Chapter 1563 Admiration
“Huang Tingjian’s most famous “Songfeng Pavilion Poetry Scroll” has the most complex patterns so far, including fish and dragon patterns, flower and grass patterns, and melon patterns.”
“Of course the most complicated thing is Song Huizong's calligraphy and painting uses calendered pollen paper, which is now coated on the surface, and then calendered with elegant curly grass patterns. Mica powder is also applied on the patterns to create a reflective effect similar to shells, and finally the horizontal diagonal lines of the fabric are printed. , this represents the highest level of the Song Dynasty ”
“If my guess is correct, such high-grade paper must also be decorated with flowers. This is a common value-added method and anti-counterfeiting mark in ancient times, although we are like this now. I can’t see it, but I’ll be there at Guobo University We should be able to make them appear.”
“Maybe there is no need to go to the capital.” Mao Yunsong thought for a while and said: “Both the Forbidden City seems to have cooperation with the Chinese University. I will call the Chinese University first. Ask.”
After Mao Junsong went out, Zhou Zhi continued to study the album pages: "What I am more curious about now is how Mr. Daqian achieved such mounting. It is incredible that the glue on the back does not penetrate here... ”
“After you In this way, the identification of calligraphy and painting paper is a university subject, which is really eye-opening. According to Zhou Sheng's opinion, it can now be generally confirmed to be Song paper and cloth-headed paper. Regardless of whether there are calendered flowers or not, at least there is a Shu Museum. The paper used in the Tibetan "Leibu Cave Sutra" can be compared with Compare and verify. "
"The paper itself in "Leibudong Jing" also has calendered flowers. "Zhou Zhi said: "The warehouse is afraid of fire, and the contracted money is like water, so they use round-shaped water. The wave pattern is simple and elegant, and also quite beautiful. ”
After a while, Mao Yunsong, who had gone out to make a phone call, came back: "The Department of Archeology said that they were involved in this project, and the special photography equipment was brought over from Hong Kong Island."
"Then let's Is there one here? ”
"Yes, Mr. Luo, can I go over now?"
"Go ahead, call as soon as possible if there is any news."
"What about Zhou Sheng?"
" I won't go." Zhou Zhi pointed at the wall. "Spring Clouds and Dawn": "After my job is done, I should take a good look at the paintings!"
Lin Wanqiu spat: "He is very confident in his own appraisal. I am not good at it, Sister Song." I’ll go with you!”
Luo Zhongrong expressed his understanding: "Then you go, I will accompany Zhou Sheng to look at the paintings."
"Spring Clouds and Dawn" is Zhang Daqian's splash-color work when he was in Brazil in 1968. It is also his splash-color work. This is a masterpiece that reaches the pinnacle of Cai's work. The painting is bold and abstract, and the ink and color create a violent momentum, as if entering a deserted land. It is the masterpiece of his creative techniques and the most explosive period.
The picture is a banner composition, almost completely full, with little white space. The painting is thinly dyed with light ocher, then ink is applied, and large areas of mineral pigments such as azurite and turquoise are splashed on the paper, allowing it to spread on the paper. It flows inadvertently on the paper, and the paper is instantly covered with green and lush green.
The color is intense, and against the background of ink, it is even more gorgeous and bright, as gorgeous and pleasing to the eye as a gem.
Due to the characteristics of mineral pigments, from different light and refraction angles, the stacked and interlaced thick and thin textures can be seen, cleverly creating a scene like wind blowing clouds and mist covering the green mountains.
White powder is lightly splashed on the top of the scroll, and a streamer flashes in the dark blue, floating in the sky, casually creating an image of light as smoke, light as fog, and the continuous mountains are looming. At first glance, the picture scroll only sees large blocks of bright colors piled on the ink, which creates a sense of visual excitement for the viewer and makes it easy for people to ignore the details, which will cause the viewer to feel temporarily lost.
But immediately, the viewer can see several hills that appear to be peaks at the top of the screen. The peaks on the left also have plant representations that have appeared in traditional Chinese landscapes, plus There are some rock textures in the lower right corner of the picture above.
Without the aid of these tiny details, the audience could appreciate it as a pure abstract painting, without even reading it as a landscape.
Due to the instantaneity and sweeping gesture of the picture, people may mistakenly think that it is an improvised work or a stroke of genius. It is not until you see these details that you realize that such a picture effect is not easy to come by. The process of painting It is also quite time consuming and days consuming.
There is only a little white space in the gap between the color and ink in the whole picture, but it is this little white space that allows the orange color on the paper to shine through from the airtight space, just like a ray of dawn at dawn, breaking through the silence. Suddenly brilliant.
The vivid use of colors, the blending of reality and reality, and the wide scale of the painting further demonstrate the majestic, profound and majestic power of landscape paintings.
Since modern times, due to the impact of Western culture, traditional Chinese painting has been looking for a breakthrough in modern transformation. Zhang Daqian's splash-ink and color art is the most successful attempt in traditional Chinese painting. It shocked the world of art when it was unveiled. world, and opened a window to traditional Chinese painting art.
Standing in front of this picture, Zhou Zhi had to admit that wealth had endless benefits for him.
It should be said that we have been born in two lives, one poor and one rich, but for Zhou Zhi, wealth has not become something that can trouble him.
But in his previous life, or even when he had just traveled back in time, he never imagined that he would have so many things that he wanted to have.
Life changes like the colors in Mr. Daqian's painting, and he is about to become the master of the masterpiece in front of him.
Due to my friendship with Luo Zhongrong, not only in the appreciation of calligraphy and painting, but also in business, Luo Zhongrong transferred this painting completely on a friendly basis, without giving up any pretext, and finally it was transferred by Lin Wanqiu and Mao Yun The deal was negotiated to double the purchase price in 1991, which was HK$4 million.
Although the doubling of the price in three years is considered a unique investment vision in the eyes of outsiders, in fact, according to the current natural growth rate of Zhang Daqian's works, it should rise to 5 million in three years, and according to If this trend continues, it will continue to rise.
But then again, if it weren’t for Zhou Zhi’s handover, Luo Zhongrong would not have been able to obtain the investment from AXA Fund and Li Laoer so easily, nor would he have been able to easily establish a relationship with Zhang Jiang. In order to raise funds, he still had to sell the paintings, and even more.
In this sense, this matter has become a complete win-win.
And there is a bonus, because Mao Junsong's call has already come from the University of Hong Kong: "Mr. Luo! There are indeed dark flowers on the album under spectral imaging! In addition to the sea water clumps as Mr. Zhou expected, In addition to the pattern, we also found a seal - the Longquan Post House House of Shudu Yizhou Road is here!"
Luo Zhongrong now admired Zhou Zhi to the point of admiration: "Zhou Sheng is really a god! Break! They found the hidden flower on the album at the University of Hong Kong."
Zhou Zhi didn't feel proud at all. He just shook his head and smiled bitterly: "Please ask again, Hong Kong Island can crack it! Isn’t this mounting puzzle about how to frame only the back of the album, leaving the front unaffected and keeping the characteristics of the paper so intact?”