Essentials of Wu Huafen and Xie Zhi Liu's Seals

Author: Wang Pingping
Publisher:
Publish Date: 2005-06-01
Features: In the authentication of calligraphy and painting, the seal is an auxiliary evidence, but it is often a fatal flaw in a forgery. Discussing the level and character of brushwork and ink is subjective, often leading to differing opinions, with clear disagreements frequently emerging among national-level experts. Opinions on the authenticity of seals are relatively easier to unify, and thus, comparing seals remains irreplaceably important in today's collection and appreciation work. Seal comparison primarily focuses on three aspects of "hard flaws." First, check if the size of the same seal is consistent. Second, verify if the seal's usage time is correct. Generally, after completing a work, calligraphers and painters often stamp their name seals below the inscription, meaning the name seal's stamping time is very close to the painting's completion time. Of course, there are also cases where seals are added after several years, but this is more common with decorative seals. If a painter's early work bears a name seal from their middle or later years, it warrants caution. Third, the usage pattern of the seal, mainly referring to decorative seals. For example, Xie Ziliu had several decorative seals with the character "luo mo" (ink dropping), which he only used on his ink-and-wash flower-and-bird and landscape paintings from the 1970s onwards. If a 1940s Xie-style meticulous painting of court ladies is found stamped with a "luo mo" seal, it would be laughable.
While comparing seals is a crucial step in calligraphy and painting authentication, using this method currently requires attention to three issues:
1. Be aware of forgeries created with computer technology and zinc plate printing techniques, which are almost indistinguishable from genuine seals.
2. Fully consider the variations in appearance of the same seal under different conditions of ink stick dryness, thickness, and the force applied by the stamping person.
3. For some deceased contemporary masters whose seals are still scattered in private hands, it is essential to account for the possibility of painted-forgeries using authentic seals.