Among them, the author's name on the secretary's book also belongs to the French book itself, and others are important auxiliary evidence. It should be pointed out that they also have a problem of authenticity. Only by identifying them first can they be used to identify the calligraphy and painting itself. Now describe some origins, formats and functions respectively:
Nantang? The first snow scene of Zhaogan River (partial)
25.9cm × 376.5cm silk copy?
Collected by the National Palace Museum in Taipei
Author's name and inscription
Of course, the author's title and inscription can let us know clearly who wrote this work. It also has some changes in the times, and understanding the law of this change is also helpful to distinguish its authenticity (for example, it may make irregular copies for future generations).
Jin Gu Kaizhi's Illustrated History of Women is famous for its paintings, but the word "Gu Kaizhi's paintings" is different from the writing of essays and must be added later. Paintings with the author's name in the Tang Dynasty were only seen in the half volume of Five Stars and Twenty-eight Lodgings by Liang Lingzan, but not in the Five Dynasties.
The title and title of the first line of Zhao Gan's "The First Snow Map on the River" was originally written by Zhao Gan. Mr. Qi thinks that this is the title of Li Yu's Jin Cuodao Book after the Southern Tang Dynasty, and its style is exactly the same as the label (with flowers) in Gan's White Picture at Night, which is credible.
Gambai map at night (partial)
30.8 cm× 33 cm paper
Collected by the Metropolitan Museum of America.
Yellow bird sketches were added later, because the ink color floated on the silk. Reliable authors personally wrote book titles and inscriptions, which were seen a lot after the Song Dynasty.
Cui Bai, Guo, Li, Zhao Lingrang, Liang Shimin, (,), Liu Songnian,, Xia Gui, etc. Only the name and year are written, and at most a picture name is added. At first, these inscriptions were very small, written in corners or inconspicuous places such as tree trunks and rocks (except Evonne Warbert).
Such as Cui Bai's "Double Happiness Map" and Li Tang's "Wan He Song Feng Map". Few paintings, such as Li and Li Di, are written on the screen. With long poems at the back or on the axis, we can see Mi Youren, Yang Wuxia, Chen Rong, Zheng Sixiao, Gong Kai, Wang Jintingjun and others in the Southern Song Dynasty.
Cui Bai Double Happiness Map in Northern Song Dynasty? 193.7cm？ ×103.4cm
? Silk book? Collected by the National Palace Museum in Taipei
Inscription of Cui Bai's "Double Happiness Map"
Literati painters in Yuan Dynasty ranged from Qian Xuan to Zhao Mengfu, Zhenwu and Ni Zan. Poetry, calligraphy and painting are often combined, and since then, their popularity has flourished. Most of it and the papers are written in the last paper, with a few exceptions. Others wrote another line of map names and a line of year and month names on this map, such as Zhao Mengfu's "Heavy River Overlapping Obstacle Map".
As for painters who are not good at poetry and calligraphy, they still only write famous works, but the part on the axis has also moved to the upper space, such as Yan Hui and others.
At the beginning of the Ming Dynasty, most of them were the same as the Yuan Dynasty. Since the late Ming and early Qing dynasties, more and more inscriptions on scrolls have been moved to the upper open space in the picture frame, and books are no longer behind. Some books in Ming dynasty only have names or seals, or have no words at all. Or write another title on the opposite page and add a postscript or two pages at the end. Since the middle of Qing dynasty, there have been more and more inscriptions on each page of this picture, but the title and general postscript are rare.
Generally speaking, in the Song Dynasty, there were more money without money than with money, and simple small money was more than long money. The Yuan Dynasty was the opposite. However, before the mid-Ming Dynasty, there were still a few works without signatures, and this situation gradually decreased. After Kangxi in the Qing Dynasty, there were almost no paintings and no questions.
Since the Ming and Qing Dynasties, some people even copied some old sentences of predecessors to fill in the blanks, and this trend continued until modern times.
Qian Yuan Fu Xuan Zuitui
28cm × 49.2cm silk copy
Collected by the Metropolitan Museum of America.
