“Golden Channel Silver” and cultural relics: ancient paintings, bonsai, and daffodils in clothing

As an indispensable daffodil that is interrupted by the annual “year -old Qing Dynasty”, with the pose of the water and the water, it has become the object of the literati and painters of various dynasties. One of the decorations, such as Zhao Mengjian’s “Narcissus” collected by the Tianjin Museum of Art, the “African Fairy Stone Map” of Chen Hongzhang in the Ming Dynasty, the “Divo Fairy Lamen” of Qiu Ying Essence

The records of the history of the historical books often take the three aspects of its three aspects. At first, it refers to the legendary fairy in the water. Sima Chengyu’s “Tian Yinzi” explained: “In the heavens, Tianxian, the earth is the earth, and the water fairy in the water.” Jiangzhong; “The Book of Picking” is called Qu Yuan from Shen Luo River as a narcissus.

For the first time in the literature, the “Narcissus” was referred to as the daffodils, which came from the “Beihu Lu” from the highway of the Tang Dynasty. Mu Si tasted the number of water fairy flowers as oranges, and the water heater was not withered for years. “Therefore, the narcissus flower was introduced from abroad in the late Tang Dynasty. Such as Liu Ji “Junzhai Yu Xing”: “Qiu Ting Bi Moss pave the cloud brocade, the evening pavilion red cluster of Narcissus.” Shadow. Luo socks are going to Lingbo, Tang Mu Yanjiang has thousands of hectares. Love a little bit, Jiao Huang becomes dizzy. “It also started from the Song Dynasty and penetrated into the Ming and Qing dynasties. Narcissus became an important subject in poetry and painting.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Daffodils in the Song and Yuan Dynasties: elegant and beautiful

“金盏银台”与文物:古画、盆景、服饰中的水仙

There are not many daffodils painted by famous masters in the Song Dynasty. Huang Jucai, the son of Huang Jian, the fifth -generation Xishu court painter, painted a narcissus in his “Flower Sketch Book”. Essence In the early days of Tongshi, who was in the early days of the Northern Song Dynasty, he still served as Hanlin to wait for the Northern Song Dynasty. The Northern Song Dynasty’s “Xuanhe Painting Book” recorded 332 works such as “Spring Mountain Map”, “Spring Shore Flying Flowers” and “Taohua Mountain”.

“Flower Sketch Book” draws and dozens of flowers and various flowers. The cluster of narcissus in his pen has a detailedness, the shape is realistic, and the color contrast between the “golden cocoons” is insight.

“金盏银台”与文物:古画、盆景、服饰中的水仙

“Flower Sketch Book” part of the part

“金盏银台”与文物:古画、盆景、服饰中的水仙

The “Zhao Ziyuan Sketch Narcissus” album on the Palace Museum of the Palace Museum, draws a daffodil on the “Zhao Ziyuan Sketch”. It is the representative of the sports painting of the Song Dynasty.

“Zhao Ziyuan’s Sketch Divoper” album

The style of the Southern Song Dynasty has become more rigid in the later period. The “Eight Flowers Pictures” painted by Qian Chuan in the late Song Dynasty and the beginning of the Song Dynasty is the testimony of Qian Xuan’s aesthetic transition from the Southern Song Dynasty style to literati. Behind Qian Choosing this roll of painting, there is Zhao Mengfu’s post. “You Wu Xing Qian chose Shun Shun to paint the real traces of the eight flowers. Although the style is similar, Fu Sezi is not available. The fingers are trembling and it is difficult to repeat this. And after the villages, the aftermath of the village, and the disadvantages of the owner’s heart, then this volume is sincere.

The narcissus in “Eight Blossoms”

The most famous painting in the Song Dynasty is Zhao Mengfu’s brother Zhao Mengjian. Zhao Mengjian has been in the Southern Song Dynasty in his life.

Zhao Mengjian’s “Narcissus” collected by the Tianjin Museum of Art is a typical representative of the image of narcissus in literati paintings. This volume is long, with a total of forty daffodils, and more than 180 flowers and flowers. The narcissus is dense from the sparseness of the rolling single plant to the tail, and the flowers and leaves are interspersed with each other. In terms of details, the narcissus leaves are painted with a rough pen, and the ink color is elegant, and the flowers and flowers are described in the pen.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Zhao Mengjian’s “Narcissus”

“金盏银台”与文物:古画、盆景、服饰中的水仙

Zhao Mengjian’s “Shuixian roll” part of the part

The Taipei Palace Museum also has Zhao Mengjian’s “Divo fairy map”. This type of painting has a few books in the world. The academic circles are still available. Bake ink color on both sides of the veins. The painting method of narcissus flowers can also see the diverse attitude of the flowers to show the flowers. Such ink and flower techniques can be regarded as the new achievements of the Southern Song Dynasty ink opera. In terms of visual effects, Zhao Mengjian emphasizes the performance of ink and ink on the picture and shows a rich changes.

