中国书画作假、以赝当真,仍是当今我国书画市场一个突出的问题。而其中不能否认一些鉴定家在作祟。因此,书画收藏者和经营者必须清楚了解鉴定者的学术水平和识别真赝的基本功力、同时也要不断提高自己的鉴定能力,这样才能减少赝品对自己的危害。 界画虽曾被列为我国传统绘画中的一科,但其历来为文人、士大夫所不屑,被视为“工匠所能为”。清代的袁江、袁耀在继承传统的基础上开创了界画在当时画坛上独树一帜的局面。但二袁之后,界画的传派,依旧由于画家们的社会地位低下,或脉络不清晰、或失载于画史。其实在当今,美术史研究中对界画的重视也是不够的,在《中国大百科全书·美术卷》中竟找不到“界画”这一词条。聂崇正先生在清代绘画研究中,对被史家们所忽略的二袁的传派及后人画迹的探微,是值得同行们引起重视和深思的。 Chinese painting and calligraphy to fake it, is still today’s Chinese painting and calligraphy market a prominent issue. Which can not deny that some experts at work. Therefore, collectors and managers of calligraphy and painting must know clearly the academic qualifications of authenticators and the basic skill of identifying true pseudocons. At the same time, they must constantly improve their appraising ability so as to reduce the harm of fake goods to themselves. Though the boundary painting was once classified as one of the traditional paintings in our country, it has always been dismissed by scholars and scholars as “artisans can do it”. In the Qing Dynasty, Yuan Jiang and Yuan Yao created the unique image of boundary painting at the time on the basis of inheriting the tradition. However, after the Second Yuan Dynasty, the spread of boundary paintings still lacks the social status of painters, or the context is unclear, or is lost in the history of painting. In fact, in today’s art history research, attention to boundary paintings is not enough. The term “boundary painting” can not be found in the “Encyclopedia of China’s Art Volume”. In the study of Qing Dynasty paintings, Mr. Nie Chong-zheng deserved the attention and contemplation of his counterparts for the dissemination of the two novels and the traces of his descendants ignored by historians.