Silk and paper, the materials used in calligraphy and painting, play a certain role in the dating of calligraphy and painting. The identification of silk and paper is another way to identify calligraphy and painting. Silk paintings in the late Zhou Dynasty, Chu tombs in the Warring States Period and later Han tombs in Mawangjiao were all painted on thin monofilaments, but so far, double filaments have not been used (that is, warp is double filaments and weft is monofilaments).
From the Five Dynasties to the Southern Song Dynasty, on the surface, in addition to monofilaments, there were also double filaments. Generally speaking, the silk of the Yuan Dynasty was a little thicker than that of the Song Dynasty, not as thin and white as that of the Song Dynasty, and it was still in a loose state. On the whole, the silk of the Ming Dynasty seems to be rough.
There was a kind of low-quality thin silk in the early and middle Ming Dynasty. Because this kind of silk is too thin to drip ink, painters often put it on paper before painting and calligraphy. In the ancient paper, Han and Jin dynasties, hemp was mostly regenerated from waste materials such as linen, sacks, Ma Xie and fishing nets, and raw hemp was also used-hemp was used in the north and ramie was used in the south.
2. Seal identification
The characteristics of the times and the breath of the seal are also evidence to identify calligraphy and painting. The flavor of the times of seal can be seen from its shape, seal script, engraving method, texture, printing color and so on. In the Song Dynasty, the materials of seals were mostly copper and jade, and a few were other materials. Since Wang Mian began to use stone carvings in Yuan Dynasty, more and more people have used them.
At the beginning of the Ming Dynasty, the seals of various stones were quite common, and the methods of seal cutting characters also had new changes. The stop stroke of each character of seal script is slightly thicker than the original stroke, but lighter and slightly yellow, which is somewhat different from the printing color of Yuan Dynasty. Most of the seals in the middle and late Ming Dynasty were stones, others were crystal, agate, copper and jade.
The characters of seal script used by painters and painters in the early Qing Dynasty did not change much, but the shapes and fonts of seal script tended to be diversified. In the middle and late Qing Dynasty, various kinds of seals and seal cutting appeared, such as Zhejiang School and Anhui School, and most of them took Shuowen Jiezi as the main body.
3. Identification of inscription and postscript
Inscriptions can be divided into three categories: author's inscriptions, contemporary inscriptions and later generations' inscriptions. Common ones are true ancient paintings with a person's false postscript, or false ancient paintings with a person's true postscript. If there is an inscription on the painting by the author at the same time, make clear the relationship between him and the author. This situation is not necessarily known from the calligraphy and painting itself, but must be explored from some inscriptions.
How important the inscriptions and postscripts of later generations can play in the identification of calligraphy and painting should be analyzed according to the specific situation. Such as calligraphy and painting or inscriptions, especially calligraphy and painting inscriptions. , are considered to be the clues exposed by forgers. Avoid.
In the feudal emperor era, writing should be taboo, that is, when writing a word with the same name as the dynasty emperor, you should write less. This is called taboo, which is also commonly known as lack of pens. In painting and calligraphy, we can see which generation of emperors avoided the word without pen, and we can draw the conclusion that the period of painting and calligraphy creation can not be earlier than that of the avoided generation of emperors, otherwise it is a forged loophole.
Extended data:
There is an interrelated phenomenon in the art field of the Chinese nation, especially in various arts centered on Chinese culture. Although their shapes and uses are different, and the methods and tools of expression are different, the artistic charm and interest of different kinds of art, that is, the national characteristics expressed, are similar in essence.
For example, architecture and clothing are built on a broad and serious basis; The display of tables and chairs is called the keynote by the user; Even in the literary language, there have been four or six rows of even-numbered works that have never been seen in the languages of all nationalities in the world, and so on. This is the beauty of symmetry that is particularly emphasized in China culture. Therefore, the requirement of symmetry runs through most calligraphy and painting arts, and it also has some unique internal relations.
Only one line is used to describe the characters. Without the help of shadows, several lines are added to the cheeks to make the characters stand out. This is called "vivid". In the field of painting, the word "expressive" does not specifically refer to portraits, but is often used to describe other objects, such as "expressive for mountains and rivers" and "expressive for flowers and birds".
Using this word mainly refers to removing all the details of objects and images, but grasping their overall points. Therefore, many "freehand brushwork" characters are not mistaken for cats and dogs by the audience; A touch of a distant mountain was not mistaken by the audience for a wet mark on the paper. Special attention should be paid to drawing tree trunks, flower heads, mountains and rivers, and clothes pleats. It is better not to be completely identical than to allow soft brushwork.
Baidu encyclopedia-identification of ancient paintings