Han Xizai's "The Night Banquet" was created by Gu Hong, a painter in the Southern Tang Dynasty, which represents the outstanding achievements of ancient figures in China. This volume is plain silk, focusing on color. It is 28.7 cm long and 335.5 cm wide. No money, look at the name in the postscript, which is now in the Palace Museum in Beijing. Han Xizai's Night Banquet depicts the banquet life of Han Xizai, a politically frustrated bureaucrat. There are five fragments in this painting, which unfold the whole banquet activities through five interrelated and relatively independent character activity plots; At the same time, we can create the image of Han Xizai through different activity scenes. Listen to the pipa in the first paragraph. There are five women and seven men. Han Xizai and a young official in a red robe are sitting on the bed, and the other male guests are wearing soft feet (pu). The author skillfully uses the law of diversity and unity, and notices every different emotional reflection in the composition of many characters, but they all revolve around the word "listening". Players and spectators are emotionally integrated. Some people have different emotional reactions, but they look at the performer intently; Some eyes are not on the player, but you can feel how well he listens from the rhythmic movements of his hands. In the second paragraph, after painting, Ban Weizhi, a calligrapher in the Yuan Dynasty, made a specific description in his poem: "The huqin is petite and dances six times, and it is like a drum." According to inscriptions and documents, the performer of Liu Yao Dance is Wu Wangshan. What I see in the picture is her dancing back. Another new character on the screen should be Han Xizai's good friend monk Deming. In the third paragraph of the picture, the ups and downs of the whole picture are intermittent The picture shows Han Xizai and a prostitute sitting on the bed, while Han Xizai is washing his hands, but his eyes turn to the pipa and flute in the hands of a maid from Xubu. The fourth paragraph is another wonderful fragment in the whole painting. Han Xizai took off his clothes and sat cross-legged in a chair, seemingly casually enjoying the Bi Li and flute played by five singers. At the end of this paragraph is a dialogue between men and women across the screen, and the following plot transitions very skillfully. In the fifth paragraph, when the night is over, the guests in Han Xizai are teasing prostitutes, Han Xizai is holding a drumstick, and Yang Xiangren is handing over a long way, ending the picture. The five plots in The Night Banquet mainly show two groups of scenes listening to songs, but they are different in handling. In the first paragraph, eight people listen to a solo. In the process of picture composition, everyone's expression is focused on the plucked strings. The fourth paragraph is just the opposite. It's a group performance that one person listens to. Before Han Xizai, he happened to hit a girl who was talking to him, separating the two groups of characters. It is very different and scattered from the composition in the first paragraph, but it gives people the feeling that they are still listening. It seems that the whole picture is filled with clear and pleasant music. This kind of treatment is not only to avoid the repetition of composition, but also to choose an appropriate and personalized treatment according to the needs of different plots of solo and ensemble. What made Gu win an immortal reputation in the history of art was his portrayal of Han Xizai in The Night Banquet. In the picture, Han Xizai is described by the majestic image of undressing. In the traditional concept, this is used to describe a person's spiritual temperament that is detached and open-minded. In the picture, Han Xizai is taller than the people around him, which is a technique used to emphasize a certain character in ancient paintings. But we don't just rely on this method to shape the image of Han Xizai, but to show him from the mutual relationship and echo between the characters. In the fragments of various activities, Han Xizai has always occupied a dominant position. However, his expression is melancholy, and his brow is full of meditation and anxiety. He was in a banquet environment, out of the happy atmosphere. Being able to depict the inner thoughts and emotions of characters in such a thoughtful depth is a great progress in ancient figure painting. "The Night Banquet" has reached a high level in painting with a pen. For example, Han Xizai's facial beard and beard are well combined, and fluffy beard and hair occur in the skin, which is really "hairy and fleshy". The lines of the characters' clothes are orderly and concise, and they are very neat and free and easy. The outline of the line is like a curved wire, soft and rigid. The description of the utensils is not sloppy. For example, the top of the pipa can be seen clearly to the structural relationship of the details, but the detailed description of the details does not damage the overall effect at all. It makes people feel interesting. It is also very ingenious in coloring. In gorgeous colors, the interval is large black and white, which plays the role of unifying the picture. Another example is the "Blow-out" section. Character costumes, red and green, are interspersed with each other, with contrast and echo. Not many colors, but rich and unified. If you look closely, you can see that the embroidery pattern on the clothes is fine and exquisite. In addition, the small landscape paintings on the screen and bed are very fine, which is also an important reference for us to understand the landscape paintings of the Five Dynasties more comprehensively. The Night Banquet is not only of great value in the history of painting, but also a valuable material for studying the history of music, dance and craft. For example, celadon vessels in the painting, such as holding pots with warm bowls and wine glasses with trays, are typical vessels in the Five Dynasties and the Northern Song Dynasty. It is also worth noting that Gu's "The Night Banquet" was painted in Han Xizai's home with "peeking" and "recording", and "recording" is a silent painting. During the Five Dynasties, many painters mastered this technique of memorizing pictures, especially those who were good at drawing portraits. It can be seen that the artistic level of the banquet is not accidental, it is the product of the times. About the life of Gu, the author of The Night Banquet, the history of painting is extremely brief, only that he is from Jiangnan, an academician of Nantang Painting Academy, and is good at figure painting. In addition to the pictures of the banquet, his works are also recorded in the history of painting: Ming Taizu Beats Wu Tongshu, Mountains and Waters, Xue Cun, Lotus Money and Oil Pool, etc. His outstanding realistic ability and the outstanding achievements of the five generations of figure painting represented by him in The Night Banquet will be recorded in the history of painting forever.