1. What is the appraisal standard of the original painting and calligraphy?

What is the standard of real calligraphy and painting? One is style, and the other is pen. Style is called characteristic, and pen is called characteristic. Features and characteristics constitute a standard for the authenticity of calligraphy and painting, with features of table and interior. Features come from structure, and features come from the author's mind, which are indispensable. Without this standard, there is no authenticity. The identification of truth and falsehood is based on facts, but people always talk about the combination of truth and spirit, and the tangible absence of god is false, while the intangible absence of god is untrue. A painter and calligrapher uses his life experience to create his own face, which is the crystallization of wisdom, thought, knowledge, courage and hard study, and contains the nature of the author, thus forming a recognized style standard. The style standard is guided by the author's thoughts. Generally speaking, even if there are changes, it is gradual, with gradual progress before and continuity after. There are many kinds of fraud methods, many of which are really unheard of. Don't underestimate the ability of counterfeiters, some of them are not worse than the author. They study the style, means and thoughts of the object, but after all, no matter how thorough they study, they can't 100% replace the object, and it will leak after all.

2. What are the taboos for collecting calligraphy and painting?

There are five taboos in collecting calligraphy and painting. First, avoid pollution, such as oil stains, sweat stains, tea stains and dust. Dust tends to adsorb acidic substances and mold spores, which makes the paper acidified and moldy. Second, avoid mold, especially black, yellow, red, purple and other molds that produce color, and the mold spots produced are extremely difficult to remove. Third, insects, such as octopus and tobacco beetles, can often corrode calligraphy and painting. Fourth, avoid light. Generally, light sources contain ultraviolet rays, which will make paper yellow and brittle. Fifth, avoid moisture, paper is easy to absorb moisture, and paper is easy to mildew and rot after absorbing water. In addition to being easily eaten by insects, man-made destruction is also one of the main reasons: fire, war and other destruction make many precious ancient books, ancient calligraphy and paintings and ancient documents lose.

Generally speaking, the protection of paper cultural relics is very difficult, and improper collection will damage the appearance of the collection. The ancients used letter covers to collect books and refined picture frames to collect calligraphy and painting. The materials for making picture frames should be carefully selected to prevent oily substances in wood from polluting the paper. Ancient wooden picture frames are not only made of exquisite materials (commonly used camphor wood), but also made of multi-layer materials. The outer layer is camphor wood, the middle is nanmu, and the innermost layer is fine silk. The picture is wrapped in a cloth cover.

No matter how clean your hands are, they also contain grease, sweat stains, dust, mold and other pollutants. Wear gloves when holding paintings and calligraphy. When watching, people should keep a distance of about 1.5 meters from the painting and calligraphy, so as to avoid splashing saliva on the painting and calligraphy when talking. Cool autumn; You can take out the collected paintings and calligraphy, dust them off and let the absorbed water evaporate. Modern furniture materials contain a lot of formaldehyde gas, which is not only toxic to human body, but also harmful to calligraphy and painting, so modern cabinets are not suitable for storing precious paper cultural relics. The rainy season in the south, with high humidity and high temperature in the air, is the season of high incidence of insects and molds. At this time, special desiccants and insect and mildew inhibitors should be used to prevent moisture and inhibit the growth of insects and molds.

The traditional paper-making method in China is manual process, and the main technological processes are: crushing, retting, evaporation, pulping, paper-making and drying of plant raw materials. Traditional papermaking methods do not need chemical additives, while modern papermaking is a large-scale machine production. The produced paper has been treated with several or even dozens of papermaking chemical additives, which has brought many side effects, making it difficult to preserve the paper for a long time.

3. How can we do a good job in calligraphy and painting identification? What knowledge do you need for this job? First, the painter's name, birthplace and year of birth and death.

