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The sky in Beijing in September is extremely deep and clear. To read the latest chapters, please lock in Aishang Novel Network biquge.info Capital Airport seems to be much busier than ever, Jiang Hongwei and I were led by the pick-up person to the exit, and two black Audi A6s were already waiting there. The visitor said that the host had arranged a hotel for us to stay in, and a banquet would be held in the evening to welcome the guests from Nanjing. The Qianmen Hotel where we stayed was near Liulichang, and in the elevator, two middle-aged people who looked like unfathomable calligraphy and painting dealers were chatting about the auction without saying a word, and they had some faint resentment with each other that was not easy for outsiders to notice. After putting down the luggage, there was a call from the other side, so I got into the car again.

The master of ceremonies led us to a spacious private room with huge floor-to-ceiling windows overlooking the bustling Chang'an Avenue. After everyone stood up and greeted, the host told the young lady to go to the food. During the banquet, an ancient player wearing a white silk Tang costume spoke a very talkative Beijing accent, and he talked about some anecdotes in the circle of Beijing Liulichang during the late Qing Dynasty and the Republic of China, and then talked about Zhang Daqian:

"A person once told me that he once showed Zhang Daqian's paintings of Cheng Shifa in the United States, but Zhang Daqian had never seen Cheng Shifa's paintings before. The man said to Zhang Daqian: There is a painter named Cheng Shifa in the mainland, how is the master doing? Zhang Daqian had a rule, that is, he never held any painting in his hand, he told him to hang it up, and then looked at it very closely, stood far away and looked at it again, and looked at several pictures very carefully. finally came to a conclusion: the actors of the grass stage team can't go on the big stage, but they sing small songs well. However, he admired Xie Zhiliu and admired Wu Hufan the most. ”

"Zhang Daqian is a master, very 'Jianghu'. I am very convinced of his character. A thin old man with an elegant temperament next to him took over the conversation and said: "A collector in Hong Kong who is still alive is called Huo Dongjie, and he has just published a selection of more than 140 Qi Baishi's works in his collection. This Huo Dongjie is also a big businessman, who specializes in monopolizing the operation of bird's nest and cordyceps. Once, it was more than seven years, Huo Dongjie went to Taiwan, Zhang Daqian was doing an exhibition, and in seven or eight days, he sold five or six paintings, which was not expensive at that time, only two or three thousand dollars a piece. Huo Dongjie came and asked the young lady in charge, 'Which ones are not sold?' The young lady pointed it out to him, and he looked at it and said, 'Well, I want all the ones that are not sold.' As soon as the young lady saw that the big buyer had come, she immediately ran into the back room and called Zhang Daqian: "Master, a Hong Kong guest has bought all your paintings, and you can see if there is a discount or something, and you can make a price." Zhang Daqian never sells paintings at a discount, but he sells them more vigorously. When it was over, he said, 'OK, OK.' Then, the young lady came out and said, 'Mr. Huo, considering that you have bought them all, we will give you a discount.' This Huo Dongjie also said, 'This painting is not expensive, the painting is so good, there is no need to discount it.'" Wrap it up, I'll take it all. The young lady turned around and told Zhang Daqian about the past, and Zhang Daqian thought: Who is this person? Then I asked the young lady for a business card to see, and knew that it was called Huo Dongjie. After it was over, Zhang Daqian asked Miss to call and ask him when he was leaving. After the lady asked, she sued him, saying that it was a flight back to Hong Kong the day after tomorrow. Zhang Daqian nodded, 'Okay'. ”

"On this day, when Huo Dongjie was checking in at the airport and was about to leave, an airport service staff asked: 'Is it Mr. Huo Dongjie?' 'Yes, what's the matter?' ''Someone will give you a gift and check it in with your luggage. ''Who sent it?'' ''I don't know. Huo Dongjie looked back, a big package. When I arrived in Hong Kong, I opened it and saw that it was a splash of color sent by Zhang Daqian, which was originally placed by Zhang Daqian at home. Zhang Daqian is very Jianghu, his friends treat him well, and he will definitely repay him. Later, the relationship between the two was really good. When Huo Dongjie bought a painting, he stood next to Zhang Daqian and watched him paint, 'It's not right here, add a flower here, add a grass here.' Zhang Daqian has nothing to do with him. The crowd laughed. Later, once when I was looking at a painting at Huo Dongjie's house, he said, 'This flower is added, but there is no grass here, so it is added.' He still has more than 40 Zhang Daqian at home, because they all have the upper money, and all the non-paid ones have been sold. Huo Dongjie is now in his seventies, he is a very nice person, and he is very easy-going and approachable to chat with him; Drinking a bowl of bird's nest every morning is very good, and I especially like girls. "Everyone said that it seems that in the future, you will have to drink a bowl of bird's nest every day, and you will be able to maintain the concentration of hormones even when you are old. The old man pushed his glasses and smiled very restrainedly in favor of the crowd. The antique dealer in a white silk Tang costume continued:

