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The Century-Old Master | Qi Gong: The Forbidden City calligraphy and paintings give me a blessing in my eyes
Everyone knows that when it comes to China's ancient cultural relics, especially ancient paintings and calligraphy, I am afraid that they belong to the most abundant collection of the Palace Museum in Beijing. Its richness was not gathered overnight, it was the main collection of the "Shiqu Baodi" of the Qianlong Inner Province in the Qing Dynasty. The calligraphy and paintings of the Forbidden City mentioned in this article refer to the collection of "Shiqu Baodi", and the later increase in income is not included.
In 1924, the former Xuantong Emperor Puyi was expelled from the palace, and a museum was established in the Forbidden City, and after some investigation, the various cultural relics in the old collection of the palace were publicly exhibited. Before Xuantong left the palace, some volumes of famous paintings were taken out of the palace by Pujie and transferred to Changchun, and later dispersed, and some of them were recovered, so most of the ancient calligraphy and paintings when the Palace Museum was first built were large hanging scrolls.
I learned to paint from Mr. Jia Ximin when I was seventeen or eighteen years old, and I was also introduced by Mr. Jia and learned to paint from Mr. Wu Jingting. At that time, it was the beginning of the Palace Museum's successive exhibition of ancient calligraphy and paintings, and the first, second and third days of the month were preferential visits, and the ticket price per person was reduced from one yuan to three dimes. In the display, a small number of them are replaced at the beginning of each month. I do not care about other cultural relics, the replacement and addition of ancient paintings and calligraphy, the great interest of those who study calligraphy and painting and connoisseurs. Some of the previous generation of famous artists mentioned so-and-so famous artists in their books and painting inscriptions, and when they saw the real handwriting, I couldn't believe that this was the work of those ancient people whose names I had heard. Only famous, not even the imitation of the book has never seen, but surprised "so" As for the "imitation of someone's pen" mentioned in the modern celebrity style, when I really saw the "person's" own work, strange questions occurred, how the work of "someone" in front of me was very different from the kind of painting method of "imitating someone's pen", especially it had nothing to do with a certain family and a certain school marked in the "Mustard Garden Painting Notation" that I had once regarded as a classic. Is the ancient painting in front of me not real, or is it the rumors of "Mustard Garden" and the collector with the title "Imitation of Someone"? Later, a long time ago, I understood that in the era of the author of "Mustard Garden", many famous paintings had entered the hands of several collectors, and the inscriptions of modern people imitating someone were even more tossed and turned, catching wind and catching shadows, and had nothing to do with the authenticity of ancient paintings.
At this time, most of the ancient paintings of the Song and Yuan dynasties seen have been published in photocopies today, and there are even many original large photocopies. Now I will briefly cite some famous masterpieces, so that I can see the wealth of my eyes at that time, and it will shock me greatly. For example, Dong Yuan's "Longsu Suburban People's Map", Zhao Gan's "Jiang xing chu xue map", Ju Ran's "Qiu Shan Qing Dao Tu", Jing Hao's "Kuang Lu Tu", Guan Tong's "Qiu Shan Evening Cui Tu". Fan Kuan's "Journey map of Xishan" of the Northern Song Dynasty, Guo Xi's "Map of Early Spring", Li Tang's "Wind Map of Wanyuan Song" of the Southern Song Dynasty, and Ma Yuan and Xia Gui's "Many Pieces of Fan". Zhao Mengfu's "Quehua Autumn Color Map" of the Yuan Dynasty, Gao Kegong's "Map of Yunheng Xiuling", Huang Gongwang's "Map of Fuchun Mountain Residence", and so on, are all famous "giant traces". Every time you walk into the showroom, it's like stepping into the world of the gods. Because of the anticipation of the replacement of new exhibits at the beginning of each month, even the idea of sin has germinated. Among them, the longest and infrequent replacement of the exhibition is Fan Kuan's "Xishan Travel Map" and Guo Xi's "Early Spring Map", which are always placed in a conspicuous position, and when I did not see the new exhibits, I complained about the two "classic" famous paintings as "still this one". Today, I got these two large replicas, rotated and hung in the house, for more than ten years, I haven't seen enough, and I can also be regarded as a confession of this complaint at that time! As for the relationship between the Yuanming school and the father-son lineage, it seems to be easier to understand. The qing dynasty literati paintings and works that the court should produce have little appeal.
