Tang Chen said with emotion: "In this way, Zhang Daqian's painting skills are really good!"

At this time, Zhou Xuanying had already obediently taken over the tea set, gently and skillfully, but she brewed the tea like a cloud. Master Meng and the shopkeeper of the teahouse watched Zhou Xuanying's movements, and they all nodded secretly. After the tea was brewed, Zhou Xuanying first handed a cup of tea to Master Meng, and then handed it to the shopkeeper, but unfortunately the shopkeeper refused, and said: "Don't don't, I'll just stand and chat, you just drink tea!"

After taking a sip of tea, Master Meng looked at Zhou Xuanying pouring tea for Tang Chen with tenderness, and said in his heart: "This little brother doesn't know what spell he cast, he actually let such a beautiful little girl follow him with all his heart, and the young man is really powerful now!" This thought in his heart was just a flash, and Master Meng put down the teacup and said, "Not only Chen Banding, but also many famous people have been tricked." Zhang Daqian made Shi Tao's fake paintings, and he also concealed the famous painter Huang Binhong in Shanghai. ”

"That's right, Huang Binhong and Luo Zhenyu are good friends of Zhang Daqian's teachers Zeng Nongfu and Li Mei'an. Mr. Huang and Mr. Luo had the richest collection of Shi Tao's paintings, and they were recognized as the authority to appreciate Shi Tao at that time. Zhang Daqian once asked Huang Binhong to borrow a fine piece of Shi Tao from his collection, but Mr. Huang refused. The shopkeeper of the teahouse sighed, "Zhang Daqian was not convinced, copied a handscroll by Shi Tao, and put it in the teacher Zeng Nongfu. Coincidentally, that day Huang Binhong went to see Zeng Nong's hair, and inadvertently found this imitation Shitao painting on Zeng's painting case, thinking it was a genuine work, and after appreciating it, he couldn't put it down, saying that he wanted to buy this painting. Zeng Nongfu asked Zhang Daqian to go to Huang Binhong's house and asked them to talk directly.

When Zhang Daqian arrived at Huang's house, he saw that Huang Binhong wanted to buy his fake Shitao painting, and he couldn't help but be secretly proud in his heart. He thought to himself: I can't bear to cheat him out of money with fake paintings, and I don't care about it, so let's change his paintings. Then he said, 'How dare I ask for my husband's money?' That's okay, I'll exchange this painting for the Shi Tao painting I borrowed last time!' Huang Binhong readily agreed, and immediately took out the painting. In this way, Zhang Daqian exchanged his fake paintings for connoisseur Huang Binhong's real Shitao paintings.

At that time, Zhang Daqian was young and vigorous, competitive and competitive, and he felt dissatisfied after deceiving Huang Binhong, and he was bent on deceiving the famous connoisseur Luo Zhenyu. But it is not easy to fool Luo Zhenyu, and Zhang Daqian has put a lot of thought into it.

The famous paintings of ancient times, the most valued, of course, are also the most artistic, often hung in the middle hall of the living room, and the least valuable are the paintings hanging in the bedroom of the kang head. Outsiders in the Kangtou bedroom are not entered, and they can only enjoy themselves, but they fill in the blanks and cover the walls, and most of the materials are some flowers, insects, fish, and animal sketches. Zhang Daqian knew that it was very difficult to deceive Luo Zhenyu with landscapes, so he imitated several small paintings of Shi Tao's kang head, one of which was a tiger. After the painting was finished, he deliberately turned a few corners through his friends, and seemed to inadvertently let Luo Zhenyu see these paintings. Luo Zhenyu was really fooled and bought these 'fake stone tao' at a high price.

I got a few new "real works" of Shi Tao, and I was naturally very happy. Luo Zhenyu made a big fortune and invited painting friends to enjoy it at home, and the host and guest feasted their eyes together. Zhang Daqian deliberately went to join in the fun, and after the guests dispersed, Zhang Daqian quietly said to Luo Zhenyu: "Teacher Luo, I think these small paintings are a little inappropriate. After Luo Zhenyu remembered that Zhang Daqian used a fake stone Tao painting to deceive Huang Binhong, he suddenly woke up and was stunned with anger.