"There is also a Zhang Zongxian in Hong Kong who is also very popular with women. His plan is very good, it is worth learning from, "buy three and keep one", this is his principle, for example, if you buy someone three paintings, he must keep one of the best ones and not sell them, and the cost of those two is spread among these three pieces, and then talk about making money. When he gets started, he earns one-third first, and then he doesn't make money, and the best one is equal to no cost. He always buys three and keeps one, so he has a lot of stuff. He was an early starter, especially in women's business. For example, those Mrs. Kuo went to his shop to buy calligraphy, painting, porcelain or something, he wrapped it, and when he was finished, he said: I will send it to you in the evening. He is very good at pleasing women, and the broad ladies may keep him for the night, and the eighty thousand things that he began to talk about may become twelve thousand by the morning. He is also very tall and very peugeot, of course, now old, in his seventies. ”

Jiang Hongwei listened to them and enjoyed it, so he said that he was planning a column for collecting stories, and you are all big players in Beijing's collection circle, can you do an interview or something. Those two Dao: What kind of players are we? However, since you have come to Beijing, you have to gain something from the territory of Liulichang. The two unanimously recommended a predator in the collecting world - Yang Guangtai.

They didn't seem to know that the subject of our interview was Yang Guangtai. I had been told that the collector I was about to face was a "very deep" collector. Now that I hear everyone talking about him, I feel a little excited and a little nervous.

Before meeting Yang Guangtai, I used almost all my experience and reading experience to make all kinds of ideas and shapes, so much so that when I came to the dinner table, I conceived a backup for the two antique dealers I met at the dinner table. But when I met Yang Guangtai, I was still surprised unexpectedly: modest, elegant, and introverted. The point is humility - that kind of peace and humility that is frank and sincere without a trace, not the kind of decorative virtue that is impeccable but always feels that something is wrong, but a kind of tranquility that has been quenched over many years and has been completely dissolved into everyday habits, a kind of tranquility that is accessible everywhere in the world.

I did some necessary preparation before the interview, and I tried to start the conversation according to my pre-set clues:

"You are an expert in the collection and management of calligraphy and paintings, but we will not talk about the actual operation of how much to buy and how much to sell a collection today, and I would like to raise a cultural question about one of your collections.

Most of the art histories we usually read, first, are not written by art creators, and second, they are not written by art operators, that is, people who really understand the interests of art consumers or audiences; Many people talk to themselves from text to text, behind closed doors, and at most they look at some low-quality printed materials and sprinkle tens of thousands of words, wishful thinking to put themselves in the position of God, condescending to fabricate the laws of artistic development. In fact, in modern times, such as Huang Binhong, Wu Hufan, Luo Zhenyu and a group of collectors, they had a direct impact on the formation of the traditional painting pattern at that time, they were not only connoisseurs, experts in ancient documents and gold and stone, but also excellent painters, many of their behaviors at that time were limited to a circle of upper literati, not only unrecorded, but even hidden. For example, when we look at Huang Binhong, we tend to focus only on him as a modern master who has put tradition together, rather than discovering how he acted as a connoisseur in Shanghai and Beijing among a group of connoisseurs or philosophers. At that time, the old-style literati all had a remnant mentality, and their very specific activities related to economic interests or cultural ethics were actually the key to the formation of the traditional painting pattern of the Republic of China, rather than a set of rules that we peeled from the history of Western art: an artistic trend came or a master was born, so many people imitated and chased after it. In addition, as far as I know, in Tianjin in the 30s, Liu Kuiling's paintings were very marketable among the citizens, and he was a scholar of Lang Shining, and we know that at that time, both the nationalists and the innovative people had a critical attitude. Also, in the 30s, many painters who had returned from studying Western painting in the West switched to painting Chinese paintings, because no one wanted to buy oil paintings at that time. The taste of the people is often not influenced by the so-called artistic trends, and collectors and art operators often have a good grasp of this. ”

"The market will stimulate painters, such as Liu Kuiling's painting method, the key is the market's influence on him, he may have been accepted by a group of people when he painted, what kind of people? It's just for collectors to accept. To take a simple example, the painting and calligraphy market is particularly easy to sell, if this momentum continues for many years, then for art creators such as painters, it will play a certain guiding role, and it will definitely stimulate the emergence of a large number of painters who paint this style of works.

