In the previous article, we visited and browsed the Houliao East Road of Ningshou Palace of the Forbidden City, and let's walk into the Houliao West Road of Ningshou Palace - the mysterious Qianlong Garden.
Location map of Qianlong Garden
Houliao West Road is also commonly known as the "Qianlong Garden" of Ningshou Palace Garden, mainly there are Guhuaxuan, Suichutang, Fuwang Pavilion, Ti Qinzhai and other buildings, which are recognized by tourists as the fine products of the palace garden.
Aerial view of Qianlong Garden
The overall layout of Qianlong Garden
Part of Qianlong Garden
Qianlong Garden is located on West Road, Houqu District, Ningshou Palace. In the 37th year of Qianlong (1772) to the 41st year (1776), when the Ningshou Palace was rebuilt, a garden was built in the narrow section of 160m long from north to south and about 40m wide from east to west in the west of the rear area, so as to prepare for the Qianlong Emperor to enjoy after returning to the government, so it is called Qianlong Garden, also known as Ningshou Palace Garden.
The main gate of Qianlong Garden, Yanqi Gate
The main building of the first courtyard is Guhuaxuan, an ancient catalpa tree in front of Xuan, so Xuan gets its name. There is a bearing terrace on the east mountain of Xuan, and the west of Xuan is the pavilion of the temple with the flowing cup canal, and there is the Xuhui Court on the north mountain of the pavilion. There are rockeries in Xuannan, and there are winding paths in between. There is a curved corridor, a moment pavilion, a small courtyard surrounded by fasting in the southeast corner of Xuan, the southeast of the courtyard is piled up with a rockery, and the name of the small pavilion on the mountain is "Pick Fang Pavilion".
Gu Huaxuan is the second to enter the courtyard after the hanging flower door. The main house is then the first hall, there are matching rooms in the east and west, and the corner corridor and the inverted seat corridor will be the main house, the matching room, and the hanging flower door are connected as a whole, which is a typical triple courtyard. The lake stone scene in the courtyard, flowers and trees are three or five.
The third courtyard after the first hall is dominated by mountain views. The peaks and peaks in the courtyard are undulating, there are deep valleys in the mountains, and there are tunnels under the mountains leading to the four directions. There is a pedal road up the mountain, there is an overpass on the mountain, and the towering pavilion stands on the top of the mountain. There is the Cuixiang Building in the north of the courtyard, there is the Yanqu Building in the west, there is a Sanyou Xuan in the north and south at the southeast foothills, the corridor is out on three sides, and the west corridor is close to the Leshoutang in the east.
The north of the building is the last courtyard of the garden. The main building Fuwang Pavilion, there is a Biluo Pavilion on the south mountain screen, and its modeling design and decoration are all made of 5-petal plum blossom shape or folded plum blossom pattern. There is a small Hongqiao Tongcui appreciation building in the south of the pavilion. The plane of the southwest of Shanping is curved ruler-shaped. There is Yucui Xuan in the west of the pavilion, there is tired Qinzhai in the north of the pavilion, there is a small building bamboo incense hall in the north of the west wall of the Yucui Xuan, and there is a north-south bow-shaped low wall on the periphery. There is a climbing corridor in the south of Tiqinzhai and the north of Yucuixuan, and you can reach the second floor of the Zhuxiang Pavilion.
The layout of the garden of Ningshou Palace is very decent, and the mountains, stones, trees, pavilions and pavilions are operated in an orderly manner. The type of roof strives to change, the color is rich, there are yellow, green, blue, purple, emerald blue and other colors, Liang Fang painting uses a large number of gold thread Soviet-style paintings. The arrangement of the central axis has changed, and the second half of the axis has shifted slightly eastward. The whole garden has the exquisite style of a private garden, and is in harmony with the opulent atmosphere of the palace.
In short, a luxurious, extravagant, mysterious garden.
The main reason for saying that it is mysterious is that it is very delicate and luxurious, like the epitome of the Forbidden City, and it is a model of the palace garden. Fun and myths are everywhere. Compared with the Imperial Garden, the Qianlong Garden is not large, but it accommodates 27 buildings. These buildings are distributed according to the four courtyards, the structure is compact, the curves and straights are alternate, and there is the style of Suzhou and Hangzhou gardens.
Schematic diagram of the courtyard of Qianlong Garden
The garden of Ningshou Palace is divided into four courtyards in the north and south, and the layout of each courtyard has its own characteristics. Let's start with Gu Huaxuan, the first courtyard.
The first courtyard of Qianlong Garden, Gu Huaxuan
The first courtyard in the south is Gu Hua Xuan; Passing through the Yanqi Gate, at the entrance of the garden, people will encounter a mountain and stone path, and the east side can faintly see the curved corridor and the rectangular pavilion, so there is a sense of curiosity about the winding path.
