Portrait of Cao Xueqin Hu Shi's gang really can't do research

Wang Nanshi's "Xueqin" Sitting Alone in the Shadow Chart" examination

——On the research method of Cao Xueqin's cultural relics, and another small portrait of Cao Xueqin in Nanjing

The cultural relics about Cao Xueqin have always been valued by the academic community, but due to the lack of literature, these "cultural relics materials" can most cause controversy and arouse suspicion, and Wang Nanshi's painting ""Xueqin" sitting alone is such a cultural relics material that has aroused controversy in the academic circles for more than 20 years (1960s to 1980s).

The academic community has published many articles on the relationship between the characters depicted in this picture and Cao Xueqin, and opinions have been widely expressed. In 1980, the Shanghai Municipal Cultural Relics Cleanup Group also found fragments of the inscription poems of the four "inscription poets" Huang Bazi, Guan Bao, Xie Yong and Chen Zhaokun on the "Youhuang Map" from the items confiscated by the Li family. The inscription poem of Xie Yong on the fragment was later found by Chen Yuyi and Liu Shide in Xie Yong's "Listening to the Collection of Bell Mountain Houses", and the inscription Yun "Inscription Jin Ti Yu Yu Yu Huang Sitting Alone", so that the academic circles concluded that the object of Wang Nanshi's "Sitting Alone Yu Huang Tu" was Jin TiYu, not Cao Xueqin.

Because this figure has a great influence in the history of red studies, it involves many scholars, and until recent years, there have been articles mentioning it.

Song Guangbo, "Hu Shi and the So-Called "Little Portrait of Cao Xueqin"", Journal of Jinan Institute of Education, No. 6, 2004.

However, there are still many "nodes" in the relationship between this map and Cao Xueqin, and the author intends to systematically sort out and analyze the relevant materials and research, and re-explore the relationship between the cultural relics and Cao Xueqin, in order to seek teaching from the academic community.

The discovery and research of the "Snow Parsley" Sitting Alone in the First Half of the 20th Century

(1) The discovery of Wang Nanshi's painting ""Xueqin" Sitting Alone in the Shadow"

In fact, Wang Nanshi's painting "Snow Parsley" Sitting Alone in the Shadow Of The Basket was first known to the academic community in the 1920s.

In the twelfth year of the Republic of China (1923), Li Zuhan, a famous collector and painter of calligraphy and painting in Shanghai, together with his fourth brother Li Zutong and the famous seal engraver Chu Deyi, went to the home of Zhang Baosheng, an antique dealer in Shanghai, to look at calligraphy and paintings, and saw a portrait of Wang Gang (Zi Nanshi, a native of Yunshan, Shanghai) painted a portrait of "Xueqin" by a famous painter of the Qianlong period of the Qing Dynasty.

According to this, this portrait does not have an inscription, because the painting "Xueqin" sits in the bamboo forest, or "Mourning Hongxuan Small Statue", or Cao Xueqin Small Statue, or "Sitting Alone in the Shadow", when this article is described, it is called "Xueqin" "Sitting Alone in the Basket".

Because Li Zuhan liked to read "Dream of the Red Chamber", he took this painting into his own hands.

Xu Gongshi, "Sitting Alone in a Shadow Diagram: A Supplement to the Portrait of Cao Xueqin Painted by Chuanwang Gang", Dream of the Red Chamber Research Journal, No. 6, Shanghai Ancient Books Publishing House, 1981.

In the middle of the portrait, a person sits alone on a stone, behind him is a bamboo forest, and there is a stream flowing through, like another stone in front of the main left, with a piano one and a scroll three. In the lower right corner, "Luyun Wang Gang Writes" paragraph, there are small prints under the two sides, Zhu Wen "Gang" and "Nanshi". On the map there are inscriptions by Emperor Eight Sons, Qian Daxin, Ni Chengkuan, Namu Qili, Qian Zai, Guan Bao, Cai Yitai, Xie Yong and others.

In the lower left corner of the image, there are two chapters: "Cloud Kettle" and "Gu".

According to Xu Ji's "History of Wumen Painting", it is written: "Gu Hu, the character Ruobo, the number of cloud pot, Wu County people." From the stamp on the map, it can be seen that this picture was once collected by the late Qing Dynasty painter Gu Hu (1835-1896).

When this portrait was purchased, it was originally a vertical scroll, and the inscription was originally written on the edges of the surrounding Aya. Since the portrait was old and damaged, Zhang Yunbo, the framer, was asked to reframe it and change it to a hand scroll.

Li Zuhan was very concerned about this picture, and said to his family several times: "When you look at "Dream of the Red Chamber", you should know the author Cao Xueqin, and I have acquired his portrait. And asked famous calligraphers and painters in Shanghai, such as Chu Deyi, Fan Zengxiang, Zhu Zumou, and Feng Xu, to write inscriptions for them.

(2) Hu Shi and Wang Nanshi painted ""Xueqin" Sitting Alone in the Shadow"

In the seventeenth year of the Republic of China (1928), Cai Yuanpei, Ye Gongqiu and others initiated the preparation of the "National Art Exhibition". As a well-known collector, calligrapher and painter in Shanghai, Li Zuhan was also a member of the Preparatory Committee, and once showed Ye Gongqi a small portrait of Wang Nanshi painting "Xueqin" and asked him to inscribe it.

At that time, as a famous painter, Ye Gongqiu (Zi Yufu, Yufu, Yuhu, And Yufu) had just compiled the first episode of the "Portrait biography of Qing Dynasty Scholars", and was continuing to collect portraits of Qing people, more than 200 people had been collected, and was planned to be compiled into the second episode.

Cao Xiangzi sent a copy, but it was not very clear. The original inscriptions such as Qian Xinlin and Chen Goushan were not illuminated.

On November 28, 1928, Hu Shi's diary was pasted with this photo, and Hu Yu commented on the clouds:

Cao Xueqin's small portrait?

Photocopied by Mr. Ye Yuhu. The original image is in Shanghai, it seems to be hidden by Li Zuhan?

On April 10, the eighteenth year of the Republic of China (1929), the "National Art Exhibition" was ready and opened at the New Puyu Hall on Lujiabang Road in Shanghai, ending on the 20th. Li Zuhan sent his collection of Wang Nanshi's painting ""Snow Qin" Sitting Alone in the Shadow" for exhibition.

On the last day of the exhibition, Guo Youshou invited Hu Shi to visit the exhibition together.

Guo Youshou (1901-1977): Zi Zijie, Sichuan Zizhongren, Zhang Daqian's cousin, was admitted to the law department of Peking University in 1918, and after graduation, he was sent to study at the University of Paris in France at public expense, and returned to China after obtaining a doctorate.

At the exhibition, Hu Shi and Li Zuhan met and watched "Sitting Alone in a Shadow". Hu Shi told Li in the picture: "This person's name is Xueqin, but his surname is Not Cao. Hu Shi's diary that day explained in detail the reasons for his conclusion:

The photographs of this volume have been recorded in my diary, and its dough on its head is already very suspicious. After careful examination of the scroll today, the first leaf is the two poems inscribed with the title of "Noon In March, the Eighth Son of the Emperor". At noon Chinese New Year's Eve, Cao Xueqin died, and at this time it was the time when he was the poorest, how could there be such a broad inscription, and there was not a word in the poem that mentioned his predicament, nor did it mention the past prosperity of his family.

