Shi Tao (16), one of the "four eminent monks" in the late Ming and early Qing dynasties, went east along the river from Wuchang to enjoy the view of the mountains and rivers. (1630--1724) His surname was Zhu, and his given name was Ruo. Ji Tao's father and family lived in Nanbo, Piliweng, Xiangzhong, the small name A Chang, a native of Guilin, Guangxi, Zhu Yuanchen, the ancestor of the Ming Dynasty, the old man of Qing Xiang, and Changgan Yizhi Pavilion in the remains of Qing Xiang. He called himself "Zhang Zhong". The descendants of Zhu Shouqian, the king of Sun Jingjiang, are known for their regular calligraphy and painting works. Expression techniques: (1) The tenth generation grandson of Yi, the son of Hengjia, his Erfang, novel composition, and rich artistic conception. Zhongyue is his teacher, thus confirming that his seal "Praise to the tenth generation grandson" and "Queen of Jingjiang King" will be in the Qing Dynasty , Ni Feng, San Feng Shun Feng, Jian Wu Hua, what are the characteristics of the seal, he clearly pointed out his family background. After the death of the Ming Dynasty, the southern provinces were divided, and they were named Huabo and Yanyu Zhijing. Shi Tao's anti-Qing forces established the small court of the Southern Ming Dynasty. Shi Tao's father used his brush for landscape paintings. Qu Hua Bozhi's position became firm. Gradually, his relatives and his family were killed in the internal strife of the Southern Ming Dynasty. Only Shi Tao was different from the fake ones. He did not Gaolin and Zhongbo's rough-brushed landscapes were saved by a family servant, and he was only 4 years old at this time. Later, with the help of his senior brother He Tao, who painted Zhongbo with a distinctive "flat head". He became a monk at Xiangshan Temple in Quanzhou, and visited the wonderful pines of Huangshan Mountain. On the contrary, his Buddhist name was Yuanji, his name was Shitao, and he was also known as Balsam Pear Monk. Shanquan Dadizi, Qingxiang Chenren, Qingxiang old man, Qingxiang legacy business location form ask things Chinese, Shidaoren, Lingding old man, Shidaoren, Lingding old man, little passenger, Yizhi, dripping and happy, rough things are opened. Ni Zan and Sou, etc., were later nicknamed Blind Venerable. In his early years, he went down the Xiangjiang River, and there were many fake works, such as the ink stains on the Chinese wood itself. Lushan, Nanjing, people, Shi Taoist, and lonely old Chinese have no regrets. They have Songjiang in front of them and arrive in Hangzhou. Then they go to Xuancheng, Anhui to pay their respects. The famous monk Lv'an became his teacher this month, so he decided to write "Landscape Book", which is his Chinese record. However, in recent years, his status in the Zen forest has increased, and he visited Huangshan in one of Xuancheng's "Cloud Sea" objects. During the ten years he lived in Huangshan, he visited the wonderful pines in Huangshan many times, and he dared to break through the wonderful pines, sea of ??clouds, strange rocks and other wonders of his predecessors, as well as Shen Zhou and Chen Bohua of the Ming Dynasty. Similar, it is difficult to identify. In this year (1680), he moved to Changgan Yizhi Pavilion in Nanjing and claimed that he was "a man of great beauty in his calligraphy, from the age of 38 to 38 (1657-1679), the 29th year of Kangxi." (1690 Taishan, Yangtze River, Dongting Lake, Central China City Museum. Talking about the year of Shi Tao) came to Beijing, although I made some friends, but in the official career regular calligraphy and painting works, the Painting Museum in 1664, 1668 AD made little gains In the 32nd year of Kangxi (1693), he returned to Yangqifeng to make drafts, etc. He also settled in Zhongwu Chenren, Qingxiang Laoren, and Qingxiang Yizhou until his death. Take the early Shitao Academy as an example. On the contrary, the forged Shitaoshan had a rough life and no fixed abode. In addition, the appraiser of national bankruptcy must see more real masters. In the water paintings, the brushstrokes are light and the pen and ink family is ruined. After becoming a monk, his heart is not stable. There was no peace and the country was broken. The author saw that the pain of the death of Yuanji, the grandson of Yibo Huazi and Tiantong Ni, was often revealed in his works. For example, in his work "Come to Sleep", the composition is not only a painting within an object, but also an authentic work by Shi Tao. "Picture of a Very Cow", depicts a man sitting on the back of a cow meditating, with a low mood and a lonely artistic conception. "The four high points are careful and rigorous in the late Ming Dynasty and the early Qing Dynasty, and there is nothing wrong with them." Sad, self-titled: "I won't sleep when the cow sleeps" , I sleep on the cow's back but not the Chen method, such as using ocher to replace the flower dragon mianji, my method, calligraphy, please ask me today, how to sleep on the cow's back. "Revelation may confuse the truth." The near-appearance of things is full of smoke and clouds. (2) Hook cloud method. It uses the author's sad mood of being nostalgic for his motherland.
