As an apprentice in Liulichang since childhood, Liu Guangqi has developed the extraordinary ability of reading widely and memorizing. When I was a teenager, I was forced by my livelihood and failed to receive a good education. However, in his growth, he studied hard with his own cleverness and hard work. After arriving in Tianjin, he studied under Wu Yuru, Gong Wang and other scholars, and was able to recite The Analects of Confucius and Mencius. Can recite all Tang poetry and Song poetry; He can recite the history and theory of painting, and whenever he sees something useful, he will recite and remember it. Speaking of the calligraphy and painting he has seen for many years, he can explain the content, title, poem and seal of the painting clearly. Now I am 70 years old, and I can blurt out more than 6,000 resumes of painters and painters.
In the field of cultural relics identification, calligraphy and painting is called film, which is the most difficult. Appraisal of calligraphy and painting requires the most complicated knowledge. The appraisal of calligraphy and painting depends on knowledge, reasoning and feeling. Of course, just like Chinese medicine, it should be solved by a comprehensive method, not a single method. For example, 199 1, he appraised a work for Tianjin Art Museum, drawing a flower picture and a silk book with only ancient words on it. I have heard of people in Wanli period of ancient and Ming dynasties. As an unknown painter, I know little about the specific situation. He looked at the installer first. Painting axis mounting method is a mounting method from Wanli to Kangxi period, which has obvious characteristics of the times. Let's look at inscriptions, which is also the standard inscription method in Wanli period. Judging from these two points, it can basically be concluded that it is a work in the late Ming Dynasty. There are four or five people's inscriptions around the painting, some of whom are very famous. They come from the late Ming Dynasty and can be presumed to be the contemporaries of the author. Liu Guangqi carefully looked at the painting heart, which was painted with double silks and was also an object of the Ming Dynasty. Then, further elaborated the author's painting and calligraphy techniques with strong Wen Zhiming characteristics. Through these evidences, it can be concluded that this painting is really Amin's painting, not a fake, and it has collection value. This is a way for Liu Guangqi to judge by personal evidence. But sometimes, he can see the flaws in his works with complete evidence. 1990, Liu Guangqi was invited to several major American museums for identification. In the Washington Museum, he saw a photo of Dong Qichang, the Ming Emperor, and pointed out this problem. This painting is stamped with many seals of Xiangzijing, a great collector in Ming Dynasty. According to the inscription in the picture, Dong Qichang was 72 years old, Xiangzijing was 30 years older than Dong Qichang, and he died early, only 66 years old. So when Dong Qichang wrote this song at the age of 72, Xiangzi Jing had been dead for 36 years. How can he stamp Dong Qichang's works again? American scholars present at that time were stunned by the analysis of China, an authoritative expert, but Liu Guang said humorously: Don't worry, the words are true, the seal is also true, and it was only built by later generations.
Cultural relics discovered or identified
With these extraordinary skills, countless national cultural relics have been discovered or identified by him for decades. The famous ones are: Sleepwalking in Haitang City by Yang Mingwei, orphans in mainland China, Snow Scene and Cold Forest Map by Song Fankuan (the other two are in Taiwan Province Province), Dafang Guangfo Huayan Classic written by the Six Dynasties, XieMo Jing written by the Western Jin Dynasty and XieMo Jing.