Inherit For Three Thousand Years

The loss of these works is the greatest regret in Mr. Xu's life.

When the Japanese army invaded Singapore in 1941, Mr. Xu entrusted hundreds of works he had painted during his three years in Singapore, Malaysia and India, as well as other antiques and rare books to his friends, and buried them in a dry well in Chongwen School in Singapore. Inside, there are 40 oil paintings that Mr. Xu himself considers to be the most precious. Afterwards, Mr. Xu boarded the last ship bound for India before the Japanese occupation and left Singapore with 1,000 works.

This is the separation of human paintings. The owner of the oil paintings did not expect that he would lose these treasures forever.

Up to now, among the 40 fine oil paintings among the lost works, only a very few works have been heard again.

It was indeed a great surprise that Xiao Yao discovered three of the fine oil paintings in this secret room at once.

The works of Bada Shanren, Zhang Daqian, Chang Yu, Huang Binhong and others are stored in the other grids of the first row of Bogu racks.

But none of these works are too precious, and most of them are common and ordinary works.

Only one work is stored in the last grid of the first row of Bogu racks.

Xiao Yao casually opened it to watch, and to his surprise, this turned out to be The Picture of the Return of the Drunken Kings!

No wonder this work occupies a grid by itself. This work can be called a national treasure, and it is indeed worthy of occupying a grid.

Although he was pleasantly surprised, it was not an authentic work, and he had to carefully identify it.

He first looked at the inscription on the seal, the seal: Ren's Ziming, Yueshan Taoist.

Chen Jiru's inscription and postscript: Emperor Wenhuang of Tang Dynasty carved the six horses of Zhaoling in stone, so many of his descendants were addicted to horses. The Daizong had Jiuhua Qiu, and the Dezong had Shenzhi Cong and Ruyi Liu. It is decorated with gold lees, controlled by purple jade whips, and fed with first-class materials. Therefore, his pictures have been spread among the world and sung endlessly. The inscriptions and postscripts of this volume have been cut and removed. Fortunately, Ma Shanger was safe. Mr. Wang Linguo of Wuxi has collected it, and his grandson Fuzhou Shoumanhui can protect it forever. The shape of Wowa is not in the water, but the shape of Yilu is out of the sky. It is determined to be the work of Cao Ba, that is, the Gonglin generation failed to compete with him. Chen Jiru among the clouds inscribed it in the Immortal House.

There is also Wang Yongji's inscription and postscript: I have asked Mr. Meigong to inscribe this volume, and I believe that his wonderful brushwork was not done by modern painters. Duyun: It came from the hands of people in Tang Dynasty, but there is no real proof. Examining the second seal of its Chuwei, one Ren Shizi Ming, one Yueshan Daoist. In my spare time, I occasionally read Li Jiusu's miscellaneous decorations in Zitaoxuan, but I know that he was a member of the Yuan Dynasty and served as the water supervisor. According to miscellaneous clouds: Ren Renfa of Yuan Dynasty, styled Ziming, named Yueshan,

Lived in Qinglong Town, Songjiang for a long time. In the eighteenth year of the middle school, the second examination, the capital water supervision, the opening of the river and the installation of gates, where the water is discussed, benevolence is the master. He is good at painting, and tried to paint the picture of Wowa Tianma in the house according to the order. He has written ten volumes of water conservancy books. People today are only called water supervisors, painting horses to cover the clouds with art. However, Ren is famous for his paintings of horses, but Meigong did not check it in detail, so he appended it here. Chongzhen Renshen (1632) February 7th, the owner of Wangchuan Pavilion.

