臺灣博碩士論文加值系統

Twelve Scenes of Water (Hua shier shuitu 畫十二水圖), as any other painting, is not merely the product of artistic prowess, but rather the result of complex intertwining factors ranging from politics to religion. However, before trying to establish these connections, it is necessary to assess its authenticity, which was settled in an attribution made by the scholar Li
Dongyang 李東陽 (1447-1516) in the 15th century and thenceforth has not been revised in depth by modern scholarship.
Through a close visual analysis of Twelve Scenes of Water and other works depicting water, spanning from the 6th to the 18th century, I intend to prove that the aforementioned series of paintings is a Ming dynasty forgery, as opposed to what Chinese art historians have unanimously accepted as Southern Song dynasty painting by Ma Yuan 馬遠 (ca. 1160-1225). This analysis is mainly based on the collection at the National Palace Museum in Taipei and to a lesser extent on major works in Beijing’s Palace Museum, the Metropolitan Museum of Art in New York, the Freer Sackler Gallery, and other institutions.
This thesis aims to raise questions not only regarding the authenticity of Twelve Scenes of Water as a Song work, but will also resume the serious study of water as a motif–and more specifically the use of perspective in waterscapes–in Chinese painting started by Robert Maeda. The use of diminution of scale in the water motifs in order to convey an illusion of depth and recession of water will be the main aspect to differentiate Ming dynasty and later works from earlier paintings.
Chapter 1 will set the basis for this study, starting with a definition of authenticity and Ma Yuan. The awareness of the scale-distance relation becomes crucial in the analysis of water in Chinese painting as we will see in the course of this thesis. I will also propose a timeline of development of the water motif–with an emphasis on the use of perspective–


starting from the Tang dynasty and ending in the Yuan. With the survey of extant works by Ma Yuan, I will attempt to set tentative parameters to how the water in Ma Yuan’s paintings might have looked like.
Chapter 2 will be fully devoted to the meticulous analysis of Twelve Scenes of Water, which will be divided in two parts: a visual study and traceability. The first part will thoroughly discuss the seals, motifs and inscriptions that are believed to have been part of the album leaves at the time of their creation. This visual analysis of the album leaves will emphasize the connection of the paintings with Ming dynasty painters since, as seen in Chapter 1, no Song dynasty or previous paintings parallel Twelve Scenes of Water more convincingly than later works. The subsequent part will encompass the elements that were added later, i.e. colophons, collector seals, as well as records of the scroll in catalogs and collections. The main objective of this analysis is to extract new information to establish a tentative list of owners and trace back Twelve Scenes of Water to its earliest known appearance.
Chapter 3 will offer a similar analysis of a “copy” of Twelve Scenes of Water called Twenty Scenes of Water. Based on visual evidence of stylistically similar paintings, I will argue the possibility of dating Twenty Scenes of Water as a Qing dynasty work. The introduction and development of a more mathematically correct linear perspective will be discussed in order to support the new dating to Twenty Scenes of Water.
The Zhe school and its connections to the complexity of the forgery problem regarding the study of Ma Yuan will be discussed in Chapter 4. The role of emperors and officials in the revival of the Ma-Xia style will also be explored. Finally, a possible author of Twelve Scenes of Water will be identified based on evidence in Twelve Scenes of Water.

