由於學界對梅清（1624-1697）生平與書畫藝術研究仍匱乏，造成很多署款梅清的偽作被誤認為真跡，尤其是黃山畫作。根據相關的圖文資料與目前已有的研究，本文企圖考察六件署款梅清的黃山畫作之真偽，包括兩件冊頁、兩套掛軸和兩件掛軸。很湊巧，它們都是無紀年且是縱向構圖。它們很重要，因除了一件速寫冊頁，其他五件全被數位專家鑑定為真跡，並分別收藏於四間中國著名公立機構；它們又很特別，因每一件均與其他一件或數件有關聯。這六件畫作的真偽從未被深入探討過，文中經由多方依據逐一論證它們是偽作，尤其是從較具體的構圖、書法、鈐印部分。期盼本文能使這些重要僞作不再被學界誤為真跡，不再混淆我們對梅清書畫風格的瞭解，亦盼經由這些實例，讓我們理解偽作間交錯的密切關聯，因而更關注偽作問題的複雜性與嚴重性。

Owing to the lack of academic studies on Mei Qing’s (1624-1697) life and art, many forgeries signed with Mei Qing’s name have been mistaken for authentic works, especially depictions of Mt. Huang. Based on the former studies of Mei Qing, this paper attempts to explore six important Mt. Huang paintings signed Mei Qing, including two albums, two sets of hanging scrolls, and two individual hanging scrolls, all with a vertical design and undated. They are important because, except for one sketch album, all have been examined by a group of experts, are regarded as authentic works of Mei Qing, and collected by famous public museums or art galleries in China. All are special as each is connected to another, or others.
These six works have never been discussed thoroughly. After examining them from several aspects, especially composition, calligraphy and seal, this paper suggests that all are forgeries. Academics need be made aware that they are not authentic to avoid confusion regarding the particularities of Mei Qing's style. It is hoped that through analysis, the closely intertwined relationship between these forgeries might be realized, and more attention paid to the complex and serious problem of forgery.