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Art Appreciation of “Wan Song Jin Que Picture”

“Wan Song Jin Que Picture” is a blue and green color painting on silk created by Southern Song Dynasty painter Zhao Bosu, which is now collected in the Palace Museum in Beijing.

Zhao Bosu (1124-1182), the Southern Song clan, lived in Pingjiang Mansion (now Suzhou, Jiangsu Province), and his style name was Xiyuan. A descendant of Zhao Dezhao, king of Yanyi. At the beginning of Shaoxing, Yinbu became an official and served as Chengjielang and supervised the wine tax of Yuyao County, Shaoxing Prefecture. He has successively served as the official officer of the Ma Jun Division of the Guards and the dry officer of the Zhejiang Peace Corps Division. In the second year of Longxing (1164), he was promoted to the Deputy Superintendent of the Western Zhejiang Military and Horse Department and part-time Deoksugung Palace.

Into the west of Zhejiang Bing Ma Qian Jurisdiction. In the seventh year of Qiandao (1171), Zhao Xiong, the deputy secretary of the Central Committee, went to the Jin Dynasty to congratulate the Jin Lord on his birthday. Returning to the court, he was transferred from Wu Yilang Chao to Doctor Wu Yi, and Russia was promoted to the deputy general manager of West Zhejiang. In Chunxizhong, he was tired and moved to the west of Zhejiang to mention some criminal prisons. He became a martial arts doctor and Hezhou defense envoy. Good at painting landscapes, flowers and trees, Fu Ran is light and has a lot of business. His works include “Wan Song Jin Que Picture”, “Xianqiao White Snow Picture” and so on.

Creative background

The only surviving traces of Zhao Bosu’s paintings are the “Wan Song Jin Que Tu” volume. Although there is no author’s seal on the scroll, the back paper has an identification inscription by Zhao Mengfu, a descendant of the Song Dynasty’s clan, and this work is designated as Zhao Bosu’s imperial work.

The painting in the picture is Wansong Ridge in the north of the Lin’an Imperial City, and the “Golden Tower” refers specifically to the emperor’s palace. In the eighth year of Shaoxing (1138), Zhao Gou established his capital in Lin’an. Based on the palace, it started from Fengshan Gate in the east, reached the foot of Fenghuang Mountain in the west, reached Tiaobroom Bay in the south, and reached Wansong Ridge in the north. The palace of the Southern Song Dynasty.

Wansong Ridge is equivalent to the back garden of Miyagi, where there are pavilions and pavilions for the royal family to play in four seasons, such as Cuihan Palace in summer to escape the heat. In winter, you can escape the cold in Mingyuan Building, in Mid-Autumn Festival, you can enjoy the moon in Yigui Pavilion, and there is also Zhongmei Hall for drunken sleeping…

The “Wan Song” and “Golden Tower” painted by Zhao Bosu are here. There are many cranes and auspicious birds around the Golden Tower in the painting. The Royal Palace is hidden among the Wan Song. At the end of Wan Song is the Qiantang River On the bank, after the ebb and flow of the tide, there is a piece of tranquility. A round of rising sun shines on the mountains and rivers. The meaning of the painting is to pray that the Song Dynasty’s rivers and mountains will be like pine forests evergreen, and the sun and moon will last forever.

Zhao Bosu is a painter full of artistic emotions. He believes: “Painters can have their appearance, but we are inferior. There should be a kind of style, so that the air is leisurely, the charm is clear, and it is good if you are not restricted by the state of things. In my existence, those who are not flattering to the world but can be in tune with all sentiments must realize this.” Therefore, this is a painting created by a royal painter after receiving the emperor’s grace and expressing his infinite gratitude and prayers from the bottom of his heart. .

However, some scholars believe that “Wan Song Jin Que Tu” mainly depicts the scenery of Tianqing Temple and its surroundings in Pingjiang Prefecture. It is a painting that whitewashes peace and praises Emperor Xiaozong Zhao Min.

Art Appreciation

The picture shows pine ridges and pavilions by the lake in the south of the Yangtze River, with dense pine trees, winding mountain tops, and Qionglou Jinque on it.

Opening the book, the sea and sky are far away, and a round of rising sun hangs in the auspicious clouds of blue and black, empty and vast. To the left, there are thousands of hectares of green pines, and the golden palace looms; two white cranes are walking or flying above the forest. Further to the left, there is a bay of streams, a red bridge lying across, egrets and magpies flying, and three pines slanting in a slanting manner. There is a peach forest around the pine trees, with safflower dotted against each other. A peaceful and tranquil atmosphere.

“Wan Song Jin Que Tu” has clear and complicated brushwork, soft and elegant style, showing the aesthetic taste of the royal nobles in the Southern Song Dynasty.

The appearance of this picture marks the transfer of the expressive objects of landscape paintings in the Song Dynasty from the majestic mountains and rivers in the north to the green mountains and green waters in the south of the Yangtze River.

The picture depicts the scenery of Fenghuang Mountain in the outskirts of Lin’an, the capital city of the Southern Song Dynasty.

1. Technique

The brushwork in the whole picture is clear and random, and some freehand brushwork is used. The style is soft, elegant and clean, without craftsmanship, which symbolizes the rise of green landscape painting in the Southern Song Dynasty.

What surpasses the predecessors of this long landscape scroll is that it breaks away from the craftsman’s technique of filling in outlines with green and green landscapes since the Six Dynasties, and organically incorporates some literati’s brushstrokes.

Ingeniously blending the two into one, the painter used a large number of ink dots, connecting trees horizontally to form moss and vertical dots to form moss. The technique was relatively free and casual, which was a very creative pen-and-ink technique at the time.

There are several “golden tower” buildings arranged in the mountains, which are made of gold and color by the boneless method, protruding from the surface of Wansong. Although only the tops of several buildings are exposed, it can still be seen that their shapes are accurate. The mountains and rocks in the foreground are painted with chamfered brushes, thick and dignified, with a strong sense of perspective.

At the same time, this picture also absorbed the new forms and new tastes of brush and ink of literati painters such as Ma Hezhi, forming a new style with clear and complex brushwork and fresh and elegant style.

2. Composition

This picture is opened as the sea and the sky, the moon is bright and the sky is green, several tall pines stand tall and straight, and a group of cranes fly together. The reefs extending from the coast to the sea are rugged and dark, and the waves are calm and undulating.

There is green grass on the slope bank, and there is a peach forest around the pine trees, with safflowers dotted in it, and there are endless scenery just in this opening section. The undulating and layered peaks and hills constitute the main body of the picture, whether they are far or near, flat or undulating, they are all lush and lush.