"Chuan Wang Wei's "Coloring Landscape Map"" recently appeared in Beijing, which attracted the attention of the art world and some media, did Wang Wei really have landscape paintings in the Tang Dynasty?
In fact, this painting is a private collection of paintings exhibited at the University of Michigan Museum in the United States in 2017, and Mr. Liu Jiuzhou, who is active in the auction industry of calligraphy and painting collections, has specially written a book called "Wang Wei < Coloring Landscape Map > Research", discussing the map in detail, and will "many things process and results are very important, we hope to let more people who study ancient calligraphy and painting participate in the discussion, I believe that this process is of positive significance for the study of this work and even ancient calligraphy and painting." ”
This column welcomes relevant researchers to continue to conduct reasoned and well-founded analysis and discussion and submissions on this issue.
"Chuan Wang Wei's "Coloring Landscape Map", that is, a private collection painting exhibited at the University of Michigan Museum in the United States in 2017 (Figure 1), is a long scroll of green landscapes on silk, followed by the inscriptions of Ming Ji Deji and Qing Ren Wang Shu, and the inscription of Wang Shu is "Tang Wang Youcheng "Jiang Gao Encounter Map"". Liu Jiuzhou specially wrote the book "Wang Wei < Coloring Landscape Map > Research", discussed the map in detail, renamed it "Chuan Wang Wei's "Coloring Landscape Map", and sorted out this map by Song Hongzun, Yuan Yuji, Ming Huanglin, Qingliang Qingbiao, Liang Mu, Dong Hanol, Xie Songzhou, and Hua Shixun, believing that this map was the Yu Ji inscription, which was recorded by Zhu Yunming's "Huaixingtang Collection" and Du Mu's "Iron Net Coral", and finally confirmed that it was a Tang Dynasty painting under Wang Wei's name.
Figure 1: "Chuan Wang Wei's "Colored Landscape Map"" published in the anecdote
Zhang Heng, Xu Bangda, and other predecessors summed up the methods of appraisal of calligraphy and paintings, such as mujian, comparison, and examination, and mujian is the premise and basis of appraisal; the basis for appraisal has the main basis and auxiliary basis, mainly based on the style of the times and personal style, and the auxiliary basis includes inscription seals, bibliographic circulation, material mounting, use of construction utensils, avoiding mistakes, etc., but it is necessary to analyze specific problems in detail, and when contradictions occur, we should grasp its main and decisive aspects. The so-called "easy to identify the false is difficult to determine the truth", as long as you point out a certain place or a few places that do not conform to the author's style of the basis can identify the forgery, but the real must prove that all the elements of the work are in line with his contemporary style and personal style, for the identification of "Chuan Wang Wei's "Colored Landscape Map", belongs to the "Dingzhen" in the identification of calligraphy and painting, if you want to determine that it is a Tang painting, you must find strong evidence, such as Zhan Ziqian's "You Chun Tu", although it cannot be determined to be authentic, but because it is framed as "Xuanhe And Loaded", there is a Song Huizong inscription. At least it is enough to prove that this is a work from before the Northern Song Dynasty; and it is even more prudent to further determine that the author is Wang Wei.
Unfortunately, at present, the recognized Tang paintings are rare, let alone Wang Wei's authentic works, which are difficult to compare, so they can only be examined from the aspects of inscriptions, seals, bibliographies, and circulation to determine the era of their creation. Reading Liu Jiuzhou's book "Wang Wei < Research on the > of Coloring Landscape Maps" (hereinafter referred to as "Liu Wen"), although the exposition is detailed and rich, it lacks arguments, arguments are arbitrary, and there are many speculations and speculations, and the conclusions drawn from this are floating and isolated, and the bias of the loss can be imagined.
In order to distinguish it from the other "Coloring Landscape Maps" in the discussion, this article still calls this map "Jianggao Encounter Map".
