Supposedly, this 4 million taels of silver is also a huge sum, which is completely enough for Puyi and others to spend. However, Pu Yi and others once lived a luxurious life. At that time, the national government was in a tight financial situation, and it was often unable to deliver the "preferential treatment fee for clearing houses" on schedule, so it often made ends meet. On the other hand, under the temptation of studying abroad, he also left himself a good way out in case something unexpected happened, and he began to steal his own things.
But after all, he has a guilty conscience and dare not openly transport the national treasure treasured in the Forbidden City out of the palace. So he racked his brains and came up with a way to steal the treasures from the palace without giving the cloven foot. The method of "rewarding" Pu Jie puts the act of stealing and transporting national treasures on a "reasonable" coat. Just when Pu Jie was in the palace "Bandu", he went in and out of the Forbidden City every day, which provided convenient conditions for them to commit crimes.
On September 4th, 1922, the "reward" officially started. They first put the target of piracy on rare books in Song and Yuan Dynasties.
After Pu Yi succeeded in stealing a good book, he fixed his greedy eyes on the paintings of French titles in previous dynasties, because Pu Yi knew the preciousness of these titles. It can be said that Puyi is quite interested in calligraphy and painting, which is mainly caused by his objective political environment. During the 12 years after his abdication, Puyi still claimed to be a lonely man in the Forbidden City in Beijing, and he was "closed to the emperor", with no military affairs or political affairs. Puyi had nothing to do, so she had to find something to do, so she began to clean up and appreciate the famous calligraphy and painting collected in the palace.
Since Jiaqing in the Qing Dynasty, there have been many national events, and they have also begun to decline. The emperors of Daoguang, Xianfeng, Tongzhi, Guangxu and other dynasties were overwhelmed by domestic and foreign affairs and had no time to take care of the calligraphy art that they were not interested in. It is doubtful that they have never exhibited these famous works in the palace. In this regard, Pu Yi's memory is the best explanation: "When I was 16 years old (192 1 year old), one day, driven by curiosity, I asked the eunuch to open a warehouse on the other side of Fu Jian Palace. The seal of the warehouse is very thick and has not been opened for at least decades. I saw that the room was full of big boxes piled up to the ceiling, and the boxes were covered with seals. Nobody knows what's inside. I asked the eunuch to open one, but it was all hand-rolled calligraphy and painting and very beautiful ancient jade. Later, I learned that this is Qianlong's favorite antique. After Qianlong's death, Jiaqing ordered all these treasures and playthings to be sealed and filled many halls and warehouses in Fu Jian Palace. I found only one of them. "
Therefore, in the collection of calligraphy and painting in the palace, there are no traces of appreciation of emperors after Jiaqing. It was the last emperor Boyi who ordered Luo Zhenyu to engrave the seals of "Xuantong Yulan" and "Wu Zhai Yi Jing Jian Xi" by Wang Fuchang, and then the minister who cleaned up and appreciated calligraphy and painting engraved them on the original calligraphy and painting. Rather than saying that Puyi had any appreciation ability at that time, he had ulterior motives.
One of the intentions is to seek fame and reputation, and to be arty. Because as early as the ninth year of Qianlong (1744), the collection of paintings and calligraphy in Qing dynasty was identified and sorted for the first time. In the order of the palace, according to the classification of books, picture books and scrolls, identify them one by one, distinguish the advantages and disadvantages, record them in thousands of words, and simplify them one by one; In addition to the first-class products such as the treasure of Qianlong and the treasure of Shiqu, there are also Qianlong Appreciation, Sanxi Hall Clear Seal and the three seals of later generations, which are collectively called "Five Seals". After 56 years of Qianlong (179 1), the second appraisal and sorting work was carried out. In addition to the original "five seals" and the palace seal, the "seven seals" were added, and the "seven seals" were added after Qianlong abdicated. In the twentieth year of Jiaqing (18 15), it was appraised for the third time, and the collected Jiaqing seals were also modeled after the five seals and seven seals of Qianlong.