Partial part of the “Capital” of Zhao Mengjian in the Taipei Palace Museum

“金盏银台”与文物:古画、盆景、服饰中的水仙

Ming Dynasty Narcissus Painting: Resessing freehand freehand

The Ming Dynasty was the transformation period of Chinese flower and bird painting. The pen and ink began to tend to be simple and clean, and the ink color began to be free and free, more freehand, with a charm of improvisation sketch creation. Chen Chun, who is also known as Xu Wei, is known as the founder of the ink -and -ink freehand flower and bird school, and has an important position in the development of flower and bird painting.

In middle age, Chen Chun’s painting style gradually transformed from the previous beauty to sparseness and simplicity. “The Square Fairy Map” is the representative of this transformation. Chen Chun’s dirty diversified daffodils have a clear state of ink. And there are five -character poems, “The ring is drifting, and the group pushes Lupu Xian. In addition, “Divorium Map” also comprehensively uses the combination of poetry, calligraphy and painting and the technique of ink freehand.

Chen Chun’s “Daffodil”

Chen Chun “Plum Blossom Aqusides”

“金盏银台”与文物:古画、盆景、服饰中的水仙

Although Chen Hongzhang in the Ming Dynasty was young, he was inherited by Lan Ying, and in terms of the style of daffodils, he admired Zhao Mengjian. However, in the “Squares Ling Stone Map” painted by his thirties, he has a distinctive Chen style. In the picture, a stone rose, and there was a narcissus, and the stone edge of the stone. The height of daffodils is similar in height, and it is tall, unlike other daffodils. The daffodils are loyal to nature, the flowers are full of bloom, those who are not driving are round, and the color of the dead leaves transitions naturally. The poem of “The Graduate Map of Narcissus” said: “This Huaying is cold, and it is open to plum blossoms. But like loneliness, joy and high people’s residence”, the last “eighteen uncle”, signed “Hong Yan”.

Chen Hongzhang’s “Africa Ling Stone Map”

Chen Hongzhang’s “Map of Narcissus Lake Stone”, which was almost created at the same time. The deformation of narcissus and rocks was more abstract. It turned smoothly with a pen. The narcissus was rigid and charming.

Chen Hongzhang’s “Map of Shuixian Lake”

Narcissus is also one of the painting themes of the “Four of the Ming Dynasty”. In the well -known “Divo Fairy Ladu”, which is known for its details, a branches of plums at the top of the top are slanted, and dozens of flowers have different attitudes. The narcissus leaves are drawn to outline the color filling method, and the ink is moist. There is a title in the lower right corner of the painting: Ming Jiajing Ding Wei Zhong Dong’s revenge Ying’s father is Mo Lin. Mo Lin mentioned here is Xiang Zijing, namely Xiang Molin. He is the only collector in the Ming Dynasty, and he is good at painting and has a close relationship with Qiu Ying.

Qiu Ying’s “African Fairy Ladu”

Tang Yin’s existing fan -faced works are more, and the main themes are based on landscapes, characters, flowers and birds. This narcissus fan surface puts the three businesses in the middle of the picture. The long leaves are dazzling with lines. The picture is written with work, and the color is elegant.

Tang Yin Narcissus Fan

Qing Dynasty narcissus painting: natural jade romance

There is a Qing Dynasty, and the cultivation of narcissus is even more common, and it is even exported as an export flower. Therefore, in the painter’s writing, the daffodil’s appearance rate is higher.

The daffodils under the eight Dashan people on the occasion of the Yigai of the Ming and Qing Dynasties are influenced by Shen Zhou, Chen Chun, and Xu Wei like other freehand flowers and birds. The prominent characteristics “Integrity” -the method of sketching the spirit of the style with the most concise strokes also runs through his painting. The daffodils can become a complete painting like a tail fish, chicken, and a tree, and the painter’s pride is highlighted everywhere.

The narcissus map of the Ba Dashan people

“金盏银台”与文物:古画、盆景、服饰中的水仙

Shi Tao has also created many times on the theme of Narcissus. Shi Tao also discussed in a poem on a topic of painting. Gel fat noodles, natural jade is romantic … “Shi Tao’s narcissus has also been with both the early work of the work to the middle age, and then it is free to freeze in his later years.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Shi Tao’s narcissus map

The flower and bird paintings under the “Eight Monsters of Yangzhou”, one of the “Eight Monsters in Yangzhou”, have the tradition of the Ming Dynasty Zhejiang school flowers and birds painting, but also influenced by the courtesy of the courts and birds and birds and birds in the Qing Dynasty. Li Yan’s works are not only inherited by the composition of the shape and the organic fusion of the color ink. This painting style was inherited by the later Haipi painter Zhao Zhiqian, Ren Bonian, Wu Changshuo and others.