A few years before the establishment of the Palace Museum, there was the "Antiquities Exhibition Hall of the Ministry of Internal Affairs", which was founded by Xiong Xiling, the chief minister of internal affairs of the Beiyang Government, who transported the cultural relics of the Rehe Qing Dynasty Palace to Beijing and set up this collection and exhibition institution, which occupied the two halls of Wenhua and Wuying, Where Wenhua displayed calligraphy and paintings, and Wuying displayed other bronzes, porcelain, and other cultural relics. Of course, ancient calligraphy and paintings are not as many as those of the Palace Museum, so good, but there are two extremely important famous paintings: one is the lost Xia Gui painting "Xishan Qingyuan Map", and the other is the huge volume of Dong Qichang's miniature Song and Yuan famous painting "Small, Medium and Large". Except for two or three authentic works of Yuan Ming, it can be said that they are lackluster. The above are two places where you can see the famous paintings of the Song and Yuan dynasties at that time.
As for the legal books such as Wang Xizhi's "Fast Snow" and "Feng Tangerine", Sun Guoting's "Book Genealogy", Tang Xuanzong's "Ode to the Partridge", Su Shi's "Chibi Fu", Ouyang Xiu's "Ji gulu baowei", Mi Fu's "Shu Su Ti" and many Song codexes. At present, most of these famous paintings and legal books have been photocopied and do not need to be elaborated on.
The exhibition of calligraphy and paintings at the beginning of the palace museum was once extremely scattered, the main exhibition room was The Zhong Pu Palace, some special glass cabinets can exhibit some standing, horizontal scrolls, those particularly large or minor hanging banners, had to be scattered in the upper study, the south study and the qianqing palace northeast corner of the southward room, most of them directly hung on the wall, but also in the middle of the room to open the table, the thicker volumes are spread on the table, some are pressed with glass pieces, and several long scrolls of the "Southern Tour Map" are spread horizontally in the windows of Kunning Palace, and there is no glass cover. This seems inconceivable today, and it also shows the situation that at that time the collection was full of products and the display tools were insufficient.
When visiting at the beginning of each month, we often meet many calligraphers, painters, connoisseurs and seniors, and we young people are happier.
Follow them, listen to their comments, talk about them, and increase our knowledge. Especially when the elders have different opinions on the authenticity of ancient paintings, it has aroused our curiosity. Then ask the teacher whose opinion is credible and confirmed. Although the ancient calligraphy and paintings recorded in "Stone Canal" are not all true, and the opinions of the elders are not without jaggedness, in these ridges, I have exercised my ability to think, compare and even judge, which is the primary and excellent classroom for us to learn appraisal.
Soon the museum published the Palace Weekly, and it obtained some photocopys of ancient paintings and calligraphy. "Weekly" is the form of a pictorial newspaper, and the photocopy must be reduced, but the narrowed photocopy in this way can arouse memory in the eyes of readers who have seen the original, and there is a basis for comparison. Then came out some photocopied albums, which were much clearer than the miniature version in the Weekly, which made our eyes know the original work a step further.
With the passage of time and the beginning of the War of Resistance Against Japanese Aggression, the calligraphy and paintings of the Wenhua Palace and the Zhong Pu Palace, along with the relocation of a large number of cultural relics to the south, fortunately did not encounter risk losses, and are now hidden in another province and city of the motherland. After the victory of the War of Resistance Against Japanese Aggression, the volumes that were scattered from Changchun were smuggled and gathered in Beijing by some merchants. The Palace Museum has also convened many elderly experts to identify, select and acquire some of these important works. At this time, I had reached middle age and was promoted by Mr. Chen Yuan to teach at Fu Jen University and became an associate professor. Mr. Shen Jianshi also assigned me a special committee member in the Palace Museum to do two specific tasks: to read the manuscripts of research papers in the archives and to identify calligraphy and paintings in the museum. At that time, the archives also hired several special committee members: Mr. Wang Zhixiang translated the old Russian files, Mr. Qi Rushan and Mr. Ma Yanxiang sorted out the drama archives, and Mr. Han Shouxuan guided the display of cultural relics, and sent sixty yuan per month for carriages and horses. In addition to reading many manuscripts, I was also given a meeting to participate in the appraisal of the acquisition of ancient paintings and calligraphy. At the meeting, not only was it full of eyes, but also I could personally exhibit and read it, and even the decoration system of ancient calligraphy and paintings was further understood, and at the same time, I heard the discussion of many elders, which was much more than the knowledge of visiting the calligraphy and painting exhibition in the Forbidden City a few years ago.