The names of the ancients are often many. The simplest one is a word, such as Kong Qiu's word Zhong Ni. Wang Xizhi's Ci Shao Yi and so on. It is not simple. Besides names, there are numbers and other numbers. There are birth names, nicknames, and musical names. Names often have aliases; Words, there are often other words. There are often dozens of painters and painters with different names. For example, Boshan, a Shanxi painter and calligrapher in the Ming Dynasty, had more than forty nicknames such as Bamboo and Jiu Feng. In the early Qing Dynasty, Zhu Ruoji changed his name to Yuanji, also known as Chaoji, Daoji, the word Shi Tao, and Achang Bitter Melon, which was also called Old Man, Old Man, Legacy, Bitter Melon Monk, Taoist Stone, Blind Venerable, Jishan Monk, Subordinate, Small Guest, Blunt Root Old Man, Zero Ding Old Man, and so on. Although each name combines everyone's ideological roots and uses a certain name to express some thoughts, there are too many names, which often make people who look at paintings forget clearly, which is really a very troublesome thing. So the number of names should be small. However, the names of painters cannot be too few. What is the reason? One reason is that China's paintings have reached the modern age. Due to the high development of the beauty of inscriptions, a painting often has ten or three paragraphs. For example, Shi Tao's Twelve Flowers in Tong Jingping is composed of six feet of paper and two banners. There are as many as five or six paragraphs on the picture. The title of each paragraph must end with the author's name and seal. If four or five paragraphs are written with the same name and stamped with the same name, it will be ugly. There is also an album, China's paintings, an album, 16 to 24 pages. Every page should be inscribed, and the end of each paragraph should be sealed with a name. There are inevitably several chapters with the same name in the middle. Although the printing size is Fiona Fang, the engraving method of characters can be changed as much as possible. But in the whole album, if the title and seal of each page are the same, it is naturally similar and unremarkable. When each title is received, the number of words is often more or less because of the length of the state. If the number of words is small, the title is simple. If there are more words, the title will be expanded by overlapping different names or painting positions to fit the position of the last line length. Here are some examples.

"Didazi Inscription Poem Postscript" Volume III "Double Hook Peach Blossom";

It was snowing heavily, and I was fascinated by surprises. General forbearance, turning over chapters, this age is too self-abased, economical, and.

This is the second paragraph written by Shi Tao in Double Hook Peach Blossom. This second paragraph is because the stamp is upside down, so it is upside down to show solemnity. However, due to the lack of status, only one word "Ji" and one word "You" were inscribed in the end to show the meaning of the topic. The first inscription of this peach blossom has seven unique inscriptions and a postscript, so there are many empty tails, so the inscriptions overlap with different names and record the position of the painting. The record is as follows:

Dusuo Mountain is drunk in the moonlight, and the blue sky is endless with sunrise;

Dongfeng stands proudly in the news, peach blossoms on earth.

When I say peach blossom, I feel as if it is still there. There is no language in the world, and there is no reason for prosperity. "Qinglian Pavilion in Guangling" includes "Zi", "Blunt Root", Economy and Knowledge.

Shi Tao is good at poetry, calligraphy and painting, and has achieved a lot. In calligraphy, the fine print is fine, put on the painting, or poor; Or short songs, or long paragraphs, or multi-paragraphs, varied, just right, can be called the master of ancient inscriptions. The reason why Shi Tao's inscription is just right is related to his accomplishments in poetry and calligraphy, but it is also related to his long and short topics. Therefore, to understand a person, it is necessary to look up the words, numbers, aliases, real names and study names of painting and calligraphy artists.

This kind of commonly used reference book is the index of room name and room number published by Zhonghua Book Company 1957 and edited by Chen Naigan. The characters collected in this book have more than 17,000 names and aliases from the pre-Qin Dynasty to the late Qing Dynasty. Because the collection of aliases in this book is limited to more than three words, it is necessary to supplement the Index of Alias of Ancient and Modern People published by Lingnan University Library 1937. This book contains more than 40,000 ancient and modern figures, and as of 1936, it contains more than 70,000 aliases, including common words, numbers, overflow numbers, names of Zhai Shezi and Li Jue, names of emperors' temples, calligraphers' inscriptions, writers' pen names and other same aliases-different. There are addenda and supplements at the back of the book, which supplement the place names in Ming and Qing Dynasties, especially in the late Qing Dynasty and the early Republic of China. You can also make up the Font Size Index of Ancient Calligraphy and Painting in China published by People's Fine Arts Publishing House 196O, edited by Shang Chengzuo and Huang Hua. This book contains about 16000 calligraphers and seal engravers from the Qin and Han Dynasties to the Republic of China, and is divided into two volumes. In the first volume, check the real name, place of origin, year of birth and death, good skills, teacher and friend background or previous official position from the font size. All ancient place names are marked with the names of the present provinces and counties. The next volume, look up the font size from the name and bet on the page number. There is no name of this room in this book. If you look up the name from the room name, you should use the above two indexes.

