Xuyang Jingshi Spring Poetic Axis

[Xu Yang’s Poetic Map of Spring in the Capital]

The Poetic Map of Spring in the Capital, the thirty-second year of Qianlong’s reign in the Qing Dynasty (1767), Xu Yang painted, printed in silk, colored, 256cm vertically and 233.5cm horizontally
This self-question: “In the winter of the 32nd year of Qianlong’s reign, the emperor made 20 poems about spring, and ordered Xu Yang, the junior minister, to draw the whole picture. After reading it, he looked up to see that my emperor respected the heaven and the good times, respected Xifu, conceived everything, and held a hundred points. From the imperial court and Luyan, he looked up and down, looked up and looked up, Xianzhou and Xinghui, and picked up everything. It was just too peaceful and overflowing. He was full of virtue, expressed his spirit, and showed his rule. He sincerely wrote with the heaven and earth that everything was in the same spring. He was stupid, and could not write in case, but luckily he was pointed out It is detailed, carefully copied, and completed after reading the moon four times. Li Ming and Le Bei are articles that celebrate the prosperity of the times. They are steamed in the clouds after snow, and envy the good fortune of spring. It is only due to Kui Kun’s devotion to the sun, and he forgets that his vision is limited to seeing the sky. He is determined to be foolish and sincere. The minister Xu Yang bowed his hand and bowed his head. ” Seal “minister Xu Yang” and “pen dipped in spring rain”
Xu Yang was one of the painters who were influenced by Western painting in the Qing court, but the study of Western painting by Chinese court painters was not a simple copy and mechanical reproduction, but based on traditional Chinese pavilion painting. On the one hand, their works are limited by traditional aesthetic concepts, and some effects in western paintings have been weakened to a certain extent. On the other hand, in specific artistic practice, although the focus perspective technique is more suitable for the individual performance of architecture, it is difficult to achieve the artistic effect acceptable to Chinese aesthetic concepts in the performance of the panorama of the combination of architectural communities and mountains and rivers. Therefore, Chinese painters are more flexible in using focus perspective and scattered perspective to depict architecture
This picture adopts a bird’s-eye composition, combining the traditional Chinese scatter perspective with the European focus perspective, and depicts the whole picture of the capital. Painters have painted the Forbidden City, Jingshan, Xiyuan, Qiongdao, and even the Temple of Heaven’s Prayer Hall from the Zhengyangmen Street. The city of Beijing hundreds of years ago has come into sight, leaving valuable image data for future generations
From this painting, we can see the artistic re-creation of Chinese court painters in the process of learning from Western France. It can be said that Chinese court painters are active and flexible in learning western painting techniques, and have some choices. The “Haixi” painting method in their works is a kind of Chinese “Haixi” painting method, which is an organic combination of western focus perspective and eastern scattered perspective.