Because the portable video digital microscope has strong sharing, it is suitable for the scene (auction, customer scene, sharing among friends); It can also take photos and videos in real time, and can be compared and stored; Portable digital microscope generally has the functions of comparison and measurement, and is an essential tool to assist the identification and analysis of calligraphy and painting.
Name, birthplace, year of birth and death of the painter and calligrapher.
Knowing the name, birthplace, birth and death time of a painter is very helpful for the identification of calligraphy and painting. These problems are often ignored by some counterfeiters. If we know them well, we can see them more easily. For example, the book Hundred Plum Blossom Poems by Shen Du in Ming Dynasty and the book Shiqu Baodi in volume 3 16. In autumn and July of the 14th year of Yuncheng, Shen Du wrote in Chuncaotang. An Investigation of Shen Du Ding You was born in the seventh year of the Yuan Dynasty, and Jia Yin died in the ninth year of Xuande in the Ming Dynasty at the age of 78. Shen Du has been dead for 45 years in the 14th year of Chenghua, so this word book can be sure to be a fake without looking at the real thing. Another example: The Axis of Sanqing Map written by Yao Shou in Ming Dynasty was written by Qing Dynasty? Yi "Dream Garden Painting and Calligraphy Record" Volume 15, the cloud picture is clear. Yongle was written in Dinghaiqiu at the age of five, and Yi Shi in Yundong was a public figure. Gao Yaoshou was born in Guimao in the 21st year of Yongle and died in Mao Yi in the 8th year of Hongzhi at the age of 73. Yao Shou was not born in the fifth year of Yongle, so it is certain that this thing is also fake. It is precisely because the painter's year of birth and death is directly related to the identification of calligraphy and painting that we should try our best to master it.
However, some problems such as the date of birth and death of painters and painters have not been recorded in the past literature, and some records are not true enough. In this way, the work itself becomes the first-hand material, which can supplement the deficiency of the literature or correct the mistakes in the literature.
For example, some painters' works have a certain artistic level, but this painter can't be found in the literature at all, not to mention his font size, native place, date of birth and death, artistic expertise, main activities and so on. There are many such examples.
Another example is the year of birth and death of Zhao (Zi Gu) in Song Dynasty. According to various documents, he was born in the fifth year of Qingyuan in the Southern Song Dynasty (1 199) and died in the first year of Zhenyuan in the Yuan Dynasty (1295) at the age of 97. Some people have doubts about this, but they have not been solved. No. 1962 "Cultural Relics" published Comrade Jiang's textual research article on this issue, and calculated that he died about five years before and three years before Xianchun, but so far there is no exact conclusion. According to the poem "Narcissus" by Gu Guang Scott, Zhao's good friend, there is a short story about Jiazi, and it is clear that Zhao died in Jiazi, the fifth year of the Southern Song Dynasty (1264), at the age of 65. This has solved the problem that has not been solved for many years.
In the past, some books recorded the birth and death year of Ke in Yuan Dynasty incorrectly. For example, the Chronology of Painters and Calligraphers in Song, Yuan, Ming and Qing Dynasties records that he was born in Renzi (13 12) and was honored as a doctor of Kui Jian Shu in the second year of Qingyuan (1329), which means that Ke Xunian is 65438. In this way, the problem comes out. Although people are talented, how can they become Dr. Zhong, who made great achievements in Kuizhangge, at the age of 18? Obviously, this record is wrong. So what year should Ke Jiusi be born? In the Palace Museum, there is a volume of "Anti-mosquito Fu" written by Yu Ji in Yuan Dynasty. On the back cover paper, there is an inscription by Ke. There are many seals under Ke's name, one of which is only Geng, which provides conclusive evidence for his date of birth. Kao Yuan has two Geng Yin years, one is the 27th year of Zhiyuan (1290) and the other is the 10th year of Zheng Zheng (1350). There is no doubt that Ke was born in the last Geng Yin year, namely 1290. It has been two years since the calendar began, and Dr. Kuy Zhangge, then a doctor, is 40 years old.
