In the Southern Song Dynasty, the inscriptions on the pillars were Wang (Shunbo1121-kloc-0/204) and Jia Sidao (Chou He, 12 13- 1275). At the end of the Qing Dynasty, this volume was circulated in Guangdong. At that time, many collectors in Lingnan had collected and recorded this volume. Later, it flowed out of China and was collected by museums around Japan. In the late Ming Dynasty, Zhang Chou recorded four episodes of "The Record of the Original Words", and in the Qing Dynasty, Volume III of "Dream Garden Calligraphy and Painting Record" was recorded. It was also published in The Complete Works of China's Calligraphy Huang Tingjian Volume (Rong Baozhai Press, 200 1) edited by Liu Zhengcheng, but its authenticity caused great controversy in academic circles. Poly Company held a preview in the second floor of Shanghai Yan 'an Hotel from May 24th to 25th, 20 10. The preview items included Boundary Monument. On the afternoon of the 25th, I braved the high temperature to see it. I'm not interested in its transaction price, but I want to appreciate its authenticity.
"Zhu Ming Juan" is displayed on a long case and covered with thick cellophane. The whole volume has not been unfolded, but only the Portrait of Huang Wenjie and Biography of Huang Tingjian are introduced, and the official script of Qu Shuangliao. The inscription on the trailing paper is illegible. Each word is about six or seven to ten centimeters high, and the ink color is ancient. The roll paper is light chestnut purple. I wonder if it is smoked paper in the Song Dynasty. It seems that it was mounted when the neighboring library entered Tibet, but it is suspected that it was not mounted in the early Ming and Qing Dynasties. After careful appreciation, the pen and ink have no traces of filling or copying. Although the last stroke of some words has traces of "duplication" and "tracing", such as the "tick" of the last stroke of the word "Ye" or "Zhe", it often forms a small triangle, which is visually dazzling, but it should be written like the original pen. After careful examination and long reading, some words are quite different from Huang Tingjian's regular script in structure or local details. As far as my appreciation is concerned, the pen and ink skill of this volume should be beyond the reach of those who "learn from pornography" and "imitate pornography". Even Wen Zhiming, the first person to learn from pornography, has no such "attainments". But I don't understand the doubts, and I still can't get rid of them.
I turned back to the reception desk at the entrance of the exhibition hall and found that there were many catalogues of Chen Fang's auction, one of which specifically introduced "pillars of monuments". I wanted to buy this book, but the receptionist said it was not for sale, only for visitors to read. After careful reading, I found that there is a long article by Mr. Shen Fu, From Hesitation to Affirmation-A Study of Huang Tingjian's Book of Columns, which is about 10,000 words. In his article, Mr. Fu made a detailed textual research on Zhuzi Mingjuan, and thought that this volume should be Huang Tingjian's early work (about forty years old).
However, there is still a problem that has not been solved: there are many differences in words between the inscription on the column of the neighboring museum in Japan and the inscription on Wei Zhu written for Yang in Huang Tingjian's "Inscription on the Valley". After the title Wei Zhu wrote an inscription, there was a calendar year after the end of this book, which was "Geng Yin Nianyuan (11kloc-0/) in the first month, the boat king city, the old man in the valley wrote a book by candlelight." This should be Huang Tingjian's work at the age of 5 1 in his later years. However, if we compare the poetry volume of Jingfubo Shrine with the column memorial volume of an adjacent library, the book style is obviously out of place. If we rule out that these two works are not fakes, there is only one possibility, that is, these two works with similar contents were written by the same person at different times. Because a person can't have such a big "contrast" in the same style in the same year, otherwise it really can't be justified. Therefore, Mr. Fu should think that there is a neighboring library book, which is "a little earlier" than the book "The First Year of Guo Jing (101)" (that is, "The Postscript of the Valley Monument").
