Shenzhen Business Daily reporter building

The famous ancient paintings he has identified include Huang Gongwang's Painting of Fuchun Mountain Residence in the Yuan Dynasty, Fan Kuan's Painting of River and Mountain Travel in the Northern Song Dynasty, which is now in the Palace Museum in Taipei, Gu Kaizhi's Painting of Women's History in the Eastern Jin Dynasty in the British Museum, Yan Liben's Painting of Walking Chariot in the Tang Dynasty, which is now in the Palace Museum in Beijing, and Zhao Mengfu's Painting of Que Hua in Autumn, which is now in the Palace Museum in Taipei, etc, Each piece is a classic of Chinese painting, and is also the treasure of each museum.

The "Wu Hufan Painting and Calligraphy Collection Appreciation Exhibition" being held in Shanghai Museum will end on March 13, which is the first exhibition to systematically restore Wu Hufan's artistic achievements in collection collection after the founding of New China. 97 groups (113 pieces) of ancient calligraphy and painting cultural relics collected and identified by Wu Hufan on display span more than 1000 years from the Tang Dynasty to the Qing Dynasty, of which nearly seven have made their first public appearances, many of which are national treasure level cultural relics.

Wu Hufan (1894-1968), a trinity of creation, collection and research, was the best among his peers, and was also known as the "leader of the painting world" in the south of the Yangtze River. As the main center of artistic activities at that time, his study, "Meijing Bookstore", was not only an important place for gathering, distributing and collecting ancient books and paintings, but also an extremely rich private collection, with more than 1700 paintings and calligraphy alone, Become the representative and symbol of authentic traditional literati painting. As the main collection institution of ancient paintings and calligraphy that Wu Hufan once collected, Shanghai Museum has combed and integrated Wu's significant contributions to the identification of modern and contemporary ancient paintings and calligraphy.

Yang Zhigang, curator of Shanghai Museum, and Ling Lizhong, deputy director of the Painting and Calligraphy Department, accompanied reporters from Shenzhen Business Daily to visit the exhibition. Curator Yang Zhigang said that the large-scale gathering and dispersion of cultural relics in the first half of the 20th century was the last time before the pattern of public and private collections at home and abroad was finalized, which had a distinctive epochal character. In particular, in the 1930s, the calligraphy and painting of the Forbidden City moved southward and were deposited in Shanghai. The ancient calligraphy and painting cultural relics shuttle back and forth in an unprecedented scale, becoming an important chapter in the history of Chinese calligraphy and painting collection. The collection collection activities and research achievements during this period are also an important part of the history of Chinese painting.

Exchange sable for collection

Wu Hufan inherited and collected more than 1700 ancient calligraphy and paintings alone, as well as a large number of rare ancient books, bronzes, high ancient jade, etc., which is equivalent to a large museum today. The first part of the exhibition, "Wang Xie Tang Yan", vividly presents the learning and collection process of Meijing Bookstore, including Wu's ancestral family, as far as possible through physical display. Viewers can see the ways and channels of purchasing and collecting paintings by exchanging things for paintings, raising paintings by painting, and giving gifts, and feel their preference for treasures of Tang and Song dynasties, fine works of mainstream literati painters of Yuan, Ming and Qing dynasties, women's history paintings, themes of cat plum, family friendship, and works with scarcity, academic research value, or special significance. At the same time, they can appreciate the migration, disassembly, assembly Cutting, scraping, patching and other professional dressing techniques and elegant playing customs.

According to Ling Lizhong, Wu Hufan regarded the "Four Treasures of the Wu Family" in this exhibition as the "Divine Book of Plum Blossom Joy" written and drawn by Song Beren of the Southern Song Dynasty, the "Running Script Verses of Multiple Scenery Buildings" written by Mi Fu of the Northern Song Dynasty, the "Double Annals of Prince Liang Yongyang Showing Respect to Imperial Concubine" written by Song Tuo of the Song Dynasty, and the "Fisherman's Scroll" painted by Wu Zhen of the Yuan Dynasty. The name of his study "Meijing Bookstore" derives from the first two works. The Plum Blossom Joy Divine Manual is the first woodcut painting book in China that specifically depicts the plum blossom mood. It was named after the commonly known portrait of the god of joy in the Song Dynasty. According to the metabolic law of plum blossoms, this painting manual has drawn 100 pieces of broken branches of plum blossoms in different forms. This is a rare ancient book handed down by Wu Hufan's wife Pan Jingshu's family. The couple cherish it very much. They have invited friends to write postscripts and paintings all the time, and specially seal and collect the seal of "the seal of the unique Song Dynasty plum blossom happiness divine script collected by Wu Hufan and Pan Jingshu's wife". The Yuan Dynasty's "Poems on Ni Zan's Cultivation of Cloud" on display was bought by Wu Hufan and his wife with sable. Zhang Zhong, a master of Yuan Dynasty ink and wash flower and bird painting, bought the Lotus and Mandarin Duck Scroll with two Ming Dynasty paintings and calligraphy, plus 800 yuan in cash. The authentic works handed down by Zhang Zhong are very rare, and most of them are collected by the inner government. This painting flows from the Qing Palace, with the seal of Qianlong on it, and has been collected by many famous artists. It is regarded by Wu Hufan as the top grade of his paintings of the Yuan Dynasty.