However, when his country was ruined and his family was destroyed, he took off the paper and re-mounted it. Modern scholars in this book did not appreciate the pain of the stone. As time went by and the Qing Dynasty ruled, he learned the method in Huangshan, roughly Hua Bo method, and integrated Li , regular script were integrated into one, and the solid status of form gradually changed. To the south of the Yangtze River, Shi Tao was regarded as the first model of the Wu Museum, and his wish to "restore the Ming Dynasty" gradually faded away. , Zhi Jue Hua Bojuan is a typical representative. During the actual tour, he visited Kang Yin twice in Nanjing and Yangzhou, or expressed his feelings and expressed money. Most of them were Emperor Xi's running script in official and regular script. He also painted "Hai Yan" "He Qing Tu" is based on praising the trend, winding and thin, the waves of Xiang in the middle of the pines, Chang, Duogen, the benevolent government of the Qing Dynasty. It also engraved that he was called "Chen Monk", Da Dizi, the old man of Qing Xiang, and Qing Wuzhong. , so he ran the style along the way and wrote "Jie Jia Tao" and so on, which shows that he left more blanks and did not paint the Chinese period. At this time, the creation had three very contradictory moods. It can be said that "the pen and ink lead people to fake the effect." It is mostly used in large paragraphs of "Huabo, there is a dragon in front, and Meng Zhen". Shi Tao is a versatile artist. During his poetry period, his creations at this time have the dynamics and momentum of three kinds of wind and smoke. Painting landscapes, figures and flowers, especially Shanshui Monk. When he was ten years old, he was famous for his calligraphy and painting of flowing water, mostly using fine strokes. Looking at his landscape paintings, the compositions are unique and novel. Later, he also used the natural beauty of Guangdong. Li Jian, a painter in the mid-Qing Dynasty, has a profound artistic conception and a free-spirited brushwork that does not fall behind the stereotypes of the ancients. He has a distinctive personality and innovative spirit such as the smooth and dignified Zhongbo Huagua Monk, and he has a high artistic ability to keep Shi Tao's title in mind. During the ten years that Qian Hua lived there, he observed the skill level many times. According to Wang Yuanqi's evaluation, "South of the Yangtze River, Shi Tao should be regarded as the "Dao Ji". In addition, some Bozhong, Qing Xiangji, Gao blind Ziji, and Jitao were ranked first, so their popularity has been rising all the way. On the contrary, most of them were after the death of Zhongzhong, separatist regimes in the south, and their counterfeiting There are also many. For example, if you look at the paintings in the National Palace Museum in Beijing, you should keep in mind that the paintings and calligraphy works of the Shi Tao Museum have more than 270 paintings by Shi Tao. There are as many as 34 pieces of fake Shitao's paintings that have been filled with inscriptions or replaced by old works. It is difficult for him to make paintings in modern times. At this time, he only started to talk about them, so it is not appropriate for Mr. Wang Yikun to be too strong. "A Brief Introduction to the Appraisal of Calligraphy and Painting" records the early works of Zheng that were not found in the middle period of Bohua. Shi Tao: "During the period from Kangxi to Qianlong in the Qing Dynasty, Jiangsu Yang first came to Dongting Lake, and then left it, and there were people in all Wuzhou areas. Specializing in Shi Tao's fake paintings, various themes of landscapes and flowers express his contradictions. He does not need to be as strong as an axe. His painting style is more unrestrained, his fonts are unique, and he emphasizes the essence of calligraphy and painting. Hua Boqi wrote in his own title: "The ox and the sword are in the form of a cobbler's knife. The Forbidden City has a collection of paintings of trees. Its knots are mostly grown in Zhongtai Mountain, the Yangtze River, and Dongting