The Research On The Appraising And Collecting Activities In The Early Period Of Yuan Dynasty:Concentrating On Mengfu Zhao

In the early years of Yuan Dynasty, the appraising collection in calligraphy and painting was a very conspicuous literary phenomenon. It also left great impact both on the appraising collection history and on the Chinese calligraphy history. During this period, a fairly large number of excellent calligraphic works were conserved in the imperial library, and moreover, there also existed a group of outstanding collectors. Therefore, most of the calligraphic works, within the time spread of Jin Dynasty and Song Dynasty, have been impressed by the branding of that era. Zhaomengfu was not only regarded as the leader of the calligraphic circle in that period, but also had prominent achievement in the field of appraising collection, his influence in this aspect was far-reaching. But hitherto, there haven't any scholar who made intensive and all-round investigation on Zhaomengfu and the appraising collection in the early years of Yuan Dynasty, while; some relevant problems still provoked drastic controversies in the academic circle. This article was concentrated on the activities of Zhaomengfu, discussed quite a few problems, such as his calligraphic collection, his calligraphic apparition, the preface and postscript written by him, etc. Take the advantage of Zhaomengfu's calligraphic activities and his social associations, this article also intensively investigated the problem of collection, both governmentally and personally, in the early years of Yuan Dynasty. This article has been divided into eight chapters, involving questions of eight aspects: The first chapter analyzed the background and overview of Zhaomengfu's calligraphic apparition and collection. Discussed the prevailing custom of calligraphic composition, evaluation and collection in the early years of Yuan Dynasty. The second chapter especially investigated Zhaomengfu's private collection of carving calligraphic works, including Getie, bundle-carved calligraphic works, and separate-carved calligraphic works. And meanwhile, analyzed the relationship between Zhaomengfu and some bundle-carved calligraphic works, the conclusion was the Ansiyuan Getie, which conserved by the museum of Shanghai, has no relationship with Zhaomengfu. The third chapter was concentrated on the Dugu Lanting. The conclusion was: the thirteen postscripts written by Zhaomengfu, which was handed down from ancient times, was not Dugu version, the Dugu version was not carved by Dingwuzhen, and this version is an incomplete version with five words decreased. The fourth chapter discussed the preface and postscript on the Dugu version and Jingxin version, which was considered to have been written by Zhaomengfu, analyzed some statements, such as "thirteen postscripts of Lanting", "sixteen postscripts of Lanting", and "eighteen postscripts of Lanting", especially queried the statement of "sixteen postscripts of Lanting". The fifth chapter investigated the other calligraphic collections of Zhaomengfu all-roundly, such as Luoshenfu, Baomutie, Qimitie, Zhenchentie and Baozhangdaifanglu etc. The sixth chapter discussed the relationship between Zhaomengfu and the different versions of Lanting. At the beginning of this chapter, the author investigated the spreading situation of Lanting in the early years of Yuan Dynasty, and then analyzed the relationship between the versions appraised by Zhaomengfu and the other versions. The seventh chapter discussed the appraising activities carried on by Zhaomengfu towards the calligraphic works conserved by the imperial library. Investigated the overview of calligraphic works conserved by the imperial library, the relationship between Zhaomengfu and the imperial collections, and the preface(postscript) written by Zhaomengfu.