To distinguish ancient calligraphy, we should first look at its structure, brushwork, charm and intention, and then look at whether it is clever, true or artificial. Then research the ancient and modern, legend and origin of his works, and then distinguish his collection, printing color, paper color and silk element. Anyone whose calligraphy has only structure and no edge will be copied; Those who have a pen meaning but no position are also in the book; Pen gestures are discontinuous, just like abacus beads, collecting books. If it is a calligraphy work described by the double hook method, the whole work is not wonderful and refined, and at first glance it is a fake. We can also tell the truth from the ink color of ancient calligraphy. The ink color of ancient calligraphy, whether dry or thin, permeates the paper, while fakes are floating and unreal, and so are ancient paintings.
In addition, the method of identifying ancient paintings
Ancient figure painting should pay attention to its appearance language, flowers and fruits should pay attention to its exposure in the wind, and birds and animals should pay attention to its realistic spirit. Landscape painting depends on its landscape, quiet and deep nymphs, deep houses, small bridges coming and going, old and moist rocks, light and beautiful running water, flowing spring water, misty, winding wild trails, pine and cypress, bamboo hiding wind and rain, clear at the foot of the mountain and clear water. Even though I don't know who wrote this painting, it is still a masterpiece. For example, people are like corpses, flowers and fruits are put in bottles, birds and animals only take their fur, the landscape is crowded with nymphs, the balcony is blurred and jumbled, the bridge is broken, the road can't get in, the stone has no three-dimensional effect, and the trees are not tilted back and forth. Or high or low, or far or near, or the shade is not suitable, stippling can not be done, or the foot of the mountain floats on the water, and the water source is unknown. Although the inscription is famous, it must be a fake. It is generally not easy to make mistakes in distinguishing Gu Shuhua with this kind of vision.
Besides, we can see the truth from Gu Shuhua's silk paper. Silk in the Tang Dynasty is thick and thick, with a single shuttle and a width of four feet. The silk of the Five Dynasties was as thick as cloth. Silk in Yuan and Song Dynasties was slightly uneven. Jiaxing, Zhejiang has a kind of "Mijiasi" made by Mijia. Its silk is thin, even and thick, and ancient painters and painters such as Sheng, Wang Ruoshui often use it to paint. Due to the long history, the basic silky smoothness of ancient silk has disappeared, and at the same time, it is no longer tough after mounting. If you drag your finger gently on the silk, it will rise vertically like a pile of ashes and smell the ancient fragrance. If the ancient silk is broken, the cracks are horizontal and straight, and all of them are fishmouth-shaped with axial potential, while the silk is hairless, while forgery is the opposite. Old paper, light and even in color, looks old and new, thin paper does not crack, thick paper is fragile, otherwise it is all fake.
Painting and Calligraphy Lecture Hall (1) China's artistic pursuit.
China's art has different styles in different historical periods, but artistic thinking and artistic pursuit are consistent, that is, the thinking consciousness and modeling concept of "elephant", and the modeling of "elephant" pursues "simplicity, invisibility and nature".
shape
"Form" is an objective understanding and cognition. In the Six Laws, it is said that "pictographic characters should be similar to things", not simply similar, but "law is similar to things, and image is in shape". "Form" should be "real" and have "life".
1. The first is "sincerity" to people. Chinese painting pays attention to "painting as a person", and people should be true and simple. Only simplicity is true and beautiful. The so-called "simplicity is at peace with the world." Pay attention to the sincerity of the subject's heart and the truth of feelings, rather than the visual form. "Correct may not be true."
2. The truth of the object is not "formal truth", but "spiritual truth". Facing things, we should "measure the image of things and take things as truth". Don't be preconceived about nature, let go of self-prejudice, and realize everything with a quiet heart. Truth is the essence contained in the object, and truth is the essence of the object.
3. In terms of skills. Abandoning style and forgetting skills, the picture does not see "Fa", but it is moved to the bottom of my heart by "Truth". At this time, all the skills have reached a perfect level, and the so-called impossible and Buddhism is the supreme law. China's artistic skills are different from western art's imitation of object technology, while China's artistic skills are close to Tao.
idea
Meaning and image are two independent concepts in modeling.
First of all, meaning refers to the mind and emotion, and refers to the inner mind and emotion of the subject. That is, the subjective feelings and the expression of the main life. Heart, "thinking in the invisible", that is, forgetting the tangible invisibly, forgetting the shape is a breakthrough. Emotion, things, meaning, "the heart of the general contractor" and the feelings and temperament generated by the subject of "meaning". Emotion should be consistent with the subject's heart and spirit, and "emotion comes from the middle"
Secondly, the "meaning" of the object is reflected by the "image" in concrete works and performances.
elephant
Our Chinese painting in the past century has focused on form rather than image, which is at the level of image, not the goal pursued by China's art. Image represents the real image, while image represents the abstraction. "Image" attaches importance to visual imitation and imitation, and "image" appeals to the feelings of the soul.
1, the same as "Tao", Lao Tzu takes Tao as a metaphor, and "image" shows Tao.
2. "Image" is a way to know everything, an understanding and an idea. This concept has both cultural knowledge and personal experience. The first is the generality of the image, which summarizes the "reason" of everything with simplicity.
3. Image is "the image of human heart". It is experienced through memory and mental perception.
4. Elephants pursue "nature" and simplicity, which is consistent with the goal of "Art Pavilion".
5. Class is a symbolic category, which is to seek a life "feeling" that something is similar or similar to other things in the image, rather than "seeking something different" to live like when shooting the image.
product
The highest realm of China's pursuit of "three qualities, four bodies and five bodies" is "easy body", that is, the realm of "nature". The author thinks that the escape lattice can be divided into three solutions:
1, unconventional method.
The first is the natural state of painting process, and the second is the unconventional works of art itself.
2. Jane and nature.
Beyond similarity and artificial carving, that is, "not seeking similarity", "one product" is relative to "precision and ability", and the purpose of "simple brushwork" lies in "simplicity and complexity" and "getting natural";
3. Outside the painting.
The artistic works of "art songs" must have a "realm". "The intention is beyond the reach of the pen", "the pen is simple" and "the image has been born" are all pursuing "the image beyond the image".
situation
This paper mainly discusses the thinking caused by pictures and what forms can arouse an image other than an image.
1, borrowing tangible images-arousing imagination.
2. The abstract symbol of brush strokes-arousing imagination, arousing imagination through the life form of "vertical and horizontal images".
3. Arouse imagination with "invisible" and "no image".
In painting, "nothingness" is an imaginary place, a blank place, an imaginary space beyond nothingness and blank. "Elephant is invisible" is actually a realm of "painting without pictures, silence is better than sound". Da Zhongguang's paintings say that "whoever has no paintings is beautiful", which is the same as the realm of "elephant invisibility", and both pay attention to "implication" and "implication". Collingwood pointed out: "The real works of art are essentially all the imaginative experiences existing in the artist's mind, and what artistic language can convey is only a part of artistic imaginative activities ... The total imaginative experience depends on the audience's completion in their own minds". This shows the intangible value of China's artistic image, that is, the meaning beyond the image.