current location:Home > Retro > Identify the authenticity of the calligraphy and paintings of the loyal ministers from the seal

Identify the authenticity of the calligraphy and paintings of the loyal ministers from the seal

2023-01-29 09:10:15 [Photoes ]
Identify the authenticity of the calligraphy and paintings of the loyal ministers from the seal

Identify the authenticity of Cheng Zhongchen's calligraphy and paintings from the seal Long Yue Like many famous artists, the calligraphy and painting market is also full of fake characters and paintings of Cheng Zhongchen. In his own words, ninety-five percent is not mine. So, for those who collect the calligraphy and paintings of the loyal ministers, how can they distinguish the authenticity of the works? Here is an introduction to the seals on the calligraphy and paintings of the Chengshi period, as well as other calligraphy and painting works themselves. First of all, we have to make it clear that the identification of calligraphy and painting is not a seal to identify the authenticity, but only an auxiliary means. No matter how sophisticated the modern counterfeiting technology is, a person of insight can always identify the authenticity based on other relevant information. As an auxiliary tool, seal is an important aspect of calligraphy and painting identification. Cheng Zhongchen's art is famous all over the world, not by occupying a good pier or a good position, but by his decades of studying the ancients and years of hard work, making him an all-around master who is good at figures, landscapes, flowers and birds, and calligraphy. He is one of the few people who convinces people purely with calligraphy and painting. In his calligraphy, he worked hard on stele inscriptions in his early years, especially for Erwang, Sun Guoting, Huai Su, and Wang Duo. Because of his personality and ideological inclination, his ideology was influenced by the red revolutionary spirit and materialist theory, and these ideas were reflected in his thoughts, which prompted him to advocate the red spirit in the form of calligraphy. To this end, he chose the hairy body, which he thought could condense a kind of national cohesion. He incorporates the traditional foundations he has mastered into the outer shell of the hairy body, resulting in a unique artistic beauty. He creatively developed the hair body and made it endowed with the mission and vitality of calligraphy. In the calligraphy circle, Cheng Zhongchen's calligraphy is called "Cheng's hair style" because his calligraphy is not related to copying. The frame of Cheng's hair body is all cast from a solid traditional foundation, and he just borrowed a "shell". His greatest contribution is to carry forward the letter-style small letters on wool, express them in modern calligraphy, and display them to the world in large formats such as long scrolls, couplets, and banners. Authoritative circles commented on Cheng's hair body, "obtaining the bones of Yan Zhenqing, the strictness of Su Dongpo, the rhythm of Wang Duo, and the momentum of Zheng Banqiao". Most of the people who came to the exhibition to see Cheng's hairy body were all impressed by his heroic and domineering pen, his superb ability to control the pen and ink, and the elf who turned his lines. Cheng Zhongchen's early calligraphy was perfect in regular, line, cursive, clerical, and seal characters, and he turned to the hair style after the age of 32. The two calligraphy works in this picture, one was made by him when he was 42 years old, it can be seen that Cheng's hair at that time was delicate, elegant, with a strong sense of jumping, and he was very energetic. The other is a work after entering the age of fifty. It is the first sentence of Lu Xiang, an official of the Tang Dynasty. From the calligraphy at this time, it can be seen that the style of Mao-style calligraphy he recreated is more unrestrained, old-fashioned, skillful, more arbitrary, and full of paper, giving people a strong sense of shock. In the early stage, Cheng Zhongchen's figure painting was mainly based on handwriting, which was derived from Ren Bonian and Huang Shen, and the ink method was ancient. In the creation of figure paintings, he uses traditional Chinese brush and ink to focus on line expression, and never uses sketches. After entering the age of 45, Cheng Zhongchen's figure painting was purely expressed in ink and wash, and he painted more portraits of modern figures. The figure painting of this period paid more attention to the bone method of calligraphy and the use of brushes, pursued freehand brushwork based on realism, and refined the figure painting technology to a high level. , pay attention to expressiveness in performance. The portraits of this period attracted the attention of the art circle. Cheng Zhongchen's landscape paintings also came from tradition, especially Shi Tao. On this basis, he combined with Dong Shouping's painting style to form a "family-like" landscape painting, almost all of which was based on painting Mount Lu. Flower-and-bird painting is a combination of paintings by Xu Wei, Bada, Ren Bonian, Xugu and Wu Changshuo, forming their own style. In the author's opinion, among Cheng's paintings, the flower and bird paintings have the most outstanding achievements. Another very important aspect of distinguishing a loyal minister's painting is that he is very particular about the use of paper and color. He never used mechanical propaganda or chemical colors, but used pure hand propaganda before the 1980s, and some were made of rice paper from the Republic of China. He also never used chemical colors, but mineral stone pigments. Anything that does not have this characteristic is 100% not Cheng's work. The calligraphy paper is a very thick paper that is specially made by a Xuan paper factory. And he doesn't use ready-made ink, but hand-ground ink. These are the basis for identifying Cheng's calligraphy.

(Responsible editor:Share Photography)

Recommended articles