Hôm Tết tình cờ nghe được một bài hát rất hay trên đài CCTV. Lúc đầu tôi tưởng là tình ca, vì giai điệu rất ngọt ngào mà lại do một nam một nữ hát. Sau khi tìm được, hoá ra đây là bài hát nói về một bức hoạ nổi tiếng của HOÀNG CÔNG VỌNG vẽ cách đây 600 năm. Bức này đã bị một cuồng sĩ, vì quá si mê bức hoạ này, nên đã đốt với hy vọng nó sẽ theo ông ta xuống tuyền đài. May thay, người cháu đã dập tắt, cứu được bức hoạ. Hiện nay, một nữa bức hoạ này treo ở Hàng Châu, một nữa ở Đài Loan. Nếu không bị đốt, bức hoạ này dài hơn 6 thước. Bài hát do nam ca sĩ PHÍ NGỌC THANH (ĐÀI LOAN) và nữ ca sĩ TRƯƠNG TỊNH DĨNH (Đại Lục - Cách mà dân Đài Loan gọi TRUNG QUỐC). Bài hát này được phát trên đài CCTV.
THIS IS A BEAUTIFUL SONG ABOUT AN OLD PAINTING. THE SONG WAS SUNG BY A TAIWAN FAMOUS SINGER AND A FEMALE SINGER FROM CHINA. THE STORY ABOUT THE PAINTING IS AS FOLLOWED.
Dwelling in the Fuchun Mountains (富春山居圖) is the magnum opus and one of the few surviving works by the painter Huang Gongwang (1269–1354). Painted between 1348 and 1350, the Chinese landscape painting was burnt into two pieces in 1650. Today, one piece is kept in the Zhejiang Provincial Museum in Hangzhou, while the other piece is kept in the National Palace Museum in Taipei. The entire painting combined would measure 691.3 cm in length.
Huang Gongwang began work on the painting in 1348 and took about three years to complete it. He presented it to a Taoist priest as a gift in 1350. A century later, the painting was somehow acquired by the Ming Dynasty painter Shen Zhou (1427–1509). During the reign of the Chenghua Emperor (1465–1487), Shen Zhou sent the painting to an unnamed calligrapher to be inscribed (a curious point considering Shen Zhou was an excellent calligrapher himself). However, the son of this calligrapher seized the painting which, after a few changes of hands, reemerged on the market being sold at a high price. Unable to afford the price, there was nothing Shen Zhou could do except to make a copy of the painting himself. This imitation by Shen Zhou has become the most well-known and acclaimed among all others.
Not long after he made the copy, Shen Zhou gave it to a bureaucrat friend named Fan Shunju (樊舜举). Fan Shunju then began to search for the authentic copy. When he found it, he bought it at a hefty price and invited Shen Zhou to inscribe on it. Shen Zhou then noted down at the end of the scroll the story of how the painting was lost and found.
Over the following centuries, the painting had come to know several owners, including Tan Zhiyi (谈志伊), Dong Qichang (董其昌) and Wu Zhengzhi (吴正志). When Wu Zhengzhi died, he passed the painting to his third son Wu Hongyu (吴洪裕), who loved the painting so much that when he went on refuge, he left behind all valuables and only brought the painting and a copy of the Thousand Character Classic by Master Zhiyong (智永法师). In fact, he was so fond of these two pieces of work that he had them burnt shortly before he died, so that he could bring them to the afterlife.
The journey of the major portion, known as The Master Wuyong Scroll (無用師卷), was perhaps more dramatic. It passed through the hands of several high-level government officials, including Gao Shiqi (高士奇) and Wang Hongxu (王鸿绪), before landing in the Imperial Palace. Ironically, the Qianlong Emperor, who prided himself in his connoisseurship, judged that this new acquisition was counterfeit and insisted that the imitation he already possessed was authentic. This mistake was only corrected in 1816, during the reign of the Jiaqing Emperor. The longer piece was taken to Taiwan during the 1950s and is now at the National Palace Museum in Taipei.
