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1, identification of paper and silk
Silk and paper, the materials used in calligraphy and painting, play a certain role in the dating of calligraphy and painting. The identification of silk and paper is another way to identify calligraphy and painting. Silk paintings in the late Zhou Dynasty, Chu tombs in the Warring States Period and later Han tombs in Mawangjiao were all painted on thin monofilaments, but so far, double filaments have not been used (that is, warp is double filaments and weft is monofilaments). From the Five Dynasties to the Southern Song Dynasty, on the surface, in addition to monofilaments, there were also double filaments. Generally speaking, the silk of the Yuan Dynasty was a little thicker than that of the Song Dynasty, not as thin and white as that of the Song Dynasty, and it was still in a loose state. On the whole, the silk of the Ming Dynasty seems to be rough. There was a kind of low-quality thin silk in the early and middle Ming Dynasty. Because this kind of silk is too thin to drip ink, painters often put it on paper before painting and calligraphy. In the ancient paper, Han and Jin dynasties, hemp was mostly regenerated from waste materials such as linen, sacks, Ma Xie and fishing nets, and raw hemp was also used-hemp was used in the north and ramie was used in the south.
2. Seal identification
The characteristics of the times and the breath of the seal are also evidence to identify calligraphy and painting. The flavor of the times of seal can be seen from its shape, seal script, engraving method, texture, printing color and so on. In the Song Dynasty, the materials of seals were mostly copper and jade, and a few were other materials. Since Wang Mian began to use stone carvings in Yuan Dynasty, more and more people have used them. At the beginning of the Ming Dynasty, the seals of various stones were quite common, and the methods of seal cutting characters also had new changes. The stop stroke of each character of seal script is slightly thicker than the original stroke, but lighter and slightly yellow, which is somewhat different from the printing color of Yuan Dynasty. Most of the seals in the middle and late Ming Dynasty were stones, others were crystal, agate, copper and jade. The characters of seal script used by painters and painters in the early Qing Dynasty did not change much, but the shapes and fonts of seal script tended to be diversified. In the middle and late Qing Dynasty, various kinds of seals and seal cutting appeared, such as Zhejiang School and Anhui School, and most of them took Shuowen Jiezi as the main body.
3. Identification of inscription and postscript
Inscriptions can be divided into three categories: author's inscriptions, contemporary inscriptions and later generations' inscriptions. Common ones are true ancient paintings with a person's false postscript, or false ancient paintings with a person's true postscript. If there is an inscription on the painting by the author at the same time, make clear the relationship between him and the author. This situation is not necessarily known from the calligraphy and painting itself, but must be explored from some inscriptions. How important the inscriptions and postscripts of later generations can play in the identification of calligraphy and painting should be analyzed according to the specific situation. Such as calligraphy and painting or inscriptions, especially calligraphy and painting inscriptions. , are considered to be the clues exposed by forgers. Avoid; In the feudal emperor era, writing should be taboo, that is, when writing a word with the same name as the dynasty emperor, you should write less. This is called taboo, which is also commonly known as lack of pens. In painting and calligraphy, we can see which generation of emperors avoided the word without pen, and we can draw the conclusion that the period of painting and calligraphy creation can not be earlier than that of the avoided generation of emperors, otherwise it is a forged loophole.
4. Year and month: The year and month mentioned in calligraphy and painting, inscription or postscript, or the author's age, date of birth and death, or the fact are inconsistent, will also be considered as forged auxiliary signs.
3 ancient painting appraisal method:
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The traditional methods are mainly visual inspection and textual research. With the recent development of science and technology, 14 carbon has been used for dating cultural relics in archaeology, such as ceramics and bronzes, but it is not suitable for painting and calligraphy. Using computer to store residence to assist identification has not been put into practice. Therefore, assessment and examination are still effective main methods.
