Story of Yanxi Palace: Red Seal Spring Star

His eyes were moist, and he blurted out: Fatima, don't worry about me!Concubine Rong was taken aback and looked at Fu Heng.Fu Heng also felt that he was a little impulsive, but suddenly he only felt that there were many things in his heart that he wanted to say to her, so he let her go, stood up straight, and said in a low voice: "I know...Concubine Rong is extremely shocked, Looking up at Fu Heng, Fu Heng also looked at her, nodded slightly, and continued to whisper: That night in Yangzhou...you told me yourself, you were seriously injured at that time, you don't remember... Concubine Rong felt dizzy and fainted again.

The emperor finally brought Li Yu to Yujing Garden, because Fu Heng taught someone to report to him that Concubine Rong had fainted here, and asked him to bring Concubine Rong back to the palace.The emperor knew in his heart that this was actually Fu Heng giving himself a reason to look at Yingluo.After the emperor came, he saw Fu Heng standing in front of the gate waiting for him. He was indeed tanned and his eyes became brighter. Although his face was worried, he was full of energy. Suddenly there were many things in his heart that he wanted to say to him. But can't tell.

Fu Heng smiled and knelt down to greet him, saying: Your Majesty, how have you been all along?I haven't seen you for a long time, I miss you very much.Li Yu and Duo Luo stood beside the emperor.Li Yu also had a worried look on his face.Doro didn't know what happened last night. He had already returned home at that time, and he didn't know Yingluo's condition, because Emperor Li Yu naturally didn't tell him that he hadn't seen Fu Heng for a long time, so he looked at Fu Heng happily.

The emperor hesitated a little, but finally stretched out his hand, helped Fu Heng up, looked at him and nodded, but didn't speak.Fu Heng smiled and said: Thank you, Your Majesty, please, Your Majesty!Entering the main hall, I saw a plaque with the four characters "Sincere respect" hanging on the front of the hall. On the wall of the wooden pavilion under the plaque, there is a large Xia chapter of "Four Seasons Flowers and Birds" written by Lu Ji of the Ming Dynasty. In the painting, two orioles Stopping on the gardenia tree, the couplet on both sides says: There are royal palaces guarding diligently, and the flowers bloom like jade and gold.These are two sentences in "The Queen Mother's Wishes-Gardenia Poems" written by Wang Yishan in the Song Dynasty.

On the wide table under the painting, there is only a large vat with blue and white cloud and crane patterns in the center, which is two feet long and high, with light brown tiger heads on both sides.The enamel is warm and thick, the layout is sparse and elegant, and the style is gorgeous and elegant, so detailed that every pine needle and crane's wings can be seen clearly.

There is a red sandalwood square table and a red sandalwood armchair inlaid with enamel on the left and right under the wide table in the hall.The lower section is arranged on both sides, each with six red sandalwood crutches and armchairs with backrests and small square tables of red sandalwood. The armchairs are all covered with royal blue satin mattresses with longevity patterns.Turning into the inner partition door of the back hall, there is a red sandalwood table next to the back door, on which are placed a large green pastel porcelain vase and a large blue and white picture jar.

A large green famille rose porcelain vase depicts "a tall building throwing fruits and carts".The late Ming opera "Golden Sparrow" has a section called "Pan An Throwing Fruits", which describes Pan An's car in the market, and all the women see Pan An's beauty, throw down the fruit, and fill a cart.There is also an illustration print "Throwing Fruits and Carriages" in the novel "Fruit and Vegetables", which depicts Pan An riding in a carriage, surrounded by newly dressed ladies on the high wall, throwing fruits at Pan An one after another.In the Ming Dynasty, there was also a legendary play "Golden Sparrow", which described the story that Wen Luan, the daughter of Jing Wangsun, fell in love with Pan An, threw out a pair of gold sparrows, and finally married Pan An.

The blue and white large picture cylinder has a thick carcass, which is the style of Chongzhen.The story of the characters "Returning Drunk in the Spring Society" is drawn directly from the poetry of Tang Dynasty Wang Jia's "Sheri", "Rice and grain are fertile at the foot of the Ehu Lake, the poultry fence and chickens are half-covered, the shadows of mulberry and zhe are scattered in the spring, and the family supports each other. Drunken return".The blue and white color is rich in gradation and rich in dyeing, which is a completely different style from the delicate blue and white of the big head tank.

The emperor has visited this hall many times, but looking at these big characters written in his own handwriting today, his mood is different.After sitting down, Fu Heng ordered tea for the four of them. The emperor drank a few sips and told Li Yu and Doro to wait here. He and Fu Heng went in and brought Concubine Rong out.