Subsequently, the inscriptions of Qian Daxin, Cai Yitai (Ding Ugly Zhuangyuan), Qian Zai (箨石) and others were all called "Xueqin Xue's elder brother", and there is not a single word in the poem to prove that this person is surnamed Cao, nor does it mention his origins.

Therefore, I concluded that this person was a senior in the Hanlin Academy, not the author of "Dream of the Red Chamber".

Song Guangbo: Research Materials on Hu Shihong Studies, Beijing Library Press, 2005.

(3) The attitude of Wang Nanshi of the Shanghai painting circle ""Xueqin" sitting alone in the shadow of the picture"

Li Zuhan, Chu Deyi, Fan Zengxiang, Zhu Zumou, Feng Xu and others were all famous calligraphers and painters in Shanghai at that time, and for this picture, they all believed that the portrait of "Xueqin" painted by Wang Nanshi in the Qianlong period was undoubtedly -- but it is not certain whether this "Xueqin" is Cao Xueqin, the author of "Dream of the Red Chamber", although all the princes attending the meeting thought this way. In addition, the famous painter Zhang Daqian also saw this painting.

In the spring of the twenty-first year of the Republic of China (1921), Zhang Daqian came to Shanghai, borrowed the residence of Li Zuhan's family, and met Li Qiujun, the sister of Li. In the spring of the twenty-eighth year (1929), Zhang Daqian came back to Shanghai, was hired as a member of the National Art Exhibition Officer, befriended Ye Gong, and attended the first national art exhibition.

Based on the relationship between Li Zuhan and Zhang Daqian and the experience of participating in the first art exhibition together, at this time, Zhang Seems to have seen Wang Nanshi's painting ""Snow Qin" Sitting Alone in the Shadow Of The Basket", but it is not found in the written record.

In February of the 37th year of the Republic of China (1948), Li Qiujun copied a painting of Wang Gangyuan. The inscription on the end of the painting is "Portrait of Mr. Cao Xueqin", the lower side of the book "Wang Nan Ishioka Ben", "Peng Zi February Li Qiujun", followed by Qiu Jun's self-trek. On April 11, 1975, Xu Gongshi and Wei Shaochang saw this facsimile at the Shanghai Chinese Painting Academy. The sutra is the opposite of the picture of Wang Gang's painting, and the content is the same.

It was around that Zhang Daqian came to Shanghai and lived in Li Zuhan's house, and Li Showed this portrait. At that time, the people who saw this portrait also included Chen Congzhou, Xie Zhiliu and others. Chen Congzhou recorded the situation at that time:

Recalling the first or second year before liberation, Yu Daqianshi painted a painting and saw Wang Gang painting the statue of Cao Xueqin. At that time, Daqian Shi lived in the residence of Li Zuhan and Qiu Jun's brothers and sisters, so the picture was exhibited by Li Shi. Xie Zhiliu and others are also there. The princes still talk about it, xueqin literati, and the shape is quite fat and also... Tie horizontal roll. Like there is bamboo behind it.

2. During the Republic of China, Wang Nanshi painted a summary of the views of various families in the "Xueqin" Sitting Alone in the Shadow Of Shadows

Through the investigation of the research process of Shanghai calligraphers and painters in the Republic of China period on Wang Nanshi's painting ""Xueqin" Sitting Alone in the Shadow Of Shadow", we can learn a lot of information:

(1) The picture was indeed painted by Wang Nanshi, a famous painter of the Qianlong period, and it has the word "Xueqin" on it (Qian Daxin, Cai Yitai, Qian Zai and others are all called "Xueqin Xue's elder brother");

(2) Like the Lord", "his human head dough", the shape is quite fat, and there is bamboo on the back;

(3) Hu Shi claimed that after scrutinizing the scroll, the first leaf is two poems inscribed with the title of "Noon Noon March, Emperor Eight Sons";

(4) There are two reasons why Hu Shi believes that the lord is not Cao Xueqin: like the Lord's "head dough"; cao Xueqin is dead Chinese New Year's Eve noon, so when "Noon in March", it is cao Xueqin's poorest time, and it is impossible to have such a broad friend to write an inscription for it.

According to this, Hu Shi purchased the "Eight Flags of Poetry Notes" (i.e., "Xi Dynasty Ya Song Collection") on June 9, 1921, from which he found Dun Min's "Gift cao Xueqin", "Visiting Cao Xueqin is not worth it" and Dun Cheng's "Sabre Quality Wine Song" and "Sending Cao Xueqin" 4 poems, and on April 19, 1922, he purchased the "Four Song Tang Collection" to pay the base copy, see that in addition to the two poems "Sending Cao Xueqin" and "Sabre Quality Wine Song" as references to "Eight Banners of People Poetry Notes", there are also two poems related to Cao that have not been received or engraved: "Gift Cao Qinpu i.e. Xueqin". , "Bang Cao Xue Qin Jia Shen", of which "Gift Cao Qin Garden, that is, Snow Qin" Yun: "Full of basil artemisia is old and not gorgeous, and the family eats porridge and wine on credit." And "Sending Cao Xueqin" is cloudy: "After Jun you or the general, in the present ring blocked The Basil Tun ... The residual cup is cold and scorching, and it is not as good as the book Huangye Village", which shows that the snow parsley is poor.

Geng Yunzhi, editor-in-chief: Hu Shi's Testament and Secret Letters, vol. 15, Huangshan Book Club, 1994.

It is precisely because of this mentality that Hu Shi saw Wang Nanshi's painting ""Xueqin" sitting alone in the picture of "Xueqin" sent to him in the first year of the first year, and when he saw that the face of the main person was quite fat, he suspected that it was impossible for Cao Xueqin to be like the lord; when he saw that the original image had "Noon And March", he even more thought that it was Cao Xueqin's poorest time, like the main face was rich, let alone Cao Xueqin, who was already very poor in his later years.

At that time, except for Sun Kaidi, no one in the academic circles knew Yu Rui's book "Jujube Window Idle Pen", and of course, it did not know Cao Xueqin's image of "his body fat and wide-headed" - "Jujube Window Idle Pen" said: "The word Xueqin, I want to tie its character and ear, and its name is not known." Cao surname, Han soldier, also do not know what banner he belongs to. I heard that the in-laws of the predecessors had friends with them, their bodies were fat and black, they were good at talking, elegant games, touching the situation, smelling their strange talk, making people tireless all day long, and it was wonderful with his books. It was not until 1948 that Zhou Ruchang learned that "Jujube Window Idle Pen" had a record of Cao Xueqin's image and personality because of Sun Kaidi's teaching at Yenching University.

In fact, from the perspective of historical examination, Hu Shi's two so-called bases are untenable, although he has always insisted on this theory and this basis all his life.

First, the image of Cao Xueqin, although Zhang Daqian, Xie Zhiliu, Li Zuhan and others subjectively believe that Cao Xueqin's image as a literati should seem to be thinner, while Hu Shi relies on DunChengshi to believe that Cao Xueqin lived in poverty in her later years and looked clean; however, they ignored a problem, that is, Cao Xueqin's family is a Liaoning person, although they have lived in Beijing and Nanjing for a long time after entering the customs, but as a person from the Ministry of Internal Affairs, in the early Qing Dynasty, the marriage object of Cao Xueqin's family was mostly a banner person of the Ministry of Internal Affairs, so although Cao Xueqin was a literati, But it is not necessarily the thin image of the southern literati.