In addition, you can also find the historical atlas of China folk New Year pictures in the series of China Painters Dictionary, Historical Biography of Paintings in Past Dynasties, Hua, Guo Chao Painting Knowledge, Mo Xiangju Painting Knowledge, Children's Tone Painting Theory, Han Tan Yi Lu and China Art History Atlas. The History of Painting in China is divided into two volumes, including 608 representative works of painters from the Warring States Period to the Qing Dynasty. The catalogue is arranged in order of time and author. It not only photocopies the representative works of the author, but also introduces the life story of each author and explains the shape, content and characteristics of each work. For example, Gu Kaizhi, a famous painter in the Eastern Jin Dynasty, has the following explanation in his work A History of Women:

Gu Kaizhi was born in Wuxi, Jinling (now Wuxi, Jiangsu). Yixi (405 ~ 4 18) died at the age of 62. Kay is knowledgeable, talented and good at painting. She is a teacher and a health association. People call it "the three unique skills of a tiger"-talent, painting and infatuation. This picture is made of silk, 25 cm long and 349 cm wide.

Color painting: The stories and sentences in Proverbs of Women's History written by Zhang Hua in the Western Jin Dynasty are mostly about women's feudal morality and moral integrity. Every book has the word "proverb", and the last paragraph is "Gu Kaizhi's painting". You Simiao is used in the painting, and the figures are vivid, but the proportion of mountains, trees and people is not equal. See the Gu Zhuo state of early paintings.

The combination of pictures and texts in the book comprehensively and systematically reflects the achievements of China's ancient painting.

Duplicate names are a common phenomenon. To find out a person's name accurately, we must be good at distinguishing the namesake of painters and calligraphers. Without distinction, mistakes are inevitable. When there is doubt about the same name, even knowledgeable scholars should read relevant reference books to avoid mistaking people with the same name for a person. The problem of the same name has long attracted people's attention. As early as the Northern and Southern Dynasties, Xiao Yi, Emperor Liang Yuan of the Southern Dynasties, compiled a Catalogue of the Same Names in Ancient and Modern Times. Later dynasties were either supplemented or newly edited. At present, the Dictionary of Ancient and Modern Names is more suitable for finding the same names in past dynasties. Mr. Peng absorbed the achievements of predecessors in compiling the catalogue of the same surname, and supplemented and revised it with reference to hundreds of classics, biographies of the Qing Dynasty, and general records and survey data of 22 provinces. There are 56,700 people with the same name from ancient times to 1936, including 403 surnames and 1600 people with the same name. Under the name, indicate the profile of the person with the same name, and sometimes indicate the source of information.

Knowing the name, birthplace, birth and death time of a painter is very helpful for the identification of calligraphy and painting. These problems are often ignored by some counterfeiters. If we know them well, we can see them more easily. For example, in the Ming Dynasty, Shen Du's Hundred Plum Blossom Poems and Records of Baodi in Shiqu, Volume 16, said, "In the autumn of the fourteenth year of Wang Chenghua, Shen Du wrote it in Yuchun Caotang." Ding Yousheng, who was admitted to Shen Du in the 17th year of Yuan Dynasty, died in the 9th year of Ming Xuande at the age of 78. In the fourteenth year of Chenghua, Shen Du has been dead for forty-five years, so this album can be identified as a fake without looking at the real thing. Another example is the "Sanqing Map" written by Yao Shou in the Ming Dynasty, and it is recorded in Volume 15 of the "Dream Garden Calligraphy and Painting Record" in the Qing Dynasty. The paragraph says: "Sanqing Map will be made in the autumn at the age of five, and it will be transported to the east as a public." Yao shou hasn't been born yet, so it's certainly a fake. It is precisely because the painter's year of birth and death is directly related to the identification of calligraphy and painting that we should know as much as possible.

