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傅申（1936-2024）
Source: Twelve Lectures on Fu Shen's Appraisal of Calligraphy and Painting and Art History, Institute of Humanities and Social Sciences, Peking University
Author l Fu Shen
分享 l 书艺公社（ID：shufaorg）
The topic of "My Opportunity for Study and Research" reminds me of the lecture series "My Learning and Thinking Process" held by famous scholars invited by National Taiwan University in the past. In the early modern period, such a lecture was given by Professor Mou Zongsan and others, but in contrast, reflecting on oneself is really not so systematic, idealistic or serious about the development process. Looking back on the past 50 years of study and research, I have indeed diligently done some research, written several books and dozens of articles, although the theme is not concentrated, but for the current academic circles in Taiwan, I have unknowingly entered the lineup of my predecessors. Therefore, I would like to talk about my personal learning and research process, which may satisfy your curiosity.
At first, I would like to talk about one of my research on calligraphy, which is related to the "Leek Flower Post" of the famous artist Yang Ning of the Five Dynasties. The main reason is that a scholar in the mainland has argued at length that this post is originally "without money", but I will discuss the handwriting itself, its two facsimiles with style, and the form of ancient calligraphy, I think there should have been a paragraph, and then discuss Yang Ning's style of writing and which one is a real Yang Ning-style work. Speaking of which, this is also a big problem in the history of books, but such trivial research may turn today's lecture into a hypnotic performance! Therefore, after thinking about it again and again, I still accept the original suggestion, but slightly modify the topic to today's topic, and talk about the opportunity and process of my ordinary study and research in front of my teacher, Professor Fang Wen. I also take this opportunity to express my gratitude to Professor Fang in person, he is the key person who changed my life, because he has been influencing me for nearly 50 years since 1968, thank you Professor Fang, please accept my heartfelt respect!
▴ Fu Shen took a photo at the "Maya House" in Taipei
Today, I would like to review and sort out my learning and research opportunities. Although I personally encountered some difficulties and setbacks in my life due to my ignorance and simplicity, I would like to thank Professor Fang and many former teachers and friends all the way in my studies and career, so it can be said that it was "a smooth journey". First of all, I can summarize my life into five stages:
1. Childhood in the countryside and basic education in small towns (1936-1955) 2. From the Department of Fine Arts of Taiwan Normal University to the "National Palace Museum" in Taipei (1955-1968) 3. Princeton (1968-1975) 4. From Yale University to the Freer Museum of Art (1975-1994) 5. Returned to Taiwan to teach at National Taiwan University (1994-present)
Although the following descriptions are roughly based on these stages, they are often presented in a cross-stage manner in order to penetrate the relevant research context and trends that appear from time to time.
Childhood in the countryside and basic education in small towns (1936-1955)
I was born in Shanghai, and at the end of 1936 my parents gave me over to my grandparents in the countryside of Pudong, and then fostered in the homes of my cousins in the countryside. I was only exposed to farmland and small rivers, and I didn't return to my grandfather's town until I was 7 years old when I went to elementary school, so I thought I was going to be a farmer in the future. As far as I know, my ancestors did not have any fame or scholars, and because the distant ancestors of the Fu family came from Shanxi in the north, I sometimes attached myself to the descendants of Fu Shan, just like Dong Qichang called "my family Beiyuan (Dong Yuan)". But my father did tell me that Fu Cong and Fu Lei, who later moved to Shanghai, were my own family, but they had no contact. When Fu Cong went to Taipei for a piano recital, I went to listen to it, but I didn't go to kiss him. My great-grandfather and his two generations accumulated some land in their hometown, and my father and three aunts were sent to Shanghai to study at university. When my father was studying in Shanghai, he met my mother, who was from Tiantai, Zhejiang, and my uncle was a writer who was branded as a rightist, all of which I learned later. Due to the Anti-Japanese War, I was brought up by my wet nurse and grandmother, although my grandfather's education level is not high, but he also likes to hang a character screen at home, and occasionally hang only a few paintings during the New Year's holidays, I remember that one is a plum blossom with a moon.
The one who really played a direct role in me was my elementary school principal, who was a calligraphy enthusiast who practiced calligraphy every day by the window of his office, repeating his words on a stack of paper, writing all the white paper into black paper, and personally teaching calligraphy classes throughout the school. In addition, my grandfather urged my uncle, who was studying Chinese medicine in Shanghai, to practice calligraphy at home every day, so I became my uncle's ink boy and accompanied me to practice calligraphy, which may have been a small incentive for me to pursue calligraphy, painting and research in the future.
▴ Mr. Fu Shen presented the calligraphy of the Academy of Arts and Sciences
Soon after the victory of the Anti-Japanese War, I also graduated from elementary school, and my parents were sent to teach in Pingtung Normal and affiliated primary schools in the early days of Taiwan's liberation. Because my brother, who was two years older than me, did not have the opportunity to come to Taiwan, and later died of a serious illness. When I arrived in Pingtung, I enjoyed art classes when I was in middle school, but I only learned pencil drawings and a little watercolor drawing, and I was encouraged by my art teacher. I longed for my father's colleague, two art teachers who lived in the same dormitory, who often led students to sketch, so despite my father's opposition, I chose Taiwan Normal University, the only art department in Taiwan at that time, as my first choice during the university joint entrance examination. Although I only learned some basic brushwork from "Mustard Seed Garden Painting" and a Chinese painting printed by Koro only a month before the exam, and I was taught by the senior of the Normal University how to use charcoal to draw plaster sketches only one day before the exam, I was lucky enough to be admitted to the Fine Arts Department of the Normal University, which has a very low acceptance rate.
From the Department of Fine Arts, National Taiwan Normal University to the National Palace Museum in Taipei (1955-1968)
Since I entered the university, I have been inseparable from art. But after all, the scope of art is very broad, I thought I wanted to take the road of Western painting in the first grade, but after the training of basic Chinese painting, calligraphy and seal carving, not only became more and more interested, but also because of the relationship between the family and the economic situation at that time, I never thought of going overseas for further study, but also in the seal carving teacher Mr. Wang Zhuangwei took the initiative to invite me to his home to learn calligraphy, inspired by the direction of personal efforts. When I was in my fourth year of university, I won two first prizes in Chinese painting and seal carving, as well as a second prize in calligraphy (but I was generally called the "Triple Crown" because I heard that the judges did not want me to win the three awards, so I demoted calligraphy to second place), so I made calligraphy, painting, and seal carving my life's work. I had just graduated from Normal University, and I waited for the education department to distribute it to teach in a secondary school. Those with backgrounds in the classmates went their separate ways to find their ideal location and school. At this moment, I received an invitation to dinner from the principal of the High School Affiliated to Normal University, whom I had never met, and it turned out that he had come to see our graduation exhibition. After the meal, he told me that after completing his military service, he would go to teach at the high school attached to the National Normal University, which his classmates longed for. I was expecting that I, who had no personnel background, would be sent to Hualien or Taitung, which are remote but have magnificent landscapes, and that I could engage in landscape painting while teaching. If that were the case, Taiwan might have added a landscape painter, but there would be no me today.
Just because he stayed in Taipei, Wang Zhuang introduced Taiwan's earliest seal carving group "Haiqiao Seal Collection" by Wang Zhuang as a teacher. Later, in order to become a better calligrapher and painter, I needed to increase my knowledge of art history, so I was admitted to the Institute of Chinese Studies (the predecessor of Culture University), and with the support of Director Zhang Longyan, I became an accompanying calligrapher and painter of the "Taiwan Youth Cultural Visiting Group to Africa" in 1964, and was also in charge of contemporary calligraphy and painting exhibitions. As a result of this opportunity, I visited more than 10 countries in Africa, including Paris, Rome, Athens and Bangkok for 100 days, which was the first grand tour in my life. When I was in my fourth year of university, I met Mr. Chen Zihe, a calligrapher and painter from Guangdong, and I often went to his "Huayang Art Garden" to gather, and he was also a member of the most important "Ten People Book Fair" in Taiwan at that time. Among them, the person who had the greatest influence on my future development was Mr. Ye Gongchao, a calligrapher, painter, diplomat and a member of the management committee of the "National Palace Museum" in Taipei, who asked me to work at the "National Palace Museum" in Taipei. The first time he asked me to go, the "National Palace Museum" in Taipei was still in Wufeng in Taichung, and I didn't want to go, which made him very angry. In 1965, when I was about to graduate from the Cultural Research Institute in Yangmingshan, the "National Palace Museum" in Taipei in Waishuangxi was completed, and he recommended me to go to the "National Palace Museum" in Taipei again, so I entered the calligraphy and painting department of the "National Palace Museum" in Taipei at the same time as Mr. Jiang Zhaoshen. In the above stages of life, each of my teachers is the key, and the most important is of course Mr. Ye Gongchao, because entering the "National Palace Museum" in Taipei is another major turning point in my life. Reading famous painting books every day aroused my interest in research, and I have since devoted myself to the study of calligraphy and painting.
