Master Yang Tingyi still didn't speak, but got up quietly and walked outside alone.

Han Chong didn't know what Master Yang Tingyi's move meant, but now he would never dare to speculate.

Five masters, two gave positive comments, two did not raise objections, Yu Hui's flower and bird painted porcelain jar seems to be about to cover the coffin, it is the true handiwork of Bada Shanren Zhu Qi.

Tong Guò Jiaolong appreciated it, and Han Chong was sure that there was no problem with his broken dynasty, and the porcelain jar it was produced not in the early Qing Dynasty, but pushed back at least one or two hundred years.

Speaking of painting skills, it is indeed flawless, almost is the style of the Bada Shanren, the Bada Shanren is good at painting landscapes and flowers and birds, his brushes are indulgent, not constituting the law, vigorous and round, Yi Qi Hengsheng, a flower and a bird is not to calculate how much, size, but to focus on the momentum and status of the layout, Bada Shanren painting, is to have a three-way to win, lies in whether to use the timely, with the strange, with the ingenuity.

Sometimes, Bada Shanren will borrow his calligraphy on freehand, although there is not much pen and ink in the painting, but with his exquisite calligraphy, it can immediately make up for the situation.

The current flowers and birds are fresh and beautiful, the style is very close to the style of the Bada Shanren, and the calligraphy of several flowers and birds is also a reflection of human nature. This is also inevitably related to Zhu Qi's experience of becoming a monk at the beginning, then becoming a Taoist, and then returning to the world.

It's just that Han Chongtong guò is a little aware of his contradictions. But if you can't find the difference in painting style, this porcelain jar painted with flowers and birds is enough to become the work of Bada Shanren.

Han Chong sighed at the moment, since it was the work of the Bada Shanren, he didn't expect that in the next one or two hundred years, there would be people who would show his paintings so vividly.

If this imitator is not a master, it will inevitably be a loss of history.

But Han Chong firmly believed in his heart that this person who could express the paintings of the Bada Shanren in such a god-like shape must also be a master.

Moreover, the style of this master's works must also have the style of Zhu Qi, but in that era. To be precise, this master should not be famous for a penny, just like Tang Bohu also made a living by copying the paintings of other famous artists at the earliest time, and he was not enough to be said by outsiders at that time.

As a result of the long-term habit of imitation, edification, and brushstrokes, including the style of the paintings, there must have been a change, and they will inevitably be influenced by the paintings of the Bada Shanren.

What Han Chong is searching for at the moment is a master with this style of painting.

The paintings of the Bada Shanren did not have much influence at that time, and only Niu Shihui and 10,000 people passed on their methods. Ten thousand are the disciples of the Bada Mountain People, who can make a stone, and the concave and convex of the stone are shallow, deep, straight, fat and thin. The flowers and birds and inscriptions written are all similar to the eight majors.

However, the difference between Wan Wan and Bada Shanren as a dynastic figure is only a few decades. It seems to be a little short of time.

Niu Shihui is the younger brother of Bada Shanren, and he is also a painter of the same period, although his painting style is similar to that of Bada Shanren, the shape is similar. The brushwork fully expresses his unfairness and injustice. However, his calligraphy art and that of the Bada Shanren are more rough and pungent in pen and ink. And the timing is even more incompatible.

Although it can't be two people, it can't be ruled out that everyone who is also enthusiastic in the later stage.

The paintings of the Bada Shanren created a new atmosphere of Xijiang and Jiangnan painting styles, and had a far-reaching influence on later generations of paintings. He is not unconventional, and he has his own freehand sense of creating zào, which is different from Xu Wei, one of the three great talents of the Ming Dynasty, Xu Wei is unrestrained and can be released. With a strong personality, the Bada Shanren is strict and able to release.

Push it down further, and that is the "Yangzhou Eight Monsters" in the early Qing Dynasty later. Of course, the late "Shanghai School" and the modern Qi Baishi, Zhang Daqian, Pan Tianshou, Li Kuchan and other giants were all influenced and influenced by the Bada Shanren, but this cannot have a chronological relationship with the current works.

Yang Zhou Eight Monsters.

The first to bear the brunt is Zheng Xie, that is, Mr. Huazhu, who is admired by later generations, Zheng Banqiao. He was a young man who should be promoted as Kangxi Xiucai, Yongzheng was promoted in the tenth year, and Qianlong was a scholar in the first year.

Before and after becoming an official, he lived in Yangzhou and made a living from calligraphy and painting. Zheng Banqiao is good at painting orchid, bamboo, stone, pine, chrysanthemum, etc., and has painted orchid and bamboo for more than 50 years, and his achievements are the most prominent. Taken from Xu Wei, Shi Tao, and Bada Shanren, before he became famous, he worked on imitating the paintings of his predecessors.