Yanqi Gate
I saw that the mountains and rocks on both sides were opposite each other, and in the gaps of the mountains, an ancient tree and a corner of the yellow glazed tile roof were exposed, and a few steps were repeated along the ice crack path paved with stone slabs, and suddenly it became clear, and the main building of the first courtyard-Gu Huaxuan appeared in front of me.
Gu Huaxuan
Gu Huaxuan
Gu Hua Xuan got its name from the golden silk tree in front of the Xuan, and when the open Xuan was built, the tree was more than 100 years old. In order to show the love of the ancient tree, Qianlong deliberately built the open Xuan behind the tree, and ordered it to be "Gu Huaxuan", "Hua" through the "flower", in the late spring season, this ancient catalpa blossoms, more than 300 years never lost the period.
The picture of the golden silk tree in front of Gu Huaxuan
Gu Hua Xuan got its name from the golden silk tree in front of the Xuan
Gu Huaxuan has a couplet "The bright moon and autumn wind are endlessly hidden, and the long catalpa ancient cypress is a good friend", and the upper couplet comes from Su Shi's "Former Red Cliff Fu": "Only the breeze on the river, and the bright moon in the mountains...... It is inexhaustible, it is the endless treasure of the creator, and I am suitable for the son", the next link is born by the ancient cypress in front of Xuanqian. The escape into the peach blossom spring, the breeze and the bright moon, and the light and dust expressed in the couplets are the pursuit of the ancient literati. As the person who wrote the most poems in history, Qianlong worked tirelessly to become an unprecedented great literati all his life, and this ideal became clearer and more specific when he built Ningshou Palace.
Step by step in front of the sash window
Step by step in front of the window
Guhuaxuan is an open pavilion, which is mostly seen in the warm and humid south, and is mostly garden architecture in the north. Guhuaxuan faces three rooms with a cloister, the roof is a single eaves mountain roll shed roof, covered with yellow glazed tiles and green trimming, under the eaves is a single warped three clouds one bucket and two liters of hemp leaf bucket arches, the eaves are placed between the upside-down frieze and the stool, and the floor cover is installed between the golden columns. The horizontal draped windows and partitions of the upside-down frieze, stool lattices and floor covers are all lying silkworm step brocade, and the finch (flower tooth) is the abduction dragon (kui dragon pattern).
The finch in front of Gu Huaxuan
The golden pillars and cloisters are like picture frames, which freeze the beautiful scenery of the first courtyard. The floor cover in the pavilion sets off the cloister, like layers of curtains, increasing the sense of depth of space. The step-by-step brocade pattern superimposed by hollow squares enriches the spatial hierarchy while still maintaining the integrity of the scenery in the eyes of the viewer. The whole Gu Huaxuan is like an exquisite box, or like a "ghost ball", resulting in layers of decorative effects, and the division and combination of space stretch endlessly.
Outside the window of Gu Huaxuan
The west side of Guhuaxuan is the Xuhui Pavilion
Sitting in the middle of the pavilion, the east side is the lake stones and lush stalagmites like clouds and waves, the west side is the corridor of Xuhui Pavilion, the south side is the deep lake stone winding path, and the near view is Sendai, the Pavilion and the flowers and trees of Fushu. To the north is a small vermilion lacquer gate leading to the second courtyard and the wall of the Shimizu Courtyard, which is another painting.
Gu Hua Xuan is open Xuan
Guhuaxuan Lake Stone on the south side
The north side is the second courtyard
The shape of Gu Huaxuan is dominated by a neat square, and the sense of order brought by horizontal and vertical offsets the dazzling confusion brought by the various layers. The tactful finches, the elegant lying silkworms contrast with the straight lines of the floor cover, and the overall stability is dotted with lively small details, which is the inspiration and ingenuity of the collision between the royal architecture and the art of gardening in the south of the Yangtze River.
Bird: Righteous and tactful
Another of the biggest features of Guhuaxuan is that the ceiling in the Xuan is not a traditional painting style, but a nanmu veneer, which is extremely rare in the Forbidden City and other royal gardens.
In Guhuaxuan, the graceful and luxurious Nanmu carved ceiling
Countless people walking into Gu Huaxuan will be shocked by the sea of flowers above their heads that have not withered for more than 200 years.
Installed in the 40th year of Qianlong, the ceiling is simple and complex. The ceiling will be painted into a floral pattern of Nanmu pasted with carved grass, the color of the log is simple and unified, but the carving is fine and complex. Each ceiling is square, with a round peony in the center, surrounded by clumps of grass and a blooming flower at each of the four corners. If you look closely, you can see that the round peony in the center of the ceiling has various forms.
Plump and plump, large flower buds that will bloom before opening
Two or three petals have been stretched, still waiting to bloom in late spring
The difference can be seen in the shape of these four peonies
The thousands of flowers solidify the purest spring color, so prosperous and gorgeous, there is no room for a trace of decadence.
The scenery of Guhuaxuan is different in four seasons, the most beautiful is spring, and the most comfortable is early summer.