▴ Fu Shen Xingshu Beishan Jigu: inscription rubbing
135 x 70 cm
Collection of the Art Museum of the Chinese University of Hong Kong
Speaking of research, after graduating from university in 1959, after reading Wang Zhuangwei's book "Calligraphy Talks", I read a little more about early calligraphy, and found that when the ancients discussed the aesthetics of calligraphy, in addition to some abstract adjectives, they also often borrowed concrete things to compare, so that readers could get a more concrete image and make it easy to associate, so I tried to write an article "Anthropomorphism in Book Theory" (unpublished). Later, in order to improve the theoretical foundation of his creation, he was admitted to the art department of the Institute of Culture, and under the guidance of Mr. Zhang Longyan, he completed his master's thesis "Evaluation of Calligraphy and Painting of Literati in the Song Dynasty", mainly to read and sort out the calligraphy and painting theories of Su, Huang and Mi.
After entering the "National Palace Museum" in Taipei, Mr. Jiang Zhaoshen and I were in charge of the exhibition of calligraphy and painting, and in order to select the exhibits and write the exhibition description, the first step was to familiarize ourselves with the collection. So every morning, my regular job was to read the collection from the warehouse, and every day I brought a cart of calligraphy and paintings to our office, hung them on the wall, or unfolded the album or handscroll on the big table, all up close and even with a magnifying glass, and I watched it for three years in a row, and saw that I went to the United States in 1968. Recalling that period was the happiest and most satisfying period of my life, and I was like a dry sponge, absorbing and learning freely.
Since our job is to exhibit options and write instruction cards, one of the first tasks is to verify the authenticity. Mr. Zhuang Yan and Mr. Li Lincan, senior scholars of the "National Palace Museum" in Taipei, also often come to our office to chat, and we took the opportunity to ask for benefits or look at the paintings together. At that time, the academic research of calligraphy and painting had just begun, and the major museums on the mainland also paid special attention to the appraisal work when collecting and sorting out the work.
The first research I did at the "National Palace Museum" in Taipei was because I saw a landscape scroll in the Nelson Museum in the United States on the catalogue, which was consistent with the style and brushwork of Jiang Shen's "Thousand Miles of Rivers and Mountains Scroll" under the name of Jiang Shen in Taipei's "Palace Museum", and the brushwork of Yuanren's "Autumn Mountain" in Taipei's "Palace Museum" was also the same, so it should be redefined as Jiang Shen's work in the Song Dynasty, so I made a preliminary investigation of Jiang Shen. Since Jiang Shen was the inheritor of the Juran School in the Southern Song Dynasty, I expanded my research on Juran and wrote a "Comparative Study of Juran's Surviving Paintings". However, for decades, our understanding of Juran is still vague, and it is not as clear as Dong Yuan's style, so I am reminded of Professor Shujiro Shimada, who teaches at Princeton University, and said a pertinent comment on my research on Juran: "Mosquitoes bite iron bulls!" However, this early paper, focusing on style comparison and using many local analyses, negated the "Snow Map" close to Li Guopai's "Snow Map", and identified "Autumn Mountain Picture" and "Nangqin Huaihe" as Wu Zhen, and "Cold Forest Evening Xiu" Changed to a meta-human work, these conclusions are still close to the truth. In the process of studying Juran's paintings, I found that one of the "Pictures of Xishan Lanruo" was by Zhang Daqian, and the other was born from the so-called "Drunken Picture of Cliff Song" under the name of Guan Tong, which was also Zhang Daqian's game, which planted the motivation for me to further study Zhang Daqian in the future.
▴ (Southern Song Dynasty) Jiang Shen "A Thousand Miles of Rivers and Mountains" (detail)
Ink on silk, long scroll, 46.3x546.5 cm
Collection of the National Palace Museum, Taipei
When I was at the "National Palace Museum" in Taipei, I also reviewed the so-called Jing Hao's "Kuang Lu Tu" from time to time to review its attribution of the times, because there are two other Song paintings without years in the "National Palace Museum" in Taipei, their house trees, landscapes and figures are indeed in the same vein in style, but the quality of the brush and ink is slightly inferior to that of "Kuang Lu Tu", so I will discuss the three together: although they are not the same hand, it can be presumed that "Kuang Lu Tu" is at least a good Song painting, as for the author's attribution and Jing Hao's painting style, I am afraid there will be no clear conclusion! From the above review, it can be seen that I paid more attention to the Song Dynasty and Song paintings during the period when I went to the "Palace Museum" in Taipei, but I watched the calligraphy and paintings of various dynasties in the "Palace Museum" in Taipei for three years, which played a great role in other research in the future.
By the way, I was teaching at the High School Attached to Taiwan Normal University. Between 1963 and 1964, when Taiwan first had television, Taiwan Television opened up a program called "Teaching Calligraphy" and asked me to teach calligraphy once a week, for 20 minutes each time, all of which were broadcast live, and I taught for 10 months, but I was suspended because I went to Africa. After entering the "National Palace Museum" in Taipei, the TV company invited me to host the program "Chinese Cultural Relics" for about half a year. Television was not popular back then, and not many people have watched my show now.
Princeton School (1968-1975)
About a year after I was at the National Palace Museum in Taipei, about 1966, another major event in my life happened, that is, the appearance of Professor Fang Wen. At that time, he came to the "National Palace Museum" in Taipei mainly to study Ni Zhan's paintings, and when the "National Palace Museum" in Taipei sent me to accompany him to the research room to see the paintings, I also expressed my personal opinion on some of the works. One day, when I was seeing him off at the door after work, Mr. Fang suddenly said to me, "Would you like to come to the United States to study with me?" Because of my family background, I never thought of studying abroad, and my interest in calligraphy and painting was also very good, so of course my English was not good, and I didn't know anything about studying Chinese painting overseas. What's more, after I arrived at the "National Palace Museum" in Taipei, I was really at home in the place of my dreams! So I remember that I was stunned at the time, and I didn't react to the sudden opportunity. A few days later, Mr. Fang was about to return to the United States, and when he was about to shake hands and say goodbye, he threw me an English sentence: "Fu Shen, keep in touch." We were separated like this, and I didn't take this sentence seriously.
We had a Ph.D. student in our office, Mr. Thomas Lawton, from Harvard University who helped us translate some of the exhibition descriptions in English. A few months after Mr. Fang left, another Chinese female student Wang Miaolian who grew up in Hawaii came, she studied at the Institute of Fine Arts and Archaeology of Princeton University for a year, Professor Fang Wen sent her to the "Palace Museum" in Taipei to intern and learn Chinese, but I did not expect that more than a year later, I married Wang Miaolian. During my two or three years at the National Palace Museum in Taipei, I gradually learned about the rich collections of American museums and the research status of scholars from Luo Qin and Wang Miaolian. Later, Princeton University urged Wang Miaolian to go back to continue her studies, and at the same time, I was eager to go to the United States to see the collections in various places, so I remembered what Mr. Fang said to me when he was leaving, so I wrote a letter to tell him that I was going to come. In the summer of 1968, with the help of Professor Fang, I won a two-year scholarship to Princeton University, which had a beautiful campus and a good library and photographic materials.
In those years, Professor Fang devoted himself to the study of the evolution of spatial representation in Chinese painting using Western theories, so as to correctly determine the chaotic early Chinese landscape painting. However, I was personally more influenced by his earlier research on the imitation and forgery of ancient Chinese paintings and calligraphy, including Zhang Daqian's research, which became one of the main directions of my future research.