In his article, Mr. Fu analyzed and compared many strokes in Zhu Di Ming Juan in the neighboring library, and explained why many fonts in Ming Juan in the neighboring library were obviously different from another regular script by Huang Tingjian in local strokes (such as four, left, long horizontal and three points) and radical writing. Through comparison and arrangement, Mr. Fu came to his own conclusion: "The inscription on the column shows Huang Tingjian's writing style in the heyday of youth." He also believes: "This ink scroll of Inscription on a Column adjacent to the library is an original work of Huang Tingjian's writing style in the transitional period." Finally, Mr. Fu further demonstrated his views from inscriptions, seals, collectors' lives and other aspects, but it was a bit far-fetched. Under normal circumstances, the inscriptions and seals of later generations are only important "circumstantial evidence" to identify the authenticity of a work, but not the only "ironclad evidence". Does Wang Xizhi's calligraphy printed by Emperor Taizong's Zhenguan really have traces, so they should all be unquestionable "original works"?
I still have a question: "Since the Zhumingjuan in the neighboring library was Huang Tingjian's early Gu Feng, why did he write another Zhumingjuan with different contents for Yang more than ten years later? Therefore, Mr. Fu once suspected: "The adjacent library may be an abridged version of Gu Ming's postscript, and it is difficult to make it out of thin air because the imitator has changed from complex to simple, thus increasing doubts about the ink book (adjacent library book). "However, if there is a copy of the Valley Monument and Postscript from an adjacent library, why don't the scribe copy the year number and name conveniently? In addition, there was a "blank period" from Jia Sidao in the Southern Song Dynasty (12 13- 1275) to the first year of Tianshun in Ming Yingzong (1457). Why are there no inscriptions or seals in Yuan Dynasty and early Ming Dynasty? Who collected this volume in this period? If the collection seal of Wang He and Jia Sidao (The Book of Chou He) on this volume is really original, then it can be ruled out that the Ming volume of Zhuzi is a copy of the Yuan Dynasty. Otherwise, it is likely that the Yuan people copied the book, and the preface and inscription of the Southern Song people may have been "transposed" from the original book.
In the middle of Ming Dynasty, Zhu Mingjuan was collected by descendants of Huang Tingjian. The Xinhai of Jiajing (155 1) suffered the disaster of "returning to Lu", and the resources of the Huang family were completely destroyed, but the embers of this volume still exist, which seems to be blessed by gods. Therefore, Huang lamented in his inscription (1570): "For example, in the Seven Heroes War, the Central Plains experienced several wars, and Lu Guanghui walked alone, and things were transformed. Is it awkward? This is also a "legendary" story in the history of Zhu Ming, which has to be cherished. But I don't see any burnt marks on this paper. Later, this volume may have been sold to Xiang and collected by Huang Tingjian's descendants.
Although there are still some problems to be solved in an adjacent library, it can't be judged as 100% of the original Huang Tingjian, but I still want to say that it is at least a perfect copy of people in the Northern Song Dynasty or the early Southern Song Dynasty. In the case that the inscription and postscript of the valley has disappeared, it can also be called a "second-class original" work, which has the same value as copying the preface to Lanting in Tang Dynasty. However, most people who question that Zhuming Volume is a "poor fake" have never seen the original of this volume. In the history of China's calligraphy and painting, there are many excellent and excellent copying and copying. The original is precious, but the excellent copies should not be underestimated, because they are the painstaking efforts and artistic heritage of the ancients. It is no exaggeration to say: "Without these replicas, there would be no history of China's paintings and collections." Huang Tingjian's calligraphy Zhu Ming in the Northern Song Dynasty fetched 436.8 million yuan (photo). The evening of June 3rd is 1 12 minutes. After nearly 70 rounds of auction, the world record of China art auction price was born in China for the first time-the volume of Zhu Ming, a calligraphy by Huang Tingjian in the Northern Song Dynasty, was sold for 390 million yuan, plus 65,438 yuan. This transaction price far exceeds the transaction record of about 230 million yuan of China artworks created by "Yuan Qinghua Ghost Valley Down the Mountain" at Christie's auction in London in 2005. At 9: 45 last night, the evening performance of modern and contemporary paintings and calligraphy in China in Poly Spring started at 7: 00 that night, with over 12 works, of which Xu Beihong's Zodiac and Spring Mountain Donkey Back were 65 million and 60 million respectively. As the "Zhu Ming" special exhibition approaches, more and more people begin to enter the auction site, ready to witness who spent this national treasure.