The Qianlong Garden is full of green trees, and the Guhuaxuan seems to be shrouded in a green veil, and the breeze blows this rich greenery into the Xuan, dyeing a little ethereal color for the sun. At this time, Gu Huaxuan seemed to be forgotten outside time and space.
The most beautiful thing in Guhuaxuan is spring, and the most comfortable is early summer.
The most beautiful thing in Guhuaxuan is spring, and the most comfortable is early summer.
Two hundred years passed in a flash, and the Ningshou Palace built by Emperor Qianlong, together with his long-awaited career as a literati, finally became Ye Gong's good dragon, and it was obvious that power fascinated him even more. Now we sit in the Xuanzhong, but we can feel the purity and poetry that he deliberately created.
The first to enter the pavilion in the courtyard
And in the first courtyard, there is also a pavilion, which was built by Qianlong according to the allusion of Wang Xi's song and flowing water. The ground in the pavilion is also carved with a flowing cup canal, which is also a relatively well-preserved one of the existing flowing cup pavilions in Beijing. It is difficult for the average person to guess where the outlets and inlets are. The pavilion showcases the unique taste of this garden, implying the hidden thoughts of the literati and doctors, which can be called the finishing touch.
There is also a pavilion in the courtyard for the first time
The water in the pavilion is smooth
The weeping flower gate on the north side of the ancient flower pavilion
A pass through the hanging flower door that is the second into the courtyard, this is a triple courtyard, the main hall is called the first hall; Suichu Hall is located on the central axis of Qianlong Garden, after Guhuaxuan, it is the main building of the second courtyard of Ningshou Palace Garden. It was built in the 37th year of Qianlong in the Qing Dynasty (1772), and was rebuilt in Jiaqing and Guangxu years.
Kosato Mae-in
In addition, the collection of books in the Southern Song Dynasty and Pan Lei, the Qing Dynasty, is also known as the first hall.
Aixin Jueluo Hongli, ninety years of longevity is only one step away, at the age of 89
Emperor Qianlong ascended the throne at the age of 25 and served as emperor for 60 years, abdicating at the age of 85 and dying at the age of 89. There were few emperors who had reigned for such a long time, which prompted him to devote himself even more to his enjoyment, so he spent a long time building this garden from the 36th year of Qianlong. At that time, when Qianlong was in his prime, he was full of ambition, so he named the courtyard "Sui Chu Tang". Emperor Qianlong once vowed that if he could reign for 60 years, he would return to the government and retire, hoping that God could go along with his original intention, and "Sui Chutang" was named after this.
The front view of the first hall
Then the first hall is 5 rooms wide, 3 rooms deep, sitting in the north and facing the south, the green glazed tile roll shed rests on the top of the mountain, the yellow glazed tile trimming, the front and back corridors. Under the front porch, hang the Qianlong imperial pen full of Chinese "Sui Chu Tang" plaque.
Qianlong imperial pen full of Chinese "Sui Chu Tang" plaque
Side view of the first hall
The door is opened in the middle, and the rest of the expenses are removed from the window. The bright room is the hall, and the third courtyard of the Ningshou Palace garden can be reached through the hall. The left and right corner verandahs communicate with the front porches of the east and west matching rooms. There are 5 rooms in the east and west, 3 open corridors in the north, open doors in the middle, and 2 dark corridors in the south. The south end of the matching room is out of the verandah, and the inverted verandah of the hanging flower door of the courtyard wall is connected. The outer eaves are decorated with Soviet-style paintings, tiger skin stone wall base. The main house, the east and west side rooms and the corner verandah and corridor are connected to form a square courtyard. The courtyard gate is four green lacquered hanging flower doors. In the courtyard, there is a stacked stone mountain, the lake and stone point view, the flowers and trees are three or five, the bamboo is planted around the mountain, the green trees are shaded, and the square brick road is laid in the ground of the sea pier to connect the main house and the east and west matching houses.
There are matching rooms in the east and west, the corner corridor and the inverted seat corridor will be the main house, the matching room, and the hanging flower door are integrated, it is a typical triple courtyard, with a sense of coercion of hierarchical order, which makes people think that they are in the palace at the moment, and they feel reverence.
Then a Lingbi stone is placed in each of the four corners of the courtyard in front of the first hall
In the courtyard in front of the first hall of the four corners of each place a Lingbi stone, symmetrically arranged, the stone body is more than 60 centimeters high, placed on the white marble Sumeru seat. The four stone bases are carved and decorated, shaped and aged.
Then a Lingbi stone is placed in each of the four corners of the courtyard in front of the first hall
The Lingbi stone in the northeast corner is multifaceted, rich in variety, soft in line, vigorous and simple, there are holes, quite interesting.
The Lingbi stone in the northwest corner is graceful and elegant, the layout is phased, echoing the opening and closing, sparse and dense, echoing left and right, and contrasting with each other.
