Color Version 100 Famous Chinese Paintings You Should Know in a Lifetime

Author: Xu Lingling
Publisher:
Publishing Date: 2006-04-01
Features: Appreciation of the Famous Painting "The Procession of the Steamer"
"The Procession of the Steamer" authentically records the historical event of the marriage between Princess Wencheng and Songtsen Gampo of Tibet over 1,300 years ago. The painting depicts the scene where Emperor Taizong of the Tang Dynasty, Li Shimin, received the envoy Lu Dongzan, sent by Songtsen Gampo to marry Princess Wencheng, in casual attire. Tibet was one of the ancient ethnic minorities of China, and during the early Tang Dynasty, it frequently raided the borders. The Tang Dynasty's policy toward Tibet was one of combining benevolence and authority. At that time, the Tibetan leader Songtsen Gampo admired the rites and institutions of the Tang Dynasty and requested marriage to the Tang court multiple times. To properly manage ethnic relations, Emperor Taizong decided to marry his relative, Princess Wencheng, to Songtsen Gampo. In the fifteenth year of the Zhenguan era, Songtsen Gampo sent envoy Lu Dongzan to Chang'an to welcome the princess. Emperor Taizong received Lu Dongzan and sent Minister Li Daozong to escort Princess Wencheng to Tibet.
In "The Procession of the Steamer," the person seated in the steamer is Emperor Taizong of the Tang Dynasty, Li Shimin. Wearing red casual attire, he appears dignified and benevolent, with slightly moving lips, possibly inquiring about the Tibetan envoy. The three standing figures opposite him include Lu Dongzan in the middle. He wears a small hat, a narrow-sleeved long robe adorned with floral patterns, and a thick, dark beard. His face is marked with weathered wrinkles, yet he exudes competence despite his travel-worn appearance. Standing respectfully with hands clasped, he seems to be answering the emperor's questions. In front of Lu Dongzan stands a red-robed figure with a long beard, likely a ceremonial official (or translator) of the Tang Dynasty. The person standing behind Lu Dongzan is probably his attendant (one theory suggests the former is the ceremonial official in charge of leading the procession, while the latter is the ceremonial official).
Around the steamer, several petite and graceful palace maids are depicted, some carrying the steamer, others supporting it, and some holding fans and umbrellas, each with a unique posture. The expressions, attire, and postures of the figures in the painting are lifelike and vivid, with their identities and personalities portrayed with great realism. Historical records indicate that Emperor Taizong highly appreciated Lu Dongzan and once considered offering his daughter, Princess Langya, in marriage. However, Lu Dongzan refused, citing that the princess had not yet arrived, which further earned him the emperor's admiration. Lu Dongzan served in Tibet for over 30 years and made significant contributions to the relationship between the Tang Dynasty and Tibet. It is no wonder that the emperor's expression in the painting reflects his approval of Lu Dongzan.
Although "The Procession of the Steamer" differs in style from the previously mentioned "Portraits of Emperors of Past Generations," both paintings emphasize the depiction of psychological activities rather than relying on exaggerated artistic movements. Instead, they focus on the profound portrayal of characters. This "The Procession of the Steamer" is executed in meticulous detail with heavy colors, bold and solid line work, and minimal abruptness. The use of vermilion and malachite is skillfully applied, with subtle gradients in certain areas. The composition is concise, omitting background and props, yet the small scene appears dignified and elegant.
"The Procession of the Steamer" successfully captures the emperor's joy and Lu Dongzan's reverence for him, portraying characters of different statuses, ethnicities, and identities with authenticity and appropriateness. It vividly records the friendly relationship between the Han and Tibetan peoples. After Princess Wencheng arrived in Tibet, she directly introduced advanced Tang culture, playing a significant role in promoting Tibet's social progress and leaving a far-reaching impact. Songtsen Gampo even built a palace specifically for Princess Wencheng, which is now known as the Jokhang Temple in Lhasa.
Yan Liben's painting had a profound influence on later artistic traditions. Mi Fu once described him in "The Art History" as "melting silver to create moonlit cloth," highlighting his bold and vigorous style. Wang Yuanyun, in "The Jade Hall Conversations," remarked that Yan's paintings were "like the Taoist sage ascending west" and that he once "used lacquer to paint eyes." From Yan Liben's artistic creations, it can be seen that early Tang painting had gradually entered the flourishing stage of the Tang Dynasty, characterized by "radiance and completeness."