels. The so-called "a fifth rank is given to the upper edict, and a sixth rank is given to the upper edict" [74]. As far as the document itself is concerned, there are ratings and importance in terms of the wording, wording, printing and paper. Taking the wording as an example only, it is not difficult to notice the distinction in its programmatic expression.

In the "Edict of Mao Yingqi" called Mao "Ru", the end of the word says, "I will tell you this to be informed, and I will know it." However, "I will tell you the edict" and "I will tell you how to know it" in the "I will tell you how to know it" in the "I will tell you how to know it." At the beginning of the imperial edict, there are all the characters "生" ("生") written in larger fonts, and the "生" that are deployed at the end of the "生" is missing at the end of the "生" and "生" which may be lost during the circulation.

Judging from the "Edict of Mao Yingqi" and "Edict of Cai Xingzhe", the character "Edict" and the main text of the edict and the day of the edict are on two sheets of paper spliced ​​together, with a cavalry seal in the middle. The seals stamped in "The Imperial Exemption of Mao Yingqi" and "The Imperial Exemption of Yu Yunwen" are "the treasure of the letter of the letter"; the "The Imperial Exemption of Cai Xing" are used as "the treasure of the letter of the letter of the letter", indicating that the edict belongs to the emperor's "handwritten" to increase the work. The "Search Stories Fangqiu Imperial" [75] collected in the Liaoning Provincial Museum is an imperial edict used to announce the measures of the court.

In addition to the postscript at the beginning and end, the book consists of two parts: the main part is the edict to the concubines after sacrifice to Fang Qiu. The edict and edict end with "Therefore, I will tell you this edict, and I'd like to know it"; the end of the article is signed, and the year and month are not released, and there is an independent and huge word "edict", which is consistent with the form of the edict and edict issued to the ministers in person.

Another document is attached to the back of this book, with the imperial edict "according to the memorial" in front of it and a seal of "Treasure of Imperial Books". This document was submitted in December of the fourth year of Daguan (1110). In terms of its shape, it was stamped with the internal surrender of the imperial treasure (internal surrender). Judging from the content, there is no direct connection between the edict and the letter, and it should have been framed by later collectors.

The imperial edicts of the Song Dynasty have been recorded in many documents. However, even those who are familiar with the rules and regulations and even handle related programs rarely record the document styles that people are familiar with at the time. If you discuss this type of issue and pay attention to its evolution, you can only rely on the physical original. The categories and situations in reality are of course relatively complicated; judging from the four calligraphy materials of different types in the successive periods, the basic styles of ordinary edicts should not have changed significantly before and after the restructuring of Yuanfeng in the Northern Song Dynasty to the Southern Song Dynasty.

(III)

In the Song Dynasty literature, "the words before the emperor" is a relatively special concept. The order documents issued by the inner court in the name of an emperor are broadly all words before the emperor, also known as "the words before the emperor", abbreviated as "the words before the emperor" [77]. In the political life at that time, the imperial writing was widely used and became a relatively fixed and institutionalized documentary style. Wu Zeng "Neng Gaizhai Manlu" says: "The emperor's personal letter is called imperial pen." [78] Zhao Sheng's "Gong of the Court and the Country" says, "The hand edict is either very classic or shows a clear intention" [79], which is the one who carries the emperor's personal majesty and the postures of the emperor are particularly important.

It is well known that the "Imperial Pen" or "hand edict" of the Song Dynasty did not necessarily come from the emperor's handwriting. As Li Xinchuan said in "Miscellaneous Notes on the Court and the Country since Jianyan·Collected by Yi" Volume 11 of "Stories" "Different from the Inner Commentary of the Imperial Brush":

The imperial pen and imperial system of the original dynasty are not necessarily the master of the calligraphy and ink. During the time of our ancestors, those who punished things outside the ban were called internal criticism; after worshipping, it was called imperial pen. Later, the wife of Nei replaced her. The so-called imperial treasure criticism in modern times, either the previous one or the introverted wife criticized it, all use imperial treasures. There is also the so-called author who writes in person, and there is no need to use treasures.

is different from the general edicts for individuals starting with "Imperial Examination". The "Imperial Pen Hand Edict" that we see so far is expressed by "Fu XX" at the end of the article.The two have the same functions but different forms.

