Among the national treasure reconstruction projects, the first treasure of the Qianlong Emperor was an enamel vase with a baby playing pattern!
In fact, it is very normal for enamel colors to be on the list. In addition, this picture of a baby playing during the Qianlong period was painted by Jin Tingbiao, a well-known painter who worshiped the inner court.
So who is Jin Tingbiao? He was a painter in the Qing Dynasty, which is not surprising.
So what is the relationship between him and Qianlong? There is indeed a relationship, and the relationship is not small.
This man was not a die-hard scholar. In the twenty-fifth year of Qianlong's reign (1760), during Qianlong's southern tour, he entered the "Bai Luo Han Tu", which made Long Yan very happy.
Therefore, he was ordered to be worshiped in the inner court.
His freehand paintings of autumn fruits and figures were all inscribed by Emperor Gaozong.
He lived for several years and died in Beijing.
Jin Tingbiao was a painter, and his paintings were all extraordinary. He once created the volume "Imitation of Chen Rong's Nine Dragons", which was compiled into "The Continuation of Shiqu Baoji".
His handed down works include "Stone Worship Picture", which was compiled into "Forbidden City Calligraphy and Painting Collection";
Others include "Pictures of Peach Blossoms", "Pictures of Mother Meng's Migration", "Sitting in the Maple Forest at Night" and "Xuanhua Shoushi" (3 pages), which were compiled into the "Collection of Famous Chinese Paintings of All Dynasties".
"Shiqu Baoji" records 81 of his works, which is a great achievement.
If you don't know "Shiqu Baoji", you don't know what it is!
In fact, this is a large-scale documentary document.
"Shiqu Baoji" is a large-scale document recorded during the Qianlong and Jiaqing reigns of the Qing Dynasty.
It was first compiled in the 10th year of Qianlong's reign (1745), with a total of forty-four volumes.
It records the calligraphy and painting collections of the Qing Dynasty that were collected by the inner palace of the Qing Dynasty. It is divided into volumes, such as scrolls, picture scrolls, and combined volumes of calligraphy and painting.
Secondly, there are scrolls, book scrolls, painting scrolls, and calligraphy and painting combined scrolls.
Then there are albums, which include nine categories: book albums, picture albums, and calligraphy and painting albums.
As an ancient masterpiece in the history of Chinese painting and calligraphy recording, the works recorded in this book bring together all the works from the Qing royal family's heyday.
The personnel responsible for compilation were all masters of calligraphy and painting at that time, or authoritative calligraphy and painting research experts.
In 2014, Jiangmei Publishing House and Palace Museum Publishing House jointly published the "Shiqu Baoji Collection of Qing Neifu Manuscripts from the Palace Museum (Selected Illustrated Edition)" based on "Shiqu Baoji".
This is a new contemporary development of the former, which increases its research value and collection value.
Up to now, when identifying treasures from the Qing Dynasty, they usually refer to this "Shiqu Baoji".
Because "Shiqu Baoji" is a large-scale record of calligraphy and painting compiled from the essence of the Qing palace's collection of calligraphy and painting.
It collects the most outstanding calligraphy and painting works of my country's famous calligraphers and painters from the Wei and Jin Dynasties to the early Qing Dynasty in the past two thousand years, with a total of more than 12,000 kinds.
This classic is definitely a precious cultural heritage in the history of the Chinese nation and art.
As long as they are treasures once collected by the Qing Palace, they will usually be found in this book.
If you can't find it, it's probably a fabrication and not the real thing.
Of course, you also need to pay attention to using this book to identify ancient books and treasures.
It is better to have no books than to believe in books. Therefore, the calligraphy and paintings recorded in "Shiqu Baoji" should be viewed objectively and rationally.
"Shiqu Baoji" contains not only the dazzling pearls and treasures in the history of the development of Chinese calligraphy and painting, but also a large number of forgeries and imitations from past dynasties.
The works of a certain company described in the book are not necessarily the original works of that company.
Now, in the calligraphy and painting warehouse of the Palace Museum, there is a special database that stores works that are not authentic even though they have been recorded in the "Shiqu Baoji".
Therefore, the calligraphy and painting descriptions in "Shiqu Baoji" should be viewed in two parts.
We should not only pay attention to its historical value and precious significance, but also face up to its flaws and shortcomings.
The description of "Shiqu Baoji" can only guarantee a few points. The first is that the recorded works were indeed collected in the Qing Palace.
The second is the forgery recorded in "Shiqu Baoji", which cannot be later than Qianlong or Jiaqing.
In addition, "Shiqu Baoji" has its own shortcomings. It has no pictures, only text, which the ancients could not solve.
In addition, "Shiqu Baoji" only reflects the situation of the palace collection relatively objectively.
However, there are still many imprecisions in identification.
This was caused by several aspects. On the one hand, there were no museums at that time.
Whether it is the emperor or his close officials, their understanding and learning conditions of calligraphy and painting are relatively poor.
At that time, they were all private or royal treasures, and it was difficult for outsiders without special connections to see them.
The compiler or appraiser's judgment will be greatly compromised due to their own level of knowledge.
On the other hand, it was caused by the hierarchical system of feudal society at that time.
Once the emperor says something, others cannot help but obey it.
For example, the forgery of Huang Gongwang's "Dwelling in the Fuchun Mountains" entered the court first.
Qianlong liked it very much when he saw it. He wrote poems and praised it highly.
Finally, the real thing came, and he understood that the real thing was better than the fake one, but with his identity here, he couldn't possibly admit that I was wrong.
Therefore, he asked his ministers to write poems saying why this authentic work was not good. This was actually a trick of confusing right and wrong and calling a deer a horse.
This is the real dark history of Qianlong, and we are not slandering him out of thin air!
In any case, a canon that records the treasures of the past dynasties, especially a canon that records the works of great masters of the Qing Dynasty, has a large number of paintings, which is enough to illustrate the power of Jin Tingbiao.
Of course, there are even more powerful ones, which can be seen through a Yushan work.
In the thirty-first year of Qianlong's reign (1766), the Xinjiang region paid tribute to the imperial court with a large jade stone.
This large jade stone reminded Qianlong of a landscape painting "Travel in the Autumn Mountains" by Jin Tingbiao, so he ordered it to be made by the palace jade artist.
However, the more than 20 jade craftsmen who worked on the palace jade worked every day. It took them six months of day work and four months of night work to complete only 20% of the work. The progress was extremely slow.
In desperation, Qianlong ordered the jade materials to be transported to Yangshi for processing.
This is also the first time that Yang City has been ordered to mill such a large jade mountain.
The Lianghuai salt administration decided to recruit skilled craftsmen from Yang City.
After a selection process, 3,000 famous jade craftsmen were finally recruited.
Four years later, after jade craftsmen worked hard day and night, the work was finally completed.
In 1770, Yushan was transported back to the capital by water.
When Qianlong saw it, his heart was filled with joy.
The pale yellow spots on the jade material turned into autumn vegetation;
The locks in the jade material turned into steep mountains and steep cliffs, and a plank road in the rugged area was vaguely visible in the mountains, with a pack team driving a donkey walking slowly on it.
The composition of the work is clearly layered, the layout is well-proportioned, the autumn atmosphere is strong, and the artistic conception is high.
In the 35th and 39th years of Qianlong's reign, Qianlong wrote poems twice to praise it.
From this you can imagine how good this work is.
From this we can see the level of Jin Tingbiao’s works!
Although it cannot be said that every work by Jin Tingbiao is a treasure.
But every one of his works is extraordinary, that’s for sure.