"Are you familiar with Jing Hao?" Director Yuan was surprised: "Don't he just have a copy of "Kuang Lu Picture" handed down from generation to generation? It is now in the National Palace Museum in Taipei."

"Ah? Oh yes," Zhou Zhi dared to say that he was holding Jing Hao's "Shu Mountain Pictures" restored by his fourth cousin in his hand. He took it out and looked at it carefully. He was very familiar with Jing Hao: "I have the Taipei National Palace Museum at home.

The high-definition pictorial of the precious calligraphy and painting scroll was given to me by the fee manager of Gongmei Mall."

"What I'm talking about is the key to appreciating this painting. In fact, there have been various controversies about this painting before," Director Jiang said.

"Can this painting still be controversial?" Zhou Zhi pointed to the long inscriptions and postscripts on the front and back of the scroll, as well as Shen Zhou's poem: "Such a long inheritance record, coupled with such exquisite calligraphy..."

Then he kept shaking his head: "No, it will definitely not be a replica."

"You said you're not familiar with Shen Zhou, so why are you still studying his calligraphy?" Director Yuan asked.

"I'm not familiar with him, but I'm relatively familiar with Huang Tingjian." Zhou Zhi said: "The calligraphy in the painting is obviously out of the ordinary in Huangshan Valley. It is impossible for ordinary people to imitate such a skill."

Zhou Zhi had in his hand a large yellow seal of landscapes and fields inscribed by Huang Tingjian with Dongpo's poems on it. Su Dongpo's poems on it were Huang Tingjian's calligraphy. Zhou Zhi couldn't put it down and played with it all the time.

In addition, Huang Tingjian served as an official in Manzhou, visited Mount Anle in Jiachuan, and left poems. Therefore, Zhou Zhi also collected Huang Tingjian's calligraphy from Aiwu and Wudi, and was extremely familiar with Huang Tingjian's calligraphy.

Director Jiang is also a calligrapher and nodded with a smile: "What you said is really good. Shen Zhou was greatly influenced by Taige's calligraphy style when he was young. After middle age, he followed the four calligraphers of the Yuan Dynasty in painting, and followed the three styles of Su, Huang and Mi of the Northern Song Dynasty in calligraphy.

, until fifty

After he was four years old, he specialized in the Huang style, and completed a breakthrough change in calligraphy style a few years later. The "History of the Ming Dynasty" recorded that "the calligraphy imitated Huang Tingjian", and his contemporary calligrapher Wang Hao also said: "Calligraphy Fu"

Weng is so strong and stubborn.'"

"There are some differences. In Shen Zhou's hands, Huang Tingjian's 'dangjing brushwork' is less wanton and more reserved." Zhou Zhi commented: "However, the aura of growth is not less at all, but is suppressed.

It’s like the grass that is pressed down by stones has become more elastic and is about to erupt with vitality.”

"Those who can imitate calligraphy like this don't need to imitate it."

"What do you mean?" Director Yuan didn't understand.

"Hahaha..." Director Jiang smiled and said: "The meaning of Elbow is that anyone who can write calligraphy to such a level must be a famous person. There is no need to fake and imitate others, just sign your own name, and everyone will be sought after.

"

"So that's it..." Director Yuan understood.

Director Jiang laughed and said: "Shen Zhou's evaluation of Huang Tingjian is: 'Huang Wenjie Gong follows the great and the great, and he has an unyielding and indelible spirit. Today's common people like to comment on Su and Huang Ergong, and they use rope and ink scales. How can they know how to calligraphy?

! I said that Wen Jie’s official letter was full of gloom and gloom in the pen and ink, so others could never reach it.'"

"Coincidentally, Huang Shangu's evaluation of Su Dongpo at that time was also: "The spirit of the article is so vivid that it can be seen in the pen and ink, and no one else can match it.'"

"Today Zhuzi's evaluation of Shen Zhou was also about 'elasticity' and 'vitality about to erupt.' If Shen Zhou were here, he would make Zhuzi Qin his confidant."

"So my analysis is correct?"