The ancients were famous, with characters, numbers and nicknames. Such as Qian Xuan's name selection, the word Shunju, the famous Yutan, posthumous title Ruoxi Weng. I usually write my name in calligraphy and painting, and sometimes there are even words with names like "choose money for good luck". Since the Qing dynasty, there have been words written on names, such as "Tiesheng Xigang".
Some people write special names on ordinary calligraphy and painting in their later years. For example, most of Huang's paintings in his seventies only write "Road flyover with great idiocy", while Zhen Wu writes "Road flyover with plum blossoms", and so on. They have never seen a photo of themselves writing their names (except for other people's postscript).
Qian Xuan and Zhao Mengfu wrote "Shunju" and "Ziang" in their general paintings and calligraphy, but most of them didn't take their surnames. There are two kinds of bamboo slips: those with names and those without surnames. Old people occasionally give their younger generation a book character, book number or other numbers.
At the end of the Ming Dynasty, people with double surnames, such as Dao Zhou, sometimes wrote only one word in their letters, such as Lu and Zhou, but the words on them must be brothers. If there are several rankings occasionally, write one less word. For example, Dai Benxiao's brother ranks among the "filial piety", so this filial piety sometimes only writes the word "Ben".
Some people add the word "Sheng" after their names, such as "Lian Sheng" (Yang Lian) and "Zhou Sheng" (Huang Daozhou). People who don't know can easily call him "Lian Sheng" or "Zhou Sheng", which I have never seen before.
Zhenwu Wind Bamboo Map in Yuan Dynasty
109cm × 32.6cm paper
Collection of friel Art Museum, USA
I once saw that there was a book named Xin in the letters of Song people recorded in Shiqu Baodi, and the appraisers thought that he was a solo book with two names, so he attached it as Xu, which was completely wrong, because the Song Dynasty did not have that habit.
The official document in the Southern Song Dynasty was called "Zazi", which has been in this format since Shaoxing. The format of Zhao Dingshu's "County Post" is: "Right hand presented, so-and-so official surnamed Zazi". This form was not popular in the Northern Song Dynasty, but it was eliminated in the Song Dynasty, and the time limit was very short and clear.
In the Ming Dynasty, there was a single post "Ming Ci" in front of Chidu, which was called "Vice Qi" in this paper, so it was no longer named, and only the word "Ming Zheng" was written at the end. This form did not appear until Wanli and continued until the Qing Dynasty.
Zhu Qing Da Songshi Peony? 176cm ×？ 96 cm
? Ayamoto? Collection of Lushun Museum
Inscription of Zhu Da Songshi Peony
Individuals have special habits. For example, Ming Dong Qichang said that "books are not mysterious (numbers) and paintings are not prosperous (names)". This is only most of his works in his later years, but it is not absolutely true.
Zhu Da in the Qing Dynasty had never seen him write these two words in calligraphy and painting. When Zhu Zhongnian became a monk, he wrote down the monk's name "Chuan", and later he wrote down posthumous title, the donkey house. It was not until he was 60 years old that he wrote Badashanren, and the paragraphs were very clear. Other titles in the preceding paragraph have different formats in different periods. For example, the words "dear friends and your Excellency" were only called in the previous paragraph from the light years of the Qing Dynasty. I won't list the rest one by one.
How to identify the author title as above. But it should be noted that if you encounter ghostwriting, there is no way.
Other people's inscriptions
Other people's inscriptions, including titles (Guan Kuan), poems, titles, titles, quotations, etc. If there are works written by predecessors and works written by the same person at the same time, they should be treated differently.
Title (official width) means that after reading a work, someone writes his name on the work itself or the receiving paper without making any other comments, which began in the Southern Jin Dynasty and the Song Dynasty.
According to Zhang Tang Yan Yuan's Notes on Famous Paintings in Past Dynasties, "The books of Jin, Song to Zhou and Sui collected by the previous imperial court were not stamped, but they were ready to be published at that time to learn from painters."
