在关于《功甫帖》的几篇文章中,李跃林采用了公认的苏轼真迹局部,用图像对比的方法,显示《功甫帖》中上海博物馆所指的各种“瑕疵”、“赘笔”、“不自然”都是苏轼真迹中点画的常态;康耀仁以沈周为例,阐述印风是造成印迹差异的主因,从而解释了《功甫帖》诸多主要藏印存在“差异感”的疑惑;吴斌也结合诸多名迹,解释了《功甫帖》上几方早期骑缝印目前形态的缘由。这些有力辅证,可以很好地回答上海博物馆专家两篇文章中的相关问题。由此,我们不得不思考书画鉴定实践中一些深层的理论问题。在书画鉴定实践中经常出现这样的场景:“某某怎么会有这样差?”然后 In several essays on “Gong Fu Tie”, Li Yuelin adopted the authentic Su Shi realm, using the method of image comparison to show “defects” in the “Shanghai Fu Gong Tie” Sui pen “, ” unnatural “are the normal painting of Su Shi’s authentic painting; Kang Yao-yin to Shen Zhou as an example, to explain the Indian wind is the main reason for the imprinting differences, which explains the” Gong Fu Tie “ ”Sense of difference “ doubts; Wu Bin also combines many famous sites, explains the ”Gong Fu Post“ on a few early riding the reason of the current form of sewing. These powerful supporting evidence, can well answer the Shanghai Museum experts in two articles related issues. As a result, we have to think about some deep theoretical issues in the practice of calligraphy and painting appraisal. In the practice of calligraphy and painting often appear such a scene: ”So and so how can there be such a difference? " And then