The combination of Huang and two works

On 20 11June1day, the two halves of Huang's masterpiece Fuchun were officially merged into one in the Palace Museum. According to records, Fuchun was collected by Shen Zhou, a famous painter in Ming Dynasty, and Dong Qichang, a great painter, and later transferred to Wu, a collector in Yixing. After Wu died, he passed it on to his son. Wu Hongyu is an avid collector. He regards painting as a treasure. Before he died, he asked his son to draw Martyrdom. His nephew, Wu Jing 'an, rescued the painting from the fire, but part of it was burned, so the painting was divided into two parts. The National Palace Museum in Taipei authorized mainland enterprises to copy their collections for the first and only time.

The first work of cooperation between the two parties is that under the dual authorization of the Palace Museum and the Zhejiang Provincial Museum, Kim Jong Kook Li Company uses precious metals to create a combined version of "Fuchun Shan Jutu" art work. Among them, Fuchun Shan Jutu's flagship work, which was made according to the original ratio of 1∶ 1 and cost more than100kg, will be presented to the world at the 8th China (Shenzhen) International Cultural Industry Expo in May. In addition, Kim Jong Kook Li Company will make 20 12 pieces of Fuchun Shan Jutu in limited quantity according to the ratio of 1:9, of which 000 1 is collected by the National Palace Museum in Taipei and 20 12 by the Zhejiang Museum.

Useless Teacher Volume and Zi Ming Volume entered the Qing court very early, but the remaining Mountain Map was lost for a long time and was discovered by Wu Hufan. This painting was created in Yuan (1347) and completed in (1350) ten years. This immortal giant system has been handed down from generation to generation for more than 600 years. Since the Yuan Dynasty, all painters have been lucky enough to see this painting. The so-called "this volume is like a treasure, and it returns to reality, claiming to be a happy day." (Dong Qichang) Therefore, it is circulated among collectors with huge sums of money, and collectors either regard it as a treasure or keep it secret; This painting has experienced great praise and vicissitudes. Finally, in the seventh year of Shunzhi in Qing Dynasty (1650), he was burned to death. Since then, he has been split in two, and the perfection of his art has been seriously damaged, which is really a great pity.

