The Night Revels of Han Xizai

The Night Revels of Han Xizai
Chinese: 韓熙載夜宴圖/韩熙载夜宴图
A section of the scroll (12th century remake)
Artist	Gu Hongzhong
Year	10th-century (original) 12th-century (remake)
Catalogue	formerly The Precious Collection of the Stone Moat (Chinese: 石渠寶笈)
Type	Handscroll
Medium	Ink and color on silk
Dimensions	28.7 cm × 335.5 cm (11.3 in × 132.1 in)
Location	Palace Museum, Beijing (12th-century copy)

The Night Revels of Han Xizai or The Night Entertainments of Han Xizai (traditional Chinese: 韓熙載夜宴圖; simplified Chinese: 韩熙载夜宴图; pinyin: Hán Xīzaì Yèyàn Tú) is a painted handscroll attributed to Chinese 10th-century artist Gu Hongzhong. The painting depicts Han Xizai, a minister from Southern Tang under the imperial government of emperor Li Yu, accompanied with realistic portrayals of more than forty people. Two copies of the artwork survived: a reproduction from the Song Dynasty, currently housed in the Palace Museum at Beijing; and a replica from the Ming Dynasty, under the collection of the Three Gorges Museum at Chongqing. The painting is highly regarded as one of the greatest masterpieces of Chinese art.

Creation

Gu Hongzhong was reportedly sent to spy on Han Xizai. In one version of the story, Han Xizai repeatedly missed morning audiences with Li Yu because of his revelry and needed to be shamed into dignified behavior. In another version, Han Xizai refused Li Yu's offer to become prime minister. To check Han's suitability and find out what he was doing at home, Li Yu sent Gu Hongzhong alongside another court painter, Zhou Wenju, to one of Han's night parties and depict what they saw. Each of two painters created a painting based on their observation after a night of partying. Unlike Gu's painting, the one made by Zhou was subsequently lost.

Composition

Full scroll of The Night Revels of Han Xizai, 12th-century reproduction

The painting is divided into five distinct parts and contains a seal of Shi Miyuan, a Song dynasty official. Viewed from right to left, the parts show Han Xizai listening to a pipa, striking a drum for dancers, resting, watching five female musicians playing flutes, and seeing off his guests. While in the early Tang period, musicians played sitting on floor mats, the painting shows them sitting on chairs, demonstrating the change that had occurred. Gu purposely created a somber ambiance, with none of the depicted persons smiling. The painting helped Li Yu dispel some of his distrust in Han, but did little to prevent the decline of Li's dynasty.

"The first of the five scenes that make up the painting shows the enjoyment of music. With high hat and full beard, Han Xizai is sitting on a couch with red-robed Lang Can, a scholar who ranked first in the highest imperial examination. They are listening attentively to a pipa lute (a stringed musical instrument) played by the sister of Li Jiaming, assistant director of the Imperial Theatre and Music Academy, who sits watchfully by her side. The girl in light blue is Wang Wushan, a talented dancer serving Han Xizai. The man standing behind her is Han's student Shu Ya. Seated near the table are two guests, Chen Zhiyong, an official in charge of rites, and his student Zhu Xian.

In the second scene, Wang Wushan is dancing to the beats of a drum that Han Xizai is striking. Everybody is focusing on her movements except Han's friend the monk Deming, who crosses his hands in front of his chest and bows his head. Although embarrassed, he cannot help but listen to the beats. In the third scene, surrounded by four female companions, Han is resting on a couch washing his hands in a basin. The fourth scene depicts the five females playing flutes. Han Xizai sits in a chair, cross-legged with his robe unbuttoned. In the fifth scene, Han holds two drumsticks in his right hand and waves goodbye to his guests with his left hand. A male guest is whispering to a maid behind Han. The five discrete scenes are artfully linked by screens.

There remains an inscription about Han Xizai, twenty words in length, at the beginning of the scroll by a collector of the Southern Song. The Ming calligrapher Cheng Nanyun (active early fifteenth century) wrote a three-word title "Night Revelry" (Yeyan tu). At the end of the scroll a label in running script reads A Brief Biography of Han Xizai (Han Xizai xiaozhuan) with several authentication seals. The Qing Qianlong Emperor (r. 1736-1795) also inscribed a colophon after the painting. The painting was included in The Precious Collection of the Stone Moat: the First Edition (Shiqu baoji), a catalogue of the Qianlong Emperor's calligraphy and painting collection."