In the literature of history, Wang Gui "Huayang Collection" Volume 18 "Creation of Ci (Edict)" has a "hand edict" drafted by the emperor, such as "Granting the Prime Minister Fu Bi's hand edict to retreat but not to accept the hand edict". The last sentence says: "What you want is not allowed. Pay Fu Bi." The words in the imperial hand edict that has been passed down to this day, such as the hand edict of the imperial pen (rubbing of the inscription) given to Liu Jiji by Huizong and the hand edict of the hand edict of Yue Fei in Shaoxing 1141 (1141), all have the words "Fu Someone", followed by the words "Fu Someone". If a hand edict is not directed to a specific individual, the term "I will be informed by this edict, and I would like to know it" will be used in general edicts [82]. *

The "Imperial Brush Hand Edict" is not written by the emperor. The stone carvings inscribed by the Huizong Dynasty with the "Imperial Brush Hand Edict" are all written in thin gold style. In connection with the imitation of "Kui Painting" by the good calligraphy officials in the inner court, the criticism of "Imperial Brush is not similar to the characters" [83] made us notice that the so-called "Imperial Brush" was reflected in a specific calligraphy style (brushing style) at that time [84].

Wang Chong's "Lunheng" Volume 13 pointed out in the whole chapter:

The reason why Han can control the nine states is the power of documents. Use documents to rule the world. As the carrier of official political decrees, the document is undoubtedly a key object of political history research. Documents that convey civil information are more or less related to various events, figures, and public opinion at that time. The historical materials of the Song Dynasty we are currently exposed to lack new discoveries that are enough to impact the previous research system. The original documents that have been passed down to this day, except for some stone carvings and steles, have been basically preserved as calligraphy by hand. This situation has made the multiple meanings of calligraphy works increasingly obvious.

. The lag in the construction of the theoretical construction of

and the lack of first-hand information have always been prominent issues that plague the research on political history in the Song Dynasty. It is required to make a practical breakthrough in research, which is inseparable from the re-exploration of the scope of materials and the re-interpretation of historical materials. Specifically, we must not only make full use of official history and other documents, but also deeply explore and carefully face the information that existing documents and paintings may provide. As for the study of political history in the Song Dynasty, the political life scenes in the past three hundred years in history have undercurrents and turbulences, just like a vivid picture scroll that slowly unfolds.

's deep appreciation of the "reality" of history depends on fully opening the "window" of vision and feeling and opening up the "way" of cognition. In previous research practice, the historical materials we are accustomed to using are often limited to literature and classics, and research that can effectively dispatch a variety of materials is not common; the methods of asking questions and discussions we are familiar with urgently need fresh nourishment and stimulation. In this sense, historical scholars deserve sufficient attention to the past calligraphy and painting works and the effective research on art history.

【1】 Shi Shouqian : The simplified Chinese version of "Style and Changes". Peking University Press, 2008, page 1.

【2】For example, Shi Shouqian: "Style and Changes in the World".

[3] Wang Zhenghua: "Traditional Chinese Painting and Political Power - A Reflection from a Research Point", "New Historiography" Volume 8 Issue 2, September 1997, pp. 182–183.

【4】As Mr. Jiang Zhaoshen pointed out, the two are very close because the tools used in our country are used. The calligraphy and paintings of the same calligrapher and painter often have a connection between pulse and breath. See "The Calligraphy, Painting and Biography of Liuru's Layman", edited by Yan Juanying, page 1, China Encyclopedia Press, 2005.

[5] See Xing Yitian: "Geset, list title, literature and portrait explanation - Taking a lost "Seven Women Avenge the Father" Han painting story as an example", included in "Fine Arts and Archaeology" edited by Yan Juanying, pages 207–208; Zhang Guangda : "Re-examination of Zoroastrian images in the Tang Dynasty - Are the images in P.4518(24) Daena and Daeva? 〉, included in "Zhang Guangda's Collection of Works·Texts, Images and Cultural Translation", Guangxi Normal University Press, 2008, page 275.

【6】Zhang Yanyuan's "Records of Famous Paintings in All Ages" Volume 1 "Describing the Origin of Painting", Jin Ju's Secretary's Book.

【7】Guo Ruoxu's "Pictures and Learnings and Records" Volume 1 "Records of the Rules of Ancients", Jinju's Secretary's Book.

【8】Related comments and thoughts, such as Wang Zhenghua: "Traditional Chinese Painting and Political Power—Thinking from a Research Perspective", "New Historiography" Volume 8 Issue 2, September 1997, pp. 161–214.

