Look At Ni Zan's Bamboo And Stone Maps

Starting from Ni Zan's personal style of calligraphy and the calligraphic ideas of his time and region,this article discovers that the artistic appearance of calligraphy in 5 finely-done and representative "paintings of woods,bamboos and stones" stamped as Ni Zan's is different from that of his time.Therefore,it reveals high likelihood that these writings are not Ni Zan's originals,but added in Ming and Qing Dynasty.And thereby,it can also be deduced that the authenticity of most of the rest of "paintings of woods,bamboos and stones" with stamps of Ni Zan awaits further certification.Based on this,by combing how the pattern of "paintings of woods,bamboos and stones" during Yuan,Ming and Qing Dynasty has developed,and the art market in Wu-Men and Hui-Zhou regions in mid and late Ming Dynasty,two arguments can be fairly made:first,the pattern of "paintings of woods,bamboos and stones" was circulated in a limited extent,and it didn't gain its popularity until mid and late Ming Dynasty;second,the time of creation of these paintings with stamps of Ni Zan could by no means land before mid and late Ming Dynasty,and these paintings were likely made in accordance with the then infrequently seen Ni Zan's originals as well as works by Wen Zhengming and other Wu-men artists;the background of these creations includes(1)the growing popularity of the pattern and theory of "paintings of woods,bamboos and stones" in mid and late Ming Dynasty,and(2)the huge market of Ni Zan's paintings at that time.