Twelve Scenes of Water (Hua shier shuitu 畫十二水圖), as any other painting, is not merely the product of artistic prowess, but rather the result of complex intertwining factors ranging from politics to religion. However, before trying to establish these connections, it is necessary to assess its authenticity, which was settled in an attribution made by the scholar Li
Dongyang 李東陽 (1447-1516) in the 15th century and thenceforth has not been revised in depth by modern scholarship.
Through a close visual analysis of Twelve Scenes of Water and other works depicting water, spanning from the 6th to the 18th century, I intend to prove that the aforementioned series of paintings is a Ming dynasty forgery, as opposed to what Chinese art historians have unanimously accepted as Southern Song dynasty painting by Ma Yuan 馬遠 (ca. 1160-1225). This analysis is mainly based on the collection at the National Palace Museum in Taipei and to a lesser extent on major works in Beijing’s Palace Museum, the Metropolitan Museum of Art in New York, the Freer Sackler Gallery, and other institutions.
This thesis aims to raise questions not only regarding the authenticity of Twelve Scenes of Water as a Song work, but will also resume the serious study of water as a motif–and more specifically the use of perspective in waterscapes–in Chinese painting started by Robert Maeda. The use of diminution of scale in the water motifs in order to convey an illusion of depth and recession of water will be the main aspect to differentiate Ming dynasty and later works from earlier paintings.
Chapter 1 will set the basis for this study, starting with a definition of authenticity and Ma Yuan. The awareness of the scale-distance relation becomes crucial in the analysis of water in Chinese painting as we will see in the course of this thesis. I will also propose a timeline of development of the water motif–with an emphasis on the use of perspective–


starting from the Tang dynasty and ending in the Yuan. With the survey of extant works by Ma Yuan, I will attempt to set tentative parameters to how the water in Ma Yuan’s paintings might have looked like.
Chapter 2 will be fully devoted to the meticulous analysis of Twelve Scenes of Water, which will be divided in two parts: a visual study and traceability. The first part will thoroughly discuss the seals, motifs and inscriptions that are believed to have been part of the album leaves at the time of their creation. This visual analysis of the album leaves will emphasize the connection of the paintings with Ming dynasty painters since, as seen in Chapter 1, no Song dynasty or previous paintings parallel Twelve Scenes of Water more convincingly than later works. The subsequent part will encompass the elements that were added later, i.e. colophons, collector seals, as well as records of the scroll in catalogs and collections. The main objective of this analysis is to extract new information to establish a tentative list of owners and trace back Twelve Scenes of Water to its earliest known appearance.
Chapter 3 will offer a similar analysis of a “copy” of Twelve Scenes of Water called Twenty Scenes of Water. Based on visual evidence of stylistically similar paintings, I will argue the possibility of dating Twenty Scenes of Water as a Qing dynasty work. The introduction and development of a more mathematically correct linear perspective will be discussed in order to support the new dating to Twenty Scenes of Water.
The Zhe school and its connections to the complexity of the forgery problem regarding the study of Ma Yuan will be discussed in Chapter 4. The role of emperors and officials in the revival of the Ma-Xia style will also be explored. Finally, a possible author of Twelve Scenes of Water will be identified based on evidence in Twelve Scenes of Water.

ACKNOWLEDGEMENTS i
ABSTRACT iii
TABLE OF CONTENTS v
INTRODUCTION 1
1. Ma Yuan 1
2. The Study of Ma Yuan 1
3. The Study of the Water Motif 3
CHAPTER 1: Ma Yuan and Water in Chinese Painting: From the Tang to
the Yuan 5
1. Defining Ma Yuan and Authenticity 5
2. Water in Pre-Song, Song and Yuan Painting 7
3. Ma Yuan’s Water 15
CHAPTER 2: An Analysis of Twelve Scenes of Water 19
1. A Visual Study 19
a. Paintings 19
b. Calligraphy. 25
c. Seals 28
2. Traceability 30
a. Colophons and Authors 30
b. Mentions in Collections and Catalogs 37
c. Seals 41
d. Ownership 46
CHAPTER 3: An Analysis of Twenty Scenes of Water 49
1. A Visual Study 49
a. Paintings 49
b. Calligraphy 54

2. Traceability 56
a. Seals and inscriptions 56
3. A Possible Explanation for Twenty Scenes of Water 57
CHAPTER 4: Towards the Identification of the Author of Twelve Scenes of Water 59
1. Forgery? The problem of Connoisseurship 59
2. Revivalism, Collecting, Art Market and Forgery 61
3. The Possible Author of Twelve Scenes of Water 63
CONCLUSION 67
BIBLIOGRAPHY 70
APPENDICES 79
1. Appendix A: Table of Readable Seals on Twelve Scenes of Water 79
2. Appendix B: Table of Possible Owners of Twelve Scenes of Water 81
3. Appendix C: Tables of Southern Song, Yuan, Ming and Qing Dynasty Art Names, Seals and Studio Names with the Characters “菴”, “庵” and “盦” 82
4. Appendix D: List of Illustrations 92

Primary Sources

Bian Yongyu 卞永譽. Shigutang shuhua huikao 式古堂書畫彙考. Shanghai: Jiangu shushe, 1921.
Guo Xi 郭熈. Linquan gaozhi 林泉高致. Shanghai: Renmin meishu, 1963.

