Chapter 806 Evidence
Everyone could not help but be convinced by his words, explanations and demonstrations, theory and practice.
Zhang Zongxian applauded: "It's amazing, there are many things that I couldn't figure out before, it turns out it's because of this."
Everyone also applauded, and Li Jianchen said: "So, everyone We still need to communicate more. We New Island Chinese also like it very much. If you like these things, if you have the opportunity, Mr. Zhou will also go to Xindao to give lectures to our enthusiasts."
Zhou Zhi waved his hands repeatedly: "These are all what Qi Lao told me, and what I know is nothing more. Fur and calligraphy are completely different from them.”
"However, Qi Lao has spared no effort in promoting calligraphy. If Li Gong intends to invite Qi Lao, I can help to play the drums."
Li Jianchen was overjoyed: "Then we have made an agreement. You have to help me when the time comes, don't push me "Take off."
Hou Zhongjin said: "Let's go back to the Maharashtra. According to Mr. Zhou, the calligraphy style is actually different from the calligraphy style of the two kings of the Jin Dynasty."< br>
"Yes." Zhou Zhi said.
“Then why did Mr. Zhou conclude that it is authentic?”
"First of all, we have to emphasize that the calligraphy style is very different from that of the two kings of the Jin Dynasty, and it cannot be said that it is not authentic from the Tang Dynasty." Zhou Zhi said: "There are many ancient Chinese calligraphy that we can imitate, such as Zhong Yao, Mrs. Wei, and many more. The Han and Qin seals were not the only two kings who could imitate the Tang Dynasty when calligraphy was in its formative period.”
"For example, Yan Zhenqing's "Manuscript for Nephew Memorial" is full of emotions and majestic momentum. The strokes are bold and bold, and the writing is done in one go. The writing does not care about clumsiness. Many strokes are simply wiped out with the belly of the pen without the disadvantage of thinness. There are many dry brushes without being astringent. The so-called "dry autumn wind and gentle spring rain", Su Dongpo commented, "Don't ask for the best, the best is the best." ’, and how many calligraphy styles of the two kings are included in it? ”
“And if we look closely at this painting of the Great Sun Sutra, it is somewhat similar to the Manuscript of Sacrificing My Nephew, and the writing style is rougher than that of the Jin Dynasty. , and the composition is between running cursive and rough cursive, rich in changes but clear in law."
"This is the typical style of Tang calligraphy. The appearance of the work is completely consistent with the age of the author.”
“Of course, that’s about it at my level, and I’m not sure that I can identify the authenticity with calligraphy. The paper used in this work is the Sichuan hard yellow wax paper that Mr. Anzhai just mentioned.”
"It is very difficult to preserve the paper of the Tang Dynasty to this day." An Zhaiying raised a question: "I don't know what Mr. Xiao Zhou based it on, and he determined that the paper used in the "Dainikang" must be the famous paper of the Tang Dynasty. What about the hard yellow wax?”
"The reason why we can be so sure is because of a famous cultural relic." Zhou Zhi smiled and said: "A definite cultural relic that has a clear record in history and uses hard yellow wax paper as a carrier."
"There is such a thing Cultural relics?" Anzhai Yingyi asked.
"Yes, it is in the Liaoning Museum. It is a copy of "Long Live Tongtian Tie" in the Tang Dynasty."
""Long Live Tongtian Tie" is also known as the 'Tang Dynasty copy of Wang Xi's Yimen Shuhanjuan'. During the period of Wu Zetian, Wang Fangqing, a descendant of Wang Xi, The original ten-volume Dharma script of twenty-eight members of the Wang family was presented to the royal family. Wu Zetian handed it over to the Hongwen Museum and ordered a master to copy it and keep it. This is the most precise copy, the most accurate date, and the most reliable source of the original work handed down from generation to generation. The two kings’ dharma post”
"The original work was later lost, and only one volume of copy has been handed down to the world."
"In order to copy the copy, the Hongwen Museum of the Tang Dynasty developed the technique of 'noon rubbing', which is the famous double-hook filling method in later generations. ."
