Chapter 851 national treasure home

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When people realized the value of this Li Scholar’s painting, and carefully checked the name of this Li Scholar, they could not find much information about this Li Scholar.

All I can find is that he was a fellow of Li Gonglin, a famous painter in the Northern Song Dynasty, and when people evaluated this painting later, the evaluation of it was that in terms of historical value and artistic value, it was even in “Journey to Mountains and Streams” and Above “Fuchun Mountain Residence”, we can see the degree of cherishing of this painting.

In the Qing Dynasty, this painting was also swept away by the emperor who collected antiques. Qianlong found it in the Qing court. Later, after Qianlong hung it up, many of his favorite things in his life were all swept away by his son Jiaqing to the Yuanmingyuan. Go for the ashes.

But only this “Xiaoxiang Lying Tour Scroll” and a few other works of art were left in the Forbidden City.

At the end of the Qing Dynasty, this painting was collected in the Jingyi Xuan of Jianfu Palace, and it flowed out of the court at the end of the Qing Dynasty.

Later, he was obtained by the Japanese Kikuchi Xingtang through disgraceful means and returned to Japan.

However, in 1923, there was a big earthquake in Tokyo, and the house collapsed in Kikuchi’s house because of the earthquake, and a fire broke out.

This Kikuchi is also a master who wants money and not his life. He rushed into the fire several times and tried to **** the property, but the first thing he grabbed was this “Xiaoxiang Lying Tour Picture Scroll”, and later this Kikuchi took this picture The painting was handed over to the Tokyo National Museum for display.

Later, this painting was honored as a national treasure of Japan by the Japanese shamelessly.

But from today, this painting will no longer be a national treasure of Japan, and will return to his true colors and become a national treasure of the Chinese people.

Jin Muchen picked up the hammer and dropped the hammer, and after the sound of glass breaking, he put the painting in his pocket.

In the future, after the turmoil subsides, he plans to build a museum by himself, and put all these Chinese national treasures in it for display, and this museum. In the future he intends to set up in China.

The treasures of the Chinese people should naturally be displayed in China in the future, and become treasures that we Chinese people can look at casually, instead of hanging in a foreign country, in the museum of the enemy, and being desecrated by the sons of the enemy.

After collecting this “Xiaoxiang Lying Tour Picture Scroll”, Jin Muchen continued to move forward. The next painting is also a famous painting by the Japanese as a national treasure.

This painting is the “Snow Landscape Landscape” by Liang Kai, a great painter in the Southern Song Dynasty. There were many painters in Chinese history who especially liked to paint snow, and they also left many famous paintings with snow as the theme, such as Wang Wei’s “Snow Stream” in the Tang Dynasty, Jing Hao’s “Snow Landscape Landscape” in the Five Dynasties, Juran “Snow Map” by Li Cheng of the Northern Song Dynasty, “Snow Map of Mountains and Peaks” by Li Cheng of the Northern Song Dynasty, “Snow Scenery and Cold Forest Map” by Fan Kuan, “Valley Map” by Guo Xi and so on.

These are all well-known snow-themed paintings in the history of Chinese painting, but they are truly unique and unique. Later, the famous paintings with snow as the theme sought after by literati poets of various periods, but only Liang Kai’s “Snow Scenery Landscape” has the highest reputation.

In the late Northern Song Dynasty, some painters have begun to try to find new ways to create a new generation of painting techniques.

For example, Li Tang at that time simplified the dense dots and cirrus clouds that were fashionable in the Northern Song Dynasty into a sweeping axe with a wide range of meanings, forcing latecomers to simplify the panoramic landscape paintings that advocated the “high and far” method in the Northern Song Dynasty to meticulous close-up and vague distant views. The “far-reaching” method of “one corner” and “half” of landscape painting, which also formed a new style of landscape painting in the Southern Song Dynasty.

Liang Kai, on the other hand, brought these innovative painting techniques into full play. The composition of “Snow Landscape Painting” is extremely concise: the bottom of the picture is a water bank, the right bank **** is painted with three big trees, two of them are always withered and withered, and two people are riding on horseback in the snowy valley on the left; the picture above is a snow-capped mountain. , there are two hills on the left and back. The top is densely covered with branches, and the mountains behind are towering to the right, leaving only a vast expanse. The mountain is only half-painted, and there is a large blank on the screen. Only the trees on the top of the hill echo the big trees on the bank. The composition is extremely concise, but it is cold.

But in pen and ink. This painting is different from the “brush reduction” painting method pioneered by Liang Kai. The figures, pommel horses, and big trees are all painted in great detail, lifelike and vivid.

Liang Kai studied painting under Jia Shigu. He was a painter at a painting academy in Song Ningzong and Jiatai, and received strict sketching training, so he could accurately describe the movement of horses, the demeanor of people and the posture of big trees, and he could “reduce the brush strokes”. , also good at “fine pen”.

The lines drawn are concise and strong. The big tree and the bushes on the top of the mountain echo each other from a distance, and the shape is somewhat similar to the painting skills of Fan Kuan’s “Journey to Mountains and Streams”.

In the painting, the hooks and cracks of the rocks are covered by snow, which is very simple, and only a short line of cracks in the shape of an axe is applied at the junction of the shady side of the hill and the water bank.

