Mr. Zhuang Peisen, a member of China Collectors Association, a director of Beijing Calligraphers Association, a member of Beijing Poetry Society and the head of the business department of Tang Ronghua Art Mall of Beijing Liulichang, explained the basic knowledge of painting and calligraphy collection to readers from three aspects: the knowledge of painting and calligraphy art, the matters needing attention in visiting antique market and the common sense of painting and calligraphy appraisal.

When collecting paintings and calligraphy, the first thing we encounter is how to distinguish authenticity and how to appreciate works. But we can't worry. Start from the basics, and get familiar with, learn, explore and accumulate step by step; Then sum up your own experience, sum up your own experience, and gradually you will be able to master the law. No matter what industry you are engaged in, you must start from scratch. As for appreciating calligraphy and painting, the same is true.

The first step in collecting calligraphy and painting is to know how to appreciate calligraphy and painting; The word appreciation contains two meanings: evaluation and appreciation. Let's talk about identification first.

To learn appraisal, we must first enrich our knowledge. Whether you like ancient calligraphy and painting or modern and contemporary calligraphy and painting, you can't do without corresponding knowledge. China has a history of 5,000 years of civilization, which has produced countless paintings and calligraphy works. We might as well look at some art history first, which is necessary, because it is necessary to cultivate in this respect to distinguish authenticity and appreciate advantages and disadvantages.

To enter the collection industry, we must first maintain a good attitude, which is what we often call "normal heart." Peace of mind is not possessed at the beginning, but gradually cultivated in Tibetan identity activities. In the face of a collection, only with peace of mind can we slowly taste the mystery. This mystery includes both good and bad aspects. Only by being calm can we make a proper evaluation and not be deceived.

Three basic skills of collection introduction

Learn some Jianghu terms first.

Know some jargon when collecting.

Every industry has its own jargon, especially the jargon with the traditional characteristics of China. That's what the collection world is like.

Open the door: evolved from idioms, which generally describe those genuine products that can be known at a glance without objection.

Play: Professionals call collectors "play". When we meet for the first time, we ask "What to play", which means what you collect.

Tuition payment: refers to the money spent on buying fake goods.

Fishing: a sales method of some savvy stall owners. The treasure of the town shop is deliberately exposed for sale, just to attract buyers to buy other goods (exhibits).

Leak detection: refers to the purchase of a "big open" collection at a lower price.

Tight price: insisting on high market price can be understood literally. Generally speaking, there are two reasons, one is to sell at a good price, and the other is to scare away customers.

Smart goods: a collection of good quality and low price. You must rely on your own eyes to buy smart goods.

New goods: No matter what the collection is, there is always something to rely on, even fakes. At this time, people in the industry will say "this thing is a little new" and save some face for the stall owner.

Appearance: As far as its products are concerned, the better the appearance, the higher the price.

Bug: In layman's terms, the collection at the bottom of the box can make the viewer shine, even a room full of collections can't compare with this. In other words, people who are very familiar with an industry and can exploit various loopholes.

Misunderstanding: refers to buying a collection or a fake that is not worth collecting at a higher price.

Zhangyan: I'm a novice in the field of collection and I don't know how to get started. If you ask the master for advice, the master will "palm your eyes" for you.

What kind of mentality should the collection maintain?

What is an antique? Simply put, it is: something for the elderly. Since it is a toy, it should mean "playing".

Since it's fun, it's inevitable to play some tricks. Poor sleep, inseparable is common. Su Dongpo said: "I am thinner and more precious than books, and I am more important than painting." That's what it means. Playing requires a mind, and the price of this mind should be calmness and composure.

On the Names of Various Parts of Painting and Calligraphy

When collecting, appraising and managing calligraphy and painting, we must have a comprehensive understanding of the names and terms of each part of calligraphy and painting.

1. Life paper: it is the paper holder of the painting heart. No matter whether the painting heart is paper or silk, there is a layer of paper holder. If the paper holder is removed, the painting heart will be dull and lifeless, hence the name "Life Paper".

2. The second layer: Uncovered supporting paper, sometimes filled in slightly evenly, can be called a real painter, also called "the second layer" and "soul", because this is the second layer of painting heart and the soul of life paper painting. Also known as "bastard", it means to confuse the real with the fake.

