Let’s talk about Wu Hufan first.
Wu Hufan is the grandson of Wu Dacheng, a famous calligrapher and painter in the Qing Dynasty. In his early years, he and Puru were known as "Southern Wu and Northern Pu", and later together with Wu Zishen, Wu Daiqiu and Feng Chaoran, they were collectively known as "Three Wus and One Feng". The landscape works include boneless hibiscus, bamboo and orchids.
Now back to the topic. Let’s first look at the style of this painting.
1) Painting style.
Wu Hufan first studied under the Four Kings, and then under Dong Qichang. After that, he learned from Dong Yuan, Ju Ran, Guo Xi and other masters. He was proficient in the charm of orthodox court painting, and his painting style was elegant and free.
The brushwork in this painting is slow, the ink setting is hesitant, and the colors are vulgar. Although the skill is evident, there is no atmosphere, and there is no elegance and elegance of Wu Qian.
2) Calligraphy.
Wu Hufan’s calligraphy first came to Mi Fu’s Shoujin calligraphy by Emperor Huizong of the Song Dynasty, and after obtaining the authentic copy of Mi Fu’s Duojinglou Poetry Scroll, he came to Mi Fu. Therefore, his inscriptions and postscripts were either written by Song Xuanhe or Mi Xiangyang.
At first glance, the inscription and postscript of this painting seem to be in the style of Xuanhe of the Song Dynasty. However, upon closer inspection, the brushstrokes are frivolous and the outlines are jerky, without the metal and stone spirit of iron and silver hooks.
3) Seal. < /p>
Although the seal in this work is similar to the Han seal style, it is not punched quickly enough and leaves more than enough traces. The shape seems to be lost. It should be a computer engraving.
To sum up, this work is a low-quality fake.