Judging from this, Zheng Banqiao is very likely to have made such a painting, and the other Yangzhou Seven Monsters of his same period also have such a possibility.

Before they formed their own style in the early stage of painting, they were all influenced by the paintings of the Bada Shanren, and they were also able to make this work. But Zheng Banqiao was born in 1693 A.D., and the difference between him and Master Zhu Qi is less than 100 years.

If you look at the age, there are still some discrepancies in this work, and the other six Yangzhou Eight Monsters are close to Zheng Banqiao's birth and death, but one of them is younger among the Yangzhou Eight Monsters, he is Luo Ping, who was born in 1733 AD.

His ancestral home is Anhui Xian, and he later lived in Yangzhou, and once lived in Mida Lane, Caiyi Street, and claimed to live in "Zhucao Shilin".

As a disciple of Jin Nong, he did not become an official and traveled well, but during this period, he made a living by copying the paintings of famous artists and selling paintings.

He painted figures, Buddha statues, landscapes, flowers and fruits, plums, orchids, bamboos, etc., and did everything he could. Especially the flowers and birds and landscapes, very close to the wind of the eight mountain people, the pen tone is strange, super easy and unique.

You must know that the literati paintings of the Bada Shanren have been cut down and redundant in the use of brush and ink, and they are simple and true. A little by little, aimed at understanding his mind, is the dismal business income, and Luo Ping's long-term travel life, the experience of Huai Cai, can just express the feeling of pen and ink clear, simple and sparse.

And Luo hired more than 100 years later than Bada Shanren, which is more consistent in time.

Han Chong didn't think that this painting was the work of Master Luo Ping, and Master Luo Ping Han Chong knew that he had a ghost picture that had been handed down from generation to generation.

"Ghost Scroll" is his surviving masterpiece, he exaggerated the depiction of strange and strange ghost worlds, in order to satirize the social reality, can be called the outstanding ancient comics. "Ghost Fun Picture Scroll" has a total of 8 pieces, with ghosts as the theme, and is considered one of the early Chinese comics by those who study the history of comics today.

This also made him one of the eight monsters of Yangzhou who was highly respected by later generations, only behind Zheng Banqiao.

There are not many paintings by Master Luo Ping, and works other than ghost pictures are even rarer, so this work is not the work of Bada Shanren. But he is still a work of eight strange people, and his value has not been reduced much.

However, it may be due to personal preferences, and the value does not decrease but increases.

Han Chong's feeling is very wonderful, why is he so concerned about this work, on the one hand, Han Chong, as a connoisseur, must give the works a correct dating and appreciation, and second, more importantly, Han Chong has a great relationship with the treasure of this cultural relics exchange conference.

The treasure of this exchange conference will have to pay for itself at half the market price, if it is an imitation. Or the artistic achievement is not so high, of course I am taking medicine.

It is said that the time is very short, but the appreciation does take a little time, and the connoisseurs behind have also observed this master's artwork one by one.

There are two masters in front of the assurance, praise, and the back of the connoisseurs naturally did not raise objections. Everyone unanimously said that this is an outstanding, wide-open Bada Shanren flower and bird pastel porcelain jar, just waiting for the price of the last Fang Lao.

I don't know when, Yang Tingyi came back. He sat down quietly again, only this time his face was radiant, as if something happy had happened. also whispered to a few connoisseurs behind him.

Han Chong inadvertently found that Yang Tingyi didn't have any complicated expressions when he spoke, but several people who heard the content of his speech were stunned for a while, and their faces looked suspicious.

Elder Fang and Elder Gao. Including Cui Xiangdong discussed, it seems that he attaches great importance to the pricing of this heavy treasure, and after agreeing. Elder Fang will speak.

"This piece of flowers and birds landscape painted porcelain jar is the late Ming and early Qing Dynasty Bada Shanren posthumous works, the style of painting is confirmed to be Zhu Qi fine and intermittent, fresh and elegant, phase law and coexistence, vivid artistic style, Bada Shanren's works are very rare, so this piece is undoubtedly a big open treasure, our final collegiate price is..."

"Wait a minute."

Yu Hui and all the connoisseurs, the audience were ready to listen to the value of this treasure, but they were silent, and the old-fashioned Yang Tingyi and so on still made everyone a little confused.

Yu Hui said first. "Master Yang, you..."

