On October 17-20, 2021, the "First Academic Seminar on the Identification and Collection of Ancient Chinese Calligraphy and Paintings" was held in Beijing. The conference was hosted by the Palace Museum and co-sponsored by the Central Academy of Fine Arts, the China Academy of Art, and Zhejiang University. Wang Xudong, member of the Party Group of the Ministry of Culture and Tourism and president of the Palace Museum, Wang Lianqi, honorary director of the Institute of Ancient Calligraphy and Painting Collection of the Palace Museum, Li Jun, dean of the School of Humanities of the Central Academy of Fine Arts, Fan Jingzhong, professor of the China Academy of Art and editor-in-chief of the China Academy of Art Publishing House, and Bai Qianshen, dean of the School of Art and Archaeology of Zhejiang University, attended the opening ceremony of the forum and delivered speeches. Zhao Guoying, vice president of the Palace Museum, presided over the opening ceremony.
Group photo of the delegates
The appraisal and collection of calligraphy and painting is the main content and unique tradition of the study of ancient Chinese calligraphy and painting art. Since 1949, the older generation of experts and scholars have made remarkable achievements in the appraisal of calligraphy and painting, laying a good academic foundation for the appraisal and collection of calligraphy and painting. In recent years, the study of the history of collection has gradually attracted the attention of the academic community, the art majors of colleges and universities have begun to open the direction of the history of collection, and the large-scale calligraphy and painting exhibitions and seminars of major museums have also selected the theme of calligraphy and painting collection, which has a wide impact on the academic community. In recent years, the Palace Museum has inherited the academic tradition of the older generation of experts, adhering to the concept of "Academic Forbidden City", continuously promoting the identification and collection of ancient calligraphy and paintings, and achieved a series of important achievements, which has effectively promoted the process of calligraphy and painting collection and art history research.
Wang Xudong, member of the Party Group of the Ministry of Culture and Tourism and president of the Palace Museum, delivered a speech at the opening ceremony
Wang Xudong, a member of the Party Group of the Ministry of Culture and Tourism and the president of the Palace Museum, said in his speech that in recent years, the study of the history of ancient calligraphy and painting has faced many new development trends, and the study of identification and collection is bound to become an academic hotspot in the study of ancient calligraphy and painting. In order to meet the needs of academic development in the new era, the Palace Museum has successively set up special research institutions such as the Institute of Ancient Calligraphy and Painting of the Forbidden City Research Institute and the Institute of Ancient Calligraphy and Painting Collection, set up a research direction on the history of ancient Chinese calligraphy and painting collection in the postdoctoral research workstation, and set up relevant scientific research topics for the study of ancient calligraphy and painting collection. Relying on the rich collection, the special exhibitions held by the Forbidden City are also inseparable from the in-depth study of calligraphy and painting appraisal and collection issues. This series of exhibitions has not only formed a great social impact, but also won wide acclaim from experts and scholars in the industry. However, with the continuous emergence of relevant research results, the development of ancient calligraphy and painting appraisal and collection has begun to face more problems that need to be clarified and re-examined. In view of this, the Palace Museum and the Central Academy of Fine Arts, the China Academy of Art, and Zhejiang University jointly held this academic conference to conduct in-depth exchanges and discussions on relevant academic frontiers and hot issues, which is bound to play an important role in promoting the further development of ancient calligraphy and painting research.