I. "Jiang Gao Will Meet the Map" is not a Yu collection inscription
The "Jiang Gao Encounter Map" has the following two inscriptions at the end:
Ming Ji Deji (1355-1432) Said: "The Golden Landscape came out of the Right Servant of Tang Yan Li Wang, and the Zhong Wang of judas also came out." The work of this figure is a divine product, and it is far away. Chengjiang Han Green Tree Bay, under the sunset of Jinsha Bing. Seek the glory outside of Jiali, and send Yan Yan to be indifferent. Zheng Shao'an poem says: "White clouds are born in the spring valley, and Cui Dai Chan Juan is to evening Cen" also means. Is poetry painting the same interesting? To those who do not know the painting, but also to the poet, the viewer should discern it. Dade Gengzhi March Qingming Day, Anyang Jide several acquaintances. ”
Qing Wang Shu (1668-1743) Pai: "Xuanhe Imperial Palace received Wang Youcheng 'Jiang Gao Hui Encounter Map', all two volumes, one of which is also. Liang Jiao Xiangguomu is "Spring Valley Evening Cen", according to the Words of Ji De's Shao'an poem: "White Clouds Are Born spring valley, Cui Dai Chan Juan to Evening Cen" sentence. Now the poem is dead. Wuzhong Gu Weiyue set it as "Jianggao Encounter Map", looking at its forest trees, smoke and water, clouds and plain clothes, suddenly coming and going, the meaning of Jianggao's meeting is visible. The lesson of Wei Yue, the letter is not sharpened. Volume end Liu Tang Laobao, not named who wrote it. The original purpose of the banana forest xiangguo was Wang Youcheng . Gu Weiyue was even determined to be "Jiang Gao Encounter" according to the "Xuanhe Painting Spectrum", so his value was fixed. More than ten years ago, the grandson of the banana forest had a thorn in Suzhou, and he took it with him, and the new An Xiang Book was willing to buy it for twenty yi, but he was not allowed. Now back to Dong Junhan Alcohol, Yu Cong borrowed the view, for the end of the book. On the sixth day of the tenth month of The Tenth Month of Yongzheng Gengji, the King of Langya Shu. ”
It can be seen from Wang Shuba that Liang Qingbiao named this map "Spring Valley Evening Cen Tu", because Ji Deji quoted the poem of Yu Ji (i.e., "Shao An")," and Gu Weiyue designated it as "Jiang Gao Hui Encounter Map", because the "Xuanhe Painting Spectrum" recorded that Wang Wei had "Jiang Gao Hui Encounter Tu II" under his name, and Gu Weiyue was close to "Jiang Gao Hui Encounter" with his pictorial meaning, so he named it, in fact, he attached the "Xuanhe Painting Spectrum" to elevate the name and value of the painting.
Liu Jiuzhou renamed this map "Coloring Landscape Map" because he believed that the YuJi poem quoted in Ji Deji's poems came from the "Daoyuan Poetry Manuscript", and the poem was recorded in the poem manuscript as ""Colored Landscape Map"" in the poem manuscript, and Ji Deji saw that Yu Ji had this poem inscribed on this painting, so he would cite it. In the course of the discussion, Liu Jiuzhou also cited Mr. Xu Bangda's argument that Zhu Rui's "Chibi Tu" (in the collection of the National Palace Museum in Taipei) was actually a case of Wu Yuanzhi's work, believing that his method of argumentation was consistent with it. However, the lack of arguments is different from xu Bangda's arguments.
