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Since Zhang Yanduan of the Northern Song Dynasty painted it into the “Along the River During the Qingming Festival” volume (simplified by the Song Dynasty), “Along the River During the Qingming Festival” has become a self-reliant painting theme. According to statistics, there are more than 140 copies of the existing paintings of this topic, and many of them are written by Zhang Zhenduan and Qiu Ying. It can be said that it is the painting with the most influence and the most multiplied works in the past. As for the Ming and Qing dynasties, there are two most representative works. One is the long volume of the same name by Qiu Ying (paper) of the Ming Dynasty, which represents the highest artistic level of this topic among Bai Qing. The other is the long volume of the same name collage by Chen Mei and five other palace painters of the Qing Dynasty, which represents the best artistic achievement of the Qing Dynasty painters. They are simply called the Ming and Qing versions, and are called the Ming and Qing versions, and are called the Ming and Qing versions, and are called the Song versions. In the historical landscape of differences, the three books present internal affairs, indecent thoughts, aesthetic orientation and creative goals of differences, and history cultivates them, and they record their history.
【Ingredients of One and Three Paintings】
The three authors’ level of familiarity with society and the differences in creative goals are derived from the purity of their social experience and the slight influenced by Confucianism, and the conditions around them for their creative requests.
A true unique information about Zhang Yan is the postscript written by a literati of the Jin Dynasty. From this, you can find out the scenery of his family and his past in Bianjing. Zhang Yanduan was born in Dongwu (now Shandong City), a wealthy family with Confucianism. He was influenced by Confucianism at a young age and loved to study. When he was old, he went to Bianjing for an exam from Chengzhen to prepare for the exam. The test chart was from Chengcheng and the palace trial to embark on an official career, but because he failed to get what he wanted. href=”https://philippines-sugar.net/”>Escort, and later changed the painting. Finally, he went to the Hanlin Danqing Academy through a process of testing. The later important part of his artistic life was in the Huizong Dynasty. When the Northern Song Dynasty died, if he had the rest of his life, he would not have traveled south. After learning about Zhang Yan’s prosperous and turbulent origin, he would not have looked down on the Song version.
<p The Ming version of "Along the River During the Qingming Festival" section. Materials
The Ming version of Qiu Ying (about 1498-about 1552), compared with Qiu Ying’s characters, mountains, rivers, boundaries and prints as styles with the original form of Ming. This is a work of name. The author was a craftsman painter who lived in Gusu in the late Ming Dynasty. He maintained his life by imitating Qiu Ying’s painting style. The painter lacked water life and had no boats. href=”https://philippines-sugar.net/”>Sugar daddyThe concept of draft water is not as good as the court life. The palace buildings in the Dragon Boat Festival are not suitable for the people, such as the green tiles used by the prince in the center, while the yellow tiles of the emperor and the empress are located on the side.
Many painters who paint this topic want to name Qiu Ying because Qiu Ying’s paintings in Zhongye are expensive. In addition, he is good at painting green mountains and rivers and border painting platforms, which can be used as a layout for this topic. The theme is popular in the second half of the 16th century after Qiu Ying’s death. The Gusu structure of this era became the urban commoner class and loves them to express their beautiful and fashionable beauty, that is, the peaceful and prosperous atmosphere in the painting streets of Sugar baby.
QingbianSugar baby There is a small regular script title written by Chen Mei at the end of the volume: “The first year of Qianlong (1736) was ordered on the fifteenth day of the 10th spring. Chen Mei, Sun Hu, Jin Kun, Dai Hong and Cheng Zhidao are paintings respectfully. The designer of the painting of Pinay escort” was the chief painter Chen Mei (about 1694-1745), whose name was Dianzhu, was the No. 1694-1745, and his name was Dianzhu, and his name was Liudong, and his name was Zhiqian Fanna, and his name was from Huaqiao County (now Songjiang, Shanghai). Chen Mei went to Beijing during the reign of Kangxi, and Chen Shan, a middle-aged painter in the palace in the fourth year of Yongzheng (1726). daddy recommended to enter the palace and was a member of the Wailang, and his important paintings include “Yuemanqing Travel Picture” and “Farming and Art Picture”. Chen Mei’s art master is a character painting that is good at layout and arrangement of the big show, and also exquisite Sugar. baby expresses the character’s detailed movements and has a deep foundation in microscope. After the fifth year of Qianlong (1740), he went to Jiangnan because of his lack of sight and finally lived in Xixi, Hangzhou.
<p styleChen Mei had four assistants, all of whom had no details of their birth and death years. Su Hu, a native of Jiang Su, was worshipped in the inner court in his paintings during the Qianlong period. He has a single stamp at the end of the Qing Dynasty book and should be an important assistant. The second is Jin Kun, who was born in the 18th century and was from Yutang (now Hangzhou, Zhejiang). He was good at painting mountains, rivers and figures. From the time of Yongzheng to Qianlong, he used figure paintings to serve in the palace. Dai Hong, during the Qianlong period, worshipped the inner court with mountains, rivers and flowers and bird paintings, and his calligraphy was craftsmanship. Cheng Zhidao died in the Jiaqing period, and his name was over 70 years old. His name was Zunlu, and his name was Jingchuan. He was from Wu (now Sugusu, Jiang), and his name was Jingjiang (now Suzhenjiang, Jiang). He served in the palace from Yongzheng to Qianlong. He grew up in the mountains and rivers and was also able to be craftsman. He and Dai Hong cooperated with the scenery of mountains and rivers. All the five painters are familiar with their palace careers, and the Dragon Boat Section is a comprehensive and comprehensive study of the Qing Dynasty Royal Garden.
【Two compares the structure, theme and images of the three books】
The three books describe the real situation rather than the real scene, and are a detailed and comprehensive and concentrated perspective of urban life.
The basic structure of the first half of the Ming version comes from the Song version, which can be the influence of the Southern Song Dynasty and the protection of the Song version to Nanjing. The Qing Dynasty painters never saw the Song Dynasty. The Song Dynasty did not hide in the Qing Dynasty until a few months after the Qianlong collapsed. They referenced the style of “Gusu Film” in the structure program, and were influenced by the “Kangxi Southern Tour Picture” volumes such as Wang Hui of the Kangxi Dynasty and others in the painting style.
The Qing Dynasty version of “Along the River During the Qingming Festival” section. Material picture
The Song version is a closure at the end of the Northern Song Dynasty. Most of the painters of the Ming and Qing versions developed in the south of the Yangtze River, and converted the closure into the prosperous Gusu City. The wooden arch bridge was changed into a brick stone arch bridge in the south of the Yangtze River. The Song version stopped at the city’s inner city, and Zhang Handuan drew a separate volume of “The West Lake Competition” that represents the customs of the palace, which became sister chapters with the Song version with the customs of the painting. The Ming and Qing version added the inner affairs of the Dragon Boat in the second half of the Royal Garden. This is the outline of TC:sugarphili200