The Lingbi stone in the southeast corner is quiet and soothing, strange and changeable, heaven and earth and one, free to retract and release, holes and ravines, and thousands of manners.
The Lingbi stone in the southwest corner is strong and powerful, its momentum is majestic, stretches and bold, the wall stands thousands of miles, the waterways are staggered, and the form is seizing.
Then a Lingbi stone is placed in each of the four corners of the courtyard in front of the first hall
Lingbi Stone
The four pieces of Lingbi are like three mountains and five mountains thousands of miles away, condensing the essence of nature in the garden landscape, faintly having the meaning of moving the sky and shrinking the earth, and getting the true meaning of the landscape quietly.
The first hall is not only the main building, but also a hall that connects the past and the future.
The third courtyard after the first hall is the Appreciation Building;
There is a Cui Xiang Building in the north, a Yanqu Building in the west, and a Sanyou Xuan in the north and south at the southeast foothills
The courtyard of the Treasure Building
There was a time when the Treasure Pavilion was located
Appreciate the courtyard of the building, mainly with mountain views. The peaks and peaks in the courtyard are undulating, there are deep valleys in the mountains, and there are tunnels under the mountains leading to the four directions. There is the Cuixiang Building in the north of the courtyard, there is the Yanqu Building in the west, there is a Sanyou Xuan in the north and south at the southeast foothills, the corridor is out on three sides, and the west corridor is close to the Leshoutang in the east.
This compound is characterized by a huge rockery in the center
This courtyard is characterized by a huge rockery in the center, people will feel cramped and crowded in it, but this just reflects the ingenuity of the gardener, in the art of gardening, this technique is called "forcing the mountain", because the rockery is huge, people sit in the house and look at the outside scenery through the window, do not see the foot of the mountain and the top of the mountain, they feel that they are in the natural mountains, and the mountains and forests are interesting.
The Pavilion is located in the third courtyard of the Ningshou Palace Garden. It was built in the 37th year of Qianlong in the Qing Dynasty (1772), and was repaired successively during Jiaqing and Guangxu years.
Schematic diagram of the Cuixiang Building
The pavilion sits in the north and faces south, rolls the shed and rests on the top of the mountain, covered with yellow glazed tiles, and the green glazed tiles are trimmed. There are two floors, each side is 5 rooms wide, and the front and back corridors are out. The front and lower floors of the building are open corridors, the upper floor is the open corridor in the east four rooms, the west end interval is the dark corridor, the bright room is open, and the rest is the window. The lower floor of the back eaves of the building has a door between the two times, and the upper floor has a door in the middle, and the rest are windows. The partition door is a step-by-step brocade partition, a dragon group pattern skirt, and the window is a step-by-step brocade window. There are carved and painted wooden railings between the upper and lower eaves columns. The outer eaves are decorated with Bogu pattern Soviet-style paintings, and the eaves are hung upside down.
Upstairs, a small white stone bridge is erected outside the door of the back eaves, leading to the Biluo Pavilion on the main peak of the back mountain. The rockery peaks in front of the building are stacked, and the caves and valleys are connected. On the west side of the building, there is an upper and lower corridor connecting with the Yunguang Building.
Upstairs, a small white stone bridge is erected outside the door of the back eaves, leading to the Biluo Pavilion on the main peak of the back mountain
Biluoting
The rockery peaks in front of the building are stacked
The towering pavilion on the rockery in front of the Cuixiang Building
Yanqu Building on the west side of the Appreciation Building; It was built in the 37th year of Qianlong in the Qing Dynasty (1772), repaired in the 7th year of Jiaqing (1802), and rebuilt in the 17th year of Guangxu (1891).
There are two floors on the upper and lower floors of Yanqu Building, with 5 wide corridors and 3 deep rooms
There are two floors on the upper and lower floors of Yanqu Building, with 5 wide corridors and 3 deep rooms. Covered with the roof of the mountain roll, the eaves and ridges are decorated with yellow glazed tiles, and the rest are paved with green glazed tiles, and there are 5 beasts at the ridge corners. The beams under the eaves are decorated with Soviet-style paintings.
In the Yanqu Building, there is an interstitial screen of rosewood framed glass paintings, and in the upper right corner is a circular mirror, which not only represents the bright moon in the painting, but also serves as a mirror.
The east, south and north corridors of Yanqu Building are on three sides. The eaves of the corridor are hung upside down with a frieze, and a railing is set below. The inner side of the corridor is equipped with doors and windows to separate the indoor and outdoor spaces, and the upper parts of the doors and windows are put together with mullions to form a step brocade form, which is simple and elegant. The interior decoration is decorated with a variety of exquisite porcelain inlays, which are simple and elegant, but also lose the royal bearing.
When Yanqu Building was first built, there was an overpass leading from the upper floor to the top of the stone mountain in the courtyard. In the twenty-second year of Jiaqing (1817), the overpass was demolished, and it became the current pattern.