Trang giới thiệu về bức hoạ.
Trang giới thiệu bức hoạ.ABOUT THE PAINTING.
Các bạn có thể xem bức tranh này ở đây.
YOU CAN SEE THE WHOLE PAINTING HERE.
http://www.npm.gov.tw/exh100/fuchun/en_04.html
THIS IS A BEAUTIFUL SONG ABOUT AN OLD PAINTING. THE SONG WAS SUNG BY A TAIWAN FAMOUS SINGER AND A FEMALE SINGER FROM CHINA. THE STORY ABOUT THE PAINTING IS AS FOLLOWED.
Dwelling in the Fuchun Mountains (富春山居圖) is the magnum opus and one of the few surviving works by the painter Huang Gongwang (1269–1354). Painted between 1348 and 1350, the Chinese landscape painting was burnt into two pieces in 1650. Today, one piece is kept in the Zhejiang Provincial Museum in Hangzhou, while the other piece is kept in the National Palace Museum in Taipei. The entire painting combined would measure 691.3 cm in length.
Huang Gongwang began work on the painting in 1348 and took about three years to complete it. He presented it to a Taoist priest as a gift in 1350. A century later, the painting was somehow acquired by the Ming Dynasty painter Shen Zhou (1427–1509). During the reign of the Chenghua Emperor (1465–1487), Shen Zhou sent the painting to an unnamed calligrapher to be inscribed (a curious point considering Shen Zhou was an excellent calligrapher himself). However, the son of this calligrapher seized the painting which, after a few changes of hands, reemerged on the market being sold at a high price. Unable to afford the price, there was nothing Shen Zhou could do except to make a copy of the painting himself. This imitation by Shen Zhou has become the most well-known and acclaimed among all others.
Not long after he made the copy, Shen Zhou gave it to a bureaucrat friend named Fan Shunju (樊舜举). Fan Shunju then began to search for the authentic copy. When he found it, he bought it at a hefty price and invited Shen Zhou to inscribe on it. Shen Zhou then noted down at the end of the scroll the story of how the painting was lost and found.
Over the following centuries, the painting had come to know several owners, including Tan Zhiyi (谈志伊), Dong Qichang (董其昌) and Wu Zhengzhi (吴正志). When Wu Zhengzhi died, he passed the painting to his third son Wu Hongyu (吴洪裕), who loved the painting so much that when he went on refuge, he left behind all valuables and only brought the painting and a copy of the Thousand Character Classic by Master Zhiyong (智永法师). In fact, he was so fond of these two pieces of work that he had them burnt shortly before he died, so that he could bring them to the afterlife.
[edit] One into two
Fortunately, Wu Hongyu's nephew Wu Jing'an rescued the painting, which was however already aflame and torn into two. The smaller piece, measuring slightly more than half a meter, was subsequently known as The Remaining Mountain (剩山圖). After passing through the hands of numerous collectors, it came to the possession of Wu Hufan (吴湖帆), painter and collector, during the 1940s. In 1956, it finally settled down in the Zhejiang Provincial Museum in Hangzhou.The journey of the major portion, known as The Master Wuyong Scroll (無用師卷), was perhaps more dramatic. It passed through the hands of several high-level government officials, including Gao Shiqi (高士奇) and Wang Hongxu (王鸿绪), before landing in the Imperial Palace. Ironically, the Qianlong Emperor, who prided himself in his connoisseurship, judged that this new acquisition was counterfeit and insisted that the imitation he already possessed was authentic. This mistake was only corrected in 1816, during the reign of the Jiaqing Emperor. The longer piece was taken to Taiwan during the 1950s and is now at the National Palace Museum in Taipei.
Trang giới thiệu về bức hoạ.
Trang giới thiệu bức hoạ.ABOUT THE PAINTING.
Các bạn có thể xem bức tranh này ở đây.
YOU CAN SEE THE WHOLE PAINTING HERE.
http://www.npm.gov.tw/exh100/fuchun/en_04.html
