Appreciation of ink: For example, the Ten Scenes and Colors of West Lake Ink in Ganlong Yuyong collected by the Forbidden City have different colors and diverse ink colors. On the one hand, I filled in Jin's seven-character poem reciting the Ten Scenes of the West Lake in regular script, and on the other hand, I floated the picture of the Ten Scenes of the West Lake recited in the poem. They are Feng Lian of Qu Yuan, Fish Watching in Huagang, Xiao Chun of Su Causeway, Broken Bridge and Snow, Three Tans with the Moon, Twin Peaks in the Cloud, Willow Waves and Night Bells in Nanping, etc. The picture composition depicts the basic characteristics of the square question in a very concise way, artistically reproduces the beautiful scenery of the West Lake in Hangzhou, and vividly reflects the historical features of the Ten Scenes of the West Lake more than 200 years ago, which is a good appreciation ink.
This set of ink is color ink, which is a pigment for painting. It has many colors such as red, yellow, cyan, green, blue, brown and white, and most of them are made of natural pigments. Pure and gorgeous colors, not easy to fade. Although early colored ink is rare, we can see the exquisiteness and magnificence of pigments from the paintings of Tang and Song Dynasties. Jin Bi Shan Shui Tu, written by the Tang people, is mainly painted in blue and blue, with occasional golden colors, depicting beautiful and verdant mountains and majestic halls, showing magnificent natural scenery and highlighting the beauty of colors. Gu, a famous painter of the Five Dynasties, created a picture of Han Xizai's Night Banquet. The picture is divided into five parts, which vividly depicts the nightlife of Han Xizai, Prime Minister of Southern Tang Dynasty, with strong brushwork and colorful artistic techniques. Song Huizong Evonne's Listening to the Qin is soft and colorful, with vivid characters and more colorful. These colors on paper and silk, after eight or nine hundred years or even thousands of years of historical vicissitudes, still maintain dazzling brilliance, which fully shows that these colored inks are well-made and are the best in ancient appreciation.
Identifying the authenticity of cultural relics is the premise of scientific research and display research of cultural relics. Without authentication, there is no authentication. Therefore, identification and evaluation are the primary solutions for cultural relics workers. The purpose of our appraisal is to provide references for people to study real and reliable objects. The same is true of our identification of ink, which requires us to see and record more physical objects, verify each other through physical objects and documents, think after reading them, be good at comparative analysis and find problems. Seeing the real thing can make us more familiar with the ink quality, inscription, pattern, ink quality and expression of a famous work. In addition, I constantly enrich my knowledge, learn more literature, and learn to distinguish Shexian and Xiuning schools from ink quality and manner. Through the understanding of ink products, I can tell which are famous ink products even if there is no year. For example, whether copied or modified, we can all draw the conclusion that there was no ink for farming and weaving before Kangxi 35 years ago, and there was no ink for cotton before Kangxi 35 years ago. It will be easier to identify the authenticity if it is copied in the future. There are also the grades and prices of famous ink products in the Qing Dynasty.
In addition, the influence of taboos on Mexico, feudal society has national taboos and domestic taboos. The national taboo is to avoid the names of emperors and Confucius; Taboo is to avoid the names of one's ancestors. The way to avoid taboo is to change the original sound when you meet a taboo name, or when you lack a pen or change words. Taboo has a certain influence on cultural relics identification. Such as "taboo" is particularly important for the identification of ink in Ming and Qing Dynasties. In the Ming dynasty, it was possible. During the Ming and Qing Dynasties, Zhai Ming was often used in the words "Xuan", "Xuanyuan Gas Field" and "Jiu Xuan San Ji". Emperor Kangxi of the Qing Dynasty sealed it as "Xuan", so the word "Xuan" was taboo, or it was rewritten into yuan, or it was missing. Any ink with the word "Xuan" in Ming and Qing dynasties is not a fake, but a work before Kangxi. Such as "Xuan" rewriting "Yuan" or lack of pen for works after Kangxi. And because of the products of "Xuan ink", how much bad luck has been brought to Ming ink. After the ink of the word "Xuan" in the Ming Dynasty arrived in Kangxi, the word "Xuan" was dug out or the ink was destroyed. In a word, "Xuan" brought bad luck to the Ming Dynasty, and the loss was immeasurable, but it also played a role in dividing the times in identification.