Along the way, neither of them spoke.Fu Heng took the emperor to the "Yicui Hall" where he and Yingluo lived. The emperor saw that there was no one around in the garden, and knew that Fu Heng had sent everyone away, but when he reached the door of the bedroom, he hesitated not to go in.Fu Heng smiled and said: Your Majesty, we were all terrified at first. After Dr. Ye saw it, he told her to stay in bed, and she must not be stimulated again. She is already asleep. Pearl is inside to listen to your orders. Fu Heng went to the outer room of the west wing to wait. Now, Concubine Rong is resting there, and you will teach Pearl to bring you over when the time comes.The emperor hesitated and was about to speak when Fu Heng turned around and left.

The emperor let out a sigh of relief, and opened the light golden felted soft curtain. A light fragrance wafted into his nostrils, which was exactly the smell of snow lotus in Tianshan that he was familiar with.Seeing the emperor coming in, Pearl rushed up to give a blessing, and said: Your Majesty, the master is still sleeping, and Pearl is right outside the door.After saying another blessing, he went out.

It was the first time for the emperor to come here. On the right side of the door, there was a small long table with huanghuali and a hidden drawer. Pair of tall dark gold cloisonné enamel tower lanterns.The small long table used to be a small Buddha room with a concave all-wood partition.

A pair of three-color standing statues of Guanyin Bodhisattva are enshrined in the shrine on the hall.High snail bun, wearing a crown, long earlobe shoulders, plump and rich, eyes slightly open, eyes downcast.Wearing a green shawl and a vermilion robe and skirt, with both hands knotted in meditation on the chest, holding a yellow auspicious satin, she stands gracefully on the lotus seat, with a comfortable and relaxed posture.The couplets on both sides of the shrine say: Compassionate, joyful, and sacrificed to save others, pure and solemn, surpassing all saints.

There is a small jade incense burner in the center of the small table in front of the shrine. It is light yellow, dignified and stable, with a dragon head and ear rings. The jade is crystal clear, simple and elegant.On both sides are a pair of lotus candlesticks with copper cloisonné and enamel, and a light blue futon is placed on the ground under the table.The emperor was very impressed with this candlestick because it was an old item from Changchun Palace.Not only is the shape unique, but it also uses blue, white and red three kinds of glaze colors to smudge, especially the base below is an upside-down lotus pod shape, and the lotus pod is painted with inverted lotus petals as a contrast, just like a reflection in water.

Looking away, I saw the sunlight outside the south window, lush bamboos, lush branches and leaves, and plantains, the windows were covered with window glass, the indoor furnace was slightly smoky, and there were a few couches in the yin, which was also prosperous and elegant.

On the south wall in the middle hangs a picture of a beauty. In the picture, a woman is sitting on a stool, resting her chin in meditation. Her face and clothes are drawn with fine and uniform lines of light ink, and only the eyes and hair are heavily painted. The ink dots are dyed, the ink rhyme is vivid, elegant and beautiful, which more appropriately shows the delicate and quiet beauty of the beauty.On the stone table behind the woman are stationery utensils such as piano, pen, inkstone and so on. On the left side of the stone table is a large square pot with half a pot of bonsai plum blossoms in it.

The inscription on the back of the painting by the emperor is "Wuling Spring Picture" painted by Wu Wei in the Ming Dynasty.Wu Wei "painted characters with strong strokes, especially in line drawing", and was called to Beijing to worship the court during the Chenghua and Hongzhi years of the Ming Dynasty.He has a lonely personality, does not admire power, and is rejected by the evil environment inside and outside the court.After returning to the south of the Yangtze River, he often relieved his depressed mood by drinking and prostitutes.When he heard that Wu Lingchun, a woman rich in literature and talent, lived in a brothel without being affected by her situation and was loyal to love, he was deeply moved, so he made this line drawing to show his sympathy and admiration for Wu Lingchun .

There is also a poem inscribed in familiar handwriting on the painting: Lazily flick the mandarin duck pillow, stop sewing the emerald skirt, and put the tent on the stove to smoke.Recently, my heart has become more eager, thinking of you.On a rainy night, Wen Tingyun Nan Gezi was recorded in Yicui Hall, Yujing Garden on the fifth day of the fifth month of Bingzi year.Bingzi year, that is, the 21st year of Qianlong.In the spring of that year, Huo Jizhan was arrested in Yujing Garden, Yingluo and Fu Heng were ordered to move here.And in May, it was the time when the emperor sent Fu Heng to Junggar to rectify military affairs.