Sanyouxuan in the east of the Cuixiang Building; The north of the seat faces south, and there are three bay small pavilions.
Sanyouxuan
Yellow glazed tile roll roof, the east is the hard mountain type, the west is the mountain type, the corridor on three sides, this is a kind of roof structure form that skillfully borrows the terrain, and it is the only one in the palace.
There are 4 fans between Xuanming, the middle two are the doors, the plaque "Sanyou Xuan" is hung under the eaves, and the lantern brocade branch picks the window between the two times. Xuan's pine, bamboo, plum and cold three friends as the decoration theme. What is particularly eye-catching is the red sandalwood open-carved round light cover, which is covered with bamboo leaves and inlaid with jade pieces, which is cleverly conceived. There are 3 branch windows in the east, facing each other across the window from the Lejudo. The back eaves are all support windows, and the window is a rockery. The west wall of the west room opens the window, and the red sandalwood open-carved pine, bamboo, and plum pattern are the window lattices, which are sparse and dense, and the carving is fine. Through the west window, you can enjoy the exquisite rockery and green bamboo and pine outside the window.
The decoration theme of Sanyou Xuan is unified with the plants outside the Xuan, echoing inside and outside, and the rendering highlights the architectural theme.
Go down and browse the north of the Cuixiang Building, the last courtyard of the Qianlong Garden, and the main building Fuwang Pavilion;
Manchu and Han Fu Wangge plaque
Fuwang Pavilion is the tallest building in the whole garden, the end of the garden, the end of emotions, and the display and show off of Emperor Qianlong's achievements in his life. From the top of the Forbidden City, you can enjoy a panoramic view of the Forbidden City and beyond.
Fuwang Pavilion is the tallest building in the garden, offering a panoramic view of the Forbidden City and beyond.
Fuwang Pavilion is a representative of the eaves decoration of the ancient buildings in Qianlong Garden. With the theme of space design here, there are many spaces inside, and it is easy for people to get lost when they come here, so it is called Mazelou. From here, we can see the aesthetic interest of Emperor Qianlong's space, which is worthy of being called the labyrinth of Emperor Qianlong.
The last courtyard of Qianlong Garden
Front view of Fuwang Pavilion
Fu Wang, in line with the wish also. Fuwang Pavilion is a five-bay square pavilion, the appearance is also up and down two floors, the second floor has a circle of flat seats, there is a circle of ridges under it, there is a bucket arch support between the flat seat and the ridges, indicating that here is a dark layer like Jingqi Pavilion. Above is the yellow glazed tile blue cut edge single eaves four corners of the spire, the glazed ball sits on the gilt covered bowl ridge brake. There is a circle of eaves corridor on the first floor, square eaves columns, between the eaves columns is a fang substitution, and below is a bench lintel, asymmetrical.
There are many huts divided by partitions in Fuwang Pavilion, and the passages between them are very complicated, and they are called "labyrinths".
Legend has it that during the Qianlong period, the princes and ministers had dinner here, and one person sat in a hut, and Qianlong sat upstairs. As soon as the food was served, there were eunuchs and junior eunuchs who went to each house with plates to deliver food. These diners couldn't see Qianlong at all, so they had to immediately pounce on their knees and shout "Thank you, Lord Longen".
Qianlong would sneak downstairs to see the ministers' eating appearance in the secret passage, if there was a bad eating appearance, as soon as he coughed outside the door, the minister would be so frightened that he stuck fish bones or chicken bones in his throat. So eating Qianlong's meal is still quite a suspenseful thing.
So, what's so special about this "Fuwang Pavilion"?
"Fu Wangkaku
First of all, let's talk about its geographical location, it is located in the last courtyard of the garden of Ningshou Palace, it was originally built for the Qianlong Emperor to retire as the place of rest and entertainment, according to records, it was built in the 37th year of Qianlong, in the shape of imitation is the Yanchun Pavilion of the garden of Jianfu Palace, its plane is square, the four corners gather the spire, the eaves, the ridge is blue glazed tiles, and the rest is paved with yellow glazed tiles.
Fu Wangge overlooks
This Fuwang Pavilion can be said to have poured into the efforts of Emperor Qianlong, and also condensed his love for Jiangnan, because in the entire Fuwang Pavilion, whether it is bamboo carving, inlay, double-sided embroidery or lacquer carving, snail and jade carving, there is a deep Jiangnan characteristic.
At the same time, the Fuwang Pavilion was built in the era when the Qing Dynasty was the most powerful, and it was a place for the Qianlong Emperor to personally exclude, so the decoration in the entire pavilion was very luxurious and extravagant.
What's in the Fuwang Pavilion?
According to the records, the decoration process of the inner eaves in the Fuwang Pavilion is estimated to be the most luxurious at that time, and even in the previous dynasties, it has many kinds of decoration, and the complexity of the process is also very high, such as wood carving, bamboo silk inlay, lacquer carving inlay, jade carving inlay, luodian inlay, weaving and embroidery inlay, etc., these are the highest level of the Qing Dynasty.