▴In 1964, Fu Shen (left) and Ding Yi (right) visited Zhang Daqian in Taipei
Dong Qichang Research Series: After more than a year at the National University of China, I received an invitation from Jiang Fuxuan, director of the National Palace Museum in Taipei, to organize the "Symposium on Ancient Chinese Paintings", which was an unprecedented international academic symposium that brought together more than 100 scholars from all over the world, and Mrs. Chiang Kai-shek gave the opening speech, which can also be said to be the beginning of my academic career. For this opportunity, I wrote a 60,000-word manuscript entitled "Research on the Authorship of the Theory of Painting", which was mainly proposed by Mo Shilong or Dong Qichang in the Qing Dynasty, which influenced the theory of Chinese painting and the direction of landscape painting creation for 200 years. Because the clues in the ancient documents and the arguments of modern scholars are a bit disordered and wrong, in addition to the literature, I also verified Dong Qichang, Mo Shilong, Chen Jiru and other related people from the collection and empirical evidence of the paintings and calligraphy works of the two people, and finally concluded that the original author of "The Theory of Painting" and "The Theory of the Sect of the North and the South" has nothing to do with Mo Shilong, but was developed from the ancient paintings that Dong Qichang has studied and collected over the years. Although the main axis of this article is not the identification of calligraphy and painting works, it is still the identification of authenticity and the attribution of the author. I have studied a lot of Dong Qichang's calligraphy and painting theories and works, which also guided my future research on Dong Qichang.
In 1981, Professor Hiroshi Furuhara of Japan invited me to compile a book "Dong Qichang Calligraphy and Painting", and I edited Dong Qichang's calligraphy part, so I screened the calligraphy works of Dong Qichang that I could find that year, and conducted basic research on many works, and this book became a necessary reference book for the future study of Dong Qichang. When I was comprehensively studying Dong Qichang's calligraphy works, I noticed many works by Yan Zhenqing that were completely different from his ontological style of calligraphy, so three years later, in 1984, I published another article "Dong Qichang and Yan Zhenqing", listing his lifelong experience and works of learning Yan, and discussing why he studied Yan. My interpretation is that he knew that his natural defect was that he was inclined to be feminine, so he used his face as a strengthening exercise, not only to strengthen the skeleton of his regular script, but also to line the veins in his cursive strokes, so that his feminine cursive writing could also avoid the disease of cowardice. This article, of course, is also a related research on "Yan Zhenqing's Influence and Stages" published in the same year.
▴ (Ming) Dong Qichang "Linni Zhan Donggang Thatched Cottage Map"
Collection of the National Palace Museum, Taipei
In 1989, Shanghai Duoyun magazine published an article by me, "Dong Qichang's Calligraphy Stages and Its Influence". In 1992, the Nelson Museum in Kansas, USA, held an exhibition of Dong Qichang and an international academic symposium, and I took this opportunity to think about Dong Qichang's calligraphy in the development of calligraphy in the whole era, so I published an article "Dong Qichang and Ming Dynasty Calligraphy".
When I was researching Dong Qichang, I found that many of Dong Qichang's paintings and calligraphy were created on ships, not only Dong Qichang, but also many other paintings and calligraphy of the Ming and Qing dynasties. I immediately thought of Mi Fu's "calligraphy and painting boat", and Zhao Mengshun from his hometown Wuxing all the way north to the capital by boat through the Grand Canal, on the boat will be a lonely book "Lanting Preface" rubbings a total of 13 times, is the famous "Lanting Thirteen Trek". From then on, I had a plan to write "Calligraphy and Painting Boat". In the process of collecting materials from past dynasties, it is necessary to use Dong Qichang's most complete information, and finally wrote an article "Dong Qichang's Calligraphy and Painting Boat" after returning to Taiwan to teach, and also discussed the sub-topic of "Research on the Relationship between Water Travel and Appreciation and Creation". This kind of "mobile studio" is not only very different from the studio that is generally fixed on land, but also closely related to Chinese geography, ancient water transportation and literati life, which not only does not exist in the Western world, but also no longer exists in China after the changes in Chinese transportation and the lifestyle of literati and doctors in the 20th century. This is a unique environment for the creation of literati calligraphy and painting, and this kind of experience of boating and enjoying the scenery has achieved many long scrolls of landscapes that depict the river travel, so I divide the Chinese handscroll form of landscape painting into two kinds: one is to depict the lofty mountains, pedestrians on the trail or to walk on horses, and rarely paint the water surface, which is called "mountain landscape"; Mi Youren and Dong Qichang's "Xiaoxiang White Clouds" and Cheng Zhenghua's "Lying in the Mountains and Rivers" volume, although these works are not necessarily made on the ship, they are all related to the concept of enjoying the scenery on the ship.
▴ (Yuan) Huang Gongwang "Fuchun Mountain Residence" (detail)
Ink on paper, 32.9x589.2 cm
Collection of the National Palace Museum, Taipei
As for why he talked about the relationship with appreciation, because not only did he have leisure time to travel by boat, he had no physical exertion, and there were no sudden visitors, so he was attentive, for example, Dong Qichang took out the calligraphy and paintings that accompanied him to appreciate and think, and then wrote his experience into inscriptions or words, which became his theory of calligraphy and painting. The above mentioned Dong Yuan's "Xiaoxiang Map", there is no author and title, but when Dong Qichang was appreciating the scroll, the scenery in the picture reminded him of what he saw on the Xiaoxiang Road in the past, so he blurted out that this is the "Xiaoxiang Map" under Dong Yuan's name. After that, when Dong Qichang took a boat to Hunan again, he accompanied him with this volume, and then when he arrived in Xiaoxiang, he took out this volume to enjoy the scenery, and wrote an inscription that made the world praise and amaze. This is his unique appreciation experience of bringing the paintings to the real scene, and it also restores that the painting painted by the original creator of this "Xiaoxiang Picture" is actually "what Jiang Xing saw". This is what I personally find most interesting.
In 2006, the Macao Museum of Art held an exhibition of Dong Qichang, which brought together masterpieces from the Palace Museum in Beijing and the Shanghai Museum, as well as a symposium. More than 30 years ago, when I was at the National Palace Museum in Taipei, I wrote "A Study on the Authorship of the Theory of Painting", because mainland scholars did not read the original text or only read the abstract, and because the problem was complex, some scholars were still arguing, thinking that it was not Dong Qichang but Mo Shilong. Therefore, I took this opportunity to write another article entitled "Dong Qichang's Theory of the Northern and Southern Sects and the Formative Years of the 'Painting Theory'", which once again used empirical evidence to explain that the "Theory of the Northern and Southern Sects" was founded by Dong Qichang and that there was a gradual development process based on the ancient paintings he saw and hidden, and Mo Shilong did not have the conditions and process to develop this theory. Therefore, Ms. Li Huiwen, an American expert on Dong Qichang, said at the symposium that she hoped that there would be no more controversy in academic circles in the future. The above is a review of my research on Dong Qichang.
Identification Studies: Back to 1972, when I was a student at Princeton, Professor Fang Wen assigned me a research and exhibition project, which was to produce an exhibition catalogue of a collection of Chinese paintings and calligraphy acquired by Dr. Sackler under the guidance of Professor Fang Wen and deposited at the Princeton University Art Museum. I did research on the basics of each work, especially the authenticity of the work, the renaming of the untitled paintings, and so on. In the preface to the catalogue, I made a general statement, first of all, I will draw an area around the Taihu Lake basin, bounded by the Yangtze River, Yangzhou and Zhenjiang in the north, Hangzhou and Huzhou in the south, Nanjing in the west, and the sea in the east. Since most of the Chinese calligraphers and painters of the Ming and Qing dynasties were concentrated here, it was named the "Eye Area" of Chinese painting, representing the "soul area" of Chinese painting and calligraphy in the Ming and Qing dynasties. At that time, I was a little proud of the term I created, thinking that it would often be quoted by future generations, but the impact was not as expected. The book was later printed in a second edition, and a third more than 10 years ago, and is often included in the bibliography of Western scholars.
Although the original purpose of this book was only to "study the collection of paintings of Sha Kele", because of the twin paintings and calligraphy of Shi Tao in the book, as well as the renaming of the fake paintings under Dai Jin's name, I made a more comprehensive comparative study of Shi Tao's authenticity, especially at that time, I cut out thousands of Shi Tao's single characters by hand, and discussed some general theories of identification in the front. Wang spent more time writing in English and added some of her views, so she finally titled the book Studies in Connoisseurship: Chinese Paintings from the Arthur M. Sackler Collection in New York and Princeton.