Puyi felt that since all ancestors were stamped, he followed suit and publicly stamped his own appreciation seal.
The second intention is to be concise and clear about the base in order to "reward" and prepare for being smuggled out of the palace.
The famous calligraphy and paintings of Qing Palace are mainly collected in Gan Qing Palace, hall of mental cultivation, Zhonghua Palace and Imperial Study Room.
The paintings and calligraphy in the palace are covered with brocade on the vertical axis, and the album is covered with brocade. The autocratic residence is wrapped in light yellow or light blue and white satin. The name of the painting and calligraphy, the name of the author, the year and the rating are all printed on it. Everything is special and must not be confused. In addition, each piece of work is customized with a white jade pendant, the front embossed pattern, the name of the package, the red gold, and the text are consistent with the package of the bag. Each painting and calligraphy has a nanmu box, the length of which is customized according to the volume of the painting and calligraphy itself. Most of the original cabinets of calligraphy and painting collected around the country are made of rosewood, and some of them are as high as the roof, which is quite convenient to store and not too troublesome to extract. In addition, add a number to the name of each painting and calligraphy, and find the shelf according to the number when extracting. In Pu Yi's Reward catalogue, most of the works are written in font size, the most is Jing, the second is that although numbers are listed, words are missing, and the third is Yong, Chang and Hai.
Although the entrances to and from the Forbidden City, such as Shenwumen and Beishangmen, are still guarded by the "inner city guards" commanded by the infantry of the Republic of China, Puyi feels that this still cannot pose a threat to his plan to steal calligraphy and painting, because the smooth shipment of rare books has been encouraging him. Since a good book can be smuggled out of the palace unnoticed, why is it so difficult to steal calligraphy and painting?
Puyi is still imitating the way of stealing rare books. First of all, he chose a hand-rolled photo album, because it is small and inconspicuous, which will not attract the attention of the guards and it is easier to get away with it. At the same time, Huang Jiaofu, who has always been carried by eunuchs, went in and out, and with Pu Jie, the personnel on duty were commonplace, turning a blind eye, ignoring it, and being too lazy to ask, so they let it go, unimpeded.
Puyi gave Pu Jie 10 a painting and calligraphy for the first time. Starting from 65438+ on February 9 of the same year, they saw that the guards at the gate were sloppy, careless and ineffective. So they take the opportunity to increase the number of stolen items every time. 15, 20, 25, the thief is getting bolder and bolder. On February 27th, 65438, there were as many as 30 "gifts" at a time, including (Ming) Tang Yin's Wild Sail and Rain Scenery, (Yuan) Zhao Mengfu's On the Combination of Calligraphy and Painting, (Song) Xishan autumn scenery, (Song) Zhao Boju's Crane Map, (Ming).
After 1923, 65438+ 10, the number of "rewards" reached 35 times several times. It is by this method of gradually increasing and stealing in batches that Pu Jie and Pu Jia, two "emperors", returned from the Forbidden City almost every day, taking away several bags of famous calligraphy and painting. I "rewarded" it twice in the first few days, and then I simply "rewarded" it once. The real attempt is to steal all the famous calligraphy and paintings in the palace.
It can be seen that Puyi also used various methods in his "reward" activities, not only deceiving himself and others, but more viciously, he simply erased the evidence, did not include it in the list, tore off the original disguise, intensified his efforts, and secretly stole it, even the eunuchs in charge of management and guarding were fooled, leaving only a confused account.
