How to identify this painting?

Gu Shuhua's handed down works are a mixture of good and evil, straight and false. For every collector and buyer, the first problem is how to identify Gu Shuhua-to identify the authenticity. In addition to the style of the times and personal style, the identification of calligraphy and painting also includes seals, inscriptions, paper silks, descriptions and decorative patterns. First, printing "one word, two paintings and three seals" is the order of identifying a painting. A painting and calligraphy often has many seals, including the seal added by the author, the seal added by the collector and the seal added by the connoisseur. Through the seal, we can examine a painter's nickname, font size, year of birth, line number, hometown, family, career experience, hobbies and interests, and also understand the spread of this painting and calligraphy. Seal provides important auxiliary evidence for calligraphy and painting identification. In the Tang and Song Dynasties, it was rare for an author to stamp a painting, but it was common to stamp a calligraphy work in the Tang Dynasty. Painters in Yuan, Ming and Qing Dynasties usually use sakura seal after painting. Commonly used seals in painting and calligraphy are: personal name digital seal: Ming and Qing painters, in addition to names, there are numbers, people and other names, which often appear in painting and calligraphy seals. A painter often has all kinds of seals. For example, Mei Lanfang's paintings used "Mei Lan" in his early years, "Mei Huaying" in his middle years, and "Da Qian Ju Shi" in his later years. In his later years, Tang Bohu used "six roots as laity". Hall number seal of the room: Ancient literati like to put a hall number on a person's residence, entertainment, reading and painting collection, and put a hall number on calligraphy and painting, such as Qi Baishi's "Regret for Martial Arts Hall". Calligraphy and painting collection, printing in Song, Yuan, Ming, Qing and modern times are very common, such as "children and grandchildren keep it" and "children and grandchildren keep it forever". Ornamental seal: It is similar to the collection seal, but the ornamental seal is a seal stamped by the viewer for others to watch, such as "watch", "watch" and "borrow". Notepad: Otawa is related to painting, recording the good and bad, happiness and sadness in the process of painting. For example, Zhang Daqian went to Huangshan twice, so there were "two people who went to Huangshan." Later, I went there again, so there was a "three trips to Huangshan"; Kangxi gave Wang Rutai a gift of "painting for others", so Wang engraved "painting for others" on Sakura's official seal: describing the author's official career experience and official position. One is pride, showing off one's position. For example, Tang Yin made Nanjing Jieyuan, so it printed "Nanjing Jieyuan"; One is frustration and complaining, such as "January Anton Order", which means that the author only made an Anton County Order for one month. Another example is Zheng Banqiao's Seven Products Official Ears, which records that he only made seven products of Sesame Official. Family seal: reflects the author's native place, family, village, clan, etc. For example, Tang Yin's "Wu tends to Tang Yin" is the name of Suzhou, which is now an alley. Line printing: The number of lines in the Tang Dynasty was very high, less in the Ming and Qing Dynasties, but many people entered the printing. For example, when Wang Yongjin, the 11th son of Qianlong, got married, he printed the proverbs of "the 11th son of the Emperor": print proverbs, idioms and aphorisms, such as "learning new things by reviewing old ones". The seal of the old saying: such as "children and grandchildren are full." Poetry seal is sometimes a complete poem and sometimes an incomplete sentence. Shi Tao, a great painter in Qing Dynasty, often painted his first poem, "Let the present people be ordinary and clear the door". Year: It shows that you were born in ×× month and achieved in ×× year, such as "Born in Ding Mao" and "Shen Jia Jinshi". In addition, there are portraits of English court seals. Of course, it is quite well-founded to judge the authenticity of calligraphy and painting works with seals. However, the seal also has some shortcomings, because it is durable and can still exist after the death of the painter and painter, and can be used by future generations to cheat. There are also some fake paintings and calligraphy with the artist's seal on them, so they can only be used as an auxiliary basis in the identification of paintings and calligraphy. Second, there are three kinds of inscriptions in calligraphy and painting: the author's inscription, the contemporary inscription and the posterity inscription. The most important thing is to explain the creation process and collection relationship of this work, or to verify its truth and praise its beauty, so many works rely on inscriptions to increase the trust of future generations. But there are fakes in calligraphy and painting, and there are also many kinds of fakes in the inscription and postscript. If the real painting is accompanied by a fake inscription, and the fake painting is accompanied by a real inscription, all kinds of falsification of the inscription are also common in appraisal practice. Therefore, it is necessary to analyze the inscription of works, especially the role that future generations can play in the identification of calligraphy and painting. Whether the inscription and postscript are credible for the identification of calligraphy and painting depends on the level of the inscription and postscript. For example, Li Hong, the emperor of Qianlong, has poor appraisal ability, but he is good at splashing ink and commenting on many paintings and calligraphy works, confusing the fake with the real, and confusing the fake with the real. For example, in the Yuan Dynasty, the original and the fake of Huang were reversed. Dong Qichang's famous paintings and calligraphy works are numerous, but his comments are not serious and his inscriptions are not convincing. Wen Zhiming's