3. Give way: that is, there is a one-minute gap between the four sides of the painting center and the mounting edge. It's called "letting go".

4. Back cover: the whole paper after painting.

5. Barrier: On the top and bottom of the banner or before and after the hand scroll, the mounter adds a silk or silk with different colors, which is called "barrier" or "water barrier".

6. Poetry Hall: Draw the top of the heart straight and hang a piece of paper called "Poetry Hall". First, because the heart is short, it is more suitable after setting off; Second, in order to write poems and praise paintings, it is called "Poetry Hall", and some people call it "Fish Pond".

7. Painting pole: It is a round wooden pole used for rolling painting. The upper end is called "sky pole" and the lower end is called "ground pole".

8. Tripping: There are two silks or silks on both sides of the pole behind the frame, such as a gourd or a cloud-headed frame, which is called "tripping".

9. Wrap the head: that is, add a piece of silk or silk to the back of the first sleeve.

10. Draw a sign: A piece of paper named "Draw a sign" is attached to the top of the bag head, next to the pole. It can write the name of the author and the content of the painting, as well as the name, year and month of the collector.

1 1. Curved circle: it is the copper nose on the painting pole, which is used to tie the line.

12. Tie clip: it is the ribbon pushed in the middle of the scarf buckle, which is used to tie the painting axis.

13. Swallow Belt: It is the upper end of the mounter with two symmetrical straight belts, which are called "Swallow Belt".

Forms of works: banners, nave, fans, round lamps, long scrolls and cross-dressing. Units of calculation: feet and meters.

Seven Points for Attention in Introduction to Collection

Things are too cheap, so be absolutely vigilant.

Now there are many antique markets in the city, which are also frequented by collectors. However, because there are many replicas or imitations in the market, what should collectors who are new to the antique market pay attention to when buying collectibles?

One? Beware of absolute bargains.

Quite a few antiques on the market are "second-hand". If it is the top grade, the price is generally not too low. Cheap goods always have some problems, either fakes or damaged goods.

Two? Don't buy utensils with poor workmanship.

Some jade articles, bamboo wares, dental wares, horn wares, etc. If the sculptor is incompetent and not exquisite, it is generally made by shoddy or apprentices, and there is no need to collect it; Some inferior jade or jade-like stones are either dense and smooth, or there are many impurities and black spots in jade, so it is impossible to buy them without further appreciation.

Three? It is impossible to judge whether it is genuine or fake.

Although some antiques have been appraised by many parties, they still can't grasp their authenticity, so there is no need to buy them. For example, a famous painting and calligraphy will only show its value if it is recognized as an original, otherwise it will be worthless.

Four? Think more about antique collections.

The so-called "read more, think more and ponder more", especially pay attention to the production year and artistic modeling of antique collections. The year means that the longer the antique collection exists, the more valuable it is; Appreciating the artistic value is to see whether the collection is elegant and exquisite and whether it has high collection value.

Five? Don't jump to conclusions

Don't rush to talk about a fancy antique collection, it depends on whether this item is worth collecting and whether the price is moderate. If the price is much higher than the value, even the best antiques are not worth buying.

Six? Don't believe in "stories"

Vendors in the antique market usually tell stories about antique collections, and "Baby" can always tell vivid stories. Collectors should read more books to know the exact prices of all kinds of antiques, especially the identification knowledge of the authenticity of the collection, and don't be fooled by believing the "story". You know, most antiques with stories in the antique market are fakes.

Seven? Determine the collection target

Collectors should make clear the collection direction according to their own wishes. Once the goal is determined, they will work wholeheartedly, be willing to endure hardships and spend a lot of money to find rare treasures, believing that they will eventually become a real antique collector.

Common sense of recognition for the introduction to collection

Beware of all kinds of fraud.

(1) The appraisal of calligraphy and painting is based on the flavor of the times and the painter's personal style.

We talked about the above basic knowledge, and then briefly talked about the knowledge of calligraphy and painting appraisal.

