Anqi's collection of calligraphy and paintings mainly comes from the Ming Dynasty collector Xiang Yuanbian, the Qing Dynasty collectors Liang Qingbiao, Geng Zhaozhong, Chen Ding, Gao Shiqi, Cao Rong, Bian Yongyu and others. After Anqi's death, most of his old collection of calligraphy and paintings entered the Qingnei Province, and a small number of works were scattered among the people.
In addition to the works recorded in the Ink Edge Huiguan, there are calligraphy and painting works with the seal of the Anqi Collection, including the Album of the Southern Song Dynasty collected by Anqi Jian, and the works that Anqi and his friend Gu Song appreciated each other.
Anqi web image
In other works, the number of seals in the Anqi collection is unbalanced with the law of the plutonium cover, the law of collection gathering and dispersion is inconsistent with the old collection of calligraphy and paintings in Anqi, and there are many seals of the collection of Yan Hengyong, Zhao Shuyan, He Houqi, Yan Jingxian and others, which should be the works of The Completed Yan Hengyong and others who forged the collection of Anqi Collection.
Anqi was a private collector in the early Qing Dynasty, with a rich collection, and although some of the surviving calligraphy and painting works were not recorded in the Ink YuanhuiGuan, they had Anqi's collection seal, did this part of the work really exist in the Anqi collection link?
Yuan Wang Meng Summer Mountain Residence Scroll Collection of the Palace Museum
Some of the Anqi collections, which were written in the Ink Edge Huiguan, are stamped with the seals of Yan Hengyong and others, which are distributed in a messy manner, and the people who stamp them are also far away from Anqi's time.
Anqi has fewer inscriptions on the old Tibetan paintings and calligraphy, and the stamp cover emphasizes less than more. In the long scrolls of old Tibetan calligraphy and painting, the seal covers of the collection follow certain rules, and the number of seal covers is more than that of small albums.
Ye Sen's Zhijie Ti (first from the right), Huang Pu's "Heyun Poems" (second from the right), Zhao Mengfu's "Daguan Elder Thesis" (third from the right), Wang Lizhonglin's "Treatise on Le Yi" (fourth from the right), Shen You's album of "Wine and Miscellaneous Poems and Brief Posts in the Book of Kai" (fifth from the right)
The number of seals stamped on the works listed in the figure shows the same pattern as the method of sealing, which is more suspicious. At the end of the canvas are zhu wenyin "Korean Anlu Village Treasure Calligraphy and Painting Seal", "Heart Appreciation" Zhu Wen Gourd Seal and "An Yi Zhou Family Treasure" Zhu Wen Yin or "An Yi Zhou Calligraphy and Painting Chapter". This method of cauldron is also less common in other works in the Ink Edge Huiguan. When An Qi wrote Wen Boren's "Diagram of Jiangshan Xiao Temple", he once wrote: "Unfortunately, the Great Seal of the Geng Clan has been too complicated, and it is a flaw in the picture." "Anqi should be more disgusted by the large stamp on the painting and calligraphy, and the frequent printing of the plutonium, and it is absolutely impossible to appear in the way of stamping as listed in the figure." Among them, whether An Qi used the "Korean Anlu Village Rare Calligraphy and Painting Seal" Zhu Wenchang seal needs further examination.
Northern Song Dynasty Cai Xiang Tao Sheng The collection of the National Palace museum in Taipei
In the author's humble opinion, Yan Hengyong and others imitated Anqi's calligraphy and painting collection seals, and because they were not familiar with the stamping law of Anqi's collection seals and the habit of using seals, there would be a situation where the seals were full, and the purpose should be to make profits. As Ye Dehui said: "In modern times, The Bian Yongyu Ancient Hall, An Qi Lu Estate, Nguyen Van Tat Wen Xuan Lou, and the Tao Liang Red Bean Tree Pavilion, once collected and printed, all increased their price tenfold." Ye Dehui also remembered that collectors whose names were scattered in the world were picked up for people, and the good deeds were played with the forgery of the plutonium. Zhang Boju also wrote: "Xiang Zijing, Liang Qingbiao collected seals, and even the seal of Emperor Huizong of Song, are still in the human world." Qianlong Five Seals, it is easier to imitate zinc plates. ”
Ming Dong Qichang's "Fengjing Visits the Ancient Chart Axis" In the Collection of the National Palace museum in Taipei
From the perspective of the law of the seal cover of the Anqi calligraphy and painting collection, the fashu album generally only covers one or two seals, such as the "An Yi Zhou Family Treasure" Zhu Wenyin, the "Yi Zhou Appreciation" White Wen Seal, or the An Yi Zhou Calligraphy and Painting Seal" White Seal. In the albums outside the "Ink Edge Huiguan" catalogue, some works have the seal of Yan Hengyong and others, and on top of these works, the number of seals of Anqi is small, which makes it more difficult to judge whether the works have passed through the old collection of Anqi.
The Cultural Heritage Museum of the University of Chinese, Hong Kong, holds Yuan Baixuan's "Preface to the Collection of Wulin Sheng", whose upper plutonium cover is the first plutonium cover "Henggu Book House" Zhu Wenyin, "Tan's District Zhai Calligraphy and Painting Chapter" Zhu Wenyin, which is very similar to the artistic style of An Qi's calligraphy and painting collection seal. Judging from these calligraphy and painting collection seals, Yan Hengyong and others, even if they did not get the Anqi calligraphy and painting collection seal, were fully capable of imitating Anqi's calligraphy and painting collection seal.
Study the source and destination of the old collection of works of calligraphy and painting connoisseurs, and summarize the law of the collection and dispersion of works, which has a certain auxiliary role in judging whether the works are a certain collection link. In Anqi's study of the gathering and dispersion of old collections, works other than those in the Ink Edge Huiguan are particularly complex, and although these works are stamped with an Anqi's calligraphy and painting collection seal, they are not Anqi's old tibetan calligraphy and painting works.
It was Anqi's calligraphy and painting collection seal that flowed into the hands of the backwards, and in order to make profits, posterity stamped the seal in the work, led by Yan Hengyong and others. If a work is not recorded in the Ink Edge Huiguan, and there is a large number of seals in the Collection of Anqi on it, and there is a seal of Yan Hengyong, it needs to be more vigilant.
The content is compiled from: Gao Zeting's "Anqi Old Collection of Calligraphy and Painting Works Gathering and Scattering Examination" and "Rong Baozhai" September 2019 issue, thanks to the author and the magazine for providing information, if there is any problem private message contact