The first collector of this painting was Huang's Taoist friend, the useless Zen master. It is useless to consider that this volume may be "robbed by others", and the author is required to "write a book first, use the original number" before painting, and clearly identify the ownership. In the Ming Dynasty (Chenghua period), Shen Zhou, a painter, collected for more than 100 years, and the collection situation was unknown. Shen Zhou's collection time is very short, and it is borrowed. Then Shen Zhou's family was poor and hard to redeem. Feeling disappointed, he turned his back and comforted him with memory. In the first year of Hongzhi in the Ming Dynasty (1488), after the Suzhou Festival was bought by Fan Shunju with a huge sum of money, Shen Zhou wrote an inscription for it, supplemented his collection "Inscription and Postscript for a while, and picked it up for a while", and praised it from the painter's point of view for its "profound brushwork, and this volume is full of charm". In four years (1570), this volume was transferred to Tan Zhiyi, a painter and connoisseur in Wuxi, and read by Wang Deng and painter Zhou in Taiyuan, and wrote a postscript in the following year. Dong Qichang, a famous painter and connoisseur in the late Ming Dynasty, bought this volume in the 24th year of Wanli in the Ming Dynasty (1596), but it was quickly transferred to Wu Zhiju, a collector in Yixing. Wu Zhi Zhi passed it on to his son Wen Qing. He liked it so much that he kept his family biography and built Fuchunxuan to hide it. The volume bears the seals of Wu,, and. The painter Zou Zhili befriended Wen Qing and wrote a plaque for Fuchunxuan, so he could read the painting again and again. So, he made a long sentence, saying that the Tibetan master "has been dealing with it for decades and put it as a pillow so that it can lie down." Chen's seat is on the right, eating and drinking. "Love has reached the point where we can't live without each other. In the turbulent years of Ming and Qing dynasties, when she fled the war, she only took this scroll with her and sighed, "I died for it." "However, Wen Qing did not die because of this, but when he was dying, he burned the painting for his own martyrdom. Fortunately, his nephew Wen quickly rescued Fuchun from the burning fire. Unfortunately, the previous paragraph went too far and was partially burned. For the next 300 years, these two scrolls circulated separately. There has been a so-called "Fuchun mystery" about the authenticity of Fuchun Shan Jutu. In the twenty-ninth year of Qianlong (1674), Emperor Gaozong of the Qing Dynasty wrote a record of about 600 words, describing the whole story of the case and making a final judgment. The general idea is that in the winter of ten years of Qianlong (1745), "I have a long history of Shan Jutu, which is the original work". But in the summer of the same year, I saw two afterwords of Fuchun in his poems, only to know that there was a yellow painting named Fuchun at home. The following winter, when their homes declined, Fuchun and other old collections were sold to Fu Heng, the imperial clan of the Qing Dynasty, and were introduced by Fu Heng and sold to "Neifu". Li Hong's "A Brief View of Cutting Candles", but he has been reading Fuchun Shan Jutu for a long time, and his five postscript is consistent with De Qian's essay. I occasionally recall Dong's postscript, which is the same as the person who gave the old title "",so he presented the old picture as it is, and the result was the same. The next day, let Liang distinguish its authenticity, but it is salty to take the old as true and the new as false. " Furthermore, it is said that "the generations of virtue, modesty, and kings are more extravagant than appreciating essence, and Jia Zhi is the most important. Those who think they are heroes are all wrong. Fuchun and Shanju belong to the same picture, and Shanju belongs to Fuchun, so although it is true, people suspect it is not true. " But I have to admit that Fuchun Shan Jutu has an ancient fragrance and charm, so I bought it for 2,000 yuan and allowed it to be classified as Shiqu Baodi. Li Hong's preconceived idea may be that a courtier is only as good as an emperor. So although the two paintings were compared, the authenticity was reversed. Fuchun was designated as a "fake tripod" and a genuine yellow work, which was included in the first series of "Shiqu Baodi". At this point, even Shen Deqian had to follow the "sacred theory", saying that "this mountain is the Fuchun map". "Shan Jutu", namely "Zi Ming Juan", is titled "Zi Ming's reclusive gentleman will return to Qiantang, so he needs to draw mountain scenery, so he wants to see him off. The big idiot is looking forward to Yuan Wuyin Autumn. " There is also a Dong Qichang's "Postscript of Water Separation". Compared with the two, this postscript is missing 55 words under "Recalling Chang 'an". At the end of the picture, there is an anthology of Liu Jue, a native of Wuxian County in Ming Dynasty, with an inscription of Zou's short sentences and Confucius' postscript. Seeing Shen Deqian's two postscript, Li Hong also had doubts about Shan Jutu, saying, "Let's distinguish one day from another", which also verified that Ren was appointed when he was young. Ren Renfa (1255 ~ 1327), a native of Qingpu, Shanghai, was a painter in the same period as Huang, who was good at drawing horses and was also an expert in water conservancy. He was tired of being an official and went to Zhedong Road to comfort him, but there was no record of seclusion. Two volumes of Authenticity were placed in front of Li Hong, and he finally regarded fallacy as truth. In the twelfth year of Qianlong (1747), he wrote a poem: "What's the mystery of the high king's eye? Talking about heaven is overwhelming. "I'm not an expert in Bo Gu. Yes orno. " Mocking Shen Deqian's "misdiagnosis". From then on, he especially cherished "Shan Jutu", not only in the palace, but also when he went out for a cruise. During the 50 years from 1745 to 1794, Qianlong wrote 54 inscriptions, some long and some short, with heavy impressions. Almost filled every gap, which undoubtedly caused serious damage to the picture.

