Ancient Chinese Calligraphy and Painting Catalogue 23

Author: Compiled by the Press
Publisher:
Publishing Date: 2008-01-01
Features: Since the founding of the People's Republic of China, the Party and the government have always attached great importance to the cause of cultural relics. During the time of the beloved Premier Zhou Enlai, he showed particular concern. From the 1950s to the early 1960s, national cultural relics authorities vigorously acquired cultural relics and enacted laws to prevent their smuggling abroad. Many collectors, driven by patriotic enthusiasm, donated their collections to the state, leading to a continuous increase in the holdings of paintings and calligraphy in museums. At the same time, the work of authentication became urgently needed. A team was formed to conduct authentication work across the country, but this was soon interrupted by the ten-year turmoil. Following Premier Zhou's passing, the work came to a halt. Since the Third Plenary Session of the Eleventh Central Committee of the Party, efforts have been made across various aspects to rectify the chaos and fulfill Premier Zhou's. The Catalog of Fine Ancient Chinese Books has begun to take shape. Recently, the work of authenticating paintings and calligraphy has again been supported by Comrade Gu Mu and Comrade Deng Liqun. In June 1983, with the approval of the Central Committee of the Communist Party of China, the Cultural Relics Bureau of the Ministry of Culture established the Ancient Chinese Paintings and Calligraphy Authentication Group. This group conducted a comprehensive and systematic investigation, authentication, and cataloging of existing ancient paintings and calligraphy nationwide, publishing catalogs, illustrated catalogs, and large-scale art albums. The purpose and role of this authentication effort are fourfold: First, to investigate the situation of historical paintings and calligraphy held by cultural relic departments, cultural, and educational institutions across the country. Second, to assist these units in authenticating their collections, distinguishing between fine and inferior works, and identifying genuine and counterfeit pieces. Third, to provide authentication and evaluation for some private collections. Fourth, to fundamentally determine the authenticity and grade of the paintings and calligraphy, thereby facilitating better protection of cultural relics, providing rich material for art history researchers, and establishing a professional team for the authentication of paintings and calligraphy.