What we are seeing now are Liang Tang Huaichong, Xu Seng Quan, Yao Huaizhen and Man Qian; Sui Yaocha, Zhu Yi and others (all copied from the Tang Dynasty), most of their characters are written in the middle of the calligraphy itself or on the seams of paper and silk or at the end of spaces. According to Zhang Yanyuan, compared with the "imprint", it is equal to the appraisal seal of later generations.
Since the Sui and Tang Dynasties, most of the calligraphy collected in the palace has a series of endorsements by appraisers on the tail paper, some with official titles, and some with year numbers and years. The form is a little more complicated than that of the Six Dynasties. After Wang Xizhi's "Sticking Orange", there were titles such as Zhuge Ying, Gu, Sui Kai's eighteen years of Zhiguo (suspected and copied).
I have also seen the title of "Yan Yuan" on Gan's painting "Night White Picture" (Horse), and the book is in the gap in the painting; Also known as Cao e tablet, it was made by Jin people, and there are many questions about the harmony between Tang and Yuan Dynasties (copied by later generations).
There are some famous framers in the Ming Dynasty, such as Zhu Qiming (in the volume of Snow River Returning to Mountain in Evonne, Song Huizong), Tang Jie (in the volume of Heavy River Overlapping Obstacles in Zhao Mengfu, Yuan Dynasty), and so on. They also like to write their names at the end of the book, but not too much.
Wang Jinxi's peace, how to serve oranges, three posts, full volume
24.7cm × 46.8cm？ Paper books
Collected by the National Palace Museum in Taipei
Poetry postscript, what we see now is the earliest pen of Song people. The content of such long poems and postscript, in addition to identifying the true and false comments, some describe some stories or scenery in the painting.
Most of the writing is not in the thing itself. Generally, it is rolled by hand on the tail paper, passed through the water, and the shaft is mounted on the side, and the book is on the secondary page.
Poetry with contemporary works probably evolved from the praise of images in the Han Dynasty. It gradually became popular in the Northern Song Dynasty. Such as Su Shi, Huang Tingjian, Mi Fei and others often write inscriptions for friends' works.
At that time, although they did not necessarily write books to identify the authenticity, they became a very reliable identification basis for future generations. For example, Song Li Gong Lin's "Five Horses Map" (without seal) has an inscription by Huang Tingjian on itself and the back paper;
We have long known the friendship between them and Huang's kind words, so the topic of Huang Tingjian is the same as Li Zishu's famous style, even more useful than Li's style, because we see more yellow characters and can compare them, while Li is rare and countless in our hearts.
Map of Chen Lin's West Mansion in Yuan Dynasty
47.5cm× 35.7cm paper
Collected by the National Palace Museum in Taipei
For example like this, there are poems and postscript on the back of Su Shi's "Ancient Wood and Strange Stones" (without printing), and Su paintings are made by Liu; Then there are Mi Fei and Liu Shi on paper. (At the junction of itself and the second postscript, there is the seal of the king of the Southern Song Dynasty, so it can be believed that the two poems will not be matched later. ) Both Mi Fei and Wang are famous for their remonstrance, and Mi Fei has contacts with Su Shi. Although Su Hua only saw this volume, we can be sure that they are true because of the assurance of those inscriptions and postscript (Mi Fei is more common).
Another example is the "Fu Tu" axis (without seal), which has the inscription of Zhao Mengfu (and some flower stones and sand slopes painted by Zhao). Chen is a disciple of Zhao; And Huang's "Dan Ya Yu Shu Tu" axis (unprinted) itself has poems by Zhang Jian equivalent to those of the times, and Zhao and Zhang's guarantees are of course trustworthy.
Another example is the high big axis "Cloudy and Beautiful Ridge Map" and "Beautiful Rain Map in Spring Mountain" (both paintings have no seals). There are two topics, Deng and Li Li on the horizontal cloud map and Li Li on the spring mountain map. Deng and Li are Gao's friends and connoisseurs, so we can completely believe that the two paintings they wrote are both original works of Gao.
The above example can best show that the inscription and postscript are powerful enough to prove that a painting itself is indeed an original, which has almost the same effect as the author's own name and seal. General experience has proved that any truly credible inscription (not fake, not post-match, the author of the postscript is closely related to the author and is a good judge) is not much different (of course, it is not absolute).
