Cranes over Kaifeng or Auspicious Crane is a scroll attributed to one of the most important artistic figures: Emperor Huizong of the Late Northern Song (Sturman, 1990). This painting was made to commemorate a "rare" phenomenon in which 20 cranes fly in the sky above the main gate of the palace, Kaifeng, on the day of the Lantern Festival in the year 1112. This phenomenon was believed to be a Mandate of Heaven under the government of Emperor Huizong (IBID). This auspicious phenomenon, however, may not be as magical as it seems as the crane above Kaifeng reflects the 3 aspects of Emperor Huizong's painting which shows Emperor Huizong's power over art during his sovereignty. Firstly, the auspicious phenomenon mentioned before is known as ruiying in Chinese. It is believed to be a blessing and a means of communication from Heaven in the form of strange and wonderful responses towards, in this case, Emperor Huizong. Secondly, Emperor Huizong was a patron of the arts and in his painting academy he highlighted 3 aspects of painting: realism, systematic study and poetic idea. (source dri buku yg library photo) These 3 aspects were clearly shown in Cranes over Kaifeng: Auspicious Cranes which indicates the amount of control Emperor Huizong had over the display of auspicious events. Before we get to these 3 aspects, why are these cranes significant in knowing that the event is auspicious? Cranes can symbolize longevity and are believed to be couriers of the immortals. In other words, cranes are sacred birds. (Ars orientalis) Therefore, the phenomenon of the arrival of 20 cranes at the gates of the city was interpreted as an auspicious event. Realism refers to the faithful representation of a person or thing. However, in the case of Huizong, Benjamin Rowland argues that the emperor's style is “m...... middle of the card ......Heaven's Pond) to emphasize that this event was also a similar auspicious event . This inscription is the greatest support for the idea of ​​the auspicious cranes that Huizong claimed controlled the interpretation of the painting itself. If this inscription had not been made, it might be easier for the public to have another interpretation other than the Mandate of Heaven. However, it was effective to use to control the meaning of the painting and emphasize the event's association with Heaven's blessing. Overall, putting aside the truth about the cranes above Kaifeng, this scroll containing a painting and a poetic inscription shows how Huizong with his control over art can dictate the meaning and message an art can convey. This will lead to the manifestation of a certain belief among the people of the Song Dynasty, which in this case is the belief that it was a heaven-sent..