After Zhang Donggao's appraisal was completed, Yu Zongwen couldn't wait to ask: "Is this the "Five Kings Drunk Return Map"?"

"Yes, this is indeed the original work of Ren Renfa in the Yuan Dynasty "Five Kings Drunk Return". "I was fortunate to have the honor to identify such a national treasure-level painting, and Zhang Donggao was also very excited.

Yu Zongwen frowned and asked: "Looking at Chen Jiru's inscription above, this painting should be made by the Tang people, I originally thought that Ren Renfa's seal was a Tibetan seal, isn't it?"

Although Ren Renfa is a famous artist of the Yuan Dynasty, if this painting is an authentic work of the Tang Dynasty, the value will definitely be higher.

On this painting, Chen Jiru inscribed: Emperor Wen of the Tang Dynasty carved six horses in Zhaoling, so the descendants of the horse fetish, Daizong has nine flowers, and Dezong has wisdom and wishful thinking. Decorated with gold, controlled with a purple jade whip, and a product of material. Therefore, its picture is spread in the world, and the song is endless. This volume of Tang pen, the inscription cut has gone, fortunately Ma Shanger is safe, Wuxi Wang Lin Guo Mr. Shizang, his grandson Fuzhou Shouman Xun Gong can always protect it, ring back to play, the posture is hairy, the so-called writing of the shape of the worn, not in the water, the shape of the shift, out of the sky. It must have been made by Cao Ba, that is, the Gonglin generation failed to compete with it. Chen Jiru in the clouds is inscribed in the stubborn immortal house.

Judging by the inscription, this painting should be a work of the Tang Dynasty, no wonder Yu Zongwen is confused.

Zhang Donggao explained: "Chen Jiru thinks that this painting was made by the Tang people, which is a preconceived idea, and at the same time, like you, mistakenly thinks that Ren Renfa and other seals are Tibetan seals. ”

Next, Zhang Donggao gave a detailed explanation.

Judging from the analysis of the pommel horse and the costumes of the characters in the "Five Kings Drunken Return Map", the shape of the entire pommel horse, the horse ornament, and the clothing of the characters, the techniques and rendering are completely inherited from the style characteristics of the Tang Dynasty and the characteristics of the times.

The second is the inconvenient geographical conditions in ancient times, the opportunity to see famous sites is very rare, Chen Jiru's "Mud Ancient Record" is a collection of essays on Chen's art appreciation, and has not recorded Ren Renfa, even Wang Yongji does not know Ren Renfa, until he saw Li Jiuji's "Zitaoxuan Miscellaneous" to identify, not to mention the style and appearance of the authentic works that it has inherited, so it is indeed understandable to mistake it for the Tang pen.

In the inscription, Chen Jiru also clearly stated: "The posture is as hairy as life, and the so-called writing of the shape of the worn is not in the water, but the shape of the stumbling."

"Wuwa" is the hometown of Tianma, located in Dunhuang City, Gansu Province, in the Tang Dynasty, there is Lu Lun's poem "Sending the Judge of the History Soldier Cao to the Building": "When the Wuwa dragon is planted and scattered, thousands of miles of flowers are separated. The famous painter Cao Ba and his student Han Gan in the Tang Dynasty are famous for painting the famous horses of the Wuwa and the production of the horse, and Chen Jiru's inscription also indirectly said that the characteristics of the Tang horse are "the shape of the Wuwa" and "the posture is as hairy as life", which is very in line with the horses written by Cao Ba and Han Gan, and this preconceived idea made Chen Jiru write this inscription.

Mistakenly believing that Ren Renfa and other seals are connoisseurship seals has a lot to do with the level of identification.

In the Yuan and Ming dynasties, there were many well-known painters who had detailed records of Ren Renfa's poems, so Chen Jiru must be familiar with who the "Ren Ziming" and "Yueshan Daoren" on this volume were.

However, Chen Jiru should not be familiar with Ren Renfa's paintings, and the common sense of seal signing is also lacking, so there is a misjudgment.

