本刊刊登徐永祥教授《“雨夜楼藏画”质疑》(载第四期)、《“雨夜楼藏画”再质疑》(载第八期)两文、第八期刊登“弘一大师纪念馆”张宏文章《“雨夜楼”藏李叔同绘画真伪考》后,引起社会各界尤其是美术和收藏界广泛关注。最近,本刊收到了潘国钧答辩徐永祥的文章,以及张所照质疑“雨夜楼藏画画册”的文章。这两篇文章观点又截然相反。此外,中央美术学院教授、著名油画家罗工柳对“雨夜楼”两幅假画的举证影像材料及说明文字,现也予以刊出,敬请读者对照参考。这里借用潘国钧文末的一句话:“我们欢迎有更多的艺术界人士来参与对雨夜楼藏画的研究,我们将提供最大的方便。”雨夜楼藏画究竟好不好,有没有价值?本刊希望有更多人士参与这个讨论——编者 This issue of Professor Xu Yongxiang “” rainy night floor paintings “questioned” (contained in the fourth period), “” rainy night floor paintings “doubts” (contained in the eighth period) two articles, the eighth published “Hongyi master memorial” Zhang Macro article “” Rainy night floor, “possession of Li Shu-tung with the true and false painting test”, aroused widespread concern in all sectors of society, especially art and collectors. Recently, this magazine has received an article by Pan Guojun in response to Xu Yongxiang’s comments, as well as an article by Zhang Shouzhao challenging the book Pictures of Rainy Night in Tibetan Paintings. The two articles have the opposite viewpoints. In addition, the professor of the Central Academy of Fine Arts, the famous painter Luo Gongliu on the “rainy night floor,” the two false paintings of proof material and explanatory text, are also published, please readers reference. Here borrows the words of Pan Guojun at the end of the article: “We welcome more art circles to participate in the study of Tibetan paintings in the rainy night, we will provide the greatest convenience.” Rainy Night House Tibetan painting is good, there is no value? I hope more people to participate in this discussion - editor