The first appraisal meeting for the acquisition of ancient calligraphy and paintings was held at Mr. Ma Heng's home. Present at the meeting were Mr. Ma Heng (President of the Palace Museum), Mr. Chen Yuan (Director and Special Committee Member of the Palace Museum), Mr. Shen Jianshi (Director of the Palace Museum), Mr. Zhang Tingji (Secretary General of the Palace Museum), Mr. Deng Yijing, Mr. Zhang Daqian and Mr. Tang Lan. The calligraphy and paintings I saw this time did not have any outstanding masterpieces, but I remembered that I had acquired a Wenzhengming pamphlet, which was written with poems on various scenes in the "Lu Hong Caotang Tu", which was somewhat different from the original words and sentences in the "Caotang Tu" of the present biography, and bought it for proofreading. Another volume of Zhu Yunming's cursive "Leaving Sorrows" volume, the first word "Departure" was written in cursive as "Chicken", Mr. Ma read "Chicken Disturbance" aloud, everyone laughed, and they no longer looked down and rolled up. Before the War of Resistance Against Japanese Aggression, Mr. Zhang Daqian went to Mr. Pu Xinshe's house to paint together, and I was present and was observed and met with Mr. Zhang. When he saw me on this day, he remembered it very clearly, so he said: "The landscape that Dong Qichang inscribed on 'Wei Fu Collects Dong Yuan's Paintings The First in the World', I think it is Zhao Gan's painting, of which the tree stone is exactly the same as "The First Snow of the River", what do you think?" I deeply admire Mr. Zhang's brilliant insights, and I am even more surprised that he still has a clear memory of a young descendant who only met once in Mr. Pu's home many years ago, and he has a talent for talking about art for many years. I once talked to Mr. Xie Zhiliu about some things, and Mr. Xie said: "Mr. Zhang has such characteristics, not only is the ancient calligraphy and paintings sharp in defense, but also never forgets, even for future scholars. Seeing a large scroll of rice woven from silk, Mr. Zhang pointed it out to me and said, "This scroll must be written on chalk", and they smiled heartily. Press: In the Ming Dynasty, there were a number of forged rice characters, often written on chalk paper, only saying the word "chalk", everything is self-evident. Although there are not many calligraphy and paintings that can be purchased this time, the lessons I have received are more than the ancient paintings and calligraphy that can be collected!
The second acquisition appraisal meeting was held in the Forbidden City, and more people attended this time. Last time, in addition to Mr. Zhang Daqian, who was not in the city, Mr. Yuan Tongli, director of the Palace Museum Library, Mr. Hu Shi and Mr. Xu Beihong were added. This time, I saw a lot of calligraphy and paintings, but there were not many of them. Only the Tang Dynasty wrote a volume of "Wang Renxuan's False Supplement to Missing Rhymes", which is not only complete at the beginning and end, but also bound in the form of "whirlwind leaves". It has not been found in the ancient books that have been circulated, nor has it been seen in the ancient books found in Dunhuang. Not only is the content of this book valuable, but its binding form is also an isolated case. The second is the three-posted volume of Mi Fu, the first of the three posts mentions Han Gan painting horses, so it is also called "Han Ma Ti". At the end of the volume, Wang Duo wrote a carefully written message to the tibetans, indicating that he was very surprised to see the original copy of the Mi Shu. The calligraphy of this codex is already a very deep work of Wang's calligraphy, and he said that he seems to have seen the authentic handwriting of Mi Fu for the first time, which shows that he usually practices only the Fa Ti engraving. Zhao Mengfu said: "In the past, people had to carve a few lines of ancient times, concentrate on learning it, and then they could be famous." I didn't think so, but before Wang Duo saw the true works of Mishi, his achievements in calligraphy were already like this, which proved that Zhao's words were not unfounded, but just "concentrated" or not. Looking at ourselves on the other hand, we can not only see the authentic works of many ancient masters, but also get exquisite photocopies, without any separation, which is equivalent to learning books in the face of the real works, and then writing is still beyond the reach of Wang Duo, how ashamed! At this time, looking closely at the harvest of the Wang's Codex, it was really much greater than the harvest of seeing mi's authentic handwriting.
