Chen Mei Yueman Qing Tour Album

[Chen Mei’s Yueman Qing Tour Album]

The Yueman Qing Tour Album, Qing Dynasty, Chen Mei’s painting, silk edition, color setting, a total of 12 open, 37 cm vertically and 31.8 cm horizontally
This album is signed with “Chen Mei Gong’s painting”, and stamped with “Chen Mei”. Each opening is equipped with a cursive ink inscription by Liang Shizheng of the Qing Dynasty, which reads “Emperor Qianlong’s birthday is in the autumn and September of the Wuwu Festival, and Liang Shizheng’s title is honored”. The Wuwu Festival is the third year of Qianlong’s reign (1738). The seal of Emperor Gaozong Hongli’s “Treasure of the Emperor Qianlong”, “Guxi Emperor”, and “Secretary of Leshan Hall” are printed in 60 sides
The Painting of the Moon Man in the Qing Dynasty depicts the life of the imperial concubines in the deep palace for 12 months of a year: the first month “exploring the plum blossom in the cold night”, the second month “wandering the willows”, the third month “playing chess in the leisure pavilion”, the fourth month “watching flowers in the courtyard”, the fifth month “dressing in the water pavilion”, the sixth month “picking lotus in the green pool”, the seventh month “begging for the trees”, the eighth month “playing the moon in Qiongtai”, the ninth month “appreciating chrysanthemums on the Double Ninth Festival”, the tenth month “embroidering the windows”, and the eleventh month “collecting ancient flowers in the fireplace” In December, “stepping on the snow to find poetry”
These vivid pictures show the close relationship between palace life and folk life. The content of the activities of the concubines is common in folk life, but because of the special status of the court, these activities are more rich, complicated and standardized in content and form
The author’s aesthetic orientation in character creation is different from the plump image of concubines in the works of Zhang Xuan and Zhou Fang in the Tang Dynasty, and takes the paintings of beautiful women in the works of Tang Yin and Qiu Ying in the Ming Dynasty as the aesthetic standard, and pursues the elegance and elegance. The painter portrayed the concubines with exquisite and smooth lines and bright and vivid colors as slim, light and “fragile and weak”. They march in small groups in the pavilions and pavilions represented by boundary paintings or under the flowers and stones stained with thin brush. The rich and elegant palace life makes their material life very abundant, and also makes their spiritual world extremely poor
In terms of techniques, the figures in this picture are vivid and accurate in shape, and the strokes are meticulous and precise, which are derived from the style of the courtyard painting in the Song Dynasty. The floor and room buildings in the picture are drawn by the Western focus perspective method. According to the change of the perspective line slope in the picture, the specific location of the vanishing point can be accurately calculated, thus strengthening the three-dimensional and depth effect of the plane picture, and expanding the infinite space on the limited picture
This album was painted in 1738, the third year of Qianlong’s reign, and won the admiration of Emperor Qianlong. In the sixth year of Emperor Qianlong’s reign, he ordered the excellent craftsmen of the palace’s “manufacturing office”, such as Chen Zuzhang, Chen Guanquan’s father and son, Gu Pengnian, Xiao Hanzhen, who are good at inlaying techniques, and Chen Zuzhang, Chen Guanquan’s father and son, and Gu Pengnian, Xiao Hanzhen, who are good at tooth carving techniques, to use this album of Chen Mei as a painting manuscript and carve with ivory, jade, etc. The craftsman carefully carved and closely combined the technical characteristics of tooth carving and inlay to make the picture clear and three-dimensional. This exquisite ivory carving with 103 people is called “Hundred Beauties”. When Emperor Qianlong wrote poems for it, he officially named it “Moon Man Qing You”.

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