Chapter 1085 Old and New
The current layout of Demian Hall is that of a small private museum, with one underground floor and two floors above ground, with a construction area of less than 2,000 square meters.
The underground floor is a garage and warehouse, the front of the above-ground floor is a residence with a small courtyard, and the back half is a showroom.
There is also a studio above the showroom.
Everyone came to the showroom. The Ming and Qing furniture here are all very important "standard furniture". They were transferred to him by Mr. Wang Shixiang in order to embolden him for his trip to Hong Kong Island.
Spreading out the scroll he brought on the boxwood and red sandalwood swastika painting table, Zhou Zhi said, "This is it."
"Why is it so new?" Yu Bin felt strange at first glance: "That's not what it means. Is it from the Ming Dynasty?"
"Old "Yu, please don't speak in layman's terms." Mr. Ma has already come to the table: "There are many ancient paintings that look like new. Many of the works by Dong Qichang, Wen Zhengming, and Tang Yin in the Forbidden City look very new. "
"For example, Wen Zhengming's "Spring Mountain Smoke Trees" "Picture", Shen Zhou's "Wandering Alone on the Solitary Mountain", because of the cherishment of successive inheritors and the superb mounting techniques, the newness of the painting is incredible."
"This painting was actually quite good when I got it. "It's miserable." Zhou Zhi smiled and said, "I counted it. There are 307 cracks, but luckily there is no moth damage at all, and it has basically not been opened since the last time it was repaired, so although it is cracked, there is no damage, but it will cost more. Make up your mind.”
"The skills of the elbow are completely suitable for working in the Forbidden City!" Qi Lao took out a magnifying glass: "This is definitely the level of the Yang School of craftsmanship."
Mr. Wang did not take the tools, but examined the scroll first. The inscriptions and postscripts, the use of seals, the study of the theme of the picture, and the use of brushes are all the opposite of Qi Lao. One looks at the details first and then gradually gets to the whole, while the other looks at the overall situation first and then gradually refines it.
Of course there is no advantage or disadvantage to this, it is purely a matter of habit.
Of course Ma Ye and Lin Wanqiu will not let go of such an important learning opportunity. The authentic works of Xu Wei and Chen Chun are extremely rare. They are the most important collections of major museums. They are rarely displayed for external exhibitions, even if they are working inside the museum. People are rare to see a few times in a lifetime.
Having the opportunity to study it closely at close range, with two experts beside you to give you guidance, is such a rare opportunity.
This scroll was actually created by predecessors who collected the album works of two people, then put them together one after another, and added the postscripts of three famous artists to make a long scroll.
From the content analysis, Wen Zhengming's article should have been together with Chen Chun's three albums at first. Later, it came into the hands of Wang Shizhen and added a postscript after Wen Zhengming.
By the time Yuan Mei got them, Chen Chun and Xu Wei had become the "Freehand Gemini". Therefore, Yuan Mei should have found Xu Wei's album pages in his collection, completed this scroll, and wrote Write your own postscript.
Because Yuan Mei mentioned his friend Li Fangying in the postscript and recommended him as the heir of Chen Chun and Xu Wei, when later generations intended to hide this album, they accidentally used Li Fangying's paintings to cover it up .
The six album pages all have traces of cutting. This is caused by the neatness during mounting, but the integrity of the picture is ensured. They are all one foot two by two feet in size.
The three paintings by Chen Chun are "Wandering Wild Geese and Hollyhocks", "Many Sons" and "The Fisherman Looking at the Rain".
"Goose Swimming with Hollyhocks" is a wild goose swimming freely under the branches of hollyhocks. Miraculously, Chen Chun took the wild goose under the body of the wild goose and the fish and aquatic plants on the bottom of the water, and the wild goose itself and the water on the soles of its feet. The three-dimensional perspective relationship between the ripples and the hollyhock branches above the wild geese is perfectly expressed, and the artist's super control over the picture is vividly expressed in the freehand brushwork.
