Chapter 807 Identification Words
"In other words, there are actually physical objects made of hard yellow paper in the mainland." Anzhai Yingyi murmured.
"Yes." Zhou Zhi nodded: "In addition, the "Preface to the Lanting Collection" and "Quick Snow Shiqing Tie" hidden in the Palace Museum are also made of hard yellow double hooks filled with ink."
“There is a question.” Xu Zhantang was a little confused: “If you use paper to coat wax Of course, the transparency, luminosity and toughness of the paper can be increased, but how to apply the ink? It will also be difficult to frame it, right? "
"This question..." Zhou Zhi said with a smile: "There is actually a tradition. Craftsmanship has given us the answer.”
"Ah?"
"The traditional craft I'm talking about is called mounting." Zhou Zhi smiled and said: "There is a special craft in mounting, which is stamping."
"Some precious The ancient calligraphy and painting, future generations want to put them on To add an appreciation seal, you don't just put the seal on it roughly. Instead, you first stamp the seal on the rice paper, then cut out the seal and paste it on the calligraphy and painting, and then use a special process to remove the white paper area without the seal. , thus transferring the printed text onto the calligraphy and painting ”
“In ancient times, wax oil minerals were also used for ink pads. Without special craftsmanship, the seal paper would not be able to be attached to calligraphy and paintings. This process is called ‘dewaxing’.”
“Similarly, calligraphy and painting also There is this problem. Ancient paintings, especially gongbi, often go through five renderings and nine dyeings. Each color is reinforced with vitiligo. After the second color is applied, there are often more than a dozen processes before and after to complete a painting. .”
"After the painting is completed, a large amount of water will be used when mounting it. At this time, the color has solidified on the paper fibers. As long as you pay attention to the technique and only wash away the excess gum, it will not cause harm to the painting."
"After It is a set of processes such as re-solidification and mounting. It is this This set of calligraphy and painting preservation techniques allows us to repair millennium ancient scrolls many times without damaging the artwork itself."
"And the so-called 'wax' on the hard yellow wax paper is not the same. A simple wax, but a complex formula that belongs to a water Soluble resin is actually similar in function to alum, and has some characteristics of wax, but it does not affect the inking of calligraphy and painting. "
"In this way, Mr. Xiao Zhou is very familiar with hard yellow wax paper, so he decided that " Is the Mahavairocana authentic? ”
“ Yes, the surviving paper from the Tang Dynasty is very precious. This fragment is a standard Tang style in terms of calligraphy style, and the paper is also a precious paper from the Tang Dynasty, so I think it must be authentic. As for other identification criteria, Wan. Sister Qiu must be more aware.”
"For the identification of calligraphy and painting, we generally use two identification methods, carbon 14 identification and spectral identification." Lin Wanqiu said with a smile: "Carbon 14 identification is to take some trace features on the calligraphy and painting, such as ink marks, paper, and ink pads, to conduct carbon 14 attenuation measurement. ; Spectral identification uses spectral analysis instruments to check whether there are traces of the use of modern chemicals on the scroll. "
This is also a commonly used method after the advancement of science and technology in the art world. The former is used to determine the age of the artwork. The latter is used to determine whether it is a fake.
“Judging from the identification results, there are no modern chemical agents on the scroll, and its chemical element composition is consistent with the chemical characteristics of the known Tang scroll artworks that have been restored in ancient times.”
“Judging from the carbon 14 identification, the book is the most It was dated to the Tang Dynasty in the early years, and subsequently underwent two restorations in the Song Dynasty and Ming Dynasty."
"Is it possible that this is a fake made by the Song Dynasty or Ming Dynasty people using paper and ink from the Tang Dynasty. What?" Hou Zhongjin thinks this is also a question worth considering.
Unexpectedly, both Lin Wanqiu and Zhou Zhi laughed. Lin Wanqiu said: "Zen Master Kukai's status in the island country is certainly high, but in China at that time..."
"There are no inscriptions before or after this long scroll, only a few words A little famous one Judging from the private collection seal, this work may not have received much attention at the time."