The snow scene rendering of the whole picture is very distinctive. First, using the emerging “white space” method since the Song Dynasty, the light ink is applied to the shadows of the water, the sky and the mountain layer by layer to highlight the snow cover. Apply white# powder on the shore, and add white powder on top of the big branches to show the snow.

Such a combination of numbers is rarely seen in the ancient paintings of the world. It enhances the coldness and cleanliness of the snow scene. In the indifference and emptiness created by the ink and white powder, the warm-colored cloaks and jujubes worn by the two riders on horseback The colorful horses are dazzling and bring the warmth of life to the viewers. This is also the originality of this picture in the use of color. This is also the originality of this picture in the use of color. The bank on the lower left **** of this picture is marked with “Liang Kai” in very small characters.

Wen Zhengming once wrote an inscription on this painting, saying: “In ancient times, the masters and masters were mostly snow scenes, and I wanted to use this to convey the meaning of coldness and cleanliness.”

In the vernacular, it means that this painting uses the unique black, white, and gray ink colors of Chinese painting to create the snow-capped mountains and cold forests, reflecting the clear, empty, and dusty atmosphere, which just fits the ancient painter’s fascination for “the unity of man and nature”. , “Cheng Huai Guan Tao” Zen.

It is precisely because this is a classic work that has both the characteristics of the times and the charm of personality in both composition and brush and ink, so this painting was also sought after by literati and poets of all dynasties.

In the Qing Dynasty, this painting also failed to escape the looting of the mad emperor who collected antiques, and was looted into the Qing Palace.

Later, after the Qing Dynasty abdicated, the Aixinjueluo family was driven out of the Forbidden City, and the painting was also taken out of the Forbidden City. Later, it was brought to Jinmen by the old and young of the Qing Dynasty.

Later, after the Japanese cultural relics search agency learned about the whereabouts of the painting, they specially sent people over to seize it, and later brought the painting down to Japan.

But today this painting is going home.

Jin Muchen copied the previous action, smashed the glass cover, cut the metal wire, and put the painting into the Ziyu space, and then kept walking and continued to move forward.

Going a little further, there is another famous Chinese painting that was designated as a national treasure by the Japanese, “The Picked Up Map of Cold Mountain” by Indra.

Indra was a famous painter in the Yuan Dynasty. He left many famous Zen paintings in his life. Most of the paintings are related to Buddhist allusions and Ji Feng.

His works are generally evaluated in mainland China. After all, there are many paintings of this kind of Buddhism in China, and there are also many kinds of Zen paintings. Although Indra’s paintings are very distinctive, they are not very outstanding. kind of.

However, Indra’s paintings are considered to be on the average in China, but they are especially popular in Japan.

This is mainly because the paintings he made should be the first batch of Buddhist Zen paintings that flowed into Japan. This kind of paintings with a very profound Buddhist Zen meaning appeared for the first time in Japan at that time, and it was regarded as a gift for the Japanese. Eye-opening, so the Japanese like it very much.

Indra’s “Hanshan Picked Up” is a paper and ink painting. On the far left of the picture, there is a praise written by Chu Shi Fanqi: “Hanshan picked up two heads, or composes new poems or sings. Let’s ask where Fenggan is going. , Smile without a word.”

This painting depicts two immortals, Hanshan and Shide, sitting on the ground under an ancient tree, with their backs on a rocky hill, talking about the world and looking at ease. In the painting, Han Shan has a shaggy head and bare feet smiling, one holds his hands, and the other moves forward. The lines of the picture are exquisite, and the shades are strong.

Because the Hanshan and Shide in this painting are the historical prototype of the “Hehe Erxian” who prayed for harmony and happiness among the people, this painting immediately caused a sensation when it was introduced to Japan in the 14th century.

You must know that at that time, it happened to be the time when Buddhism in Japan was prosperous.

According to the records of Buddhist history, Hanshan and Shide are legendary figures in the Tang Dynasty. In Buddhist tradition, Hanshan Toutuo is regarded as a virtuous monk and the incarnation of Manjushri.

The Shidituo is the incarnation of Samantabhadra Bodhisattva, and Fenggan Bodhisattva, who is the incarnation of Amitabha, and is known as the “Three Hidden” or “Three Saints” of Buddhism.

Therefore, when Hanshan and Shidi appeared in a painting at the same time, when accompanied by such a Zen poem, the b-frame of the painting immediately became taller in the eyes of the Japanese.

Not long after he arrived in Japan, he was taken into the bag by the master of Songping Fan, Songping Bumei, and regarded as a family heirloom.

It was not until 1956~www.readmtl.com~ that the painting was rated as a national treasure of Japan by the Japanese cultural appraisal agency, and the painting was sent to the Tokyo National Museum by the Matsudaira family for exhibition.

In fact, this “Cold Mountain” is only a part of a whole volume of Zen machine diagrams made by Indra. In Japan, there are four other Zen machine diagrams drawn by Indra.

Because the Japanese like to cut long picture scrolls into multiple parts, and then mount them into scrolls to enjoy separately, the “Found Map of Cold Mountain” exhibited at the Tokyo National Museum is actually just a part of Indra’s painting.

The other parts of the Zen machine map drawn by Indra were displayed in several other famous museums in Japan as treasures of the town hall, and of course those parts were also rated as their national treasures by the Japanese. (To be continued.)

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