1350 Huang gave the inscription of this picture to useless people. Fuchun Shan Jutu has its first owner, and since then it has existed in the world for more than 600 years. At the beginning of this painting, useless people "worry about those who take advantage." It's a pity that he is right. When Shen Zhou hid this picture during the Ming Chenghua period, he encountered a "trick". Shen Zhou had this painting inscribed, but it was hidden by the man's son. Later, this painting appeared in the market and sold at a high price. Honest Shen Zhou is difficult to manage and can't afford it, so he has to carry a roll on his back to comfort his feelings. Later, it was told by Fan Shun, Tan Zhiyi, Dong Qichang and Wu Zhengzhi.
During the reign of Shunzhi in Qing Dynasty, the son of Wu, a bibliophile in Yixing, was even more treasured. There is a record in Yunnan Tian's "Ou Xiang Guan Hua Postscript": Wu Hongyu left his family when the country changed, but fled with thousands of words of Fuchun Shan Jutu and Master Zhiyong. It was the seventh year of Qing Shunzhi (1650). Wu Hongyu is ill in bed, and his life is dying in Five Blessingg, Yixing, south of the Yangtze River. He was so weak that he stared at the treasure box by the pillow. His family understood that his master was still obsessed with his beloved landscape painting before his death. Someone took out a painting and unfolded it in front of him. Wu Hongyu's eyes rolled out two lines of turbid tears. After a long time, he struggled to spit out a word: burn. Say that finish, slowly closed his eyes. Everyone present was stunned. Master, this is a painting-burning sacrifice! The painting to be burned is Fuchun Shan Jutu, a national treasure. Because I cherish this book too much, I told my family to prepare to burn the martyrdom.
"On the first day, I burned" Thousands of Words "and watched it burn myself. The next day, "Fuchun Shan Jutu" will be burned. When the fire is full, Redjade is still lying in it. "
This Fuchun Shan Jutu, which has been handed down by the Wu family for three generations and regarded as a family heirloom by the Wu family, was thrown into the fire in full view, and the fire flashed and the painting was lit!
At the critical moment when Chinese painting was about to be lit, a man jumped out of the crowd. He was "anxious to burn", grabbed the painting in the fire and shook it hard, "emerged from the red furnace" and saved it at once. He is Wu Hongyu's nephew named Wu Jingan (Zi Wenzi). To hide his eyes and ears, he threw another painting into the fire, stole the pillar and saved Fuchun Shan Jutu.
Although the painting was saved, several renju holes were burned in the middle, which broke into two parts, one big and one small. The first part of the painting was burned, and all the survivors were covered with fire marks. Since then, the rare national treasure Fuchun Shan Jutu has been divided into two parts.
1652, when the Wu family's younger brother Wu got it, he carefully uncovered the burnt part of the remnant roll. After splicing, there was a scene of a mountain, a river, a hill and a valley. It's almost impossible to see that it was cut and spliced. It's really a blessing. Therefore, people call this part "Residual Mountain Map". While retaining the main contents of other parts of the original painting, in order to cover up the traces of fire during mounting, Dong Qichang's inscription, originally located at the end of the painting, was specially cut out and placed at the beginning of the painting, which was the Fuchun Shan Jutu Useless Teacher Volume obtained by Emperor Qianlong later. This time, the original Fuchun Shan Jutu was divided into two parts: Fuchun Shan Jutu Yushan Map and Fuchun Shan Jutu Useless Teacher Volume, with different heads. At that time, in addition to Fuchun Shan Jutu collected by Wu Hongyu, there was also a Fuchun Shan Jutu alive. That's Huang Fuchun's work copied by the Ming Dynasty painter. This painting is recognized by the academic circles as the closest version to the original, and is now in the Palace Museum in Beijing.
Zhang Hong, a Ming Dynasty painter, was born in 1577. His real name was Du Jun, and he was born in Suzhou, Jiangsu. He is good at landscape painting, attaches importance to sketching, has sharp brushwork, moist ink color and valleys. The combination of stone painting and dyeing is the characteristic of his painting. Freehand brushwork figures, visual expression and proper composition. Zhang Hong is the backbone of Wu painting in the late Ming Dynasty, and the scholars in Wuzhong highly admire him. From the copy of Fuchun in Huang Zhong, we can also see that his superb painting skills are clear and smooth. It is worth mentioning that when copying Huang Fuchun, it was still a complete painting and had not been fired, so later generations regarded copying Huang Fuchun as an important version of Huang Fuchun.