Puyi's plan to steal the national treasure is by no means limited to the scroll of the French horn. He wants to steal all the national treasures that the Forbidden City can steal for himself. After more than two months of continuous "reward", the original calligraphy and painting paper has been basically looted. As for the brochure, the rest are very limited, only the painting axis has not yet begun. These untouched scroll paintings and a small number of album pages are not the "conscience" discovery of Puyi and his gang, but the specific difficulties that are objectively insurmountable, mainly because the volume of scroll paintings is too large, and some of them are too long to hold, so they should be taken out brightly for fear of revealing the clues. When we are studying new safe and secure piracy methods, we have encountered turbulent political situation and drastic changes in the domestic situation.
1924, Feng Yuxiang's national army occupied Beijing and put Cao Kun, the "great president" who took bribes, under house arrest in the Yanqing Building behind Wuying Hall of the Forbidden City. The "inner city garrison" outside the Forbidden City has been reorganized by Feng Yuxiang's national army, and its troops and guards have been strengthened. In this situation, Puyi's original plot plan obviously met with strong resistance. Therefore, it is the sudden change of the current situation that forced Puyi and others to restrain themselves and temporarily stop smuggling activities. As long as the situation changes again and there is an opportunity, Puyi and others will come up with new tricks until all the scrolls are stolen, which is his ultimate goal.
The exquisite paintings and calligraphy that Puyi stole from the palace are so precious that it is difficult to express them in words, and even more inestimable. Among them, Wang Xizhi's Broken Qiang Post in the Eastern Jin Dynasty, Cao Ebei's Two Thank-You Posts, Ou Yangxun's Thousand-Character Works in the Tang Dynasty, Mao Yingbi's Knowing T-shirt in Li Longji's Tang Dynasty, and Hou Chibi Fu in Evonne's Song Huizong, etc. In terms of painting, there are Gu Kaizhi's Luo Shen Tu and Liemu Zhi Tu in the Eastern Jin Dynasty, You Chuntu by Zhan Ziqian in Sui Dynasty, Gong Gong Tu and Bu Zhuan Tu by Yan in Tang Dynasty, Nv Shi Zhen and Jiu Ge Tu by Li in Song Dynasty, and Wan Li Tu of the Yangtze River by Xia Gui in Song Dynasty.
As for the treasures, antiques and gold and silver utensils that Puyi stole from the Forbidden City in Beijing, there is no record, but according to the memories of some parties and the later diaspora, there are quite a few. Puyi's cousin Puyi used to be Puyi's English class when he was a child. He frequented the palace. He once recalled: "Two days before Puyi left the palace, we took out some convenient pearl bracelets from the safe and put them in two small suitcases, ready to take them out of the palace."
Puyi likes jade articles since childhood, and naturally has a certain level of appreciation of jade articles. Among the jewels and jades that Puyi stole from the Forbidden City in Beijing, jade ornaments are the most exquisite and very expensive. Among them, there are many glass jadeites of different sizes and shapes, all of which are rare treasures, as well as tens of grams of diamonds, opals, rubies and jadeites made in Indonesia.
1924165438+1On October 5th, Puyi drove out of the Forbidden City, accompanied by Lu and Zhang Bi, and arrived at his biological father's home in the Jiugui Mansion in the front of Beihai, taking away daily necessities and jewelry. Puyi saw that there were armed soldiers in front of and around the palace and went straight to the palace. At this time, no one knows what kind of mood Puyi is. People just saw him with his mouth closed tightly, a serious and depressed look, and an unspeakable sense of loss. However, there is still some relief in the loss. It turned out that Puyi thought of the treasure he and Pu Jie stole from the Forbidden City. Although they were stored in Qinchun Palace for some time, fortunately, they were all moved to a safe place in the Japanese Concession in Tianjin, which was enough to ensure the prosperity of his life.
How did the national treasure stolen by Puyi get to Tianjin?
The national treasures that Puyi and Pu Jie stole from the Forbidden City were stored in Chunwangfu for a period of time, and then all of them were transferred to the concession in Tianjin. Puyi's cousin is also his palace maid, Ban Du, who stole the national treasure. According to Puyi's account:
As early as around 1922, because Beijing was often threatened by war, I was afraid that once Puyi could not live in the palace, there would be nowhere to escape, so my father (Zai Tao) bought a building in the Tianjin Concession on behalf of Puyi.
