He was the most outstanding legendary figure in the late Ming and early Qing dynasties, and the most influential historical and cultural celebrity in the 17th century. Fu Shan’s knowledge and thoughts, as well as his academic achievements in many fields such as poetry and art, calligraphy and painting, medicine and martial arts, diet and health care, have long been deeply engraved in thousands of historical records of the Chinese civilization. Some have also spread to countries around the world. Many anecdotes about Fu Shan in folklore are still talked about and passed down by word of mouth among the people to this day. 2017 coincides with the 410th anniversary of Fu Shan's birth. In order to further promote Fu Shan's culture, inherit and develop Chinese calligraphy culture and literati spirit, more than 20 experts and scholars from Japan, Taiwan and mainland China gathered together to focus on Fu Shan's "Dan". There were lively academic exchanges and discussions on Maple Pavilion" and calligraphy in the early Qing Dynasty.
The international symposium "Fu Shan - "Danfeng Pavilion"" was hosted by Taiyuan Jinci Museum, the editorial department of "The Complete Collection of Chinese Calligraphy", Fu Shan Society, and Mengbian Culture, and lasted for three days from November 24th to 26th. .
The academic seminar was hosted by Mr. Liu Zhengcheng, Chairman of the International Calligraphers Association and Chief Editor of "The Complete Collection of Chinese Calligraphy". Mr. Fan Shikang, President of Fushan Society, former member of the Standing Committee of the Taiyuan Municipal Party Committee and Director of the Propaganda Department, delivered a speech at the meeting. Mr. Lin Peng, Honorary Chairman of Shanxi Calligraphers Association, Mr. Qu Ronglu, the inheritor of "Danfeng Pavilion" and a descendant of Shanxi merchants, Mr. You Zhichao, former deputy director of Liaoning Provincial Museum, director of the Japanese Fu Shan Research Association and the Japanese Calligraphy Four Seasons Society , Mr. Horikawa Hideji, the author of "Collection of Rubbings of Fu Shan's Calligraphy", Taiwan Ho Chuangshi Calligraphy Art Cultural and Educational Foundation, Mr. Wu Guohao, the author of "Wang Duo·Fu Shan Selection", Mr. Yao Guojin, professor of Shanxi University and vice chairman of Shanxi Provincial Calligraphers Association, Shanxi University Mr. Li Deren, professor of the Academy of Fine Arts, Mr. Song Tao, librarian of Shanxi Museum, scholar of Ming and Qing literary history and art history, Ms. Wang Danni, scholar of Dai Tingshi, Mr. Zhu Yining, scholar of Fu Shan family, Mr. Hou Yong, editor-in-chief of Chinese Calligraphy Online, International Mr. Liu Zhengcheng, chairman of the Calligraphers Association and editor-in-chief of "The Complete Collection of Chinese Calligraphy", made wonderful speeches at this seminar. Experts and scholars presented the latest research results on the collection history and authenticity of "Danfeng Pavilion", the culture and thoughts of the northern survivor society in the early Qing Dynasty, calligraphy art and Shanxi merchant culture in the late Ming and early Qing dynasties, etc., and conducted Lively exchange and discussion. In addition, Mr. Ma Junmin, deputy director of the Propaganda Department of the Taiyuan Municipal Party Committee, Ji Xiaofeng, deputy director of the Taiyuan Municipal Cultural Relics Bureau, and Ms. Lian Yingjun, deputy director of the Taiyuan Jinci Museum, also attended the meeting.
In 1660 AD, the seventeenth year of Shunzhi in the Qing Dynasty, the anti-Qing uprisings were basically suppressed, but many survivors still cherished the nostalgia of the dynasty. A Danfeng Pavilion was built in Qixian County, where many scholars and anti-Qing patriots from Shanxi and the whole country often gathered. This pavilion originated from a dream of Dai Tingshi. In the dream, he and some people wearing Ming Dynasty costumes gathered in a small attic. The name of the pavilion was "Danfeng". After waking up, he built Danfeng Pavilion according to what was recorded in his dream, and wrote an article "Danfeng Pavilion" to record the event. Later, Fu Shan was invited to write a plaque on the building and an article on "Danfeng Pavilion". Fu Shan also wrote a postscript for "Danfeng Pavilion".
"Danfeng Pavilion" is Fu Shan's representative work in his later years. Not only is he highly accomplished in the art of calligraphy, but the events recorded and the brushwork used all contain the pain of the country's collapse and his ambition to fight against the Qing Dynasty and restore the Ming Dynasty, reflecting the early Qing Dynasty. The mental journey and life outlook of the survivors of the Ming Dynasty. For a long time, this calligraphy work has been circulated in two versions: the Liaoning Museum collection and the Shanxi Qujia collection. The seminar convened a group of experts and scholars who have done relevant research on the authenticity of "Danfeng Pavilion". Everyone agreed that it is basically It can be concluded that the "Danfeng Pavilion" preserved by the Qu family is Fu Shan's original work.