I have been a gallery for more than ten years, and before that, I have been making a profit and making a living from this for 20 years, and I have really spent a lot of effort to collect, pondering and researching is really not calligraphy and painting, but seals, I have read a lot of articles on the history of seals, as well as articles from the perspective of art, and I have a lot of knowledge of the most cutting-edge research information in the field of seal culture, whether it is Chinese, Japanese, Taiwan or Hong Kong. I have such an experience, these leading researchers, their research is still relatively lagging behind, and their conclusions are based on some materials that have been published by museums, but they do not know that there are already a large number of unearthed materials among the people. The last time I showed the researchers at the museum what I had in my collection, they were amazed, they didn't think how this could be the case? There is no definite date and report on the excavation, and they feel that their conclusions were made too early, but I only showed it to a small number of people, but it was never announced. All in all, I don't think our art historians have a complete grasp of the real material, especially in those marginal areas. In addition, I have found that many people write the history of painting on paper without doing in-depth research. I'll give you an example, for example, Shen Yinmo, a lot of talk about his writings, about his calligraphy achievements, it always says that he studied under the two kings, has conducted in-depth research in the field of traditional calligraphy, and is a practitioner. Later, I found out that in fact, they are not very accurate, in fact, he is still learning his father's habits in the use of the pen, but his father Shen Dingxiu is not mentioned in every book, I saw a calligraphy of Shen Dingxiu in Shanghai at the time, I think it is very similar to Shen Yinmo, and then I think he is not learning Shen Yinmo's calligraphy, but I later looked at the year is not right, he was a long time earlier than Shen Yinmo, and I only knew that this Shen Dingxiu was actually Shen Yinmo's father. We always talk about Huang Binhong, in fact, one of Huang Binhong's teachers is very similar to him, which makes people wonder if there is a certain amount of moisture in the independence of Huang Binhong's landscape style? Therefore, the study of the history of painting should be good at digging out some of the best things of others, unwilling to admit them publicly, really write them in the book, and talk about a problem realistically, rather than talking about it ramblingly, who learns the Song and Yuan dynasties, because the Song and Yuan dynasties seem to have a high style, if you say that you learn the Tang and Song dynasties, then the Song and Yuan dynasties are needless to say, but now there is no original work of the Tang and Song dynasties, so let's talk about learning the Song and Yuan dynasties, because many of the Tang and Song dynasties are copies of the Song and Yuan dynasties. As a result, we see that many painters often write as soon as they come up: "Imitation of Song Ben" and "Imitation of Yuan Ben", in fact, he has never seen the original work, and only borrowed a general composition based on several albums. In other words, how can we know the reason why this painter really formed his style? How the hell did this come about? Really make it clear, and don't scratch the itch through the boots, this does still require a certain amount of work, and who will do this work? I think collectors tend to know the details here. For example, if a collector wants to be sure that Shen Yinmo is real, he must thoroughly understand Shen Yinmo and deduce from his father's method of using the pen! If this kind of estimation is true, because his origin is here, not in the body of the second king. Learning from the second king is just a saying, in fact, he is more of his father in his bones.

"This is like a sentence said by Qian Zhongshu: 'Exploding households make family trees'."

"In this way, 'avoiding saints' is also a virtue of Chinese cultural people, but this 'virtue' has misled future generations, causing many researchers to desperately compare Erwang and Shen Yinmo to come to some very incorrect conclusions. For example, Li Keran, many people mentioned that he paid attention to sketching, but in fact, he did it based on black and white photographs. The book never talks about it. I think there is some truth to this statement, why? Because Li Keran's paintings are basically from above, there are few from a heads-up. If he is really sketching, then where is his perspective? Did he sit in a stationary helicopter and sketch? And the camera on the plane is from above, and you can't look at it at eye level, because the mountain is high, and you can't take a picture. Later, under the influence of the Xu School, he emphasized sketching, so some people say that he carries an oil painting box everywhere to sketch all day long, which is the same as a painter emphasizing that he studied the Song and Yuan dynasties. ”

Li Keran said in his later years: The Bada and Dong Qichang used ink like the moon and the earth, extremely clear, saying that they had not been able to reach this realm in their lives. However, the people of the time did not pay attention to his perception of his later years, because Dong Qichang was regarded as the initiator of copying, which was degraded, while Li Keran was set up as a model of life painting, and people have become accustomed to treating them as some kind of symbol, simply opposed, and will not pay attention to the true intentions of a painter. What do you think about this? ”