▴ (Qing) Shi Tao "Hundred Arhats (No. 41)"
Volume, ink on paper, 100 carats, 42x24.5cm each
The book, which was very large and thick at the time, a bit like a telephone directory, was published before I wrote my doctoral dissertation, and I didn't get my degree until three years later. But I would like to thank Mr. Fang Wen for giving me such an opportunity, because this book helped me a lot in my future experience, which I only learned about afterwards. First of all, two years later, in 1975, Professor Richard Barnhart of the Yale Institute of Art History invited me to give a lecture on Huang Tingjian's calligraphy, which was my first lecture in the United States. At that time, my English was really not good, but I was talking about the calligraphy of Huang Tingjian, a subject I was familiar with, so I didn't care whether a group of old Western professors who listened to the lecture could understand it or not, and I finished it without fear. That evening, the director invited me to dinner and told me that after the approval of the faculty meeting, the university had decided to give me a three-year offer of appointment as a professor (because Professor Ban Zonghua had transferred to Princeton University to teach), and hoped that I would consider whether to apply for the position within a week. So I went to teach at Yale University, and four years later, I moved to the Freer Museum of Art in Washington, D.C.
Thinking back to going to Yale University to give a lecture, fortunately I didn't take the initiative to apply for a teaching position, and I didn't know why beforehand, but I was surprised that the audience was so old that there were no young students present. If I had known in advance that they were looking for a faculty position, I would have been timid and would have spoken even worse! Later, I realized that I had not yet received my Ph.D., which should have been the credit of my book, and of course, I would have thanked Professor Zhang Guangzhi, who was at the Institute of East Asian Studies at Yale University at that time, and he must have given me a vote!
Because of the writing of this book, the research on the relevant painters and works in it has developed into other essays in the future, such as the painting of Ma Wan, a calligrapher and painter in the Yuan Dynasty, and Yang Weizhen's "Boat Drawing of Spring Water Building". Because of my interest and research in Yang Weizhen, I discovered that Yuan Renwu's "Spring Mountain" in Taipei's "Palace Museum" is the same as the pine tree in his "Year of Cold", which is probably the landscape painting of Yang Weizhen's self-painting "Wenbi Peak". In addition, because the handwriting of Huang Gongwang's "Nine Peaks and Peaks" inscribed by Yang and Wang Feng is the authentic work of Yang and Wang Er, it negates the previous scholars' argument that this painting is not Huang Gongwang's authentic work. In this book, a huge scroll of snow scenery "Snow Landscape" is passed down as Dai Jin, which is judged to be the work of Shanxi painter Zhang Jisu according to the seal on the painting. At the time, it was thought to be a unique book, and there was no way to compare and verify it, but later found other named and dated works by Chang in the United States and China, so he reaffirmed the correctness of the judgment at that time, and finally found a large landscape in a Taiwanese store in which Zhang Jisu learned Shen Zhou's brushwork, and then resketched the outline of this almost forgotten Shanxi painter. I published this article at a symposium held by Princeton University three years ago in honor of Professor Fang Wen's retirement.
▴ (Yuan) Huang Gongwang "Nine Everest Peaks"
Ayamoto, Vertical scroll, Ink, 79.6x58.5 cm
Collection of the National Palace Museum, Taipei
In addition, because there are several paintings and calligraphy by Shi Tao in this book, I have since developed my related research on Shi Tao and Zhang Daqian, such as "Knowing the False to Identify the Truth" in 1975 and "Thirsty Brush Sketching Style and Shi Tao's Early Works in the Ming and Qing Dynasties" at the Chinese University of Hong Kong in 1976. In 1980, Professor Hiroshi Furuhara invited me to select and compile a copy of Shi Tao's Literati Paintings, which enabled me to comprehensively collect and study Shi Tao's paintings and calligraphy. Daqian and Shi Tao (1983) explores Daqian's process of learning Shi Tao and some of Dagan's forgeries. In 1984, the "Commentary on Shi Tao's Life and Death" re-pointed out Professor Fang Wen's research, arguing that Fu Baoshi's estimation of 1630 based on the forgery was not credible as Shi Tao's birth year, but should be estimated from the authentic work of "Shi Tao's Letter to the Eight Great Letters", which is roughly 1640. This is quite close to the new discovery published by Mr. Wang Shiqing in recent years, which is dated to 1642. As for the series of studies on Zhang Daqian that developed under the guidance of Professor Fang, we will describe them separately below. At the same time, because there was a book first, it would not be 30 years before the "Appraisal of Calligraphy" was written.
It can be seen that this exhibition catalogue commissioned by Professor Fang Wen to be written by me in 1973 and developed by me into "Identification Research", which not only guided my future research direction, but also made me a smooth career path. That's what I said at the beginning, Professor Fang changed my life.
In addition, in 1975, when I was still at Princeton University, Professor Xu Fuguan of Hong Kong published an article entitled "The Biggest Mystery in the History of Chinese Painting - The Problem of Two Volumes of Huang Gongwang's Fuchun Mountain Map" in Ming Pao Monthly. This is exactly the opposite of what I found when I compared the two volumes side-by-side when I was at the "National Palace Museum" in Taipei, both the brush and the calligraphy are useless, and the style of the inscription is the same as that of other authentic works. So I had a hard debate with the famous scholar who wrote The Spirit of Chinese Art, because he refuted each debate (at that time, Professor Jao Tsung-i and I coincidentally shared the same view), and I published four debates in Ming Pao Monthly, all in 1975, in the following order: "The Authenticity of the Two Volumes of 'Fuchun Mountain Residence': A Discussion of Professor Xu Fuguan's 'The Great Doubtful Case'" in March, "The Remaining Mountain and the Original Appearance of Fuchun Juan" in April, and "One-sided Verdict" in June—— For the Fuchun Debate to Explain to the Readers", August "A Brief Discussion on the Heel Theory" - "Fuchun" Debate Redundant Words".
▴ (Yuan) Huang Gongwang "Fuchun Mountain Residence" (detail)
Ink on paper, 32.9x589.2 cm
Collection of the National Palace Museum, Taipei
Because Professor Xu stood on his subjective standpoint, he wrote an article "Verdict or Verdict" to maintain his original opinion, so I finally had to write another article "One-sided Verdict" to refute it. The most helpless thing is that soon after, he printed several of his essays before and after him into a pamphlet, which circulated in the city, and readers who did not know what he was doing were often persuaded by his eloquent essays to be "one-sided", and he created a plausible false impression of readers who could not distinguish themselves from the superior and inferior in their works. Fortunately, 30 years later, the pool of spring water that was muddyed by him has finally returned to calm, so that readers can no longer be misled by Xu and clarify. However, in recent years, some scholars have denied the authenticity of "The Remnant Mountain", which has caused unnecessary waves.
Personally, because of this debate, I have a further understanding of Huang Gongwang, so combined with Yang Weizhen's inscription, I reaffirmed the above-mentioned Huang Gongwang's "Nine Everest Peaks". Later, in 1993, at the "Four Kings" International Symposium held in Duoyunxuan, Shanghai, I published an article entitled "Wang Hui's Fulin Spring Rolls and Related Issues".
From Yale University to Freer Museum of Art (1975-1994)
In the fall of 1975, I began my four-year teaching career at Yale University, and in 1977, with the support of Professor Zhang Guangzhi of the Institute of East Asian Studies and Mary Gardner Neill, Director of the Oriental Department of the Yale University Art Museum, I organized the most important "Exhibition of Chinese Calligraphy" in the United States to date, as well as the first international "Symposium on the History of Chinese Calligraphy", which lasted for three days. For this exhibition, we go to the United States to borrow public and private collections to inspect and select exhibits, including Wang Xizhi's "Xing Sui Ti" to Huang Tingjian's "Lian Po Lin Xiangru Biography", "Zhang Datong" volume, Mi Fu "Wu Jiangzhou Poems" volume, Fan Chengda's "Xisai Fishing Society Map", Zhang Jizhi's "Diamond Sutra" volume, Xian Yushu's "Imperial History" and "Stone Drum Song", Zhao Mengfu's "Miaoyan Temple Records", Kang Li Zishan's "Ziren Biography", and Ming Dynasty Shen Du, Shen Cang, Chen Xianzhang, Shen Zhou, Wu Kuan, Ming three people Zhu Yunming, Wen Zhengming, Wang Chong, Chen Chun and Xu Wei, down to the Bada and Shi Tao in the Qing Dynasty, all the way to He Shaoji, Yang Shoujing, Zuo Zongtang, etc., it can be said that the elite of the American collection is exhausted. After the catalogue was published, scholars in Japan and China were amazed at the quality of the Chinese calligraphy collection in the United States.
