Chinese paintings, also known as national paintings or native paintings, is a traditional painting form in China. Chinese paintings focus on lines and ink and boasts highly detailed brushstrokes in pursuit of the artistic effect of meticulous brushstrokes and brilliant ink. In terms of color, black ink is mainly used, and focuses on suitability to type, in the application of color. At the same time, the artistic conception is an important part of Chinese paintings, in pursuit of mood and imagery, spirit resonance and vitality in both form and substance. Since ancient times, there has been a proliferation of Chinese paintings featuring the Mid-Autumn Festival as the theme. These outstanding artistic paintings depict wonderful scenes of Mid-Autumn reunions, raising a toast under the full moon, and enjoying the beautiful evening together with loved ones. It expresses people's reminiscences of their hometown, and their great expectations and hope for a good harvest. Today, the Mid-Autumn Festival has become one of the most important traditional festivals in China. While enjoying the full moon and the surrounding blooms, having the chance to appreciate the famous artistic works of well-known ancient people will deepen the cultural ambience of the festival. Traditional Chinese paintings with Mid-Autumn Festival as its key theme shall, with its masterful painting techniques and performance, become widespread and popularized, timeless and enduring.
<A Cup In Hand Under the Moon> is a fine painting by Southern Song(1127-1279) artist, Ma Yuan, that has been handed down over many years. is only a one-fold page, the image composition is unique and elegant, allowing the viewer to "see the big in the small", and immerse himself in the deep and profound imagery.
"Meeting over a chance encounter on a happy occasion," "Have a cup in your hands under the moon and amongst the flowers."The painting depicts a "Mid-Autumn reunion" feast, a full moon hanging high up in the sky, The arrival of good friends creates a wonderful ambience of a festive gathering. The owner in the painting is in a lithe and graceful posture, and of genteel manners. he holds a cup in hand and greets his friend, displaying the intimacy between host and guest. Four child servants are in different postures. One of the child servants presenting the wine turns his head back and looks towards a child servant carrying an instrument up the stairs, and they gaze at each other. portraying a total of six people including the masters and servants, is highly spirited, vivid and interesting. The characters in the painting are the one with the surroundings, effectively expressing the life and ideals of scholars of Southern Song Dynasty.
Southern Song painter, Li Song's <Watching the Tide On A Moonlit Night> is the painter of Southern Song Dynasty(1127-1279) Li Song's outstanding painting. Precisely depicts a tide watching scenario in Lin'an District of Southern Song Dynasty on a Mid-Autumn night. The painter accurately captures the wonderful moment of a "one-line tide" on a mid-autumn moonlit night. The single tide line occupies the center of the painting. Under the bright moon that is hanging high in the sky, the tidal waves roll and surge, galloping and rushing towards the coast. The doors of the magnificent loft by the river were tightly shut, shadows of people within barely perceptible. The building in the painting is drawn with detailed and well-coordinated pivots, precise and accurate. The riverfront loft stands on the corner, and contrasts with the river tide, forming a scene of concreteness and abstractness, stillness and dynamism.
<Chang'e Holding A Laurel> is the work of Tang Yin, one of the "Four Masters of the Ming Dynasty"(1368-1644). During the Mid-Autumn Festival, whenever a full moon is witnessed, people will think about "Guanghan Palace" and "Chang'e" from the ancient mythological legend, and painters will often create timeless artistic pieces based on this theme. Based on the verses at the top right corner of the painting, "When touring the Guanghan Palace," the lovebirds circle the air and curl the embroidered flag. Because Chang'e favors the scholars, she snapped the highest branch of the laurel.", one can tell that the "main character" of the painting is the moon palace fairy, Chang'e.
Chang'e in the painting wears a phoenix wreath on her head, with shapely brows and red lips that are slightly open, her delicate and beautiful hands holding onto a laurel, the belt of her dress dancing in the wind, marked by smooth, flowing lines. Chang'e's face is stained in white, crystal clear like the moonlight, colored to perfection, bright and elegant. Sleek shoulders and pristine hands, and her sleeves and dress hang down naturally. Her crown suit and ornaments are depicted with precision, especially the crane and auspicious cloud patterns on the collar and sleeves, portrayed with nuance, light and elegant.
<Light Stroll Under the Mellow Moon Painting Catalogue> is the classic masterpiece of the painter of Qing Dynasty(1636-1912) Chen Mei. It consists of a total of 12 folds and depicts the life of ladies in the Qing Dynasty over the 12 months of a year.
<Moon Watching on Qiong Deck> on the 8th page depicts a moon watching scene during Mid-Autumn, with Qing Dynasty Liang Shizheng's cursive inscription, " "Light dew sprinkles and cools the autumn, Osmanthus decorates the branches with spots of yellow. Don't need ambergris in the incense burner, The light fragrance secretly permeates silk dress, Qiong deck peaks among all the flowers, Open the sleeves and release the fragrance into the azure sky, The cloudless jade sky is clear, The wonderful scene of reunion happens this night." Calligraphy and painting integrated as one, and complement each other. <Moon Watching on Qiong Deck> portrays the crisp autumn air, and the Mid-Autumn night immersed in the fragrance of osmanthus. The bright moon hangs in the air, and the tall deck stands high in the garden with miscellaneous trees surrounding them. In the dense mist a distance away, the tower looms in the background, and the boulders stand firmly. Women are either standing or sitting down, watching the moon by the railing. In general, they are separated into two groups: One group is located on higher ground, and confides in each other while looking back, "Guiding the hidden meaning behind the autumn light, as if they have already forgotten about the stone railing that has gone cold, the chill permeating through the cold mist. Another group is located under the pavilion, arms around the pillars, immersing themselves in "the pale and grey moonlight from far away". The painter employed smooth and fine lines with bright and lively colors to depict the concubines' lithe figures, light and carefree postures, highlighting them being "delicatey swaying in the wind" characteristic of their physical appearance.