Mr. Wang Lianqi, Honorary Director of the Institute of Ancient Calligraphy and Painting Collection of the Palace Museum, delivered a speech
Mr. Li Jun, Dean of the School of Humanities of the Central Academy of Fine Arts, delivered a speech
Mr. Fan Jingzhong, Professor of China Academy of Art and Editor-in-Chief of China Academy of Art Publishing House, delivered a speech
Mr. Bai Qianshen, Dean of the School of Arts and Archaeology of Zhejiang University, delivered a speech
Other guests attending the opening ceremony were: Xue Yongnian, professor of the Central Academy of Fine Arts, Nie Chongzheng and Shan Guoqiang, research librarians of the Palace Museum, Xiao Yanyi, former vice president of the Palace Museum and research librarian, and so on. More than 50 experts and scholars from Peking University, Tsinghua University, Central Academy of Fine Arts, China Academy of Art, Zhejiang University, Central University of Finance and Economics, Zhejiang Academy of Social Sciences, Liaoning Provincial Museum, Shanghai Museum, Chinese Calligraphers Association and other universities, scientific research and cultural institutions and social organizations attended the seminar and submitted papers.
The two-day conference spanned a variety of days, from case studies to macro art history topics, spanning all eras, covering various fields of cultural relics collection research and collection history research, not only containing material views and theoretical innovations, but also reflecting a rich methodological perspective. Experts and scholars argued from the aspects of ancient calligraphy and painting identification theory and example, collection research, and calligraphy and painting history research, and showed fruitful research results.
The first day of the seminar was divided into four sessions.
The first speakers and topics were: Shan Guoqiang, research librarian of the Palace Museum, "The Particularity of the Identification of Ancient Calligraphy and Paintings - Compared with the Identification of Ancient Artifacts"; Mr. Xiao Yanyi, Research Librarian of the Palace Museum, "The Identification of Calligraphy and Paintings in the Collection is Far From Over--Tips for The Examples of Bamboo and Stone Diagrams in Yuanwu Town"; and Wang Lianqi, Research Librarian of the Palace Museum, "The < Five Horse Diagrams Seen During a Visit to Japan to See Paintings>". Chaired and reviewed by Mr. Xue Yongnian. Mr. Xue Yongnian pointed out that Mr. Shan Guoqiang's report summarized his research path in art history and appraisal, conveyed rich practical experience in appraisal, and had some unique experiences. Mr. Xiao Yanyi's thesis is a prominent case of the combination of appraisal and examination, work appraisal and collection research. He has a sense of problems in his studies, does not superstitiously believe in the transcendent consciousness of the conclusions of his predecessors, and skillfully uses the method of combining physical objects with documentary confirmation, giving us valuable enlightenment. Mr. Wang Lianqi went to the Museum in Tokyo, Japan to watch the "Five Horse Diagrams" without separating the dust, and found that the five horses were not all painted by Li Longmian, and the four questions were not written by Huang Gu. It solves the problem of authenticity that the academic community has not been able to verify for many years.
Mr. Xue Yongnian presided over the forum
Mr. Shan Guoqiang made a statement
Mr. Xiao Yanyi made a speech
Mr. Wang Lianqi made a speech
The speakers and topics of the second seminar were: Yu Hui's "Wang Ximeng's < Thousand Miles of Rivers and Mountains> The History and Artistic Influence of Collection", Yin Yimei's "< Shiqu Baodi Continued Compilation> Thesis of the Stele Tuoben - From the Perspectives of the Four "Song Tuo" < Chunhua Ge Ti >". Chaired and reviewed by Mr. Bai Qianshen. Mr. Bai Qianshen pointed out that Mr. Yu Hui's thesis reflects the panoramic influence of painting collection on the style of later generations of painting, with a broad angle and convincing. Ms. Yin Yimei's report is in-depth and simple, and it broadens the new connotation of qing dynasty epigraphy research.