"Otherwise, there is still something wrong with what you said." Director Jiang said with a smile: "It is not necessarily correct to judge that a painting is authentic based on the original calligraphy. For Shen Zhou, it is not necessarily correct."

"Why is this?"

"Because Shen Zhou is a person with an easy-going personality. He has maintained his innocence and innocence throughout his life and is also very interesting."

"When someone asks for a painting, he usually agrees, regardless of whether he is a dealer or a high official, and does not ask whether the person has money or not. So much so that his friends wrote poems to laugh at him: Returning to the east to collect the debt from traveling to the south, he would have to turn into a golden immortal worth tens of billions. "

"A prefect asked for a painting, and Shen Zhou painted a picture of "Five Horses in Spring" for him. The prefect didn't know that 'five horses' was a nickname for prefect, and he was a little unhappy: 'I only have five horses, and no one is accompanying me?' Shen Zhou After learning about it, he drew another six followers and gave them to him. He also joked: 'I have no choice but to draw three pairs of ceremonial guards and the leading ones.'"

"Later, when the eunuch went to Beijing, Li Dongyang and other big guys along the way asked him about the treatment of Shen Shitian, and his words were quite polite. Only then did the eunuch know how high-end Shen Zhou's circle of friends was."

"On official business, the governor returned to his hometown and came to apologize in person. Shen Zhou didn't say anything and even happily invited him to dinner."

"But what does this have to do with the fact that Shen Zhou's calligraphy cannot be used to authenticate paintings?" Zhou Zhi became more and more puzzled as he listened.

"Of course there is a connection. Shen Zhou was already very famous at that time. Whenever a painting came out, it would attract countless people to imitate it. Many of the fakes were so lifelike."

"And the most amazing thing is that many people took the fakes as genuine and cautiously went to Shen Zhou's door, asking him to leave an inscription on the painting."

"Ah?" Zhou Zhi couldn't help but be happy: "Is this just like asking NBA stars to sign their pirated sneakers?"

"But Shen Zhou himself doesn't take it seriously." Director Jiang said: "When encountering this kind of situation, Shen Zhou usually won't refuse. He happily writes his own inscriptions, calligraphy, poems, and stamps on the fakes as usual. My own private seal."

Zhou Zhi put his hand on his forehead: "Isn't this a bit too easy-going? Doesn't this make it more difficult for future generations to distinguish the authenticity?"

He shook his head: "But this painting is definitely authentic."

"continue."

Zhou Zhi thought for a while: "The mounting of collections has its own fixed format. From the beginning to the end, they are the outer label, the header, the front water barrier, the heart painting, the back water barrier, and the tail."

There are many inscriptions, inscriptions, and seals on the parts of this painting other than the heart, which will provide us with specific information about the collectors and appreciators. There will definitely be many collectors we know."

"That's not necessarily true." Director Jiang seemed determined to raise the issue today: "Counterfeiters often cut inscriptions, inscriptions, and seals from some worthless or broken ancient scrolls, and then pass them off as fakes for collection and appreciation. The seal is not enough to prove it."

"Things like that can only deceive laymen." Zhou Zhi said with a smile: "Since this painting is "Imitation Ni Yunlin Landscape Scroll", then later appreciators will naturally focus on Jing Hao Guantong when appreciating the inscriptions and postscripts. It is based on the series inheritance of Dong Yuan Juran, Ni Zan and Shen Zhou."

"If it is a fake piece that is cut and pieced together, the theme cannot be so complete." Zhou Zhi said, pointing to Shen Zhou Xiujin's calligraphy on the painting: "Here, the author has actually defined the theme of the discussion."

But it was a poem and note written by Shen Zhou on the painting.

"The one who knows the roundabout is Jingguan's hand, and Liao Fu writes about Su Qiu from the roundabout. I don't know that the west mountain is not refreshing, I bow my head together in the east field. The painting by Shen Zhou of Changzhou is also titled."

"This poem is a bit difficult to interpret." Director Yuan frowned and said.
Chapter completed!