The market should be around 8000- 10000.

Don't go too far.

The main basis and method of identification

First, the brushwork

The so-called "brushwork" refers to the form and method of point and line operation in calligraphy and painting works. Mr. Xu Bangda thought in "Introduction to Appraisal of Ancient Calligraphy and Painting":

"brushwork is the abbreviation of a specific method of drawing and projecting lines and points regularly with brushwork." China's paintings and calligraphy are all expressed by dotted lines.

Image and brushwork are the most important soul and core of China's calligraphy and painting, and brushwork is the most important standard to measure the artistic level of calligraphy and painting. Therefore, the authenticity of calligraphy and painting should first be reflected in the brushwork. Predecessors once said that "the steel pestle of the nib should penetrate the back of the paper", which means that the strength of the nib in brushwork should be restrained and not exposed, which is called blue veins standing out. The speed of painting and calligraphy is secondary, mainly whether the pen conforms to the brushwork. Some people try to confuse readers by pretending to be vain and eager for ink. In the terminology of painting evaluation, this is called "deviation", but there is nothing in the pen. We should pay more attention to the brushwork when identifying big paintings, such as mountains and rivers, trees and long lines. When drawing a big picture, be sure to put the pen, that is, "please put the pen straight." However, writing is not arbitrary. Don't be fooled by the posturing of "Crazy China" and "Ke Zhi", that is, "You knew it was subtle from the beginning, and you were not as smart as a crazy Watson". Distinguish between fine brushwork and short brushwork, but also depends on whether the pen is powerful and whether it reaches home. The predecessors often compared the brushwork to "like Yin Yinni", "like painting sand with a cone", "flying in the sky with spring clouds", "walking on the ground with flowing water", "combining strength with grace, writing strength and charm", "sword embroidered with earth flowers, solid hidden inside, green in the tripod and gorgeous outside" and so on. In a word, brushwork is the core and soul of painting and calligraphy, and it is the key to solve the mystery of the authenticity of painting and calligraphy.

It is precisely because China's calligraphy and painting always attached importance to brushwork that the research on brushwork of calligraphy and painting has been innovated and developed in every era, forming the characteristics of brushwork of the times that both inherit tradition and innovate. Therefore, the brushwork of calligraphy and painting in each era has a distinct brand of the times, that is, the characteristics of the times, which is highly summarized by predecessors.

Calligraphy:

During the Wei and Jin Dynasties, people only regarded calligraphy as an artistic form of expressing pen and ink skills, advocating metaphysics and being light. At this time, the calligraphy style is elegant and unrestrained. The Tang Dynasty witnessed social stability and economic prosperity. In people's minds, the spirit of the bachelor of letters is heroic, and the calligraphy style is bold, neat and rigorous. In Song Dynasty, the urban economy was developed, the citizens' culture was prosperous, the social style of writing was particularly strong, and the calligraphy style was stable, beautiful, colorful, novel and exquisite. In the Yuan Dynasty, Mongolia ruled harshly, and the spirit of scholars was depressed. At this time, the calligraphy style is well-behaved, and it can only be "in and out of the fairy, caged in ancient and modern times." The imperial examinations in Ming and Qing Dynasties gradually became the only way for scholars to become officials, and the examination papers and official documents in the imperial examinations were strictly required by the imperial court, coupled with the constant persecution of the literary inquisition. Therefore, the literati were conservative, and the calligraphy style in this period was dominated by pavilion and pavilion, with neat lines, well-proportioned fonts, graceful strokes, sluggish and restrained structure, dignified and elegant style, and steady and vigorous.

In painting:

The lines of the Jin Dynasty are delicate, such as silkworms spinning silk. "If you draw mountains and rivers, the peaks will be finely decorated with rhinoceros, or the water will not be flooded, or people will be bigger than the mountains; If it is planted line by line, if you stretch your arms and fingers. " The painting in the Tang Dynasty is magnificent, grand and natural, with rich and brilliant colors, and the style of painting techniques is not much different from that in the Jin Dynasty. But there is a saying in figure painting that "a grass comes out of water and Wu Dai is in the wind". The painting style of the Song Dynasty, like its calligraphy, is colorful, novel and wonderful, with "tight brushwork and heavy brushwork". In Yuan Dynasty, the painting posture was novel, with poetic artistic conception and interest in calligraphy, and poetry, calligraphy and painting were integrated. There are many painting styles and schools in Ming and Qing Dynasties. Readers can learn in detail from the overview of the first chapter of this book that the orthodox school in the early Qing Dynasty was stable, leisurely, graceful and elegant, while the wild school was unrestrained, free and easy, weird and unrestrained; In the late Qing Dynasty, Shanghai painters were willful and unrestrained, while Beijing painters followed the rules and so on. The formation of the characteristics of calligraphy and painting times is the product of political, economic, cultural, religious and social life in various periods. In addition, the differences that affect the characteristics of brushwork times are also related to the production and characteristics of the tools (brushes) that express brushwork.