However, the date of birth and death of some painters and painters was not recorded in the past literature, and some records were incorrect. In this way, the work itself becomes the first-hand material, which can supplement the shortcomings or correct the mistakes in the literature.

For example, Zhao (Zi Gu) was born and died in the Song Dynasty. Many documents recorded that he was born in the fifth year of Qingyuan in the Southern Song Dynasty (1 199) and died in Zhenyuan in the Yuan Dynasty (1295) at the age of 97. Some people have doubts about this, but they have not been solved. Cultural relicNo. 1962 published Mr. Jiang's textual research article on this issue, and calculated that he died about five years ago and three years before Xianchun, but so far there is no conclusion. According to the poem "Narcissus" written by Gu Guang Scott, a good friend of Zhao, there is a sentence "Jiazi takes five days", which clearly records that Zhao died in Jiazi, that is, in the fifth year of the Southern Song Dynasty (1264), at the age of 65. This has solved the problem that has not been solved for many years. Yang Wuqiu, who is good at drawing plum blossoms, has never found a clear record of his date of birth in the literature, but he found the word "Ding Ugly Man" in the inscription of "Four Plum Blossoms", which solved the problem of his date of birth (Shao Shengsi 1097).

In the past, some books recorded Ke's date of birth in Yuan Dynasty incorrectly. For example, Guo Weiqu's Chronology of Painters and Calligraphers in the Song, Yuan, Ming and Qing Dynasties records that he was born in Renzi (13 12) in the Yuan Dynasty, and was honored as "Dr. Kui Jianshu" (1329), which means that Ke was eighteen years old in vain. In this way, the problem comes. Although a talented person, how can he be appointed as "Dr. Kui Zhangge's fencing" at the age of 18? Obviously, this record is wrong. So what year should Ke Jiusi be born? The Palace Museum has Yu Ji's Anti-mosquito Fu in Yuan Dynasty. On the back cover paper, there is an inscription by Ke. There are several seals under Ke's name, one of which is "Only Geng Yin and I surrender", which provides conclusive evidence for his date of birth. There were two years of Tang Yin in Yuan Dynasty, one was the 27th year of Zhiyuan (1290) and the other was the 10th year of Zheng Zheng (1350). There is no doubt that Ke was born in the last Geng Yin year, namely 1290. It has been two years since the beginning of the calendar, when Dr. Zhang Gejian was 40 years old.

There is a painting by Yan Yue in Nanjing Museum. According to records, he came from the Ming Dynasty, but physically, he was A Qing style. Later, I saw another painting by him in Henan, which was engraved with Kangxi and Renyin, that is, the sixty-first year of Kangxi (1722), thus determining his age. There have been different opinions about Shi Tao's birth and death time in the past. Fu Baoshi's Chronicle of Master Shi Tao and Guo Weiqu's Chronicle of the Birth and Death of Painters in the Song, Yuan, Ming and Qing Dynasties both record that he was born in Chongzhen in the Ming Dynasty for three years, and Ding Hai was still 78 years old in the forty-sixth year of Kangxi in the Qing Dynasty. In the Landscape Book written by Shi Tao of Guangdong Provincial Museum, Shi Tao wrote seven unique words: "There is no tendency to get rid of Hinayana by begging from bitter gourd monks in all directions. At the age of fifty, they went their own way, as cold as ice. This is written by Geng Wu Chang 'an. "Sixty Years Since Birthday" by Shi Tao in Shanghai Museum says: "Chen Geng dared not move except at night, and his parents spent all this week ..." Behind it is a seven-character poem, in which "... it's hard to say ..." According to these two works, Shi Tao was born in Simba in the 14th year of Chongzhen in Ming Dynasty (164/. In addition, Shi Tao's "Flowers" has ten volumes, among which the opening title of painting orchids is: "Fourteen writes orchids for fifty-six, and I have been fighting for fish with you so far. At first, I believed that my name was high and my pen was high, and I regretted not eating more meat. "At the end of the peony painting page, I know the cloud:" Ding Qiu October picture scroll. "Mr. Wang Yikun said in" An Introduction to Calligraphy and Painting Appraisal ":"Ding Qiu is Ding Chou, that is, the thirty-sixth year of Emperor Kangxi of Ming Dynasty (1697), and the fifty-sixth year is Wang Wu (1642) in the fifteenth year of Emperor Chongzhen of Ming Dynasty. This is the reliable birth time of Shi Tao. "

