After explaining a few more issues in detail, Shen Yu felt that he should be able to go back to the experts' table to rest, but he was stopped again by Feng Qingyun and Mr. Feng.
I just heard Mr. Feng say with a smile: "Xiao Shen, good things come to an end. I just took a look on my phone. The Tibetan friends in the live broadcast room all want you to explain the method of appraising calligraphy and paintings. Why don't you just say a few more words? Right."
Shen Yu knew that Mr. Feng had good intentions.
If the owner of an antique shop can become an appraisal expert on a treasure appraisal program, the business will definitely be good.
Not to mention anything else, the appraisal fee alone will also rise.
For example, if Fatty Lin authenticates a piece of porcelain, the appraisal fee will be at least 5,000 yuan.
And if you give me five thousand, he may not be willing to go.
If you want him to show you a piece of porcelain with all his heart, it's impossible for him to pay ten thousand or twenty thousand.
But the identification of calligraphy and painting is still a matter of experience, and it is really useless to just rely on words.
"Well, ahem, this is it..."
Shen Yu was going to say a few polite words and then decline Mr. Feng's kindness.
But Song Jiajia suddenly said loudly: "Okay, let's ask Expert Shen to explain some tips in calligraphy and painting appraisal. Everyone applauds."
"Boom!"
The audience applauded like thunder.
Collectors who like calligraphy and painting appraisals have their hands red.
When someone in the live broadcast room said that Shen Yu was the only grandson of "Shen Banzhang", the barrage took off and the screen was filled with thumbs up.
Shen Yu was immediately confused. Who is this?
When will I talk about the so-called identification tips?
I obviously want to go to the expert table to have tea and take a break.
However, the rice has already been cooked, and Shen Yu estimates that if he doesn’t talk about some useful information now, the audience alone will not be able to forgive him.
Since everyone likes to hear it, let’s just talk about it.
Thinking of this, Shen Yu stood on the stage and bowed deeply to the audience amid warm applause.
Most of the audience participating in the recording were well-informed and knew that Shen Yu was about to speak, so they all fell silent.
"Many people have their own appraisal methods for calligraphy and painting appraisals.
"But let me say, all of this is based on having certain identification experience.
"Without experience, there is no way to make an appraisal.
"Think about it, someone asks you to identify a Tang Yin work. If you have never seen Tang Yin's original work, how can you identify it?
"So when collecting, you must learn more and read more. To identify ancient paintings and calligraphy, you must use physical comparison. The more authentic works you see, the better you can distinguish fake ones."
After giving everyone a few dozen seconds to think, Shen Yu slowly spoke again: "To be honest, appraisal of calligraphy and painting is a very complicated matter.
"Our country has a long history. There are countless calligraphers and painters from ancient times to the present. Each one has his own artistic style, which requires high knowledge of the appraiser.
"Moreover, the same author's copying of other people's works is different from his own creative style.
"The style of his early works is also different from that of his middle and late works.
"When talking about calligraphy and painting appraisal, we have to mention the Ming Dynasty writer and great collector Zhang Chou.
"Zhang Chou, whose courtesy name is Guangde and whose nickname is Mi'an, gave a concise summary and answer to the appraisal of calligraphy and painting in his book "Qinghe Painting and Calligraphy Boat":
"Those who are good at discerning should not be frightened by repeated names, confused by secrets, deceived by ancient papers, or mistaken by rubbings.
"When appreciating calligraphy and painting, you should observe the charm, examine the circulation, distinguish paper and silk, and recognize imitation.
"Even now, the appraisal of calligraphy and painting almost only involves these few steps, plus of course the seal and the atmosphere of the times."
"The reason why Zhang Chou only mentioned four points but did not mention the seal is because many ancient paintings before the Ming Dynasty, that is, during the Song and Tang Dynasties, did not leave any inscriptions.
"The painters at that time were very indifferent to fame and wealth, and basically did not leave any name money, so the ancient appraisers were unable to appraise the seals."