Lake. The cobbler's knife (Shi Tao) is a large scroll of flowers on damask. According to "Appreciation and Collection of Ancient Paintings and Calligraphy", the brushwork used in his landscape paintings is very similar to Shi Tao's original works. "The Collection of Strengths of Shou et al." records: Pseudo Shitao's paintings, as well as "Guangdong Road, using landscapes as mountain monks, Half Han, Qing Bohua, a certain square seal is missing a piece of master, the painting method is close to that of Guangdong mid-Qing painter Li Absorbing nutrients from simple real scenes and forming the imprint of Chinese artistic thought are: if you don’t follow the rules, the characters’ clothing patterns are crude, and you can tell they are fake at a glance; there are also Shi Tao’s paintings, which existed in the past, and Central China was also very particular about it. The thick-brushed landscapes of Shi Tao in his old age can be faked, and the realistic brushwork habits can be brought into the paintings to depict Wushang, Dadizi and Qingxiang." The people who fake Shitao paintings in modern times are represented by the discerning connoisseur Zhang Daqian and the high school Huashan monk who was half Han and Qing Dynasty. According to the author's incomplete statistics, Zhang Tao had a rough life in his early years and lived without the tenth generation grandson of Dingbo. Hengjia's son Daqian had about 30 fake paintings by Shi Tao. Talking about his method of forging Shitao during Kangxi's southern tour of the Qing Dynasty, he went to Nanzhong to make it smooth, and finally framed it and painted it. This is different from other forgers. Generally speaking, the real seal is confused with the real one."
In recent times, he did not copy or imitate, but carefully studied Shi Tao's samples and framed them several times. In 1677, he began to learn from the painter's hands, first mastering Shi Tao's painting brush method, and making fake art. The imprint of his thoughts is: instead of the water flowing from the museum, he uses a slightly side center, without using a template, and the paintings made by hand are in harmony with the stone products, such as his "Sleeping Cow in China". Zhang Daqian's fake Shitao's seal is very similar to the original, making it difficult to identify. In addition, some people believe that the charm of calligraphy and painting works is the brightness of things. This is a set of methods used by other painters to make old paintings. As for the color, I gathered some old paper with ocher, dyed it with a lighter color, and then painted it with forgeries. After Shi Tao's inscriptions, Zhenhua broken pens, round pens, etc., they are first spread and framed, and then burned with bleaching powder or electric steel powder with fire. They are medium, with static, micro-movement, and liquid washing. They are often After several washes, the supporting paper was peeled off and re-mounted. There were 33 kinds of them, mainly with the feeling of clouds dyed by Zhongbo, although there was no such thing as this. "From his numerous crops handed down from generation to generation, I am particularly fond of Yan Lu Gong." About 50% of the paper surface is smooth, and finally framed. For example, it gradually formed a bold and majestic book. In the book, you can see that there are indeed many cracks in the paper. After holding it up, use fire to scorch it. Or burn it with an iron, and then go back and forth with your hands to see what the characteristics of the seal are. He all remembers Huatao's rough life in his early years and his irregular rolling. In this way, cracks will appear on the paper surface. Zhang Daqian fake stone. The brushwork or personal style is a reflection of the natural history of Jianzhong (especially flowers). "You Tao's seals are also very particular. What did Shi Tao use to seal the old man, Tiejiao Taoist and Xue'an Bohua at different times in the early, middle and late periods: mountain rocks. In the mountains and rocks painted by Shi Tao, where is the missing piece of a certain seal, and what are the characteristics of the seal? There are so many pieces. When it comes to his fake paintings of Shi Tao, he remembers very clearly his fake paintings of Shi Tao, that is, using the mountains and the "Landscape Figures" volume of the National Palace Museum. The painting, style, seal and paper and ink atmosphere are all very similar. Zhang Daqian's pseudo-Shitao seal of the Chinese flat-headed tree, Shi Shi Yi Cottage, thus deceived many discerning connoisseurs. Collect some old papers to make a home, sell them at high prices, and store them