A painting?

When Emperor Chongzhen's suspicion was already deeply rooted, and when Emperor Chongzhen could no longer dissuade him. Even Empress Zhou and even Empress Yi'an's dissuasion were ineffective, could Li Yan and Song Xiance only need one painting to help Chongzhen eliminate his doubts?

How is this possible? You have brought the picture of the king of the previous dynasty to send a son, and it will not dispel Emperor Chongzhen's slight suspicion.

However, in fact, this painting does work.

It seems that Zhu Cilang is facing a dilemma, and it can even be said to be a choice to change the direction of the Ming Dynasty. Whether it is returning to the capital or rebelling on the spot, it is not the best choice.

A painting by Li Yan and Song Xiance can easily resolve this huge crisis. What kind of painting is this that will completely eliminate Emperor Chongzhen's doubts?

This is a very long scroll, showing twenty-four different scrolls in the form of a long scroll. Each scroll is an independent story.

Yang Bojun verified in a brief discussion on the scriptures: "Guo Shouzheng of the Yuan Dynasty compiled the filial piety of 24 ancient people into a book.

The subject matter of this painting is derived from the story of the Twenty-Four Filial Piety.

The first painting is the filial piety that moved the sky, Yu Shun, the son of the qin. The nature is filial. The father is stubborn, the mother is savage, and the younger brother is arrogant. Shun farms on Lishan, and Xiang farms for him, and birds are wet. His filial piety is so good. Emperor Yao heard of it and asked nine men and two daughters for him, so he gave way to the world.

Shun, a legendary ancient emperor, one of the five emperors, surnamed Yao, named Chonghua, and named Youyu clan, is known in history as Yu Shun. According to legend, his father, Yusou and stepmother, and half-brother Xiang, wanted to kill him many times: when Shun repaired the top of the barn, he set fire from under the barn. Shun jumped off with two hats in his hand to escape; when Shun was asked to dig a well, Wusou and Xiang went down to fill the well, and Shun dug a tunnel to escape. Afterwards, Shun was not jealous, but was still respectful to his father and kind to his younger brother. His filial piety moved the Emperor of Heaven.

Shun was farming in Lishan, and elephants ploughed the land for him, and birds weeded him. Emperor Yao heard that Shun was very filial and had the ability to handle political affairs, so he married his two daughters Ehuang and Niaoying. After years of observation and test, Shun was chosen as his heir. After Shun ascended the throne of Emperor Emperor, he went to visit his father, and was still respectful and named Xiang a prince.

The teams plowed in spring, and wept grass and birds one after another. Si Yao ascended the throne, and filial piety moved the heart of heaven.

Filial piety reaches the end of the danger, and the emotions turn into birds and points the creatures. The mover chooses a son-in-law to continue his destiny, and the world returns to the new and virtuous heroes.

This story is like slapping Emperor Chongzhen in the face. Especially the meaning of this painting, Shun's father, Weisou, wanted to kill him many times. Isn't this just a reflection of his own brother Chongzhen? You want to harm me, but I express my feelings to you. Zhu Cilang is imitating Yu Shun. You want to harm me, but I still treat you the same.

The second picture is a play to entertain parents. It tells the story of Lao Laizi of the Eastern Zhou Dynasty. In order to avoid the chaos in the world, he farmed on the southern foot of the Mengshan Mountains. He was filial to his parents and selected all the delicious food to worship his parents. At the age of 70, he did not say that he was old. He often wore five-color clothes and held rattles to play like a child to make his parents happy. Once he brought water to his parents, he accidentally fell down. In order not to worry his parents, he pretended to fall, and lay on the ground to school and the children cried, and the two elders laughed.

The third painting is about deer milk serving his relatives. It is about Tan Zi's parents who are old and suffer from eye disease and need to drink deer milk for treatment. He then put on deer skin and entered the mountains, entered the deer herd, squeezed deer milk, and worshiped his parents. Once when he was picking up his breasts, the hunter saw him thinking it was an elk and wanted to shoot him. Tan Zi hurriedly lifted up the deer skin and showed up and told the hunter about the fact that he squeezed deer milk to treat his parents' illnesses, eliminating the danger of being killed by accident.

In addition, there are also hundreds of miles carrying rice, biting fingers and heartache, passing away from mothers, tasting soups and medicines, picking up berry and other utensils, burying sons and serving mothers, selling themselves to bury fathers, carving wood to serve their parents, leaping carp in spring, leaping oranges with their parents, fanning their pillows and warming quilts, serving mothers, crying for the tomb, crying for bamboo shoots, lying on ice to ask for carp, strangling tigers to save fathers, snatching mosquitoes and blood, tasting feces and worrying, and the lair girl never slacks, cleaning the utensils, abandoning the official to find mothers, etc. Each painting vividly depicts one of the stories of the twenty-four filial piety.

Of course, the so-called Twenty-Four Filial Piety is actually just a metaphor. It reflects that children should be filial to both parents, rather than really promoting the stories of these twenty-forty filial piety.

Many of the stories of these twenty-four filial piety are certainly touching. However, some stories are criticized, such as Burying the son and Guo Ju of the Eastern Han Dynasty, originally had a wealthy family. After his father died, he divided the family property into two parts and gave it to his two younger brothers. He took his mother alone to support him and was extremely filial to his mother. Later, the family gradually became poor and his wife gave birth to a boy.

Guo Ju was worried that raising this child would inevitably affect the mother's support, so he discussed with his wife: "You can have a son again. If the mother dies, she cannot be resurrected. It is better to bury her son and save some food to support her."

This is a terrifying thought, and it is a negative teaching material. Of course, I cannot understand this story in this way. Because the couple digging a hole, they suddenly saw a jar of gold two feet underground, and wrote a letter saying "God gave Guo Ju, officials cannot be taken, and people cannot be taken." The couple got the gold, went home to honor their mothers, and were able to raise their children.

Guo Ju's behavior is naturally not worthy of advocacy and needs to be criticized. However, these twenty-four filial piety stories are deeply depicting the moral concept that our ancestors regard filial piety as the most.

The meaning of Li Yan and Song Xiance is very obvious, and this painting is used to impress Chongzhen.

At this time, Emperor Chongzhen was no longer in the air and he was full of suspicion about everything. Only this painting could touch his heart. Emperor Chongzhen discovered with conscience that his son actually had no objection.

If Zhu Cilang really wants to rebel, he doesn't have to wait until today. When rectifying the three camps, he could have taken the opportunity to cultivate his confidants. At that time, the three camps in the capital, the Eastern Palace Guards, the Hu Ben Army, and the Jinyiwei were all under the control of Zhu Cilang.

If Zhu Cilang wanted to force the palace at that time, he would seize the kingdom of Emperor Chongzhen in minutes.

Now when Zhu Cilang was fighting abroad, even if he had control over the world, even if he had a million troops under his command, his goal was to suppress the enemy.

Besides, the position of the crown prince is his. In the future, the position of the emperor will naturally fall on me. Why dare to take great risks and leave a notorious mark in history books?

Zhu Di, the Emperor Yongle of Chengzu, made countless contributions throughout his life. However, killing the throne has always been the biggest stain that he cannot erase in his life. If he wants to leave a name in history, why did Zhu Cilang have to take this path?

At this time, there is no need for extra explanation. Zhu Cilang replied to Emperor Chongzhen only one painting, and there are nine other words: "I will not accept anything when I am outside the king's order."
Chapter completed!