When these national treasures arrived in Tianjin, it took a lot of trouble. These books, calligraphy and paintings are packed in 70 or 80 wooden cases, which are large and numerous. Not only do you have to pay taxes when entering and leaving the railway station, but you are most afraid of being inspected. It happened that Sun Baoqi, the supervisor of the State Railway at that time, was the father-in-law of Zailun (the younger brother of the Qing Prince Zaizhen). I went to Zhalun, saying that Qin Chun Wang Fu and our family's things were to be shipped to Tianjin, and asked him to entrust Sun Baoqi with visa-free and duty-free passports. Sure enough, the passport was successfully completed, and I escorted the antiques to Tianjin, where they were stored in Gordon Road 166. With these rare treasures as abundant capital for Puyi to live and study abroad in the future, I think it is most appropriate to live in Tianjin, so there is nothing to be afraid of.
1925 On February 23rd, Puyi came to Tianjin, and soon all the national treasures stored in Gordon Road were moved to Bird, and then moved to Jingyuan.
How did the national treasure stored in Tianjin get to Changchun?
Later, after Puyi sat firmly on the throne of the puppet Manchukuo emperor, he would certainly not forget the national treasure he collected in Tianjin, which was his greatest economic sustenance and priceless wealth. Will it be transported to the puppet Manchukuo? Even if it is, how is it shipped? His father, Zai Feng, and some cronies guarded these treasures in Tianjin, and the Japanese Police Agency provided support for them. Of course nothing will go wrong. Shipped to the "new scene" next to Puyi, my heart will always be more practical, but after being shipped, I am afraid of an accident. Can the Japanese play with these national treasures?
When Puyi was still hesitating to play his little abacus, the Japanese had already set an established policy for this. Because the Japanese attach no less importance to these national treasures than Puyi, it is more conducive to Puyi's overall control to transport them all to Changchun. Although the Japanese concession in Tianjin can be said to be under control, there is always a feeling that it is beyond our reach. Why don't the Japanese covet such a large number of national treasures? Once the time is right, they can be included in the bag at any time.
Yoshioka Anshi, the "Emperor's Clothes Hanger", told Puyi according to the instructions of the Japanese Kwantung Army: "We must transport that large number of calligraphy and painting cultural relics from Tianjin to the" Palace House "in the" New Beijing ". Otherwise, some people will think like this:' Why did the emperor of Manchukuo put his things in Tianjin instead of Manchuria? This is likely to make people suspect that you are still going back to Tianjin to live! Under this threat, Puyi obediently transported the calligraphy and painting cultural relics stored in Tianjin to Changchun Puppet Palace in batches.
1In mid-June, 936, Puyi issued an order to Pu Xiu Xiu, a member of the clan who stayed in Tianjin Qingshi Office, to send the first batch of national treasures to "New Beijing". Pu Xiufeng ordered 40 hand-rolled films to be packed into 2 boxes and transported to the puppet palace under the protection of the Japanese.
The transportation process of these national treasures is quite strict, and every detail is arranged very safely. First of all, Guan Cunxiang, the personal bodyguard sent by Puyi to Tianjin, and Pu Xiu and others from Tianjin's house cleaning office personally received the seal case by case according to the detailed list of articles, and then the Japanese Red Hat Society in Tianjin "added tools to ensure comprehensive loading and unloading along the way". The director of the Japanese Secret Service in Tianjin was directly responsible for transportation, agreed on the trailer of the railway headquarters, and sent Japanese military police to protect the fake palace that went straight to "Xinjing".
The Preservation, Loss and Transfer of Famous Qing Palace Paintings during Puyi's stay in Tianjin.