Due to the lack of status of the Ren family in the court, their tribute paintings were not appreciated by the Yuan Emperor, and their style of painting of people and horses failed to form a radiation circle beyond the family in the Yuan Dynasty. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, only the descendants of the Ren family and a few teachers and followers passed on the ancestral style, and since then, the trend has dried up.

The prestige of the Ren family at the end of the Yuan Dynasty was so small that their fellow Xia Wenyan seemed to have forgotten about their family and did not include them in the "Illustrated Treasure Book".

This shows that after Ren Renfa's artistic appearance of painting horses entered the Ming Dynasty, the world was very unfamiliar with his appearance in addition to the non-appraisal collection, and they all knew about it from the records of the classics.

The appraisal explanation given by Zhang Donggao was too professional, and Yu Zongwen and others were greatly admired.

Zhang Donggao said that he further explained his reasons for identification: "In the appraisal of this painting, the appraisal of the mounting and paper is also crucial. ”

Zhang Donggao first analyzed the explanation and mounting.

The main source of the court collection in the early Qing Dynasty was to put the collections of famous private collectors such as Liang Qingbiao, Sun Chengze, Geng Zhaozhong, Geng Jiazuo, Suo Etu, An Qi and others into the inner government.

In addition to the damage to the head of this volume, most of the rest retain the original mounting of the Qing Palace, the signature, the front water barrier, the introduction paper, and the back of the paper are all unique materials of the Qing Palace, and the front and back water separation retains the original cloud crane pattern ayazi, which is often used in the old collections of Liang Qingbiao and Geng Zhaozhong.

The above comparison of the volumes are also the original mounts of the Qing Palace, and the following are the framed faces of "Figures of People and Horses" and "Zhang Guolao's Picture Scroll of Seeing the Ming Emperor". "The Drunken Return of the Five Kings" is also accompanied by the original jade bezel of the palace.

He then proceeded to analyze the explanatory paper.

Vintage appraisal is the most complex and difficult in the appraisal of ancient paintings and calligraphy, non-destructive appraisal method, generally based on experience, with eyesight, experienced people mainly look at the material, pulp, painting style.

The materials may not be absolutely authentic when they arrive in the future, because it is not excluded that later generations may also use ancient materials to forge them, but if the materials are not right, they are definitely wrong.

Not every material can be accurately identified, but fortunately, the paper used in "The Drunken Return of the Five Kings" is a relatively easy to identify.

Experienced appraisers can judge that this is Song paper from the texture, fineness, pulp, and fineness of the surface of this roll, and it is easier to judge if you look at the curtain pattern on the light.

Due to the change of papermaking technology, the spacing of the bamboo curtain tied line used for paper making in the Tang and Song dynasties was wider, and a mantra used by the ancients to distinguish Song paper was: "Song paper curtain pattern two finger width", that is, the distance between the curtain lines to the light source was two fingers wide, and the curtain pattern in the Yuan, Ming and Qing dynasties was only about one finger width.

At the beginning of the Yuan Dynasty, Song paper can still be basically used, for example, Zhao Mengqiu has a lot of paper paintings painted on Song paper, and at the end of the Yuan Dynasty, Song paper was basically not used, until the middle of the Ming Dynasty, a number of Song Dynasty scriptures were found, and the representative is Jinsu Mountain Tibetan scripture paper, which is popular again with Song Dynasty scripture paper for calligraphy and painting.

"Five Kings Drunk Returning" takes a picture of the light box, the curtain pattern is clear, and the distance between the visible curtain lines is about 34 mm, which is about two fingers wide.

After listening to Zhang Donggao's explanation, everyone felt that they had a lot of knowledge.

Zheng Xiaowu also asked his doubts: "The five seals such as the treasure of the Qianlong Imperial Pavilion are different from the three seals of the Shiqu Dingjian, the recompilation of the treasures, and the three seals of the Ganqing Palace, what is going on?"