How many precious collections were destroyed by Emperor Qianlong's inscription?

Recently, an article by art critic Shi Jianbang caused great controversy. In his article, he pointed out that Emperor Qianlong, who has always been famous for his elegance and love of collecting, was simply a "destructive madman". Carving "imperial poems" that taste like chewing wax on good jade articles, and filling countless seals and titles on famous paintings handed down from generation to generation, which made them scarred, are all things that emperors often do. The paintings and calligraphy, porcelain, jade, bronze, cloisonne and bamboo horns hidden in the palace have been vigorously tossed by him. Are the countless inscriptions and poems of Emperor Qianlong precious historical relics or "psoriasis" in the handed down collection? As the most important emperor collector in the history of China, did Qianlong collect the descendants of Hui Ze with his outstanding achievements, or did he still impress our collection "subconscious" with his unhealthy collection and watching movies? Today we invited several experts to talk about their views. Guo Qingxiang, a famous collector: Chinese paintings are full of inscriptions. Emperor Qianlong made a "bad start". Today, we say that Chinese painting pays attention to the so-called "orderly circulation" and attaches importance to inscriptions. In fact, it is a "bad habit", and this "bad habit" is the beginning. So far, it has far-reaching influence and has reached the point of flooding. Including Qi Baishi and Zhang Daqian, all like to write long postscript on their works. Even if they draw a cabbage, they should explain what the cabbage is about, which is in the same strain as this "bad habit"-this is something that people who have no painting skills will do. As a visual art, painting should give people a sense of beauty through color and composition, rather than relying on everyone to flatter each other, let alone relying on words to explain what this painting means and how good it is. Painting is not a literary work. Of course, the painter's own literary accomplishment is also very important, but this thing should be included in the painting, and finally "speak" with the painting. We can compare western masters of painting. Who do you think is doing these things in his own pictures? People don't even sign on the screen. What Qianlong did to calligraphy and painting handed down from ancient times is a kind of destruction, and there is no second explanation. The question is, why did Qianlong engage in such "destruction"? This is not just showing off, I think he is very happy. He thinks he is the emperor, so he can do whatever he wants. The most terrible thing is that he doesn't know painting knowledge and appreciation, but he doesn't pretend to know. Let's not talk about how many fakes there are in ancient paintings and calligraphy recorded in a "Shiqu Baodi". What I want to say is: Why are the works of some bad painters, but as long as Gan Long likes them and has his "calligraphy-related topics", his value will be raised. For example, "Four Heavenly Kings" and "The Riverside Scene at Qingming Festival"-works full of craftsman spirit like drawings, have been carried to a very inappropriate position just because they are "treasures of imperial viewing". Of course, our descendants also have problems. If Qianlong doesn't know how to do it, won't we just buy it? But now many so-called collectors don't know that Qianlong is a layman, and they don't know how to pretend to understand. In the auction market, anyone who is related to Gan Long, engraved with his seal, and has his "calligraphy-related topic" can be worth twice the price. In the long run, this will fall into a vicious circle, which will further affect the aesthetics and aesthetic education of the whole nation. In short, what is good or bad about Chinese painting is not considered by Shiqu Baodi, and Gan Long's "Imperial Pen" is not authoritative. I call for an open discussion on this issue. Scholars, painters and critics are all involved. What is a good work and why it is good are all discussed. This is a truly responsible attitude. Xi Yaoyi, a professional painter and independent art critic: Jade seals are dense, and masterpieces handed down from generation to generation are all boring. Fuchun Shan Jutu is an imitation of Zi Ming Juan, and Qianlong thinks it is the real thing. So, in the blank of the picture, he wrote poems, inscriptions and stamped the imperial seal, adding a literati atmosphere to a landscape painting. Regardless of his calligraphy level for the time being, the red seal and black ink that are full of eyes have already made Zi Mingjuan lifeless and full of vicissitudes. Later, when the original Fuchun Shan Jutu appeared in front of Gan Long, he thought it was a "fake tripod". Although he didn't try his luck, he ordered his ministers to write the title of "Gan Long Imperial Knowledge" in the original text. Although the original Fuchun Shan Jutu has basically retained its original appearance, it is like building a nondescript building in a beautiful natural environment, which makes people feel depressed. The first and most important "six methods" of Chinese painting put forward by Sheikh of Nanqi is vivid charm. The unity of reality and reality between pen and ink and blank pictures is one of the aesthetic standards for painters of past dynasties to pursue vivid charm. The biggest essential difference between China's painting and western painting in the visual sense of pictures is the treatment of blank pictures. China's figures, landscapes, flowers and birds have left a lot of blank pictures, which is not only the need of painting, but also the need of people advocating ethereal. "Being