The influence of brush on brushwork, from the painting point of view, before Tongzhi and Guangxu in Qing Dynasty, landscapes were mostly painted with hard pens such as mustache and wolf hair, and only soft wool was used for shading. Since the late Qing Dynasty, Lu Hui and others have only seen the landscape paintings painted by wool, forming softer lines.

Similarly, due to the fashion of the times, the painter's personality hobby, his inheritance, life experience, self-cultivation knowledge, painting and calligraphy tools,

Complex factors such as religious belief can form a painter's unique brushwork style, such as the method of holding and writing, the height of holding the pen, standing, sideways, cantilever, hanging elbow, hanging wrist or wrist, and the order of writing. These are reflected in the works and become the painter's personal style, which is always more prominent than the characteristics of the times, which is also the main basis for our appraisal of calligraphy and painting.

In addition, the characteristics of a painter's brushwork are not immutable. From his early years to his later years, there were always some changes, and some people even changed a lot. Although a painter's brushwork is different in the morning and evening, his brushwork must have a consistent feature, which is called "a leopard cannot change his spots". Therefore, a shrewd appraiser must grasp this root, not be confused by other changes, and conduct appraisal successfully. As the main basis of calligraphy and painting identification, brushwork is also the most difficult hurdle for calligraphy and painting counterfeiters. To sum up, the brushwork of painting and calligraphy is the core and soul of painting and calligraphy, and it is the primary and key basis for our appraisal of painting and calligraphy.

Second, ink painting and color setting

Ink painting is the method of using ink. Mr. Chen Zhaofu said: "Ink method includes the degree of ink use and the change of black and white ink color." Before you know Mohism, you should pay attention to the age of pen and ink in your works. The older you get, the more obvious the shrinkage of pen line thickness, and the paper itself shrinks. Of course, the pen line has shrunk. So the pen line is thinner than when it was first drawn, and it looks hard. The ink color is also very soft because of its age, unlike the new ink color, which can penetrate into the muscles of paper silk. Ancient and modern painters and calligraphers, everyone has his own habitual method of using ink, just as every painter and calligrapher has his own unique brushwork.

Same. Therefore, ink painting is one of the essential characteristics of painting and calligraphy itself, and it is one of the main basis for painting and calligraphy identification.

As we all know, the ink used in calligraphy and painting refers to ground ink. When painters use these inks, they appear thick, light, dry and wet on paper and silk.

The change of black and white, the ancients called the concentration and change of this ink color "five colors" and "six colors" Because of the shade of ink, it shows the truth, dryness, distance, sense of volume and quality of calligraphy and painting, which is one of the main means to express the object. Therefore, ink painting can reflect the painter's thoughts, feelings and spirit. Therefore, ink painting, like brushwork, contains the characteristics of the painting and calligraphy era and the painter's personal style.

The importance of Mohism to the appraisal of calligraphy and painting lies in its close relationship with brushwork. Ink painting should be realized and expressed by brushwork, and there is no brushwork.

The so-called ink method; Similarly, brushwork is also expressed on paper and silk by ink method. Without ink color, the rules of brushwork have nowhere to take root and cannot be embodied.

In a word, ink painting is one of the main bases of calligraphy and painting appraisal, but its status and importance are slightly inferior to that of writing brush, because ink painting is different in different times.

Generation, there are similarities and similarities between different painters and calligraphers, calligraphy and painting forgery can imitate the ink method is more similar, and other conditions that affect the ink method, such as

Paper, silk and ink are also easy to copy. Therefore, in the appraisal of calligraphy and painting, we should comprehensively examine other aspects in detail.

Coloring is mainly used in painting, and its distinguishing function is exactly the same as that of ink painting, which is also one of the main basis.

Third, the structure

The word "structure" in calligraphy and painting is a compound concept, which includes the structure and lines of calligraphy, the composition and cutting of painting, which is what Mr. Xu Bangda called "structure and cutting".

The structure of calligraphy refers to the stroke density distribution of each word. Line payment refers to the mutual connection and echo relationship between words and the arrangement and echo relationship between lines.

Painting composition and cutting is one of the elements of painting, that is, the structure of painting. According to the unique theory of Chinese painting, Chinese painting emphasizes the transition of structure and lines (brushwork) and the change of ink painting (ink painting). From the perspective of image-building, its main task is to express the organizational structure of the object.