First of all, Ji Deji quoted Yu Ji's poem "Baiyun Miao Sheng ChunGu, Cui Dai Chan Juan to Evening Cen" in the text, this poem is indeed titled "Titled Coloring Landscape Map", but Ji Deji did not mention that Yu Ji's poem is a Pai Ben Tu. The whole poem says: "The river trees are heavy and the water is deep, and the palace of the King of Chu is in Shanyin." Bai Yun was born in Chunpu, and Cui Dai Chan Juan was on wan cen. Song Yu was more sarcastic when he was young, and Jiang Yan was tired of landing when he was old. But Bian Zhou went up to Baling and listened to the lone ape moon chanting. "The poetry does not correspond to the painting, and the poem does not refer to the title Wang Wei painting. And in the YuJi poem manuscript, there is also a poem "Titled Coloring Mountain Map": "Wushan empty green wet human clothes, jade flute Ling vain rhymes and turns slight." Song Yu is old now, and idle clouds and idle rain are Ye Fei. It shows that Yu Ji saw too many "colored landscapes", only to write poems and send pleasures, without talking about the authenticity and attribution of the paintings, and these two poems were included in later poetry collections such as "Yuanyin", "Selected Yuan Poems", and "Four Dynasties Poems", which are more famous. Ji Deji's father, Ji Yingqi, met Yu Ji and had poems given to Yu Ji, so it is understandable that Ji Deji quoted famous poems and famous sentences of his predecessors to interpret the pictorial meaning of works of similar themes, not to see Yu Ji's inscription. In addition, Ji De's inscriptions began by saying that this was "Jinbi Landscape", but Yu Ji's poem was titled "Coloring Landscape", and there was another "Sun Zai Jinbi Landscape" poem in the "Daoyuan Poetry Manuscript", which shows that he knew the difference between "Jinbi" and "Coloring", if Ji Deji really saw the Yuji inscription, how could he still say that "Coloring Landscape" is "Jinbi Landscape"? Therefore, Yu Ji's "Colored Landscape Map" does not refer to this map, and his poem manuscript does not mention that "Colored Landscape Map" is Wang Wei's painting.
As for Xu Bangda's discussion of the "Chibi Tu", it was a combination of examination and mujian to argue. In terms of examination, after the "Chibi Tu", there is the Jin Zhao Bing's document "Chasing and Po Xian Chibi Rhymes", while the "Chibi Tu" recorded in the "Collection of Relics of the Mountain" is directly painted by Wu Yuan, followed by the poems of Zhao Bingwen and Su Shi, and the Zhao poems are also included in the "Zhongzhou Collection"; in terms of mujian, "the paper that examines this figure and the words of Zhao Bing's writings is the same texture." It can be seen that calligraphy and painting are the products of time and place. And the painting method of "Chibi Tu" "inherits some of the Northern Song Dynasty Fang hard all the way to the ink", which is indeed the style of the time, so according to the above evidence, although there is no Yuan good question after judging the "Chibi Tu", it is the volume that Yuan Haowen inscribed, and the author of the painting is Wu Yuanzhi. It can be seen that Mr. Xu's argument is sufficient, and the surviving "Chibi Tu" satisfies the above multiple conditions at the same time, and finally reached this conclusion. However, the situation discussed by Mr. Xu is completely different from that of Mr. Xu, and the poem "Titled Coloring Landscape Map" does not clearly describe the information of the painting as Yuan Haoqing, and the relationship between Yu Ji and the author of the painting is not as close as that of Yuan Haowen and Zhao Bingwen and Wu Yuanzhi, and the view that the painting is Yu Ji is completely untenable just by quoting his poems by later generations.
Ji De almost no authentic handwriting, this is an orphan book, it is difficult to compare as the real handiwork, its inscription paper is smaller than the tail paper, is embedded in the tail separately, and the fallen year "Dade" is the Yuan Dynasty era number, but Ji De is a person in the early Ming Dynasty, it can be seen that this inscription is passive. Ji Deji's inscription cannot yet be determined as authentic, so how can we be sure that the Yuji inscription is this picture? Even if there is a Yu ji inscription, is it a real thing? Even if the Yuji inscription is a genuine manuscript, it is impossible to confirm that the inscription is this map, let alone that this map is Wang Weizuo, which shows that Liu's theory is full of imagination. Therefore, this map is not a poem inscription in YuJi, and it cannot be renamed "Colored Landscape Map".
2. "Jiang Gao Will Meet the Map" is not Feng Yonggong and Hong Zunzang
On the right side of the heart of this picture there is an inscription of Liu Tanglao of the Northern Song Dynasty (active in 1174-1106), Liu Jiuzhou believes that Liu Tanglaobao is a genuine artifact, so it is believed that this map must be earlier than the late Northern Song Dynasty. In the "History of Painting", it is written: "Feng Yonggong had an old copy of "Coloring Landscape Maps", and the Southern Tang Dynasty ordered Li Sixun to compose it. Liu Jiuzhou, according to Liu Tanglao and Feng Yonggong, had a number of mutual friends, speculating that the "Jiang Gao Encounter Map" was the "Colored Landscape Map" recorded by Mi Fu and collected by Feng Yonggong.