"I found that there are really a set of great artists, and I admire them, such as Qi Baishi, who advertises his poetry first everywhere, but in fact, his limerick poems are not the most intelligent, at best, they have a little civilian life, but there are more poets with some life. He ranks backwards: word second. In fact, many of his words are learned from Wu Changshuo, but the book does not say that he learned Wu Changshuo, but only said that he learned He Shaoji and Jin Dongxin. In fact, Wu Changshuo had the greatest influence, he was in Wu Changshuo's way of writing, of course, he did not deny that he had studied He Shaoji, because the early years of painting did have the shadow of He Shaoji, but Wu Changshuo was the most diligent. In fact, his painting achievements are the highest, but he insists on saying that his painting achievements are ranked last. ”

"Do you think there is such a rule in the world of calligraphy and painting: those who know do not speak, and those who speak do not know?"

"There may be a reason for 'not being able to speak': whether it is in the appraisal or in the shopping mall, he does not talk about it because of many specific reasons. For example, if he grasps a Li Keran feature that can be used in the identification, then he is reluctant to expose it to others, which may be just a few small characteristics that seem fragmented. However, it is customary to look at problems from a macro perspective, comparing them horizontally and vertically, rather than doing specific research on the details of a person or a painting. ”

"A person who is engaged in art history sometimes grasps a fake, or a printed copy of a fake, and tells a whole set of plausible things; And you have a few codes to identify authenticity, but you can grasp the essence of this painter at once. ”

"I remember that the Shanghai Painting and Calligraphy Publishing House published a set of Dong Qichang's albums, and the preface was written by a painter, which was very clever. He began to talk about Dong Qichang's life deeds, as well as Dong's achievements, and the evaluation of his paintings by his predecessors, and he finally said a little, I think it is quite in place, he said that Dong Qichang is really indistinguishable, "chaotic Dong" means that Dong Qichang is too chaotic, we can't find a ruler to measure him, and we can't find a standard. Then he finally said: Now we don't need to pay attention to Dong Qichang's fakeness, we just study the influence of his style and schema on art history in general. ”

This may be a strategy for art historians to play up their strengths and avoid their weaknesses, because he has seen very little in real objects! If he writes strictly according to the standards of collectors and connoisseurs, he may not be able to write, because he must first make sure that the object of his study is genuine, and if it is false, then the basis of his argument will collapse on its own. Has Mr. Yang found many forgeries in many publications? ”

"Recently, I read a book from Guangxi, most of which are a set of eight collections of calligraphy and painting compiled by museums and memorial halls. They also said that this collection is first of all in the collection of the National Museum, and we have eliminated many works that we think are inappropriate, and even cut more than 500 pieces when we re-examined them later, which shows its purity. I bought two sets of this book. I flipped through it and found that there were still many problems inside, and many of them could not be explained. A simple question: for example, for example, two albums of the same book, one is from Bo A and the other is from Bo B, but the seals of the two albums are completely inconsistent, how to explain this? If it is the seal of the Song and Yuan dynasties, we can't figure it out, but it is also fateful, because the way of printing in the Song and Yuan dynasties is different from now, it is the imprint of water quality, plus the age, repeatedly uncovered, the fiber of the silk will be deformed, it is indeed difficult to distinguish the difference between the two seals. However, this is not the case with Bada's works, because most of his paintings are on paper, and there is no problem of fiber deformation. In addition, at the end of the Ming Dynasty, the quality of the ink was very certain, so some of the seal scores at the end of the Ming Dynasty were very in place, even better than our today's seal scores. Then if the seals of the Eight Great Congresses do not match, the two works may be one true and one fake, or all fake, but it cannot be all true. You said that it is understandable that there are changes in the signature, it is difficult to be absolutely consistent, the mood at the time, the writing instruments used, including the color of the ink, or the influence of the climate: for example, this area or these days are humid, then the writing will be particularly smooth and moist; The feeling of writing in the dry climate of the north is different, and the calligraphy written by calligraphers in the south of the Yangtze River is indeed very moist, because it will be affected by the climate. However, this seal does not have the problem of zài climate, and the ink itself is oily, and the changes on the paper are not so different, so it can be determined that these two things have zài problems. You see, a Bada is very close to us, and it is also a painter in the late Ming and early Qing dynasties, but there are so many problems! ”

"Zhang Daqian has had a lot of fakes of the Eight Majors, and it is said that many of the Eight Great Things in the Japanese compilation of "Southern Painting Dacheng" are from Zhang Daqian's hand."