Sadly, the paintings that Qianlong devoted his life to were not written by Huang. Laugh at Chishui and ask Zhu Yuan, I don't know what Zhu Yuan is about. This is a self-deprecating poem written by Li Hong after he thought he spent 2200 silver on a fake. Apart from ordering the courtier Liang to write his own imperial knowledge in Fuchun, he did not leave a "imperial pen", which enabled this immortal masterpiece to completely retain the original view of the empty river. It is really a great misfortune. Shen Deqian, who has a discerning eye, had to confuse the real with the fake against his will. He wrote a poem after Zi Ming Juan, saying, "... sages have repeatedly commented and explored the clues of pavilion poisoning and poverty." It's not a problem that Jiangshan Wan Li went into the milli-hole and made great achievements in his hands. I was embarrassed to be ordered to write the end of my thesis. I wrote Fuchun volume in previous years, but now I read this book for consultation. Heaven and seal respect the world, and autumn snakes and spring insects dare to look at the top of the mountain. "Tell the truth that he was forced to" respect "others in a subtle way.

Li Hong's "theory of sacredness" lasted for nearly 200 years, and was finally overthrown by his neighbor Wu Hufan. After textual research, Wu wrote the inscription of Huang's good friend Zhang Yu (Quwaishi No.1) in front of the remnant mountain map of 1939, and wrote eight characters of seal script, and wrote "Fuchun Mountain Map, the first god in Mohuang Dachi Painting Garden" in small characters. Ji Mao-yuan inscribed Japanese Ququ, Wu Hufan's Secret Collection in the book. Since then, it has provoked a new "Fuchun case-solving". After decades of debate in the art world, we finally reached a consensus that the useless master volume is true and the Ming volume is false, but we also admit that the Ming volume has high artistic and historical value.

Xu Bangda, a famous appraiser, finally confirmed that this useless master's work is genuine. On 1973, he published a paper on the authenticity of Huang Fuchun in the fifth issue of the Journal of the Palace Museum, and thought that the useless master volume was an original and the volume was a fake. The main basis is: first, the picture itself. The composition of "three distances" (flat, far and high) is readily available, and most of them are drawn with dry pen, and there is a strange painting style of grass seal, which is consistent with the language of "rotating color filling" in the title. The second is the inscription. Except for the self-inscription, most of the other inscriptions are written by famous artists, which are rich in content and closely related to the original painting, while the fake edition is vague, poor in content and too far from the topic. The inscription and postscript of the authentic edition provide clear clues for circulation. The third is to collect records and marks. Since the Yuan Dynasty, there has been a record of the evaluation or circulation of the original, and the records in the Ming and Qing Dynasties are very detailed, which is consistent with the inscriptions and postscript. The payee's seal is supported by the account. Wu Zhike's sewing seal at the top of the frame is the most powerful proof. Fuchun is the work of Huang, a painter in Yuan Dynasty. This was painted by Huang by a useless teacher. The story happened on the banks of Fuchun River in Zhejiang Province. The whole picture is elegant, the mountains and rivers are arranged properly, and the ink color is both dark and dry and varied. It is the representative work of Huang and is called one of the "Top Ten Famous Paintings in China".

Fuchun was painted by a useless teacher when Huang was 72 years old. Painted for three or four years. The picture shows a beautiful and elegant style with extraordinary bearing. It is Huang's masterpiece with Fuchunjiang River in Zhejiang as the background. Fuchun is a paper ink painting with a width of 33 cm and a length of 636.9 cm, which is the representative work of Huang in his later years. In the form of long scrolls, it depicts the beautiful scenery in early autumn on both sides of Fuchun River, with green peaks, graceful turquoise, smoky trees in Yunshan and Sha Ting cottages. The layout is dense and changeable, with clear pen and ink and simple artistic conception, the vast and continuous southern mountains and rivers are vividly displayed, reaching the realm of "rich mountains and rivers, lush vegetation and flowers".

Fuchun Shan Jutu is more than a foot high and about two feet long. This picture shows the scenery around Fuchun River: the peaks and slopes on both sides of Fuchun River are like the scenery in early autumn. The trees on both sides of the mountains and rivers are gray and dense, and villages, flat slopes, pavilions, fishing boats and small bridges are scattered among them. Dong Qichang praised, "The exhibition won three praises and should be overwhelmed." It really gives people the feeling of thousands of miles away.

This kind of landscape painting, regardless of layout, pen and ink, or the use of Italian method, makes the viewer have to marvel. As Yunnan Tian said, "It is extremely rough to make a flat sand and a bald peak." Dong Qichang once said that when I saw this painting in Chang 'an, I felt that my heart and spleen were in harmony.