Second, Cao Xueqin lived in his later years, although his friend Duncheng called him "the family's porridge and wine often credit" and "yu huan blocked the basil tun", however, it must be known that Cao Xueqin was a flag person of the Ministry of Internal Affairs, and the flag people had a fixed income, in addition, the Cao family had many broad relatives in the Beijing division, Cao Fu was versatile, capable of poetry and painting, and the friends were mostly Dun Cheng, Dun Min, Ming Lin, Ming Yi, Fu Peng, Fu Jing, Hong Xiao and other middle and upper-class Manchurian flag people, how do you know that his later life was extremely poor, and it was impossible to have Kuo relatives and friends?

Of course, this point also involves the image of Cao Xueqin, poverty is pure, but a person's fat and thin is not unchanged for a lifetime, a few years ago, the face is round, a few years later, the face is thin, is not it a normal thing?

It can be seen that Hu Shi's negative opinions and basis for Wang Nanshi's painting "Xueqin" Sitting Alone in the Shadow Of Shadows are extremely weak.

Cao Xueqin's relatives and friends table

Surname Identity is related to Xueqin

A Manchurian prince uncle

Chang Ling Yongzheng YuanNian Jinshi, Hanlin Academy Bachelor's cousin

Fu Peng Pingjun Wang, who was once a general in Dingbian and co-managed the Prime Minister's Affairs Office, was a cousin

Fu Jing General Yasukuni, third-class bodyguard cousin

Dun Min's disciple friend

Dun Cheng's disciple friends

Minglin Manchu Friend

Ming Yi Manchu, Shangsiyuan guards, and counselors and friends

Prince Hongxiao Yi friend

Hongjiao Ningjun Wang Friend

3. The great discussion of the "Snow Parsley" sitting alone in the 1960s and 1970s

Although, during the Republic of China, Li Zuhan and Hu Shi had differences in the relationship between Wang Nanshi's painting "Xueqin" Sitting Alone and Cao Xueqin, but because the social attention to Cao Xueqin at that time was not high, and there was no officially published work to introduce this historical relic, the society's attention to Wang Nanshi's painting "Xueqin" Sitting Alone in the Shadow Map was limited to li Zuhan's friends. Wang Nanshi's painting "Snow Qin" Sitting Alone in a Shadowy Figure really attracted social attention and great discussion in the decades after the founding of the People's Republic of China.

(1) The reason why Wang Nanshi's painting ""Xueqin" Sitting Alone in the Shadow" has aroused social concern

On January 19, 1949, Tao Su (Zi Xinru) visited Zhou Ruchang, who was living here in 47 Articles in Beipingdong, and told Zhou Qi that he had seen the "Cao Xueqin Xingle Tu". Zhou Ruchang wrote about this matter in his "New Certificate of dream of the Red Chamber", Yun:

Mr. Tao Xinru visited the 47th Xieyu apartment in Beiping Dongsiqi on the afternoon of January 19, 2008, and said to the author Yun: "In the spring of the 22nd year of the Republic of China, a banner was hung on the wall of jiang jun's house in Shanghai, and the heart of the painting was about two feet long, and the picture was painted with Cao Xueqin's walking music map, and the structure of the picture was still in the mind... Outside the heart of the painting, there is an inscription of Li Baogong on the top, and the whole text is no longer remembered, but one of them is known: I once saw eight volumes of the original manuscript of the Dream of the Red Chamber at the desk of Zaozhai ... And twenty-three years ago, I saw the eight volumes of Xu Zangben's Stone Records, and because I recalled the small photos of Xueqin, I began to yearn for it. When he returned to Shanghai in the summer of the 24th year, he asked Jiang Shi to see the painting, and Jiang was stunned, saying that he had never collected this painting. Yu Yin obviously saw this painting between its walls, and now the lord of the cloud is nothing, the matter is extremely strange, because he thought that he or the original department saw it elsewhere, mistakenly remembered as Jiang Biye? Repeated searching, incomprehensible, can not be cherished, see people from time to time to say this strange thing do not mouth. Suddenly, Li Jun was surprised to hear this: This picture is actually hidden in my home, but this is a hand scroll, not a banner, and this axis is not held outside the door, how can Jun see it in Jiang Bi? Yu Wenzhi was shocked, and it is still possible to say that Yu had mistakenly remembered the Jiang family, but Yu had never been to the Li family, so why did he see his tibetan paintings? Sincerely for the strangest and strangest thing! The next day, I rushed to Li's house to see the picture, and the result was a hand scroll, and the structure of the picture was the same as that of the previous view... The top left inscription cloud: 'Noon March ...' there are two inscriptions of the same person after the banner, the details of which cannot be recalled"... Mr. Tao Yun: "In the painting, Xueqin has a round face, fat, bald head, small whiskers, and slightly drooping eyebrows." Wearing a light flower green robe, the shoe style can also be recalled. ”

Zhou Ruchang, "New Certificate of Dream of the Red Chamber", Tangdi Publishing House, 1953.

Subsequently, Tao Sufu informed Yu Pingbo of a fact. Ye Gongqiu, who had written an inscription for the portrait, was also very concerned about the whereabouts of the painting, and once wrote a letter to the Tibetan owner Li Zuhan, asking Li to copy the various words on the map. Li Zuhan replied to Yun:

Cao Xueqin's portrait used to be a great title in the past years, and then borrowed for a friend for a long time, so that it could not be copied. The last time the photo was sent, it was reprinted from the negative film taken by Art Weekly. At that time, Han attached an inscription to a cloud: "This small statue of a sitting alone ghost is the person who painted Wang Nanshi for Xueqin." Nanshi Minggang, a native of Nanhui, Jiangsu, a disciple of Huang Benfu, and a young man of Qianlong Gengyin (see Biography of Painting History). It is said that Xueqin was born in Kangxi and died around thirty years after Qianlong, and Guo'er, then Xueqin painted this image when he was late. The inscriptions include the Eight Sons of the Emperor (with the seal of "Yiyuan"), Qian Daxin, Ni Chengkuan, Namukili, Qian Zai, Guan Bao, Cai Yitai, Xie Yong, etc., all of which are known for a while. Recently, it has also been inscribed by Fan Fanshan, Zhu Jiangcun, Feng Xu, Chu Deyi, Ye Gongqiu and so on, which is particularly valuable. ”

The letter also said: "Among the eight Qianlong inscriptionists, one of them is signed with a snow organ, and the seventh paragraph is signed with a snow qin."

Another person said: "In the upper left, there is the number 'Noon Afternoon Spring march', and one person in the inscription poem calls Xueqin 'brother-in-law', and the other person calls 'elder brother'." "Inscriptions and poems are not available now. According to Li Zuhan Renyun: There were far more than eight poets in the Qianlong period.

Wu Enyu: "Wang Gang Paints a Small Portrait of Cao Xueqin", "A Small Note on the Eight Kinds of Examination Barnyards of Cao Xueqin", Classical Literature Publishing House, 1958.

(2) The reason why Li Zuhan refused to show Wang Nanshi's painting ""Snow Qin" Sitting Alone in the Shadow Of Shadows

Li Zuhan told people that the painting was borrowed by a friend and had not been repaid, and it had been shipped to Hong Kong. In fact, Li Zuhan is just unwilling to show this image to people in society, etc., for two reasons:

First, Li Zuhan cherished the painting very much and was afraid that it would lead to disaster. He once told his family the story of the old drama "A Bunch of Snow", saying that if the family treasure is not good, it will cause a big disaster.