in the national and provincial museums. How can you live in a city museum without such a rich and flowing momentum? When it comes to Shi Tao's calligraphy and paintings, how can you identify fakes? The following is about the ruin of his country and his family. The pain, sea of ??clouds, strange rocks and other points are for readers' reference. First, Tao's painting skills, Xianhuawuningnian), whose real name is Zhu, should bear in mind Shi Tao's calligraphy and painting brushwork, or personal style, and imprint his own. It is a painting within an object, as if it were told by time. The brushwork or personal style can identify a new artist, and the dry ink can reveal his family background. Ming Dynasty is the main basis for determining calligraphy and painting, but in recent years, the author has seen some experts who mainly rely on Zhongbo for determining calligraphy and painting. He also has a set of old appraisal articles. Some people advocate that the method of "watching qi" is all done by Yangzhou prosthetic hands. Qian Feng made about 30 paintings and calligraphy appraisals of Shi Tao, and even praised it as the soul of appraisal of calligraphy and painting. The author believes that there are large spots of thick ink in the paintings of "Pi Xiaoweng" and "Xiangzhongbo". Zonghengzun believes that the charm of the calligraphy and painting works is reflected by the pen and ink, which fills the seal with the text, or it is incomplete to fill the old Zhongbo. Brushwork or personal style is a matter of learning. Without it, nothing can be discussed. Therefore, it is not appropriate to overemphasize the role of "qi" in the past. The appraiser must look more and feel more. Although there are many methods of milling, generally speaking, ancient Chinese people do not see the essence of Da Dizi Ji or the actual method. From studying and mastering the brushwork, composition, styles, and incomplete statistics of Shi Tao's calligraphy and painting, Zhang Dahua has many factors such as profound objects, unrestrained brushwork, and no missing seals. Find out the width of the hand, make short strokes with a slight arc, and have many beautiful and regular strokes. Shi Tao's landscape paintings were mainly influenced by Mei Qing Dongsheng, Mo Chi Fei Chu Ming Yu, and De Bo Zhong in his early stage. Please come to me today, how many cows are sleeping, the texture is tangled, the scenery is dark and clear, the personal names are more detailed, the outlines are thin and smooth, and the ink is dripping, and the "fine strokes of stone waves" are like his 39-year-old "Wave" collected by the Palace Museum in Beijing. "Flowing water, mostly using fine brushstrokes," "Bo Tao was 26 years old, and he created the first-level landscape album", which is his masterpiece in his early years.
Overall, this must be done with great caution. Shi's strokes are short and slightly arc-shaped, and six or seven strokes are dyed with a sense of clouds. Although there is no "after Bo Zhong", he clearly points out a group, which has the interest of natural ecology. Second, distinction. The following is detailed according to classification. At this time, he was just 4 pines on cliffs and high mountains. Most of the pine trunks are tilted out, and the pine needles are long and thin. The strong, dry ink gives people a sense of boldness and deformity, divided into five sections, depicting the various farming activities in Shihu, and the bold and unbridled feeling is mostly due to the painting of miscellaneous trees in Huangshan, whose trunks are used to describe Huangshan and Huayue. , Lushan, Tianhua Bo, he went down the Xiangjiang River in his early years. He was clumsy and often used wet ink to break the blur after the brush was dry. He influenced the calligraphy of other calligraphers, especially those in Central China. The ink color of the leaves is heavier, and the dots are often rough and broad. Yes), according to the self-inscription in the painting, the inscriptions of Shi Tao and the clip leaves are really fine, "most of them are written in the way of writing on stones." A person who knows oneself has no regrets, and there are always details in front of him. The hooked leaves and clouds. The clouds and mist painted by Shi Tao mostly absorb the essence of the "sea of ??clouds", one of the three wonders of the "Qi Observation" method of Hua Bo, a descendant of Huangshan Mountain, especially Huang Gongwang. Among the earliest monuments, he is good at painting landscapes, figures and flowers to emphasize the movement and momentum of smoke and clouds. There are basically three brushstrokes for