Before the Yuan Dynasty, people often couldn't tell the original from the imitation in the postscript, sometimes knowing that it was an imitation, but the inscription was appreciated as much as the original.
For example, in the early Song Dynasty, Tang Yan and Li Ben's "Buji Tu" was copied, and in the Northern Song Dynasty, Liu Chang's "Autumn Waters" was copied (there is obvious evidence that it was copied). In the inscriptions of some people in the northern song dynasty behind the former, many people in the song and yuan dynasties did not mention the word "copy"
Only when they see something fabricated out of thin air will they not treat them like this. Replica is also called copy, because it can keep the original appearance, spread widely and endure for a long time, which is the vice of the original, so predecessors attach equal importance to it and the original. When we see such inscriptions, we should scrutinize them carefully to avoid misunderstanding.
The southern song dynasty's anonymous castle peak and white clouds map?
? 22.9cm × 23.9cm silk copy?
? Collected in the Palace Museum
Some "wall-closing" volumes with opposite front and back pages and equal emphasis on calligraphy and painting should not have been combined with the inscription and postscript. Here is a side talk. For example, the Song people had no money to print a page of "Castle Peak and White Clouds", and the calligraphy of a poem by Wu Ji and later was very similar, and a small "Kun Gua" was printed.
These are two sides of a ten thousand fan, the size of which is exactly the same as that of silk. Painting imitates Li Cheng and Guo, and the artistic level is not low. According to the Book Biography, the famous figures who imitated Li and Guo's landscapes at that time (Shaoxing years) were Zhang Zhu, Hu and others. I wonder if this page was written by one of five people.
What I have seen (based on a painter's signature) is the college painting at that time, whether it is the opposite painting or itself. For example, Ma is a courtier, a courtier of Ningzong, a courtier of Yanghou and a courtier of Li Zong. And there have never been any paintings by Ning Zong, Yang Hou and Li Zong's Shaoxing or Xichun Yuan Chao (apart from the occasional paintings of the Tang Dynasty and above, there are no ancient paintings of people below Ning Zong in the Jin, Tang and Five Dynasties).
Therefore, by analogy, those paintings without money can be dated from antithesis or their own inscriptions, which is more accurate, and "Castle Peak and White Clouds" is no exception.
Qian Yuan, Fu Xuan and Shan Jutu.
29.6 cm× 98.7 cm paper
Shanghai Museum Collection
Before the early Qing dynasty, most of the titles and autographs didn't have the author's name, but they gradually came into being after the middle Qing dynasty, and then they were combined with each other. Titles come in various forms. Paper books are on their own "waterproof" silk, and the axis books are on the edge (flush with themselves). Some books are on paper and silk labels, and then they are attached to the above places, and even "external labels" are attached to the outer packaging head.
Quote a book: put a piece of jade in front of the scroll of calligraphy and painting, which is called preface. It began in the early Ming Dynasty, originally to better protect scrolls. Later, someone wrote a few big characters on this paper, which is commonly known as the preface. What I first saw now was the title of "The Summer of Yongle" by Cheng Nanyun. "Spring Rain in the Woods" volume, "Floating Jade Mountain Residence Volume" Qian Xuan, orthodox title, etc.
At the same time, there are Gu Shuhua's titles and characters' titles, which can also play some auxiliary recognition roles. As for the plaques in some restaurants, pavilions and halls in the Yuan Dynasty, such as "West Lake Caotang" and "Xiu Ye Xuan" in Zhou Xiaozhuan, they were later moved to the first poem, but that was an exception. Occasional in the Ming Dynasty.
Tree diagram of Ju Ran formation rock group in Northern Song Dynasty
144. 1cm × 55.4cm silk copy
Collected by the National Palace Museum in Taipei
Inscriptions (including the above examples) have played a great role in the identification of calligraphy and painting, but we should not believe them all. For example, Deng Yuanwen's imitation of Wang Xizhi's post after the rain in the Song Dynasty is called an original (of course, this post is by no means a fake after the early Yuan Dynasty).
