This painting is a vertical axis landscape color painting, the content is the mountains and mountains, the structure of the mountains and rocks in this painting is rigorous, the brush and ink are ancient and vigorous, the composition is clear and handsome, the pen is square, round and turned, the ink color is clearly layered, whether it is a cliff, a deep stream waterfall or an ancient tree towering to the sky, the mountain road is drawn just right, the whole painting gives people a sense of majestic momentum, far-reaching artistic conception.

This painting has a very detailed knowledge, the content of the knowledge is: flying springs hanging mountains and rivers, pine and rocks, empty forests and lonely mountains, and the moon and cold of the whistling mountains. It's autumn. The old man of Qingxiang Yuan Jihuai poems, worship the picture of autumn landscapes, and present Yangzhou Xiangxi monks.

Let's not talk about the real fake, Tang Feng can determine that this is a painting and calligraphy work after the Song and Yuan dynasties, this is not the ability of an unknown prophet, but common sense.

Paragraph knowledge is also called the title, the title, self-knowledge, originally refers to the ancient Zhong Ding Yi on the words cast and engraved, and later refers to the title left by the painter on the painting and calligraphy works.

The early paintings and calligraphy works before the Sui and Tang dynasties generally did not leave the artist's knowledge, and the few calligraphy and painting works with the style only wrote some small characters in inconspicuous places such as tree roots and rocks. Being good at painting is not necessarily good at calligraphy, some painters who are not at a high level of calligraphy often write the inscription on the back of the scroll, because they don't want their unsightly handwriting to smash their painting signs.

During the Song and Yuan dynasties, literati painters began to inscribe the title on the picture, and the style knowledge also expanded from only writing the name of the painter and the time of creation to inscribe poems and texts, stating the object of the gift, etc., and the length of the knowledge can reach more than 100 words.

In the Ming and Qing dynasties, the works of literati painters had to be knowledgeable, and style knowledge became an indispensable and important component of Chinese painting.

This painting does not have a lot of words, but it contains a lot of content, "Flying springs hang mountains and rivers, pine and stone connections, empty forests are lonely, and the moon is cold in the long whistling mountains." It is an inscription poem, which is a direct description of the artistic conception of the painting; "Shi Yimao Autumn" is the time of creation; "Qingxiang Old Man" in "Qingxiang Old Man Yuan Ji Huai Poems" is the painter's alias, and "Yuan Ji" is the painter's name; in "Worship the Autumn Landscape", "worship" is a kind word, and "Autumn Landscape Picture" is the name of the calligraphy and painting, according to the current people, this is a "Autumn Landscape Map"; "Presented to Yangzhou Xiangxi Monk" is very easy to understand, Cheng is to send, to Yangzhou Xiangxi Monk.

This painting also has two calligraphy and painting seals, one white and one red, the white calligraphy and painting seal is the four-character regular script seal - the old man of Qingxiang, and the red calligraphy and painting seal is the four-character seal seal seal - Yuanji calligraphy and painting. The white and red colors of calligraphy and painting are not the same as the colors we usually talk about, it only looks at the font, for example, the words printed on white calligraphy and painting are white, and the surrounding is red.

Tang Feng was looking at this painting, and the people who used to look at the painting stopped looking at the painting anymore, and looked at him instead. The young woman among the two men and one woman is very beautiful, and she belongs to the kind with a unique temperament, but Tang Feng didn't pay much attention to her, she has been dealing with beautiful women these days, and the faint psychological burden makes Tang Feng in the stage of aesthetic fatigue, so it's better to stop.

In the antique industry, most of the connoisseurs are men, especially the elderly, young connoisseurs like Tang Feng and Yang Chengming are rare, and young female connoisseurs like Liu Yue are even rarer. Both professionals are elderly, and both wear glasses, but one is thin and the other is fat. Seeing that the three of them were looking at him, Tang Feng said a little embarrassed: "I didn't bother you, right? ”

The chubby old man asked Tang Fengdao, "Young man, what do you think?"