【9】See Ge Zhaoguang : "Images from the Perspective of Research on the History of Thoughts—Methods on Image Literature Research", "Chinese Social Sciences" No. 4, 2002.

[10] See Yan Juanying, "Art and Archaeology·Introduction", page 10, China Encyclopedia Press, 2005.

【11】Written by James Cahill, translated by Yang Zhenguo: "Political themes in Chinese painting - "One of the three choices of Chinese painting"", "Art Exploration" Issue 4, 2005, pp. 23-30.

【12】Professor Gao Juhan once hosted a seminar on "Political Themes in Chinese Painting" in 1985, which led to a series of research. See Gao Juhan’s exposition.

[13] See Wang Zhenghua’s previous article, page 187.

[14] See Gao Juhan’s expo.

[15] See Jiang Feide: "Political Issues in Song Dynasty Poetry and Painting", Zhonghua Book Company , 2009; Qiu Caizhen: "Why does Xiaoxiang become a resentful? Reduction and interpretation of art history in the blending of poetry and painting——Commentary on Jiang Feide's "Political Issues in Poetry and Painting in Song Dynasty", "Decoration" No. 1, 2010, pp. 82–84.

[16] See Chen Baozhen: "Pictures Like History: A Study on the Pictures of Yan Liben's "Pictures of Thirteen Emperors"", included in "Fine Arts and Archaeology" edited by Yan Juanying, pages 299–346.

[17] Li Huishu: "The Virgin, Power and Art - Empress Zhang Xianming Su Liu (969–1033) and the New Model of Women in the Song Dynasty", see Wang Yaoting, editor-in-chief: "Creating Models - Collection of Papers on Art and Culture Seminars in the Northern Song Dynasty", National Palace Museum, 2008, p. 431; see Patricia Ebrey, Portrait Sculptures in Imperial Ancestral Rites in Song China, T'oung Pao, Second Series, Vol.83 (1997), pp.42–92; Wang Shengduo: "The Emperor and Empress Divine Imperials who lived in temples in the Song Dynasty", edited by Jiang Xidong and Li Huarui: "Song History Research Series" Volume 5, Hebei University Press, 2003 edition, pages 241–264.

[18] Volume 200 of "Successful Zizhi Tongjian Changbian", Dingyou Article in March of the first year of Zhiping.

[19] "Yu Hai" Volume 57 "Art and Literature·Drawing Famous Ministers".

[20] See Volume 4 of the outer collection of "Donglai Collection" (Praise of the Four Barbarians' Performances of the Summer Funerals" and Volume 5 and Six of "Yuhai" (Art and Literature·Cherishing Jingde's Picture of the Anti-Bandits".

[21] You can refer to Wang Yinglin's "Yuhai·Yiwen" and Chen Zhensun's "Solution of Zhizhai Shulu", Ma Duanlin's "Wenxian Tongkao", etc.

【22】See "Yuhai·Xiangrui".

【23】Patricia Ebrey, Rethinking Imperia l Art Collecting: The Case of the Northern Sung, "Creating a Model - Collection of Papers on Art and Culture Seminars in the Northern Song Dynasty", pp. 471–497; Hui-shu Lee, Empress, Art, Agency in Song Dynasty China, University of Washington Press, 2010, has in-depth discussions on related issues.

[24] Volume 19 of "Fan Taishi Collection" (Er Ying's Letters).

[25] "Yu Hai" Volume 5 and 6 "Art and Literature·The Thirty-Six Events of the Imperial Book of Yuanyou Renzong".

[26] Volume 4 of the outer collection of "Donglai Collection" of Lu Zuqian "Qingli Guanwen Ancient Pictures", continued with the Jinhua series.

[27] Volume 5 and 6 of "Yu Hai" "Art and Literature·Qingli Viewing and Ancient Pictures"

[28] See Volume 146 of "Xu Zizhi Tongjian Changbian", Bingchen No. 2 of the fourth year of Qingli, Volume 5 and 6 of "Yu Hai" "Art and Literature·Qingli Viewing and Ancient Pictures".

[29] Chen Zhensun's "Solution of the Questions of Zhizhai Shulu" Volume 5.