Jane
"Jian" means comparison, and "only comparison can distinguish". Comparison refers to the comparison between objects, the comparison between original works and contemporary works or works of the same person, in order to find similarities; The differences can be found by comparing the genuine product with the fake product and the works of different times or people. Through repeated comparison, we can gradually grasp the style characteristics of the times and individuals. Therefore, it is the key to improve the level of "visual inspection" to look at the physical objects and compare them more. At the same time, watching and comparing objects can not only stay in the stage of intuitive and perceptual knowledge, but must rise to rational knowledge, that is, through comparison, find out the internal relationship between them and the essential characteristics of a certain era, painter and work, so as to firmly form an accurate and distinctive "model" of the style of the times and personal style in the mind as a reliable basis for future identification, and be tested, revised and enriched in future practice, so as to achieve a more objective and scientific understanding. It is true that the prerequisite for identifying authenticity with eyes must be that there are many real works of that era or painter, and connoisseurs have seen many things and can compare them with real objects.
"test"
"Examination" means textual research, that is, with the help of painters' biographies, descriptions of paintings and calligraphy, related poems, historical knowledge and other documents, some problems related to the works are textual research, so as to judge the authenticity. Textual research can play a certain role in the following situations; First, there are fewer painters or times with original works, lacking the necessary contrast conditions for visual identification, while there are many related documents, which can often play the role of identification through textual research, such as many works of Tang and Five Dynasties. Second, visual judgment is conditional, but there are still some doubts that need to be further solved through textual research. For example, Zhao Mengfu's Hundred Feet Wu Tongxuan in the Shanghai Museum was appraised by experts. The brushwork of "Xing Wu and Zhao Mengfu" has never recovered, which is to cut off the fake money added to the original money. But this painting is exquisite and elegant, and the poems inscribed by famous artists at the end of the painting are also the original postscript. However, there are still some problems with this picture: this picture has no money, and I don't know who the protagonist is. Both the painting and the postscript are true. Why do you want to cut off the original paragraph and add a fake one? Mr. Fu Xinian made a further textual research on this picture in "A Study on Wu Tong's Xuantu with a hundred feet painted by Yuan people", which solved the above problems one by one. Thirdly, visual recognition solves the problem of authenticity. If further supplemented by textual research, the conclusion can be more accurate and reliable, and some necessary textual research may be done.
To identify ancient paintings, it is often necessary to use both reference and examination. There is a test in the sword, and there is a test in the test. Generally speaking, the sword is the main one. If the visual appraisal level is not high and the judgment is wrong, no matter how subtle the textual research is, it will not help. For example, the authenticity identification of two volumes of Fuchun Shan Jutu by Huang Yuan Wang Gong has been reversed several times, and the problem lies in "Jian".
It is necessary to be familiar with both the original and the fake, and master all kinds of patterns and types of forged calligraphy and painting fakes in previous dynasties, so as to discard the fake and retain the true according to different situations and restore its true colors. Documents should be used in the exam, and there are differences between authenticity and correctness. Therefore, first of all, we should compare in many ways, discard the false and retain the true, and assist the appraisal with accurate historical materials.
4. The basis for the identification of ancient paintings:
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That is, what is the basis and reason for judging whether a work is true or false? Of course, these bases must be found from the factors presented in the work itself, such as this picture, the author's seal, other people's inscriptions, identification marks, texture, size, decoration and so on. Among them, the decisive factor is called the main basis, that is, the personal style of the painting (including the painter's own printing style), and other factors are called the auxiliary basis.
The so-called reason is to analyze these factors of the work itself and judge the authenticity. To fully explain the reasons, it is not enough to rely on the work itself. We must rely on other objects or "models" that have been established in our minds, make comparative analysis by visual inspection, and make necessary textual research by referring to relevant literature, so as to draw a reasonable and convincing conclusion.
Times style and personal style
As the main basis, the flavor of the times and personal style are also reflected by many factors such as theme conception, ideological content, composition modeling, pen and ink form, style and style. Included in the picture itself, everything is branded with the brand of the times, showing the painter's personality characteristics. These factors combine to form the style of the times and personal style. However, these factors are also divided into primary and secondary factors, among which pen and ink play a leading role, because this is the factor that can best reflect personality and is also the most difficult to imitate. Others, such as theme, content, composition, modeling, etc. Imitations can be completely based on gourd paintings, and it is difficult to judge the authenticity accordingly; Moreover, they have a certain continuity, and future generations can follow their predecessors and can only "break back and forth" in the times. As for thoughts, feelings and aesthetic tastes, they are abstract and difficult to grasp, and it is even more difficult to be used as an accurate and main identification basis.