In the history of China, there have been several painful losses and disasters of famous painters and calligraphers. On the surface, the reason is closely related to the chaos, war or decline of the dynasty. But if we look at those historical phenomena a little, we will find that the "self-interest" of the supreme ruler is the most powerful "pusher". During the Northern and Southern Dynasties, Xiao Yi, the Emperor of Liang Yuan, who had collected 240,000 volumes of famous paintings and ancient books, was burned down, which made it even worse for Puyi, the last feudal dynasty in China history. Puyi stole treasures from the imperial palace in the Forbidden City in Beijing, secretly transported them to Tianjin, and during his stay in Tianjin, in order to meet his extravagant expenses and endless expenses in the Japanese concession "small court", he sold the mortgage as his own treasure at will, which is a strong proof.
When it comes to the storage, loss and transfer of Puyi treasures in Tianjin, we can't help but mention the building of Tianjin British Concession 13 Road 166 at that time. Three years before he fled to Tianjin, that is, in the Beijing "Little Court" around 1922, in the name of giving Pu Jie, he transported the stolen famous calligraphy and painting and ancient books to Tianjin, and kept them in this building for more than half a year.
Why did Puyi buy a house in Tianjin to store the treasures stolen by the imperial palace? First, because of the geographical location. Tianjin is the gateway to Beijing, only 100 kilometers away from Beijing. What happened in Beijing is almost tangible in Tianjin. Besides, it is also convenient to "write plays" in Tianjin and "sing operas" in Beijing (here Puyi wants to make restoration with the help of Japanese imperialism). This is also an important reason why many politicians and warlords in China's modern history once lived in Tianjin.
Another factor is the safety of the treasures stolen from the palace. Tianjin is the city with the largest concession in China. At that time, there were nine concessions in Britain, America, Germany, Japan, Russia and Italy. Among them, the British Concession is the most powerful. At that time, Puyi and his "small court" probably had no substantive contact with the Japanese. Therefore, when Zai Tao was ordered to buy a house in Tianjin, he chose Tianjin Gordon Road, an old British concession, that is, Building 13, and relied on the influence of the British Empire to be his bodyguard. The buildings in Tianjin are properly purchased, and the treasure theft is ready to end. Therefore, Puyi, who was afraid of being late, officially began to "reward" at 1922. Pu Jie and Puyi "entered the palace" every morning, accompanied Puyi to study, and were transported out of the Forbidden City one after another. After accumulating 70 or 80 boxes, the Pu family went out to run, all the way unimpeded, safely transported them to the building set up by the British Concession in Tianjin, and hid them secretly.
Preservation and transfer of treasures after Puyi fled Tianjin.
The Qing Dynasty was the last feudal dynasty in China, and the collection of ancient monuments in the imperial palace of the Qing Dynasty was a large collection of calligraphy and painting by famous artists of all ages, which basically brought all the traces of famous artists handed down from generation to generation, with a total of more than 10,000 pieces. There are nearly 2,000 famous calligraphy and paintings in Tang, Song and Yuan Dynasties, and about 2,000 works in Ming Dynasty.
Puyi's treasure in Tianjin can be roughly divided into three parts: famous calligraphy and painting, rare books and jewelry and jade articles. Famous calligraphy and paintings and rare books are inconspicuous in size, which is convenient for Pu Jie and Pu Jia to carry in schoolbags or satchels without attracting the attention of the guards. Among them, hand scrolls and album pages are the first choice for stealing paintings by famous calligraphers, followed by those calligraphy and paintings with hanging axes (strips) that are similar to hand scrolls and have no shaft heads. The exact number of these two parts is difficult to estimate accurately.
