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. 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. 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 it is difficult to separate ink color from pen, it is necessary to use pen to make ink color change endlessly, and brushwork is attached to brushwork, so 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. China, a work of art, was faithful to the original, and treated Xuan paper in an ancient way. Its appearance is very similar to that of a century-old painting, which makes it difficult to distinguish, so that the essence of China culture can be spread and people from all walks of life can see its beauty. It is a masterpiece of elegance, appreciation, collection, gift, home, office and elegant hall decoration, and has high collection value. China's high imitation of ancient paintings is an extremely exquisite contemporary collection.