There are a lot of materials in the original calligraphy and painting, especially the painter's birth year, native place, performance and the kind of art he is good at. There are many examples everywhere to make up for the mistakes in the literature. The above examples only illustrate that there is also a dialectical relationship between objects and documents. Literature can provide invisible and invisible materials to help us identify, and in turn, physical objects can supplement or correct omissions or mistakes in literature. However, when there is a contradiction between the two, it depends on the specific situation whether we should trust the real thing or the literature.

Second, the common sense of literature and history

The appraiser should not only look at the artistic value of the work, but also look at its historical value. For example, the calligraphy of Zi Tongzhi Jian Draft written by Sima Guang in Song Dynasty is not good, but from the perspective of historical relics, it is very precious. There are tens of thousands of notes in Ming dynasty, which can be used to study the calligraphy art at that time, and I don't know how many historical materials it contains. Without historical knowledge, it is impossible to make a proper evaluation of these things, and it is impossible to judge their authenticity according to historical materials.

Understanding the artist's professional life is also a kind of historical knowledge. Some paintings in the Ming dynasty were empty in the previous paragraph, and they have to be replenished when buyers come to buy them. If the painting doesn't sell, the previous paragraph is always empty. Some works are painted in front and sold behind, and the next paragraph and the last paragraph are written twice, so the ink color is different. The above phenomenon may arouse suspicion and is understandable, but it is not necessarily an artifact.

Taboo dates are often used in the identification of calligraphy and painting. For example, the Thousand Characters Written by Huang Tingjian of the Song Dynasty in the Palace Museum is all yellow in font, and some words are poorly written. Because it is written in the volume, it is often ignored by appraisers. Moreover, this volume is indeed Song paper, and Liang Qingbiao collected and printed it in many ways, so many experts think it is an original by Huang Tingjian. Later, it was found that the word "Wan" in Wan Jie was rewritten as "Tuan", which should avoid the taboo of harmony (because the pronunciation of "Wan" and "Huan" is similar). Kao Huang and Jian Xi Ning died in the fourth year (1 105), which is still 2 1 year away from the first year of Qin Zong Jingkang (1 126). The Oracle is absolutely impossible to avoid in advance. Therefore, it is certain that money is a fake in the Southern Song Dynasty. Another example: About fifty years ago, there was a painting signed by Dong Qichang in Beijing Liulichang. It was very well painted, with few signed words and neat works, so many people wanted to buy it. Later, someone saw the fault of this work. In order to avoid the taboo of Emperor Kangxi of the Qing Dynasty, the last word "Xuanzai" was missing. Dong Qichang died in the ninth year of Chongzhen in the Ming Dynasty, and did not live to the Qing Dynasty, so it is certain that this work was forged by the Qing Dynasty. On the one hand, the above two examples show that when we look at calligraphy and painting, we must pay attention to every word and sentence, and pay attention everywhere. We must not jump to the conclusion that it is a painting or a fake painting. This is not only easy to be deceived, but also difficult to learn to identify. On the other hand, if you have no historical knowledge, don't know that there are taboos in history, and don't understand the characteristics of taboo times, you can't do a good job in calligraphy and painting appraisal.

When calligraphers and painters sign autographs, they often continue to sign the season, month and date in addition to the year. If there is a book published "China's Famous Paintings Collection" episode 23 Shi Tao topic cloud:

Ding Mao beginning of autumn did this in the Tian Yan Pavilion the day before, so that he could clean up his homework one day. Qing Xiang, Shi Tao and Jishan monks. And "Subtopic Poetry Postscript" Volume 1 "Huangshan" Duan Yun:

It's also a day of clearing classes to bathe in the ice and shade and test the beauty of Mo Xiaohua. Qing Xiang, Shi Tao and Jishan monks. Cirrus clouds of Shi Tao's Plum Blossom Map collected by Guan Xue Hashimoto;

This is what the old man and Zi wrote to Hua Er on the evening of 15.