Exhibition Materials and Cultural Visualisation

The Night Revels of Han Xizai is an iconic painting in Chinese painting history and one of the top ten masterpieces in China. The work reproduces the historical scene of the high-ranking official of the Southern Tang, Han Xizai's evening banquet. It shows the host and guests, singing and dancing, laughter and joy, as well as the protagonist's detachment and a sense of gloom. The painter, Gu Hongzhong drew a screen each section in order to create a continuous picture for viewers. The painting is a vivid depiction of life in the 10th century. The Night Revels of Han Xi-Zai is more than just a painting. It’s a window into the past, a reflection of a man’s life, and a testament to the richness of culture.

Divisions The whole picture is divided into five sections. Each scene is a snapshot of Han’s life, filled with music, dance and camaraderie. The transitions between scenes are smooth, creating a calm and comfortable visual experience:

1. Listening to music
2. Watching dancers
3. Relaxing
4. Playing string instrument
5. Seeing guest off

Listening to music The first stage of the "Night Revels of Han Xi-Zai" captures sound and emotion. The banquet begins with guests listening to a solo pipa performance. The painting shows two framed beds and a screen decorated with images of pine and rock in different shades and textures, giving an ancient and majestic feel. The tables are filled with wine vessels, fruit platters, pastries, porcelain, and more, all intricately detailed. Particularly striking are two Hutian kiln celadon wine warmers, notable for their jade-like glaze and rich historical significance, evoking the essence of the era. As the scene unfolds, the artistic elegance becomes more apparent. A female musician, dressed in a green robe and white skirt with a high bun, sits gracefully before the screen, playing the pipa. Han Xi-Zai, wearing a tall hat, is seated in the most prominent position. Above him, a figure in red is the top scholar, Lang Can. Other figures in the scene include musicians and high-ranking court officials.

Watching dancers In the second stage of the "Night Revels of Han Xi-Zai," Han plays the drum while dancers perform the "Liuyao Dance," a popular dance from the Tang Dynasty. With its flowing sleeves and gentle rhythm, the dance captures the essence of these poetic lines:

Graceful movements never cease, Intricate poses reach their end, Lotuses sway and break through waves, Snow flurries whirl in the wind, Earrings sway with fleeting glances, Long skirts ascend to the heavens, But sorrow is hard to grasp— It flies, chasing the startled geese.

A monk stands hidden in the shadows, eyes downcast, his solemn presence adding a sense of gravity to the lively banquet. This scene transitions smoothly from listening to music to watching the dance, moving from sound to sight. The artist guides the viewer through this aesthetic journey, softening the tensions caused by the underlying power dynamics.

Relaxing As the night progresses and the banquet pauses, the guests take a brief rest. The artist captures a moment of calm, with a focus on a hand-washing scene, using relaxed brushstrokes to stretch time. Han Xi-Zai, seated on the edge of a bed, seems to jest with the women around him while maintaining his dignity. The room's furnishings, like a black tea table and a tall candlestick, add a sense of simplicity and solemnity. Here, Han is portrayed as composed and graceful, adept at navigating the complex political tensions of the time. Despite the tranquil and rich aesthetic, each character remains aware of the underlying dangers.

Playing string instrument As the banquet nears its end, the atmosphere becomes quieter and more reflective. The musicians play the haunting notes of a bamboo flute, deeply absorbed in their art. The host and guests, now at ease, sit in relaxed poses. As the music fades and the night concludes, it serves as a reminder that “All good things must come to an end.”

Seeing guest off In the last part of the painting, the guests get ready to leave, each in their own way. The host, holding a drumstick in one hand, raises his other hand in a respectful goodbye. Even as the guests depart, he stands alone and strong, showing his scholarly grace.