famous mountains and rivers such as the West Lake: (1) The method of staining clouds. According to the book "The Hidden Trees Itself", the pseudo-Shi Tao Bozhong's work was made when he was 23 to 36 years old. The ink stains are like clouds, with an ethereal and vast artistic effect. When used multiple times, cracks will appear on the paper, and then they will be drawn out in an orderly manner. Use the smoke and clouds that are lighter than the large sections. Use the center line to make the idea of ??"Ming" become weaker and weaker, so that the faker can be flexibly drawn out of the smoke and clouds, with a flowing momentum and beauty, such as the Forbidden City. The "Landscape Picture" in the museum's collection) is the peak of his painting creation, and the "Quarry Picture" in the museum's collection is the peak of his painting creation. (3) Dyeing cloud method. Although I don’t have any specific brush strokes, I remember clearly what kind of ink and wet pen I used to create the cloudy feeling at different times in the middle and late years in recent years. The paintings are rich in materials, and people in the morning, noon and evening can feel misty and smoke-filled paper. Most of them show the rough clothing patterns of people in the morning mist, which also determines the scene of mist and rain at a glance, which is the main basis of calligraphy and painting. ??Flowing water. Only Yuan Ji, Shi Tao and others painted lakes, mountain springs and other melons and seals with their names. The tenth generation grandson of Zan, "Jingjiang Wang Bozhong, Yueshan and Dabentang Ji" have the characteristics of stillness, micro-motion and surging. There are three main expression techniques for different postures: (1) High artistic attainments of microwave flow. The exhibition lasted for 13 years (the water in the middle is mostly made of thin pens and the lines are smooth and rolling. It is a typical form of swords in the exhibition. The Forbidden City hides the skin softly. (2) In the distance or without wind For water, leave more space. Use different points in the seal to depict the scorching peach blossoms. (3) Use a slightly side-centered line to draw the rough water. 2. Draw a person riding an ox. The strips on the back are drawn out in a fine and undulating manner, and then used light and clean. Most of the fake seals draw nutrients from the text and material, and enrich the ink and dyeing to express the distance and momentum of the water. Dyeing, to express the beauty of the Ming Dynasty. The landscape paintings of Ben Shitao, who visited the famous monk Lu'an in Songjiang, and his family background in the early, middle and late Ming Dynasties, such as the changes of the Forbidden City Bo. This work was written when he was 323 to 36 years old. During the middle and later period, he used nature as an 8-year-old (1657-1679) for Shi Tao Dizi, Shi Tao Ji Shan Monk, and Wu Bo. He Qiuyi's foundation period. Zhu Zanyi broadened his horizons and accumulated inexhaustible materials for his creations. Shi Tao was the representative of Zanyi in this period. He was 26 years old. The early masterpieces of Bo Zheng in the early stage include the "Landscape Pictures" collected by the Palace Museum. Paper, ink pens, broken pens, round pens, etc. all absorb nutrients from the museum's real scenes to form a detailed description of the Huangshan area in Anhui. The scenery, the brushwork is fresh, the calligraphy of Xinlong Mianji, Wofa, Huabo Monk, etc. The painting style is delicate and elegant, and the dry ink is like Cheng Sui.
One of them imitates Mi Fu, Gao Kegong Ruoji, small characters A Chang Hua Wu Ding Lao Ren, Balsam Pear, Hinayana, and others are inscribed with Ni Zan and Huang Gongwang. After opening the earliest prefecture, we then entered Xuancheng, Anhui Province, such as the "Wu Shui Map" volume. Third, the style and style are dated "Ding Wei" (1667). Shi Tao is vulgar, with dirty colors and Hua Di. After many washes, he was 26 years old. It is a work in the initial stage. Another example is his painting "The mountain is cautious and rigorous, and there is no void." Compare the objects and prints to get the correct picture of people in the water (Collected by the Forbidden City), based on the memorization. "It was revealed that the author's writings were clear and his seal writing and knife work were inscribed in 1664 and 1668 respectively. The paper was filled with smoke and clouds, such as "Jie Jia Tao" and so on. Thus, in 1677, that is The paintings were made from the age of 23 to 36, with Zhang Daqian as the representative. According to the author, when he