Pen and ink-"brushwork"
In pen and ink, brushwork is the main method. The so-called "brushwork" is simply the method of using a pen, including the method of holding a pen, including high and low, upright, sideways, cantilever, elbow hanging, wrist hanging or wrist holding paper. And the methods of writing, that is, light, heavy, slow, urgent, smooth and reverse. These different writing styles and writing styles have formed unique brushwork characteristics. In detail, every country in every era is famous for its specific characteristics. Generally speaking, in the form of brushwork, it can be summarized as center, flank, lying wing, rear wing, front wing, rear wing, front wing, flank, circle, folding square, virtual pen, real pen and so on. In figure painting, brushwork is mainly reflected in lines, forming various descriptions, such as "eighteen descriptions of clothes patterns" summarized by Ming people; In landscape painting, the main part of brushwork is "stroke method", that is, all kinds of lines, thick or thin, long or short, light or hairy, dry or wet, are used to express the structural context and high and low bumps of rocks, so it is also called "twenty-four strokes"; In addition, the brushwork is reflected in the point, which is a little different from saving, smashing and picking.
Every painter's brushwork is different, even if they belong to the same type of brushwork form, they are not completely consistent. Because brushwork is naturally formed by a painter after long-term practice, once it is solidified into a habitual feature, it is difficult for me to change it subjectively. Imitators can't have the same training process and time, and will show some differences because of different skills. As for the distinctive brushwork, it is even more difficult. Therefore, it is the most reliable and key to master personal style and even the style of the times according to the brushwork.
Personal brushwork also has changes in the early, middle and late stages. If we understand the characteristics of painters' brushwork in different periods, we can judge more accurately. If we can master the law of its early changes, then even if some painters have great changes in the early and late stages, we can make corresponding judgments according to the differences.
Admittedly, in some cases, brushwork cannot be used as the main basis. First, there are too few physical remains, or even isolated copies, so it is difficult to get a glimpse of their brushwork characteristics, such as painters before the Song Dynasty; Second, the works are particularly neat and easy to copy, and the imitators are of high level, such as some Soviet films that imitate Chou Ying; Third, some literati paintings with a strong sense of clumsiness, such as a group of literati painters in the late Ming Dynasty, are difficult to distinguish between the intentional clumsiness of the original and the inferiority of the imitation. However, the times can still be roughly determined, because the style of the times is a combination of the personalities of many contemporary painters, and its brushwork characteristics are obvious and conditional to be mastered. Like Tang, Song, Yuan, Ming and Qing Dynasties, it is not difficult to distinguish the brushwork characteristics of the times.
Pen and ink-"ink and color"
Ink and color in pen and ink also have their own methods and forms. Ink has dizzy, brush, splash, seepage and other forms, such as broken ink, splashed ink, dizzy ink, accumulated ink, light ink, thick ink, dry ink, ink and so on. Painters have their own habits and characteristics in using ink. For example, Ni Zan makes good use of dry ink and light ink, while Zhen Wu often uses wet ink and thick ink. There are methods such as smudge dyeing, splash dyeing and boneless color, and there are forms such as heavy color, light color and simple color. The same type of color also has its own personal characteristics, such as the difference between Sun Long and Yun's boneless method. Because the ink color is difficult to separate from the pen, it is necessary to use the pen to make the ink color change endlessly, and the brushwork is attached to the brushwork. Therefore, brushwork is still the main basis of pen and ink. In addition, ink and color are easier to imitate than pens, and the reliability is far less than pens. If they are taken as the main basis, it is easy to misjudge.
The auxiliary basis for identifying ancient paintings includes inscriptions, seals, silk quality, large and small ornamentation, and records. Generally, it only plays an auxiliary role, and it only plays a decisive role under special circumstances, so I won't go into details.