Li E 歷鶚. Nan Song yuanhua lu 南宋院畫錄, in Yingyin Wenyuange siku quanshu 景印文淵閣四庫全書. volumes 829- 830.Taipei: Taiwan shangwu yinshu guan, 1983.
Li Rihua 李日華, Liuyanzhai sanji 六研齋三筆 in Yingyin wenyuange siku quanshu vol.

867.Taipei: Taiwan shangwu yinshuguan, 1983.

------. Weishuixuan riji 味水軒日記 , ed. and annot. Tu Youxiang 屠友祥, Song Ming Qing xiaopin wenji jizhu 2, Shanghai, 1996.
Lang Ying 郎瑛. Qixiu xugao 七修續稿. 6 vols. Beijing: Zhonghua shuju, 1961.

Sun Yueban 孫岳頒. Peiwen zhai shuhua pushu 佩文齋 書畫譜書. 100 vols. In Yingyin Wenyuange siku quanshu 景印文淵閣四庫全書. Taipei: Taiwan shangwu yinshu guan, 1983.
Tuotuo 脱脱 (1313-1355). Song shi 宋史. Beijing: Zhonghua shuju, 1977.

Wang Shizhen 王世貞. Yanzhou shanren sibuxugao 弇州山人四部續稿. In Jingyin wenyuange siku quanshu 影印文淵閣四庫全書. Vol. 97 Shanghai: Shanghai guji chubanshe, 1987.
------. Huailu Tang Ji 懷麓堂集欽定 in Jingyin chizaotang siku quanshu huiyao 景印摛藻堂四庫全書薈要 (Taipei: Shijie shuju, 1985-1988) Vol. 41.
Yang Huanm 楊桓 , Liushutong 六書通 in Sigu quanshu zhenben baji 四庫全書珍本八集

vols. 71-76. Taipei: Shang wu yin shu guan, 1978.


Xuanhe huapu 宣和畫譜 . Edited by Yue Ren 岳仁. Changsha: Hunan meishu chubanshe, 1999.
Xuxiu Siku quanshu 續修四庫全書. Shanghai: Shanghai guji chubanshe, 1995-2002.

Zhang Zhao 張照 (1745) et al.. Shiqu baoji chubian 石渠寶笈初編. Taipei: Guoli gugong bowuyuan, 1971.
Zhongguo shuhua quanshu. Edited by Lu Fusheng 廬輔聖 e.a. Zhongguo shuhua quanshu 中國書畫全書. Shanghai: Shanghai shuhua chubanshe, 1992
Zhu Mouyin 朱謀堙. Huashi huiyao 畫史會要. 5 vols. Taipei: Taiwan shangwu yinshuguan, 1971.
Zong Bing 宗炳, Hua shanshui xu 畫山水序, in Yu Jianhua 俞劍華, Zhongguo hualun

leibian 中國畫論類編 (Taipei: Huazheng shuju, 1984).




Secondary Sources

Barnhart, Richard. Three Thousand Years of Chinese Painting. New Haven: Yale University Press, 1997.
Bickford, Maggie. "Emperor Huizong and the Aesthetic of Agency." Archives of Asian Art

53 (2002): 71-104.

Bloom, Phillip Emmanual. 2013. Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song-Dynasty (960-1279) Buddhism. PhD dissertation, Harvard University.
Bush, Susan, and Hsio-yen Shih. Early Chinese Texts on Painting. Hong Kong: Hong Kong University Press, 2012.


Cahill, James. An Index of Early Chinese Painters and Paintings: T’ang, Sung, and Yüan.

