At the beginning of the liberation of Shanghai, the Di family gave away the ancient painting "Qiulin Shepherd Boy Diagram", Chen Peiqiu rushed to the Di family to see the painting, Cheng Shifa also saw this painting at that time, but Chen Peiqiu took the painting first. In 1984, the well-known expert and calligrapher Fu Shen went to Shanghai to see this work, "opening the axis is to call the Southern Song Dynasty", Chen Peiqiu recorded this incident on the inscription next to the painting - this is Chen Peiqiu's son Xie Dingwei revealed a collection of his mother.
Recently, a "Gao Hua Ge Jian Cun - Xie Zhiliu Chen Peiqiu And His Wife Commemorative Album" will appear in China Guardian Autumn Auction news has aroused widespread concern in the industry. A few days ago, more than a dozen experts and scholars launched academic discussions in Shanghai around this album and the collection stories of Xie Zhiliu and Chen Peiqiu.
The commemorative album includes Guo Zhongshu (biography) "Summer Palace Map", Ma Yuan (Biography) "Panasonic Playing piano map", Zhao Mengfu 'Bamboo Bird Diagram', Ma Yuan "Songquan Gaoshitu", Zhao Yong's "Hanlin Tu", anon. "Qiulin Shepherd Boy Tu", Wang Mian (biography) "Meizhu Pine Stone Map", or has important publications, or participated in important exhibitions. These seven pieces of Gaohua pavilion collect Song and Yuan calligraphy and paintings, Chen Peiqiu Zhenruo Gongbi, or inscription mounting edge, or plutonium Tibetan seal, or by Xie Zhiliu inscription, inscription poetry hall.
Among them, Guo Zhongshu's "Summer Palace Map" is the focus of this academic symposium. This vertical shaft is a colored silk book with a size of 16 square feet and an eight-square seal on the plutonium, which is an important heirloom work of ancient boundary painting.
According to the solemn "Annals of Xie Zhiliu", "(In 1948, Peng Zi was thirty-nine years old) identified Chen Peiqiu's "Summer Palace Map" as authentic. It can be seen that as early as the beginning of the 20th century, the "Summer Palace Map" was Collected by Chen Peiqiu.
After the founding of The People's Republic of China, this work was deposited in the Shanghai Museum, and in 1959, the People's Fine Arts Publishing House compiled the fifth map of the "Paintings Collected by the Chinese Museum and the Paintings of the Shanghai Museum", which was named "Song Anon. Anon. Xishan Lou Guantu" and returned to Mr. Chen Peiqiu in the early 1980s. The second publication was in 1999 and was republished by the Shanghai People's Fine Arts Publishing House in the 1959 edition. In 2003, the Shanghai Ancient Books Publishing House published "Ancient Paintings Compilation of the First and Fifth Dynasties of Guo Zhongshu Summer Palace".
Shan Guolin, a member of the State Cultural Relics Appraisal Committee and a researcher at the Shanghai Museum, pointed out that the "Summer Palace Map" has a rich variety of dot leaves, and the line drawing method is simple, which belongs to the works of the early Northern Song Dynasty after five generations, and there is no doubt about it.
Yin Guanghua, a connoisseur of ancient paintings and calligraphy, had seen the "Summer Palace Map" 30 years ago. In his view, "Summer Palace Map" is the first-class painting in the history of Chinese painting, which is unforgettable. It represents the extremely high level of painting in the Chinese court architectural field, and the elements in the painting are unified in the painting method with clever treatment.
In the 1990s, Xu Jianrong, a professor at Shanghai University, also saw this work, and he believed that this "Summer Palace Map" was a landmark work of Chinese landscape painting, which can be called the five major landscape painting landmark works of the Northern Song Dynasty together with Fan Kuan's "Journey to Xishan", Guo Xi's "Early Spring Map", Li Tang's "Wind Map of Wanyuan Song" and Dong Yuan's "Stream Bank Map" of the Metropolitan Museum of Art in the United States.