Qu's collection of "Danfeng Pavilion" (partial part)
Liu Zhengcheng, host of the meeting and editor-in-chief of "The Complete Collection of Chinese Calligraphy," said, "In our decades of cultural relic appraisal work, we have recognized folk collections and questioned museum collections. This has not been much precedent." At the same time, he believes that the works preserved after the Song Dynasty There are few works that record the mental journey of the times like Wang Xizhi's "Lanting Preface", Yan Zhenqing's "Memorial to Nephew", and Su Dongpo's "Han Shi Tie". "Danfeng Pavilion" describes the great changes of an era in a documentary sense. Art and literature Its dual value determines its status in the history of Chinese calligraphy. "In our current era, calligraphy is basically an era of copying 'Tang poetry and Song lyrics'. Do we have any great works like Fu Shan's that record our era?"
The seminar focused on "Danfeng Pavilion" and early Qing calligraphy in five aspects: 1. The significance of identifying the authenticity of "Danfeng Pavilion" in the study of Fu Shan's artistic achievements in calligraphy; 2. "Danfeng Pavilion" The significance of the social, cultural and academic development of the northern survivors in the early Qing Dynasty revealed; 3. The significance of the discussion of "Danfeng Pavilion" to the study of the chronological history of calligraphy art in the late Ming and early Qing dynasties; 4. The creation of "Danfeng Pavilion" and research on the spread process, Shanxi merchant culture and collection history; 5. Related topics in the study of Fu Shan and the history of calligraphy in the early Qing Dynasty.
Before this seminar, the "Danfeng Pavilion" in the Qu family's collection had never left Zhaoyu (today's Qixian County) in three hundred years. Qu Ronglu, the fourth generation collector of the Qu family, told the story of how his family collected this work at the seminar.
"Danfeng Pavilion" has been collected by the Dai family in Qixian County for 245 years from the 10th year of Kangxi to the 5th year of the Republic of China. It was not until the fifth year of the Republic of China that Qu Rongli's great-grandfather bought "Danfeng Pavilion" from the descendants of the declining Dai family, and it has been kept in Qu's family for a hundred years. The Qu family is a Shanxi merchant and a family of calligraphy collectors. As early as the Qianlong period, Fu Shan's works were regarded as the family motto of the Qu family. From the Qianlong period to the present, seven generations have collected 13 Fu Shan's calligraphy, paintings, and inscriptions.
"Danfeng Pavilion" went through two disasters after arriving at Qu's house. The first time was the Japanese raids and all the good things were taken away, but "Danfeng Pavilion" slipped through the net. The second time was the confiscation of the house during the Cultural Revolution, and everything was lost. It was moved and a lot was lost when it was returned in 1978, but "Danfeng Pavilion" was not lost.
Liaobo edition of "Danfeng Pavilion" (partial)
Lin Peng, honorary chairman of the Shanxi Provincial Calligraphers Association, was the first scholar to assert that the Liao Bo edition was a forgery. He once wrote a detailed comparison of the differences between the two versions in "Reading "Fu Shan's Book of Danfeng Pavilion in the Qing Dynasty". He believed that the Qu collected version had a very strong flavor of facial expressions, while the Liaobo version had Zhao (Mengfu) Dong (Qichang) Fu Shan, as a survivor of the Ming Dynasty, repeatedly criticized Zhao Mengfu and tried his best to get rid of Zhao Mengfu's influence; the Liaobo version made mistakes in the original text in some places, and repeated the mistakes in the original text in other places; the Qu Collection version was under the name of Dai Ting, has Dai Tingshi's seal, but the Liaobo version does not. If the Liaobo version is authentic, then it is difficult to understand that Dai Ting stamped the copy but not the original.
Experts attending the meeting basically agreed with Lin Peng's idea. You Zhichao, the former deputy director of the Liaoning Provincial Museum, believes that the suspicion of the Liaoning Museum version is that "there is no collector and no inscriptions", and the Qu collection can basically be said to be a work that has been circulated in an orderly manner. Yao Guojin, vice chairman of the Shanxi Provincial Calligraphers Association and a scholar of Fu Shan, found out through comparison of study styles that Qu's collection is more popular and coherent than the Liao Bo edition; Li Deren, a professor, painter and connoisseur at the Academy of Fine Arts of Shanxi University, concluded that Qu's collection has “rich brushwork” “Majestic, free-flowing and comfortable”, “the style comes from Yan Lugong and Wei and Jin Kaifa", "Fu Shan's way is fully reflected in it", while the Liaobo version has "sparse and thin fonts", "the brush strokes are sharp", "and Fu Shan is good at using them" Zangfeng, this is obviously different." Li Deren also believed that the "Fu Shan seal" printed on the Liaobo edition was not written in accordance with "Shuowen" and "is a pure fake seal."