【30】For example, Wang Deyi: "Study on the Holy Government and the Sermon of the Song Dynasty", see "Study on the Song Dynasty History Research", Vol. 30, Taipei, 1999, pp. 1–26; Confucianism: "Study on the Sermon on the Song Dynasty", "Study on the Sermon on the Song Dynasty", "Study on the Sermon on the Three Dynasties" (30), "Study on the Sermon on the Song Dynasty", "Study on the Sermon on the Three Dynasties" (30), "Study on the Sermon on the Song Dynasty), "Study on the Sermon on the Three Dynasties" (4 and 5), pp. 84–85; Deng Xiaonan : "Stories of the Ancestors" and "Study on the Sermon on the Song Dynasty - Starting from "Zhenguan Political Essay", see "Tang Research", Vol. 11, Beijing, 2005, pp. 95−116, et.

[31] According to Liu Daochun's "Commentary on Famous Paintings of the Song Dynasty" Volume 1 "People and Wonderful Pian", Gao Keming "entered into the Picture Academy in the Xiangfu", and later "moved to the Attorney-in-Law, guarded the Shaofu Supervisor and was given purple clothes", and he should be active during the Zhen and Ren periods. Volume 18 of "Wenzhong Collection" by Zhou Bida of the Southern Song Dynasty (entitled "Mojie Landscapes of King Mojie in Hong Jinglu") said, "From Chongning's painting studies, they were famous for their famous brushwork, and some people who gave the purple assistant to Gao Keming were quite good at using the brushwork." It seems inaccurate.

[32] See Zhang Ruyu's first collection of "Shantang Quns of Books" Volume 17 "Official History", Wang Yinglin's "Yuhai" Volume 56 "Chasing and Reviewing Pictures of the Three Dynasties of Qingli".

[33] Guo Ruoxu's "Pictures and Learnings" Volume 6 "Teaching and Learning Pictures".

[34] See Volume 8 of Wang Bizhi's "Mianshui Yan Tanlu".

[35] "Continued Zizhi Tongjian Changbian" Volume 167, Gengyin Article in November of the first year of Huangyou. "Song Huiyaoyi Edition: Chongru" is seventh and fourth, which is said to be "watching the "Three Dynasties Baozi" and "Three Dynasties Training and Map" at Yingyangmen".

[36] Volume 6 of "Pictures and Learnings and Records" (Teaching and Learning Pictures).

[37] "Hui Li·Lao Lu" Volume 1, punctuation book of Zhonghua Book Company, 1961, page 53.

[38] Li Huishu's previous article discusses related issues, pages 417–418.

[39] "Wenxian General Examination" Volume 21 "Classics and Literature Examination".

[40] Volume 5 of the first collection of "Records of Words and Deeds of Famous Ministers of Song Dynasty" (Prime Minister Yi King Wen Zheng Gong).

[41] "The Year Records Since Jianyan" Volume 86, Bingyin Article in the fifth year of Shaoxing.

[42] "Solution of the Questions of Zhizhai Shulu" Volume 5 "Three Dynasties Training and Appreciation Pictures" Volume 5.

[43] Volume 4 of "The Year Records Since Jianyan" is a Volume 4, April of the first year of Jianyan.

【44】The 12 volumes of this picture appeared at the 2009 Spring China Guardian Auction. There should be more than one hand scroll on the same subject drawn by the Southern Song Dynasty, and there were also copies of it in later generations. Julia Murray has had a series of special discussions on this type of scroll. For example, "Sung Kao-tsung as Aritist and Patron: The Theme of Dynamic Revival", in Chu-tsing Li, ed. Artists and Patrons: Some Social and Economic Aspects of Chinese Painting (Seattle: University of Washington Press, 1989)," Ts’ao Hsün and Two Southern Sung History Scrolls," Ars Orientalis V.15 (1985)," The Role of

Art in Southern Sung Dynamic Revival."Bulletin of Sung Yüan Studies, no. 18 (1986). I'm sorry I haven't seen it.

【45】http://bbs.sssc.cn/viewthread.phptid=563500extra=page=4, July 10, 2012.