However, the inscription of the year, month and day on the painting, except for commemorative paintings, cannot be compared with the document contract, and there must be a clear date record. So people often omit the date and only record the year and month. Such as Cheng's Shi Tao Inscription? "Dry ink brown landscape boutique" said:

May is not summer, so I will paint it with summer and gratitude. Xiang yuan, Shi Tao and Ji Daoren. Shi Tao's record of painting? Duan Yun, Dry Mozhe Landscape Boutique:

It's not summer now. The immortal abbot is Yu Shanfa's brother, the great monk Zheng, and his brothers Yuanji and Shi Tao. There is also a passage in the Postscript of Didazi's Inscription Poem: Bing Yin is in late autumn, Su Tianlong's ancient courtyard, do it quickly.

There are also those who omit the seasons of the sun and the moon and only mention the year, such as the Postscript of Didazi's Poems? "Chang 'an Yukime" Duan Yun:

Chang 'an Ji, presented to Mr. Weng Dawei, Zheng Mo. When Geng Wu, Qing Xiang, Wu Ji, Shi Tao.

In our country, the method of writing the year and month, in the era of emperor's autocracy, mostly adopted the emperor's year number, such as Yuanhe Year, Chiwu Year and Guangxu Year. It is common for painters and painters to use dry calendar, which is also very old. For example, Li Sao: "I was photographed in Meng Xi, but Geng Yin was my downfall." Inscriptions unearthed in Yin Ruins, such as Ding Chou Bu and Xin You Bu, are too numerous to mention. However, in calendar years, names are not required, for example, A is the year of Tongzhi, Zi is the year of Tongzhi in Fujian, B is the year of ignorance, ugliness is the year of red prosperity, and B is the year of ignorance and red prosperity. Generally, old literati call it Dajiazi. This method of using the year, month and day of Jiazi is still being implemented and applied, which has become a habit. In the feudal emperor era, the official chronology must use the emperor's year number. The emperor has changed, or the title of the emperor has changed, and the title will start from the new title. Such as Guangxu thirty-two years, Xuantongyuan years. The trunk branch consists of the cross of heavenly stem and the twelve characters of earthly branch. There is a 60-year cycle from Jiazi to Guihai. From Jiazi to Guihai again, it will take turns forever in another 60 years.

The above examples show that the historical knowledge about branches and year numbers is more targeted for identifying calligraphy and painting. For example, although the Qing emperor of the Yuan Dynasty was only two years old, it took three years to change the Yuan Dynasty, forty-eight years in Wanli of the Ming Dynasty, and after August of the first year of Taichang. As for the inscription of calligraphy and painting, it is true if it is written as a spring day or a summer day in the forty-eighth year of Wanli, but it is illogical and problematic if it is written as a twelfth month in the forty-eighth year of Wanli. If it is written as Gengshen Spring Day or Taichang First Year Summer Day, it can of course be forged. There is no doubt that the calligraphy and painting of the year number of Chongzhen is written in the spring of the seventeenth year of Chongzhen. If some people don't understand this historical process and think that Chongzhen is only sixteen years old, they may reject this work. Another example is that Li Hong has served for four years since the first year of Jiaqing, so the year number on the court documents at that time has been used until "64 years of Qianlong". If a painting is inscribed with Qianlong 6 1, 2, 3 or 4 years, it is also true and can't be regarded as a fake. At the same time, there is a heavy blow to the year number. If we don't know or know one or the other of these problems, there will be mistakes in the appraisal.

Calligraphy and painting appraisal needs literary knowledge. Because most of the authors of China's traditional paintings and calligraphy have profound literary attainments, there are also many painters and calligraphers, that is, the famous great writers at that time, and their paintings are often related to literature. Some calligraphers like to write their own articles or poems, while others like to write poems of the ancients or others. Some painters like to copy ancient paintings, or draw ancient poems and write poems on them, while others like to write their own poems on their own works. If we have read their collections and are familiar with his and his contemporaries' poems, we can have a more comprehensive understanding of their thoughts, feelings and painting styles. This also helps to identify.