▴ (Northern Song Dynasty) Huang Tingjian, "Cursive Lian Po Lin Xiangru Column Biography Volume" (detail)
Collection of the Metropolitan Museum of Art
As for the compilation of the exhibition catalogue, not only according to the age of the works, but also in view of the unfamiliarity of foreign audiences with Chinese calligraphy, the exhibits are divided into three categories in calligraphy, namely seal, cursive, and regular script, and a brief history of their development. Due to the authenticity of the hand-me-down works, especially Wang Xizhi's works, a special chapter is set up to explain "Copies and Forgeries of Calligraphy", which also shows my interest in identification. Especially in the private collection of the United States, there are many Zhu Yunming's sketch scrolls, the authenticity of which is mixed, and I also took this opportunity to conduct a more comprehensive research, and all of them were approved by collectors, borrowing them to be exhibited and compared at the same time, so I set up a separate "Zhu Yunming Question" in the catalogue In the first chapter, we explore how to understand Zhu Yunming's changing style first, how to select Zhu's benchmark works from them, and compare the development of his style side by side, and then judge which works of insufficient quality and style beyond Zhu's scope are counterfeits from the late Ming and later styles under Zhu's influence.
In addition, after all, there are far more paintings than calligraphy in the American collection, but because I have noticed that many paintings, especially handscrolls and albums, have also stored introductions and inscriptions written by many calligraphers, painters and connoisseurs, and are on loan for exhibition this time, so the book has a special chapter "Inscriptions and Law Books". The introduction has also preserved a lot of larger-sized calligraphy, which was rare and rare in the Yuan and Ming dynasties before the couplet form became popular, especially the Yuan and Ming Dynasty seal books that were rarely described by scholars in the past, and have since gained attention. The inscriptions at the back of the volume also preserve the works of many famous masters and rare small masters, which can increase our understanding of the history of calligraphy. The exhibition was loaned to the University of Berkeley Art Museum by Professor Gao Juhan, and the one-page catalogue was sold out within a year. Ten years later, the Forbidden City Publishing House in Beijing published the Chinese translation of Mr. Ge Hongzhen's "Research on the Famous Sites of Overseas Law Books" by Mr. Ge Hongzhen of the Suzhou Museum, which also sold out quickly and had some impact.
As a result of this exhibition, Japanese calligraphy scholars noticed that Western collections could not be ignored, so they initiated by the Central Koronsha and invited Mr. Yujiro Nakata, a master of Japanese calligraphy, to co-compile a set of "Omi (American) Collection of Chinese Law Books and Masterpieces" with myself from 1982 to 1983. This book added a lot of new calligraphy materials to Chinese and Japanese scholars, and made extensive use of inscriptions in calligraphy and painting scrolls, which opened up the trend. It is a pity that less than 1,000 limited editions were published at that time, especially in mainland academic circles, and they were not popular. I was mainly responsible for the work on the selection of the book. Since each book requires a general essay related to the selection, the following is the title of the essay I wrote for each book: "A Brief History of Chinese Calligraphy in European and American Collections", "The Book of the Jin, Tang and Northern Song Dynasty", "The Book of the Emperors of the Song Dynasty, the Southern Song Dynasty and the Jin Dynasty", "The Calligraphy of the Early Yuan Dynasty", "The Calligraphy of the Late Yuan Dynasty and the Early Ming Dynasty", "The Calligraphy of the Ming Dynasty", "The Calligraphy of the Ming and Qing Dynasties: The Songjiang School and Others".
In 1977, I held a three-day symposium on the history of Chinese calligraphy at Yale, where I presented "The Relationship between the Style of the Times and the Style of the Masters", which pointed out the importance of understanding the styles of the masters of the past dynasties and their relevance to the styles of the times, so as to help determine the authenticity of the works and the times. News of the symposium spread to the mainland via Hong Kong, and around 1980 began to trigger their motivation to hold a calligraphy academic seminar. The first session was held in Shaoxing, Zhejiang, and I was specially invited to participate, and now there are many calligraphy seminars on both sides of the Taiwan Strait, which have reached the point where they are too busy to cope, and the accumulated academic research results are also very considerable.
During my four years at Yale University from 1975 to 1979, I would like to thank Wang Miaolian for helping me complete the English version of my doctoral dissertation, Zhang Datong and Huang Tingjian's Calligraphy, in 1976. In the same year, I also published "Two Song Dynasty Scholars, Dianjun Zhang Jizhi and His Zhongkai" in the Palace Museum Quarterly. My research on Zhang Jizhi actually began when I was at Princeton University, when Professor Fang Wen bought a copy of Zhang Jizhi's Diamond Sutra for a collector, so I started to study it. Its main motive is to prove that the "National Palace Museum" in Taipei collects a "Lengyan Sutra" with Bai Juyi's style, which can be affirmed as Zhang Jizhi's book in terms of book style, so first let readers understand Zhang Jizhong's writing style, and then easily prove that Bai Juyi's style is a fake addition of later generations, until 1985 published "Authenticity Bai Juyi and Zhang Jizhi", at that time I don't know when and who forged it, and later saw Li Rihua's "Weishuixuan Diary" Later, a friend told him that he was a forgery made up by his contemporary, Zhu Dian (Xiao Hai), who had made up the forgery (this information was told to me by two classmates). Generally speaking, although it is difficult and easy to determine the authenticity, it is only a very small number to know when and who forged it in the identification of ancient paintings and calligraphy, which can be encountered but not sought, so it is put out here.
▴ Poster of Mr. Fu Shen's lecture at the Academy of Arts and Sciences
In the same year, I went to the Chinese University of Hong Kong to publish the aforementioned "Thirsty Brush Sketching Style and Shi Tao's Early Works in the Ming and Qing Dynasties", and in 1978 and 1979, I successively published four articles in the Palace Museum Quarterly: "The Eldest Princess", "Yuan Wenzong and Kuizhang Pavilion", "Xuanwen Pavilion and Duanbentang", "Secretary and Others".
In 1980, the "National Palace Museum" in Taipei printed the above four collections into a special book "A Brief History of the Collection of Imperial Paintings and Calligraphy in the Yuan Dynasty". The initial motivation for this series of research is still related to identification, because in the experience of reading calligraphy and painting in the "National Palace Museum" in Taipei, I was curious about the seal and related inscriptions of the eldest princess of the Yuan Dynasty, as well as the "treasure of the heavenly calendar" of Yuan Wenzong, so I went to explore its origin. This is not a research on the style of calligraphy and paintings, but an attempt to understand the imperial education of the Yuan Dynasty and the collection of calligraphy and painting of the Yuan Dynasty from a historical perspective.
Before ending my Yale period, I would like to add another important thing for me in the future, that is, in 1977, the American Academy of Sciences sent a ten-member team of Chinese painting and calligraphy experts, including professors Fang Wen, Gao Juhan and Wu Nasun, to visit major museums in China to inspect calligraphy and painting, mainly to inspect the collections of Beijing, Tianjin, Liaoning, Shanghai, Hangzhou, and Suzhou, and also allowed the filming of slides. Due to the tense situation in 1977, Jiang Fuxuan, director of the "National Palace Museum" in Taipei, who had always loved me, wrote a special letter to persuade me not to go, saying that if I went, it would be "painful and hateful"! However, based on my desire to learn and without considering my future position at the "Palace Museum" in Taipei, I still made the trip. Since that time, I have been to the mainland more than ten times, attending seminars and research trips, and although I have not been able to follow Dean Jiang's advice and live up to his expectations of me, I have always been grateful for his great love for me.
After three years of teaching at Yale, I received a letter from the director of the Smithsonian Institution, Freer Gallery of Art, the director of the Smithsonian Institution in Washington, D.C., who was leaving the director of the Chinese painting and calligraphy department in a year's time, and gave me a year to consider whether I would like to take over the position. I took advantage of this opportunity to make a request to Yale University that the university could also hire Wang Miaolian to teach the university department, and I would teach the graduate school (to reduce the pressure on me to teach in English, because graduate students have a considerable degree of Chinese ability, and not the whole class has to be lectured in English), and I was retained. But Yale didn't agree, so after my fourth year of teaching, in the summer of 1979, Wang and I moved from Connecticut in the northeastern United States through New York and Philadelphia to Arlington, on the South Shore of Washington, D.C., where I began my 9-to-5 shift at the Freer Museum. The curator is Mr. Luo Qin, who has been in the same room with me for more than a year in the calligraphy and painting department of the "National Palace Museum" in Taipei. He got his postdoc at Harvard, took over from him when he left Freer to teach, and years later he was promoted to associate curator and then director, and I was thought of because of a vacancy. I later learned that Director Luo Tan was going to hire me, and in addition to my doctoral dissertation and experience at Yale, he also submitted my book "Identification Studies" to Chief Librarian Smith Sonning as a recommendation, and I was able to pass it. From then until 1994, when I resigned and returned to Taiwan, I spent 14 years in Washington, D.C., and I am of course grateful to him for taking care of me in every way.