Due to the development of the times, technologies such as paper, printing colors and mounting patterns are constantly changing. For example, calligraphy and painting paper, such as clean skin and three-layer jade plate, is still produced today, but the quality is quite different. Another example is printing color. Good printing colors are mostly made of mineral pigments, such as cinnabar and ruby powder, which can generally remain unchanged for hundreds of years. Regarding printing colors, different painters and painters like different colors, and there are also differences. Zhang Daqian's calligraphy and painting tools are all his own customized specialties, which are very particular. For this reason, he was criticized by many colleagues before liberation. But it is helpful for his calligraphy and painting appraisal. The style, material and technology of mounting also play an important role in identifying the authenticity of calligraphy and painting. These characteristics are the times breath and personal style of the painter and calligrapher.

(2) sealing

The characteristics of seals in different times are different, and the flavor of the times can be distinguished from the shape, seal characters, texture and printing color of seals. Most of the paintings and calligraphy in the Song Dynasty were not stamped with the author's name, and the materials were mainly copper and jade, which was different from other dynasties. Lithography was only used in the Yuan Dynasty, and "seal oil" was used in the Ming Dynasty, which is said to be represented by Shen Zhou. Some authors repair seals and oils, while others are in a mess.

(3) Paper and silk

Paper was mostly made of hemp in the Jin and Tang Dynasties (such as Luji's Smooth Sticker). Paper was very developed in Song Dynasty. Su Shi, Huang Tingjian, Mi Fei and Cai Xiang all wrote with cooked paper. In addition, it is necessary to know the classification of paper in different periods since the Ming Dynasty, such as when to start using woven paper, gold paper and Korean paper.

(four) calligraphy and painting inscriptions, labels and collection seals

Inscriptions are divided into contemporary and later generations, mostly praise or appreciation.

(5) Bibliography of painting and calligraphy

Review whether there are records, descriptions and evaluations of the collection.

(6) Mounting of calligraphy and painting, and the author's name, place of origin and year of birth and death.

The oldest existing decoration is from the Northern Song Dynasty, and each era has its own distinctive style.

(7) Various fraudulent acts.

1. Unintentional: like plagiarism.

2. False filling: digging, filling, filling and tracing.

3. Ask someone to write a ghost: such as Dong Qichang and Jin Nong.

Appraisal of ancient calligraphy and painting

Paper and silk identification

Silk and paper, the materials used in calligraphy and painting, play a certain role in the dating of calligraphy and painting. The identification of silk and paper is another way to identify calligraphy and painting. According to the research of scholars in the Republic of China, the silk paintings in the late Zhou Dynasty, Chu tombs in the Warring States Period and later Han tombs in Mawangjiao were all painted on a fine monofilament, but so far, double filaments (that is, the warp is double filaments and the weft is single filaments) have not been used. From the Five Dynasties to the Southern Song Dynasty, silk developed and changed compared with the previous generation. On the surface, in addition to monofilaments, there are also forms of double filaments. The warp of this kind of double filament is a group of two filaments, and there is a filament gap between each group, and the weft is a monofilament. Generally speaking, the silk of the Yuan Dynasty was a little thicker than that of the Song Dynasty, not as thin and white as that of the Song Dynasty, and it was still in a loose state. On the whole, the silk of the Ming Dynasty seems to be rough. There was a kind of low-quality thin silk in the early and middle Ming Dynasty. Because this kind of silk is too thin to drip ink, painters often put it on paper before painting and calligraphy. The material of paper is another criterion to judge the age of painting and calligraphy. In the ancient paper, Han and Jin dynasties, hemp was mostly regenerated from waste materials such as linen, sacks, Ma Xie and fishing nets, and raw hemp was also used-hemp was used in the north and ramie was used in the south. Its characteristic is that the fiber is thick and it is difficult to make it fine. Dull, hairless, fiber bundles are round, sometimes lignin can be seen. Most of the paintings and calligraphy in Sui, Tang and Five Dynasties were made of hemp paper, such as Preface to Lanting, Zhang Shi by Du Mushu and a large number of Tang Dynasty classics unearthed in Dunhuang. After the northern song dynasty, it decreased sharply, but in the northern Liao and Jin dynasties, linen was still used as the sutra. There are almost no paintings and calligraphy with hemp paper in the future. During the Sui and Tang Dynasties, we began to see paper made of bark, mostly made of bamboo or sandalwood bark, which is characterized by fine fibers and is a fine product produced with the development and progress of handicraft industry. This material is also relatively dull, only slightly brighter than hemp paper, and the fibers are bundled into flat sheets with slight paper wool. There is also paper made of mulberry bark, which is characterized by thinner and brighter fibers, easy to grow long hair on the paper surface and flat fiber bundles. At the beginning of the northern song dynasty, a large number of bark papermaking appeared in calligraphy ink. After that, bark paper was produced all over the country. Paper-making with bamboo for painting and calligraphy began in the Northern Song Dynasty. Bamboo is hard, and it is the most difficult to make pulp, because it can't be processed by predecessors, so it is not used. Bamboo paper fibers are the thinnest, bright and hairless, fiber bundles or hard thorns, and corners are also seen outside the corners. After the mid-Northern Song Dynasty, the raw materials for making calligraphy and painting paper were available, so it was not easy to distinguish the times with paper.