The splendid caisson and throne of Fuwang Pavilion
The intricate luxury of the caisson at the top is rare in the world, exquisite and brilliant Partial view
Fuwang Pavilion red sandalwood border chiseled copper gilt decoration kang eaves board
At the same time, the materials used for inlay are also extremely luxurious, including luodian, jade, malachite, lapis lazuli, ivory, coral, etc., and the wood used for the decoration of the whole pavilion is mostly red sandalwood, nanmu, wenge, agarwood and so on.
Fuwang Pavilion Duobao Pavilion screen
Treasure inlay
Rosewood Treasure Seat
Rosewood jade inlay process
The partition inside the pavilion is made of a special type of stained glass, which can only be seen in the Qianlong Garden in the Forbidden City
There are many lost skills in the Fuwang Pavilion, and its decoration technology is the top level of Qing Dynasty craftsmanship, and the bezel inlay process is generally adopted, all of which are precious woods such as red sandalwood and nanmu, showing the grace and luxury.
There is an openwork decoration composed of two layers of wood, the surface layer is white wood incense, and the bottom layer is nanmu. Usually this kind of white wood incense is mostly used on toy objects, and it is rare to use it in interior decoration on such a large scale, and it is also an isolated case in the Forbidden City.
Large-scale agarwood is used for interior decoration
Also an isolated case is the three-groove lacquered yarn painted yarn partition on the Sumeru seat on the south side of the Fuwang Pavilion. It is a fabric that is intertwined with warp and weft and decorated with traditional Chinese gold leaf. In order to increase the width of the fabric, the craftsman applied a large lacquer layer to the gauze and covered it with a gold layer. Now when you touch it with your hands, although it is brittle, you can still feel its firmness and beauty. It is exquisitely made and intricately crafted, and it is said that the decorative paintings on it alone have six layers of vegetable glue, parchment paper, lacquer, gold leaf, pigment, and vegetable oil, and this lacquer yarn technique has been lost today.
Lacquered yarn painted yarn clamping sliding sash
Lacquered yarn painted yarn clamping sliding sash
In addition to these, Qianlong also liked to repeat double-sided elements, such as double-sided embroidered windows, double-sided clocks, etc., Qianlong put all the beautiful things he could imagine into this attic, all of which were meticulously carved and showed the royal dignity.
Double-sided embroidered sill windows
Double-sided embroidery
This (wallpaper) showing the court life of Emperor Qianlong. In the painting, Qianlong is dressed in Hanfu, like a literati scholar
Fuwang Pavilion is shrouded in a veil of mystery, which represents the high level of interior decoration craftsmanship in the Qing Dynasty, and is also the sustenance of Emperor Qianlong's "Jiangnan Complex".
Finally, browse the mysterious courtyard Ti Qin Zhai: Ti Qin Zhai is located in the northernmost part of the garden, which is the most unique and luxurious place in the Sijin Courtyard.
Located in the northernmost part of the garden, it is the most unique and luxurious place in the courtyard.
Tire-diligent Zhai courtyard
Schematic diagram of the internal structure of the Tired Diligence Fast
This is the resting place of the Emperor.
Qianlong's resting place
The upper and lower floors of the study, all the walls are made of rosewood, and the outside is inlaid with bamboo springs.
Luxurious and extravagant finish
The Xiangfei bamboo imitated by the golden silk nanmu is a moon gate created with it
Golden silk nanmu door
There are a total of 9 rooms, and the five rooms in the middle have more delicate window lattices, so that people in the house can see the outside, and people outside can not see the inside; The double-sided embroidery inside uses a needle and thread to embroider the same pattern on both sides.
There is a golden silk nanmu imitation of Xiangfei bamboo. The moon gate made of it is the same as that made of bamboo.
The Moon Gate is a panoramic painting, which pulls the eye into the distance, and does not feel the narrowness of the space at all, just like today's 3D painting method, the Moon Gate in the painting echoes the actual Moon Gate, which is really natural. Coupled with the vine flowers on the roof, it seems to be in the courtyard of the south of the Yangtze River, and "there is no world like the south of the Yangtze River" is exactly the dream of the south of the Yangtze River that belongs to Qianlong.
Extravagant and luxurious interiors
On the west side of the four rooms (theater) is a small square pavilion, which faces east from the west. That is, the small stage of tiredness and fasting.
The stage is the most luxurious and peculiar one in the Forbidden City
The pavilion is made of wood imitation bamboo, also known as the bamboo pavilion. The four corners are pointed tops, and the top is painted with gold and wood. The hook railings on the small stage are all high-imitation bamboos carved from golden silk nanmu, and the palace is in the shape of victory, not stingy with luxury.
There is a wooden imitation bamboo sandwich fence in the south and behind the pavilion. Set up doors on both sides of the back eaves, for the upper and lower stage, this small stage, for the emperor to watch the play indoors and built, the stage pillar hangs "with the addition of the South Pole should not be counted, happy in Jiasheng Zhao year." Couplet.
