A treasure-appraisal maniac

The densely packed Tibetan bell seals make the layout of this work messy, and even the author's bell seals are not so obvious.

This work is called "Emotional Ink Flowers" and its author is Chen Guo, a master of landscape painting in the Ming Dynasty.

Chen Gui, Chen Chun's son.

He is good at painting flowers, his brush is like his father's, he is addicted to drinking and debauchery, he is good at painting flowers, birds and landscapes. Following his method, he also has his own ideas.

The writing is wild and lively, and it can also be poetic. ??

Chen Gui died young. Since the creation of literati paintings in the Yuan Dynasty, which incorporated calligraphy into painting, Xu Wei and Chen Daofu in the Ming Dynasty took the freehand brushwork technique of unrestrained handwriting a step further in flowers and birds. Daofu's son Chen Guo further developed the technique on the basis of his father. , taking this informal writing method to the extreme, with its scratches and scratches, as you please, and it is beyond the realm of dust.

In the middle of the Ming Dynasty, the literati of the Wu clan regarded being good at calligraphy and painting as their elegance, fashion, and means of making a living.

The atmosphere is strong and the level is high, ranking first in the country.

Its inheritance is passed on by juniors and juniors, such as Shen Zhou to Wen Zhengming, Zhou Chen to Tang Yin and Qiu Ying, Wen Zhengming to Lu Zhi, Qian Gu, etc. There are also sons who inherit their father's inheritance for several generations, such as Wen's family. The family has been good at painting for at least five generations and has been famous for nearly two hundred years. It can be called an outlier in the history of Chinese culture.

There are more contemporary fathers and sons who have vocals at the same time, such as Chen Chun, Chen Guo and his son, Lu Shidao, Lu Shiren and his son, Ju Jie, Ju Maoshi and his son, etc.

Among them, Chen Chun and his son have received the most attention. The main reason is naturally because Chen Chun was able to break out of his own school, lead the trend of Chinese freehand painting, and became a generation of masters. His son Chen Guo can also Living up to his father's ambition and inheriting his family's learning, he can be said to be outstanding among the second generation of disciples of the Wen family, a step ahead of Lu Shiren, Ju Maoshi and others.

It is a pity that he died young and few of his works have been circulated, which is a pity for those who know him and a pity for the art world.

According to the records of Wang Shizhen, Jiang Shaoshu, Zhu Mouhe and others, we can roughly know: Chen Gui, whose courtesy name was Zizheng, whose name was Tuojiang, and whose name was Fu Zhongzi. He is a good drinker and good at writing about flowers. He is "slowly eager to live". Although he is wild and full of life, he is even highly praised as "seemingly better than his father".

Judging from the poems written by Wen Zhengming, Gu Wen, Wen Peng, Zhang Fengyi, Wen Jia and others in the back volume of "Pear Blossoms and White Swallows" by Chen Gui, an old scholar in Tiandu, and the fact that his works were collected by Xiang Zijing, a great collector in the Ming Dynasty, we can see that he In the Wumen painting circles at that time, he was a figure with wide contacts and great influence.

Chen Guo's birth and death years are now difficult to ascertain.

However, judging from the records recorded in the past and the paintings that can still be seen, his creative career roughly began in the 14th year of Jiajing and ended in the 32nd year of Jiajing.

I have been involved in painting for about eighteen years.

The "Flower Pictures" volume, which was painted in the 14th year of Jiajing and is now in the Suzhou Museum, is of a high standard.

Not low. If Chen Kuai was twenty years old at that time, he would not have lived until the thirty-second year of Jiajing.

This is roughly consistent with the records of Jiang Shaoshu that the predecessors "pity that he traveled to immortals earlier" and "pity that his age will not last forever".

However, there is a piece of "Eternal Green Picture" inscribed by Chen Guo in the collection of the National Palace Museum in Baodao. It has the inscription of the fourth year of Longqing's reign, which inevitably raises doubts.