A pamphlet "Four Catalogs of Books, Paintings and Calligraphy Lost in the Forbidden City" compiled by the so-called "Cleaning Committee" unified Pu Yi's "list" shows that Pu Yi was "rewarded" for more than two and a half months from1September 28th, 924 to1February 28th. Add up to * * * is 1353 pieces, which is nearly half of the 4,000 famous calligraphy and paintings collected by guǐ in Qing Dynasty. Such statistics may be inconsistent with the real number of stolen calligraphy and painting volumes of Puyi at that time. Because in addition to the "reward" list, there are many famous national treasures in the Sui, Tang, Song and Yuan Dynasties that are not registered on the list at all. This situation was gradually learned in the later cleaning process.
At that time, the "Clean-up Committee" found a bunch of "Pu Jie Rewards" and "Receipts" on July 3 14, the Republic of China (1925), indicating that the number of famous calligraphy and painting on "Pu Jie Rewards" and "Receipts" was different. The reason for this speculation is that the members of the "Clean Room Aftercare Committee" are all veterans of Puyi after all. When they found Puyi's "reward" list, they did not report it to * * * and the government denounced the recovery, nor did they start to thoroughly clean up the inventory and find out how much "reward" was. Perhaps they are well aware of Puyi's stealing paintings and calligraphy, but they would rather "believe" a piece of paper and go through the formalities. Otherwise, why can't they come to the conclusion that they are "completely consistent"?
"Generally consistent" is an interesting point of view, and it is more interesting to contact the person who gave it. "Generally consistent" may have two meanings here: first, the number is indeed quite the same, with little difference; Second, the quantity is extremely inconsistent, and the difference may be as many as dozens or hundreds. There is a difference of several hundred pieces, which may be nothing in the vast works of famous painters and calligraphers handed down from generation to generation in China. However, there are about 4,000 famous calligraphy paintings in the Qing Dynasty, which is an amazing number. Puyi's "reward" was originally a long-planned secret theft, and the means must be various. "Reward" is just one of the main ways. Therefore, I think that under the current situation and situation, at the level of the ethos of the times, it is helpless and routine for the old ministers and workers of the "liquidation Committee" to give the word "generally consistent"; For history and future generations, it is undoubtedly a deceptive story.
According to Pu Yi's "My First Half Life", the number of books in the Song Dynasty stolen from the palace is "up and down 200 kinds". There should be 200 kinds of books in the Song Dynasty, which may be around 200 kinds or slightly larger. As for the number of jade ornaments, it may be much more.
Puyi and his "small court" officials wanted to steal more treasures from the court. The outbreak of Zhifeng War hindered his ongoing plan. 19241/General Feng Yuxiang, a directly affiliated army, went to Beijing, imprisoned the "great president" Cao Kun, reorganized the "inner city garrison" outside the Forbidden City, and ordered his men to suddenly break into the Forbidden City on November 5, the thirteenth year of the Republic of China (1924), and put the "small court" in the Forbidden City in a ceremony. Puyi's plan to steal the calligraphy and paintings of famous palace artists was interrupted. More than 20 days later, he fled from his father's alcoholic palace to the Japanese military camp, asked for "asylum", and then openly moved to the Japanese legation. A few months later, on February 23rd, 1925, under the "protection" of the Japanese police, he fled to Tianjin and settled in Bird, a private house in Zhang Biao, a Japanese concession. As the "new palace" of the abdicated emperor, the so-called "clean room hall" was set up, and the royal staff in Beijing took turns to work in Tianjin, forming a "small court".
The palace treasures originally stored in Building No.3 166, Gongbu Bureau Road (Gordon Road), British Concession in Tianjin, were moved to Bird. Judging from the total number of boxes and treasures, the number originally stored in the building on British Concession 13 Road will not be reduced. On the contrary, it will add some things like jewelry and jade that Puyi took with him when he fled to Tianjin. However, when Bird moved to Jingyuan, it is still unknown how much this number has decreased. This batch of Qing Dynasty treasures 1932, which had been stored in Jingyuan for nearly 7 years, was directly transported to Changchun Puppet Palace by Lieutenant General Yoshioka of the Japanese Kwantung Army Command, but there were less than 70 boxes. The sale, mortgage or reward of "dozens" of famous calligraphy and paintings, rare books of the Song and Yuan Dynasties, and some jewels and jade articles naturally reduced the number of Qing treasures transferred to Changchun. However, the real catastrophe of treasures in the Qing Dynasty is yet to come, which is just a prelude to another catastrophe of famous painters and calligraphers in China.