On the large beech cabinet under the picture of the beauties, in the middle is a song official kiln pierced ear bottle with a purple mouth and iron feet, with gray-green "hundred rubbish broken" cracks, like a stream like a spring, like a piano like a bell, as if You can hear the sound of nature hidden deep in the mountains.On the left is a square-footed manger stove about one foot long. It is copper-red in color, neat and elegant, square and steady.On the right is a western gilded bronze chariot chiming bell.Under the east window of the south wall is a qin table of huanghuali wood, on which there is a simple guqin with broken patterns of plum blossoms.

Opposite to the painting of beauties, there is a long marble table in the front row, on which paperweights, pen holders, brush washers, books, painting silk, paper pads, fan leaves, and painting utensils are piled up; behind the table are two Xiangfei bamboo chairs, There is also a plaque hanging high on the north wall, which is simple and old-fashioned. On it, there are four characters "knowledge strictness and nourish qi". The emperor was stunned when he saw these four characters.Beneath the plaque and against the wall is a row of black lacquer painted landscape book shelves, which are full of books.

To the west of the opposite door is another living room. The red-painted tassel curtain on the partition door is hooked up. You can see the red sandalwood round table and four multicolored dragons piercing the lotus pond pattern embroidered pier. The pier is painted with a red beard on the front. The green dragon leaps over the lotus pool, and two colorful flower dragons walk through the lotus pool in the middle of the outer wall, with drum nail patterns protruding up and down for a week.The bright and lively embroidered pier harmonizes the heavy and dull rosewood.

Against the wall behind the round table is an arhat couch inlaid with rosewood wood, with a kang table on top and a footrest on the bottom. On the round table on the left is a red glazed jar with two plastic ears on the shoulders. The whole body of the bottle is covered with red glaze, with a deep glaze color. Elegant, light rust red and seems to be shrouded in haze, showing that this is a rare red-glazed ware of the Yuan Dynasty.The body of the bottle is darkly engraved with a cloud dragon pattern, the cloud dragon pattern is mighty, with fangs exposed and the mane floating upwards.In front of the bottle was a pair of gilt copper bell heads. He also had the impression that this was the dowry given to Yingluo by the empress, a relic from the early Ming Dynasty.The head of the bell is only less than four inches high, and the upper part is an eight-legged pestle head.In the center of the handle of the vajra bell is the head of the goddess Prajna Paramita, which symbolizes wisdom and emptiness.The Bodhisattva wears an eight-leaf crown, with beautiful features, a calm and kind face, and drooping ears.The carving is meticulous, the precious light is faint, and it has a solemn momentum.

On the right side of the window, there is a bronze gui with animal face pattern.Bronze gui is the main bronze food vessel in the Shang and Zhou dynasties. The Ding and Gui system formed by combining with the bronze tripod is the core of the ritual system of the Zhou Dynasty.

On the wall behind the couch is "Four Views and Landscapes" by Liu Songnian of the Song Dynasty. The light ink is light and the haze is beautiful and delicate. It is an old collection of the Changchun Palace. Rong Yin once copied the summer scroll as a birthday gift for him.After Rongyin passed away, together with some old things from the Changchun Palace, they were given to Fu Hengliu as a souvenir.On one side of the couch is a row of Bogu racks that are separated from the Bisha kitchen, and there is a door leading to the Bisha kitchen.

The emperor didn't know what it was like for a while.I also saw a green gauze kitchen hooked up with a beige doran-patterned curtain in the southwest, and on both sides are two screens of "Five Classics Cuisine Room" given by myself, with red sandalwood as the frame, and the center of the screen is painted on both sides.Five horizontal lines, and the center of the skirt board is inlaid with round relief double chi arch longevity patterns.The upper and lower sides of the apron and the door-shaped tooth bar are embossed with double chi arched longevity patterns and double chi patterns respectively.Pingxin Yubi's "Five Classics Cuishi Ji", carved with golden silk nanmu, the surface is gilded, and the ground is made of magnetic blue lapis lazuli chips and turquoise powder, which is gorgeous and unique.So he named it "Yicuitang" here, and wrote the plaque himself when he gave it to the garden.

In the Bisha kitchen, there are yellow rosewood basin racks and yellow rosewood clothes racks on one side, and a closed door at the back leading to the bathroom, etc. There is a long axis of Zhu Ben's "Picture of a Lady Facing a Mirror" hanging by the side door of the bed, depicting The scene where the women in the boudoir get up in the morning and make up.The woman in the painting is facing a large round mirror on the ground, looking forward and backward when looking in the mirror, with a vivid and interesting expression. She is wearing a soft and fat robe, which sets off the woman's small figure.There is a tall table against the wall under the painting, with a gilt smoker on it, with animal heads as ears on both sides, and unicorn beasts as buttons on the top of the cover, showing the majesty and ancient charm, and requiem incense is smoked inside.