Known as "Painting and Calligraphy Surgeon"

The second part of the exhibition, "Vision", fully demonstrates Wu Hufan's practical methods used in the identification of ancient calligraphy and painting as the founder of the identification discipline of modern and contemporary ancient calligraphy and painting. Including comparison of relevant physical works; Summarize the artist's personal style and the characteristics of each stage of his life; Textual research on the painter's birth and death, name, name of the house, the person who paid the tribute and the friends of relevant background characters; As well as printing, decoration and shape detail observation, etc. Take Wen Zhengming's "Magnolia Flower Scroll" exhibited in the Ming Dynasty as an example. This work was broken when it was first taken over. Many people thought it was fake and dared not buy it, but Wu Hufan replaced it with a three foot landscape painting of his own. Wu Hufan also wrote on his own, and patched up the damaged parts of the picture, making this masterpiece reborn. According to Ling Lizhong, in the first half of the last century, Wu Hufan was known as a "painting and calligraphy surgeon", and there are not a few ancient paintings and calligraphy repaired by him. Wang Jianzhang of the Ming Dynasty was good at painting Buddha statues and sketching from nature. The flower feathers were a unique skill at that time. In China, his fame is ordinary, but his works were regarded as the greatest treasure by the Japanese after they spread to Japan. Japanese scholars found that the existing Wang Jianzhang style of fan is different, thinking that his style is changeable. However, after careful study, Wu Hufan found that it was someone who deliberately collected the fan of the Ming Dynasty, removed the money from it, and then copied Wang Jianzhang's handwriting to fill in his name. This discovery caused a great shock in the academic community.

The famous ancient paintings identified by Wu Hufan include the Painting of Fuchun Mountain Residence by Huang Gongwang of the Yuan Dynasty, the Painting of River and Mountain Travel by Fan Kuan of the Northern Song Dynasty, now in the Palace Museum in Taipei, the Painting of Women's History by Gu Kaizhi of the Eastern Jin Dynasty in the British Museum, the Painting of Walking Chariots by Yan Liben of the Tang Dynasty, now in the Palace Museum in Beijing, and the Painting of Autumn by Zhao Mengfu of the Yuan Dynasty, now in the Palace Museum in Taipei, etc, Each piece is a classic of Chinese painting, and is also the treasure of each museum. According to statistics, there are no less than 2000 ancient books and paintings that have been identified by Wu Hufan and left true and false records. His conclusions are of great significance for future research.

At the exhibition site, Shangbo restored Wu Hufan's unique skills by computer, which is amazing.

The third part of the exhibition, "A Corner of Fuchun", shows Wu's collection and creation. Wu Hufan's collection in his life mainly focuses on the works of mainstream literati painters in the history of painting, such as Dong Ju, Zhao Mengfu, Yuan Sijia, Ming Sijia, Dong Qichang, Four Wangs and Wu Yun, whose collections are used for reference and study, Through this part of exhibits, we can see the aesthetic pursuit of painting that advocates orthodox literati painting in his painting creation.

Due to the rich content of the exhibits, the exhibition will be divided into two phases. The first phase will last until January 24, and the second phase will replace nearly 30 groups of exhibits, from January 28 to March 13.

market

In 2011, Wu Hufan's temporary painting of Residence in Fuchun Mountain at Hanhai auction in Beijing was sold for 98.9 million yuan. This auction of Residence in Fuchun Mountain is Wu Hufan's temporary painting when collecting the Painting of Remaining Mountains. In 1939, Wu Hufan framed the original copy of the Painting of Remnant Mountains and the photocopy of the Painting of Unused Teachers into one volume. In 1954, Wu Hufan copied the Painting of Residence in Fuchun Mountain according to the full volume of the painting, which was the first and only time in 300 years that the Painting of Residence in Fuchun Mountain was combined with the whole picture. One year after the "combination", that is, in 1955, Wu Hufan donated the Painting of the Remaining Mountains to the Zhejiang Provincial Museum and became the "treasure of the town hall" of the museum.

In terms of data, the market of Wu Hufan's works has been rising steadily in recent years. The unit price of the auctioned works reached 390000 yuan per square foot. Even in the years when the overall market was depressed, the unit price of 330000 yuan per square foot was maintained. This shows that the value of Wu Hufan's works has been rediscovered in recent years, and the market recognition is gradually increasing.

(Zonghe)