Sigh Qin Zheng, oblique Hong array, plain string dust. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 info turned into a warbler and flew back, still recognizing the old green of the screen window. The husband is a beautiful woman, and he is free to take care of himself. The soul is more than a rebellion, and the form is withered and lives alone.

Emperor Hui Liu Ying of the Western Han Dynasty and his empress Zhang, the two have not had the same room since they got married, and even if they were in the same room, they did not share the same bed. It's not that the two of them have any hidden physical diseases or psychological problems, but because the two are close relatives and married, Liu Ying can't bear to do it, and Zhang can't accept it.

Empress Zhang is the daughter of Lü Pheasant's daughter, and Liu Ying, Emperor Hui of the Han Dynasty, is Lü Pheasant's biological son. In other words, Empress Zhang is Liu Ying's niece, and Liu Ying is Empress Zhang's maternal uncle.

Empress Zhang's name is Zhang Yan, and she was only ten years old when she married Liu Ying. At that time, Liu Ying did not agree to this family affair for two reasons, one is the difference in generation, and the other is that Zhang Yan is still young, Lu Pheasant dismissed them one by one and said: "You can grow up when you are young, and the relationship between nephew and uncle is not among the five Lun, it's okay, don't take it to heart." ”

What Lu Pheasant said is not painful or itchy, and daring to love is not that she is marrying her uncle, this kind of marriage is also constrained by ethics and morality in ancient times, and it is an unacceptable marriage. However, the palace is an exception, because any rules and regulations come from here, and human ethics only bind ordinary people, and the formulators can completely ignore and abide by them.

In this matter, Liu Ying has no choice, he is the emperor, but he is an emperor who can't call the shots, whether it is family or government affairs, the power has always been held by the queen mother Lu Pheasant, he is just a chess piece in the hands of his mother. Although he resisted in his heart, he had nothing to do, who let him have a mother with a strong desire for power?

Zhang Yan She didn't want to, her uncle hugged her to make her happy a few days ago, and now she suddenly wants to become her uncle's wife, she wants to share the same bed together, and she has to ...... I won't be able to turn this corner for a while. What's more, at her age at that time, it was a good thing not to be frightened.

The sound of firecrackers, the dispersal of guests, the swaying of red candles, and the silence of the night. What was supposed to be the most romantic and heartwarming moment in my life was now, but now it was as silent as death. Only Liu Ying, a lonely man, and his newly married daughter-in-law Zhang Yan were left in the cave room, when Liu Ying removed the red hijab on his niece's head, he saw a tearful tearful man, Liu Ying didn't know whether to cry at that time, or to cry, his facial expression was frozen for a while due to embarrassment.

The beautiful, pure, weak and thin bride, the young, ignorant and helpless niece, these two things Liu Ying can't put them together no matter what. He didn't have a trace of delusion between men and women in his heart, he just lamented the trick of fate. The two sat opposite each other until dawn, each thinking about their own thoughts, but they didn't say a word.

Marrying his niece to his uncle can be regarded as a beastly act in itself, but Liu Ying and Empress Zhang kept their humanity and did not take a step beyond Lei Chi after all, Liu Ying preserved his humanity, but he used another kind of publicity of human nature to fill this emptiness and blank, he desperately went to other women to find happiness, looking for happiness that could anesthetize himself and forget his pain.

Zhang Yan also retained her humanity, but the difference is that she has lost the least happiness in her life since then. She had to endure both the pain of an unruly form of marriage and the torment of living in a sexless marriage, all of which had been given by Queen Bary. Liu Ying, like Zhang Yan, was a victim of Empress Lu's strong power, and both were political victims.

Wang Zhaojun and his entourage came to Chang'an, and they were put in a small room, which was called the Imperial Court, so these new palace maids were called Imperial Edict, which meant waiting for the emperor's edict in the Imperial Court.

Wang Zhaojun has been waiting for the edict for more than three years, a weak woman on the side of the Yangtze River, never left home, came to Chang'an, but was locked in a room, no one spoke to her for more than 1,100 days, it is said that she has a husband, Emperor Yuan of the Han Dynasty, but Wang Zhaojun does not know what he looks like?

