At the beginning of this month, Lao Chen sent two micro-headlines, and together with the friends of the headlines, he appreciated the calligraphy and related calligraphy and painting works of the Bada Shanren "involved".
The first two of the works are a frame of an album by the cultural figure Li Ao and the National Palace Museum in Taipei. The two frames of calligraphy and painting are similar, which can be described as a fight between the gods and immortals, but the gods also have to be reasonable. Today, I will compare and appreciate these two albums for your reference.
Mr. Li Ao's collection of bada shanren's "Flower and Bird Album" is 12 pages. The album is similar to the National Palace Museum in Taipei and is titled "Xin Wei Flower and Bird Album". Just as there are no two identical leaves in the world, we have said that works of the same subject that are "written" by painters may be roughly similar, and cannot be too similar. The two are similar and must be true and false.
The "Album of Flowers and Birds of Xin Wei" collected by the National Palace Museum in Taipei is donated by Mr. Wang Xuezhou, a former Kuomintang politician. This version was described by Wang Fangyu as "Zhang Daqian's copy of the fine works", saying that "the first half of the first page of this volume draws a fish on the right, and the left half is the two big characters of 'Involved', and its size arrangement is probably derived from one page of "Falling Flowers Involved", with strong pen strength, but lack of aura." ”
Li Ao's "Flower and Bird Album" of the Bada Shanren was identified by Mr. Yang Renkai as authentic. Li Ao himself must have identified it as authentic.
Zhang Daqian once said to Wang Fangyu before he died: "I can do the magic of the ancients' brushes, but I can't express the spiritual momentum of the Bada Shanren." Compared with the two books, we can see the gap between Zhang Daqian and the Bada Shanren, as well as the difference between the authentic and the forgery, especially the difference in the spiritual momentum of the authentic handwriting, which is now shared with the headlines.
One of Li Aozang's "Flower and Bird Album"
The National Palace Museum in Taipei is one of the "Xin Wei Flower and Bird Albums"
Although the word "involved" in the two albums is roughly similar, for example, the ups and downs of the pen are inconsistent. The authentic qi on the top is flowing, but it is also powerful, appearing to be strong and energetic. The counterfeit handwriting is a cat painting a tiger, lacking the natural self-conscious setback, slightly tired.
The comparison of authentic calligraphy allows us to see clearly what is a bone method with a pen. Because the forgery is a depiction, carefully try to do everything, to achieve a complete reproduction, the pen process can not be consistent with the original author's breath rhythm, although the font is copied down, but can not copy the breath and radiance of the real handiwork. The replica is obviously not an orthopaedic pen.
The picture above is authentic calligraphy, written in cursive. Its unsimplified strokes, which need to be written, are the backbone of the text. Among them, every stroke, every start and end, every pause, is to achieve harmony and fullness. Each stroke of the pen resembles a complete bone with two skull joints. The strokes are strong and powerful, like beams and pillars, like skeletons, and the weight of flesh and blood that supports the font can pass through the invisible squares on the outside of the Chinese characters, revealing the charm and breath of writing from the inside.
When painting fish, the real handwriting is also based on the prototype formed by the dry brush, using a thick ink center to draw the outline, and using a mountain falling stone-like brush to draw the scales of the fish's body. The three-dimensional sense of such objects is strong. This is also the bone method of Chinese painting with a pen. The body of the fake fish is dyed with thick ink, and without the power of the pen "writing" and the momentum of the pen, it is naturally impossible to be vivid and vivid. When larger details appear, whether the bone method is used with a pen, the gap between the real and the fake is even greater.
Li Aozang's "Flower and Bird Album" No. 2
Li Aozang's "Flower and Bird Album" No. 3
The National Palace Museum in Taipei collects the third volume of the "Xin Wei Flower and Bird Album"
Rootless orchid, the painting method comes from Zheng Sixiao, a relict of the Southern Song Dynasty. The authentic handwriting on it is graceful and luxurious, and it seems to sway in the wind. The ink used in the real peduncle is not the same as the ink used in the leaves, and the petals of the peduncle should be painted with light ink first, and then the flowers and leaves are painted with thick ink, and the flower buds are dotted. Thick ink dilutes the ink, and there is no case of scattering and destroying the composition.
The fake in the picture below does not have a single decent blade. The forgery was drawn on raw rice paper, and the ink was scattered and caused the breath to be knotted, which was already a failure.
From this point of view, the paper used by the Bada Shan people should be cooked rice paper, raw rice paper is only suitable for ink play, not suitable for writing, and the literati of all generations have rarely used raw rice paper. Bada Shan people were born in a noble family, although the family road fell, but the taste has not changed, will not be lost to the use of raw rice paper. Judging from the letters preserved by the Bada Shanren, most of his paintings were bought by his clients and handed over to him. Most of these people who asked for painting were rich merchants, and the ones they bought were all good papers. Ancient Shengxuan is a semi-finished product of paper for calligraphy and painting, and it will not enter the eyes of the Bada Shanren. This point is very important, the identification of the eight mountain people's calligraphy and paintings, if you see raw rice paper can basically be seen as fake.
Li Aozang's "Flower and Bird Album" No. 4
The real handwriting is dotted with fins, and the strokes are full and rounded.
The National Palace Museum in Taipei collects the fourth volume of the "Album of Flowers and Birds of Xin Wei"
The counterfeit pen collection skill is not enough, and the multi-party pen is angled.
The National Palace Museum in Taipei has collected the fifth volume of the "Xin Wei Flower and Bird Album"
The fake po stone can be compared with the second page of Li Ao's collection, and the texture of the stone is too different.
Li Aozang's "Flower and Bird Album" No. 6
The leaf surface of the authentic taro is full and complete. The fake leaves below float like shredded paper.
The National Palace Museum in Taipei has collected the sixth volume of the "Album of Flowers and Birds of Xin Wei"
Li Aozang's "Flower and Bird Album" No. 7
The authentic birds are full of energy, and the branches wither but do not wilt. Counterfeits are godless, and the branches are obscene.
The National Palace Museum in Taipei has collected "Xin Wei Flower and Bird Album" No. 7
Li Aozang's "Flower and Bird Album" No. 8
The wonder of the Eight Great Mountain People flying white, you can experience it from the lotus stem.
The National Palace Museum in Taipei has collected the ninth volume of the "Xin Wei Flower and Bird Album"
Li Aozang's "Flower and Bird Album" No. 10
Good lines do have a life of their own.
The National Palace Museum in Taipei has collected the tenth of the "Xin Wei Flower and Bird Album"
The contour lines of the fake rocks are not smooth in one go, and the bad lines need to be covered with extra moss and other grass blades.
Li Aozang's "Flower and Bird Album" No. 11
Li Aozang's "Flower and Bird Album" No. 12
The real lines are thick and clear, and the ink is divided into five colors.
The National Palace Museum in Taipei holds the 12th Book of Flowers and Birds of Xin Wei
The fake tried to revise it, but failed.
In fact, the albums in the National Palace Museum in Taipei are obviously flawed in some places. Probably for the sages, this album is less questioned.
The above summarizes some of the problems of counterfeits for your reference. Further comments on the identification basis of authenticity are welcome.
Lao Chen's headline article last month revealed that the Bada Shanren's "Landscape Album for Baoya", which contains two frames of calligraphy, is a mine buried by Zhang Daqian. The long scrolls of the Bada Shan people were also often cut. Were the albums hidden by Li Ao buried in landmines? Is it possible that there is also a mixture of fakes?
Welcome attention, discussion, and criticism, so that the headlines can gather together to restore the clear face of the Bada Shan people.