Zhang Daqian's joke was a bit excessive, but it also shows that Zhang Daqian's skills in imitation painting are extraordinary, and it is also because of this obsession that Zhang Daqian can strive for excellence in Chinese painting skills.

There are many more things like this. Cheng Linsheng once bid to buy 4 flowers painted by the Bada Shanren, each one is one foot long and two feet long, and the width is a few feet. One of them is a lotus, the stem is more than 8 feet long, one stroke to the end, full of strength. Cheng Linsheng said to people very confidently: "Although Zhang Daqian is good at making false works, he never has the courage to do so, and there is no doubt that this painting is the authentic work of the Bada Shanren." ’

After the victory of the Anti-Japanese War, Cheng Lin died and died. Someone asked Daqian about this. Zhang Daqian smiled and said, "All four paintings were made by me. Spread the paper on the long table and draw as he walked.

In fact, Zhang Daqian can not only imitate Shi Tao and Bada Shanren, but also in addition to Zhejiang, Meiqing and the 'Four Kings' of the early Qing Dynasty, that is, Wang Shimin, Wang Jian, Wang, Wang Yuanqi's painting schools, he can imitate everything, and everything can be confused, which makes connoisseurs hurt their brains and lose face.

But Zhang Daqian is Zhang Daqian after all, he wants to paint his own paintings, learning from the ancients but not the ancients. Someone asked him to inscribe on the imitation of Shi Tao's painting. He happily wrote: 'In the past, I was afraid that he would not enter, but now I am afraid that he will not come out.' He was not confined to Shi Tao, but further traced back to the Tang, Song, Yuan, and Ming dynasties, crisscrossing hundreds of schools, copying arbitrarily, taking the momentum of the Tang people, the law of the Song people, and the artistic conception of the Yuan and Ming dynasties. ”

Zhou Xuanying actually didn't care who painted this painting, what she cared about was Tang Chen's vision, whether it was really so outstanding: "That is to say, this painting was painted by Zhang Daqian?"

"It's not Zhang Daqian's ......painting," Master Meng said seriously, "This painting first uses light ink to write the general outline of the mountain, and then uses medium ink to blend ochre to draw the direction and texture of the mountain, and when it is about to dry, use thick ink to write the dense trees in the mountain with scattered brushwork." The handling of ink is also interesting. The close-up is dominated by thick and medium ink, the middle scene is dominated by thick and heavy ink, and the distant scene is dominated by clear and light ink, which is both ethereal and stable.

Between several large ink colors, there are blank clouds, the area is not large, but the picture is much brighter, so that the whole painting will not be too 'stuffy' and 'dead'. In fact, this white place is also 'counting white as black', which enriches the picture, distinguishes the levels, and makes the layout 'sparse and impermeable'.

Mountains surround the sparse cottages, full of streams and foliage. The whole width of the pen and ink is vast and majestic, and the night rain in Bashan in summer is even more smoky, and it is impossible to distinguish things. The two old trees in front of the slope are made of broken pen and ink, and there is a faint white light in the middle. On the right, the white water is clear and the mountain spring is flowing.

There are two well-dressed characters in the lower left corner, with strict and fine facial features and smooth clothing lines. In a glorious, the image of Gaoshi appears holy and majestic, and this breath is secretly in line with the atmosphere of scholars since the Eastern Jin Dynasty. And the brush of the scene is strict and delicate, so that the picture of messy hair and rough clothes is full of ups and downs. In the picture, the image of Coats is ancient and extraordinary, and the subtleties such as the opening of the characters and the lines of clothing are exquisite, and there is the magic of the finishing touch, which makes the whole picture appear vivid and lively. Looking at this picture can really be described as a bold pen and a little affectionate, carefully packed up the subtlety. The painting is superb, but ......"

(End of chapter)