Also, only later generations can write poems of the previous generation, and it is impossible for the previous generation to write poems of later generations. It is common for Ming people to write Tang poetry and Song poetry, but when Song people and Yuan people wrote down their poems, it was revealed. Forgers sometimes mistake the author of a poem. The so-called "Sketch Flower Collection" written by Diao Guangyin in the Qing Dynasty after hiding in Gaojiang Village has a poem inscribed by Zhao Yue (Xiaozong) in the Southern Song Dynasty, which was written in the first year of Avenue (1 165). In the sixth picture, bees and butterflies play with cats, which actually uses Liu Kezhuang's poem about cats: "Eat with blankets and teach mice to bite desk books!" Liu Kezhuang was born in 1 187. How did Zhao Can use this code in advance? Poetry is naturally forged by later generations. Another example is the poem written on paper at the end of Gu's "The Goddess of Luo" in the Jin Dynasty, which was also forged by later generations and copied from Wei Jiuding's "The Goddess of Luo" in the first year of Hongwu in Ni Zan. The original text of Ni's poem is "Lingbo micro-stepping socks dust". Who saw that he was slim and blessed with Cao Zijian, only Weishan people were good at it. " Because Gu Kaizhi is a native of Wuxi today, the forger changed the word "Wei" from "Weishan" to "xi" from Xishan. Da ji Lai Weichun was born in eight years and died in eight years. How could he write Ni Zan's poems in the fifth year of Hongwu? If you are not familiar with ancient poetry, you can't see such a problem. This is also two examples of judging forgery by relying on literary knowledge.

There are also official system, historical geography and style, which also contribute to the identification of calligraphy and painting. With a solid knowledge of literature and history, it will be easier to identify calligraphy and painting. People who don't know much about literature and history will find it difficult to identify. Therefore, we must strengthen the training in this area.

Third, the common sense of ancient architecture, clothing, household appliances, etc.

Knowledge about ancient buildings, clothes, hats, household appliances and so on plays a considerable role in identifying calligraphy and painting, because each era has its own characteristics in architecture, clothing and household appliances. Physical evidence in this respect includes tomb murals, cave murals, temple murals, unearthed figurines, house models and ancient buildings left behind. In addition, you can also find literature to confirm each other. The architecture, costumes and household appliances in the Tang Dynasty are different from those in the Song Dynasty, especially in the Ming and Qing Dynasties. For example, the official hats in the Song Dynasty are not like this. The hats worn by characters in the scrolls of "Welcome to the Moon" and "Welcome to Driving" in the Song Dynasty are examples. The main rulers of the Yuan Dynasty were Mongols, whose costumes and hats were different from those of the Song Dynasty. The book "The Statue of the Yuan Empress" provides us with an example. In the Ming Dynasty, clothes and costumes changed again. People put their hair on their heads, and their clothes have no collars. This can be clearly seen from the volume of Xuande Letu in the Ming Dynasty, and can also be confirmed from the cultural relics unearthed in the Ming Dingling Mausoleum. In the Qing Dynasty, the costumes were robes, short robes and horseshoe sleeves, and the technical level was divided into several eyes and red tassels, which were described in detail in the southern tour of Emperor Kangxi and the southern tour of Emperor Qianlong in the Qing Dynasty. If the characters in the work wear robes, short robes, horseshoe sleeves and red tassels, no matter how old the work is. It can be confirmed that it is a work of the Qing Dynasty.

Another example is The Riverside Scene at Qingming Festival, which was copied by the Ming Dynasty. There are many copies now, most of which belong to the painting style of Chou Ying School, and they are fakes of Su films. According to the records of the Ming dynasty, the price of each roll was one or two pieces of silver at that time. In these cottage versions of The Riverside Scene at Qingming Festival, buildings, clothes and costumes are all in the format of the Ming Dynasty, and the most striking feature is that the city walls are all made of bricks. This kind of brick wall first appeared in the early Ming Dynasty, and the ancient city wall of Xi 'an is a strong proof. In the Northern Song Dynasty, Zhang Zeduan's "The Riverside Scene at Qingming Festival" was originally written, regardless of battlements, shops, bridges, ships and cars, most of them conformed to the shape of the Song Dynasty, except that the doorway of the city wall was made of brick, most of them were made of earth. Many other objects in this painting are consistent with the Bianjing scenery, such as "welcome the guests, enjoy the building" and "peaceful car" described in Dream of China in Tokyo in the Southern Song Dynasty and the early Yuan Dynasty.

