First, you need to know the authenticity of the painting. Actually, it's just an ordinary painting. If you buy today and sell tomorrow, the interval is too short. In most cases, it will depreciate, so it will generally not make money and is unreliable.
Nowadays, celebrity paintings and calligraphy are precious, and many Tibetan friends like to collect them. However, how to identify the authenticity of such precious paintings and calligraphy when buying and collecting them, so as not to be deceived?
1. Grasp the essentials and identify ancient paintings and calligraphy works.
To identify the authenticity of Gu Shuhua's works, we must first grasp the essence of ancient calligraphy and painting, first observe its structure, brush, line texture, inner spirit and overall care, and then observe whether it is artificial or natural, true or false. Then research the past lives of ancient paintings, and finally distinguish whether its printing color, paper and ink are superior. If the handwriting is only structural and slightly dull, it can be identified as copying; If there is a pen meaning but no structure, it can be concluded that it is temporary; If the strokes are discontinuous and messy, they are mostly books. The fake shows that the whole work is not wonderful and exquisite. In addition, we can also distinguish the authenticity from the ink color of ancient calligraphy, because the ink color of ancient calligraphy, whether dry or thin, permeates the paper, while the counterfeit is floating and unreal. This method can also be used to identify ancient paintings.
2. Distinguish the authenticity from the characteristics of silk paper
Starting with the different characteristics of different generations of silk paper, it is also an important means to identify the authenticity of Gu Shuhua. 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 thicker. Silk in Yuan and Song Dynasties was slightly uneven. Zhao Ziang, Wang Ruoshui and other famous ancient painters often use Mijia silk, which is thin and even. After years of development, the silkiness of ancient silk has basically disappeared. In addition, after modern mounting, it has no toughness. If you drag it gently on the silk, it will wrinkle like a pile of ashes, with ancient fragrance, often broken lines and straight cracks, all of which are fishmouth-shaped with the shaft. Silk is hairless, but fakes are the opposite. Fake works are often elegant and even in color, with traces of old works, thin and unbreakable, and thick and fragile.