"Yes, he's a master. But in reality, the level of counterfeiting in the past was not the most sophisticated compared to the present, so what is the problem involved? Because their forgery at that time was limited to what he collected, and now the publication is too powerful, very real, and can be exactly the same as the original, such as the imitation produced by the Japanese Nigensha is simply too clever, if you don't touch it, you can't tell it. Therefore, the current falsification is more powerful than before, and those who study art history in the future will have to spend a lot of effort on the study of falsification. So as you said above, after a long time, if a basis happens to be false, then people will not believe your conclusion, because the basis is wrong. Painting is a very small corner of the whole culture, but there are quite a lot of problems in it. Now I don't dare to say that I am a sensible person, but I know a few things, and I find a little problem, so I begin to doubt the purity of this place. But I can't figure it out, because I didn't do a lot of desk work after all, comparing and researching repeatedly, but at this time I was going to buy this painting, and I was nervous, so I had to figure it out. But it's just a painting, how many good paintings can a collector receive? Don't talk about the Eighth Congress, let's talk about Li Keran, I dare to say that there are only a handful of people in the world who can receive 30 Li Keran, because there are not many of his works in total, unless some institutions, such as the Li Keran Foundation, and the Central Academy of Fine Arts, etc. But how many can you see as a collector? Therefore, for the master's things, a collector may only know more about the things in his own collection, but on the whole, he still does not understand the whole situation. ”

"Collectors value authenticity the most, but there will be times when they lose their eyes. If you lose your eyes, what remedies will be done? ”

(laughs), yo, I know too much about that. I'll give you an example, I thought I would be on par with Shiraishi, and I was very sure, but then I made a big mistake. In the past five years, Qi Baishi's family has donated Qi Baishi's paintings to the National Art Museum of China, the Beijing Academy of Fine Arts, and the Liaoning Provincial Museum. Later, a person who claimed to be a member of Qi Baishi's family came to me and said: There are a batch of things that flow out of this donation, but they are not the best works, some are semi-finished products, some are just paintings without words, and some are some scattered things written by hand, all of which are not very formal works so it is inconvenient to donate, about a dozen pieces, sell them to you, you don't make a noise, there are other housework or something in the house. I believed this background at the time, and I thought it made sense. When I came back, it was all fake, completely fake, and I didn't want to ask the question of whether it was good or not. Therefore, you know that you can't do it, this is one, and second, don't listen to the background, which is often imaginary. This time I planted a big heel, more than 800,000. So from now on I will never believe in the story, you will tell it and I will listen to it, but never use it as a basis. ”

"It's called 'emphasizing evidence, ignoring confession.'" ”

Of course, I also found a problem here, collectors often establish their own appraisal criteria, for example, the same research on a painter, each person's criteria and angles are different, so according to my perspective, my judgment, my analysis, I think Qi Baishi should be like this, other collectors may not accept it, of course, my judgment will sometimes determine the authenticity as a forgery. Everyone has their own formula, has their own focus, for example, I pay special attention to the position of the seal and the inscription when I look at the painting, which others do not pay much attention to, in fact, the position of the inscription is basically fixed for a painter, and he has his own rules in the ever-changing. ”

"What if there is a cut-off?"

"That's telling, because the paper is different. For example, Qi Baishi has an absolute rule of stamping, and if you don't believe it, you can open his album and see it. The stamps he punches are very welt, why? Because Qi Baishi is a professional painter, he sells paintings for a living, and he sells paintings to you by measuring the size. Qi Baishi is a calculating person, and his paper is measured accurately. When cutting paper, he is different from most painters, not the top is large, the bottom is small. He wasn't. Instead, it is cut by the method of mounting, which is very neat. Therefore, his painting is absolutely 90 degrees at four corners, and there is no need to cut it when mounting, but it is possible that he can't see the cut of the framed painting. In addition, he may also have another consideration, if the stamp and the inscription are close to the edge, then the opening of this painting feels larger, the chapter is more expansive, and the breath is larger. may also have something to do with his aesthetics. This law is absolute. So now many practitioners don't understand this law, so they can understand it when they look at the position of the stamp from afar.

