At that time, in addition to the authentic Fuchun Shan Jutu collected by Wu Hongyu, there was another Fuchun Shan Jutu that was still circulating in the world. That is the Ming Dynasty painter Zhang Hong's Imitation of Huang Gongwang Fuchun Shan Jutu. 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 painter in the Ming Dynasty, was born in 1577. His name was Jundu, and he was born in Suzhou, Jiangsu. He is good at landscape painting, attaches great importance to sketching, has a sharp brushwork, moist ink color, mountains and valleys. The combination of stone painting and dyeing is the characteristic of his painting. Freehand brushwork figures, visual expression, and appropriate composition. Zhang Hong is the backbone of Wu painting in the late Ming Dynasty, and scholars in Wuzhong respect him. From Zhang Hong's Imitation of Fuchun Shan Jutu in Huang Gongwang, we can also see his superb painting skills, which are clear and fluent. It is worth mentioning that when Zhang Hong copied Huang Gongwang's Fuchun Shan Jutu, it was still a complete painting and had not been burned, so later generations regarded Zhang Hong's Imitation of Huang Gongwang Fuchun Shan Jutu as an important version of Huang Gongwang's Fuchun Shan Jutu. [6]
When it comes to the third painting Fuchun Shan Jutu, we can't help but mention Shen Zhou, a famous painter and calligrapher in the Ming Dynasty.
Shen Zhou, a Ming Dynasty painter, was born in 1427, whose name was Qi Nan, and his name was Shi Tian Weng. He was born in Suzhou, Jiangsu. He has played a connecting role in the field of literati painting since Yuan and Ming Dynasties. Huang Tingjian, a calligrapher, is particularly accomplished in painting. He also works in landscapes, flowers and birds, and can also draw figures, with outstanding achievements in landscapes and flowers and birds. In terms of painting methods, Shen Zhou inherited his family studies in his early years and studied with Du Qiong. Later, he learned from other schools in Song and Yuan Dynasties, and mainly inherited the light crimson ink painting system of Dong Yuan, Ju Ran, Yuan Sijia Huang Gongwang, Wang Meng and Zhen Wu. Shen Zhou's paintings, with comprehensive skills and simple skills, have their own creations on the basis of imitating the Song and Yuan Dynasties, developed the expressive techniques of literati's freehand brushwork of landscapes and flowers and birds, and became the leader of wu school. Some of his landscape paintings describe mountains and rivers and show the three distant views 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 the Chenghua period of Ming Dynasty, Fuchun Shan Jutu reached Shen Zhou. Ever since he got this treasure, Shen Zhou couldn't put it down, hung it on the wall, repeatedly appreciated it, copied it, and looked at it, and saw something wrong: there was no celebrity inscription on the painting. At that time, Shen Zhou was carried away by wild ideas. He never thought that treasures like this would be hidden in the most hidden places. How could they be publicized with great fanfare? Sure enough, something happened when Shen Zhou handed the painting to a friend for inscription. That friend's son, seeing how well he painted, had a bad idea, sold the painting secretly, and even said that it had been stolen.
By chance, Shen Zhou saw the sold Fuchun Shan Jutu at the painting booth. He was so excited that he 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 burst into tears, but it was too late to regret it. Hard-won Fuchun Shan Jutu is now only a memory left in my mind. Shen Zhou leng with memory, copy a picture of Fuchun Shan Jutu.
The original Fuchun Shan Jutu, which was lost by Shen Zhou, was 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, and then there appeared a scene where Wu Zi saved the painting in a slow fire, leaving a will to burn the painting at his deathbed. Because Huang Gongwang's Fuchun Shan Jutu is so famous, painters in the Ming and Qing Dynasties are scrambling to copy it. Besides Shen Zhou's Fuchun Shan Jutu, there are now more than ten copies that can be recorded. These have become the true and false scrolls of Fuchun Shan Jutu.
In the better copy of Fuchun Shan Jutu, Shen Zhou (now in the Palace Museum in Beijing) is facing the back, so Dong Qichang thinks that "it seems to be more than half"; Zhang Hong copied the original picture in Wu Wenqing's home, and its form and spirit are closer to the original (now in the Palace Museum in Beijing). These two volumes are very valuable because the original paintings were still complete at that time. The copies of Zou Zhilin and Wang Yi, the "Yushan Painting School", have been spread overseas.