Berkeley, California: University of California Press, 1980.

------. "All About Old Mr. Zhang." James Cahill (website). April 08, 2012. http://jamescahill.info/blog/26-2012/363-all-about-old-mr-zhang. Accessed April 27, 2018.
------. Hills Beyond the River: Chinese Painting of the Yüan Dynasty, 1279-1368. New York: Weatherhill, 1976.
------. New Dimensions In Chinese Ink Painting: Works From the Collection of John and Alice Z. Berninghausen. Middlebury: Christian A. Johnson Memorial Gallery, Middlebury College, 1991.
------. 1993. The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting. Cambridge: The Belknap Press of Harvard University Press.
Cahill, James and Silbergeld, Jerome. "Chinese Art and Authenticity." Bulletin of the American Academy of Arts and Sciences 55, no. 1 (2001).
Carrington Goodrich, Luther, and Chaoying Fang, eds. Dictionary of Ming Biography. Vols.

1 and 2. New York, N.Y.: Columbia Univ. Press, 1976.

Chao, Jacqueline. Chen Rong and the Transformation of Nine Dragons. PhD dissertation, Arizona State University, 2012.
Chen, Jiejin 陳階晉 and Lai Yuzhi 頼毓芝, eds. Zhuisuo zhepai 追索浙派. Taipei: National Palace Museum, 2008.
Cheng, Yen-Wen, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras," 2010.
Chiang, Chao-shen. "The Identity of Yang Mei-tzu and the Painting of Ma Yuan." National Palace Museum Bulletin, 2 (1967): 1-15, and 2, 3 (1967): 8-14.
Chinese Text Project. http://ctext.org/


Clarke, Michael, The Concise Oxford Dictionary of Art Terms. Oxford: Oxford University Press, 2001.
Corsi, Elisabetta. “‘Jesuit Perspective’ at the Qing Court: Chinese Painters, Italian Technique and the ‘Science of Vision’,” in Encounters and Dialogues: Changing Perspectives on Chinese-Western Exchanges from the Sixteenth to Eighteenth Centuries, edited by Wu Xiaoxin (Sankt Augustin: Monumenta Serica Institute; San Francisco), 2005.
------. La Fábrica de las Ilusiones : Los Jesuitas y la Difusión de la Perspectiva Lineal en China, 1698-1766. Mexico: El Colegio de México, Centro de Estudios de Asia y África, 2004.
------. "Términos Chinos Utilizados Como Sinónimo De "perspectiva" Y Ecos Del Naturalismo En Algunos Textos Sobre Pintura Del Siglo XVIII." Estudios De Asia Y África 32, no. 3 (104),1997.
Duan Weiyi 段維毅. Guzhuan wenda zidian 古篆文大字典. Taizhong: Xingxue chubanshe, 1965.
Edwards, Richard. "Emperor Ningzong's Night Banquet." Ars Orientalis 29 (1999): 55-67.

------. "How Real is Real: The Thirteenth Century Painter." Yishuxue yanjiu 藝術學研究 12 (2013): 1-28.
------. The Heart of Ma Yuan: The Search for a Southern Song Aesthetic. Hong Kong: Hong Kong University Press, 2011.
Fong, Wen C. Beyond Representation: Chinese Painting and Calligraphy, Eighth-Fourteenth Century. New York: Metropolitan Museum Of Art, 2012.
Fong, Wen C. Images of the Mind: Selections From the Edward L. Elliott Family and John B. Elliott Collections of Chinese Calligraphy and Painting At the Art Museum, Princeton University. Princeton, New Jersey: The Art Museum, Princeton University, 1984.


Franke, Herbert, Sung Biographies. 2 vols. Aufl. Wiesbaden: Steiner, 1976.

Freer Gallery of Art Song and Yuan Dynasty Calligraphy and Painting. http://www.asia.si.edu/SongYuan/default.asp
Gugong shuhua tulu 故宮書畫圖錄. 30 vols. Taipei: National Palace Museum, 1989.