The above inferences may all be conjectures. First of all, Liu Tanglao has no real handwriting, and this is also an orphan book, and the historical records record that his book is devoted to Yang Ningshi. Yang Ning's calligraphy was a turning point from Tang to Song, and on the basis of inheriting the Two Kings, Ou and Yan, he transformed the previous chengfa to create a new posture of true and simultaneous action, both action and grass, integrating the will of various calligraphy without being bound by the chengfa, which played an enlightening role in the Shangyi calligraphy of the Song people. Since Liu Tanglao devoted himself to his method, he was bound to be affected by this posture, but the inscription in the picture (Figure 2) is still the style of the Tang people such as Yan and Liu, the knot is not working, the knot is unstable, the pen is clumsy and weak, the press is weak and exaggerated, there is no line of qi throughout, the restraint is sluggish, and it is completely out of clumsy imitation.
Figure 2: Liu Tanglao's inscription in "Jiang Gao Will Meet"
The Song people did have direct inscriptions on the heart of the painting, but most of them were simple inscriptions and inscriptions, and as for the long poems that were evaluated on the long scrolls, in order not to affect the content of the picture, they were generally written on another paper at the end. In the picture, Liu Tang's old inscription occupies the beginning of the volume, and the noise is dominant, which is never seen in the Song inscription. Moreover, Liu Tanglao was a northern Song Dynasty man, and if his trek is a genuine manuscript, and it is inscribed on such a prominent "Wang Wei painting", why has there been no record or bibliography? Even Ji Deji did not mention the existence of Liu Zhizhi in the text. From the above, it can be seen that the title of Liu Tanglao's book should be forged by later generations.
As mentioned above, the "Jiang Gao Hui Encounter Map" cannot be renamed "Coloring Landscape Map", so it is necessary to link it to the "Coloring Landscape Map" collected by Feng Yonggong, which is remembered by Mi Fu, or even say that it is the same book. Liu Wenzhong also pointed out that the "Xiaoyin" white seal at the end of the volume was the seal of Hong Zun (1120-1174), but it was also an isolated case and could not be determined.
3. "Jiang Gao Encounter Map" is not a collection of Huang Ci and Huang Lin
Liu Jiuzhou pointed out in the text that Wang Wei's "Fu Se Shanshui" recorded in Ming Huangyu's "Double Locust Year Notes", Wang Wei's paintings recorded in Zhu Yunming's "Huai Xingtang Collection", and Wang Wei's "Coloring Landscape Map" recorded in Du Mu's "Iron Mesh Coral" are the same Wang Wei's "Coloring Landscape Map" handed over by Huang Ci and Huang Lin's uncle and nephew, which is now the "JiangGao Encounter Map".
But the above ideas are almost all imaginary. Ming Huangyu's "Double Acacia Year Banknote" in volume 9 "Famous Painting Ancient Artifacts" recorded: "Nanjing XihuaMen used to have two black lacquer circles, Zhenzhi is hollow and sound, and the naturalized entrants of the giant chamber at the beginning of the country are abandoned here because they cannot be opened." Shou Yan Xiao Nei made Zhang Ben acupoint and peeped at it, and the canvas remained. One is Wang Weifu's color landscape, about three zhangyu, and the other is a picture of Song Gaozong Ruiying painted by Su Hanchen. Ben sent peace with wang paintings, Su paintings sent Huang Gifts, all eunuchs sat on the factory garrison, few, rather than death, gave grabs, and offered to sacrifice, rewarded a lot, and benefited and favored. From this, it can be seen that the "Wang Wei Fu Se Shan Shui" obtained by Huang Ci has been dedicated to the emperor. As mentioned above, the renaming of the "Jiang Gao Encounter Map" to the "Colored Landscape Map" does not establish, and has nothing to do with the "Fu Se Landscape" obtained by Huang Ci. And Liu Jiuzhou actually guessed that Huang Ci had forged a copy dedicated to the emperor, and kept the "Jiang Gao Encounter Map" and passed it on to Huang Lin, fabricating it out of thin air and justifying himself.