Before the hammer fell last night, Huang Tingjian's "Zhu Ming" in the Northern Song Dynasty has been considered by the industry as the most important China art in this year's Poly Spring Auction and even the whole spring auction market. This volume is 8.24 meters long, with 82 lines and 407 words, which is second only to the 18.22-meter cursive script Biography of Lian Po Lin Xiangru in the United States and the 10-meter long volume Postscript of Ming Zan's Poems in the National Palace Museum in Taipei, and is superior to the famous Fu Bo posts (8.20 meters) and Zhu Zuoposts (7) together with the inscriptions of previous dynasties.
Previously, this hand scroll was different from Huang Tingjian's other works in terms of text content and calligraphy style. As early as the Qianlong period, it was once considered a fake, and there were many doubts. After textual research by Mr. Shen Fu, president of the National Palace Museum in Taipei and tutor of master students in the Institute of Art History of Tainan University, it was finally confirmed as Huang Tingjian's original work, which was Huang Tingjian's original work during the transition period of book style. He also wrote a research report of nearly 20,000 words for this volume.
Pei Guanghui: The 430 million Zhu is not an original of Huang Tingjian, but a fake after the late Ming Dynasty!
Southeast Network-Straits Metropolis Daily reported on June 13 (Reporter, Xie Xiangming/map) The calligraphy scroll "Zhu" by the famous Northern Song Dynasty Huang Tingjian sold for 436.8 million yuan in Beijing on the evening of June 3. However, Pei Guanghui, a famous cultural relic appraiser who lives in Quanzhou, listed eight reasons, saying that "this is not an original of Huang Tingjian, but a fake after the late Ming Dynasty"!
"My suspicion is well-founded, not a hasty conclusion." Yesterday, Pei Guanghui told reporters in his studio that he was writing a paper of more than 30,000 words to discuss the arguments of experts such as Shen Fu. It is understood that this work of art was appraised by experts such as Mr. Shen Fu, president of the National Palace Museum in Taipei. Pei Guanghui raised eight questions. If there is a place, it will definitely stir up the industry.
According to the research of experts such as Shen Fu, the inscription of the stone pillar was written around 1095. His works were collected by Wang, Jia Sidao and Xiang, and circulated among the people for a long time. In the first half of the 20th century, it flowed from Guangdong to Japan and was collected by museums around Japan. Until a few years ago, it was bought by collectors in Taiwan Province Province, and finally taken away by a buyer in China.
Pei Guanghui's "Eight Doubts"
Pei Guanghui said that he had seen this work in Beijing in March, and it was not optimistic at that time. Before the auction, a friend in Beijing called and revealed that the auction house was confident to auction 400 million yuan, which aroused his interest in further research. Through the repeated identification of hundreds of high-definition digital pictures, he believes that the work has "eight doubts."
Doubt 1
Is the seal of the collection a fake seal?
After identification, he came to the conclusion that the seals of three famous collectors, which were regarded as important identification basis by experts such as Shen Fu and auction houses, were found to be fake after research and comparison.
The so-called sixteen-character white seal of the collector Wang in the Southern Song Dynasty was discovered after the Xiang seal in the late Ming Dynasty.
The so-called "Autumn Valley Book" of Jia Sidao, a great collector after the Southern Song Dynasty, is obviously inconsistent with Jia Sidao's "Autumn Valley Book" on recognized monuments such as Preface to Lanting Collection in the Forbidden City.
Comparing the seals of the so-called great collectors in Ming Dynasty with the seals of other recognized monuments, it is found that at least 18 seals are obviously inconsistent with the real seals, and most of the others are vague or incomplete, so they cannot be confirmed as real seals.
Doubt 2
The water seal is out of date?
Pei Guanghui said that the "Xiang" seal on the hand scroll is mostly a watermark, which is inconsistent with the widespread use of mimeographs in the Ming Dynasty, and it is also seriously inconsistent with the use of mimeographs in other calligraphy and painting collections.
He introduced that watermarks and honey seals began to be used in the Song Dynasty, and mimeographs appeared at the end of the Southern Song Dynasty. After Yuan Dynasty, mimeographs were widely used, but watermarks basically disappeared in Ming Dynasty. "This handwritten seal uses a watermark, which looks very old, but it is actually self-defeating." Yan Guanghui said.
Doubt 3
Is there any digging mark on the seal?