Li Yan’s narcissus map

“金盏银台”与文物:古画、盆景、服饰中的水仙

Jinnong, one of the “Eight Monsters in Yangzhou”, has a lifetime. Good travel, late in Yangzhou, selling calligraphy and calligraphy self -sufficient, calligraphy and drawing a bi -writing book, both in the case, and the situation. In the “Golden Agriculture Flower Book”, Golden Agricultural Drawing has a narcissus. Poetry and writing: “Narcissus is a world, and it must be provided by strange stones. The thin ice residual snow is the spirit.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Jinnong’s narcissus map

Aquside

During the Ming and Qing dynasties, Narcissus was an important composition in the “year -old Qing Dynasty” and had many performances in the relics of cultural relics.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Wang Zengqi talked about, “‘The age of the year,” is the painting of the Chinese painter’s love. After the Ming and Qing Dynasties, there are particularly many questions. Ren Bonian has painted a lot. Well, nothing more than these: Tianzhuguo, Plum Blossoms, and narcissus. Sometimes in order to fill the blank, add two incense in the painting. The harmonic sound is round, and its auspiciousness. Li, Bai Hui is withered, the clear window is right, the eyes are clear, it is the old age. “

Zhang Hong’s “The Map of the Year of the Character” in the Ming Dynasty was written by Zhang Hong at the age of 68 at the time of his friend’s family to welcomes the new. He used diagonal composition to draw utensils such as daffodils, cypress branches, Tianzhu and his friends hidden by his friends. In particular, the bergamot and burning charcoal basin with the “blessing” are the most noticeable. The brushwork is caused, and the color is rich. There are “Ningshou Palace Renewal of Shi Qu Bao Di”, “Leshou Tang Treasures”, “Qianlong Royal Lanage”, “Shiqu Cai”, “Treasure Distening”, “Sanxitang Jingxi” ” “Yisai”, “Gu Xizi”, “Jiaqing Royal Treasure” and so on.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Zhang Hong’s “Figure of the Chao”

The year of the dynasty is a kind of theme that Wu Changshuo prefers to show. In the following works, plum blossoms, peony, orchid grass, lychee, and ganoderma are painted. The whole painting is filled with the festive atmosphere of the year. Wu Changshuo likes to use obvious colors in painting when painting, and he is particularly good at using foreign red. It often adjusts the colors of red, yellow, green, etc., and coordinate in the conflict. On the basis of traditional colors, it draws the characteristics of folk painting color, and has become the one who is better at using color among freehand painters.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Wu Changshuo’s “The Year of the Chaoqing”

Ren Bonian’s “Fat Tu”

In the Qing Dynasty, there were no money, “Qianlong’s Map of the Filial Filigree”, the Taipei Palace Museum Collection

In addition to in painting, narcissus also has a variety of forms. For example, in the bonsai produced by the Qing Dynasty, narcissus is an important subject. History records, Tao Yuanming, a famous poet in the Jin Dynasty, was potted. In the tomb murals of Prince Zhang Huai’s tomb of the Tang Dynasty, you can see that the maid is holding a small tree with a pot of fruit, indicating that the Tang Dynasty had bonsai. During the Song and Yuan Dynasties, the bonsai was called “some son -in -law”, which means the little scenery. The name of the bonsai was seen in the Ming Dynasty. Since the beginning of the Qing Dynasty, the bonsai was planted for a while. Many poets once titled the bonsai, and some books and bonsai art. In the court of the Qing Dynasty, a new raw bonsai was derived from the life.

The “Jade Begonia -style narcissus bonsai” collected by the Taipei Palace Museum, Golden Ye Yuhui, Blue jade basin, as a begonia flower -shaped, Siruya cloud -shaped foot, planting daffodils in the pot. Based on blue enamel as the ground, inlaid, white, blue, etc. The daffodils and golden leaves, the three branches of flower stems are pulled out of the leaf bushes, each branches open three or four white narcissus. The overall is like life, clean and elegant, and is the characteristics of the work of the government -made office in the middle of the morning.