Under the south window in the kitchen, there are two sets of huanghuali wood dressing tables and wooden rattan armchairs, with embroidered chair drapes casually draped on them, and a large beech wood six-post bed with four-fold Ruyi patterns in the center, and a tea-green brocade double phoenix hanging on it. The hanging tent with the pattern of the sun is covered with a sapphire blue swastika (same as "Wan") pattern duck down brocade quilt, lying high on it, and a rosewood stool inlaid with bamboo and plum blossoms is placed beside the bed.Suddenly the bell rang outside, and it struck three times. He came back to his senses, went in and sat on the stool.

Before Fu Heng carried Concubine Rong into the bed in the guest room in the West Wing, she woke up. At that time, Fu Heng ordered Cui'er to get the wake-up medicine and tea, and went to the front hall to call Caiyun to take care of Concubine Rong. Heng left.When Concubine Rong woke up again and drank tea with medicine, she taught Caiyun to stand outside the house, saying that she wanted to be alone.

At this moment, Fu Heng went to Concubine Rong's room again.Concubine Rong was still sitting on the bed, when she saw him coming in, she turned her face away, not looking at him.Fu Heng put the turquoise green pastel chrysanthemum-patterned washcloth and towel on the round table in his hand, then went to the stool beside the bed and sat down, and said softly: The water is a little hot, you can clean it later Besides, I can't stay in this room, the emperor is looking at Yingluo, so he came here.Concubine Rong nodded, but still did not turn her face away.Fu Heng continued: I'm sorry, I didn't know.Concubine Rong didn't move.Fu Heng said again: Thank you!

Concubine Rong was annoyed for a while, she turned her face, and was about to say: You didn't forgive me, and I don't need your thanks!Seeing Fu Heng's shining eyes looking at him softly, with indescribable purity and magnanimity, his heart softened and he was speechless.Because of the close distance, he glanced at the red and black jade pendant with a jade pendant hanging on his waist, with Yingluo knotted on it, and immediately thought of Yingluo, and felt very guilty in his heart.Fu Heng smiled at her and said: This is very good now.Don't let Yingluo know.Concubine Rong didn't understand what he meant for a moment, she looked at Fu Heng.Fu Heng also looked at her, smiled at her again, got up and walked out.

Then Caiyun came in, holding a tray with a magenta bowl and silver round spoon on it.The lemon yellow glaze is pure and delicate, and there is a bowl of snow-white cheese in the bowl, with a scarlet dot printed in the middle, the color is extremely beautiful.She looked at Caiyun in a little surprise, Caiyun said: This is the tala that Mrs. Fu Heng ordered Cui'er to bring here. Madam, do you want to eat it?Concubine Rong remembered that she came here in a hurry and hadn't eaten lunch yet, so she nodded immediately and ate every bit of the bowl of sweet, sour, fresh and fragrant cheese.

Just as Caiyun put away the bowl and spoon, there was a noise outside, it was the emperor coming, Concubine Rong wiped her face with her sleeve.Fu Heng lifted the curtain and followed the emperor into the room. Concubine Rong said softly: Your Majesty.The emperor walked to the edge of the bed and sat down, holding her in his arms. Fu Heng looked at Concubine Rong, smiled again, and turned away.

The author has something to say:

【Pu Shou】commonly known as the monster ring, it is a kind of animal face pattern, mostly ferocious beasts such as jiaotu, taotie, lion, tiger, chilong, etc. It is inlaid on the gate as the base of the door knocker, or it can be made without the ring. For decoration, it can also be used to install handles on bronzes, pottery and other utensils.Pushou cylinder is a cylinder that uses Pushou as ears (i.e. handles).

[Manger Furnace] Manger, as the name suggests, is a trough for feeding horses.The shape of the ancient copper furnace was made according to the traditional concept of "round sky and earth".Most of the manger stoves are rectangular in shape, which is named after the shape of a manger.The edges and corners of the whole vessel are square, which is different from the Tiantian Round Furnace. The Manger Furnace means "place".Ancient casting furnaces have always adhered to the principle of "the sky is round and the place is round". Round furnaces are often used for worshiping the sky, and square furnaces are used for worshiping the earth. The "manger furnace" has a square shape and is known as a device of righteousness. Therefore, it has been sought after by literati and scholars in the past dynasties, and it is the pursuit of gentlemen.