Taking the water glass from Fatty Lin's hand, Shen Yu took a sip of water and continued: "Today I will mainly talk about how to test the circulation and identify the style of the era of painting."
Literati in the Ming Dynasty especially liked to write poems on their paintings.
What they pay attention to is the combination of poetry, calligraphy, painting and chapter.
Suppose Tang Yin painted a "View of the Sea of Clouds" at a gathering of literary friends.
His friend Zhu Zhishan took a look and said, "Oh, Bohu's painting is pretty good."
So I wrote a long article at the back.
On that day and year, I, Zhu Zhishan, saw Brother Bohu painting this "View of the Sea of Clouds" at a certain place. Afterwards, everyone drank some wine and ate some delicious food, and then returned home happily.
A few days later, Wen Zhengming also saw this painting and said, "Well, Bohu's painting is not bad. It's a stroke of genius. This painting can only be seen in the sky, how can it be seen in the human world?
It’s truly a supreme product!
Come on, since Zhishan wrote a long article, then I will write a poem.
So Wen Zhengming wrote another poem in the blank space of the painting.
In the late Ming Dynasty, assuming that Dong Qichang had obtained this painting, he saw that the painting was really good and was definitely an authentic work by Tang Yin. Since he saw it, he had to leave something behind.
He decided to write a poem too.
But when Dong Qichang started writing, he found that there was no room for the title, because all the blank spaces on the painting could be written.
So he found a place and reluctantly wrote the words "Dong Qichang Jingguan."
A hundred years later, the same painting "View of the Sea of Clouds" was collected by Zheng Banqiao. He wanted to write a poem but had no place to write it.
There is no space to write a word of respect or worship.
So I had to take out my seal and stamp it with Zheng Xie’s collection seal.
"Okay, here comes the question."
If you are not sure whether this painting belongs to Tang Yin or not.
Then we need to start with Zhu Zhishan's long essay, Wen Zhengming's poem, Dong Qichang's inscription, and Zheng Banqiao's collection seal.
As long as one part is correct, for example, it can be clearly proven that Dong Qichang's inscription is correct, then the painting can be judged to be an authentic work by Tang Yin.
Many people would say it’s impossible.
Tang Yin is not a master of painting, so how could his paintings not have room for inscriptions and seals?
I am just assuming here that Tang Yin is more famous than the famous figures of the Tang and Song Dynasties.
In fact, there is really no place to stamp the collection seals on some works by famous artists of the Tang and Song Dynasties.
Because predecessors may have stamped dozens or hundreds of seals, such as Emperor Xiang Yuanbian or Emperor Qianlong. It is common for them to stamp dozens of seals on their favorite calligraphy and paintings.
As soon as Shen Yu finished speaking, the live broadcast room was filled with funny expressions that could only be understood but not expressed.
"Then what is the style of the times?" Shen Yu asked again.
It means the costumes of the characters in the painting, cups and dishes, including furniture, etc.
For example, if there are long robes and mandarin jackets in Ming Dynasty paintings, they must be fake.
There are also porcelain furnishings in the painting, such as several scribes sipping tea, and the teapot is enamel porcelain or pastel. It must be fake, because these porcelains were invented in the Qing Dynasty and could not appear in paintings of the Tang, Song, Yuan and Ming Dynasties.
The freehand painting of flowers and birds was created by Chen Chun and Xu Wei. It is impossible to say that a freehand painting is from the Tang Dynasty.
To put it bluntly, when you appraise a calligraphy and painting, there should be no things outside of this era in the painting.
There are some very interesting paintings online now.
The three heroes fought against Lu Bu instead of riding a horse but driving an excavator.
Let’s take a group photo after the Taoyuan Three’s marriage.
Xiao He chased Han Xin under the moonlight on a bicycle.
While everyone was laughing, they could also tell at a glance that these paintings were fake, or that they were not painted by ancient people.
Why?
This is because of the different styles of the times.
This chapter has been completed!