[46] "Sun Family Calligraphy and Painting Collected Works" Volume 2 of Sun Feng, a Ming Dynasty man, "Famous Paintings·Ruiying Pictures of Emperor Gaozong of Song Dynasty", called "Cao Xun praised Li Song's paintings". Huang Yu's "Shuanghuai Sui Chao" Volume 9 "Famous Paintings and Ancient Artifacts" talks about "The Su Hanchen's Sutra"; Wang Keyu's "Coron Net" Volume 25 "Famous Paintings Inscriptions·Wang Youcheng's Snow Picture Picture" has copied this statement. Dong Qichang The postscript of this picture says, "Xiao Zhao is the legitimate tomb of Li Xigu, and she feels more ancient and elegant. This volume is extremely beautiful and has the style of Li Zhaodao" (Volume 3 of Li E's "Southern Song Academy Painting Record"); Volume 44 of "Shigu Tang Calligraphy and Painting Collection" of Bian Yongyu of the Qing Dynasty, which records "Xiao Digong Zhongxing Zhen Ying Picture Scroll"; What Chen Wenshu saw in is a picture scroll with six paintings without praise. In the "Yidaotang Collection" Volume 4 of "Ancient and Modern Style Poems·Southern Song Academy Painting Xiao Zhao's Painting of Emperor Gaozong of the Southern Song Dynasty" said, "The calligraphy and ink is recommended to Xiao Zhao, and the origin is from the Li Tang Dynasty". The latter chapter of the volume is signed "The temple summons Yi Fei", which is actually half of the "Suiting Dianzhao". Volume 4 of Fang Junyi's "Dream Garden Calligraphy and Painting Records" is called "The long scroll of "Song Li Song and Xiao Zhao collaborated with Siling Ruiying Tu".

[47] Chen Zhensun's "Solution of the Questions of Zhizhai Shulu" Volume 10 "Ruiying Tu Volume 10".

[48] Zhao Dingchen: "Bamboo Yin Ji Shi" Volume 9 "The Legend of the Condor Heroes of the Age".

[49] Lou Yu's "A Collection of Attacks" Volume 70 "Princesses of Cao Xun's collection of pictures welcome the empress dowager to return to the emperor".

[50] Volume 52 of "The Collection of Attacking the Mother" (Preface to the Collection of Songs of Cao Zhongjing).

[51] Volume 23 of "Songyin Collection" (Fourteen Things to the Emperor's Book).

[52] Volume 52 of "The Collection of Attacking the Mother" (Preface to the Collection of Songs of Cao Zhongjing).

[53] Volume 29 of "Songyin Collection" (Praise of Sheng Ruitu and Preface).

【54】Cao Xun died in September of the first year of Chunxi.

[55] Volume 29 of "Songyin Collection" (Praise of Sheng Ruitu and Preface).

[56] See my work "On the "Milky Horse Flying King Kang"", Journal of Peking University, Issue 6, 1995.

[57] Shi Shouqian pointed out that in "therefore, the practical rules and drawings" the effectiveness of rules and drawings must be based on the loyalty of historical facts, but most creators do not believe that they must absolutely adhere to their loyalty to historical facts. By the Tang Dynasty and Northern Song Dynasty, the situation changed. See "Two Rules of the Southern Song Dynasty to Review Paintings" "Style and Changes in the World", page 115.

[58] Volume 4 of "The Year Records Since Jianyan" is written by Empress Dowager Meng in April of the first year of Jianyan.

【59】For detailed discussion of the following content, see Zhang Yi: "Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial Imperial I

【60】The photo is provided by Dr. Takado Kobayashi, Waseda University, Japan, and I would like to express my gratitude.

[61] See Wang Yinglin's "Yuhai" Volume 202 "Guide to the Lecture of Learning·Edict".

[62] See Kubota Kazuo's previous revelation, pages 201–202.

[63] Pictures are shown in Wang Jingxiong's calligraphy introduction of "Sima Guang bows to the left servant"", "The Palace Museum Cultural Relics Monthly" No. 284, pp. 14-15, November 2006.

[64] "Chinese Calligraphy" Issue 1, 2008, page 89 (the original text is selected from "Grand View - Taipei Forbidden City

Calligraphy and Painting Exhibition").

[65] Fujii Neighborhood and Nanjing Museum in Kyoto, Japan both have the following documents. For the writing, please refer to Volume 57 of the "Collected Edicts of Song Dynasty" (Fan Chunren, the Tongzhi Privy Council, is appointed as the Right Prime Minister).

【66】As Mr. Wang Jingxiong said in the previous article, the actual process should be followed after 48 years, month and day.

[67] See "Song Huiyaoyi Manuscripts·Jobs" 11: 61 to 62, 65 to 66; Song Minqiu's "Records of the Retreat of the Dynasty in the Spring and Ming Dynasties", punctuation of the Zhonghua Book Company, pages 19–21; "Jobs and Officials" Volume 9 "Officials and Officials".