Another point, Qi Baishi's paintings have a characteristic, some paintings are particularly fine, but the position of the title is different from usual, many people don't understand, they all say that this painting is fake, how can this be put in the middle, thinking that it may be digging up. I later discovered a pattern that was verified to be true. Qi Baishi always paints 1:3, 1:2 size paintings, and he is generally used to put the paragraphs close to the edge and start writing from the top, but some paragraphs are written from the middle, and the top is empty. Isn't this already a rule of law? Even if he just ends up poor, he should go down a little bit. Later, I summed it up, and I also asked the Qi family that all such paintings were his proud works, and he was proud of painting slowly at home alone when no one was around. The purpose of this inscription is to sell the painting in the future, because the person who buys the painting often asks for the inscription, and he sets aside the place of the inscription for you to temporarily fill in when you come to buy it. Any such painting is often particularly self-righteous to him. In addition, there is a rule, that is, there is a line of carbon strips written on the corner of the back, how many feet he actually wrote and what he painted. For example, someone comes to buy a painting. How big is it? Buy 1 by 2. What kind of theme? Love Pine Eagle. Okay, he went to the cupboard and got it, and it was neatly laid out there. He doesn't want to open it, it's all clear what the subject is written on the back, and the red one adds money. I admit it. Grass insects add money. I admit it. Can you ask for a question? No problem, I'll leave a place for you. He is very particular and very planned. In addition, to draw a Buddha statue, the inscription is no more than the head, as a sign of respect. Art experts often ignore this kind of regularity and concealment, while the connoisseur pays special attention to these small places, and he sums up a lot of rules of this person as a basis when buying paintings.

A successful collector is not a thing that is bought for 1 million and sold for 3 million, which is at best an investment businessman. The process of collecting for a successful collector is a research process in itself, because you are putting together a certain category of things, making a classification, and you can derive a lot of cultural, artistic, and social sensibility accumulation. If collectors are measured from this perspective, there are too few collectors in our country. ”

"A collector, no matter what his purpose was when he entered the market, is forcing himself to learn when he has to pay for a work. A strict walk may block this road. If he succeeds, his investment in this area will be more sincere than any kind of peripheral researcher. And his passion for one of his excellent collections often forms or guides his artistic interests. For example, Dong Qichang, in his early years, he spent a lot of effort to obtain Huang Gongwang's "Fuchun Mountain Residence Map", which remained in his hands for more than ten years, he repeatedly played with it, and even spread the fashion of advocating Huang Dazhi in his circle of friends. In the era when there were no fine prints, this was the key blueprint for him to learn the tradition, and it may be for this reason that he later admired the Yuan people, and even demanded that Huang Gongwang must start with Huang Gongwang to learn painting. So it's not hard to understand why he and his students have so many 'imitation idiots'. Your identification skills have also been honed through a process like guò, right? ”

"We are actually learning appraisal because of the requirements of our own business, which is actually very superficial. There used to be a calligraphy and painting connoisseur in Beijing Liulichang, and later came to Hong Kong to help people look at paintings, but unfortunately, he died of liver cancer before he was 60 years old, probably because he was particularly fond of drinking and guiding people. He had a keen eye, and was respected by many connoisseurs and collectors while he was in Hong Kong. A nice group of friends look at a picture while they're having a drink together, and he says "it's true," but you ask him, "Why is it true?" "He would never say it. I also sometimes feel that what I have learned is too superficial and superficial. Last time, I heard an old gentleman who opened a gallery in the United States say that he was an apprentice in an art shop during the Republic of China, and a painting was spread on the table, covered all sides, leaving only a tree, and then asked you who painted it, and often chose some very cold names. I haven't experienced this kind of workout. In addition, there is a rubbings of the inscription, which they call "Black Tiger", which is really dead. Judging which one is the Southern Song Dynasty and which one is the Northern Song Dynasty, it is often based on the difference of one stroke, if this one is still very sharp, then it may be earlier. To remember subtle features is to die. Because sometimes you have to buy it on the spot, because the Northern Song Dynasty is worth 50,000 yuan, and the Southern Song Dynasty is only worth 20,000 yuan. You can't say at the auction that you give me something first, and I'll go back and study it. Impossible. This is where a trade-off and a decision are needed.

"What is Mr. Yang's assessment of some of China's leading connoisseurs today?"

"Everyone has commented on the focus of Xie Zhiliu, Xu Bangda, and Qi Gong, and they have their own strengths, and they are the seniors we respect. Identifying the industry is not such a simple thing, and not we can all figure it out. It's like the police solving cases, most cases can't be solved. There are also unjust, false and wrongly decided cases. There is no expert who can cure all diseases, and some are also boasting.

For example, a certain person is particularly clear about the painting of Gongbi all the way, and some people are very clear about the ten or eight painters in a certain period, and their opinions are often very important. Also, the opinion of the framer is often very important, for example, if you ask him, 'Master, can you look at this picture?' ''No, this one has been dug up!'' You stared at it, and you couldn't see it, 'Haven't you dug it?' I didn't realize until now that he didn't actually look at the money, but he saw that there was a piece of paper on the painting that was white, because the old paper here was moved to the place where the money was dug up, and the paper that was later repaired was relatively new, so it was white. That's how he saw it.

