The Process Of Ma Yuan's Formation In The History Of Painting And The Study Of His Collection Of Works

Ma Yuan's status in the painting history of the Southern Song and Yuan Dynasties is not very high,and his life information is quite simple.But since the Ming and Qing Dynasties literati of " Educated " created many "life information" about Ma Yuan in order to avoid calling his name directly when compiling Local Chronicles or copying Ma Yuan's painting style with his increasing popularity in the collection circle.However,the "common sense" from errors has been constantly strengthened in our concepts under the influence of the knowledge generation system of "authority" in the past dynasties,thus playing the role of "common sense of Song Dynasty art history" in the current knowledge system.Ma Yuan became the "Four Great Masters of the Southern Song Dynasty",not shaped by Deng Chun,Zhuang Su,Xia Wenyan,Zhu Mouyin and other painting historians,but by the authors of "life books" or "collection guides" in the Ming Dynasty.For the convenience of publishing and circulation,different editions of "Classic Books" have compressed the painters of past dynasties and are fond of stereotyping them in the framework of "Four",which not only provides authoritative "guides" for the collection of calligraphy and painting of later generations,but also profoundly affects the narrative structure and the writing background of the brief history of Chinese Art history.From the collection history of Ma Yuan's works,there is no evidence that one of the existing more than 20 "genuine works" is an orderly work,whose time line does not exceed Jiawan period of Ming Dynasty,but at this time,it is more than 300 years away from the age of Ma Yuan's activities.Ma Yuan's painting style has undergone at least three obvious variations since the middle of the Southern Song Dynasty.Each variation will produce a certain number of "authentic works".Among the existing Ma Yuan's works,except a few of them conform to the style of the middle of the Southern Song Dynasty,the others are all works of three variations.Therefore,there is no evidence to prove the "legitimacy" of Ma Yuan's real works from the comprehensive elements of "circulation order","era style" and "personal style".The reason why the appraisal circles named these works as "authentic works" is actually the expression commonly used by traditional appraisers.Because the large number of works left behind by Ma Yuan School painters seldom have reliable auxiliary information such as poems and postscripts,they can only select the best works in the same style system by the way of "eyewitness".In their view,the "Shenpin" of fine brush and ink in similar style system is generally accepted as genuine.In fact,it is a kind of "preferential admission" method adopted according to the level of brush and ink of similar style works.However,"Shenpin" is not equal to "genuine works".Shenpin belongs to the category of traditional painting and calligraphy collection,appreciation and evaluation.It is a kind of cultural relics classification method based on the level of ink and brush,and "genuine works" is a "single fact" needed for the construction of art history.Whether we hold a scientific view of history or a literary view of history,we can not construct the cultural and historical significance behind it with the "genuine facts" obtained from perceptual experience,otherwise,history and literature will lose their boundaries completely.