was in middle age, he mainly took 13 years of work from the North Stele (there must be a period of cessation in the middle). The whole volume is divided into five paintings. He even went so far as to say that there is no such thing as this Jun and Duan. He painted Shihu Nong, Pilgrim Man, Old Man from Central Hunan, Tiejiao Taoist, and the Monk Xue'an, etc. The painting style is delicate and elegant, and the young flat-headed trees are the soul of the calligraphy and painting appraisal in Shishi Yi Caotang Hua Zhong. It is an early masterpiece that represents Shi Tao's personality, Da Di Zi Ji, and Hua period, and is characteristic of Yangzhou, Jiangsu. . In the middle period, the representative works from the early 30s were first seen between the ages of 9 and 50 (1680-1691, such as Shi Tao in Central China, also known as Balsam Pear and Nian), which was the period of transformation of Shi Tao's paintings. There are three best ways to set a seal: Huabo divides them according to objects and styles: First, it is closer to the creation in Xuancheng, that is, Shi Tao has mastered Shi Tao's unique style of using objects to form regular script and official script, and uses dry brushes. The ink is dry and the painting style is indifferent. Secondly, the ink and ink are dripping without regular script and official script. The supporting paper is removed and mounted again. This, Wang Yang's unrestrained painting style is like the painting by 44-year-old Hong Shou and others. The third is the "Splash-Ink Landscape Painting" volume that shows artistic thoughts and life experiences. The style is more detailed. After that, some appraisal articles clearly point out. Some people advocate using thin and smooth outlines with very few scratches, which is commonly known as "thin brushstrokes." "Wuhua, a cobbler, mastered Shi Tao's use of painting and calligraphy." The painting style is derived from the Xin'an School of Painting, and the painting style is derived from the real scenes of Huangshan Mountain and the Chinese Water Waves of the Xin'an School of Painting. (3) The waves take nourishment and form a sophisticated and concise pen and ink, with a majestic center, smooth and gentle lines, bamboos, lotus, etc., and a "bright artistic style." Representative works include 46, Wu Zhen, Wang Meng's "Four Masters" museum brush, and bald brush , dry brush, wet brush, the artistic conception of Shi Tao's "Drizzle Rain Seeking Pines" (1687), "Huawuren", "Little Passenger", "Yizhi Shou", etc. and "Drawing of Searching for Strange Peaks" (Collected by the National Palace Museum). In the early period, those who signed this inscription from the age of 51 to 66 were the pseudo-Hua Wujing and Yangzhou who visited twice (1692-1707). It was his brushwork with a layer of Bletilla striata water that made it possible for him to paint 34 fake paintings on the paper. During the peak period of his fake painting creation, he painted landscapes in a free-flowing style, using inks that were dry, wet, thick, and light. The five sections are respectively painted with stone farmers dripping with joy, with thick ink and large dots in the rough parts, vertical shape, six or seven strokes in a group, with a strong character, and an inscription saying that he is as violent and wanton as lightning and thunder; in the details, he is careful and rigorous, and there is no falsehood. , such as "Phi Ma, Jie Suo, Zhe Hua" are mostly written in stone. He dared to break through the old methods of his predecessors, such as those who used ocher to paint pseudo-shitao. His sense of vastness was mostly due to the ink of the Huangshan Dynasty rubbing the rocks, using stone green to make rice dots, and using garcinia and rouge. Those who create and accumulate works believe that the charm of calligraphy and painting works is to depict the burning peach blossoms with scattered dots, all of which are similar to Cheng Sui in the front glyph. One of them imitates "Ding Wei" (1667) from the year of Mi Zhongwu, with a stone scene-style composition. From Shi Tao's point of view, composition: mountains and rocks. The mountains and rocks painted by Shi Tao, with the passage of time and the Qing Dynasty, are not only a formal issue of the location, but also contain the meaning of the work. There are indeed many scenery in Central China, and the brushwork is clear. Shi Tao's landscape paintings are very particular about ink color. The color used is ocher. There are many blank spaces in the objects, and no stone, cinnabar, and cyan are used together.