A real appraisal, let's not talk about the appraisal of ancient paintings, that is too complicated, let's talk about the appraisal of paintings in the past hundred years, we really need to understand one of the most important things, is forgery.

I also met an old gentleman in Shanghai, hey, it's really a god, he doesn't look at it when he appraises, but touches it with his hands. I thought, no way, isn't this nonsense? Because painting is a flat thing, not a three-dimensional modeling, you can feel that the nose here is high and the nose is short. Later, I really realized the truth. What is the truth? First of all, a person who plays mahjong, who is familiar with the master, he does not need to look, he knows what cards he touches with his hand. Later, I tried it, and sure enough, it felt completely different, the wax on the back of the painting, and the impact of repeated rubbing of the picture was different, especially on silk. In addition, he will touch the paper, you said that this is a painting of the Ming Dynasty, he has not all opened it and saw the paragraph, he took it on the white paper, I am wondering what he is doing? He said: No, this is not a painting of the Ming Dynasty, this is after Qianlong. Looking at the paragraph, it is really after Qianlong. This may not be a scientific criterion, but it is still useful for general identification. In the final decision, it is necessary to look at the mounting, paper, inscription, seal, painting style, etc. ”

"I used to hear people say that Xu Bangda was 'Xu Banqi', is his 'Wangqi' also the pulp of the paper he reads?"

"No, there is a premise of his 'Xu Banqi', that is, there must be a painting, and it is not enough to have paper without painting, there must be a picture and an inscription that reveals one or two words. I really admired him, and as soon as a painting was opened, revealing a little picture and a word or two, he quickly said who it was. For example, the style of the four kings is relatively similar, but he can quickly tell whether this is Wang Shigu's painting or Wang Yuanqi's painting, and he is also well aware of the subtleties of each person. Of course, authenticity is another matter. ”

"You seem to pay special attention to the stamp part in the appraisal, is it related to the fact that you were collecting seals in your early years?"

"Yes. For example, some time ago, I saw a set of albums by Li Fangzhen in Shanghai, and the picture was very good, but there seemed to be some problems with the seal, so I gave up. However, it is also a mistake to analyze a painting from the perspective of seals, and sometimes a painter is at a friend's house, an unprepared occasion. Painting freehand is completely due to interest, and it can be completed in a short time. But because he didn't have a stamp, he didn't put a stamp. Then after giving it to this friend, he may feel very sorry - it is not perfect, so I will get two stamps to cover it myself. It may be that there were no economic considerations but aesthetic considerations at that time, but it just so happened that the stamps of the paintings were fake. Therefore, it is not possible to completely overturn a thing from a stamp forgery. But in terms of business or commerce, this flaw is indeed an unforgivable mistake. Sometimes, some of Huang Binhong's apprenticeship manuscripts are even unprinted. Huang Binhong is a very diligent painter, and when he sees a picture album, he will draw two, and his paintings may often only write two or three words. Speaking of Huang Binhong, I think of another experience. The director of the Zhongshan Library in Guangzhou is called Wang Guichen, and he has a set. About 10 years ago, I consulted him once. He was a military cadre who fought in the war and later became the director of the library. He knew Huang Binhong and had a relationship with him. I asked him, "Elder Wang, from which angle do you think Huang Binhong is the most accurate?" He said, "Don't look at the model, his kind of inscription is easy to imitate, and it can be written." "What do you think of that?" "Look at his house!" "What are the characteristics of his house?" "His house is a 'boat' and it moves. If the house looks shaky, then it's his, and if the house is lying there, it's not his. (laughs) I looked at it later and found out that it was. His house is actually a few lines, and he does not deliberately draw the building, but considers the structure and hierarchy in the picture. In the past three or five years, there is indeed a set of people who fake Huang Binhong, and as soon as he appeared, he completely beat many people and broke the eyes of many collectors. When a new look suddenly appears, everyone may forgive it and be more tolerant psychologically, thinking that Huang Binhong is likely to be painted like this. "A friend of mine went to his leader's house to play, and this friend also painted, and this leader was quite a big official, but he had just retired, so he was willing to open some of his paintings to show people. And he was amused. It's all fake. It's not fake Huang Binhong, Li Keran, Fu Baoshi or something; It's fake people like Long Rui and Wang Yuya. Then, the leader said that there was a 'treasure of the town' at home. And I showed it to him, and it was in a very fine box. When I opened it, I saw a picture of 'Lu Yanshao'. The level of counterfeiting of this painting is the third-rate level of Panjiayuan in Beijing. As a result, my friend didn't dare to talk about it, because he couldn't figure out who sent it, and it was probably his boss who sent it. Later, the secretary next to him quietly told him who sent it. He said that the person he sent is now the head of the hall. Later, a similar person asked my friend for advice, saying that it was better to buy Qigong or something else if he wanted to give a gift to the leader. My friend said, you can just go to Panjiayuan to buy it, anyway, the leader doesn't understand. This may also be the reason for the large circulation of fake paintings in the society. So, when you are running a business, you meet a person who has a lot of money, but he doesn't understand it at all, do you feel bad when you recommend a good thing to him? ”