Wei Shaochang: "Wang Painting YuWen", Hong Kong Ta Kung Pao, April 19-22, 1963.

Second, the social atmosphere at that time caused Li Zuhan not to dare to take out this map. In the autumn of 1951, Peking University held a seminar on "Hu Shi Thought Problems", followed by a "Symposium on the Criticism of Hu Shi Thought" in Shanghai. On October 16, 1954, Mao Zedong sent a letter ("Letter on the Study of the Dream of the Red Chamber") to the members of the Political Bureau of the Central Committee of the Communist Party of China and relevant personnel with the question of the publication of Li Xifan and Lan Ling's articles "On the Brief Theory of the Dream of the Red Chamber" and "Commenting on the Study of the Dream of the Red Chamber"):

Two articles by Yu Pingbo are attached, please read them. This is the first serious firing in more than thirty years at the erroneous views of authoritative writers on the so-called Dream of the Red Chamber... Some people asked to reprint this article in the People's Daily in the hope of causing controversy and criticism, and was opposed by some people for various reasons (mainly "articles by small people", "party newspapers are not a place for free debate"); Subsequently, the "Literary Heritage" column of Guangming Daily published articles refuting Yu Pingbo's book "Research on the Dream of the Red Chamber" by these two young people. It seems that this struggle against the idealism of the Hushi bourgeoisie, which has poisoned the youth Chinese New Year's Eve for more than Chinese New Year's Eve years in the field of classical literature, may be able to be launched. Things are done by two "little people", and the "big ones" often do not pay attention to it, and often obstruct it, they talk about the united front with the bourgeois writers in idealism, and they are willing to be prisoners of the bourgeoisie... This is worth our attention.

Under the guidance of Mao Zedong's letter, the entire academic circles and society criticized Hu Shi and Hu Shi's thought for a while. The campaign lasted from the end of 1951 until the end of 1957 when the Anti-Rightist Movement came to an end.

In such a political atmosphere, Li Zuhan was naturally unwilling and did not dare to show his treasured Wang Nanshi painting ""Xueqin" sitting alone in the shadow of the fence.

(3) The influence of Wang Nanshi's painting "Xueqin" Sitting Alone in the Shadow of The Fence" and Hu Shi's "The Mystery of the So-Called "Cao Xueqin's Small Statue""

Because Tao Su revealed to Zhou Ruchang, Yu Pingbo, and Wu Enyu the news that Li Zuhan had collected Wang Nanshi's painting "Xueqin" Sitting Alone in the Shadow Of You, which in turn aroused the attention and research of the academic circles, in addition to Zhou Ruchang's 1953 Tangdi Publishing House's "Dream of the Red Chamber New Certificate" detailed account of this matter, in 1954, Yu Pingbo published an article entitled "Portrait of Cao Xueqin" in Hong Kong's "Ta Kung Pao"; in April 1955, the "Gengchen Ben" "Fat Yan Zhai Reappraisal of Stones" published by the Writers Publishing House also appended this map, named "Qianlongjian, In 1956, Mr. Zhu Nanqian wrote the article "Cao Xueqin's Small Portrait Interpretation - Talking about Cao Xueqin's Birth Year and Experience", which examined the situation of Wang Gang, the author of the small portrait, and the inscription on the small statue, and talked about Cao Xueqin's birth year and experience under the assumption that the small statue was true; in January 1958, Wu Enyu's "Eight Kinds of Cao Xueqin" also attached this "Cao Xueqin Small Portrait", It also details the fact that Ye Gongqi provided relevant information for him and that his entrusted person asked Li Zuhan about the news of the map.

On November 11, 1959, Hu Shi received the 1955 edition of the Writers' Publishing House", "The Reappraisal of the Stone Record of Fat Yan Zhai", and saw the appendix "Small Portrait of Cao Xueqin" in the appendix before the book, and wrote to Wang Mengou to reiterate that the main figure of this image was not Cao Xueqin; and on November 22, 1960, he wrote an article entitled "The Mystery of the So-called "Cao Xueqin Little Elephant"", which was published in The Overseas Forum in Hong Kong in January 1961.

I think back to when I first saw that hand scroll thirty years ago, I don't remember seeing the inscription on the painting that reads "Written by Luyun Wang Gang", nor do I remember that there were two stamps of Wang Gang on the painting. Nor did I see that the painting still had the words "Midday Spring march" on it.

This statement is very different from the statement in Hu Shi's diary on April 20, 1929, that "the inscription after today's detailed examination of the scroll, the first leaf is the two poems inscribed with the title of "Three Months of the Afternoon, the Eighth Son of the Emperor"", and it is also quite different from Chen Congzhou's statement that "recalling the one or two years before liberation, Yu Daqianshi painted a jai, and saw Wang Gang paint the portrait of Cao Xueqin".

Of course, we can think that after thirty years, Hu Shi, who is in his 60s, has a vague memory of the scene when he saw "Xueqin" sitting alone in Shanghai on April 20, 1929, but the publication of these words has aroused a strong reaction from the mainland academic circles, the first of which is Mr. Wu Shichang, a famous literary researcher who has just returned to the mainland from Britain (returned to China in 1962).

(4) Discussion of mainland scholars on Wang Nanshi's painting "'Snow Qin' Sitting Alone in a Shadow"

Mr. Wu Shichang first learned of Hu Shizuo's essay "The Mystery of the So-Called "Little Statue of Cao Xueqin"" in February 1961, which was sent to him by Professor Jiang Yi of Columbia University (at that time, Wu was a professor at Oxford University in the United Kingdom). Soon, Professor Yang Liansheng of Harvard University also wrote to Wu asking for his views on Hu Wen. Wu Shichang believes that Hu Shi denied that the main image was Cao Xueqin because he did not make full use of the picture.

After returning to China, Wu Shichang wrote an article entitled "On Wang Gang Painting a Small Portrait of Cao Xueqin - Refuting Hu Shi's Fallacy", discussing his views on the figure, and in response to Hu Shi's full of spirit and supervisory views, Wu Shichang gave a sharp rebuttal, believing that it could not constitute evidence that the image was Cao Xueqin, "I think the authenticity of this statue is not only consistent with its appearance and age and Mingyi, but also in particular, the cheerful, dashing, bold, and optimistic demeanor of the people in the painting is roughly consistent with the description of Xueqin's friends in the text. ”

To be fair, Wu Shichang's research is similar to Hu Shi's research, and it is full of subjectivism, but there is one example in Wu Wen that is very valuable, that is, he pointed out in response to the scholarly view that Cao Xueqin's literati seem to be Qingjie:

In the early Qing Dynasty, Gu Fu was surprised to say in his "Spectacular Life of Ordinary Life" (Volume IX) that the yuanren Wang Xuan painted a small portrait of Ni Yunlin: "Yunlin Noble Scholar, poetry and painting are all absolutely pyrotechnic, and their descriptions will be clean and elegant. As seen in the figure, fat and vulgar, it is not solved. ”

This view is very noteworthy both then and now when discussing the "Xueqin" Sitting Alone And The Image of Cao Xueqin.

The relationship between "Xueqin" sitting alone in the shadow of The Picture of Cao Xueqin, Wu Shichang is true, and there are also people who are false, but the time is relatively backward, and the representative figures are Chen Yuyi, Liu Shide and others of the Chinese Academy of Social Sciences.