at large and airtight" is the composition aesthetics of China's plastic arts. A blank picture without pen and ink can symbolize the sky, water and clouds, adjust the atmosphere of the picture space, and is a place to draw "ventilation". However, Qianlong filled these gaps with seals, and there was no flowing charm. This is a dead painting, which has lost its elegance. Analyzing the reasons, I think Gan Long's understanding of Chinese culture is biased. He is arrogant, reckless, and arbitrarily disposes of anything he thinks is his own, which really destroys the integrity of other people's works of art, and almost all the works in the palace are written by him. The ancient calligraphy and painting works that he "humiliated" include Yuan Bo Tie by Xun and Tie Juan by Wang Xizhi of the Tang Dynasty. In his paintings and calligraphy works, later generations can no longer see the elegant, Xiao Yi and indifferent literati style, leaving only stagnant and lifeless traces of pen and ink, which makes it difficult for people to obtain real artistic appreciation and aesthetic pleasure. Zhu, research librarian of Guangdong Provincial Museum: Since the Ming Dynasty, the combination of famous inscriptions, poems, calligraphy and printing has been the characteristic of Chinese painting. I beg to differ. In fact, since the Ming Dynasty, Wen Zhiming, Dong Qichang and others were both painters and collectors, and their inscriptions were found in many famous monuments of the previous generation. At present, these inscriptions have become very important materials for studying the artistic theories, appraisal methods and appraisal standards of these great painters. In contrast, Qianlong really has many inscriptions and chapters. But today, these things actually increase the added value of the original work and become a good thing. We have to admit a phenomenon: in today's auction houses, as long as there is dry printing, even if the painting is not very good, it is still valuable. For Chinese painting, blank space is really very important. Therefore, in most cases in history, there may be a special place at the end of the handwritten scroll for inscription, which is unlikely to be written in the position of the painting heart. If Gan Long has gone too far, it is that he likes to draw heart-shaped inscriptions. But as far as the calligraphy and painting works I have seen so far are concerned, I have never seen how seriously Gan Long's inscription and postscript have influenced this work. It should also be emphasized that Chinese painting and western painting are not an expression system at all. Painters of western paintings usually just sign their names in the most inconspicuous places. We can imagine that if a painting is written with a long string of English or French letters, it will be very uncoordinated and unsightly. But Chinese painting, especially literati painting, pays special attention to the combination of poetry, calligraphy, painting and printing, which is completely different from western painting. It is precisely because of the existence of poems, books, paintings and seals that the unique cultural connotation and implication of Chinese painting are formed. In this respect, it is meaningless to simply compare Chinese painting with western painting. Zhang Guangwen, a researcher at the Palace Museum and a member of the National Cultural Relics Appraisal Committee, said: Carving imperial poems on ancient jade is an act of sabotage. There are many ancient jade inscribed with Qianlong poems in Qing Dynasty. It was very difficult to identify and appraise ancient jade in Qianlong period. According to Zhou Li's records, Qianlong generally believed that the Neolithic ancient jade belonged to the Western Zhou Dynasty. At present, a batch of Neolithic Yugui in the National Palace Museum in Taipei is an example. Not only is the age wrong, but Qianlong thinks it's not Gui, it's a ruler. These understandings are engraved on Yu Gui in the form of poems. As an emperor, Qianlong "naturally" felt that the collections in the palace were his personal property and he could do whatever he wanted. So was the social atmosphere at that time. Since the Ming Dynasty, many collectors have been evaluating their collections in various ways. But most people interpret the attachments of their works, or put the anthology in a box and carve poems on it-but there are hidden dangers, and the anthology and attachments will be separated. Gan Long chose to engrave his archaeological exploration and experience directly on ancient jade. I analyzed his psychology in doing so. First, he had the idea of possessing these things by himself. Secondly, he hopes that his comments and works can be handed down. This practice has undoubtedly caused damage to cultural relics objectively. But now there is a phenomenon: all cultural relics with Qianlong carved poems and palace collections are often sold well in the market. Therefore, the bad influence of Qianlong's destruction of ancient jade still exists today. Now in the auction house, in order to get a good price, some people carve Qianlong's poems on various real or fake cultural relics. This has become a unique cultural phenomenon in jade collection. But from another perspective, Qianlong has indeed made great contributions to the collection, arrangement and protection of cultural relics. The palace collection in Qing Dynasty was relatively systematic, which was related to the habit of "scribbling" in Qianlong. At the same time, as a very important historical figure, the practice of Qianlong is itself a cultural phenomenon. It can make us more aware of the ins and outs of the cultural relics themselves, and also understand the collection culture and social atmosphere at that time.