The speakers and topics of the third seminar were: Li Kai's "Preliminary Study of the > Volume of Jinrun < Xishan True Picture Appreciation", Zhao Guoying's "Unique Cultural Landscape: The Rise of the Four Kings and the Flourishing of Private Calligraphy and Painting Collection: Reflections on the Relationship between Painting and Collection in the Study of Painting History", and Yang Danxia's "Preliminary Exploration of Qian Weicheng's Painting Art". Chaired and commented on by Ms. Chen Ye. Ms. Chen Ye pointed out that Mr. Li Kai's research pays attention to the content of small and medium-sized painters and social art scenes, reflecting the continuous deepening of the study of painting history and the change of research concepts and perspectives. Dean Zhao Guoying's research further elaborated on the relationship between the history of collection and the history of painting, and considered the dual significance of painting history and collection history from multiple perspectives such as establishing the prototype of classical landscape style, the painter's creative concept and knowledge source. Ms. Yang Danxia's thesis focuses on the interaction and social environment of monarchs and courtiers in the middle of the Qing Dynasty, and traces back to the roots on the basis of historical analysis, among which the study of Chen Shu is a very important new achievement for the study of art in Zhejiang.
The speakers and topics of the fourth seminar were: Zhu Wanzhang's "Song Malin's < Dechun Xiantu > Volume Collection and Related Issues", Xue Longchun's "Notes on the Identification of Wang Duo's Calligraphy", and Huang Xiaofeng's "How Did The Wind and Rain And Clouds Change the History of Modern Chinese Painting?" 》。 Mr. Fan Jingzhong presided over and commented. Mr. Fan Jingzhong pointed out that Mr. Zhu Wanzhang examined the characteristics of this volume, redefined this volume from the Ming Dynasty to the Song Dynasty, and outlined the issue of collection, which are the three contributions of the article. Teacher Xue Longchun listed the authenticity of Wang Duo's works in various periods and discussed the credibility and conditions of "standard pieces". Teacher Huang Xiaofeng carefully read the texts and images, compared the attitudes of the East and the West to paintings on similar subjects, and reflected the international vision of Chinese and Western comparisons.
Forum site
The seminar was divided into two sub-forums: "Research on Cultural Relics Collections" and "Special Topics on the History of Collections". In the sub-forum of "Research on Cultural Relics Collections", scholars examined them from the perspective of calligraphy and painting cultural relics and works of past dynasties. Regarding the study of collections, Mr. Qiu Caizhen combines the history of Taoism and the history of music to examine the content of "Listening to the Qintu" and the age of creation. Mr. Wang Zhongxu investigated the authenticity and chronology of Zhejiang Boben, Shangboben and Forbidden City. Mr. Yan Xiaojun counted and examined the works of Dong Qichang in the Qing Palace, and discussed the problems of ghostwriting and falsification. Duan Ying conducted research on the appearance, bibliography, and historical background of the fragments of Chen Huan's "Self-Written Poems" and disclosed the remnants of Yan Fu. Regarding the appraisal research, Mr. Wang Yimin compared the Qianlong calligraphy works collected in the Forbidden City and discussed the ghostwriting problems in different periods and circumstances of Qianlong. Mr. Zhang Zhen used the Forbidden City's collection of "Yunhua Xihua Tu" as a basis to identify other works by the Qianlong Dynasty court painter Lu Can. Mr. Li Ning, focusing on the copy of the Erwang Law Book, explored the location and writing format of the Southern Dynasty Escort Office, while looking at the disguise and pseudo-appearance of the Southern Dynasty Escort Office. Regarding the study of the inscription, the key is that the Forbidden City's Tibetan Yuan Dynasty Deng Wenyuan's "Fangcao Ti" is Zhao Mengfu's "Water Village Map" volume, which was divided during the Ming and Qing dynasties. Zhang Liang sorted out the inkblots of the Yu Ji's surviving inscriptions, and looked at the calligraphy and collection of the Yu Ji through the inscriptions. Mr. Jiang Peng identified and interpreted a series of inscriptions left by Dong Qichang in important ancient paintings and reset their historical context. In addition, Mr. Qin Ming sorted out the historical development of Mr. Liu Jiu'an's research process on Huang Yi calligraphy and painting in the past 40 years, aiming to construct a research on the identification method system of Liu Jiu'an calligraphy and painting. Mr. Zhang Bing cuts from the "Jishu Yan Ti" to explain Wang Shu's concept of Tang Dynasty calligraphy that is different from his predecessors and his influence on Qing Dynasty calligraphy. Xu Huafeng and Wu Xueshan also made special reports, enriching the research content of the collection of ancient calligraphy and paintings.