Look at the seal of Jianzang again: Shangbin (half seal), neutrality (half seal), standing (half seal), faithful and long-term safety (half seal), lovesickness (half seal), can be seen (half seal), descendants (half seal) Yin), Jiaolin Yuli's Books, Guanqi Dalue, Tangcun Approval, Hebei Tangcun, Anding, Jiaolin Secret Play, Cangyan, Cangyanzi, Geng Zhaozhongxingong's calligraphy and painting imprints in the Changbai Mountain Chang collection under the Liangbie name, Xingong Appraisal Collection (Three Times), Ban Guxuan Calligraphy and Painting Seal, Qianlong Imperial Treasure, Qianlong Appreciation, Shiqu Baoji, Sanxitang Jingjian Seal, Yizisun, Qianqing Palace Appraisal Treasure, Shiqu Dingjian, Baoji Recompilation, Jiaqing Yulan Treasure, Xuantong Yulan Treasure, Xuantong Appreciation, Wuyizhai Fine Appreciation Seal, Hou Shitai Appreciation Collection, Tianmu Mountain People, Zungutang True Appreciation, Jinghong Pavilion.

After reading these carefully, it can be confirmed that this is indeed the authentic work of The Picture of the Return of the Drunken Kings.

Five Kings Drunken Returning is a work of the Song Dynasty, and collectors since the end of the Ming Dynasty are very clear: Zhu Shangbin, Wang Linguo, Wang Yongji, Liang Qingbiao, Geng Zhaozhong, Geng Jiazuo (according to research, Ban Guxuan's calligraphy and painting seal is the Tibetan seal), Qianlong, Jiaqing , Pu Yi.

Among these collectors, especially Liang Qingbiao and Geng Zhaozhong were recognized as collectors with the best eyesight in the early Qing Dynasty.

The end of Ming Dynasty and the beginning of Qing Dynasty was a truly prosperous period of calligraphy and painting collection in the history of Chinese calligraphy and painting collection. Calligraphy and painting were scattered among the people, so that some private collectors mainly including bureaucrats, literati, and merchants had the opportunity to own calligraphy and painting in public collections.

After the San Francisco Rebellion, Kangxi attached great importance to the issue of cultural governance. In his spare time, he ordered some social connoisseurs or court nobles with special identities to participate in sorting out the ancient books of the inner government, identifying the calligraphy and paintings collected in the palace, and constantly Acquisition of national treasures scattered among the people, among which Geng Zhaozhong, Xiong Cilu, Gao Shiqi, and An Qi are the most representative, made the collection in the early Qing Dynasty present another characteristic of private to public collection in history.

Five Kings Returning Drunk is an example of it entering the public collection of the Qing Inner Palace from Geng Zhaozhong. Both Shiqu Baoji Continuation and the fourth volume of Shiqu Essays written by Ruan Yuan recorded this painting.

The seal of the seal collected by the Qing palace in Five Kings Drunken Returning is exactly the All Eight Seals of Qianlong in Shiqu Baoji Sequel, and the position of the seal completely conforms to the standard. The engraving on the scroll, Treasures Collected in Qianqing Palace is also consistent with the collection points recorded in Shiqu Baoji.

Xiao Yao did not expect to be able to see this national treasure painting from the Song Dynasty that was said to have been lost in this secret room.

In 1911, the Revolution of 1911 overthrew the Manchu Qing government. Pu Yi, who was still living in the Forbidden City at that time, had a premonition that he would not live in this huge palace for too long, so he arranged for himself a way out.

One day, a few people came to the place where the calligraphy and paintings were stored and began to look through these calligraphy and paintings. They were sent by Puyi to select some valuable calligraphy and paintings. A total of 1,200 calligraphy and paintings were selected by these people, and each calligraphy and painting was stamped with the word Xuantong.

During the 12th to 14th years of the Republic of China, these paintings and calligraphy were privately taken out of the Forbidden City by Puyi in the name of rewarding Pujie. Most of them were hand scrolls and albums.

After the fall of Manchuria in 1945, these old collections of paintings and calligraphy from the Qing palace were scattered from Xiaobailou, known as Northeast goods.

The Catalogue of Four Kinds of Lost Books, Calligraphy and Paintings in the Forbidden City? Appreciation of Pu Jie's Calligraphy and Painting Catalog published during the Republic of China clearly records: On November 4th in the 14th year of Xuantong (1922), this volume rewarded Pu Jie.

It is a surprise that this national treasure-level work lost by Puyi appeared in this secret room and was able to see the light of day again.

It is rare to see a national treasure painting, and Xiao Yao appreciates it very carefully.