▴ Freer Museum of Art, 1928
Freer's collection of Chinese paintings is not huge, but there are many famous works, and my job is to be responsible for the frequent change of exhibitions, the research of the collection, the inter-museum exchanges, the attendance at various academic seminars, and the acquisition of additional collections. Due to the rising value of calligraphy and painting and the rise of collectors in Hong Kong and Taiwan, it is difficult to make great achievements with fixed funds, but I took advantage of a special fund to buy a batch of calligraphy from private collectors such as Wang Jiqian, Yu Xiezhong, and Weng Wange, including Wang Xianzhi's "Nanmu Zhi" and Yuanren inscription scrolls from Sanxitang, Zhao Mengfu and Kang Lizishan, and Wu Kuan, Chen Chun, Xu Wei, Deng Shiru, etc. These works are collected in the six volumes of the "Collection of Famous Writings of Chinese Law Books in the Omi (USA)" that I mentioned earlier and co-edited with Professor Yujiro Nakata.
In addition to this book, looking back on the more than 10 years in Washington, I have published more than 50 articles, large and small, which can be roughly summarized into the following categories:
Paintings: 1980 Huang Gongwang's 'Nine Everest Peaks' Cui Tu and His Vertical Scroll Chapters, 1984 "The Old Relics of the Golden Branches and Jade Leaves", "The Related Works of the Eight Masters and Shi Tao", "A Falsified Gong Xian Painting", "Deng Wenyuan's Father-in-law and His Son-in-law's 'Kuang Lu Tu'", 1986 "Baishi Snow and the Same Liver and Gallbladder - On the Influence of the Bada Shanren Qi Baishi", 1987 "Huang Binhong's Landscapes and Flowers in His Later Years in Shanghai", 1991 "Shen Zhou's Bamboo Residence and Fishing Moon Pavilion Picture Scroll", 1992 Examples of Stone Replica Paintings", Ni Zan and Ink Bamboo in the Yuan Dynasty, Wang Huilin Fuchun and Related Issues, 1993, The Author of "Autumn Forest Xiaoyintu": Tao Fuchu of the Yuan Dynasty or Xiang Dexin in the Late Ming Dynasty?—— Misjudgment of Ancient Paintings", and 1994, "Humor in Chinese Painting".
▴ (Qing) Wang Hui "Kuanglu Reading Map"
Vertical scroll on paper, ink and color, 171.3x79.5 cm
Collection of the National Palace Museum, Taipei
Calligraphy: 1980 "Traditional and Modern Chinese Calligraphy as Seen in Chinese Mainland in 1977"; 1983 "Zhang Jizhi and His Zhongkai (Supplement)"; 1984 "Copies and Forgeries of Calligraphy" (translated by Zhang Ruzhen), "The First Su Dongpo in the World-" Cold Food Post", "Dong Qichang and Yan Zhenqing", 1985 "Yan Shu Influence Periodization", "Authenticity Bai Juyi and Zhang Jizhi", "The Establishment of Yan Lugong's Status in the Northern Song Dynasty and Its Book History", "Huang Tingjian's Cursive Script "Lian Po Lin Xiangru Volume", "Deng Wenyuan and Mo Shilong", " Jin Shi Lu Jin Shi Qing - Li Qingzhao and Zhao Mingcheng", 1986 "Yuan Dynasty Great Calligrapher Deng Wenyuan and His Writings", 1989 "Dong Qichang's Calligraphy Stages and Influences", 1994 "Zhao Mengshun Xiaokai Chang Qingjing and His Early Calligraphy Style".
Collection and exhibition: "Wang Duo and the Rise of Northern Connoisseurs" in 1981, "Freer Museum of Art, Washington, D.C." in 1982, "Collection and Research of Overseas Chinese Cultural Relics", and 1989 "From the Columbus Exhibition in the United States on the Feasibility of Re-exhibiting Cultural Relics in the Palace Museum" (this article shows that the author and the National Museum of Art of the United States formulated a guarantee that the exhibits of the "National Palace Museum" in Taipei will be protected from judicial seizure by the US government, and the legal model of the "Palace Museum" loan exhibition in Taipei has been opened in the future).
Zhang Daqian: I was very fond of Daqian's paintings when I was studying painting in my early years, and when I did Juran research at the "National Palace Museum" in Taipei, I found two forgeries of Daqian, and later my research was inspired by Mr. Fang Wen, and after the research related to Daqian in the book "Identification Research", I held two exhibitions, published two books and more than ten articles, namely "Daqian and Shi Tao" in 1983, "A Lost Portrait of Zhang Daqian" (or "Portrait of Zhang Daqian Painted by Deng Manqing and Xu Beihong") in 1987, and 1989 "Zhang Daqian's Dramatic Character Paintings", "Zhang Daqian and Wang Meng", "Zhang Daqian's Paintings in Shenyang", "Li Gonglin (Wuzhong Sanxian Picture) and Zhang Daqian as Tang and Song Dynasty Paintings" at the Freer Art Museum, "Zhang Daqian in the Bloody War" and "The Bloody War of the Ancients: Zhang Daqian's Retrospective Exhibition" (Sha Kele Art Museum) in 1991, "Sui Dynasty Buddhist Paintings: Who Is It Not Daqian?", "Daqian Sui Paintings, Tibetan Scripture Caves", "Songmeizhi Stone Pictures: Zhang Daqian's Testimony of Learning from Li Ruiqing" in 1993, "The Hanmo Yuan of Southern Zhang and Beipu", " Searching for the Source of the River in Kunlun - Zhang Daqian and Dong Yuan", 1995 "Huang Junbi and Zhang Daqian Han Mo Yuan", 1997 "Distinguishing Dong Yuan's 'Creek Bank Map' Is Not Zhang Daqian's Forgery", 1998 "Zhang Daqian's World" (Taipei "Palace Museum" Exhibition-East Zhang Xibi), "Outside the Beacon Fire, Taking a Different Path-Zhang Daqian", "Daqian is afraid of the ancient times", "Daqian is afraid of the ancient world", "Daqian is afraid of the past and the present".
▴ (Modern Times) Zhang Daqian "Qingcheng Former Residence"
Mirror heart, ink and color on paper, 65x147 cm
On the one hand, Zhang Daqian is the most profound and extensive painter in Chinese painters' middle school, and if you don't understand ancient paintings, you can't understand Zhang Dagan. For example, some scholars have judged a real ancient painting "Picture of the River Bank" to be Zhang Daqian's handwriting, which has disturbed the ears and eyes of today's art history circles, and it can be seen that it is important to have a correct understanding of Zhang Daqian! And this project, first of all, is to have a comprehensive and clear understanding of Zhang Daqian's life's creative life and his pursuit. What I have published above is only a part of it, but in the later period of Frear, Washington, it was possible to borrow exhibits from outside the museum because of the addition of the Shacola Art Museum. In the course of my research, I also visited many places because of my vast whereabouts, especially Argentina, Brazil and India. Later, when I returned to Taipei, I had the opportunity to hold the "Zhang Daqian's World" exhibition again at the "National Palace Museum" in Taipei, and published the book "Zhang Daqian's World" in Chinese.
Returned to Taiwan to teach at National Taiwan University (1994-present)
In 1990, when I was preparing for Chang Daqian's retrospective exhibition, Professor Shi Shouqian and Professor Chen Baozhen, who were seconded from the Academia Sinica to the Institute of History of National Taiwan University, called one after another, explaining that they were planning the operation of the art history group to become an independent institute from the Institute of History, and hoped that I would consider returning to Taiwan. Soon after, the dean of the Faculty of Arts and the director of the Institute of History of National Taiwan University made a special trip to Washington to express their sincerity in inviting me to return to Taiwan. Personally, because I am not familiar with the administration and National Taiwan University, I have no intention of serving as the director of the institute, and Professor Shi has presided over the administrative step for many years, so he should take over, and as for me, I am willing to return to Taiwan as a full-time faculty member when my work in Washington is over. In 1993, after being invited by Director Shi to make long-distance phone calls and agreeing that I would not take up administrative work, I moved from Washington to Taipei in early 1994, and now I have entered my 22nd year!