The scene of the sub-forum of "Research on Cultural Relics Collection"
In the sub-forum "Special Topics on the History of Collecting", scholars conducted detailed research from the perspectives of collection, examination and interpretation of inscriptions, bibliographies, and case analysis. Regarding the study of the history of calligraphy and painting, Mr. Shi Rui relates the history of calligraphy and painting collection with the major historical narratives of the Tang Dynasty from a grand perspective, and tries to establish the transformation of the nature of calligraphy and painting collection from literature to elegance to observe the historical process of the changes in the Tang and Song dynasties. Mr. Li Fanghong examines the historical process of the Song Dynasty royal calligraphy and painting collection and explores the cultural and political implications behind it. Sheng Jie sorted out the system of exposing books in the Song Dynasty and thought about the impact of viewing the collection of the Inner House on the calligraphy and painting collection activities of scholars. Guo Huaiyu discusses the phenomenon of diaspora throughout the Ming Dynasty's inner mansion collections and discusses the impact of this phenomenon on the fables of Ming dynasty connoisseurs. Zhao Yanzhe combines archival documents and the collections of the Inner House to explore the interactive relationship between the emperor's practical worries and the collection of calligraphy and painting in the context of the catastrophe in the middle and late Qianlong Dynasty. Regarding the case study of the collection, Ms. Du Juan took Zhang Huan's calligraphy and painting collection as the starting point to illustrate the characteristics of the circulation of calligraphy and painting collections in the middle and late Ming Dynasty and some problems in the identification of calligraphy and painting. Mr. Wang Qi reviewed Weng Song's collection and believed that his interest in calligraphy and painting was significantly higher than that of ancient books and inscriptions, and outlined the outline of his collection. Mr. Ren Wenling systematically sorted out and studied the activities of Luo Tianchi's calligraphy and painting collection, and grasped its influence and status in Guangdong and even the whole country at that time. On the issue of the circulation of calligraphy and paintings, Li Yuan discussed the circulation of Zhao Mengfu's "Drinking Horse Diagram in the Autumn Suburbs" and the reasons for not being included in the "Shiqu Baodi", and also introduced the two facsimiles now in the Jinzhou Museum and the Metropolitan Museum of Art in the United States. Tan Haoyuan studied the issue of the handover of the "Portrait Album of the Liang Ancestral Hall of Song Tuowu" through the inscriptions of the Jinshi scholars from the Qing Dynasty to the Republic of China. Cheng Junying began with the major changes in the Japanese collector's view of Chinese painting and calligraphy since the Meiji period, and discussed the formation of the modern Japanese Chinese calligraphy and painting collection system. In addition, Luan Lin, Wang Ying, and Han Yan also made special reports on the issue of calligraphy and painting bibliography.
The scene of the sub-forum of "Special Topic on the History of Collecting Treasures"
The closing ceremony of the seminar was presided over by Wang Zilin, director of the Research Office of the Palace Museum, and Zhao Guoying, vice president of the Palace Museum, made a comprehensive summary of the conference. Dean Zhao pointed out that all the research and views at this seminar are very precious to the academic community. At the seminar, experts and scholars gathered together to expand perspectives, communicate frankly, face the new development trend of disciplines, make full use of multidisciplinary and interdisciplinary research methods, and enhance the important value of ancient calligraphy and painting appraisal and collection research. At the same time, it is also bound to strengthen the academic enthusiasm of ancient calligraphy and painting appraisal and collection research, and promote exchanges and cooperation. In the future, let us continue to inherit and carry forward the academic spirit of the older generation of scholars, further in-depth research, and jointly make due contributions to inheriting and promoting the excellent traditional Chinese culture. I also hope that in the near future, the epidemic situation can improve and scholars at home and abroad can discuss it again.