"This method , use high-quality yellow wax paper to cover the work, open it in front of the window at noon, people are indoors, use sunlight to trace the outer edge of the work's handwriting, which is called "double hook", and then fill it with ink, so that you can get 'A first-class Asian authentic work' 'High-end rubbings.' "This is the best method invented in ancient my country to preserve and copy the calligraphy works of famous artists. However, there are also records in history. It is said that 'no rubbing can be done in all ages, but the copying on hard yellow wax paper is always the most accurate.' ”
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“Hard yellow wax paper is a more precious art processing paper in the Tang Dynasty. It was produced in Shuzhong. The paper is evenly coated with wax, giving the paper a glossy and translucent effect. It is used to make copies of calligraphy and painting works. Best.”
"There is a pomegranate song written by Pi Rixiu in the Tang Dynasty, in which there is a sentence: "The flowing clouds wrap the purple parrot millet, and the yellow wax paper wraps the red gourd house." Yellow wax paper is used to describe the color of the inner skin of the pomegranate. This can not only explain the role of hard yellow wax paper in The preciousness at that time can also provide us with important color and texture references.”
< br>"After these precious calligraphy stickers were copied on hard yellow wax paper, the Hongwen Museum gathered them together and framed them into scrolls. This is the famous "Long Live Tongtian Tie" in Chinese history."
“There is no original work of Wang Xizhi’s ink work circulated, so this copy of the calligraphy work is called It is rated as "First Class Authentic Work". The imitation itself is exquisite, not only retaining the charm and soul of Wang Xizhi's writing, but also copying out the defects in the original work."
"What's even more valuable is that. However, it has clear chronological records, and both the old and new Tang books have records of Wang Fangqing’s dedication. The source is very reliable. "
"In addition, the poster has been passed down in an orderly manner through the ages, and the collection records from the Tang Dynasty to the Qing Dynasty have also been added, including Yue Ke, Wen Zhengming, Dong Qichang, and Xiang. The inscriptions and postscripts of famous people such as Zichang and the seals of emperors such as Qianlong."
"Dong Qichang also specifically pointed out in the postscript that the author of this post was none other than Zhong Shaojing, a famous player in the Tang Dynasty."
"Due to the war, the post suffered two fires, and the bottom of the remaining fragments can be clearly seen Seeing traces of fire indicates what he has experienced Ordeal."
"This post was later taken to the Northeast by Puyi and hidden in the Dabai Building. Fortunately, the entire Northeast was liberated soon, and the "Long Live Tongtian Post" was circulated several times and was finally buried in the army's Operational Maps and Plans Archives"
“Zhou Huan, then deputy political commissar of the Shenyang Military Region, accidentally discovered this national treasure and immediately handed it over to the then Northeast Museum.”
“In June 1983, Cultural Relics Culture Cultural Relics Bureau of the Ministry of Culture, with the approval of the Propaganda Department, officially named Yang Renkai, Xie Zhiliu, Qi Gong, Xu Bangda, Liu Jiu'an, Fu Xinian, Xie Chensheng and other old gentlemen formed a traveling appraisal team of ancient Chinese calligraphy and painting to conduct an appraisal and survey of ancient calligraphy and painting existing in the country, which is in line with the Chinese cultural context."
"This is a group of calligraphy and painting appraisal masters that no one has surpassed so far. Although the average age of the expert team at that time was over sixty-six years old, they still traveled to every corner of China with their feet."
"This This identification operation was not successfully concluded until last year, spanning a total of 25 years. Provinces, municipalities and autonomous regions visited more than 200 calligraphy and painting collection units, appraised an average of 120 works every day, and rectified the names of 60,000 cultural relics in total. "
"The Northeast Museum in those days is now Liaoning. The museum also preserves the two appraisals of "Long Live Tongtian Tie" in detail. The appraisal conclusion is: Tang Dynasty copy of "Long Live Tongtian Tie", paper, unknown, hard yellow, double hooks with different shades, rare!"
"The most interesting thing is what Qi Lao told me! One detail I mentioned is that on the appraisal in 1954, it was written that it was valued at 200 million yuan. " Zhou Zhi smiled and said: "Of course, the 200 million was before the country's first currency reform. The 200 million in 1954 became 20,000 in 1955."
"However, the 20 million at that time was Ten thousand, which is almost the income of a person who has not eaten or drank for fifty years.”
"But I personally think that even if today's 200 million yuan, or even 200 million yuan, or 200 million pounds are used to describe the value of "Long Live Tongtian Tie", it is not enough to describe its value."
(This chapter End)