The "Orchid Pavilion Poems Scroll" is attributed to the Tang dynasty calligrapher Liu Gongquan. The scroll is written in running script on silk and measures 26.5 cm in height and 365.3 cm in width.
The scroll does not bear any signature or seal.
The frontispiece of the scroll features a handwritten inscription by Emperor Qianlong in running script, entitled "Bi Jian Yi Xing"(Model of Pen Admonition), a title inscribed on a plaque, "Lan Tíng Ba Zhu Dì Si"(Fourth of the Eight Pillars of Lanting), and a brief inscription. There is also a slender gold-lettered title inscribed on a plaque, "Tang Liu Gongquan Shu Qunxian Shi" (Poems by Scholars Written by Liu Gongquan of the Tang Dynasty)
The back of the scroll includes colophons and inscriptions by Song dynasty scholars Xing Tianpeng, Yang Xifu, Xi Zhi, Cai Xiang (added later), Li Chuyi, Sun Danian, Wang Yi, Huang Bosi (forged), and Song Shi; Jin dynasty scholar Wang Wanjing; Ming dynasty scholars Wang Shizhen (two segments), Mo Shilong, Wen Jia, and Zhang Fengyi as well as Qing dynasty scholar Wang Hongxu.
The scroll bears seals from various collectors and connoisseurs, including:Song dynasty seals: "Yushu" (Imperial Book), "Shuanglong" (Double Dragon), "Xuanhe," "Zhenghe," "Neifu Tushu" (Imperial Library Books), "Fenghua Baocang" (Treasure of Fenghua), "Neifu Shu Yin" (Imperial Library Seal), "Ruisi Dongge" (East Pavilion of Deep Thought) (all forged); Song dynasty seal: "Shaoxing";Yuan dynasty seals: "Qiao Kuicheng Shi" (Seal of Qiao Kuicheng), "Ke Jiusi" (both ink seals); Ming dynasty seal: Wang Shizhen; Qing dynasty seals: Gao Shiqi, Wang Hongxu, and the Qianlong imperial collection.
This scroll is attributed to Liu Gongquan and is said to contain the 37 poems and the preface composed by Wang Xizhi and other attendees, including Xie An and Sun Chuo, during the Spring Purification Festival (Xixi) on March 3rd, Yonghe Year 9 (353 AD) in Kuaiji (present-day Shaoxing, Zhejiang).
The colophons and annotations after the poems are as follows: all the colophons and annotations from the Ming dynasty onward are original.The colophons and annotations before the Ming dynasty, except for those by Cai Xiang and Huang Bosi, are genuine but were added later and are not originally part of this scroll.
The brushwork in this scroll is stiff and rough, with many dry strokes, but it appears relatively natural and spontaneous. The colophon by Huang Bosi at the end of the scroll (which is a forgery) states that it is attributed to Liu Gongquan. Upon closer inspection, however, the brushwork of certain characters is clearly not consistent with Liu Gongquan's style. For example, the characters "希" (xi) in Sun Tong's four-character poem, "则" (ze) in Yu You's four-character poem, and "足" (zu) in Wang Huanzhi's four-character poem have very awkward and ugly final strokes. The structure of these characters also lacks stability and appears overly restless, unlike Liu Gongquan's work. When compared to Liu Gongquan's authentic inscription on Wang Xianzhi's "Sending Pears Postscript," not only are the brush techniques different, but the structure of the characters shows no similarity whatsoever. From the perspective of the text, there are numerous inaccuracies. For instance, "怀彼伐木" (thinking of cutting wood) in Sun Chuo's four-character poem is mistakenly written as "怀彼代水" (thinking of replacing water), and "伊昔夫子" (once upon a time, the master) in Xie An's four-character poem is incorrectly written as "伊昔先子" (once upon a time, the ancestor). "伐木" (cutting wood) is a phrase from the "Book of Songs," and "夫子" (the master) refers to Confucius, indicating that the scribe was not well-versed in classical literature. Whether analyzed from an artistic standpoint or in terms of skill level, this scroll is definitively not the work of Liu Gongquan.
This scroll is believed to be a copy made before the Song dynasty. From the 37 poems recorded, it can be observed that some characters do not avoid the taboo names of the Song dynasty. For example, the character "玄" (xuan) in Xie An's poem "契慈玄执，寄教林丘" (Harmony in holding to the profound, teaching in the forest and hills) and the character "朗" (lang) in Wang Suzhi's poem "嘉会欣时游，豁朗畅心神" (Pleasant gatherings in happy times, broadening and refreshing the spirit) are not avoided, despite being part of the taboo name of the Northern Song dynasty's founding emperor, Zhao Xuanlang. Additionally, from the overall style of the calligraphy, it is inferred that the scroll was written during the Tang dynasty. The style is similar to Du Mu's "Zhang Haohao Shi Juan" (Poem for Zhang Haohao), and it appears to have been written freely and spontaneously, rather than being a copy or imitation. As a Tang dynasty manuscript, this scroll holds the same literary value as other ancient texts found in the Dunhuang manuscripts, such as the fragments of "Wen Xuan: Lu Ji's Short Odes" (Bibliothèque Nationale de France, Pelliot chinois 2554) and "Yu Tai Xin Yong: Volume 2" (Bibliothèque Nationale de France, Pelliot chinois 2503).
Catalogue References: "Baozhang Daifanglu" (Record of Precious Chapters Awaiting Investigation) in Song dynasty; "Dongtu Xuanlan" (Eastern Pavilion Review), "Qinghe Shuhuafang" (Qinghe Catalogue of Calligraphy and Painting), "Qinghe Jianwen Biao" (Qinghe Record of Sightings) in Ming dynasty and "Shanhuwang Shuping" (Coral Net Book Reviews), "Shigutang Shuhuahui Kao" (Shigutang Compilation of Calligraphy and Painting), "Daguan Lu" (Great Survey), "Shiqu Baoji · Xubian" (Stone Channel Imperial Collection, Second Edition), "Shiqu Suibi" (Stone Channel Notes) in Qing dynasty.