In addition to the participating experts, the conference also included students from Tsinghua University, Beijing Normal University, Central Academy of Fine Arts, China Academy of Art, and many other universities, as well as researchers from cultural institutions such as the National Museum of China, the Capital Museum, the Tianjin Museum, the Liaoning Provincial Museum, and the Shanghai Museum, which were full of people and had a strong atmosphere of academic exchanges.
The conference was supported by "China FAW Hongqi Brand".
Attached: Summary of speeches
Mr. Wang Lianqi, honorary director of the Institute of Ancient Calligraphy and Painting Collection of the Palace Museum, said in his speech that most of China's ancient calligraphy and paintings have been concentrated in the Qing Palace for nearly 300 years, during which there are rewards, theft and various dispersions, with the fall of the Qing Dynasty, cultural relics are scattered in large quantities, and the Palace Museum is the natural successor and protector of the palace cultural relics, and it is the responsibility to sort, collect, study and publish, which is the mission of history, and the Institute of Ancient Calligraphy and Painting Collection of the Forbidden City was established. The identification of the authenticity of ancient calligraphy and paintings should be done by all forbidden city people, including experts and scholars from colleges and universities and other research units, from the circulation, collection, and appraisal of collections to the deeper academic history and artistic value. Holding such a meeting once a year requires us to have new research, new results, and common exchanges every year.
Professor Li Jun, dean of the School of Humanities at the Central Academy of Fine Arts, said in his speech that the profound academic tradition of the Forbidden City has created countless firsts. In 1993, the Central Academy of Fine Arts cooperated with the Forbidden City to establish the first postgraduate course on calligraphy and painting research and appraisal, of which the leaders were Mr. Xue Yongnian and the late Mr. Yang Xin. The course teachers also include Liu Jiu'an, Jin Weinuo, Fu Xinian, Mr. Shan Guoqiang, etc., with a strong lineup and far-reaching influence. Since then, a new era of academic and professional calligraphy and painting appraisal has begun. Forbidden City experts such as Wang Lianqi and Mr. Xiao Yanyi are frequent visitors to CAFA's campus and classroom, and their words and deeds have long been integrated into the blood of art history research of CAFA College of Humanities. The Central Academy of Fine Arts has witnessed generations of young scholars thriving under the sunshine and rain of this tradition, and hopes that the Central Academy of Fine Arts and the Palace Museum will continue to create more firsts in the future.
Mr. Fan Jingzhong, professor of China Academy of Art and editor-in-chief of China Academy of Art Publishing House, said in his speech that fine arts is the ultimate need of a civilized person, a civilized country, and a civilized nation's soul. A civilization can be said to be represented by the history of art. A book and a painting are the painstaking efforts of the ancients through the years, and the collection and appraisal of art history is to reawaken the spirit of the ancients. Therefore, the foundation, collection and appraisal of art history are of great importance. This seminar is to evoke the spirit of the ancients, arouse people's appreciation and attention to Chinese civilization, and continue the roots of Chinese national culture. I would also like to thank Mr. Wang Lianqi for his long-term teaching at the China Academy of Art, and hope that the two sides will continue to cooperate.
Mr. Bai Qianshen, Dean of the School of Arts and Archaeology of Zhejiang University, said in his speech that although appraisal has declined in the West, it is still an indispensable and highly valued field in the study of art history in China. Identification itself is also a very difficult job, requiring a lot of information. Zhejiang University is a comprehensive university, there are laboratories for cultural relics protection, scientific and technological identification, conditions allow the auxiliary scientific and technological appraisal, but also hope that the museum can open up the materials, the future of ancient calligraphy and painting appraisal will inevitably expand to the field of multidisciplinary, interdisciplinary exchanges.
Source | Palace museum
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