Chapter 1612 Treasures
For example, the Han Dynasty celadon-glazed Boshan pottery mirror box was identified as a Han Dynasty celadon-glazed pottery barn. Of course, Zhou Zhi could not tolerate such errors and could not help but make corrections.
There are indeed not many talents like him these days. Those who understand Wenwan are generally not very fluent in English. Those who are fluent in English are not very good at Wenwan. They can't even pronounce the word "opening film". In the end, Zhou Zhi felt that it was more appropriate to use craqueleglaze for translation, and everyone recognized it.
Although Zhou Zhi is still not satisfied with this word, after all, it is a French word, which refers to a series of mesh patterns made by firing porcelain. However, the Chinese part of speech "craqueleglaze" means praise, while this word "craqueleglaze" means "craqueleglaze". It has a neutral or even derogatory meaning, just like dragon and dragon, it is an unreasonable place.
Aside from these, Zhou Zhi’s main business these days is making paste.
"Chunhua Pavilion" flowed out from Ellsworth. Of course Ellsworth was very clear about its previous state, and the previous owners of the six-hand scroll, the Fujita Museum and Eiichi Anzhai, had a very close relationship with Goro Sakamoto, and Sakamoto Wu Lang and An Siyuan are both colleagues and friends.
Before the influx of a large number of Chinese nouveau riche, the world’s top ancient Chinese art collection circle was actually only that big. Behind the top art, these big guys were always inseparable. Therefore, Ellsworth is also quite aware of his level of thoughtfulness.
It wasn't until the lawsuit was won and Ellsworth donated the statue of the Dancing Phoenix King that he called Zhou Zhi to his house and took out the real task that needed to be completed by Zhou Zhi - to restore Mingtuo's "Crane Inscription" and Song Tuo Huaisu's "Dacao Thousand Character Essay"!
"The Crane Inscription" is a peak in the history of Chinese calligraphy that can rival Orchid Pavilion. It has become extremely famous since it emerged from the water in the early Northern Song Dynasty.
Speaking of which, "The Inscription of the Crane" has something to do with Zhou Zhi, because he studied under Huang Shanshangu, and it is said that Huang Shangu's calligraphy came from the inscriptions he saw on the inscription of the "Inscription of the Crane" when he passed through Zhenjiang. Although they are few, they are powerful and dynamic, making reading endlessly memorable. So I lingered under the stone carving of "痗 Crane Inscription" for several days, and my calligraphy greatly improved from this.
Therefore, Huang Tingjian believed that "big characters have nothing to do with the "痗 Crane Inscription"" and "its success cannot be seen in appearance", and he was praised as the "ancestor of big characters".
In "The Inscription of the Crane", the pen is strong and strong, and the round pen hides the edge. The style is changed from the seal script and official script. The structure is wide and stretched, connected up and down, like a crane dancing low, elegant and ethereal. The words are as the name suggests, and the appearance and interior are consistent. It is indeed a masterpiece of calligraphy. Therefore, throughout the subsequent dynasties, there were many calligraphers who studied the "痗 Crane Inscription". In addition to Huang Tingjian, the outstanding ones include Mi Fu, Lu You and Bada Shanren. After the study of stele and calligraphy began in the late Qing Dynasty, there were also Gao Fenghan, Zheng Banqiao, He Shaoji, Zhao Zhiqian, Shen Zengzhi, Zeng Xi, Li Ruiqing, Xu Beihong, Zhang Daqian and others.
The "Inscription on the Crane" was originally written in large characters on the cliff at the western foot of Jiaoshan Mountain in Zhenjiang, Jiangsu Province. It is a commemorative text written by a hermit for a dead crane. The original inscription on the cliff is written by Huayang Zhenyi and written by a woodcutter from Shanghuangshan Mountain. However, there have always been different opinions and endless debates about the book. Some say it was written by Wang Xizhi of the Eastern Jin Dynasty, some say it was written by Tao Hongjing, the Taoist leader of the Southern Dynasty, and some say it was written by Wang Zan of the Tang Dynasty.
However, it is a pity that the cliff was struck by lightning and collapsed in the late Northern Song Dynasty. It fell into five pieces when it fell into the river. It is usually submerged in the water and can only be seen when the water dries up.