"The Picture of Many Sons" is a picture of a flower with broken branches. It depicts a branch of pomegranate. Between the small branches and leaves, two pomegranate fruits with side-to-side cracks are exposed.
An oriole stood on a branch and looked at the cracks of a pomegranate, as if choosing where to eat.
This dynamic moment was captured just right by the painter. The whole picture is obviously still, but it is full of a dynamic sense of balance. "Fisherman Looking Afar" is Chen Chun's specialty. The so-called "Smoke and Cloud under the Ink" shows the fisherman taking shelter from the rain under a grass pavilion by the river, looking at the wind and waves of the river and the distant trees on the mountains on the other side, shrouded in a wet cloud of smoke. The scene therein.
The three paintings by Xu Wei are relatively simple, one is "Upside Down Wisteria", one is "Bamboo and Stone Narcissus", and the other is "Guo Suo Tu", which are two very abstract but special Image of crab.
The three paintings all have poems and seals, which reduces the difficulty of identification and also fully demonstrates Xu Wei's style of "using calligraphy into painting".
"The Hanging Wisteria" is full of cursive calligraphy, and the horizontal and vertical dots, hooks, and flying white of the running script of "Bamboo and Stone Narcissus" are extremely free and smooth and full of movement.
"Guo Suo Tu" hides the writing in official script and stone drum seal script, which is dignified and childish. Only the end section of the crab legs is quickly picked out, which becomes the only lightness in the picture, and contains a sense of lightness. A sense of musical rhythm.
This is just "brushwork". In addition, there are many expression techniques of shade, dryness and wetness. While the two elders slowly appreciated and appraised the paintings, they also pointed out to the younger ones how to see the paintings. I don't know when, the magnifying glass in the hands of Qi elders It was in the hands of Mr. Wang.
"Authentic and unique." After almost forty-five minutes, the two elders finally finished appreciating the scroll: "The two founders of freehand brushwork are combined in one scroll. Such a thing has never been seen before. I haven’t seen it.”
“I heard that someone in Hong Kong has Xu Wei’s Twelve Albums of Flowers and Birds. Have you seen it, Wanqiu?”
“I haven’t seen it, but I know it. The Dao Na was auctioned by Guardian in 1986, and it should still be on Hong Kong Island." Lin Wanqiu shook her head: "As for when she is willing to put it up for auction again... that was the only Xu Wei that could be owned by a private collector until today. It is estimated that collectors will not consider this in the short term.”
“You are so lucky! You can receive such a unique product!”
"Excellent goods?" Zhou Zhi was a bit dumbfounded: "Sister Wanqiu, do you want to see how miserable it looked when it was first opened? I guess you won't even take a look at it."
Indeed, in Taoyang, You were there when the family was at home, and you didn't pay attention to the pile of calligraphy and paintings.
“You don’t want to put it up for photography, do you?” Lin Wanqiu asked tentatively.
"How is that possible?" Zhou Zhi quickly took out another scroll and opened it: "This "Picture of Pines and Cypresses" by Xu Beihong is just for you to cheer up."
"Hey, Xu Beihong's works have grown tremendously in recent years." Wang Gang smiled and said, "The elbow is very generous."
"This has to be the finale. The estimated price is 400,000 to 500,000 yuan." Qi Lao said: "The starting price is 300,000 yuan, is it appropriate?"
Zhou Zhi discovered that Qi Lao was really He was a little partial to Lin Wanqiu and directly hired all the appraisal consultants.
"Is there any more?" Lin Wanqiu said happily: "You don't just have this kind of elbow, right? This time, Qi Lao took out all his treasured "Zhang Menglong Monument" and even built a frame My own couplet in the middle hall! "
"What?" Zhou Zhi seemed to have been stoked: "The "Ming Tuo Zhang Feilong Monument"? "That's right."
Zhou Zhi couldn't help but shake his head. Qi Lao was really famous for not treating things as things.
(End of this chapter)