The "Shanghai Museum Collection of Paintings" published in 1959 also commented that this painting is a rare masterpiece in the Song paintings passed down from generation to generation: "This picture of landscapes and trees, ethereal and simple, boundary painting platform, fine and complex, so that the magnificent situation of the depiction of the building is obviously from the Song Dynasty masters, and it is a rare masterpiece in the Song paintings that have been handed down to the present generation." ”
Wu Zijian, a contemporary Jinshi master, believes that the "Summer Palace Map" is thrillingly painted, and its importance is not under the "Stream Bank Map", "This is the most important work of Chinese painting since there was an auction market, and its importance in history, culture and painting history is self-evident." ”
In the view of Wu Dare, a professor at the China Academy of Art and an expert in ancient calligraphy and painting, the brush stroke method in the "Summer Palace Map" is extremely high-level, and it is a very high-level painting in the ancient house wood paintings (also known as boundary paintings). In view of the buildings that appeared in the picture, he also did research: "I specially took students to the original site of the Linyou Summer Palace in Shaanxi To investigate, and found a very large palace pillar on that mountain." The landform is very close to this "Summer Palace Map". ”
In 1979, Xie Zhiliu wrote the "Afterword to the Reading of Paintings in the Collection of the Shanghai Museum", specifically interpreting the "Summer Palace Map": "What I want to put forward in particular is the fifth picture of song Wuqian "Xishan Lou Guantu", this picture Qing Fangjunyi's "Dream Garden Calligraphy and Painting Record" said that it is Tang Wangwei's brush, which obviously raises its year a little farther, but it will not be too far away from the Tang Dynasty, at least the brush of the early Northern Song Dynasty. Yuan Wang Zhenpeng's "Hanyuan Diagram" by Li Rongjin, a concubine of the Yuan Dynasty, was completely born out of this figure in terms of form. At the same time, Xia Yong also belonged to this faction. The Twenty-seventh Tuyuanren "Guanghan Palace Map" is a work of the early Yuan Dynasty, and the painting style is most similar to Wang Zhenpeng. These outstanding painters of the Yuan Dynasty did not leave the category of the fifth figure in style, and as far as the boundary paintings on the wall of the Sui and Tang Dynasties were concerned, the fifth figure was already an emerging genre, pointing out the 'source' and 'flow' of the boundary paintings from the Tang Dynasty to the Yuan Dynasty. The boundary paintings of the Ming Dynasty are also the mantle of the Southern Song Dynasty, which is very different from this school. ”
Xu Hanming, a part-time master tutor at Fudan University, said that the paintings of the Two Song Dynasties were the peak of The history of Chinese painting, and the seven works identified and collected by Xie Zhiliu and Chen Peiqiu were extremely precious, especially the "Summer Palace Map" should have a higher status, and various evidence pointed to it as the one recorded in the Xuanhe Painting Spectrum.
Xie Zhiliu Chen Peiqiu and his wife have the reputation of "contemporary Zhao Guan". Solemnly pointed out that Xie Zhiliu Chen Peiqiu is both a calligrapher and a painter and an expert, but each person's emphasis is different, and the seven ancient paintings of the Song and Yuan Dynasties that will be auctioned are Chen Peiqiu's collection, but from the inscription and the words, we can see the common interests of the two of them, and also leave the historical traces of their research and study.
Xu Jianrong believes that the important feature of the two in the identification of calligraphy and painting is that they do not collect for the sake of collection, but collect with their own painting practice, "The special thing is that they can contact the original Song paintings, and through immersion in the original works and collections, they have made high achievements in the study of Song paintings very early." He pointed out that mr. Xie Zhiliu and Mr. Chen Peiqiu were the pioneers who used their own painting practice to achieve appraisal achievements and heights.
In Wu Gan's view, traditional calligraphy and painting appraisers need to have a very comprehensive literacy, and the same is true of Mr. Chen Peiqiu and Mr. Xie Zhiliu. Their high attainments in traditional Chinese studies, painting, calligraphy and poetry cultivation, as well as their comprehensive understanding and mastery of the history of calligraphy and painting and calligraphy and painting, represent the height of southern calligraphy and painting appraisal.
Calligraphy seal engraver Liu Yiwen pointed out that Mr. Xie Zhiliu formed his own unique system in artistic appraisal, creatively put forward the "character theory", he believes that the standard of appraisal is the various personalities of calligraphy and painting itself, is its essence, "pen and ink is the basic condition for the creation of calligraphy and painting, but also an important premise for the formation of calligraphy and painting style, but also the fundamental basis for identifying calligraphy and painting." Mr. Xie Zhiliu believes that both calligraphy and painting are related to the use of pens, structure and overall atmosphere, and these three cannot be separated. In this, it not only reflects the author's thoughts, but also reflects the overall style of the times. ”
Speaking about his parents' collection, Xie Dingkun, the son of Chen Peiqiu of Xie Zhiliu, said, "These are works that have been of great help in their paintings and collections, and the reason why they are valuable today is also because they were ignored at that time. ”
Xie Dingwei believes that his parents' Song and Yuan painting research and painting practice complement each other and go hand in hand, and devote their life's energy to the study of Song and Yuan painting, exercise their appreciation of eyesight, and improve their painting standards, "Their decades of collection and accumulation rely on their eyesight rather than huge financial resources, we not only have to inherit these excellent ancient works, but also inherit their spirit of excellence in Song painting research and painting practice." ”
"My father always said that identification is the main business, and painting is the side business." Xie Dingwei said that in terms of appraisal, my father's life's energy was spent on the study of ancient calligraphy and painting, "In 1983, the ancient Chinese calligraphy and painting appraisal team was the head of my father, and only my father was full of attendance among several old gentlemen, and he was not absent from beginning to end. ”
Shan Guolin also recalled the legendary story of the legendary "Shangyu Ti" and "Yanjiang Stacked Mountains" in the Shanghai Museum. In 1957, Jin Bosheng, a famous antique dealer in Beijing, rushed to Shanghai to find Mr. Xie Zhiliu to identify Wang Yi's "Stacked Mountains of the Yanjiang River". This painting has been identified by many experts before, and it is a famous "fake painting". Jin Bosheng said that the collector was anxious to use the money and wanted Mr. Xie Zhiliu to help introduce it to the museum, selling it as a Song painting instead of Wang Jinqing's original work, for 800 yuan.