In the past 20 years, the more academic papers include the aforementioned "Dong Qichang Calligraphy and Painting Boat" and "Identification Research". However, due to the changes in the general environment, the direction of writing has also been restricted, such as "Taking Hanmo as Buddhism: Calligraphy Exhibition of Modern Monks in the Ming and Qing Dynasties" and "Introduction to the Exhibition of Modern Monks in the Ming and Qing Dynasties" written for the exhibition works of folk collectors in 1995, "The Fashion of Tixue in the Late Ming and Early Qing Dynasties" in 1996, "(Song) Xie Yuan Folding Branches and Peach Blossom Scroll" in 1999, and "Stone Book House Law Book Yuan" in 2001.
▴ "Calligraphy and Painting Boat" in Ming Dynasty Prints
In 1998, he was invited to write a book "Zhang Daqian's World" for the joint exhibition of Picasso and Zhang Daqian at the "National Palace Museum" in Taipei, and also published monographs related to Daqian, one of which is the 1997 "Distinguishing Dong Yuan's 'Creek Bank Map' Is Not a Fake by Zhang Daqian" mentioned above.
Because he returned to Taipei more than 40 years ago, in order to commemorate the relevant teachers and friends, he wrote the following articles: "Huang Junbi Who Learned Ancient Skills Deeply" in 1997, "The Genius of Hard Work - Jiang Zhaoshen's Calligraphy and Artistic Life", "Overview of Mr. Zhang Longyan's Calligraphy" in 1999, "Fu Lifu and Taiwanese Landscape Painting", "Fengya - Mu Lao", "South Zhang Beipu", and "Mr. Zeng Shaojie's Calligraphy Look" in 2000.
There are 1996 "Shen Yinmo", a calligrapher in the early Republic of China, and 2006 "Yu Youren's Stone Carvings on the Cliff in Taimo". Although I entered the "Palace Museum" in Taipei in 1965 and shifted my time and energy to the study of ancient calligraphy and painting, since I returned to Taiwan, I began to create a little under the encouragement of my friends Chen Ruigeng and Zheng Shanxi, and expanded to ceramic calligraphy, both writing and carving. Since 2000, he has assisted the Ho Chuangshi Calligraphy Foundation in organizing the "Traditional and Experimental" Calligraphy Biennale, and has put forward his personal views on the path that modern calligraphy should take, and has published "The Tradition and Experiment of Calligraphy" in 2000, "On Chinese Character Calligraphy and Innovation Orientation" in 2001, and "On the Innovation of Contemporary Calligraphy" in 2006.
In my own creation, I also try to choose the form and content of a small number of words to express my personal state of mind, and the form pays attention to both the design of the written word and the skill and expression of traditional strokes.
As for painting, when I was in college and just graduated a few years, I really wanted to become a painter, and I won several first places in the department exhibition of Normal University, the provincial faculty art exhibition and the provincial exhibition, but from the time I entered the "Palace Museum" in Taipei and saw those masterpieces of the past dynasties, my interest turned to research, and I also felt that my talent was not qualified enough, so I never painted again. However, my understanding of ancient paintings has made me most interested in the painting process of Zhang Daqian's bloody battle with the ancients among modern painters, and it is also because he has devoted himself to the ancients.
Research on Huaisu's "Self-Narrative Post": In 2004, I was involved in the controversy of Huaisu's "Self-Narrative Post", because Professor Li Yuzhou of Taiwan was inspired by Qi Gong and Xu Bangda, and compared the rubbings with the ink book incorrectly and came to a very extreme conclusion, believing that the "Self-Narrative Post" of the ink scroll of the "National Palace Museum" in Taipei and the more than ten inscriptions of the Song Dynasty and the Ming Dynasty at the back of the volume were all forged by Wen Zhengming's eldest son, Wen Peng, which is a bit similar to Professor Gao Juhan's "Creek Bank Map" It is determined that it was forged by Zhang Daqian, because even I cannot be sure that the "Creek Bank Map" is from Dong Yuan, but it is indeed an ancient painting of thousands of years. Similarly, even if there is still some controversy about whether the Autobiography is from the hand of Huaisu, we can know that the lower limit of its age is the Northern Song Dynasty, and we can be sure that all the inscriptions of the Song and Ming dynasties after the volume are authentic. However, since Professor Li has published two and a half books over the years, and has repeatedly and elaborately argued his essay on Wen Peng, it is impossible for me to clarify it in one or two papers. So I wrote the book "Calligraphy Appraisal: Clinical Diagnosis of Jian Huaisu's Self-Narrative Post", which is dedicated to a series of arguments and clarifications on his arguments: (1) The ink scroll of the "Palace Museum" in Taipei is a single-stroke manuscript, not a facsimile. (2) On the evidentiary limits of the engraved rubbings to review Wen Peng Yingji. (3) Inspect the Song and Ming Dynasty and the early Southern Song Dynasty Zhao Dingqi sewing seals are all true, not copies of Wen Peng. (4) From the broken paper and supplementary characters of the ink scroll of the "National Palace Museum" in Taipei, it is proved that it is the mother copy of the Shuijingtang engraving, and the text Peng facsimile cannot be established. (5) Examining the collection of ink scrolls of the "Palace Museum" in Taipei, and denying Wen Peng's statement. (6) Judging from Wen Peng's handwriting and Wen Peng's "Self-Narrative Post", the ink scroll of "Self-Narrative Post" of the "National Palace Museum" in Taipei is by no means a copy of Wen Peng.
▴ (Tang) Huaisu "Self-description"
Paper, long scroll, ink book, 28.3x755 cm
Collection of the National Palace Museum, Taipei
Finally, from the oblique adjustment of the line every time the engraving book, as well as the change of the position of the original paper seam and the seam seal, etc., to explain the mother-child relationship between the ink scroll and the Shuijingtang book of the "National Palace Museum" in Taipei, and the lower limit of the ink book is set according to Shao Ye's seal in 1096 at the end of the Northern Song Dynasty, and it is uncertain whether it is the authentic work of Huaisu.
After the publication of the book, due to the appearance of Shen Mingyi's rubbing, the author borrowed the original extension cut into an album from the collector, carefully observed its cutting traces, and reassembled it with the length of the original extension, in order to restore the actual situation of the stone at that time, just like the "restoration scene" of the criminal detective, and the result was the original extension of the nine stones, so we can suddenly understand the difference between the fifteen and nine papers in the debate, and the difference in the position and number of the riding seam prints, which turned out to be caused by the ink scroll accommodating the length of the book strip stone, and the riding seam printing was engraved at both ends of each stone. As for the oblique guidance of the lines, firstly, it is necessary to avoid the stamps of the ink scrolls being pressed on the handwriting when copying, and most of the lines that are oblique in Sun Mu's book are corrected to straight lines when cutting and binding into albums, so as to match the fixed rectangle of each page layout.
Therefore, even if we can often see the traces of stitching in order to complete the layout from the printed matter of Sun Muben, the lack of patches on the pages of Shen Mingyi's books clearly shows that the oblique correction of the upper line of the engraved book is exactly the same as that of the ink scroll, except that it is occasionally corrected when cutting and binding. Therefore, we can clearly solve the three points that have led to erroneous inferences from the beginning due to the photocopied rubbing: the difference in the oblique line and the difference in the number of stitches and splices. Luo Zhenyu once proposed that we should avoid "doubting the true face of the portrayal of the obsession". We should also avoid "negating the original with the original inscription" when using the rubbing, let alone a photocopy of the cut-out version!
What I have learned is that the same research material often leads to opposite interpretations and conclusions due to different perspectives, so we should try to avoid subjectivity and often test our inferences from opposite methods.
It is difficult to conclude whether the Huaisu scroll of the "Ancient Museum" in Taipei is genuine, but there is a fragment of the "Self-Narrative Post" in Japan, and its quality is indistinguishable from the ink scroll of the "Palace Museum" in Taipei, and the lines are also the same to the extent that they can be overlapped and fitted, and the same set of riding seam seals is used, so it is certain that the ink scroll of the "Palace Museum" in Taipei and the "flow of Japan" are what the Song and Yuan people called "five or six copies of what they have seen, such as one hand" It is difficult to distinguish the authenticity of the two volumes, which are the quantitative products of the Northern Song Dynasty people who repeated the writing of a single pen with the same base, rather than one of them being the authentic handwriting of the mother, so the article "On the Forbidden City Ben Huaisu's Self-Narrative Post" is not written by Huaisu himself. This conclusion confirms with more objective physical evidence that Zhu Jiaji, Qi Gong and Xu Bangda's predecessors have "Bazhen Ti Copy" theories, although it is not a new theory, but it still makes thousands of people, including myself, disappoint, because this is not my preset position, this is the objective conclusion obtained by "let the evidence speak", but what!