Zhu Yunming's "Collection of Huai xingtang" volume 25 "The True Painting of the Right Hand of the King of The Eighty-Five" said: "I heard that there was a large axis in the pro-army Huang Jun's house, and yesterday I had to read it." Ouchi Hou Zaimen has a Dan lacquer giant tall one, to branch the north door, do not know the geometric age? In the midst of the chenghua, it is broken evenly, and it is a bamboo. Volume III of the Zhongzang, one of which is this. After hearing about it, I read it in the Imperial Heavy Pupil. Tomorrow, left and right, please take control. When the uncle of the pro-army served the side, he gave it to the pro-army Yun'er. The figure is carefully trained, two inches high, four feet long, before and after the week, the last book of the three words: 'Wang Wei system'. The record here is different from the "Double Locust Year Banknote", but it is certain that this Painting of Wang Wei is definitely not the "Jiang Gao Encounter Map" today. First of all, the picture in the record has Wang Wei's knowledge and now there is no picture, but Liu Jiuzhou sly argues that because Huang Ci and Huang Lin handed over the "Colored Landscape Map" is not legal, so Wang Wei's information was cut off, but Zhu Wen has already said that this is "the pro-army that was given by the superior", so why is it illegal? And Wang Weiqian is a very important credential, how can it be easily cut? The part that was dug up in the lower left corner of the "Jianggao Encounter Map" today is very cramped, and it does not conform to the layout of the falling money, so the theory of cutting the money is purely speculative. Secondly, the figure recorded by Zhu Yunming is two inches high and four feet long, and the Ming tailoring ruler is 34 cm in one foot, which is converted to 40 .8cm in height and more than 136 cm long, while the "Jianggao Encounter Map" is 29 cm high and 128 cm horizontal, whether it is reloaded and cut or Zhu Yunming's visual estimation, there is too much difference, so it is concluded that what Zhu Yunming saw is definitely not today's "Jiang Gao Encounter Map".
As for the fourth volume of Du Mu's "Iron Mesh Coral": "Huber (Huang Lin) laughed but did not answer, so he came out of this and a volume of Wei's "Coloring Landscape Map", and he did not feel shocked, thinking that he had never seen it in his life. The "Coloring Landscape Map" mentioned should be the same as Zhu Yunming's record, nor is it the "Jiang Gao Encounter Map".
Fourth, the "Jiang Gao Encounter Map" is not Liang Qingbiao's old collection
Figure 3: Chuan Wang Wei's "Fusheng Teaching Sutra Diagram"
It can be seen from Wang Shubao that Liang Qingbiao once hid this painting, and later his grandson "the assassin suzhou" (that is, Liang Mu) held the "Jianggao Encounter Map", Xiang Shucun wanted to buy it with "Twenty Ytterbium" and could not buy it, and then returned to Dong Han Alcohol, and Wang Shu's inscription "Jiang Gao Meeting Map" was borrowed from Dong Han Alcohol. In addition, after The Fusheng Sutra Diagram (Figure 3) of the Osaka Municipal Museum of Art in Osaka, Japan, there is Song Jiebao: "Gu Linchu (Gu Qiyuan) "Guest Sayings" Yun, Du Yuanjing saw the Mahashi "Fusheng Diagram" from Huang Meizhi's (Huang Lin) home, and spat out his tongue for it, that is, this volume is also. I went to Mr. Sun Huigu (Sun Chengze) to get it, mr. Died, and transferred to LiangJiaolin Xiangguotang Village. In October of the Kangxi Dynasty, Yu bought it from Xiangguo's grandson Youjiang Shishiyong (梁雍) and neglected its circulation to show his descendants. ”
According to the above information, Liu Jiuzhou believes that Liang Qingbiao also collected Huang Lin's old collection of "Jiang Gao Encounter Map" and "Fusheng Zhijing Map", which is intended to further prove that the "Jiang Gao Meeting Map" is Huang Lin's collection of Wang Wei's "Coloring Landscape Map". There are many Seals of Huang Lin, Sun Chengze, and Liang Qingbiao on the "Fusheng Sutra Teaching Chart", which can be seen that it has indeed been collected by Huang Lin and Liang Qingbiao, and has been circulated, but there is no Huang Lin and Liang Qingbiao Tibetan seal on the "Jiang Gao Encounter Map", and this picture has been described above is not Huang Lin's collection, and there are also great doubts as to whether it is Liang Qingbiao's old collection.
