This examination reveals insights on imperial calligraphy and collection authenticity in Qing art.
The Jinan Museum has, for the first time, unveiled two folding fans associated with the Qianlong Emperor, providing new material for the study of Qing court art history. These artifacts offer tangible evidence for research into the artistic practices and collecting activities of the Qianlong Emperor from two perspectives: imperial calligraphy and painting, and connoisseurship. The first fan is the Qianlong Emperor's own brushwork, Plum Blossom Poetry and Painting, which, when analyzed in conjunction with The Imperial Poetry Collection and local gazetteers, provides insights into the chronology of the “Eighty-Year Commemorative Seal”. The second is an early Qianlong collection, a folding fan titled Mi Fu Inscribing Calligraphy on a Stone Wall (likely a forgery, though traditionally attributed to Qiu Ying himself). Through comparative analysis and authentication, this piece has been identified as a Ming dynasty “Suzhou-style” forgery. The reverse side of the fan features calligraphy by Yu Minzhong, revealing intricate details of artistic interactions between the emperor and his officials.
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Li He (2025) studied this question.
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