Secondly, there are some calligraphy and paintings, remember that there is nothing unforgettable outside of the White Jade Toad's "Foot Xuan Ming". There was only one piece of Xia Chang's ink and bamboo scroll, Mr. Hu Shi pointed it out to Mr. Xu Beihong, and asked whether this volume was true or false, mr. Xu replied: "Many of our art teachers can draw works like this. Mr. Gu seemed to nod his head in a trance. It is still unknown which teacher painted this scroll of ink bamboo. If it is only a general discussion of the level of art, it is not the same proposition as the identification of authenticity. Now that more than fifty years have passed, the two masters Hu and Xu have already made ancient works, and who painted this ink bamboo is really going to become an unsolved case for thousands of years. Coincidentally, Dean Ma Heng is a master of epigraphy, and his interest in epigraphy is far greater than in calligraphy and painting. At that time, he often received some private relics that should be returned to the state, and sometimes the boxes contained many cultural relics, and Mr. Ma saw one of the bronze artifacts and immediately took it out to appreciate it in detail. Another time, someone took zhu Derun, a yuan person who was scattered from the northeast, to paint the volume of "Xiuye Xuantu", and then there was a long question from Zhu Shi, asking the dean whether he could receive it, Mr. Ma said: "Like these works, the Forbidden City has a lot of collections. The man took it. (Later, this volume was still received by the Cultural Relics Bureau and handed over to the Forbidden City for collection.) Later, when some of our later scholars talked about this matter, they secretly discussed: Burnt porcelain, bronzes cast in the furnace, books engraved on plates, etc. may all have the same product, and ancient calligraphy and painting, if there are duplicate works, is there not a problem? As we all know, there is no room for personal love and hatred of genres and personal interest in the appraisal of calligraphy and painting, but it is very difficult to quit.
Later, although there were still merchants who sent the Northeast Diaspora Scrolls to the late officials from time to time, and sometimes held meetings to appraise, there were not many acquisitions, but most of them belonged to private collections.
After liberation, the Cultural Relics Bureau was established, with Mr. Zheng Zhenduo as the director, Mr. Wang Yeqiu and Mr. Wang Shuzhuang as the deputy directors, and Mr. Zheng invited Mr. Zhang Heng from Shanghai to serve as the deputy director of the Cultural Relics Department. At this time, the ancient calligraphy and paintings in the hands of merchants could no longer be exported to foreign countries at will, so they gradually gathered in the Cultural Relics Bureau. Once in the Jade Buddha Hall of Beihai Tuancheng, which was working in the Cultural Relics Bureau, the calligraphy and paintings sent were spread out, and at this time, Mr. Xie Zhiliu was invited from Shanghai, Mr. Zhu Jiaji was invited from Hangzhou, and soon Mr. Xu Bangda was invited from Shanghai to jointly identify. There are quite a few calligraphy and paintings identified, and the authenticity of many "famous paintings" has also been clarified. For example, Liang Kai's "Right Army Book Fan Diagram" volume and Ni Zhan's "Lion Forest Diagram" volume have been photocopied, at this time, the original traces were examined, and it was learned that it was an old facsimile.
Later, many famous and huge relics appeared one after another, and many of the famous relics in private collections were donated to the state one after another. In addition to the Forbidden City, such as the two major museums in Shanghai and Liaoning, they also have many famous calligraphy and paintings from the old collection of "Stone Canal". In addition, many famous calligraphy and paintings that have not been included in the "Stone Canal" have also been found, and they are stored in museums across the country.
The ancient calligraphy and paintings in the "Shiqu Baodi" are not yet discovered except for those scattered abroad, and if they are not hidden in private homes, they will probably have fallen into robbery; and the private collections in China, after ten years of turmoil, there may be few survivors. Most of the important things that have been discovered are hidden in the three major museums of the Forbidden City, Liaoning and Shanghai, and scattered in other smaller cultural relics and art institutions have become important collections. After many rounds of expert appraisals, there are generally more reliable conclusions, but there are some slight new situations: that is, after some famous sites become important collections, it is not easy to obtain clear conclusions, such as a certain piece of calligraphy and painting titled Tang Dynasty by an old collector, and after appraisal, it is actually the Song Dynasty, which originally does not affect the historical value of cultural relics, but can lead to many troubles. Although the author of ancient calligraphy and painting has long been "covered with a coffin", his works cannot be "determined" today. Later, in today's general discussion of the exact authenticity of the famous relics of the "Stone Canal" (including the famous relics other than the "Stone Canal"),there are still several future conditions: (i) scientific identification techniques, such as computer recognition handwriting and special photographic techniques; (ii) the national collection organs no longer have the need to mark the collection as "heavy hope"; (iii) the development of appraisal work, like other natural science research, later inventions, supplements, and corrections such as exceeding previous achievements, the science before and after is not regarded as personal high or low, gains and losses, and the truth is clearer ;(4) The extensive and in-depth study of historical documents has brought reliable help to the appraisal of ancient calligraphy and paintings. At that time, the true reputation and true appearance of ancient calligraphy and painting will surely be another colorful!
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