Gugong shuhua shuwei diancangziliao jiansuo 故宮書畫數位典 藏資料檢索 (Institute of Information Science, Academia Sinica) http://painting.npm.gov.tw/npm_public/index.html
Harvard University, Academia Sinica, and Peking University, China Biographical Database

(January 1, 2018), https://projects.iq.harvard.edu/cbdb.

Heinich, Nathalie. "Le Faux Comme Révélateur D'Authenticité." Edited by Musée Du Louvre and Hazan. In De Main De Maître. L'artiste Et Le Faux, 53-78. Paris: Musée Du Louvre Éditions, 2009.
Hovin, Thomas “The Game of Duplicity”. ‘Art Forgery’: The Metropolitan Museum of Art Bulletin, v. 26, no. 6 (February, 1968), 241-246.
Itakura Masaaki 板倉聖哲, Nansong gongting huajia de lishi renshi - yi ma yuan wei

zhongxin 南宋宮廷畫家的歷史認識－以馬遠為中心, Wenyi shaoxing - Nansong yishu yu wenhua xueshu yantaohui huiyi lunqen 文藝紹興－南宋藝術與文化學術研討會會議論文，Huiyi chugao, 2010.
Kanseki Repository. https://www.kanripo.org/

Kao, Mayching. "European Influences in Chinese Art, Sixteenth to Eighteenth Centuries." China and Europe: Images and Influences in Sixteenth to Eighteenth Centuries (1991): 251-281.
Kuo, Jason C. Perspectives on Connoisseurship of Chinese Painting. Washington: New Academia Pub., 2008.


Lee, Hui-shu. “Art and Imperial Images at the Late Southern Sung Court.” In Arts of the Sung and Yüan: Papers Prepared for an International Symposium Organized by the Metropolitan Museum of Art in Conjunction with the Exhibition Splendors of Imperial China: Treasures from the National Palace Museum, Taipei., edited by Hearn, Maxwell K., and Judith G. Smith, 249-269, New York: Dept. of Asian Art, Metropolitan Museum of Art, 1996.
Lee, Huishu. Empresses, Art, & Agency in Song Dynasty China. Seattle: University of Washington Press, 2010.
------. Exquisite Moments. West Lake and Southern Song Art. New York: China Institute Gallery, 2001.
------. The Domain of Empress Yang (1162-1233): Art, Gender and Politics at the Southern Song Court. PhD diss., Yale University, 1994.
------. "The Emperor's Lady Ghostwriters in Song-Dynasty China." Artibus Asiae 64, no. 1 (2004): 61-101.
Li Jia-jin 李嘉津, “Taipei gugong bowuyuan liangjian ‘Huadeng shian tu’ de yitong” 台北故宮博物院兩件《華燈侍宴圖》的異同 臺北故宮. Shuhua yishu xuekan 書畫藝術學刊 9 (2010), 477-492.
Lin Shenqing 林申清 ed. Zhongguo cangshujia yinjian 中國藏書家印鑒. Shanghai: Shanghai shudian chubanshe, 1997.
Liscomb, Kathlyn. “The Roles of Leading Court Officials as Patrons of Painting in the Fifteenth Century.” Ming Studies, no. 1 (1989): 34-58
------. "Shen Zhou's Collection of Early Ming Paintings and the Origins of the Wu School's Eclectic Revivalism." Artibus Asiae 52, no. 3/4 (1992): 215-54.


Loehr, Max “Chinese Landscape and Its Real Content,” in Four Views of China, ed. Kapp, Robert. Houston: Rice University Press, 1973.
Lovell, Hin-cheung. An Annotated Bibliography of Chinese Painting, Catalogues and Related Texts. (Michigan Papers in Chinese Studies No. 16) Ann Arbor, Michigan: Center for Chinese Studies, University of Michigan Press, 1973.
Maeda, Robert. "The ‘Water’ Theme in Chinese Painting." Artibus Asiae 33, no. 4 (1971): 247-290.
Maeda, Robert, Zhuo Han, and Chun Deng. Two Twelfth Century Texts On Chinese Painting: Translations of the Shan-Shui Chʻun-Chʻüan Chi by Han Cho and Chapters Nine and Ten of Hua-Chi by Teng Chʻun. Ann Arbor: University of Michigan, Center for Chinese Studies, 1970.
March, Benjamin. “A Note on Perspective in Chinese Painting.” The China Journal. Vol.