When it comes to the third painting Fuchun Shan Jutu, we can't help but mention Shen Zhou, a famous painter and calligrapher in Ming Dynasty.
Shen Zhou, Amin painter, was born in 1427, whose name is Qinan, and whose name is Weng, was born in Suzhou, Jiangsu. He has played a connecting role in the field of literati painting since Yuan and Ming Dynasties. Calligrapher Huang Tingjian is particularly accomplished in painting. He also painted landscapes, flowers and birds, and also painted figures, with outstanding achievements in landscapes and flowers and birds. In painting methods, Shen Zhou inherited his family studies in his early years and studied under Du Qiong. Later, he studied other painting schools in Song and Yuan Dynasties, mainly inheriting the pale red ink painting system of Dong Yuan, Ju Ran, Huang, Wang Meng and Zhenwu. Shen Zhou's paintings, with comprehensive and simple techniques, have their own creations on the basis of imitating the Song and Yuan Dynasties, and developed the expressive techniques of literati's freehand brushwork of landscapes, flowers and birds, becoming a leader in Wu Pai. Some of his landscape paintings describe mountains and rivers and show the three-dimensional view of traditional landscape paintings. However, most of the works describe the southern landscape and garden scenery, showing the leisure and interest of the literati life at that time.
During Chenghua period of Ming Dynasty, Fuchun Shan Jutu arrived in China. Ever since he got this treasure, Shen Zhou couldn't put it down, hung it on the wall, repeatedly appreciated it, copied it, looked at it again, and found something was wrong: there was no celebrity inscription on the painting. At that time, Shen Zhou was carried away by wild ideas. It never occurred to him that a treasure like this would be hidden in the most secluded place. How can you publicize it in a big way? Sure enough, something happened when Shen Zhou handed the painting to his friend for inscription. The friend's son, seeing how well he painted, had a bad idea and sold the painting secretly, even saying it was stolen.
By chance, Shen Zhou saw the sold Fuchun Shan Jutu at the painting booth. He was very excited and ran home to raise money to buy paintings. When he raised money and returned to the painting booth, the painting had been bought. Shen Zhou beat his chest and cried, but it was too late to regret it. Hard-won Fuchun Shan Jutu is only in my mind now. Shen Zhou leng with memory, copied a picture of Fuchun Shan Jutu.
Shen Zhou lost the original Fuchun Shan Jutu, like a stone sinking into the sea, and there was no news for a long time. Later, it appeared again and was collected by Dong Qichang, a great painter and calligrapher in the Ming Dynasty. Dong Qichang sold it to Wu Hongyu's grandfather Wu Zhengzhi in his later years. Wu Hongyu inherited Fuchun Shan Jutu, a scene in which Woods preserved the painting in slow fire and left a will to burn it before he died. Because Huang's Fuchun is very famous, painters in Ming and Qing dynasties are scrambling to copy it. Besides Shen Zhou's Fuchun Shan Jutu, there are more than ten books that can be recorded now. These have become the true and false pictures of Fuchun Shan Jutu.
In the better manuscript of Fuchun Shan Jutu, Shen Zhou's neighborhood (now the Palace Museum) belongs to the back neighborhood, so Dong Qichang thinks that "it seems to be over half"; Zhang Hong copied the original painting in Wu Wenqing's home, which is closer to the original in form and spirit (now in the Palace Museum). These two volumes are valuable because the original painting was still complete at that time. The copies of Zou and Wang Yi, the "Yushan Painting School", spread overseas. The re-mounted useless scroll is not the whole picture of the original painting, but it retains the clear pen and ink and simple artistic conception in the painting. This masterpiece created a new style of China's landscape painting. 1652, Danyang and I changed hands to Taixing as a collection, and later passed through the hands of Wang Hean Qi. After many people collected it, it was finally bought by Angie.
1745, a piece of Fuchun Shan Jutu was collected into the palace. Emperor Qianlong couldn't put it down after reading it. He kept it, took it out from time to time to enjoy it, and wrote an inscription on the blank of a 6-meter-long scroll and stamped it with a decree. Unexpectedly, the next year, 1746, he got another Fuchun Shan Jutu. Two "Fuchun Shan Jutu", one is true and the other is false, but the two paintings are so similar that it is difficult to tell the true from the false.