(The small stage is one of the four existing stages in the Forbidden City, and the remaining three are the big stage of Changyin Pavilion, the big stage and the small stage of Shufangzhai, and the stage is the most luxurious and peculiar one in the Forbidden City), there is also a fairy building in front of the stage, facing west, and the throne is being set up, which is used when watching the play, and there is a small staircase next to the seat to lead to the throne on the second floor. During the Qianlong period, the eunuchs of Nanfu often sang fork songs here.
It is also the only front and rear stage in the country. The small stage in front of the stage is Qianlong's director's stage or an exclusive performance stage, I'm afraid only Qianlong himself knows.
The most amazing thing is the 170-square-meter large mural on the side of the four small theaters in the west of Tiqinzhai. On the "panorama painting" painted on silk cloth, we see a crimson double-storey palace standing proudly.
It is said that the European missionary painter Lang Shining borrowed the form of Renaissance frescoes and ceiling paintings from European Italian palaces and transplanted them into the Qing Dynasty court. It is said that this mural is the earliest surviving indoor Western-style mural in China.
This is also where the ultimate "secret" of this garden lies. Although the garden landscape on the wall is painted, it creates a real landscape.
In the foreground, there is a fence surrounded by bamboo, and behind the fence is a rich garden; Underneath the stout pines and cypresses, all kinds of flowers are in full bloom; The golden hilltop of the double-storey palace peeks out from the top of the hedge, and its ridge flutters under the blue sky; The distant view of the picture is a palace wall, outside the palace wall, the shadow of the mountain is like a dai, the sky is high and the clouds are light, and there are magpies gliding in the blue sky......
This painting seems to put people in the Jiangnan courtyard, coupled with the integration of Western art style, the real courtyard and painting outside the door are both real and illusory, and the real 3D effect is smart.
Wisteria in the zenith painting
Looking northwest from the position of the throne of the fairy tower, you can clearly see that the wisteria in the zenith painting and the partition in the panoramic painting on the north wall are very tightly connected, as if the wisteria ravel is built on the partition, and the wisteria branches and leaves in the zenith painting also spread in the painting on the north wall, creating an indoor courtyard-like feeling as a whole.
The painting as a whole creates an interior courtyard-like feeling.
At this time, the Qianlong Emperor was fascinated by the beautiful scenery of Suzhou and Hangzhou, and the detailed designs in the Tiqin Zhai were all "fixed" by the palace's accurate size, and the samples were handed over to the local superintendent in the south of the Yangtze River, and then transported to Beijing for assembly.
Ti Qinzhai is extremely luxurious, and uses treasure inlay, cloisonné enamel, agarwood inlaid wood flower window, luodian inlay, carved lacquer, chiseled copper gilt and bamboo wire inlay, bamboo spring carving and so on. Among them, the bamboo silk inlay is made of tens of thousands of half-millimeter-thick two-color bamboo silk inlaid into an auspicious pattern of 10,000 characters, and each 10,000-character side is made up of thirteen bamboo wires of different shades.
It is worth mentioning the bamboo spring carving. The bamboo spring process is complex and expensive, and the bamboo should be processed into bamboo silk like hair, and then composed of different patterns according to different luster; The bamboo is removed from the knots and green, leaving a layer of bamboo springs, which are inlaid on the wooden tires and bamboo pieces after multiple processes, and then carved out lifelike patterns, which are the most difficult and delicate handicrafts of the ancient southern craftsmen.
Ti Qinzhai is the place where the bamboo spring decoration is the most in the Forbidden City, and the exquisite skills of bamboo silk inlay, bamboo spring carving, and double-sided embroidery are full of 30 pieces in total. It is used for the fur of distant mountains, trees and deer.
In particular, the bamboo spring carving "Hundred Deer Map", such a wide range of use of this ancient southern craftsman is the most complicated craft, the only one in the whole of China.
Bamboo spring carving "Hundred Deer Picture"
Tired of the red sandalwood bamboo spring painted deer picture
Tired of the red sandalwood bamboo spring painted deer picture
Tired of the red sandalwood bamboo spring painted deer picture
Rosewood artificial bamboo moon door
According to the record of the "Tired Qinzhai Furnishing File" compiled in the 19th year of Jiaqing (1814), there were 1,739 treasures here at that time.
Tired of Qinzhai treasured porcelain
Tired of fasting and playing
Among them, there are 1,181 treasures with fine texture, small size, and whole box sets, and there are even more scattered ones. In front of the south window of Ti Qinzhai, there are more than 100 pieces of "one-inch long" cultural toys on only one window sill.
Precious collection
With their different functions, rich materials, and complex production techniques, they constitute a gorgeous and colorful art world.