"I think it'......" Tang Feng said, "It's really hard to say, and I asked the three for advice." "These two people are connoisseurs, and Tang Feng is definitely reluctant to say what he really thinks.

The thin old man said to the fat old man: "Lao Zhang, don't divert the topic, what do you think?"

The fat old man said: "Judging from the artistic conception, style, brushwork and painting style, the quality of this painting itself should be true." However, there is no record of this painting in the records of calligraphy and painting of all generations, and I think it is fake. Moreover, judging from the handwriting of the style, there are slight differences with Shi Tao's authentic handwriting. ”

Tang Feng nodded secretly in his heart, this old man is really an expert, and he just has these three sentences in this short sentence, but it contains the three major schools of Chinese painting and calligraphy. Facts have proved that no matter who thoroughly understands the identification method of any of these three major schools, he can deserve to become a master of calligraphy and painting appraisal.

The first genre is the basic genre, which is the most direct way to identify calligraphy and painting from the ontology of calligraphy and painting art, including artistic conception, style, brushwork, ink method, modeling, layout and other characteristics.

The second school is the archaeological school, which takes ancient records as the entry point for the identification of ancient paintings and calligraphy, and carefully analyzes and evaluates the records and evaluations in the records, so as to eliminate the false and retain the true, and determine whether they are authentic and reliable.

The third school is the handwriting school, which adopts the identification method of calligraphy and inscription, supplemented by painting identification.

Of course, these three genres are only art schools, calligraphy and painting appraisal and technical schools, technical schools are identified from the material of paintings, and Tang Feng's appraisal of calligraphy and painting works is based on the material.

"Hmm. The thin old man nodded and said, "It does look like Shi Tao's real handiwork." ”

It's a shame that Tang Feng is an expert, otherwise he might not understand. Because this painting has a very detailed knowledge, it is not difficult to judge the provenance, the old man of Qingxiang is the alias of Shi Tao, a famous painter in the late Ming and early Qing dynasties, and Yuan Ji and others are his pen names.

Shi Tao's original name was Zhu Ruoji, and he was originally a royal family of the Ming Dynasty. When he was ten years old, he was forced to cut his hair and become a monk because the Qing army entered the customs and the country was ruined, and his name was changed to Shi Tao. Although he wandered all his life, he also traveled all over the famous mountains and rivers, and had an extraordinary understanding of the way of nature, so he worked in the mountains and rivers. Zheng Banqiao, who is famous for painting orchid bamboo in the "Yangzhou Eight Monsters", once said that "Shi Tao is good at painting, and there are 10,000 kinds of covers." To describe his erudition.

Perhaps because of the identity of the royal family of the previous dynasty, Shi Tao once used several names such as Yuanji, Yuanji, Chaoji, etc., and his aliases include Da Dizi, Qingxiang Old Man, Blind Venerable, etc. His works are extensive, and the number of those that have been handed down and lost is impossible to verify. Because the quality of his paintings is uneven, and the large number of fakes from various eras is abundant, it is even more difficult to distinguish the authenticity.

Shi Tao's works are full of artistic dynamism and tension, and his personal style is unbridled, dripping and free, not limited to small flaws, and has a bold and lush momentum. And the quality of the painting itself is completely in line with his personal style.

The fat old man said to the thin old man, "Don't be an afterthought, tell me your judgment." ”

"Alas. The thin old man said: "I can't help but say that the forger imitates well, but the fake can't be true, in addition to the font of this painting and Shi Tao's authentic handwriting, these two calligraphy and painting seals are also very problematic, and the forger's seal carving skills are a little worse." ”

The fat old man let out a long sigh, shook his head and said, "It's a waste of time, not to mention, but also a waste of energy." He turned to the young woman and said, "Xiao Fan, please let them put it away." ”

The young woman smiled and said, "Elder Zhang, look at what you said, how can it be troublesome?"

At this time, Tang Feng was already happy in his heart, and if they let him put it away, it means that they don't want it, they don't want it, can't they buy it themselves?