In 1973, Chen Yuyi and Liu Shide wrote an article entitled "Distinguishing the Falsification of Cao Xueqin's Portraits", arguing that Wang Nanshi's painting "Xueqin" Sitting Alone in the Shadow Of Shadows was not Cao Xueqin, but Yu Han of Shanyin, who had been a friend of Yin Jishan, the governor of Liangjiang. The reason for this is that "Identification of Forgery" is mainly based on two cognitions:

First, like the main face is round and large, which is different from the image depicted in Duncheng's so-called Cao Xueqin's sentence "Forty years of Hua is too thin";

Second, Cao Xueqin lived in poverty in her later years, "A who bought with pork liver food, the day looked forward to the Western Mountains to eat Twilight." Therefore, there is no contact with the dignitaries and nobles, and it is impossible to know more than ten dignitaries and dignitaries on the painting.

It can be seen that the reason is no different from Hu Shi's reason 50 years ago, and its problems have been discussed before, and I will not repeat them here.

Four pieces of inscription poem cuts and related studies found in Shanghai

Wang Nanshi's painting "'Xueqin' Sitting Alone in the Shadow Of You" was originally hidden in the Li family, but in 1966, when "sweeping away the four olds", Li Zuhan's eldest son Li Mingzheng's unit, The Shanghai Toothpaste Factory, Li Zuhan's eldest daughter-in-law Shen Yixiang's unit, the Fifth Embroidery Factory of Li Zuhan's eldest daughter-in-law Shen Yixiang, and Li Zuhan's sister Li Qiujun's unit, the Shanghai National Painting Academy, and other units successively went to Li's house to "copy the four olds", and Wang Nanshi's painting "Xueqin" sat alone in the "Xueqin" Yuhuang Map" was copied at this time.

In 1980, the Shanghai Municipal Cultural Relics Cleanup Group returned the items confiscated from the Li family, and found in the calligraphy and paintings the inscriptions of Huang Bazi, Guan Bao, Xie Yong, and Chen Zhaoyong, and Li Zuhansun Li Mingsheng donated them to the Institute of Literature of the Chinese Academy of Social Sciences.

These cuts have been identified by cultural relics experts and proved to be old objects of the Qianlong period, among them, two poems inscribed by Yongxuan of Qianlong, two poems by Guan Bao, two poems by Xie Yong, and two poems by Chen Zhaolun, and two poems by Yongxuan and Guan Bao are cut into single pieces, while Xie Yong's poems and Chen Zhao's poems are connected together. Due to carelessness in the cutting, or in a hurry, the upper right end of the mounting heart of Yongxuan's poem was damaged, and the right side of the mounting heart of another inscription originally connected to Yongxuan's poem was rarely cut.

Deng Shaoji: "Partial Inscription Poems about Cao Xueqin's Small Portrait", Guangming Daily, June 13, 1980.

Seven poems are clouded:

Ten thousand yunds are pure, and the cold smoke is all the way.

Sit outside the deep mist, in the blue sky.

There is no ordinary plant near the building, and the roost is alone in this bush.

When is the drunken day, visit the protagonist.

ZhiYi leaned on the thin stone and swept the dust atmosphere.

The door is hidden from the guest, and the heart is at ease with this king.

The first time the clothes are put on the flute, the flow is full of wrinkles.

Just the same pen, can depict the valley clouds.

In the past of March, the eight sons of the emperor inscribed and wrote.

This gentleman often accompanies the reading of the temple, and the shadow teases the curtain at noon.

A pillow of Xiao Xiao new rain arrived, and the blue clouds stacked up Xiangtan.

Sitting alone needs to be the seven sages, and the incense piano rhymes quietly in the middle.

Yan Xia will be unsatisfactory, but Qianhu Prefecture pen bottom passed.

Look at the question.

The garden once inscribed Lang Xuan, and the young phoenix Qingyin was comfortable with ancient joy.

The sea of people is separated by green mist for ten years, and the bamboo forest is a thousand green yin clusters.

In the book, teze Liuhua County, Qinli Heart Period Pure Stone Altar.

Quan Xiang flew to Ye Gongzheng and sat on the Yin Qi'ao Pan Huan.

Tu Cheng sent me three springs, and the song is still young.

I want to go to Lantian Oh Evening Green, but I borrow a floating reed from the garden.

Peace who is good at home and mountain, filial piety to see the bird kiss.

Bamboo leaves are divided from people, and Junjun is also chrysanthemum.

　　　　　　　　　　Jin Pu Xie Yong.

To the eyes are really like the dust of the world, the stone bed is three feet of grass.

The seed slope is often meatless, and the king of the horse lang has to replace the people.

However, it is difficult to say that the king is alone in this regard, and the situation of removing miscellaneous trees is yubin.

My family lives by the side of Zizhu Mountain, and I am ashamed of myself.

Titled into the old school elder brother. Zhao lun.

Xinhua News Agency, "Cao Xueqin's Small Portrait Part of the Inscription Poems Found in Shanghai", Wen Wei Po, June 13, 1980.

Because the three pieces of mounting are all old objects of the Qianlong era, the inscriptions are all repeatedly on Wang Nanshi's painting "'Xueqin' Sitting Alone in the Shadow Of the Shadows", and there are no cuts on the upper and lower edges, and the height is 37.8 centimeters, and the academic circles have always believed that the three frames are cut from the ""Xueqin" Sitting Alone.

Chen Yuyi and Liu Shide found the above two poems in Xie Yong's "Listening to zhong shanfang collection", titled Yun "Inscription Jin Ti Yu Yu Yu Huang Sitting Alone", believing that Xie Shi was given to Jin Ti Yu by Xie Yong, so it was like the Lord is Jin Ti Yu, not Cao Xueqin.

Chen Yuyi and Liu Shide, "Five Treatises on the Authenticity of Cao Xueqin's Portraits", Journal of The Dream of the Red Chamber, No. 9, Shanghai Ancient Books Publishing House, 1982.

V. The relationship between the three inscriptional poems found in Shanghai and Wang Nanshi's painting ""Xueqin" Sitting Alone in the Shadow Of Shadows

When we carefully sort out the process of the whole child's event and related research, and then turn around and think about some details of the whole event and the problems existing in related research, we may be able to look at some of the problems of "Snow Parsley" sitting alone in a more objective manner.

(1) The existing slenderness cannot prove that the 3 fragments were cut from the "Snow Parsley" Sitting Alone Shadow Map

Due to the discovery of yongxuan, Guan Bao, Xie Yong, and Chen Zhaokun's inscription poems, and Chen Yuyi and Liu Shide found out that the Xie Yong poems in them were given to Jin Tiyu's "Sitting Alone in the Basket Diagram", the academic circles basically agreed that the main figure of Wang Nanshi's "Xueqin" Sitting Alone in the Shadow Was Jin Tiyu and had nothing to do with Cao Xueqin.

However, the problem is not so simple. We need to prove that the 3 pieces containing 7 poems were cut from the "Snow Qin" Solo Sitting Shadow Diagram" of Li Zuhan and others who were seen by Hu Shi and others in 1929. This requires us to compare the information on these 3 pieces of frames with the information on Wang Nanshi's painting ""Xueqin" Sitting Alone In a GhostLy Chart", which proves that the mounting piece is cut from Wang Nanshi's ""Snow Parsley" Sitting Alone Shadow Diagram.