Another example is Qian Yuan's painting. At the same time, there are many fake copies, but there are often more people writing sentences at the same time. Of course, they are all regarded as real pens, such as the volume of "Exploring Plums in the Lonely Mountain" and the volume of "Castle Peak and White Clouds".
Another example is Ming Dong Qichang's book (which has now been changed into a volume), which was originally a brush painting by a "Songjiang School" painter with the words "protege" on it, but insisted that it was an original.
Another example is the so-called famous painters such as Zou and Yun in the early Qing Dynasty (see the postscript of Ou Xiang Guan Hua). The picture of the Yangtze River painted by Ju Ran, a monk in the Northern Song Dynasty, was originally made in the Southern Song Dynasty without money, and its style is very distinctive. Compared with Ju Ran's original works, such as Autumn Mountain Twain and Layered Cliffs, the appearance is completely different, which shows that those inscriptions are different.
As for the inverted title of Fuchun Shan Jutu written by Huang Yuan Wang Gong, it is difficult to distinguish between true and false in Li Hong written by Emperor Gaozong of the Qing Dynasty (the false title is more than forty paragraphs, which is regarded as a "treasure"), and it has become a well-known joke among appraisers.
The reason for these mistakes is that the questioner is a hollow name and has no real knowledge; Or carelessness, accidental negligence; Or for the sake of profit, what is false is true, and what is close is ancient; Or the orders and demands of superiors (including the emperor) or friends, sometimes it is not easy to tell the truth, but only flattery or perfunctory. We should understand these situations and treat them correctly so as not to be fooled by them.
The Book Score of Tang Sun Guoting (Part)
26.5cm× 900.8cm paper
Collected by the National Palace Museum in Taipei
My seal
At first, it was difficult to examine the seal of calligraphy and painting in detail. In the Tang Dynasty, only seals were found in calligraphy, but not in painting. There were few paintings and calligraphy in Song Dynasty, and it was not until the end of Yuan Dynasty and the beginning of Ming Dynasty that they gradually increased. After the middle of the Ming Dynasty, there were almost no calligraphy and painting without printing. Some paintings only use seals instead of books, but this practice is rare in the Qing Dynasty.
Sun's Preface to the Book of the Tang Dynasty was printed, but it was blurred (this was the earliest). Calligraphy in Song Dynasty was published and engraved by Su Shi, Huang Tingjian, Mi Fei, Wang, (Damazhai), Wu Ju, Zhao and others. In painting, Guo, Wen Tong, Zhao Linglong, Yang Wuxia, Zhao and others also have seals.
There are few calligraphy and painting that have not been imprinted since the Yuan and Ming Dynasties, but Ni Zan's works after middle age have not been imprinted, and he has only seen several parties in Lu Jishan's Postscript of Imitation Posts (42 years old), Colorful Bamboo House (43 years old) and Little Mangosteen Tree. There are also some paintings by Ming Dong Qichang that have no clock marks. It is said that they are all masterpieces at home. This is a special case.
Lu Jishan's Preface to Lanting
The seal of calligraphy is mostly at the end of the line, even before the first line, with the seal of "beginning" up and down. There is almost no seal on the ruler's calf book. In the Northern Song Dynasty, there was a seal on the day, and later there was a seal on the name. In the Ming Dynasty, there was a book with a white passbook on it, which was called "vice deed". There is a "famous thorn" single post in front, and the signer seals his name between "famous thorn" and "deputy qi"; Now the "name thorn" is gone, and the "vice-qi" is only left, but it is not all there.
Most of the paintings with captions are printed under the captions, and some are also printed with "Start"; Calligraphy scrolls also have cymbals on the front and back of the picture, and cymbals on the left, right and lower right corners for hanging shafts and album pages; Money-free hand-rolled cymbals are in the front and back of the picture, hanging shafts or albums are in the lower left corner and lower right corner, and some are in the upper gap.
If a long scroll of calligraphy and painting needs to be connected by more than two pieces of paper, the author often sews a seal on the paper with cymbals. This seal is called a riding seal, and some of them are not cymbals.
Note: The article comes from the Internet.