Jade Begonia Tarutes Bonsai

The Palace Museum is hidden in the “Dye Dya Shuixian Lake Stone Bonsai”, which is stitched into a dwarf -feet long -footing basin with bamboo root carving, and the wall is carved with geometric dragon patterns on all sides of the pot. The pot is a small scenery of the water fairy lake stone, the roots of the beeper of the poplar wood, and the green tooth -dyeing leaves. The flowers, flowers, and flower buds are all carved with ivory.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Dye tooth Diaoyai Lake Stone Bonsai

“金盏银台”与文物:古画、盆景、服饰中的水仙

In the middle of the Qing Dynasty, this pot of “ivory embedded jade waterfelt bonsai”, green jade chrysanthemum washing basin, four corners carved into double -leaf chrysanthemum shape, ruling embedded on the chrysanthemum, carved on the lower abdomen of the basin, green material on top of the basin The line is the context. There are green gold stones in the pot, and five dyeing leaf cordon fairy are planted. The ivory is the root, the white jade is the flower, and the yellow jade is the heart. The bonsai of the theme of daffodils takes the meaning of “Zhixian Wishes”. When the court celebrated the birthday, the local officials were in many presence. According to “Palace in the Palace”, “On October 27th in the 56th year of Qianlong, Fukang An came to Beijing into the jasper into the bonsai.” This one is likely to be one. This bonsai style is elegant, and the jade basin is a typical marked capital style. The scenery of the teeth is upright in the pot, and the jade flowers show shows the level of craftsmanship in the sculpture industry during the Qianlong period of the Qing Dynasty.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Ivory embedded jade water fairy bonsai

“金盏银台”与文物:古画、盆景、服饰中的水仙

Qing Qianlong Jasper Carving Buddha Lotus Lotus Lotus Embarraous Aquarium Bonsai A pair

Aqusalem pattern in the concubine clothing

It is worth noting that in the embroidery of the Ming and Qing Dynasties, the daffodil pattern is often decorated, and other patterns are often matched to form a variety of “auspicious patterns”. The method of manifesting a certain auspicious meaning. The beginning of our country’s auspicious patterns traced the Shang and Zhou dynasties, developed in the Tang and Song dynasties, and it was prosperous in the Ming and Qing dynasties. In the Qing Dynasty, the auspicious patterns decorated with palace utensils, including clothing, were very wide. Broadcasting, almost reaching the point where the picture must be intentional and auspicious.

The clothing worn in the court of the court in the Qing Dynasty, including robes, clothing, shirts, horse gowns, horses, shoulders, jackets, cloaks, skirts, pants, trousers, etc.

“Flower Sketch Book” part of the part

The narcissus map of the Ba Dashan people

Wu Changshuo’s “The Year of the Chaoqing”

“金盏银台”与文物:古画、盆景、服饰中的水仙

Many of the concubines hidden in the Palace Museum use daffodils as decorative patterns.妃 is one of the important casual clothes of the concubines of the Qing Palace. Compared with the Central Plains Yisu, the traditional pair of pairs has become a style with the characteristics of the Manchu -twisting and right, round neck, left and right to underarms, and in the armpits, and in the armpits The lower jewelry Ruyi Cloud head; straight, body to the foot, expose the high bottom of the flag shoes when wearing; the sleeves are wide and flat, and the sleeves are folded when wearing, the sleeves are long and elbow. The concubines of the concubine in the Qing Dynasty could not be worn closely. They must be exterior and dignified outside the shirt and robe. If they were out of winter, other clothing was not worn outside.

The four seasons of 用 氅 can be used as cotton, clip, satin, yarn, etc., and narcissus, in the concubine of the concubine in the Qing Dynasty, often express the theme of “Lingxian Life” with Shoushou character and Ganoderma lucidum. The daffodil pattern is mainly a daffodil flower, with a dignified pattern, naturally halo, and lush branches and leaves. Because narcissus is a flower species in winter and early spring, it is often used for cotton and cortex as the inner winter clothing.

“金盏银台”与文物:古画、盆景、服饰中的水仙

Yellow silk silk ink ink water fairy pattern under sheepskin gray rat leather coat

Moon -color satin, silver, silver embroidered narcissus group.

The concubine’s shirt system also followed some basic elements of the traditional Manchu costume, which is a round neck, a big line, and a straight robe. The main difference between the coat is: the shirt is not open on the left and right, and there is no symmetrical cloud head under the armpit. Because the sides of the shirt are not opened on both sides of the shirt, the length of the body is covered, and it can be blocked when walking

Legs, so you can wear both uniforms such as jackets, horse gowns, shoulders, gowns, etc. on his coat. There are many occasions on clothes and shirts. They are the most frequent clothes for daily wear in the concubine of the Qing Palace.

Snow green satin embroidered aquatic flower butterfly cotton shirt

Sauce color 丝 shirt

“金盏银台”与文物:古画、盆景、服饰中的水仙

Blue silk silk daffodil pattern under sheepskin under gray rat leather shirt