Liang Qingbiao was the largest private collector in the early Qing Dynasty, and the collected calligraphy and paintings of the Jin, Tang, Song and Yuan Dynasties were not only the main sources of the collection of the Qing Dynasty, but also the top collections of calligraphy and paintings in major museums today, such as Lu Ji's "Ping Fu Ti", Du Mu's "Zhang Haohao Poetry Volume", Yan Zhenqing's "Zhushan Tang Lian sentences", Gu Kaizhi's "Luoshen Futu", Zhan Ziqian's "You Chun Tu", Chuan Zhou Fang's "Lady of the Hairpin Flower", etc., all of which are famous traces of his old collection, and there are all his collection marks in the heart of these works or in the water, dragging tail and riding seams. However, after the "JiangGao Encounter Map", there is only a seal of "Hebei Tangcun" at the end, which can be known as a fake seal in Lu Ji's "Pingfu Post", Li Bai's "Shangtai Post", Ma Hezhi's "Hou Chibi Tu", and Song Gaozong's "True Grass Ji Kang Health Theory" (Figure 4). Liu Jiuzhou said: "The original seal may have been lost when it was framed after Liang Qingbiao, and posterity may have engraved one according to the original form." "It's a tough word. The Liang's Seal book is a powerful supporting proof in the works of calligraphy and painting, and the Liang family is only more than 300 years old, so why should it be framed and cut off? The whole canvas of "Jiang Gao Will Meet the Picture" not only does not have the Liang seal, but also some of it is a fake seal, which shows that this map is not only not its old collection, but also suspected of forging its collection.
Figure 4: The "Tangcun of Hebei" seal in "Jiang Gao Encounter" (part 1) compares a copy with the real seal in other works
As for Wang Shubao's statement that this picture is an old liang's object, which was obtained by his grandson Liang Mu, Xiang Shucun wanted to buy it at a high price and could not, these stories and experiences were heard from the owner of the painting, Dong Han Alcohol, he did not personally examine it, and the time spanned more than ten years, involving Liang Qingbiao, Liang Mu, Gu Weiyue, Xiang Shucun, Dong Han Alcohol, and many people, and the meaning of the words was to attach this painting to a famous work and boast of its value, so it can be seen that there are many untruths, and it is obviously not enough to use it as evidence for Liang Qingbiao's old collection of this map.
In short, there is no reliable pre-Qing Dynasty seal on the "JiangGao Encounter Map", and the "Hebei Tangcun" seal is forged, and wang shu's words alone determine that Liang Qingbiao's old collection cannot be established. Therefore, the earliest circulation of the "JiangGao Encounter Map" can only be traced back to Dong Han alcohol and Wang Shu in the Qing Dynasty, and it is impossible to compare it with the "Fusheng Zhijing Map", let alone compared with the famous calligraphy and paintings of the liang family in the major museums.
V. "Jiang Gao Encounter" is definitely not Wang Wei's painting
Liu Jiuzhou believes that the "Jianggao Encounter Map" is Wang Wei's painting for two reasons: first, the painting was renamed "Colored Landscape Map", which was attached to the "Colored Landscape Map" collected by Huang Ci and Huang Lin's uncle and nephew recorded by Zhu Yunming and Du Mu in the Ming Dynasty; second, Gu Weiyue and Wang Shu believed that this was a Tang painting, and there may have been an inscription about Wang Wei at that time, so they would look for it under the "Wang Wei" entry in the "Xuanhe Pictorial Spectrum", thus naming it "Jianggao Encounter Map".