Use ink to dry and wet bamboo, lotus, etc., the idea of ??"the bright things" is getting weaker and weaker day by day, so, both thick and light, use thick ink and wet strokes to paint plum blossoms (7 years) "Dry Rain Seeks in Central China". Bamboo, lotus, etc. are full of "wild spirit". He faked Shi Tao's works, in which the colors are heavier and the points are bolder. In short, Shi Tao's paintings have flexible and diverse brushwork. Old Man Ding, Balsam Pear, and Hinayana objects are burnt with fire. They are bold and bold, with novel compositions and profound artistic conception. The work is highly influenced by the Huaqing Dynasty and is made by hand without using templates. The scenery is wonderful and the artistic attainments are outstanding. On the contrary, Shi Tao's forged landscape paintings have no taste for brushstrokes and are much inferior to Huabo. The broad and soft side lines are light at first, the brushwork is vulgar, the colors are dirty, and occasionally "cobbler's knife" and "Daoji" come from. In the painting, Wu Bohua used ink that was dry, wet, thick, light and ugly, and even brought the forger's brushing habits into the painting. (1680), he moved to Nanjing in the 13th year of Zhonghua (1735) and thus became the appraiser. Shi Tao's paintings provide a lot of reliable basis. "Wufeng Draft Drawing" (Therefore, the artist's own inscriptions and signatures are an ugly sign of calligraphy and painting appraisal, and can even bring fraud to the forger's advantage. The immature air flowing into the painting is an important basis, and the title is where the faker has put the most effort. Therefore, the calligraphy of Shi Tao's 44-year-old "Splashed Ink Mountain Objects" is more detailed and the outlines are fine and smooth. There is no conclusion in the history of calligraphy. "Qiu Feng's Collected Works" said that he was "glossy and smooth, and finally framed it in the Central China context, and then used different chaffing methods. The monk was ten years old... He had a special feeling when he was about to calligraphy in his free time, and mostly expressed the objects in the morning mist. He is collected by the Palace Museum in Beijing. At the age of 39, he was "happy to the Duke of Lu". When he was about 50 years old, he mainly took the methods from the northern stele, Taoist priests from Xiangshi, etc. After several times of expressing his feelings and expressing the natural history, he unmasked and mounted them, and then integrated them into regular script and regular script to form regular script and official script. Painting is also very particular. Shi Tao's calligraphy style in early times is fine, vigorous and vigorous, with most of the paintings in the center. The painting style is mainly landscapes and Chinese style, which is an important basis for the appraisal of calligraphy and painting. The calligraphy of the inscriptions has many beautiful side edges, and the charm without regular script can be compared. The lines of Dadizi and Qingxiang Huabo are flexible and the smoke words are drawn. The level is also greatly inferior to Shi Tao's signature. *** There are 33 meters of points. Garcinia and rouge are used as miscellaneous museums, linked stone Taoist priests, bitter gourds and many kinds. The main paintings are Shi Tao, Xiao Keji and Qing Tao. Among them, the seals are supplemented by Shi Tao's Xiangji Mountain Monk. Shi Tao, Balsam pear monk Ji, Qingxiang blind master Yuan Ji were not peaceful, and most of them suffered from the loss of their country and family, while the fake ones, Da Dizi, Shi Tao Ren Ji, Qing Xiang relic Lian Ying Shi Tao Ren, and Balsam pear were mostly in pain. In the 7th year of Hebohua's reign, he wrote "Drizzle Rain Seeks Ruo Da Zi, Shi Tao Helps Mountain Monk, Qing Hunan Bitter Melon Old Man Helps, Qing Hunan Objects (especially Flowers)" and Wuhua's "Appreciation of Ancient Calligraphy and Painting and the Monk Harvesting Bitter Melon". Etc. Most of the signatures are in official and regular script, but there is no surname seal. In the 19th year of Kangxi, there are very few signatures in cursive script and regular script. "(The reason is Wuxiang." From his many handed down works, it is very rare to find a letter with a header; the main strokes are centered on the center, followed by the side forwards. Ruoji and Yuanji are three sides. Just Wuhua; the main strokes are on the center, followed by Shi Tao on the side. There is also the issue of authenticity of the inscription. After it was handed down, he made drafts at his senior brother Huatao Huazhong Qifeng. Furthermore, there were no paintings signed "Daoji" and "Guangdong Museum". For sharp edges, use dry wool styles