(2) The information of the three fragments is inconsistent with the information records of Hu Shi and others in that year

1. Hu Shi and Tao Xinru both saw that Li Zuhan's Painting of Nanshi "Sitting Alone in the Shadow Of Shadows" had the word "Xueqin" in each inscription poem, and it was precisely because of this that Chu Deyi inscribed the label of "Mourning The Small Statue of Hongxuan" for Li. None of the 3 poems found this time have the word "Snow Parsley", and An Zhi was indeed cut from Wang Nanshi's painting "Sitting Alone in a Shadow"?

2. Hu Shi's diary, in the Painting of Wang Nanshi that he saw in "Sitting Alone in the Shadow of Youhuang", the inscriptions of Qian Daxin, Cai Yitai (Ding Ugly Zhuangyuan), Qian Zai (箨石) and others were all called "Xueqin Xue's eldest brother"; Li Zuhan told Zhou Shaoliang that among the inscriptionists, Nammu Qi licheng "Xueqin" was "brother-in-law", "while the other person was called 'Elder Brother of Learning', it seems to be Guan Bao or Cai Yitai, but he can't remember clearly." ”

Zhu Nanmilling: "Cao Xueqin's Small Portrait Interpretation: Talking about Cao Xueqin's Birth Year and Experience", Dream of the Red Chamber Academic Journal, Hundred Flowers Literary and Art Publishing House, 1980.

On the inscription poems of Guan Bao and others discovered this time, neither the three words "elder brother" nor the word "xueqin" were found. Therefore, when Song Guangbo studied Hu Shi and the "Xueqin" Sitting Alone in the Shadow Chart, he once proposed:

The poems of Emperor Eight Sons, Guan Bao, and Xie Yong do not have the inscriptions of "Xueqin" or "Xueqin", which is not only inconsistent with Wu Enyu's quotation of Li Zuhan to a certain clan Han that "among the eight Qianlong inscriptionists, one of the upper sections is signed 'Xueqin' and the seventh is signed 'Xueqin'", but also with the "inscription" that Hu Shi saw in 1929, all called 'Xueqin Xue'". Therefore, why should we believe that this "partial inscription poem" is the inscription poem on the so-called "Small Portrait of Cao Xueqin" painted by Wang Gang?

3. In the three poems, only the inscription of Yongxuan, the eighth son of the Emperor, appears in the inscription "The Title of the Eighth Son of the Emperor in the Month of The Eighth Son of the Emperor in the Month of The Afternoon of the Emperor", which is similar to the "Three Sons of the Emperor" in Hu Shi's diary in 1929.

4. The poems of Xie Yong and Chen Zhaokun found in Shanghai have not yet been cut, and it can be seen that the object of the two people is one person, if Xie Yong's poems are given to Jin Tiyu, then Chen Zhaokun's poems are also given to Jin Tiyu, which naturally has nothing to do with Cao Xueqin.

If only one of the three inscription poems found in Shanghai in 1980 is Related to Hu Shi's painting of Wang Nanshi's "Sitting Alone in a Picture of a Lonely Fence" in 1929, it is uncertain whether the inscription poems of Guan Bao, Xie Yong, and Chen Zhaokun were cut from this "Sitting Alone in a Picture".

(iii) A question

According to Deng Shaoji at that time: "Due to carelessness in cutting, or in a hurry, the upper right end of the mounting heart of Yongxuan's poems was damaged, and the right side of the mounting heart of another inscription originally connected to Yongxuan's poems was rarely cut." "It's also something that's not easy to understand.

If Li Zuhan, as Guo Ruoyu speculated, was deliberately fake, it seems that the inscription of the Emperor Eight Sons should not be cut off, and even if it is cut, it will not be cut into the shape it is now; then, if it is not cut by Li Zuhan, who cut this piece of inscription poem that may be related to Wang Nanshi's painting ""Xueqin" Sitting Alone in a GhostLy Picture into the shape it is now?

We know that wang Nanshi's painting ""Snow Parsley" Sitting Alone in the Shadow Of The Basket" was copied from the Li family in 1966 to 1980, a gap of 15 years, what happened in the middle, where did the heart and other inscriptions of Wang Nanshi's painting ""Snow Parsley" sit alone go?

6. The information reflected in Wang Nanshi's painting ""Snow Qin" Sitting Alone in the Shadow Of Shadows"

Of course, as Hu Shi said, although the Inscription on the Qianlong Period in the "Snow Qin" Sitting Alone in the Yu Huang Tu called the elephant lord "Xueqin", it did not mention that the main surname was Cao, so it is uncertain whether the elephant lord is Cao Xueqin or not. However, since this map is the authenticity of the Qianlong period, we can still find a lot of information through this map.

(1) The lower limit of the drawing is the twenty-seventh year of Qianlong (1762)

Judging from the perspective of a number of calligraphers and painters in the Republic of China period, there should be no doubt that this portrait is Wang Nanshi's painting "Xueqin" Sitting Alone in the Qianlong Period.

Wang Gang was born in the thirty-sixth year of Kangxi (1697) (Wang Gang's father Wang Ruizhang, character 貞六, Zeng Lu, Xue Cen ( also known as Cen Weng , born in the second year of Kangxi ( 1663 ) , a poor family , to rule the seal of the seal, there are "Drunken Love Residence Seal" and "Xi Xi Bai Yong Yin" survived. "Drunken Love Residence Yin Zhen" Huang Zhiyan Preamble: "Wang Shanren was eighty years old, and his eyes and wrist strength were like a teenager..." According to Huang Shu as Qianlong seven years (1742), Zhi Wang was born in the second year of Kangxi. Also, the last page of the Xiyu Bai Yong Yin Zhen Notes: "Ying Yin Xiaochun, Xue Cen Old Man Seal in Jiang Jing's Shuangqing Hall" and attached to the "Eighty-Four Weng Rui Zhang" seal, according to the eleventh year of The Qianlong Dynasty (1746), more evidence that Wang Shi was born in the second year of Kangxi), died in the thirty-fifth year of Qianlong (1770), combined with the figure "壬午 In March, the Emperor's Eighth Son's inscription and book", I know that the poem of the Eighth Son of the Emperor Yongxuan was written on March 16, the twenty-seventh year of Qianlong (壬午, 1762), which also set a lower limit for the drawing time of the map, twenty-seven years, Wang Gang is 66 years old and Yong Xuan is 17 years old.

(2) Like the Lord, he was related in marriage to Namuzili

Examining the identity of the inscription on the "Snow Parsley" alone and its relationship with the "Snow Parsley", although it may not be possible to determine whether the Lord is Cao Xueqin, it is undoubtedly very helpful to determine or deny this possibility. When we affirm or deny the intersection of the Lord and the many inscriptionists, the identity of the Lord can be determined through this intersection.

In 1953, Zhou Shaoliang visited Li Zuhan, and Li once told Zhou Yun that among the inscriptionists, Namuqi Licheng "Xueqin" was "brother-in-law", and another person called him "elder brother of learning", which seemed to be Guan Bao or Cai Yitai.

Zhu Nanqian: "Cao Xueqin's Small Portrait Interpretation - Talking about Cao Xueqin's Birth Year and Experience".

According to the press, Namu Qili, the character Carp Court, Li Ting, the red flag manchurian second staff leader fourteenth leader of the leader of the people, Qianlong eighteen years to raise people, twenty-two years into soldiers, scattered officials to change the main affairs, the later official Zhan Shifu right Shuzi, the official to zhan shi fu Zhan Shi.

