董其昌《山水》册与《董范合参图》轴辨伪

On The Identification of The Album Landscapes and The Scroll Landscapes after Dong Yuan and Fan Kuan Both Attributed to Dong Qichang

上海博物馆藏董其昌《山水》册(共十开),为天启四年(1624)元旦所作,实并非董氏真迹。据考,该年四月董其昌才抵京。同时,该册对题均节录自董氏及明清书画著录著作与晚清文学笔记中,其第二开对题,与故宫博物院藏董氏癸酉(1633)夏五所作《董范合参图》轴题跋相同。再考《山水》册笔法,嫩弱飘浮,墨色平淡,与典型的董其昌风格相差甚远,更无其生拙秀逸之气;而《董范合参图》轴,用笔亦尖劲细碎,全幅墨气滞涩,艺术水准远不及故宫博物院藏董氏十二年前所作《仿古山水图》册,亦无法企及董氏卒前一年所作的《关山雪霁图》卷。可见,《山水》册和《董范合参图》轴非董氏本家之作。

The thesis presents reidentification on Shanghai Museum’s The Album Landscapes(ten leaves of the total, Shān Shuǎ in Chinese pinyin) attributed to Dong Qichang, who created it at his 70 on New Year’s Day of 1624 by the following: The fact that Dong arrived in Beijing not until April of 1624 does not match his colophon ‘Returning to Beijing’(Zài Rù Chūn Míng). Second, all the comments in the Landscape Album are excerpted from the Ming-Qing calligraphy and painting volumes and works including his own, or from the literature notes of the late Qing dynasty. Above all, leaf two shares the postscripts with the Landscape Scroll after The Style of Dong Yuan and Fan Kuan(Dǎng Fàn Hé Cān Tú in Chinese pinyin) which is housed as Dong’s another work in the Palace Museum’s collection. Moreover, as far as its expressive techniques is concerned, the Landscape Album(Shān Shuǎ) looks superficial in brush and insipid in ink, far from Dong’s style giving the impression of flowing free and easy. The Landscape Scroll in The Style of Dong Yuan and Fan Kuan(Dǎng Fàn Hé Cān Tú in Chinese pinyin) is less expressive and artistic than Dong Qichang’s works of The Album Landscapes After Ancient Masters(Fǎng Gǎ Shān Shuǎ Tú in Chinese pinyin) and "Snowy Scene in Guanshan Mountain"(Guān Shān Xuě Jì Tú in Chinese pinyin).