In fact, Li Hong has obtained Fuchun Shan Jutu, the most famous Fuchun Shan Jutu, which was later called Zi Ming Juan. Zimingjuan is a useless copy of Fuchun Shan Jutu copied by scholars in the late Ming Dynasty. Later generations made profits, removed the inscription of the original author, forged the inscription of Huang, and forged the inscription and postscript of Zou and others, all of which deceived Emperor Qianlong. In fact, it is not difficult to find the loopholes in Mingjuan's imitation. In Yuan Dynasty, the author's inscription was behind the painting content, but Zi Mingjuan put the author's inscription in the blank at the top of the picture, which obviously did not conform to the characteristics of painting and calligraphy in Yuan Dynasty. However, the appreciation level of Emperor Qianlong's calligraphy and painting is obviously not enough to see these loopholes. This volume of Fuchun Shan Jutu, copied by later generations, not only takes it with him as a treasure all the time, but also greatly appreciates the painting, praises it repeatedly and likes it very much, which is as important as a person. Moreover, the appearance of useless test papers did not let him overturn his wrong judgment.
In the second year, in the winter of the eleventh year of Qianlong, Fuchun Shan Jutu came to Li Hong. While he firmly declared that the useless copy was a fake, he bought the so-called fake at a high price. The reason is that this painting is not original, but it is not bad. To this end, he specially asked the minister to write an inscription for two volumes of Fuchun Shan Jutu. The ministers who came to see the painting all praised the emperor's broad mind of loving art and not sticking to authenticity, but no one dared to expose that the painting was genuine. Endorsed by Liang and other ministers, the latter was identified as a fake, compiled as "Second Class of Baodi in Shiqu", and ordered Liang to write derogatory words in this book. It was not until 18 16 that Hu Jing and others compiled the third edition of Baodi in Shiqu for Emperor Jiaqing, and Fuchun Shan Jutu changed its name and edited it, washing away the grievances. There is also a saying that Qianlong felt particularly humiliated when the painting really entered the palace. He wrote an inscription on the real painting to show falsehood and deliberately reversed right and wrong.
No matter how absurd the appraisal conclusion of Emperor Qianlong was, the original Fuchun Shan Jutu hidden by Angie really entered the court. It has been quietly stored in this dry and clean palace for nearly 200 years. In 1930s (1933), the important cultural relics of the Forbidden City moved south, and more than 10,000 boxes of precious cultural relics were delivered to Shanghai in five batches, and then to Nanjing. During the period when the cultural relics were parked in Shanghai, Xu Bangda saw these two authentic Fuchun Shan Jutu in the warehouse. After careful textual research, he found that what Ganlong wrote was false, but in fact it was true, while most of the words written by Ganlong were false, which overturned the conclusion of the ancestors and gave it a true face. Until it moved south with other cultural relics. Today, Fuchun Shan Jutu is both collected in the Palace Museum, witnessing a joke in the history of China's calligraphy and painting collection. The re-mounted "Leaving the Mountain" was given to Wang Tingbin in the eighth year of Kangxi (1669), and later it was transferred to collectors, and it was unknown for a long time. By the time of War of Resistance against Japanese Aggression, it was acquired by the modern painter Wu Hufan. The painter once traded the ancient bronze wares for the fragmentary mountain map that he cherished very much. From then on, he claimed to live in a corner of Fuchun Mountain Map. Sha Menghai, who was working in Bo Zhe at that time, was not calm when he learned the news. He believes that this national treasure is circulated among the people, and it is not easy to preserve because of the limitations of conditions. Only the national collection is the perfect solution. Therefore, I went to Shanghai many times to discuss with Wu Hufan. Know what is right. Wu De's famous paintings were not transferred intentionally. However, Mr. Sha was not discouraged and kept going back and forth between Shanghai and Hangzhou, and invited famous artists such as Qian Jingtang and Xie to handle it. Wu Hufan was moved by Sha Lao's sincere heart and finally agreed to give up what one favours. 1956, the front of the painting came to Zhejiang Museum. Become the "treasure of the town hall" of Zhejiang Museum.