Due to the influence of various schools, the styles of calligraphy and painting in Ming and Qing Dynasties are different. Because of the different styles of painting and calligraphy, the skills and techniques of ink and wash carving are obviously different from the times. Calligraphy in the Ming Dynasty is vigorous and powerful. In order to show vigorous and powerful carving techniques, the knife method needs to be profound to show the vigorous font, the sharp edge of the male character and the sharp corner of Gui. Calligraphy in Qing dynasty is full of beauty and embellishment, and the carving technique must master the fine and elegant knife technique to show softness and elegance. Calligraphy and painting are exactly the same. Because of the different styles of calligraphy and painting in Ming and Qing Dynasties, there are two schools: Mo Mo in Ming Dynasty, with profound and powerful knife skills; In the Qing Dynasty, Mo's knife technique was gentle and delicate. Because of the different styles of calligraphy and painting. In this way, we can master the connotation through the identification of famous ink in Ming and Qing Dynasties.
Most of the ink molds in Ming and Qing dynasties don't engrave the year and model, and they are immediately on the side, so the ink surface is not affected when they are replaced.
The date textual research of ink can only be solved by self-made ink. Scholars and officials told Mohism that ink was made at the cost of ink mold, and there were commemorative ink products with many years, which provided convenience for us to verify the date.
In addition, the identification of ink products from the ink mold, the long use of the ink mold affects the clarity of the ink surface, and the patterns, paintings and seals are particularly clear and pleasing to the eye when engraving the first edition; On the contrary, it has been used for a long time, and the ink surface is blurred, which may be copied and dated later. Therefore, the Mohist model can reflect the commercial scale of Mohist school and the ups and downs of its operation.
The paint layer of ink is scraped out with ink. Ink can also be identified by painted clothes. Lacquer is far from ink, with thick snakeskin, similar to guqin. Broken lines do not crack, but there are unbreakable lines, which are hidden between patent skins, just like the opening of ancient porcelain. Lacquer ink flourished in Wanli, but Kangxi ink was rare in Qing Dynasty. After the late Qianlong period, the lacquer ink was more exquisite, but not heavy and plain. The paint edge on the ink can also be used as fashion in different eras, which helps us to identify the age. Dacong lacquer in Ming dynasty, painted on top, bottom, left and right sides, with natural colors on the front and back. The edge of the Qing dynasty was painted on both sides, not on both sides.
How to identify fakes: all materials are rough, almost not cigarettes, but like clods. If you knock them with your hands, your voice will be hoarse, your body will be gray, your ink pattern will be rough, and your ink will be poor. These are the characteristics of fakes. There is also a counterfeit product, which is fake ink made of a kind of carbon spar and a kind of stone.
How to identify imitations? Mohist school imitated Ming ink in Qing Dynasty. One way is to indicate only the year, not the name of mohists. The other is to mark only the time when a Mohist imitated a Mohist in the Ming Dynasty. There are both imitators' own names and imitators' names, in order to promote themselves rather than deceive people. So someone dug up the original name of the fine ink made in the early Qing Dynasty, filled it with ink wax, and polished it with seals, year models and a little gold. This imitation is not easy to identify.
There are many kinds of inks, and the practical natural color inks are not only numerous, but also roughly the same in shape. We can identify whether the front and back of the ink are engraved with words and patterns (the name of the ink). Whether there is a manufacturer's name on the left and right. The time is also engraved on the side, and the words "Super Lacquer Smoke", "Lacquer Smoke", "Top Smoke" and "Tung Oil Smoke" are engraved on the top of the ink, indicating that Mo Ding belongs to the category of oily smoke and ink; The words "Yellow Mountain pine smoke", "large volume pine smoke" and "pine smoke" are engraved, indicating that Mo Ding belongs to the category of pine smoke; Engraved with the words "full smoke", "fine smoke" and "clean smoke", the ink belongs to the category of carbon black ink.
In short, Tibetan appraisers need to have considerable knowledge and experience. First of all, it is required to be familiar with the development and evolution history of the origin of Gu Mo, know the main origin of ancient famous ink and the surname of famous Mohist, and have a certain understanding of the famous ink patterns of famous Mohist.
In addition, there are obvious differences between new ink and old ink in texture. The new ink is gray, although it is thick but not moist, but the old ink is pure black and moist, with pure black color and strong color sense. Because new ink is often uneven with glue, its ink color is uneven. Due to the rigorous preparation method and long storage time, the glue of the old ink is naturally uniform, and its black is flat and does not stick to the pen. The smell of new ink is dry, and the old ink has its own quaint fragrance, showing an quaint tone.