Lin Wanqiu is from Hong Kong. During this time, he returned to China and traveled around. He probably received some education, and now he is secretly interested in it. He poked fun at the islanders.
But what she said is right. If the Song Dynasty and the Ming Dynasty were to use precious hard yellow paper from the Tang Dynasty to make forgeries, it would have to be Zhang Zhi and Zhang Xu congratulating their grandson. How blind would they be? Go make a fake of Monk Kukai! Coupled with these two appraisals, it can be confirmed that it is authentic.
Lin Wanqiu said with a smile: "You have written a good article, my brother. For that Kui dragon jar just now, you can come up with an identification word for me tonight so that I can use it tomorrow."
"You don't have to wait for tonight." General Zhou Zhi Lin Wanqiu took the notebook and pen and started writing:
Ming Xuande Kui dragon pattern large jar.
The jar has a straight mouth, round shoulders, bulging belly and a flat bottom. The whole body is decorated with blue and white patterns, the neck is decorated with a Ruyi cloud pattern, the shoulders are decorated with a flower hook pattern, and the belly is painted with a Kui dragon holding a lotus pattern. The Kui dragon has an elephant trunk, two wings, and a curly grass tail. It is vigorous and vigorous, and a lotus petal pattern is painted near the bottom. . Inside the blue and white double circle on the bottom is the regular script inscription "Xuande Year of the Ming Dynasty".
The blue and white hair color of this vessel is rich and bright, the carcass is firm and white, the painting is full of fun, the layout is comfortable and elegant, and the subject matter is extremely rare. It is the best among the blue and white vessels of the early Ming Dynasty.
After thinking for a while, Zhou Zhi wrote below:
The Kui dragon pattern on Xuande porcelain is derived from the Hindu Capricorn fish. The Sanskrit name "makara" originally refers to "sea dragon", which is the goddess of the Ganges and the god of the sea. Get the mount.
Believers regard the goddess as the embodiment of purity and forgiveness. Varuna, the god of the sea, represents justice and truth. According to Hindu and Buddhist statues, Capricorn fish specializes in guarding the passages and entrances of palaces and temples.
Therefore, the Kuilong pattern that has been a theme in Chinese art since the Yuan Dynasty should have been gradually included in Chinese art themes with the popularization of Buddhism. By the Xuande Dynasty, it was first used as the main pattern on porcelain.
Compared with the Kuilong of other Shang and Zhou bronzes, it is quite different.
He handed the notebook back to Lin Wanqiu: "Sister Wanqiu, what do you think?"
Lin Wanqiu read it and said with a smile: "Very good, that's it. Then let's go to the banquet and have a good chat." ”
The standard of the banquet was quite high. Lin Wanqiu booked a large restaurant in the five-star Regent Hotel on Hong Kong Island as the venue for this banquet.
There were a lot of guests, and this was actually a promotion meeting. Zhou Zhi was lucky enough to sit in the front row with the big guys, and met many celebrities and big stars who came to help.
The celebrities are about to go to the mainland for a charity performance. The charity performance is organized by Li Qiyan, and the most important collection in this auction belongs to Li Qiyan, so you taste it carefully...
It is very simple for Zhou Zhi to understand. In his mind, Hong Kong Island is similar to Jiachuan. Everyone looks up but never looks down. There are only so many people coming and going, and it is all about one person's worldliness...
The famous short and fat man The host was co-hosting with Lin Wanqiu, who had changed into evening clothes, and his humor made the guests laugh.
However, Zhou Zhi felt it was necessary to remind Lin Wanqiu and Li Lehai that this guy seemed to be a pervert.
After the ceremony, there was a dinner party. In fact, this was just a social gathering. After a while, we made appointments to chat in some circles, and Lin Wanqiu and Li Lehai acted as introducers like butterflies in flowers.
These have nothing to do with Zhou Zhi. Now he and Li Lehai are sitting obediently behind Director Wang and Li Qiyan. They don't dare to sit on the table for fear of being photographed by the media and arousing everyone's curiosity.
(End of this chapter)