[68] The Ancient Chinese Calligraphy and Painting Appraisal Group compiled the "Catalogue of Ancient Chinese Calligraphy and Painting (19)", and the cultural relics were published in

Edition, 1997, page 42.

[69] Zhang Chou: Volume 3 of "Qinghe Calligraphy and Painting Boat", photocopying the complete book of the Wenyuan Pavilion Siku.

[70] Zeng Minxing: Volume 5 of "Duxing Magazine", Zhibu Zuzhai Series.

[71] The Ancient Chinese Calligraphy and Painting Appraisal Group compiled the "Catalogue of Ancient Chinese Calligraphy and Painting (15)", page 33.

[72] The Ancient Chinese Calligraphy and Painting Appraisal Group compiled the "Catalogue of Ancient Chinese Calligraphy and Painting (17)", page 12.

[73] See Xu Ziming's "Chronicle of the Prime Minister of Song Dynasty" Volume 17, articles on the third year of Qiandao in Xinsi and June of Jiyou in Xinshi, 2018, 2018, 2018, 2018, 2018.

[74] Yang Yi: "Yang Wengong Talks to the Yuan·Bachelor's Grass Text", edited by Li Yumin, Shanghai Ancient Books Publishing House, 1993, page 7.

[75] The Ancient Chinese Calligraphy and Painting Appraisal Group compiled the "Catalogue of Ancient Chinese Calligraphy and Painting (15)", page 33.

[76] At that time, he was a bachelor of Guanwen Hall, a doctor of Zhengfeng, and an envoy of the Central Taiyi Palace.

[77] Zhang Yi pointed out that "安" means letters and letters. It was originally a reference to various private books. It is basically not used as a title for official documents and is used casually. In the Song Dynasty, the title of "加" was gradually introduced into the scope of official documents and used to refer to some newly established forms of documents, which cover relatively broadly. The documents above, such as the letter of memorials, the letter of the letter of the Central Secretariat, and the letter of the lower, such as the letter of the Central Secretariat, the letter of the Privy Council, etc., are of different natures, but they do not prevent the sharing of the same title of documents.

[78] Wu Zeng's "Neng Gaizhai Manlu" Volume 2 "Imperial Blog", Shanghai Editorial Institute of Zhonghua Book Company, 1960, page 26.

[79] Zhao Sheng's "Essentials of the Court and the Country" Volume 4 "Classics and Hand Edicts", Zhonghua Book Company, 2007, page 83.

[80] See Beijing Library Jinshi Group "Compilation of Rubbers of Chinese Stone Carvings in the Beijing Library Collection", Zhongzhou Ancient Books Publishing House, 1990, 43 volumes, page 53.This rubbing is also collected in the Peking University Library, and the title is "The Hand Edict of Huizong of Chongzhen Palace to Liu Jiji", which is an old collection of Miao Quan and Sun Yifengtang.

[81] The original is collected in the Qianshan Pavilion in Lan, Taipei. The picture is taken from "Complete Chinese Calligraphy" (Volume 40), edited by Liu Zhengcheng , Rongbaozhai Publishing House, 2000, pp. 67-69. This imperial letter is recorded in the Volume 3 of "E Kingdom Jin Tuoyi Edition" compiled by Yue Ke, "Volume 2 of Emperor Gaozong Chenhan, Shaoxing Eleventh Year", which is compiled by Wang Zengyu, Zhonghua Book Company, 1989, page 44.

【82】For example, Su Zhe : "Luancheng Collection" Volume 33 "The Empress Dowager's Mingtang Etiquette" is completed and congratulated the door and issued an edict", Zhonghua Book Company, 1990, page 572. * For the above content in this section, please refer to Zhang Yi: "Implementation of Imperials and Implementation of Government Orders in the Northern Song Dynasty".

[83] "Praise of Baozhenzhai Dharma Book" Volume 2 "Positions of Emperors of All Dynasties: Emperors of Huizong's Pavilions and Imperial Pens" quoted Cai Ling's "Supplement to the National History", page 579.

[84] See Fang Chengfeng: "On the "Imperial Pen" and "Imperial Pen Handwriting" of the Huizong Dynasty of the Northern Song Dynasty".

issue "Art Research"