However, if you look closely, his brushwork is thick, bloated and vulgar, which is completely inconsistent with the style of all Chen Kuai's works. The inscriptions on his paintings are also vulgar and substandard.

According to the reliable works of Chen Gui, there are about four paintings painted by Guichou in the 32nd year of Jiajing. One is in the Palace Museum, one is in the Shanghai Museum, one is in the Jilin Museum, and one is in the Haixi Bihu Villa.

Thirty-two years after Jiajing, no other works have been handed down.

There are many reasons why Lu Fei likes this piece of work by Chen Gui.

First of all, it is Chen Gui.

Chen Gui can be said to be the evil genius of the Wu sect. Although there are very few surviving works, judging from the only four remaining works, Chen Gui's eighteen-year painting career can be said to have made rapid progress.

The progress of more than ten years even exceeds the experience accumulated by many people for decades, which is simply incredible.

From this point, we can also see how terrifying this monster's painting talent is.

Another point is Chen Gui’s fate.

Kong had an astonishing talent, but died young.

According to folklore, the reason why he died young was because God was afraid of his incredible talent and wanted to take it back early.

Although this is just a folk legend, it can be seen from this legend that people regret and respect this talented person, and the same goes for Lu Fei.

In addition to these, there is the quality of the work itself.

Although this work is covered with countless seal graffiti, it still cannot hide the excellence of the work.

The overall layout of the three-and-a-half-meter-long work is astonishingly detailed, with not a single flaw to be found. There are only a handful of works that have reached this level throughout the ages.

The use of various brushwork and the processing of details are all perfect. Standing and admiring it carefully from a distance will give people the illusion of being on the scene. This is the artistic conception of the legend.

When it reaches such a height, the level requirements for appreciators are no longer so demanding. As long as one looks carefully, anyone can see the magnificence and beauty of this painting. To achieve such an artistic conception, this is a masterpiece.

Although the stamping maniacs of this painting caused considerable harm, on the other hand, if it were not so excellent, it would not be possible for the stamping maniacs to be so excited. The densely packed Tibetan bell seals make the layout of this work messy, and even the author's bell seals are not so obvious.

This work is called "Emotional Ink Flowers" and its author is Chen Guo, a master of landscape painting in the Ming Dynasty.

Chen Gui, Chen Chun's son.

He is good at painting flowers, his brush is like his father's, he is addicted to drinking and debauchery, he is good at painting flowers, birds and landscapes. Following his method, he also has his own ideas.

The writing is wild and lively, and it can also be poetic.

Chen Gui died young. Since the creation of literati paintings in the Yuan Dynasty, which incorporated calligraphy into painting, Xu Wei and Chen Daofu in the Ming Dynasty took the freehand brushwork technique of unrestrained handwriting a step further in flowers and birds. Daofu's son Chen Guo further developed the technique on the basis of his father. , taking this informal writing method to the extreme, with its scratches and scratches, as you please, and it is beyond the realm of dust.

In the middle of the Ming Dynasty, the literati of the Wu clan regarded being good at calligraphy and painting as their elegance, fashion, and means of making a living.

The atmosphere is strong and the level is high, ranking first in the country.

Its inheritance is passed on by juniors and juniors, such as Shen Zhou to Wen Zhengming, Zhou Chen to Tang Yin and Qiu Ying, Wen Zhengming to Lu Zhi, Qian Gu, etc. There are also sons who inherit their father's inheritance for several generations, such as Wen's family. The family has been good at painting for at least five generations and has been famous for nearly two hundred years. It can be called an outlier in the history of Chinese culture.

There are more contemporary fathers and sons who have vocals at the same time, such as Chen Chun, Chen Guo and his son, Lu Shidao, Lu Shiren and his son, Ju Jie, Ju Maoshi and his son, etc.

Among them, Chen Chun and his son have received the most attention. The main reason is naturally because Chen Chun was able to break out of his own school, lead the trend of Chinese freehand painting, and became a generation of masters. His son Chen Guo can also Living up to his father's ambition and inheriting his family's learning, he can be said to be outstanding among the second generation of disciples of the Wen family, a step ahead of Lu Shiren, Ju Maoshi and others.