For another example, there have been different opinions about the birth and death time of Shi Tao. Fu Baoshi's Chronicle of Master Shi Tao and Guo Weiqu's Chronicle of the Birth and Death of Painters in the Song, Yuan, Ming and Qing Dynasties both record that he was born in Chongzhen in the Ming Dynasty for three years, and Ding Hai was still 78 years old in the forty-sixth year of Kangxi in the Qing Dynasty. There are seven unique clouds in Shi Tao's book "Landscape" in Guangdong Provincial Museum: all directions beg for food from bitter gourd monks, and there is no tendency to take a Hinayana. At fifty, he goes his own way and is as cold as ice. This is written by Geng Wu Chang 'an. "Sixty Poems of Tao" collected by Shi Tao in Shanghai Museum says: Chen Geng dared not move in the dead of night, and his parents lived this life. This week, he spent seven words in the flowers, among which ... he is hard to be ignorant when he is old, and he thanked God in the flowers ... According to these two works, it can be inferred that Shi Tao was born in the new temple of Chongzhen in the 14th year of Ming Dynasty (164 1). These two works were written by Shi Tao when he was in his fifties and sixties. It is indispensable to take integers and follow the general habit of writing articles. I saw Shi Tao's "Flowers" in ten volumes, and the title of the first painting of orchids was: fourteen writing orchids, fifty-six. So far, I have been fighting with you for fish. I believe my reputation is not high, and I regret eating more meat. At the end of another page of Peony, I know a cloud: Ding Qiu painted Mr. Ge Zhai's sentence in October. Ding Qiu is Ding Chou, that is, the thirty-sixth year of Kangxi (1697) and the fifty-sixth year of Chongzhen is Renwu (1642), which is the reliable birth date of Shi Tao. The title of emperor and heavenly stems and earthly branches's common sense play an important role in the correct identification of calligraphy and painting.
At the beginning or end, the titles of emperors of past dynasties are often not the whole year, but cross each other. When an emperor died, he was replaced by a new emperor. Some changed the yuan, that is, changed the year number, and some did not change the yuan that year, still using the old year number. For example, Ming Shenzong Zhu Yijun reigned for 48 years, and died in July in the forty-eighth year of Wanli (1620). In August, Zhu Changluo (Guangzong) proclaimed himself emperor, changed to Taichang, and died only one month later. In September, Zhu Youxiao (Xizong) proclaimed himself emperor, and only changed his title the following year (162 1). As can be seen from some books, Wanli is only 47 years old, and too often only one month counts as a year. Another example: Zhu Youjian (Zong Yi) died in March of the seventeenth year of Chongzhen (1644), but some books count this year as the first year of Shunzhi in Qing Dynasty.
When we look at the inscription of calligraphy and painting, it is logical to write it as a spring day or a summer day in the forty-eighth year of Wanli, but it is illogical and problematic to write it as a twelfth month in the forty-eighth year of Wanli. If the sum of too many years is written as Gengshen Spring Day or the summer of the first year of Taichang, there must be something wrong. It is also logical to write the calligraphy and painting of Chongzhen's year number as the spring day of Chongzhen's seventeenth year. For example, Yang Xuan's calligraphy and painting "The Waiting Map of Xiajingshankou in Lindong Beiyuan" reads: Copying the Waiting Map of Xiajingshankou in Songyuan Beiyuan is also the spring of the seventeenth year of Chongzhen. There is no doubt about it. Some people may deny this book if they don't understand this historical process and think that Chongzhen is only 16 years old.
Most of the authors of China's traditional paintings and calligraphy have profound literary attainments. Many painters and calligraphers were famous writers at that time, and their paintings and calligraphy works were often related to literature. Some painters like to write their own articles or poems, while others like to write poems of the ancients or others. Some painters like to copy ancient paintings or ancient poems and write them on them, while others like to write their own poems on their own works. The appearance of this situation is determined by the painter's own preference and the buyer's desire. Only later generations can write the poems of the previous generation, and the previous generation can't write the poems of later generations. If it is found that the previous generation has written poems and articles for future generations, it can be determined that this thing is forged. For example, the poems written by Gu Kaizhi in the Jin Dynasty on the scroll of "Luo Shen Fu Tu" were forged by later generations and copied from the poems on the scroll of "Luo Shen Fu Tu" written by Wei Jiuding in Wushen in the first year of Hongwu, Ni Zan. The original text of Ni's poem is that those soft socks are covered with dust. Who saw that at that time he was gentle and talented in Cao Zijian, but only a few Weishan people were good at painting. Because Gu Kaizhi is from Wuxi, the word Zhongwei Mountain Wei in The Forger Nishi was changed to Xishan's tin. Kao da ji was born in Renshen in eight years and died in Wuzi in eight years. How could he write Ni Zan's poems in the fifth year of Hongwu? If we are not familiar with ancient poetry, we can't see such a problem.