Decoration appraisal

Painting and calligraphy decoration in each era has its own characteristics, which can be used as an auxiliary basis for dating. For example, the paintings and calligraphy collected by the court in the Southern Song Dynasty all have a prescribed mounting format-Shaoxing Yufu binding style, and there are strict regulations on what materials to use for mounting different grades of paintings and calligraphy, such as what head to use, what Zi Ling to use and what axis to use; The color, size and shaft head of the vertical shaft have certain formats. Palace paintings in the Yuan Dynasty were mounted by special personnel. In the fourth year of Dade, "Wu Zhi, a mounter, was ordered to take ancient jade ivory as the axis, lotus magpie wood brocade and blue silk as the mounting, and the refined lacquer box was stored in the treasurer, with a total of 646 paintings." The decorative forms of calligraphy and painting in the Ming Dynasty have been further developed, and the introduction of calligraphy and painting volumes has been added. Some of them are written in words, some are imitated with narrow edges, and some are made of silk or wide edges of silk. The longitudinal axis is divided into wide and narrow sides, and some have added poetry halls. The mounting of Tibetan paintings in Qing Palace has its unique style. During the Tang Xi and Qianlong periods, the materials, techniques and forms of mounting were relatively good. The ceiling silk of reels and shafts is mostly light blue, and the auxiliary waterproof silk is mostly tooth-colored silk. The part near the painting center is mostly beige silk (or silk). Some shafts have poetry halls, while others don't, but they usually have two ribbons. The circular curve on the vertical mast is customized, which is significantly different from the non-palace. After Jiaqing, the quality of court mounting gradually declined, and the mast of vertical shaft gradually became thicker (later became square), and some shaft heads no longer used rosewood and mahogany, which seemed clumsy. The hand roll is also thicker than that in Kanggan period.

Seal recognition

The characteristics of the times and the breath of seals are also evidence to identify calligraphy and painting. The flavor of the times of seal can be seen from its shape, seal script, engraving method, texture, printing color and so on. In the Song Dynasty, few paintings and calligraphy works were stamped with the painter's own seal, and most painters did not stamp their own seals on their works. In the Song Dynasty, the materials of seals were mostly copper and jade, and a few were other materials. There are two kinds of printing colors: honey printing and watermark (a few mimeographs appeared in the late Southern Song Dynasty). The honey print is red and thick, and the watermark is weak. The seal script characters and engraving methods of Yuan Dynasty seals changed, and a round Zhu Wen seal appeared. Materials are wood, ivory, copper, jade and so on. And most of the printing colors are mimeographed and watermarked. Since Wang Mian began to use stone carvings in Yuan Dynasty, more and more people have used them. At the beginning of the Ming Dynasty, the seals of various stones were quite common, and the methods of seal cutting characters also had new changes. The stop stroke of each character in seal script is slightly thicker than the original stroke, but lighter and slightly yellow, which is somewhat different from the printing color of Yuan Dynasty. Most of the seals in the middle and late Ming Dynasty were stones, others were crystal, agate, copper and jade. Fonts include China ancient seal script and other forms. During this period, the printing colors were mostly oil paints and shades, and a few painters used watermarks. The characters of seal script used by painters and painters in the early Qing Dynasty did not change much, but the shapes and fonts of seal script tended to be diversified. In the middle and late Qing Dynasty, various kinds of seals and seal cutting appeared, such as Zhejiang School and Anhui School, and most of them took Shuowen Jiezi as the main body. The printing color comes from oil, and the watermark is no longer used.