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Since Yuko died, Xu Fu felt that everything was lost, he wanted to commit suicide to end his life, but he had already taken the elixir of life, and he couldn't die no matter what. Xu Fu remembered what Yuko said before she died, she would meet Xu Fu in the next life, Xu Fu missed Yuko very much, he looked forward to meeting Yuko in the next life, and now the only thing he could do was wait for a long time.

Xu Fu used painting to fill his empty life, he especially likes to paint pictures of ladies, he wants to help women paint, hoping that one day he can draw a portrait of Yuko's reincarnation, so he meets Yuko.

The lady picture, also known as the lady painting, is a painting with the theme of the life of middle- and upper-class women in Chinese feudal society, and the picture is based on the theme of the lady.

The women depicted are mainly ancient wise women and fairies in myths and legends, etc., and come from literary works such as poems and fu and folklore. When Xu Fu expresses these idealized women who are far away from real life, he is most concerned about how to show her inner spiritual temperament through the performance of women's external bodies.

Xu Fu's depiction of the goddess has a typical beauty with a skinny and clear image, and a high and ancient demeanor. The face is oval, the eyebrows are delicate, the body is slender and graceful, light and slender. Instead of showing ecstatic or sad emotions, he finally faced the development of the situation with a calm and peaceful expression, thus successfully expressing the otherworldly beauty of Gao Yi, which focuses on the inner spiritual temperament of people.

Xu Fu pays attention to realism and truth-seeking in modeling, the woman's face is round and full, the body is plump and strong, and the temperament is graceful and noble, showing the luxurious beauty of royal women under the prosperous era. This kind of beauty has a strong sense of the times and caters to the aesthetic tastes of the big bureaucrats and aristocrats. The plump skin of the kabuki lacks the lazy posture of the palace maids, and the slender bodies of the fairies are more than the plump shapes of the ladies, focusing on the curvaceous and coquettish posture of the female body lines.

In addition to the depiction of noble women in the court and women in myths and legends, the poor women at the lowest level of life also began to pay attention to Xu Fu, who compared with the ladies, they did not have delicate appearances, attractive figures, gorgeous clothes and noble status, they were only the most ordinary rural women in life.

The old woman's face was haggard and slow, and her life made her appearance full of vicissitudes. Xu Fu depicts them in a realistic artistic way without beautification, which is intended to praise their attitude of living in poverty and unpretentious personality, and at the same time express sympathy for their poor life. The characters are rigorously modeled, the proportions of the shapes are accurate, and the postures are vivid and natural.

The state is thick and true, the texture is delicate and even, the face is round, the nose is high, the lips are small and plump, and the face does not have too much expression. The body is plump and fat, and she wears a straight long skirt, which hides the curvy beauty of the female waist.

The ladies have graceful figures, dignified and beautiful faces, and their manners reveal the beauty of women's elegance and tranquility, especially when they are comfortable in the pavilions, wearing close-fitting and tight-fitting clothes, which enhances the slenderness and elegance of their posture.

Xu Fu is painted with fine and even light ink lines, the picture is elegant and delicate, and it more appropriately expresses the delicate and quiet atmosphere of the hostess. The characters are colored in light colors with cinnabar white as the main tone, showing the gentle and delicate beauty of the goddess. They trim their necks, shave their shoulders, have willow waists, and have completely different aesthetic tastes.

The women in the paintings, whether they are virtuous women, noble women, or fairies, all have the appearance of a trimmed neck, shaved shoulders, and willow waists, with a long face, fine eyes, and cherry lips, and a jasper-like charm of a small family with clear dew and sadness.

The picture depicts the leisurely life of the ladies, the charm is quaint and gorgeous, and the luxury is playing in the courtyard, the movements are leisurely, the flowers are played, the butterflies are photographed, the dogs are playing, the cranes are admired, the Xu Xing is lazy, and the maids are holding fans to obey each other. Its coloring skills, clear layers, fading on the face, and decorating the clothes are all extremely ingenious. The translucent and soft light yarn and the moist luster of the skin are all painted like Xiao, showing that Xu Fu has a high degree of artistic skills and generalization ability.