In the identification of calligraphy and painting, taboo is often divided into two types: taboo dynasty (taboo the names of emperors and ancestors) and taboo family (taboo the names of elders or ancestors in the author's family). In forensic medicine, it is easy to grasp the proportion of taboo to avoid the DPRK, but it is difficult to grasp the taboo of the family. There are three main ways to avoid taboo: one is to write a stroke (mostly the last stroke) on the words to be taboo, the other is to replace the words to be taboo with substitute words with the same meaning, and the third is not to write the words to be taboo. For example, the Palace Museum has a collection of "Thousand-character Works" by Huang Tingjian in the Song Dynasty. The fonts are all yellow, and some words are poorly written. Because it was written on the roll as an experimental chicken, this point was ignored. This volume is indeed a Song paper, and Liang Qingbiao collected and printed it in many ways, so it was initially identified as an original of Huang Tingjian. Later, it was found that the word "Wan", with a round fan, was rewritten into a group of words, which should be taboo (taboo is because the pronunciation of "Wan" and "Huan" is similar). Kao Huangting died in Jianning for four years (1 105), which is 2 1 year away from the first year of Qin Zongjingkang (1 126). It is absolutely impossible to avoid a Oracle Bone Inscriptions budget. Therefore, it is certain that the volume Qian is a fake of the Southern Song Dynasty.
Another example is Zhao in the Southern Song Dynasty? (Emperor Gaozong) A thousand-character script written in Shaoxing in the twenty-third year, which has now been engraved on Sanxi Tangtie, changed the word Xuan to Yuan, Yin to Shang, Shu to Zhu, Zhen to Qing, Jing to Jing, Qi to Heng, Kuang to Fu, Huan to Tai, Wan to Tuan and Wan to Dan. * * * The word 14 was rewritten, which was taboo in Song Dynasty. Xuan Xuan and Lang avoid Zhao's ancestral name, Jing Mao's grandfather, Yin Mao's name, Kuang Yin's name, Zhen Zong's name, Zhen Ren Zong's name, Shu Ying Zong's name, Yun Ying Zong's father's name, Huan Wan and Maru's name.
Another example: About 50 years ago, there was a painting signed by Dong Qichang in Beijing Liulichang. It was very good, with few words, and the work was neat. Someone wanted to buy it. Later, someone saw the fault of this work, and the last stroke of Xuanzang, a mysterious figure, was missing in order to avoid the Emperor Kangxi of the Qing Dynasty. Dong Qichang died in the ninth year of Chongzhen in the Ming Dynasty, and did not live to the Qing Dynasty, so it is certain that this work was forged by the Qing Dynasty.
As can be seen from the above examples, the richness of literature and history knowledge also plays a very important role in the identification of authenticity of calligraphy and painting. If you don't have much knowledge of literature and history, then the rewritten taboo words are not easy to see, and you may make mistakes in the authenticity of the work.
Of course, if taboos are used to date calligraphy and painting, we must first understand the characteristics of the times. For example, in the Song Dynasty, the words Xuan Helang were banned from use in the fifth year of Dazhong Xiangfu in northern Song Zhenzong. Before that, such words were not taboo. If you see a poem written by a person in the Song Dynasty, which contains words or paintings, it is legal not to avoid these words for five years, but it is illegal not to avoid these words after five years, and there is a problem.
What is said here is just the general situation. In addition, there are some special exceptions For example, in Mi Fei's Shu Su Tie, there are two negative characters before and after, one is missing and the other is not missing. This needs to be analyzed in combination with specific works.
At the same time, we can't treat taboos rigidly. Some calligraphy works close to ancient times have no taboos at all. If it is identified as a volume of Gu Lin Erti Wen written by Zhao in the Southern Song Dynasty, it is completely written in accordance with the original work of the Tang Dynasty. All the words in the text are taboo in the Tang Dynasty (such as Yuan, Shi and Min), but none in the Song Dynasty.
In a word, the problem of taboo is complicated. In the identification of calligraphy and painting, the application of taboo in dating must be analyzed in detail and mastered flexibly according to different situations.