Knowledge about ancient buildings, clothes, costumes, utensils, etc. In addition to reading archaeological materials and consulting literature, you can also consult experts from the Cultural Management Committee and the Archaeological Institute who are engaged in ancient architecture, experts who study ancient artifacts, and experts who make classical opera costumes in the drama clothing factory.

Fourth, art appreciation and understanding of operation methods.

Calligraphy and painting appraisal does not mean a comprehensive artistic evaluation of some painters and their works, but it does not mean that calligraphy and painting appraisers do not need to have artistic appreciation ability. The previous generation of calligraphy and painting was handed down, and it was cherished and cherished from generation to generation. Although there is more than one reason, the first consideration is the artistic value of the work. Generally speaking, historical evaluation is always fair. If an appraiser has no artistic appreciation ability, then his judgment on the authenticity of a work cannot be considered comprehensive. There have always been two sentences about the relationship between the authenticity and quality of calligraphy and painting: "It's not necessarily good if it's true, and it's not necessarily bad if it's fake." In fact, the works of predecessors are really much better, and the fake ones are less good. We can't deny that there are many true and false judgments that consider the artistic value of calligraphy and painting before making a decision. Besides, if the appraiser's appreciation level is low, how can he tell the truth from the false when he encounters an abnormal situation? Therefore, an appraiser should always pay attention to his artistic accomplishment and improve his appreciation level. As for creation, sculpture, color making, paper making, silk weaving and other knowledge. Calligraphy and painting, if you can understand a little, it will be useful. In order to better understand the characteristics of brushwork in art forms, appraisers had better copy Gu Shuhua's kung fu. It is easier to remember each stroke than to look at it, and it is easier and faster to get familiar with the characteristics of various brushwork, which will naturally improve. Of course, it doesn't mean that you have to be a calligrapher to recognize words and a painter to recognize paintings, but as a basic knowledge, it is always good to know the operation.

There must be reference books for identification, such as Sanxi Hall Fa Tie Post, Sanxi Hall Interpretation, Mo Miao Xuan Post, Re-carved Chunhua Pavilion Post, Lanting Eight-pillar Post, and Mao Qin Temple Fa Post in Kangxi Period, which are all helpful for identification of figures. Especially from the Ming Dynasty, there were142,534 kinds of calligraphy books of rice, emperors and celebrities, and there were 64 kinds of calligraphy books, calligraphy posts and calligraphy posts of Kangxi. Before the Tang Dynasty, in addition to Bi Tuan's "Chunhua Pavilion Post", there were also many calligraphy posts and inscriptions of Jin and Tang Dynasties, almost all of which were celebrities of past dynasties, Mo Bao. This is very helpful for us to master the times style and personal style of books in various historical periods.

The books for appraising paintings must include Baodi in Shiqu, Baodi Re-compilation, Baodi Three Editions, An Overview of Painting and Calligraphy in Ancient Hall, Essays on Painting Zen Room, A Summer Story in Jiangcun Village, A Spectacular Life, A Summary of Mo Yuan, A Summer Story of Gengzi and so on. In addition, the book "Zhan Dong Tu Xuan Lan" is the most detailed in the evaluation and analysis of painting methods, which can increase the ability to recognize the feeling after reading.

Besides the above, you must have several reference books. Check the painter's name, birthplace, biography of painting history, biography of painting history, chronology of painters in Song, Yuan, Ming and Qing Dynasties, seals of painters in Ming and Qing Dynasties, and attach a brief comment. In addition, buy as many photocopied ancient picture albums as possible, such as Song Dynasty Picture Album, Calligraphy and Painting Collection of the Forbidden City, Figures of the Five Dynasties in the Late Tang Dynasty, Selected Works of Ancient Paintings in China, Selected Works of Figure Paintings in Past Dynasties, Collected Paintings in Liaoning Provincial Museum, Collection of Famous Paintings in China, and Atlas of Painting History of China and China.