"I can't recommend this because he doesn't understand it at all. But you can't give him a fake, and he will definitely trouble you when you turn around. Because he doesn't understand, but there are always people who understand, and if he doesn't understand it today, he may understand it tomorrow. I've come across a lot of cases where a painting is sold, but the buyer hears that the painting is fake, so he will save face and make up a financial reason to return the painting. Then don't entangle with him, just retreat, and you won't deduct his money. In this line of work, sometimes getting angry can kill people. ”

"It is said that you have an interesting record: a painting of Li Keran, bought and sold ten times."

"Yes. Of course, sometimes there is no money, just a verbal agreement, but confiscating the money does not mean that it was not bought. I was trying to buy a few of the paintings I sold back today, and he didn't give me the money when I sold them, but that doesn't mean he didn't buy them. Just now I was negotiating with him and wanted to buy it back, and I told the buyer that each painting would add 15,000, a total of seven.

Sometimes I had a fake painting in my hand, but because of my eyesight, I didn't see it as a fake and sold it for real. There is a painting that is quite expensive, it was sold seven or eight years ago, and I recently saw it in Hong Kong. One guy took me to someone I didn't know and said he had a painting he wanted to sell and took me to see it. I look at this landscape, ouch, isn't this what I sold? I can now see that the painting is a fake. But this person didn't buy it directly from me, I sold it to a gallery at the time, and the gallery sold it to him, of course, it was all for real. When I look at this painting now, I breathe a sigh of relief, this painting must be wrong. But I'm sure I made the painting, because I framed it, and you can see it. I asked him how much do you buy? It was quite expensive when I bought it. He said, "You can make a price based on the current market." I said you probably bought it quite expensive at the time, but you also know that the market is sluggish at the moment...... He immediately said, I know, I'm going to lose a little bit of money or something. Later, I still gave him tens of thousands of dollars and bought it back. I'm afraid that he will say it's fake and return it to that gallery, because everyone knows each other well. The painting is still sitting in the store, and I don't know what to do with it. For example, the batch of 'Qi Baishi' that I bought for more than 800,000 yuan ten years ago mentioned above was recently auctioned at a reserve price of 20,007. A hard loss of 800,000. But this batch of fakes was made by his students of the same era, unlike the current shoddy ones. I didn't sleep well all night because of this, I feel too stupid, how can I fall for this big fool. To this day, the seller of paintings still has a relationship with me, but I haven't mentioned it. Everybody understands people. ”

"I found a strange phenomenon: many excellent works from ancient times have changed hands for thousands of years, but they are often in good condition. What role did historical selection and elimination play? ”

"We often talk about the good paintings of the Song people, but in fact, we are only talking about a few specific paintings left behind, and there are many painters who are extremely vulgar and unsuitable in the entire Song Dynasty. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, it was not all the Eight Congresses, and there were many people who painted sweeter and more vulgar than the Shanghai School at that time, but history was eliminated. So looking back, for example, the eight big ones are not all good paintings, there are many bad ones, but they are eliminated. Really good works are absolutely secret, so the works that remain are all excellent. The works that are not excellent and unimportant, Zhang San gave them to Li Si, Li Si felt that it was not good, and then gave them to Wang Wu, Wang Wu's family conditions were not good, and the smoke was burning, and then because of the lack of money, he just sold it to a rich man, and as a result, the rich man went bankrupt again, and so on for decades, the painting was all rotten. Only the court or the really stable official family has precipitated particularly important things, so what is circulated in an orderly manner is often a good thing. History will ruthlessly weed out many things. The last time I watched the National Treasure Exhibition at the Shanghai Expo, I saw a "Cold Sparrow Picture" by Cui Bai, which was so new that it was almost unbelievable. The few Song people on display in Shangbo's adult years are also unbelievably new. In fact, it is because the preservation conditions are good, and the collector knows his value too well. When you open it, you definitely choose the weather, choose the person, a dirty master to see the painting, he won't show it to you. ”

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