Pei Guanghui believes that the seals in Xiang's collection, such as Teana Pavilion, Bao Gong Jia and Xiang Zi Jing Mi Cang Yin, all have obvious traces of excavation, which were transplanted from other places and do not belong to the original volume.
Doubt 4
Was light ink out of fashion in the Song Dynasty?
In addition, Pei Guanghui thinks that the color of hand-rolled ink is too light, which is inconsistent with Huang Tingjian's habit of using thick ink in other works, and also runs counter to the fashion that Song people like to use thick ink.
Doubt 5
Are the inscriptions after Yuan Dynasty false?
The "Five Inscriptions and Postscripts of Southern Song Dynasty People" regarded as an important appraisal basis by experts such as Shen Fu and auction houses are talked about, and Pei Guanghui also suspects that it is a false trust after the Yuan Dynasty.
After hand-rolling the main body, there were 26 inscriptions in the past dynasties. Among them, the inscription on the back water silk (the first postscript), the first sentence says that "Song was in Guanzhou and Long Guandu was an old official", which means "Song" rather than "Da Song". It can be seen that this postscript was engraved after the Yuan Dynasty. However, in the subsequent postscript, there are four inscriptions bearing the titles of the Southern Song Dynasty: "A letter written by Wang Yushan on March 1st in Shaoxing Xinxu" (the third postscript), "On the first day of the first year of Avenue, Liu Ruiguan was in Hejian" (the fourth postscript), "On September 20th, four years, Avenue was on the 6th" (the fifth postscript) and "Jiading was on the 5th day". The post-question position is actually in the front, and the post-question position is actually in the back.
Doubt 6
Two typos leaked out?
The "show" part of the words "Zhu" and "Li" is written as the "clothes" part (slightly more). Pei Guanghui said that he searched Huang Tingjian's books handed down from generation to generation, and none of them were written like this. Pei Guanghui believes that this "clerical error" is repeated twice, which can be regarded as the forger inadvertently bringing his wrong writing habits into the fake, thus "revealing the secret".
Doubt 7
Suspicion pen
Pei Guanghui also said that this kind of brushwork, such as holding the sharp edge of the pen by hand and killing the pen to protect it inward, is invisible in all the calligraphy traces handed down by Huang Tingjian. This kind of detail with strong personal pen inertia should also be regarded as the "secret" of counterfeiters.
Question 8
Doubt about style
Pei Guanghui also believes that Huang Tingjian's original pen is abrupt and strange, with a restrained center and a lot of seal cutting characteristics. Although the structure is full of spears and halberds, it is well grasped and embodies a charm full of affection, inner beauty and book fragrance. However, this kind of hand-painted stippling is immature, and the lines are mainly positive, flat and thin, sharp and sharp, lacking implication and majesty, and lacking the scholarly atmosphere that yellow books should have.
Pei Guanghui: painter, cultural relic appraiser. Former member of the Art Appraisal Committee of the Ministry of Culture, visiting professor of cultural relics in Peking University.
The high-priced "Zhu" buyer offered a reward of 2 million yuan to refute the "Pei Bayi" expert
This month 13, Pei Guanghui raised eight questions about Huang Tingjian's Zhu Ming, which was sold at a sky-high price of 430 million yuan, and collectors were in an uproar. Entrusted by collectors today, the following awards are announced:
Publicly collect experts, scholars, experts and senior netizens who can put forward convincing refutations to the "Pei Eight Doubts" at home and abroad. If you successfully refute one of them, you are willing to pay RMB 654.38+million, if you successfully refute the other two, you are willing to pay RMB 200,000, and so on. If the eight refutation is successful, double reward! You can pay a tip of RMB 2 million. )
It is the glorious mission of every citizen to escort the national treasure; It is also the sacred duty of the appraiser to clear the reefs on the route!
Patriotism, embodied in cultural relics, is to cherish the national treasure and try our best to identify its true identity!
Shengshi Collection has encountered chaos, and it is a national treasure upside down!
It is expected that outstanding cultural relics appraisers with a sense of justice can set things right and restore the identity and historical status of national treasures.
The collector also solemnly promised that once the refutation was a complete success, this handwritten scroll of Huang Tingjian's Zhu Ming would be donated to the National Museum for permanent collection.
Experts, scholars and senior netizens who are willing to send their papers to my mailbox.