Due to the "one-vote veto system" stipulated by the Shanghai Museum's Acquisition of Cultural Relics Appraisal Committee, although Xie Zhiliu believed that this work was a genuine work, he had no choice but to return the painting to Jin Bosheng. More than a year later, Jin Bosheng wanted to sell the work to Mr. Xie Zhiliu for 2,000 yuan, and was finally bought by Mr. Xie Zhiliu for 1800 yuan. In a special era, the "Picture of the Stacked Mountains of the Yanjiang River" affected Mr. Xie Zhiliu, and this painting was confiscated together with the "Summer Palace Map", and it was not until the 1980s that all the Tibetan paintings were returned.
In 1996, Mr. Xie Zhiliu and Mr. Chen Peiqiu finally decided to donate the "Yanjiang Stacked Mountains" to the Shanghai Museum, and Shan Guolin said that the story behind the Shanghai Museum's inclusion of Wang Yi's "Yanjiang Stacked Mountains" is a particularly worthy history.
Wang Xizhi's "Shangyu Ti" Tang facsimile is also borrowed from Mr. Xie Zhiliu's wisdom to hammer the final sound. In the 1970s, Mr. Wan Yuren, an expert in the acquisition of cultural relics in the field of calligraphy and painting inscriptions at the Shanghai Museum, found the "Shangyu Thesis" in a bamboo basket when cleaning up the cultural relics, and Mr. Xie Zhiliu found that the Southern Tang Dynasty was "neihe tongyin" after careful study, and he compared the "Shangyu Thesis" with other Tang facsimiles of Wang Xizhi and identified it as a Tang facsimile. Later, the "Shangyu Ti" was washed off of floating ashes and remounted, and the "inner contract seal" was clearly revealed, which confirmed Mr. Xie Zhiliu's assertion that "Shangyu Ti" became the earliest calligraphy ink in the Shanghai Museum, which can be called the treasure of the town museum.
Gu Xiangyu, former deputy director of the Shanghai Museum, recalled many past events between the Second Elder and the Shanghai Museum, and pointed out that Mr. Xie Zhiliu played a key role in improving the quantity and quality of the cultural relics collection of the Shanghai Museum, and the collection and appraisal of many fine works in the collection of the museum was carried out with Mr. Xie Zhiliu as the core.
Not only for the strong support of the museum system, Zhu Junbo, former executive deputy director of the Cultural and Historical Committee of the Shanghai Cppcc Committee, mentioned a period of auction history: on June 20, 1993, Duoyunxuan Auction held the first art auction in the history of New China in Shanghai, and Mr. Xie Zhiliu personally hammered the first lot of the first Duoyunxuan auction site, which was the "first hammer" of extraordinary significance in the Chinese art auction market, leading the historic turning point of Chinese art auction.
"It is precisely because Mr. Xie Zhiliu auctioned the first hammer of Duo Yunxuan auction, and later the first hammer of China Guardian Auction was given to Mr. Xu Bangda, which is also a kind of north-south echo." Zhu Junbo said.
Mr. Xie Zhiliu once said, "We should not easily conclude ancient calligraphy and painting, but should understand them well." In this regard, Hu Yanyan, president of China Guardian, sighed, "This is a historical responsibility for the auction company, and we must respect these ancient works of art left over from hundreds of years or even thousands of years." ”
Guo Tong, vice president of China Guardian and head of the Chinese Calligraphy and Painting Department, said that the influence of culture and the driving force of the art market are finally implemented in each work, "A number of important collections may become an important driving force in the art market, but its impact is not only limited to the market, but also radiates to the entire cultural and artistic research." ”
Author: Li Ting
Editor: Zhou Minxian
Image: Organizer