We know that one of Cao Xueqin's aunts married Narsu, the king of Ping county, and Narsu was the prince who set up the red flag, and Xueqin's other aunt also married a Manchurian prince, although we don't know where Namukili called "Xueqin" from, but in terms of the relationship between Cao Xueqin's aunts, it makes sense that Namuqili called Cao Xueqin "brother-in-law".

(3) Like the main "Xueqin" and Guan Bao have a classmate relationship

Cai Yitai (蔡以台), also spelled Ji shi (字季實), was born in the seventh year of the Yongzheng Dynasty (1729) of the Qing Dynasty, a native of Fengjing, Jiashan, Zhejiang (present-day Jinshan, Shanghai), a native of the fifteenth year of Qianlong (1750), a twenty-two-year champion, a scholar of the Hanlin Academy, and a twenty-five-year official of the Zhili Dynasty.

Guan Bao (1712-1776), Suo Shu Luoshi, Zi Bo Rong, Yun Yu, No. Ting, Da Long, etc., Shi Surname, Manchurian Zhengbai Banner Man of the Ministry of Internal Affairs, Qianlong Yuannian Enke Juren, Second Year Enke Jinshi, Jie Shu Ji Shi, Zhi Zhi Xiu, Tired Official Libu Shangshu, Strike Re-uprising, Grant Zuo Du YuShi. Dai Lu's "Miscellaneous Records of The Vines and Yins" volume I:

Xian'an Temple students xiang Kedi, Huanpu who official charge teaching, Ding Wei, Guan Titing, Mr. De Dingpu, Li Zhiying, Nuo Min are all selected by the Lianjie Pavilion.

Zhiguanbao studied at the Xian'an Palace Official School.

Xian'an Palace Official School was established in July of the seventh year of Yongzheng (1729). On the tenth day of the first month of November in the sixth year of Yongzheng, the emperor issued an edict, saying:

The houses in the Xian'an Palace are now vacant, and the jingshan officials and students have not specialized in their homework, so they select 50 or 60 or more than 100 of them among the young children and officials and students under the inner government, and appoint Hanlin and so on to live in the Xian'an Palace to teach. There are also many houses in the other place, and there are places for archery, and their school rooms, houses, and so on are divided and repaired as appropriate, so that they can be inhabited.

In April of the seventh year of Yongzheng, "under the leadership of Jingshan Guan's students, zuoling, and guan, from among the young children over the age of thirteen and under the age of twenty-three, ninety were selected to see that their handsomeness could be learned." ”

Ortai et al. Compilation: "Eight Banners Tongzhi " ( Chu Ji ) Volume 49 " School Zhi IV Xian'an Palace Official School".

It can be seen that the Xian'an Palace Official School is a place where the children of the excellent Internal Affairs Office and the students of the Officials are re-cultivated, and Cao Xueqin's status as the children of the Interior Ministry is naturally eligible to enter the study. In this way, it is probably more likely that the person who calls "Xueqin" as the "elder brother" on the map is Guan Bao.

(4) The possible relationship between the main "Xueqin" and the painter Wang Gang

In addition, the illustrators Wang Gang and Cao Xueqin also have some connections. "Jiaqing Shanghai County Chronicle" Volume 15 "Art, People, Wang Ruizhang" contains:

Gang, the word Nanshi, painted landscapes extremely high ancient, taste the tour of the Beijing division, for the Shang Shu Dong Wen Ke Bang Dake, painting garden offerings half out of his hand.

According to the press, on the twenty-fourth day of the twenty-third month of Qianlong (1758), Cao Xueqin and Dong Bangda had gathered at Maozhai on the shore of Dunmin Taiping Lake, and Dong Houfu wrote a preface to the "Collected Manuscripts of the Waste Art Zhai : Southern Harrier and Northern Iris Examination Work"; and it is also possible that Wang Gang ate Dong Bangda, and Cao Xueqin had contacts with Wang Gang.

Wang Nanshi painted the "Xueqin" sitting alone in the shadow of the map" on the information comparison table of the people

Name Qianlong Twenty-seventh Year (壬午, 1762) Identity

Xueqin, a white flag wrapper of the Ministry of Internal Affairs, cousin of Wang Fupeng of Pingjun County, "Xian'an Palace Official Student", 47 years old?

Wang Gang, a native of Nanhui, Jiangsu Province, is a 66-year-old "friend" of Xueqin

Yongxuan The eighth son of the Qianlong Emperor, 17 years old

Namukili Manchurian White Banner man, Hanlin Yuan Shu Jishi

Guan Bao, a Manchurian Zhengbaiqi of the Ministry of Internal Affairs, a student of the Xian'an Palace, and a bachelor of the Hanlin Academy, is 51 years old

Qian Daxin, a native of Jiading, Jiangsu Province, is a 35-year-old attendant of Hanlin Academy

Ni Chengkuan, a native of Qiantang, Zhejiang, is a 51-year-old Shaoqing of Taibu Temple

Qian Zai, a native of Xiushui, Zhejiang, right Son of Right Chunfang, is 55 years old

Cai Yitai, Jiashanren, Zhejiang, written by Hanlin Academy, 34 years old

Xie Yong, a native of Jiashan, Zhejiang, walked in the study, 44 years old

In summary, although there is no tangible evidence to prove that the main image of Li Zuhan's Nanshi painting "Snow Qin" Sitting Alone in the Shadow Of The Picture is Cao Xueqin, the author of "Dream of the Red Chamber", through our above analysis, we can find that Cao Xueqin is the "most likely" candidate for the main "Snow Qin" that is currently known.

Seven From the two related calligraphy paintings, we can see Cao Xueqin's interaction with the scholar-doctor at that time

For a long time, there are clear written records of contacts with Cao Xueqin mainly duncheng, Dunmin, Zhang Yiquan, Minglin, Mingyi and others, at most plus several relatives of Cao Xueqin, thinking that Cao Xueqin's friends are not many, and the friends are not widespread.

In fact, whether it is from Wang Nanshi's painting ""Xueqin" Sitting Alone in the Shadow", or from the materials discovered in recent years, Cao Xueqin's communication with the scholars at that time is still relatively extensive.

On March 30, 2011, Shanghai Wen Wei Po published Mr. Zhu Xinhua's "A Historical Material on Cao Qinxi", which disclosed Zhang Dayong's (1770-1838) "Records of Calligraphy and Paintings from Ziyi Yue Zhai" Daoguang 14th Year (1834) Jia Wu Magazine Volume 19 "Album Category", the eighth "Li Gu Zhai Ink Landscape Chen Zilan Character Collection" Chen Haoshu Li Bai "Qiu Deng Xuancheng Xie Shuo North Building" after the poem:

Cao Junqinxi brought Li Fengchang to imitate Yunlin to paint six paintings, and asked for a book. Autumn lights are drunk, and smoke clouds float between the scales, because there are several lines written along with it. He saw Gu Zhai from time to time, and he didn't know why.

Raw incense old man pen again.

According to the press, "Li Fengchang" is the Zhenglan Banner Han Army Li Shikuo (1687-1770), the character Han Zhang, the number of Gu Zhai, The Garden, Tiantao, because he served in the Taichang Temple, so also known as "Li Taichang", "Li Fengchang". His uncle was the famous painter Gao Qipei. And the "Chen Hao" character Zi Lan in the middle of the book, the number of Wei Zhai, the room name Sheng Xiang Shu Wu, Changping Prefecture people, Yongzheng second year in the middle of the Jinshi, the official to Zhan Shifu Zhan Shi.

