That's Dong Yuan's work 1998. On the other side of the ocean, there is an argument about the authenticity of the Riverbank Map. With the convening of the International Symposium on the Authenticity of Chinese Painting, the discussion on this map has gradually expanded to China. The authenticity of Riverside Map is not only related to the painting itself. Because this is the only work with Dong Yuan's famous style. In addition, Dong Yuan's works handed down from generation to generation are also quite different in style, such as Xiaoxiang, Xiashan, Xiajing Mountain Mouth Waiting for Crossing, Japanese Cold Forest Pavilion and so on. Strictly speaking, once the authenticity, signature and age of Xi 'an are determined, it is possible to deny some old works that Dong Qichang identified as Dong Yuan's original works. Based on Dong Yuan's important position in the history of painting, it means that the history of landscape painting will be rewritten. In view of this, the editorial department of Duoyun compiled these manuscripts about the authenticity of Riverbank Map, focusing on the representative views on this issue, including the papers submitted to the seminar on "Identification of Chinese Painting" and other related papers outside this seminar, in order to provide scholars with multi-angle perspectives. In addition, in view of the differences between Chinese and Western scholars in appreciation and research methods, we also selected some papers that can reflect the characteristics of western appraisal of China's painting methods for domestic researchers' reference. Overseas, the authenticity of Riverside Map is mainly represented by the dispute between Wen Fong and Gao Juhan, that is, Wen Fong divided the painting into five generations, while Gao Juhan divided it into a fake of the 20th century painter Zhang Daqian. In the appraisal method, Fang and Gao have something in common, that is, the composition of the work is an important breakthrough. In the paper submitted to the seminar by He Muwen of the Metropolitan Museum, the method of identifying ancient paintings by modern high-tech means gives people a refreshing feeling. It seems that if we make full use of modern high-tech means, it may provide more powerful help for the identification of ancient paintings in the future. In sharp contrast to the debate of overseas scholars, domestic scholars have basically the same view on the dating of Riverside Map, that is, as a work of the Five Dynasties and the Early Song Dynasty, there is not much doubt that it can't be a fake. Some scholars who were unable to attend the seminar also put forward some valuable views. For example, Fiona Fang compares Xi Antu with Gao Shitu in the Forbidden City, which shows that the two works are consistent in style and content, and puts forward that they are probably two of Wei Xian's six Gao Shitu, which is quite convincing. This episode contains his article "Textual Research on Riverside Map", which has a unique eye for literature research and classics reading. Due to the controversy over the riverbank map, there was another round of discussion about the dating of Dong Yuan's works in China in 200 1 year. After comparing Antu with Zhao Wo's "The First Snow on the River" and Wei Xian's "Gao Shi Tu", Chen Peiqiu proposed that Antu is a reliable painting handed down from generation to generation, which belongs to Dong Yuan's original painting, but Xiaoxiang Three Volumes, which has been Dong Yuan's original painting for a long time, is not Dong Yuan's brush. As soon as this theory came out, it caused new controversy in China. This episode also includes a dialogue between Chen and this issue. In fact, the above-mentioned disputes continued until the National Treasure Exhibition of Jin, Tang, Song and Yuan Dynasties held by Shanghai Museum in 2002. The gathering of high-quality maps in Xiaoxiang and Weixian will further deepen the discussion on this issue. At present, in China, the existence of * * * in the three pictures of An, Jiang Chuxue and Gao Shi seems to have been more confirmed, and the focus of discussion,