Rosewood decoration
The throne of Emperor Qianlong
Luxurious and extravagant interiors
Ti Qinzhai is the room where the dream is installed, a container he designed for his dream, his "too illusory realm", which is soft, proper, stable, and perfectly fits the shape of the dream. Here, "the present world is stable, and the years are not shocked".
Tire-diligent Zhai courtyard
The architectural pattern of Ti Qin Zhai is unconventional, from the front, it is five rooms wide, and the door is open in the bright room. Look at the top again, it is the top of the hard hill with green glazed tiles and yellow trimmed scrolls.
If you look closely, it's not right, there are not only five rooms under this roof, but there are also ones on the west side. Originally, there were five rooms on the east side, and four rooms on the west side, which was nine rooms wide.
The five rooms on the east side form a courtyard with the Fuwang Pavilion and the east and west verandahs, and the four rooms on the west side are another small courtyard.
"Tired of diligence" means tired of being diligent in government, Qianlong wanted to retire and come here to hide after being old and difficult to manage government. The east side of Ti Qin Zhai is five rooms wide and four deep, and the room is divided into several small rooms with a yarn partition fan, and each room has a bed or kang.
In fact, Qianlong didn't really sleep tired and fasting. It is said that each room has a good-looking inner eaves, the yarn clamped on the partition fan is still double-sided embroidery, the interior decoration is the only one in the world, the highest grade, the highest level of decoration in the Qianlong period.
Tiqinzhai is the last building to the north of Qianlong Garden, enter the east five rooms of Tiqinzhai, which is Qianlong's flexible sleeping residence. After Qianlong got up, he could go to the West Fourth Room to listen to the play, or sing a song secretly on stage by himself. After that, he came out of the West Fourth Room and turned back and walked south. It is separated from the verandah by the east five, and there is a short curved wall inside, and an octagonal door opens on the wall facing east, and the plaque on the door reads "暎 Hanbi".
"暎暎漼碧" octagonal door, the plaque on the door reads "暎暎漼碧"
"暎" is the reflection, and "Hanbi" is the cold blue sky, high and cold. The artistic conception of Han Bi is taken from Lu You's "East Lake Hsinchu", "Insert thorns and weave fences to protect and cultivate ripples in Hanbi", and the East Lake that Lu You said is Shaoxing East Lake, with many bamboos. Therefore, Qianlong built a small building against the palace wall in the small courtyard of the Bimen Gate, which was named the Bamboo Fragrance Pavilion.
The window lattices of the four rooms in the west of Ti Qin Zhai are also painted green, imitating bamboo. The Bamboo Incense Pavilion is a two-story building with three small rooms, and there are ear rooms on both sides, which should be called the ear building. On the second floor of the ear tower, there is a climbing corridor that looks like it is only enough for Qianlong to pass sideways, which is very cramped. There are no ripples of Lu You's words in the Bamboo Fragrance Pavilion, and a few pieces of Taihu Lake stones from Dongting Lake are placed in front of the house, and white smoke will be emitted from thousands of holes in the rainy season.
Bamboo incense house
The climbing corridor of the Bamboo Xiangguan leads to the north to Tiqinzhai and to the south to the aforementioned Yucuixuan.
Jade Cuixuan
Jade Pavilion is a very delicate place, and everyone likes it. It sits west facing east, and sits on a three-foot-high white stone Sumeru pedestal. The face is wide and three rooms are deep, and there is a verandah in front. There is an upside-down frieze between the eaves columns, and there is a bench lintel below. Above is the bucket arch beam structure, yellow glazed tiles green trimming roll shed rest on the top of the mountain. Open the door in the bright room, there is a bluestone platform in front of the door that leads directly to the Fuwang Pavilion in the east, the platform has a white marble handrail railing, and there is a white marble handrail in the north and south.
The southern end of Yucuixuan is the courtyard wall of the fourth courtyard of Qianlong Garden, and the eyes of visitors end here.
Throughout the Qianlong Garden, there is not only the exquisite and exquisite style of the private garden, but also the harmony with the luxurious and magnificent atmosphere of the palace. On the whole, people's emotions of visiting the garden of Ningshou Palace have undergone many major changes, and this emotional spatial sequence is similar to the beginning and end of the poetic structure, so the poetry and the garden are just different forms of expression of the same thought and emotion.
Chinese aesthetics focuses on the expression of artistic conception, and the beauty of artistic conception is indescribable, so some scholars have commented: Chinese gardens, which can be unique in the world, are actually gardens made with poetry and literature.
Qianlong ascended the throne at the age of 25, and created a prosperous era of the Qing Dynasty throughout his life.
Therefore, in Qianlong's secret garden, in addition to the gathering of precious cultural relics and exquisite skills, we also see a multi-faceted Qianlong.
Moreover, in the entire Forbidden City, many places have left traces of Qianlong, Qianlong's manufacturing, which also fully shows that the Qing Dynasty Kangqian prosperity is an important node in China's development, which can be fully reflected from the entire architectural collection of the Forbidden City.