"Master Yu, Elder Fang, I'm sorry to interrupt, you said that this porcelain jar painted with flowers and birds is the posthumous work of the Bada Shanren, I don't dare to agree. I wasn't quite sure about my judgment, but I called my old friend Wei Peiji, a master of the Hui School, to consult, but it confirmed my judgment. ”

"This work is supposed to be from 1700 A.D., and it can be seen from the chronology. In 1705, Bada Shanren died, and his works could not have appeared after that. But this work is indeed the painting style of the Bada Shanren, this chic, symbolic way to express the allegory, personify the object, and entrust their own feelings, is indeed the concept of the Bada Shanren. I think this must be the work of a superb painter of Bada Shanren. Just like my friend, he was able to copy such a lifelike and accurate work, I mean this is not the true work of the Bada Shanren. ”

When Elder Fang heard Yang Tingyi's words, he was stunned for a few seconds, but of course he who appreciated at least a thousand treasures would not know how to deal with this occasion.

Fortunately, Yang Tingyi raised a question in time, and Elder Fang greeted the audience in the next second. "I'm sorry, everyone, because one of our connoisseurs, Master Yang, still has objections to this treasure, so give us a little time."

There will be emergencies on the field, but this is the first time that such an embarrassing sincerity has been held at previous cultural relics exchange conferences.

The master's hand, of course, can almost determine the age of a treasure, but when it comes to accuracy, within a hundred years, or even decades, it is beyond the reach of ordinary connoisseurs.

When testing his eyesight and hand strength, Fang Lao did not have this ability, but, in the face of such a delicate and perfect painting technique, Fang Laoshi was not sure who could copy such a fit, so he ignored it for a while.

But there is a sky outside the sky, there are people in people, and the character Yang Tingyi mentioned just now, Wei Peiji, the master of the Hui School, is a ghost talent in this regard.

The ability to imitate the works of predecessors is 100% similar and difficult to recognize, which is definitely a peculiar function.

Master Yang Tingyi raised doubts, and Han Chong didn't feel strange, at least his weirdness had been foreshadowed before. In line with the attitude of being responsible for artworks and cultural relics, it is reasonable for Master Yang to raise objections. On the contrary, what Han Chong was more concerned about just now was the friend Yang Tingyi talked about, Wei Peiji, the master of the Hui School.

This is indeed a very powerful master.

Not only is he proficient in painting, but he is also first-class in engraving. Han Chong wanted to worship Master Wei Peiji as his master for a while.

Appreciation begins again.

At this time, several masters were more focused on the dating of cultural relics.

The achievements of the Bada Shanren's flower and bird painting are particularly outstanding and the most individual.

Most of his paintings are lyrical, using symbolism to express the meaning, personifying the objects and entrusting their feelings. Picturesque fish and birds, once made "white eyes to people", expressing cynicism. The dynasties, on its flower and bird painting style, can also be divided into three periods.

Before the age of 50, when Zhu Qi was a monk, he was in the early days, and signed the "Chuanqi", "A Mountain", "Donkey", and "Human House", and painted more vegetables and fruits, flowers, pine and plum and other themes, with volumes as the most. The picture is more delicate and powerful.

50 to 65 years old for the middle period, the style of painting gradually changed, like to paint fish, birds, grass insects, animals, the image is exaggerated, with the pen is very sharp, the beak and eyes of animals and birds are mostly square, the face is ovate, the top is large and the bottom is small, precarious, birds perch on one foot, hang one foot.

After the age of 65, it is a late stage, and art is becoming more and more mature. The gesture becomes Pu Mao majestic, the shape is extremely exaggerated, the eyes of fish and birds circle a little bit, the eyeballs are against the eye circles, a "white eyes to the sky" look.

Some of the birds he painted seem to be very stubborn, even if there is not much ink, but the birds vibrate their feathers, which makes people feel that they cannot be touched, and they can fly when they touch it.

Some of the birds are neck-stricken, looking both bullied and unyielding, and they are more concise in composition and brushwork. These images are undoubtedly the portrayal of the painter himself, that is, "indignant and sad songs, sad and angry in the world, and one by one in the pen and ink".

Sensing these differences, An Junshan and Duan Shouhai unexpectedly found something that did not coincide, and this flower and bird drawing was obviously some styles of the middle period of the Bada Shanren.

The image is a bit exaggerated, and the brush is more wonderful.

Combined with the times, the thin atmosphere of the utensils and the feel of the utensils are slightly different from the porcelain of the Bada Shanren period as a whole.

This kind of appreciation is all in the eyes and hands of the masters, and sometimes I really can't tell the big difference in the specific utensils.

This is also the key to being called a master.

However, problems arise.

said that this is not the work of the Bada Shanren, but why did he grasp the work of the Bada Shanren so accurately, as if it came from the original author, which made the master negligent.

At this time, Fang Lao, Cui Xiangdong, and Gao Dequan are also thinking about who completed this work. (To be continued......)