The structure of calligraphy and painting, like brushwork and ink painting, has its own characteristics of the times and personal style, which is one of the important basis for us to identify calligraphy and painting. The creation of painters and painters has been carefully conceived, and every tiny part of the picture has its own intention. Therefore, painters and calligraphers have unique habits and ideas in the structure of painting and calligraphy, that is, in the personal style of structure, showing their artistic characteristics and level. It is from this that the appraiser identifies the authenticity of paintings and calligraphy works, because the fakes of paintings and calligraphy always leave the characteristics of the times and personal structural habits of the pseudo-authors, but lose the structural characteristics of the original works, revealing flaws and being identified.

Auxiliary basis for calligraphy and painting appraisal:

First, the name

Generally speaking, inscriptions are also called inscriptions, which refer to the author's autograph, creation date, drawing place, poems and songs, etc. There are single type and double type, and the name of the recipient is added to the double type. Calligrapher's own name has many characteristics and styles of his calligraphy, so it plays an important role in identifying the authenticity of calligraphy and painting works, so it has always been highly valued by appraisers. Therefore, it is very beneficial to know the characteristics of the times and personal styles of some famous painters and calligraphers. In addition to the changes of the times, there are also differences between the ruling and the opposition. Generally, painters in the Academy of Painting are simple, while folk painters are familiar with the long style. The personal styles of famous artists are varied and become an important basis for us to identify calligraphy and painting.

In addition, from the different positions of the painting department, we can also judge the age and authenticity of the works. The style of painting generally includes "parallel style" and "looking up style"

There are two modes. The so-called "parallel paragraph" is a paragraph in which one's name is engraved on someone, where the first line of the previous paragraph is written and where the second line should be written. Flat payment appeared later than parallel payment, and it was used more from the middle of Ming Dynasty to the Qing Dynasty. Therefore, this is also an important feature that should be paid attention to when appraising calligraphy and painting works. General authors don't understand these laws and are prone to loopholes.

The titles of paintings and calligraphy also have historical taboos. According to the taboo words in different historical periods, we can also judge the age of calligraphy and painting works. To identify the painting and calligraphy itself by using the famous masterpieces in the painting and calligraphy works, we must first identify the famous masterpieces themselves. Most counterfeiters use the means of exchanging money, adding money and collecting money to make fakes (which will be discussed in later chapters). In short, the names of paintings and calligraphy are the auxiliary basis for identifying the authenticity and times of paintings and calligraphy.

Second, the inscription

Generally speaking, the poems written above or in front of paintings and calligraphy are titles, and the words written behind paintings and calligraphy are called postscript, collectively referred to as postscript. Inscription is an appraisal of calligraphy and painting.

According to the general experience, if the inscription is really credible, the calligraphy and painting itself is not much different (not fake, not post-match, the author of the inscription is closely related to the author, and he is a good judge). Of course, whether the inscription can be used as the basis for identifying the authenticity of calligraphy and painting depends mainly on the authenticity of the inscription itself, and secondly on the pen and ink techniques and words used in the inscription, that is, the level of the inscription. Don't be intimidated by the names of famous artists.

Third, the seal

Seal, also called seal, means relying on letter. Calligraphy and painting appraisers have always attached great importance to the identification of the authenticity of seals. In some periods, in the field of calligraphy and painting appraisal, there has also been a trend that the authenticity of seals on calligraphy and painting works is the main basis for identifying the authenticity of calligraphy and painting.

Fourthly, collecting and sealing.

A seal affixed to a painting or calligraphy that one collects and appreciates is a collection seal, also known as a collection seal. Tibetan seal identification can play an auxiliary role in painting and calligraphy identification, especially for paintings and calligraphy that are far away.

Verb (abbreviation for verb) paper and silk

Paper and silk are the carriers of calligraphy and painting works. Because the paper and silk used by painters in different times are different, it is very helpful to master the characteristics of paper and silk in different times and the habits of painters in using paper and silk.

The following points should be paid attention to when identifying calligraphy and painting with paper silk. The first is the age and color of paper silk. Paper silk can't be too authentic in the identification of calligraphy and painting, and it can only play a certain auxiliary role.

Sixth, decoration

Decoration is a form of painting and calligraphy. From the decorative forms of paintings and calligraphy, we can see the times or personal characteristics of some works, which can be used as an auxiliary basis for identifying paintings and calligraphy.

To identify the authenticity of calligraphy and painting by mounting, we should pay attention to the mounting of new and old paintings. Some counterfeiters keep the original mounting, dig out the calligraphy and painting itself and embed the fake.

Go, that is, the so-called "golden cicada shelling" method for fraud. In this regard, it is still necessary to comprehensively investigate the main basis and auxiliary basis of painting and calligraphy techniques to distinguish authenticity.

Seven. describe

Calligraphy and painting description refers to appreciating, sorting out and cataloging the calligraphy and painting works of painters and painters in past dynasties. Recording books according to calligraphy and painting also helps to identify the authenticity of calligraphy and painting.