To identify the authenticity of ancient calligraphy works, we should first grasp the essentials of ancient calligraphy and painting, and first observe the texture, inner spirit and overall care of its structure, pen and lines, and then observe whether it is artificial or natural, true or artificial. Then research the past lives of the ancient painting, and finally distinguish whether its printing color, paper and ink are superior. If the writing is only structured and slightly dull, it can be identified as a copy; If there is a pen meaning but no structure, it can be concluded that it is temporary; If the strokes are discontinuous and chaotic, most of them are book collections. The fake shows that the whole work is not wonderful and refined. In addition, we can also distinguish the authenticity from the ink color of ancient calligraphy, because the ink color of ancient calligraphy permeates the paper whether it is dry or thin, while the counterfeit is floating and unreal. This method can also be used to identify ancient paintings.
2. Distinguishing the authenticity from the characteristics of silk paper
Starting from the different characteristics of different generations of silk paper, it is also an important means to distinguish the authenticity of Gu Shuhua. The silk in the Tang Dynasty is thick and thick, with a single shuttle and a width of four feet. The silks of the Five Dynasties were thicker. The silk in Yuan Dynasty and Song Dynasty was slightly uneven. Zhao Ziang, Wang Ruoshui and other famous ancient calligraphers and painters often used Mijia Silk, which was thin, even and thick. After years of development, the silkiness of ancient silk has basically disappeared. In addition, after modern mounting, it has no toughness. If it is gently dragged on the silk, it will wrinkle like a pile of ashes, with ancient fragrance, and often broken lines, and the cracks are horizontal and straight, all of which make a fish mouth shape with the axis, and the silk is not hairy, but the counterfeit is the opposite. Fake works are often light and uniform in color, with traces of old work, and the thin ones are not cracked, while the thick ones are fragile.