VII, No.2 (August, 1927), 69-72.

------. Some Technical Terms of Chinese Painting. Baltimore: Waverly Press, 1935. Miller, Peter N., and François Louis. Antiquarianism and Intellectual Life in Europe and
China, 1500-1800. Ann Arbor: University of Michigan Press, 2014.

Mingren zhuanji ziliao suoyin 明人傳記資料索引. Taipei: Guoli zhongyang tushuguan, 1966.
Murck, Alfreda. Poetry and Painting in Song China: The Subtle Art of Dissent. Cambridge (Massachusetts); London: Harvard University Asia Center, 2000.
Murck, Alfreda, and Wen C. Fong. Words and Images: Chinese Poetry, Calligraphy, and Painting. New York: Metropolitan Museum of Art, 2013.
Nie Zhongzheng 聶崇正, Rō Seinei Zenshū 郎世寧全集 1688-1766 Complete Works of Giuseppe Castiglione. Tokyo: Kagaku Shuppansha Tōkyō, 2015.


Rowland, Benjamin. "The Problem of Hui Tsung." Archives of the Chinese Art Society of America 5 (1951): 5-22. http://www.jstor.org/stable/20066934.
Rusk, Bruce. "Not Written in Stone: Ming Readers of the ‘Great Learning’ and the Impact of Forgery." Harvard Journal of Asiatic Studies 66, no. 1 (2006): 189-231.
Seymour, Nancy N. An Index-Dictionary of Chinese Artists, Collectors, and Connoisseurs with Character Identification by Modified Stroke Count. Metuchen: Scarecrow Press,
1988.

Smith, Judith G., and Wen Fong. Issues of Authenticity In Chinese Painting. New York: Dept. of Asian Art, Metropolitan Museum of Art, 1999.
Takada, Tadachika 高田忠周. Hosei Chōyō Jikan 補正朝陽字鑑. 2 vols. Tokyo: Chikuzan Sensei Chosha Kankōkai, 1923-1925.
Wang, Chi-chʻien, and Victoria Contag. Seals of Chinese Painters and Collectors of the Ming and Chʻing Periods. Rev. ed. [Hongkong]: Hong Kong University Press, 1966.
Wang, Yaoting 王耀廷. Shuhua guanjianji 書畫管見集. Taipei: Rock Publishing International, 2017.
Weidner, Marsha. "Ho Ch'eng and Early Yuan Dynasty Painting in Northern China" Archives of Asian Art no. 38 (1986): 6-22.
------. Painting and Patronage at the Mongol Court of China. 1260-1368. PhD Dissertation: University of California, Berkeley, 1982.
Yachang auctions,"*0019 自詠詩 立軸 水墨紙本." 1996 馮夢波《私人照相簿》互動多媒體---雅昌藝術網. Accessed May 03, 2018. http://auction.artron.net/paimai-
art5095690019/.

Yi Qing 易晴, Zhongguo gudai wuzhi wenhuashi 中國古代物質文化史. Beijing: Kai ming chu ban she, 2014.


Xiao, Jing. Challenging Cavalier Perspective: An Iconological Study of Visual Perception of Depth in Chinese Representational Space. PhD dissertation, University of Nottingham, 2013.
Zhao Luxiang 趙祿祥 Zhongguo meishujia dacidian 中國美術家大辞典, Beijing chuban she

北京出版社, Beijing vol.2, (2007), 1815.

Zhongguo lishi jianzangjia yinjian shujuku 中國歷代鑒藏家印鑒數據庫

Zhongguo shuhuajia yinjiankuan zhi 中國書畫家印鑑款識. 2 vols. Beijing: Wenwu chubanshe, 1987.
Zhongguo Yishushi 中國藝術史. ed. the Expert Committee of China Cultural Relics Association. 3vols. Heifei: Huashan shushe, 2011.