The sale, mortgage and loss of treasures during Puyi's stay in Tianjin.
After Puyi fled to Tianjin, she still lived a luxurious life as a "small court" under the egg wing of Japanese militarism. The huge financial resources still can't satisfy the endless expenses and profligacy of the "small court", so they began to take precious paintings and calligraphy as commodities and sell them to colonists and antique dealers through Chen and others around them or Bao and Zheng, in exchange for a lot of money.
It is difficult to find out how many famous calligraphy paintings Puyi sold in Tianjin, which has been mortgaged for several years. But during my stay in Tianjin, I probably sold:
(1) Mid-Autumn Post in Wang Xianzhi, (2) Yuan Bo Post in Kelly. These two black seals are the "two wishes" in the "Three Happiness Hall" of Li Hong, Emperor Qianlong of the Qing Dynasty. According to Zhang Boju's spring outing, these two books were sold by Puyi when he was in Tianjin. I don't know when it was returned to the original Liulichang antique dealer. Guo Shiwu was Yuan Shikai's general affairs director, then engaged in banking business. On the eve of the founding of New China, he was owned by the chaebol and later by Guo.
(3) Wu Ma Tu written by Li in the Northern Song Dynasty. As Li's masterpiece, each paragraph has a poem inscribed by Huang Tingjian, one of the contemporary ones. It was circulated and recorded by famous artists. It has important historical and artistic value, and also has an important historical and artistic position in the history of China painting. Since it was sold in Tianjin, it has been kept in private hands in Japan.
(4) Sleeping in Xiaoxiang by Li in the Northern Song Dynasty. It is hidden in Ju Chi for the Tang Dynasty.
(5) Southern Song Dynasty Zhao Linglong's "Lake Villa Summer Map". The original works went to Japan, and may be bought by Boston Art Museum after World War II.
(6) Zheng Sixiao's Moran Map in the Southern Song Dynasty. This book contains many poems from the Yuan and Ming Dynasties. In the Ming Dynasty, it was handed over to families. In the early Qing Dynasty, it was a treasure of Luo Song. Zheng Sixiao Kaiyuan Ming Dynasty flowers are the forerunners of freehand brushwork, with few handed down works. This volume of poems, books and paintings are collected in one volume, which is extremely precious and benefits three famous poets in Yuan, Ming and Qing Dynasties. For Japanese Abe Fukujiro.
(7) The Map of West Lake by Song Li in the Southern Song Dynasty. This book is not Mu Mu. The original collector was Shanghai Pang, and now he is in Shanghai Museum.
(8) Wang Tingjun, a Jin native, is the author of Ku Chatu in You Zhu. This is an orphan book handed down from generation to generation in Wang Tingjun. It is of epoch-making significance in the history of painting art in China to inherit Su Shi's and Mi Fei's ink and wash plays in style and set a precedent for literati painting in Yuan Dynasty.
(9) Yuan Zhao Mengfu's Luan Ju Tu. People, horses and landscapes are common in Zhao Mengfu, but flowers are rare, especially chrysanthemums. This painting is of great significance for a comprehensive study of Zhao's techniques and how Zhao's flowers inherit and carry forward the tradition.
(10) Zhang Wo's Nine Songs. Description of shiqu Baodi 3rd Edition.
(1 1) The landscape map of Huangjian Zijiu.
(12) The plum blossom map of Mian, Wang Yuan.
(13) Yuan Zhao Yishu's plum blossom poem. Baodi in Shiqu was collected by Tanjiro Yamamoto.