Qianlong's Study of Jingji Villa: In 2007, the National Palace Museum in Taipei held a symposium on "Pioneering Models: Art and Culture of the Northern Song Dynasty", which reminded me of my interest in Northern Song Dynasty painting during my studies at the National Palace Museum in Taipei and Princeton. I published "My Private Opinion on Several Paintings and Calligraphy of the Five Dynasties and the Northern Song Dynasty in Japan", in which I discussed whether Dong Yuan's "Picture of the Cold Forest and Chongting" was written by Dong Yuan himself and the date of its painting, and compared the "Qiao Songping Yuantu" as Li Cheng's "Qiao Songping Yuantu" with other pictures under Li Chengming's name and Guo Xi's "Early Spring", and concluded that this painting should be another authentic work by Guo Xi. He also inscribed Cai Jing on Hu Sunchen's "Sending Hao Xuanming to Envoy Qin Scroll" to determine the forgery. Finally, it is generally accepted as Li Tang's authentic Gaotongyuan landscape (winter, summer or spring and autumn two scenes), and the denial is Li Tang's own handwriting, Li Tang's characters are added later, and the two paintings were completed at the end of the Song Dynasty or the beginning of the Yuan Dynasty. Most of these conclusions are the accumulation of my many years ago, only Dong Yuan's "Hanlin Chongting Tu" was previously thought to be authentic, but now due to the magnification and testing of Japanese scholars, the quality and originality of his brush and ink have been shaken, but the lower limit of the age of the painting is the Southern Song Dynasty or no later than the Northern Song Dynasty.
▴[Five Dynasties and Ten Kingdoms] Dong Yuan (a work of "Dong Yuan") "Cold Forest Chongting Map"
Vertical scroll on silk, light ink and color, 181.5x116.5 cm
Collection of Kurokawa Bungaku, Hyogo Prefecture, Japan
Finally, I would like to report to you that one of the research topics that I have been paying attention to in the past six years is Qianlong's Jingji Villa, which is not like the summer resort, which was built in Kangxi, or the Old Summer Palace, which was given by Kangxi to Yongzheng's palace, which was completed by Qianlong, and Jingji Villa, which was planned and built by Qianlong himself.
The origin of the discovery of this villa was in 2002, when the National Palace Museum in Taipei held an academic seminar on "China and the World in the 18th Century", and invited me to give a keynote speech.
When I collected the most inscriptions of the ancients, I found Dong Qichang's famous work "Wanwan Thatched Cottage" and Tang Yin's "Tea Tasting Picture", which were originally hung in the Jingji Villa in Panshan, as well as Qianlong's personal painting "Panshan Map", which has many inscriptions. Gradually, I learned that this is a small Jingji Villa in terms of scale, second only to the summer resort, which covers an area larger than the Old Summer Palace and the Summer Palace. In this palace built on the hillside, the original palace and ancillary buildings do not exist at present, only some old bricks, pillar foundations, stones, drainage outlets, two old wells that have been used on the houses of local farmers, the fragments of tall stone walls that wind on the northeast and west sides, as well as part of the house foundation and three abandoned stone circular cisterns, the original blue cobblestone mat in the garden is the newly opened roadbed, etc., fortunately, the author can see the grand occasion of the mountain villa in the public and private collection of the Qianlong era courtyard paintings. Since 2003, I have gone from completely ignorant of its location to April 2008, I have made four field surveys in Panshan, hoping to write a book "Recreating a Lost Qianlong Jingji Villa".
epilogue
Finally, I would like to summarize my published research and related activities, which can be roughly divided into the following categories:
鉴别研究：Studies in Connoisseurship、《书法鉴定》、怀素《自叙帖》、黄庭坚、董其昌、张大千等。
Connoisseurship research: Sha Kele collection of paintings, Yuan Dynasty royalty, Wang Duo and northern connoisseurs, contemporary collectors' collections. Paintings: Jiang Shen, Ju Ran, Jing Hao, Liuri Song Painting, Fuchun Mountain Residence, Yuan Painting, Yang Weizhen, Jiuzhu Fengcui, Dai Chun, Tao Fuchu, Ni Zhan, Gong Xian, Shi Tao, Bada, Yanjiang, Shi, Wang Hui, Zhang Jisu, Huang Binhong, Qi Baishi, Zhang Daqian, etc. The author of "Painting Theory" and Dong Qichang's related research.
Calligraphy: Yan Zhenqing and other calligraphers of the past dynasties until modern times, Shen Yinmo, Yu Youren and teachers and friends. Zhang Daqian studied and forged paintings and calligraphy of the past dynasties.
Exhibitions: Free Chinese Painting and Calligraphy, Touring Africa, USA Exhibition, Studies in Connoisseurship, Yale Calligraphy Exhibition (touring to Berkeley), Freer/Sacola Hall 2 Permanent Exhibition, Zhang Daqian Exhibition.
Seminars: Host seminars on the history of Chinese calligraphy and Zhang Daqian, and participate in seminars around the world to publish related papers.
I reflected on myself, my memory was poor, my qualifications were middle to high, I was not diligent in reading, my thinking was not deep, and my theoretical and historical training was not enough, but I was very interested in calligraphy and painting works, which slowly made me find out different research topics, which made my life very busy and fulfilling.
I often say that this is a golden age for the study of the history of Chinese painting and calligraphy, due to the gradual concentration of collections in public and private art museums, the progress of photocopying, and the large number of public and private collections in exhibitions and catalogues (including auctions), academic exchanges between the East and the West, etc., this is a newly developed and extremely rich gold mine, and if scholars dig diligently, they will surely have their own gains.
Because my memory is very bad, so once I start to do a study, it is better to strike while the iron is hot and do not stop, otherwise it will be very hard, and it will take double the time and energy, so during my time in Freel, Director Luo Tan noticed my focus and stubbornness, I forgot the whole English sentence he used to describe me, but he used an English word "obsession", which I checked to mean "obsession, fascinated". In addition, when I was at Princeton University, I went to audit the oral examination of my classmates' papers, and when I was in the room, I was almost full, and when I pulled out the chair and sat down, my classmates told me that the chair was a little shaky, and sure enough, although there was an empty chair across the table, I didn't say a word, and in full view of everyone, I put the chair on its side to the ground, kicked the loose tenon on both sides with my foot and kicked it hard repeatedly, and then put the chair upright, and sat down peacefully. At this time, the examiner sitting at one end of the long table, who was the director at the time, nodded to everyone and said, "Man ofaction!" Afterwards, my classmates told me that the empty chair near the door had already sat down before me, and they all found other chairs to sit on after shaking, and the director looked at it, so he said that to everyone.
I think that perhaps it is in the eyes of others that I have seen some of my characteristics and merits, and I have tried my best to live up to such praise, so that I have not wasted my life. But I also understand that there is no end to research, and all my research is limited by my personal and the phased achievements of that era, just to open the way in the mountains and build bridges in the water, and add a few more paving stones for later researchers!
▴ Fu Shen introduced Zhang Daqian's works at the scene of "Bloody War of the Ancients: Zhang Daqian's Sixty Years Retrospective Exhibition".
I recently read two Nobel Prize-winning scholars, Mr. Yang Zhenning and Mr. Zhu Jingwu, speaking to young people, Mr. Yang said: "Physics is very difficult, but it is not difficult to be curious!" Mr. Zhu said that he originally wanted to follow the path of Mr. Yang's theoretical physics, but then met Mr. Yang, and after the conversation, he made up his mind not to follow theoretical physics. It's because: "The lines in my brains are completely different from those of Mr. Yang!" Therefore, Mr. Zhu said: "Follow your own interests, find your own way, and persevere!" Indeed, cooperate with your own strengths, find the topics you are interested in, dive into them happily, grasp every moment, whether it is study, research or work, do your best, constantly discover and solve problems, and naturally accumulate various achievements, which is the greatest joy in life.
At present, in China, there are more and more people studying and researching Chinese art history, and it is not easy to find a job, I remember that Mr. Fang Wen once said to students: "As long as you do a good job, you are not afraid that no one wants it, and you are not afraid that there is nowhere to go!"
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