Core Viewpoint - The incident surrounding the auction of the Ming Dynasty painting "Jiangnan Spring" by Qiu Ying has raised significant concerns regarding the legitimacy of art provenance and the responsibilities of museums in handling donated artifacts [1][10]. Group 1: Background of the Artwork - The painting "Jiangnan Spring" was part of a donation of 137 pieces made by the late Qing and Republican-era collector Pang Laichen's family to the Nanjing Museum in 1959 [2]. - The Nanjing Museum issued a donation receipt and documentation confirming the authenticity of the donated artworks, including "Jiangnan Spring" [2]. Group 2: Dispute Over Authenticity - The Nanjing Museum has classified five artworks, including "Jiangnan Spring," as forgeries, which has led to a legal dispute initiated by Pang Laichen's descendant, Pang Shuling [4][9]. - Expert evaluations conducted in 1961 and 1964 concluded that "Jiangnan Spring" was a forgery, which the museum used to justify its removal from the collection [2][5]. Group 3: Legal Proceedings - Pang Shuling filed a lawsuit against the Nanjing Museum, seeking clarification on the whereabouts of the five artworks deemed forgeries and demanding their return [4][9]. - The museum's legal representatives argue that ownership of the donated items transferred to the state upon donation, and thus, there is no obligation to return the items to the donor's heirs [9]. Group 4: Implications for the Art Market - The incident highlights the importance of ensuring that artworks in the auction market have a clear and legitimate provenance, as the Nanjing Museum must provide evidence of compliance when artworks are removed from its collection [10]. - The case has attracted the attention of relevant authorities, who are set to establish an investigation team to look into the matter [11].