Xuan Tong belongs to my viscount Okabe (Okabe Minister Jing), and the viscount asks for a postscript. "
(14) Yuan Mawan's "Seclusion". There are many records in Qing dynasty, including the inscription of Japanese Naito Tiger. "In recent years, it was attributed to my viscount Okabe by Emperor Xuan Tong, and the viscount asked for an inscription."
According to the manuscript of Hu Siwei's Diary of Lu Zhi (collected by Liaoning Provincial Library), Americans bought three pieces at that time, and the time, author and picture names were not recorded. In the process of buying paintings, Americans and British teachers conspired to defraud Li Cheng of six paintings, such as Cold Forest Map, Maolin Far Cave Map and Yan Wengui's Creek Wind Map, and then returned them with the intervention of the Japanese Embassy.
The paintings and calligraphy works of Qing Palace in Tianjin Museum include: The Picture of Snow Scene and Cold Forest by Fan Kuan in the Northern Song Dynasty; Narcissus by Zhao in the Southern Song Dynasty: Listening to the Cold Ring Map by Xiang Shengmo in the Ming Dynasty has nearly 30 volumes. Some of the nearly 30 paintings and calligraphy of the Qing Palace may have been sold by Puyi when he was in Tianjin, while others wandered back and forth to Tianjin and were bought by Tianjin collectors. Some of them may have been bought by Tianjin collectors through an antique shop in Liulichang, Beijing.
During her stay in Tianjin, Puyi sold her mortgage, including famous calligraphy and painting, jewelry, jade and porcelain. However, a lot of collateral is related to his "small court" in Beijing mortgaged to Beijing Salt Bank, and some collateral was not stolen from the palace. 1922 Before and after Puyi's wedding, in order to raise wedding expenses, travel expenses to Europe, and even relief for earthquake victims in Japan, the Qing Dynasty mortgaged its collection of calligraphy, painting, porcelain and jade articles to the Salt Industry Bank.
1924 On May 3/kloc-0, Puyi's father-in-law, Rong Yuan, and Interior Ministers Ying Shao and Qi Ling took out a mortgage loan of 800,000 silver dollars from Jingyan Bank. The first batch of 16 gold chimes was cast in 55 years of Qianlong, and the second batch of jinbao, jinbao and jinta were mortgaged for one year. After Puyi left the palace, she was unable to repay, and some of her gold wares had been melted down. Jin Bianzhong 1932 was shipped to Tianjin Salt Industry Bank. Other collateral jade and porcelain are also kept by Yunjin Bank. Tianjin Salt Bank has a close relationship with Beijing Salt Bank. The head office of Salt Bank was once located in Tianjin on 1928, so Puyi is stored in the collateral of Salt Bank, and may be sold or disposed of after its expiration. A pair of jasper beam brine (about 40 cm high and 20 cm wide) in Tianjin Museum is very exquisite and precious, which is probably the collateral that Puyi put in Tianjin Salt Industry Bank during his stay in Tianjin.
The treasures that Puyi lost during his stay in Tianjin also included some things that he gave to his attendants. For example, in return for Liu, the nephew of his master Chen, the "Statue of Emperors of Past Dynasties" (this work belongs to Liu and will soon be owned by Liang Hongzhi, the leader of the puppet regime in North China). Then resell it to the Japanese. After the Second World War, it was collected by the Boston Museum of Fine Arts and the Buji Tujuan handed down from the Five Dynasties by Ruan Gao, with a total of three volumes. At that time, there was a volume of Song Tuo's Preface to Dingwu Lanting. Judging from the history and artistry of the above works, they are undoubtedly valuable treasures. Of course, Pu Yi's reward was so "generous" that he probably didn't understand it at that time. Fortunately, the owner who owns the "Walking Map Roll" and "Yuen Long Fairy Map Roll" did not resell them to outsiders. After liberation, it was donated to the people's government and later collected by the Palace Museum. This is really a great misfortune in luck!