It is a pity that he died young and few of his works have been circulated, which is a pity for those who know him and a pity for the art world.

According to the records of Wang Shizhen, Jiang Shaoshu, Zhu Mouhe and others, we can roughly know: Chen Gui, whose courtesy name was Zizheng, whose name was Tuojiang, and whose name was Fu Zhongzi. He is a good drinker and good at writing about flowers. He is "slowly eager to live". Although he is wild and full of life, he is even highly praised as "seemingly better than his father".

Judging from the poems written by Wen Zhengming, Gu Wen, Wen Peng, Zhang Fengyi, Wen Jia and others in the back volume of "Pear Blossoms and White Swallows" by Chen Gui, an old scholar in Tiandu, and the fact that his works were collected by Xiang Zijing, a great collector in the Ming Dynasty, we can see that he In the Wumen painting circles at that time, he was a figure with wide contacts and great influence.

Chen Guo's birth and death years are now difficult to ascertain.

However, judging from the records recorded in the past and the paintings that can still be seen, his creative career roughly began in the 14th year of Jiajing and ended in the 32nd year of Jiajing.

I have been involved in painting for about eighteen years.

The "Flower Pictures" volume, which was painted in the 14th year of Jiajing and is now in the Suzhou Museum, is of a high standard.

Not low. If Chen Kuai was twenty years old at that time, he would not have lived until the thirty-second year of Jiajing.

This is roughly consistent with the records of Jiang Shaoshu that the predecessors "pity that he traveled to immortals earlier" and "pity that his age will not last forever".

However, there is a piece of "Eternal Green Picture" inscribed by Chen Guo in the collection of the National Palace Museum in Baodao. It has the inscription of the fourth year of Longqing's reign, which inevitably raises doubts.

However, if you look closely, his brushwork is thick, bloated and vulgar, which is completely inconsistent with the style of all Chen Kuai's works. The inscriptions on his paintings are also vulgar and substandard.

According to the reliable works of Chen Gui, there are about four paintings painted by Guichou in the 32nd year of Jiajing. One is in the Palace Museum, one is in the Shanghai Museum, one is in the Jilin Museum, and one is in the Haixi Bihu Villa.

Thirty-two years after Jiajing, no other works have been handed down.

There are many reasons why Lu Fei likes this piece of work by Chen Gui.

First of all, it is Chen Gui.

Chen Gui can be said to be the evil genius of the Wu sect. Although there are very few surviving works, judging from the only four remaining works, Chen Gui's eighteen-year painting career can be said to have made rapid progress.

The progress of more than ten years even exceeds the experience accumulated by many people for decades, which is simply incredible.

From this point, we can also see how terrifying this monster's painting talent is.

Another point is Chen Gui’s fate.

Kong had an astonishing talent, but died young.

According to folklore, the reason why he died young was because God was afraid of his incredible talent and wanted to take it back early.

Although this is just a folk legend, it can be seen from this legend that people regret and respect this talented person, and the same goes for Lu Fei.

In addition to these, there is the quality of the work itself.

Although this work is covered with countless seal graffiti, it still cannot hide the excellence of the work.

The overall layout of the three-and-a-half-meter-long work is astonishingly detailed, with not a single flaw to be found. There are only a handful of works that have reached this level throughout the ages.

The use of various brushwork and the processing of details are all perfect. Standing and admiring it carefully from a distance will give people the illusion of being on the scene. This is the artistic conception of the legend.

When it reaches such a height, the level requirements for appreciators are no longer so demanding. As long as one looks carefully, anyone can see the magnificence and beauty of this painting. To achieve such an artistic conception, this is a masterpiece.

Although the stamping maniacs of this painting caused considerable harm, on the other hand, if it were not so excellent, it would not be possible for the stamping maniacs to be so excited.