Identification of inscription and postscript

Inscriptions can be divided into three categories: author's inscriptions, contemporary inscriptions and later generations' inscriptions. Although the inscription and postscript of a painting and calligraphy also denies this work, it is rare. The most important thing is to explain the creation process and collection relationship of this work, or to verify its authenticity and praise its beauty, so people know it. However, there are both fakes in calligraphy and painting, and there are many kinds of fakes in the inscription and postscript, so we can't help but pay attention to their "changes" in calligraphy and painting identification. It is common that original ancient paintings are accompanied by others' fake afterwords, or fake ancient paintings are accompanied by others' original afterwords. If there is an inscription on the painting by the author at the same time, make clear the relationship between him and the author. This situation is not necessarily known from the calligraphy and painting itself, but must be explored from some inscriptions. How important the inscriptions and postscripts of later generations can play in the identification of calligraphy and painting should be analyzed according to the specific situation. Falsification was very popular in the Song Dynasty. Mi Fei's Book History recorded Wang Xianzhi's Goose Stick and Yu Shinan's book, which was dyed antique by Wang Jinqing and put together with the inscriptions and postscript moved from other places. At that time, I also asked officials to write these volumes. If it has been passed down to now, although the inscription of the Song people is true, the post itself is from Mi Fei. Whether calligraphy and painting are credible or not depends on the level of inscription and postscript. Li Hong's collection of books is extremely rich, and there are many inscriptions and postscripts, but his ability to distinguish fakes is poor, and he often confuses the fake with the real. Huang Zijiu's Fuchun Shan Jutu, he got a fake first, which was unparalleled. Later, he told the truth and said it was false. Wen Zhiming's inscription and postscript are more credible, because he is good at painting and has high identification ability. In addition to his eyesight, the appraiser also depends on his responsible attitude towards his work. Dong Qichang had seen many calligraphy and paintings, but he didn't judge the authenticity seriously, so he couldn't fully believe his inscription. Generally speaking, the connoisseurs of the previous generation were closer to the ancient times, saw more things and took advantage of us. Although their inscriptions and postscript are not credible, they are still worth studying and thinking about. Other evidence

Other words: writing other words has always been very serious, and painters are unlikely to make such mistakes. Such as calligraphy and painting or inscriptions, especially calligraphy and painting inscriptions. , are considered to be the clues exposed by forgers. Taboo: In feudal emperors' era, writing should be taboo, that is, when writing the same words as the emperor's name, write less. This is called taboo, generally called lack of pen. In painting and calligraphy, we can see which generation of emperors avoided the word without pen, and we can draw the conclusion that the period of painting and calligraphy creation can not be earlier than that of the avoided generation of emperors, otherwise it is a forged loophole. This problem has always been regarded as irrefutable evidence.

Year and month: The year and month mentioned in calligraphy and painting, inscription or postscript, or the author's age, year of birth and death, or facts, will also be considered as forged auxiliary signs. For example, Zhang Daqian's "Wind and Rain Map of Xiangjiang River" and its volumes were photocopied in the first episode of "The Name of Gale Hall". Paper book, length and width. Ink pen, water stone, wind and rain bamboo. Self-knowledge; It has been three years since Wind Forest, and I have been eager to write Xiangjiang Storm. Although the schedule is very tight, I have not been able to deliver the manuscript. This year, I went to Beijing, chased my friends with wine and bid farewell to the south of Lucheng. I did it on a whim, but I am ashamed of my poor brushwork and good friendship. At that time, I was an orthodox Bing Yin (eleven years, 1446), and I expected to meet Xia Chang in Dongwu on the day after autumn and July. Zhong's "Soochow Xia Chang Shu Yin" and "Tai Chang Qing Shu" have been printed. In addition, the Beijing Institute of Cultural Relics keeps a volume of painting style, which is exactly the same as Zhang's collection. Draw on the original paper, and the color of the paper at the end of the topic will be dragged. Looking closely at the two volumes of brushes, it is not calm, and the words are slightly literary and clear, and they are completely single-handedly. Make a collation of the inscriptions in Xia's original paintings, knowing that in the eleventh year of orthodoxy, Bing Yin (1446) was still studying in the official department in the summer, but his official was too clear, and he was ugly in the five years from Tianshun to Chenghua (about 1457- 1469), so it is impossible for orthodoxy to use "too often"

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