This painting is a vertical landscape painting with color paintings, with mountains and hills. The structure of the painting is rigorous, the ink is ancient and vigorous, the composition is clear and elegant, the brushwork is square, round and round, and the ink color is clear. Whether it is cliffs, deep streams of waterfalls or towering ancient trees, the mountain roads are outlined just right. The whole painting gives people a feeling of majestic momentum and profound artistic conception.

This painting has a very detailed description of the poem, and the contents of the description are: Flying springs hang mountains and rivers, twisted pine and steep stones, the sky forests are silent, and the moon is cold in the long roaring mountains. It is the autumn day of Yimao. The old man from Qingxiang, Yuan Jihuai, worships the pictures of the autumn landscape, and presents to the lay Buddhist Xiangxi, Yangzhou.

Not to mention the authenticity, Tang Feng can confirm that this calligraphy works after the Song and Yuan dynasties are found. This is not a supernatural ability to predict the future, but common sense.

The meaning of the text is also called the meaning of the text, the meaning of the text is also called the self-recognition. It originally refers to the words cast on ancient bells, tripods and Yi utensils, and later refers to the titles left by the painter on calligraphy and painting works.

Early calligraphy and painting works before the Sui and Tang Dynasties generally did not leave any painters' ideas. A few calligraphy and painting works with paintings only wrote small characters in inconspicuous places such as tree roots and rocks. Good at paintings are not necessarily good at calligraphy. Some painters with low calligraphy skills often wrote the ideas behind the scroll. They did not want their shameful handwriting to smash their painting signs.

During the Song and Yuan dynasties, literati painters began to write inscriptions on the picture, and the inscriptions also expanded from only writing the painter's name, to writing poetry and essays, and explaining the object of giving. The inscriptions can be kept for more than a hundred characters long.

During the Ming and Qing dynasties, the works of literati painters must have paintings, and the paintings have become an indispensable and important component of Chinese painting.

The not-so-numbered text of this painting contains a lot of content. "Flying springs hang mountains and rivers, twisted pine and steep stones, the sky forests are silent, and the long roaring mountain moon is cold." is the poem written, which is a direct description of the artistic conception of the painting; "Time and Yimao Autumn Day" is the creation time; "Qingxiang Old Man Yuan Jihuai's poems and verses" is the alias of the painter, and "Yuan Ji" is the name of the painter; "Worship in the Painting of the Landscape of Autumn", "Worship in the Painting of the Landscape of Autumn", "Worship in the Painting of the Landscape of Autumn" is the name of calligraphy and painting. According to the current people, this is a "Autumn Landscape of the Landscape of the Landscape of the Landscape of the Yangzhou" is easy to understand, and it is presented to the Painting of the Landscape of the Xiangxi Painting of Yangzhou.

This painting also has two seals of calligraphy and painting, one white and one red. The white seal is a four-character regular script seal - the old man in Qingxiang, and the red seal is a four-character seal seal - Yuanji calligraphy and painting. The two colors of calligraphy and painting seals are different from the colors we usually talk about. It only looks at the font. For example, the characters of the white calligraphy and painting seal are white and surrounded by red.

Tang Feng was looking at this painting. The person who had originally looked at the painting didn't look at the painting, but instead looked at him. The young woman among the two men and one woman is pretty and has a unique temperament. However, Tang Feng didn't pay much attention to her. He has been dealing with beauties these days. The faint psychological burden has made Tang Feng in the stage of aesthetic fatigue, so it would be better to calm down.

In the antique industry, most experts are men, especially the elderly. Young experts like Tang Feng and Yang Chengming are rare, while young women like Liu Yue are even rare. These two professionals are both old and both wear glasses, but one is thin and the other is fat. Seeing that these three people were looking at him, Tang Feng said embarrassedly: "I didn't bother you, right? I just took a look and you talked about you."

The fat old man asked Tang Feng: "Young man, what do you think?"

"I think" Tang Feng said: "It's really hard to say. I'll ask for advice from three people." These two people are experts, and Tang Feng is definitely unwilling to express his true thoughts.

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

The fat old man said: "From the artistic conception, style, painting and painting style, the quality of this painting itself should be true. However, there is no record of this painting in the calligraphy and painting records of each generation, and I think it is fake. Moreover, from the handwriting of the text, it is slightly different from Shi Tao's original works."

Tang Feng nodded in his heart. This old man is really an expert. His short three sentences include the three major appraisal schools of Chinese calligraphy and painting. Facts have proved that no matter who it is, as long as he understands the appraisal methods of any of these three schools thoroughly, he can be well deserved to be a master of calligraphy and painting appraisal.

The first school is the basic school. It starts from the essence of calligraphy and painting art, including artistic conception, style, brushwork, ink method, modeling, layout and other characteristics. This is the most direct path to calligraphy and painting identification.

The second school is the archaeological school. It uses ancient records as the entry point for identifying ancient calligraphy and painting. The records and evaluations in the records are carefully analyzed and examined, eliminate the false and retain the truth, and determine whether they are true or not.

The third genre is the handwriting school, which adopts the identification method mainly based on the textual research of calligraphy and inscriptions and calligraphy, and the identification of paintings as the auxiliary.

Of course, these three schools are just art schools, and there are also technical schools for calligraphy and painting identification. Technical schools are identified from the materials of paintings. Tang Feng’s identification of calligraphy and painting works is based on the materials.

"Yes." The thin old man nodded and said, "It really looks like the original work of Shi Tao."

Fortunately, Tang Feng is an expert, otherwise he might not understand it. Since this painting has a very detailed picture, it is not difficult to judge the source. The old man from Qingxiang was the nickname of Shi Tao, a famous painter in the late Ming and early Qing dynasties, and Yuan Ji and others were his pen name.

Shi Tao's original name was Zhu Ruoji, and was originally a royal family of the Ming Dynasty. At the age of ten, he was forced to cut off his hair and become a monk because of the Qing army entering the pass. He changed his name to Shi Tao. Although he was wandering all his life and wandering around, he also traveled all over famous mountains and rivers, and had extraordinary understanding of the way of nature, so he was skilled in landscapes. Zheng Banqiao, who is famous for painting orchids and bamboos among the "Eight Eccentrics of Yangzhou", once described his talent as "Shi Tao is good at painting, and there are thousands of kinds."

Perhaps because of the identity of the royal family of the previous dynasty, Shi Tao once used several names such as Yuan Ji, Yuan Ji, Chao Ji, etc., including Dadizi, Qingxiang Old Man, Blind Venerable, etc. His works are numerous, and the number of lost ones cannot be verified. Because his paintings themselves are of varying quality, and with a large number of fakes from various eras, it is even more difficult to distinguish the authenticity.

Shi Tao's works are erected and circulated, full of artistic dynamics and tension. His personal style is free and free, free and easy, regardless of small flaws, and has a bold and erect momentum. The quality of the painting in front of him is completely in line with his personal style.

The fat old man said to the thin old man: "Don't just go behind the scenes, tell me your judgment."

"Oh." said the thin old man: "It is impossible not to say that the counterfeiter imitates it well, but the fake one cannot be real. In addition to the fact that the font of the painting is somewhat different from the original works of Shi Tao, these two calligraphy and painting seals are also very problematic. The counterfeiter's seal carving skills are a little worse."

The fat old man sighed a long time, shook his head and said, "I wasted time and wasted energy." He turned to the young woman and said, "Xiao Fan, please let them put it away."

The young woman smiled and said, "Old Zhang, how could it be troublesome when you said?"
Chapter completed!