Regarding the first point, the above argument has been made that the renaming of the "Colored Landscape Map" cannot be established, this picture is not hidden by Huang Ci and Huang Lin's uncles and nephews, and the second point, "There may have been an inscription at that time", like "Wang Wei's name was cut off" and "Liang Qingbiao's seal has been lost", are all imagined and speculated out of thin air. Because if these inscriptions, inscriptions, and seals exist, they must be strong auxiliary evidence to prove the value of this map and trace its circulation, and in the process of circulation, collectors and framers are too late to preserve these important information and auxiliary evidence, how can they be arbitrarily cut and dug up? This is completely logically unreasonable.
At present, it is recognized that Tang Dynasty paintings are rare, including "Five Bull Diagram", "Hairpin Flower Lady Figure", "Gao Yi Tu", "Female Shi Zhen Tu", "Zhao Ye Bai Tu", etc., there is no Wang Wei authentic handwriting, and among them, "Hairpin Flower Shi Nu Tu", "Female Shi Zhen Tu", "Zhao Ye Bai Tu" are still controversial, but at least because they all have Song and Yuan seals and inscriptions, the drawing time can be determined before the Song Dynasty. And the "Jiang Gao Encounter Map" suddenly came out, the whole picture does not have a reliable pre-Qing Dynasty seal, the earlier Ji De inscriptions are difficult to determine as authentic, and the circulation and bibliographies combed by Liu Jiuzhou are all set on the more imaginary arguments, so the era of this map is difficult to push forward to the Ming Dynasty, how can it be qualified to compare with the above Tang and Song masterpieces?
Figure 5: Copies of trees in the "Jiang Gao Encounter Map" and the "Roselle Futu"
As for the painting of "Jiang Gao Meets the Picture", it is more clumsy and vulgar, among which there are trees (Figure 5) like the "column planting, if you extend your arms and fingers", near the "Roselle Futu" painting method, and the characteristics of the Six Dynasties painting are "people are greater than mountains, water can not be panned", but the figures in the picture are very small, directly pointed out with color, not classy, so the painting method or from the patchwork and imitation of later generations. Regarding the architecture in the figure (Figure 6), some people also discuss the "heavy eaves" of the Tang Dynasty to prove that this is a Tang painting, but architecture, clothing, utensils, etc. are only auxiliary basis for identifying calligraphy and painting, and can only determine the upper limit of the creation time, and cannot determine the lower limit of time. Moreover, the wing angle of its building is larger, and the black dots on the ridge are ridge decorations, both of which have been practiced after the Song Dynasty.
Figure 6: A copy of the building in the "Jianggao Encounter"
VI. Conclusion
In summary, it can be summarized: "Jiang Gao Hui Yu Tu" is not the "Colored Landscape Map" recorded in the Yu Collection's "Daoyuan Poetry Manuscript", and cannot be changed to this name; Liu Tanglao's calligraphy is weak and clumsy, and it should be a forgery; this picture is not a Feng Yonggong collection recorded by Mi Fu, and the "XiaoYin" seal is also difficult to determine as Hongzun Tibetan Seal; this picture is not the Ming Dynasty Huang Ci and Huang Lin's "Colored Landscape Map" recorded by Zhu Yunming and Du Mu; there is only one Liang Qingbiao forged seal at the end of the map, and it is difficult to determine liang Qingbiao's old collection based on the rumors that Wang Shu heard. It can be seen that the circulation of "Jiang Gao Will Meet the Map" before the Qing Dynasty was completely missing, and the painting method was clumsy and vulgar, and when it was a forgery made in the city in the late Ming Dynasty, it was deliberately old, and it was deliberately found to help Liu Tanglao and Ji Deji, who were strange and had no authentic inheritance, which can be described as "death without proof".
And Liu Jiuzhou's book "Research on the > of Wang Wei's < Coloring Landscape Map" must not be related to the "Jiang Gao Encounter Map" and the "Colored Landscape Map" recorded many times in Wang Weihe's painting history.
Dong Qichang, a generation of grandmasters who wanted to put forward the "Theory of Southern and Northern Sects", exhausted his life's painstaking efforts in order to obtain the true handwriting of Wang Wei, the first ancestor of Nanzong's literati paintings, and searched and identified countless "Wang Wei" in a mesmerizing way, and finally it was difficult to convince the public. Dong Qichang is still like this, let alone today's people?