In addition, the Guizhou Museum collects the "Album of Cao Xia, a Planter of Celery", in which the sixth painting is a watermelon. The seven masterpieces of the appendix line book: "Cold rain, cold smoke lying in the blue dust, Akita vine bottom picked new." Phi Tukong envied the taste of the East Gate, and died of thirst to death many annoying people. The falling paragraph is: "The seed parsley person Cao Xia re-inscription", two centimeters of the plutonium see the Fang Lishu stone carved seal "Cao Xia"; and the fifth painting of the album is Strange Stone Youlan, with the appendix book Li Qingzhao "Last Night's Rain and Wind Storm" of "Like a Dream Order", the fallen section is titled "Zhongsi Chen Benjing"; the seventh painting is a fisherman on the riverbank, an osprey fishing. The appendix book Jin Dang Huaiying's "Picture of Poetry in a Fishing Village" is entitled "Xin Wei Summer, Chen Benjing".

The "Album of Cao Xia of the Seed QinRen" not only has an inscription poem with the inscription "Cao Xia", but also the Inscription on the album chen Benjing is the son of Chen Hao who said above that "Cao Junqinxi brought Li Fengchang to imitate the six qualities of Yunlin Painting".

From this point of view, there is still considerable space for Cao Xueqin's communication with the master of the Beijing Master at that time - of course, this kind of communication does not necessarily mean frequent exchanges and deep friendships, but at least there is considerable space for our understanding and imagination made by Dun Cheng and Dun Minshi in the past.

VIII. Another "Picture of Sitting Alone" about Cao Xueqin

In the controversy sparked in the 1960s about Wang Nanshi's painting "Xueqin" Sitting Alone in the Shadow Of You, Tao Su played an important role as a "starter", and it was he who told Zhou Ruchang and Yu Pingbo the news that Li Zuhan had hidden this map, because the publication of Zhou and Yu Wen caused Ye Gongqiu and Zhou Shaoliang to revisit Li Zuhan's relevant information. However, Tao Su's testimony did not attract enough comprehensive attention, especially the "Cao Xueqin Xingle Diagram" that he saw at a certain family's home.

According to Tao Yun, the picture is "a strip, the heart of the painting is about two feet long, and the painting is Cao Xueqin's walking music map... Outside the heart of the painting, there is an inscription of Li Baogong on the top... Among them, it is known that I once saw eight volumes of the original manuscript of the Dream of the Red Chamber at the desk of Zaozhai ... And twenty-three years ago, I saw the eight volumes of Xu Zangben's Stone Record, because I recalled the small photos of Xueqin, and I began to yearn for it... Suddenly, Li Jun was surprised to hear this: This picture is actually hidden in my home, but this is a hand scroll, not a banner, and this axis is not held outside the door, how can Jun see it in Jiang Bi? ”

Yu Ben thought that the previous axis "Cao Xueqin Xingle Tu" that Tao saw was the "Xueqin" alone sitting on the "Xueqin" yu huang tu that Li Zuhan received, that is, the map may have been hidden in a certain family's home, and then flowed into the hands of antique dealer Zhang Baosheng, and later belonged to Li Zuhan's collection. However, Si Si felt that the two pictures were by no means the same, because Tao remembered that there was a long passage by Li Baogong on the original map, and all the relevant people in Li Zuhan's "Xueqin" Sitting Alone In The Shadow Map never mentioned This passage of Li Baogong.

On May 5, 2011, the Collection Express published an article by Qian Dan, a native of Nanjing, entitled "The Mystery of Cao Xueqin's Portrait", in which Yun:

In the early 1930s, the owner of an antique calligraphy and painting shop in Gongyuan Street, Confucius Temple, Nanjing, claimed that he had acquired a portrait of Cao Xueqin from a resident surnamed Cao Xueqin in a taoist resident's home on The Old Street of Molingguan in Jiangning, in the southern suburbs, and the author of the payment was Wang Gang, a resident of Donglushan Mountain, whose identity is unknown. However, with his many years of experience in identifying ancient calligraphy and paintings, it can be identified as authentic. Because the original tibetan painter claimed to have obtained it from the same family descendant of Cao Xueqin in the countryside of Jiangning, Boss Chen's theory spread and attracted the interest of Zhu Xizu, Hu Xiaoshi, Wang Boxun and other famous scholars of literature and history who were teaching at Central University, Jinling University and other colleges and universities. They went to see it one after another and found that the portrait generally conformed to the characteristics of Qing Dynasty calligraphy and painting, and the painting of Cao Xueqin was sitting on the front of the body, a plain robe, and its image was in line with the record of "fat head and wide face" in historical materials.

As far as the available information is concerned, the novelist Sun Kaidi was the first scholar to know the record of Cao Xueqin's appearance in Yu Rui's "Jujube Window Idle Pen", in 1948, Sun went to Yenching University to teach, Zhou Ruchang only knew this, and Zhou Zhi's "New Certificate of Dream of the Red Chamber" was published in 1953, and many mathematical people know that the image of Cao Xueqin in "Jujube Window Idle Pen" should also be after that, but I don't know whether Zhu Xizu, Hu Xiaoshi, Wang Boxun, etc. have already seen the record of "Jujube Window Idle Pen", or whether the author has played a role in narrating things, which seems to have a certain degree of credibility.

However, the author is not famous, nor can he verify whether he is Cao Xueqin's old friend of the same period, or a folk painter in the later period.

The words of the antique dealer are naturally mixed, and there is no mention of the content, pattern, and details of the picture, but some of the contents of this text such as "The author of the fall is Wang Gang, a resident of Donglushan, and his identity is unknown." However, with his many years of experience in identifying ancient calligraphy and paintings, when it can be identified as authentic", "the portrait is generally in line with the characteristics of Qing Dynasty calligraphy and painting" or provides us with some important information for studying Cao Xueqin's portrait.

If we combine this information with the information provided by Tao Su that has the same pattern as Li Bao's inscription and Li Zuhan's collection of Wang Nanshi's "Xueqin Sitting Alone" "Xueqin Xingle Map", or whether Wang Gang has painted more than one portrait of Cao Xueqin, it is not known. As for whether the portrait of Xueqin that appeared in Nanjing and tao Su's shanghai painting are the same, it is not known.

IX

Cao Xueqin is good at poetry and painting, and is versatile. From Wu Enyu's "A Brief Investigation of Cao Xueqin", it can be seen that during the social turmoil in the late Qing Dynasty and the late Republic of China, many experts have seen various paintings of Cao Xueqin, but they are regretted for a lifetime because of the high price or the title is not "Xueqin".

With the understanding of Cao Xueqin's social travel in recent years, we have made great corrections to the impression that we have given us only based on the poems of Dun Cheng and Dun Min in the past, which has greatly expanded our space for Cao Xueqin's social travel. These relevant information and paintings are not only important materials for understanding Cao Xueqin, the great writer, but also precious cultural relics and works of art.

Through our detailed combing of the circulation and research of Wang Nanshi's painting "Xueqin" Sitting Alone in the Shadow Of The Fence", we can see that this map should be a precious cultural relic, and it is also the most detailed portrait of Cao Xueqin that is currently known, and should become the focus of research and search.