According to "Jiaoshan Chronicle", the inscription of "痗 Crane" originally had more than 160 words. In the winter of the 51st year of Emperor Kangxi of the Qing Dynasty, Chen Pengnian, who had served as the prefect of Jiangning and Suzhou, recruited workers, which lasted for In March, the remains of the "Inscription on Crane" were found in the river. After cleaning and descaling, there were eighty-six characters in the inscription, nine of which were missing.
Because it fell into the water first and emerged from the water later, the rubbings of "The Crane Inscription" are divided into the front version and the back version. The number of words in each version is different, and the content is also slightly different.
The Shuiqian version is extremely rare because of the difficulty of extending the vertebrae. It has been handed down from generation to generation and is extremely rare. A piece of paper with only one word is regarded as a jade. Therefore, even if the number of words in the rubbings after the publication of the Shui Dynasty is increased and the rubbings are more refined than the Shui Qian version, the artistic value of the version is still not the same as that of the Shui Qian version. The book collected by An Siyuan is a 98-character version of "The Crane Inscription" that Liu Yong collected in the Qing Dynasty. Because it is a Ming rubbing, it contains the charm of calligraphy from the Southern Dynasties, especially the center of the seal script. The penetrating characteristics of the pen are well preserved; coupled with the effect of wind and rain erosion, it also enhances the strong, solemn and deep charm of the lines. Compared with the later Shuihou rubbings, the preserved features are more complete. The key point is that unlike other Shuiqian rubbings, this stele rubbing has a very large number of words. It has the largest number of words among all "Qihe Ming" rubbings. It is very important for the study of calligraphy. Art, studying the history of the development of seal and official scripts during the development of regular script, are all very important physical materials.
In the text, "Huayang Zhenyi" still exists, half of the word "Ji" is lost, and the word "Ye" is intact. Later, there are inscriptions by He Zhuo, Mao Yixiang, Yang Longshi, He Shaoji, He Weipu and Luo Zhenyu. . All calligraphers have praised this rubbing highly, and its value has only increased to this day.
Many of Ellsworth's collections of stele rubbings are unique and unique, among which Ming's "Crane Inscription" is one of the best.
Another outstanding book is the full volume of Song Tuo Huaisu's "Dacao Thousand Character Essay".
The value of this rubbing is even more important than the "Inscription of the Crane".
Huaisu was good at large grass all his life, and created many works with large grass. He learned the true essence of calligraphy from Wu Tong in his youth, and calligraphy became famous and he started a family.
In addition, he was also an eminent Zen monk who spent his life in extreme asceticism. His harmonious state of mind allowed his calligraphy to be free and expressive while adhering to the orthodoxy of Wei and Jin brushwork. Instead, he wrote his own wild style.
Being able to maintain the purity of the "cursory method" even with extremely fast writing speed is in line with the style of "wearing heavy shackles and dancing lightly and freely" that Chinese art has always adhered to. Confucius' so-called " The realm of "following the heart's desires without exceeding the rules" is also one of the reasons why people in later generations often take Huai Su as their sect when studying Da Cao.
Among the inscriptions circulated by Huaisu, the famous ones such as "Autobiography", "Bitter Bamboo Shoots", "Forty-Two Chapters", etc. are all superb and fascinating works of grass, and this "Thousand-Character Essay on Large Grass" is free in creation. It may not be comparable to "Autobiography" and "Kushu Tie" in terms of speed and spirituality, but it is more precious.
Because this work is the culmination of Huaisu's life, and it is also the only "Song rubbing" that currently exists in the world. There are thousands of words in the whole volume, which is magnificent and can present the most complete picture of Huaisu's calligraphy. Everything about the wind is a real top treasure.
This rubbing was collected by Jingzhan in the Ming Dynasty and was called the "Qunyutang Edition". Later, it was passed down to Wen Zhengming, Wen Peng and Xiang Zijing. In the Qing Dynasty, it was passed down to Zhang Zhao and Wu Rongguang. , Wu Yun, Pan Shicheng, Zhao Liewen, Shen Yinmo and others collected inscriptions and postscripts, and they were passed down in an orderly manner. There are sixty or seventy seals alone, which is quite spectacular.
And this version is the "wooden rubbing" of the Song Dynasty, which was the first to use the double-hook brushwork to carve it onto the wooden board and then make rubbings.