A Counterfeit Book Mirrors The Truth

During the Chongzhen period,the Bao Hui Lu,compiled by Zhang Taijie,was a pseudo-painting book recognized by later generations.The book uses the pseudo-paintings of ancient masters collected by Zhang Taijie as its source material,and presents a treasure trove of self-contained and rich art collections.However,the value of the book has long been underestimated by the scholarly community.The value of forgeries has always been overlooked.However,in a history of art that is constructed by a combination of authentic works and highly valued imitations,forgeries often contain another dimension of “authenticity”.This is also the case with the Bao Hui Lu,which contains many forgeries of paintings,whose value has not been revealed due to the stereotypes and stereotypes of “forgeries”,and whose “authenticity” needs to be further explored.The value of the Bao Hui Lu is reflected in the fact that it reflects the conception of painting history and collecting standards of the late Ming literati Zhang Taijie,as well as the general artistic interest and cultural environment of the painting and calligraphy market and society at the time.The thesis is centered on the theme of “the authenticity of forged books”,with the Bao Hui Lu as the research object.Firstly,the basic information of the author Zhang Taijie and the Bao Hui Lu is explained and analyzed,and the life experience of Zhang Taijie,the background of the production of the Bao Hui Lu,the nature of forgery and forgery methods are explored.Secondly,starting from the culture of Suzhou connoisseurship embodied in Bao Hui Lu,we explore why Zhang Taijie,as a native of Songjiang,favored the tradition of Suzhou connoisseurship,and how the tradition and interest of Suzhou connoisseurship became the basis for Zhang Taijie’s compilation of Bao Hui Lu.Finally,the criteria of the connoisseurship value of the works in the Bao Hui Lu and the historical view of painting shaped and presented by Zhang Taijie are analyzed.In the context of the“antiquity fever” that emerged in late Ming society,Zhang Taijie’s imagination of ancient paintings is viewed,and this also provides a glimpse into the taste for connoisseurship and the concept of painting history that was popular among the literati at the time.