inscription is more credible, because he is good at painting, with high discriminating ability and serious attitude. In addition, the inscription and postscript of a certain era and a certain painter also has its own characteristics, which is also needed to be mastered in the appraisal work. Most of the paintings before the Tang and Song Dynasties (including the Tang and Song Dynasties) were free of charge, and even if there were, they were only found in crevices or in the inscriptions of Emperor XX. Calligraphy works in Song Dynasty generally write money as well as dry money, which varies from person to person. For example, in the textual research of Guo's paintings, his books are generally paid for dry branches, and the early spring picture is signed as "Guo Renzi's New Year Painting in Early Spring". Li Di, a painter at the end of the Northern Song Dynasty and the beginning of the Southern Song Dynasty, has both the title of emperor and the official branch. For example, Qingyuan Dingdi Painting, but its paragraph has no two lines at the end. The inscriptions of Ma Yuan and Xia Gui in the Southern Song Dynasty are all on the side. Usually it's not an official title, just a few words. There is a "flat head" (the first two lines are flush), but there is no "first paragraph" (the last line is one or two words lower than the previous one). Who did you paint for in Yuan Dynasty? Just name it. There is no such thing as "big brother" or "sir". Words such as "give", "see", "send" and "give" often appeared in the Yuan Dynasty, and this style has been passed down to the early Ming Dynasty. In Ming Dynasty, the "Wumen Fourth Courtyard" has its own characteristics. I painted all my life, but only signed the "autumn father system"; Tang Yin had Jinchang Tang Yin, Spiced Tang Yin and Gusu Tang Yin in his early years, and Liuwei Jushi and Wei Zi in his later years. Shen Zhou's signatures are "Changzhou Shenzhou" and "Shentong"; Wen Zhiming's early brushwork was literary style, and after 45 years old, he used,, and Hengshan Mountain. Dong Qichang, a master of calligraphy and painting in Ming Dynasty, was named Xuanzhai. There is a saying that "words are not mysterious and paintings are not prosperous", that is, calligraphy is "prosperous" and painting is "mysterious", with few exceptions. Paper and Silk for Calligraphy and Painting Traditional China calligraphy and painting are usually written on paper and silk, so it is very important to know the characteristics of paper and silk in the times to identify China calligraphy and painting. Silk and paper in different times have their own characteristics in texture and technology. Although the paper and silk of the previous generation can be used for a certain period of time, the paper and silk of future generations can never be used by the previous generation. If we find out the characteristics of paper and silk in different times, we can at least rule out those fakes that use future generations of paper and silk to forge previous generations of calligraphy and painting. In addition, the paper or silk used by a painter is related to his painting habits and expressive skills. Different papers and silks have different characteristics. Writing pictures on different papers and silks will produce different artistic effects. Generally speaking, more silk is used for color-setting meticulous painting, and more paper is used for ink and wash freehand painting. Before the Tang and Five Dynasties, almost all the paintings were silk. After the Song Dynasty, ink freehand brushwork was created and developed, and paper books gradually appeared. There were works by Gao, Guo Jie and others in the Yuan Dynasty. Most of them are based on ink painting Yunshan, so paper is often used. However, the silk book used by Li et al. can achieve better artistic effect, so the silk book is used. 4. Works and Decoration Older generations often record the paintings they have collected or seen and compile them into special books. This is also a good reference for calligraphy and painting identification. Description can be roughly divided into two categories: one is the description of my collection. For example, An Qi's View of the Mo Garden in Qing Dynasty and Gao Shiqi's Catalogue of Painting and Calligraphy in Jiangcun Village in Qing Dynasty. The other is the description of calligraphy and painting, such as the Grand View Record written by Wu Sheng in Qing Dynasty and the Stone Painting Record written by Ruan Yuan in Qing Dynasty. Most of these authors have made great efforts in identification. Although it is hard to say that they are correct, many of them are correct. China's paintings and calligraphy attach great importance to mounting, and the mounting styles and materials of each era have their own characteristics. You Chuntu by Zhan Ziqian is recognized as an original, but there is no money in the painting, and there is no second scroll painting handed down from generation to generation in Sui Dynasty, so there is a lack of comparable materials. Personal style is even harder to prove. Therefore, the identification of paintings can only rely on inscription, collection, description and decoration. The picture scroll is engraved with the inscriptions of Song Huizong and Evonne, and it is also a "Xuanhe Village". Several auxiliary evidences provide strong evidence for identification, and decoration is one of them. China ancient calligraphy and painting has a long history, which is an extremely precious cultural heritage that attracts worldwide attention. The calligraphy and painting handed down from ancient times is a piece of thin paper, but it is valuable. In history, many painters and antique dealers forged according to the reputation and pen and ink of famous painters in order to make huge profits. As early as the Northern and Southern Dynasties, China's copying and expanding techniques of calligraphy and painting were quite mature, and some of them had reached the point where it was difficult to distinguish between true and false. Editor's reminder: Please pay attention to check whether the article ""has pagination content.