Where to find it Original is placed in the Palace Museum in Beijing, China

Technical Features The existing original painting is 28.7cm wide and 335.5cm long. The painting is made with ink and pigment on silk. The deliciated use of colour highlights the emotions and unique personalities of the characters, reflecting their social status. The painting includes 46 figures in total, some appearing more than once. From the beginning to the end, Han Xi-Zai wears a tall, black hat, a symbol of his strong spirit, even if it seems out of place at the festive gathering. The artist’s careful attention to detail — from Han's neatly groomed beard and the folds of clothing to the elaborate hairstyles and rich drapery — enhances the overall mood. Every detail, whether joyful or sorrowful, is presented beautifully, helping to tell a story of fate.

Artist, Importance of the painting and Curiosities (Reason behind the painting) Gu Hongzhong was a Chinese court painter during the Five Dynasties and Ten Kingdoms period, known for his famous painting Night Revels of Han Xizai. He created this painting by order of Emperor Li Yu of the Southern Tang, who was suspicious of his minister Han Xizai's conduct. The painting depicts a lavish party at Han Xizai's house, with music, dancing, and other activities, highlighting the minister's indulgent lifestyle.

Emperor Li Yu ordered Night Revels of Han Xizai to discreetly investigate Han Xizai’s behavior without directly confronting him. Han was a talented and respected minister, but the emperor was concerned that his decadent lifestyle might undermine his position and credibility.

Rather than publicly accusing Han or risking political unrest, the emperor used Gu Hongzhong’s painting as a subtle way to document Han’s conduct. The purpose was likely twofold: to confirm whether the rumors were true and to have evidence that could be used privately to influence or control Han. It wasn’t necessarily meant for public display but rather for the emperor’s inner circle to assess Han’s suitability for office.

This artwork is significant because it blends political intrigue and personal observation, showcasing not only the decadence of Han’s life but also offering a glimpse into the culture and society of the time. It’s an early example of how art was used to convey political messages and social commentary.

Historical Background The Night Revels of Han Xi-Zai is a perfect example of ancient Chinese figure painting, which was often used to teach lessons and show the rise and fall of people or events. This painting has continued to resonate for a thousand years, symbolizing how art captures the passing of time. In Chinese tradition, there’s a saying, “left to pictures, right to history,” which means that art and history are closely connected. Paintings were used to record history just like written texts. Art reflects life, helps people remember the past, and conveys emotions, all in a visually pleasing way. This tradition gave history a form that people could both see and feel. Han Xizai was born into a wealthy northern family during a time of chaos and political instability . He ended up working for the Southern Tang government, but the emperor didn't fully trust him because of his northern background. Frustrated and wanting to avoid political trouble, Han wasted his wealth and lived a carefree, wild life, showing that he had no interest in power or politics.

During the difficult times of the Southern Tang, the emperor admired Han Xizai's talents but was disappointed by how Han withdrew from politics and spent his time partying. The artist who attended one of Han’s banquets under the emperor's orders, quietly observed Han’s behavior and captured both the emperor’s concerns and Han’s sadness in the painting, which helped ease the tension between the two.

The painting shows the controlled, refined style of the literati class. Each time Han appears in the painting, his presence brings a certain rhythm to the scenes. Despite the lively atmosphere, Han’s expressions and body language—whether smiling or standing—reveal a deep sadness. Over five scenes, the painting reflects both the ups and downs of life and the complex relationship between human nature and political fate.

References

6. Harvard Library - Night Revels of Han Xizai (韩熙载夜宴图). (n.d.). Harvard Library. https://library.harvard.edu/exhibits/night-revels-han-xizai-hanxizaiyeyantu

7. Uncover the truth behind Extravagant Revels: The charm and Mystery of Night Revels of Han Xizai | Pearl Art Museum. (n.d.). http://www.pearlartmuseum.org/en/index/event/Event-List/detail!hua-yan-shi-zhen-han-xi-zai-ye-yan-tu-de-mi-yu-mi

8. Films, M. (2023, October 24). Art Stories: The Night Revels of Han Xi-Zai - Monotone Films - Medium. Medium. https://medium.com/@monotone_films/art-stories-the-night-revels-of-han-xi-zai-part-1-b0c46257e717

External links

• Entry at the Palace Museum website