Rebirth 93: Break off the engagement at the beginning and marry Bai Fumei

Song Qingyun took out a wooden box. The wooden box was very broken. He must have picked it up from the garbage. Opening the wooden box, Song Qingyun carefully laid Dong Qichang's calligraphy on the table. Chen Yang lowered his head and saw that Dong Qichang was copying the Chunhua Pavilion post. Damn it!

Although I don't have a deep study of calligraphy and painting, I picked up the Song Dynasty books and Li Tang silk books partly because of luck, and partly because of my knowledge of later generations. The same is true for the calligraphy of Dong Qichang in front of me. Whether Dong Qichang's calligraphy is good or not, it is really good! Ask Chen Yang to tell what is good about Dong Qichang's calligraphy. Chen Yang can't tell, but he can fool him by bringing out the evaluations of Dong Qichang's calligraphy in later generations.

Even if I didn't understand this copybook, I would know it was valuable at first glance, and it was very valuable. If I remembered correctly, it should have been auctioned for more than 2000 million yuan at that time.

Dong Qichang's Linchunhua Pavilion calligraphy, inscribed: Dong Qichang's original copy of the Linchuhua Pavilion calligraphy, inscription: Chongzhen was six years old on the first day of April in Guiyou, Linchunhua calligraphy, Si Weng, seal: Dong Qichang's seal, Dong Xuanzai.

The most critical and valuable place is that the seals on it are: Qianlong's Imperial Treasure, Qianlong's Appreciation, Shiqu Baoji, Imperial Study Treasure, Sanxitang Jingxi, Yizisun, Jiaqing Imperial Treasure, Yunzhong Approval, Junbi Collection, Jiang Jian Changshou, Qingshuang Taoist.

The treasures of the Emperor Qianlong's Royal Views, the Appreciation of Qianlong, the Shiqu Baoji, the Treasures of the Imperial Study Room, the Sanxitang Jingxi, and the Yizisun all belong to Qianlong. Needless to say what this means; the treasures of the Emperor Jiaqing are the treasures of the Emperor Jiaqing. I have seen it; the seal approved by Yunzhong represents Zhang Yunzhong, who is said to be a monk in the Qing Dynasty and was very good at calligraphy and painting.

Junbi Collection: This is Huang Junbi, also a famous artist.

Jiang Jian Changshou and Qingshuang Taoist: Jiang Jian (1913-1972), courtesy name Eshi, also known as Qingshuang, was a disciple of Zhang Daqian. He rarely has a painting name and later went to the United States. He often competes with fellow calligraphers and painters, and is also fond of collecting famous works from past dynasties. It is said that he has a lot of authentic works in his collection.

Finally, there are words written by Qianlong on another piece of paper: In the late spring of Qianlong's Yichou period, when the moon looked at the sun, the imperial pen of the Yangxin Palace once passed by. There is no need to confirm whether it was copied by Dong Qichang. As long as the seal of Qianlong is confirmed, you can completely confirm whether it is authentic.

"Good guy!" Chen Yang looked at the calligraphy in front of him and sighed slightly, "Dong Qichang's copy of Chunhua Pavilion, a collection of famous people's calligraphy and a famous collection, uncle, you have missed it!"

"Haha!" Song Qingyun rubbed his hands excitedly, "My pile of rags has not been in vain!"

Zhu Zhu stood up, frowned and looked back and forth several times, but couldn't understand, "Brother, what is written here? Is Dong Qichang a Taoist priest? Why does it look like he is drawing a talisman!"

Dong Qichang (1555-1636), courtesy name Xuanzai, also known as Sibai and Xiangguang Jushi, was a native of Huating, Songjiang. He was a minister, calligrapher and painter in the late Ming Dynasty.

In the 17th year of Wanli's reign, he passed the Jinshi examination and was awarded the title of Editor of the Hanlin Academy. He once served as a lecturer for the eldest son of the emperor, Zhu Changluo, and successively served as deputy envoy to Huguang and Fujian, and participated in politics in Henan. He resigned due to illness. In the first year of Taichang, Zhu Changluo, Emperor Guangzong of Ming Dynasty, succeeded to the throne. He was awarded the title of Taichang Shaoqing and Guozi Siye, and he participated in the compilation of "Records of Ming Shenzong".

In the fifth year of Tianqi's reign, he served as the Minister of Rites in Nanjing and resigned due to business reasons. In the fifth year of Chongzhen, he was appointed Prince Zhan Shi. In the seventh year of Chongzhen, he returned to his hometown. He died in the ninth year of Chongzhen. Dong Qichang was good at painting landscapes throughout his life. He learned from Dong Yuan, Ju Ran, Huang Gongwang and Ni Zan. He advocated the "North and South School" theory and became the "Huating School". An outstanding representative is an accomplished calligrapher and painter.

"This Dong Qichang is a master in the history of Chinese calligraphy and painting. He is a link between past and present and has led Chinese calligraphy and painting since the late Ming and early Qing dynasties," Chen Yang said while looking at Dong Qichang's works in front of him, and then curled his lips slightly, "It's just the character of this man. ..."

Having said this, Chen Yang waved his hand and said that he would not mention the things Dong Qichang had done, but his achievements in calligraphy and painting were still very outstanding. After talking about Dong Qichang, let's talk about the Chunhua Pavilion post that he copied.

"Chunhua Ge Tie" is the earliest collection of calligraphy ink from various calligraphers in China. The so-called method calligraphy refers to the traditional French method. After tracing the ink of a famous ancient calligrapher with double hooks, it is carved on a stone or wooden board, and then printed and bound into a calligraphy.

"Chunhua Pavilion Tie" consists of 10 volumes, including calligraphy and ink ink from China's pre-Qin Dynasty to the Sui and Tang Dynasties for more than a thousand years, including 103 works by 420 people including emperors, ministers and famous calligraphers. It was praised by later generations as the crown of Chinese calligraphy and " The ancestor of Congtie." Among them, the first volume contains the calligraphy of 19 emperors from Emperor Zhang of the Han Dynasty to the Tang Dynasty, including the "Tomb Second Calligraphy" by Sima Shao, the Ming Emperor of the Eastern Jin Dynasty, the "Lu Girl Calligraphy" by Emperor Kangdi, Sima Yue, and the "Zhongshu Calligraphy" by Emperor Ai Sima Pi.

The third year of Chunhua in Song Dynasty (992) was an important node in the history of Chinese calligraphy, which dominated the development direction of Chinese calligraphy. The publication of "Chunhua Pavilion Notes" finally established Wang Xizhi's status as the "Sage of Calligraphy". "Chunhua Pavilion Tie" opened the beginning of official engraving of Tie, thereby setting off the trend of official and private engraving of Tie.

During the Qingli period of Emperor Renzong of the Song Dynasty, there was an accidental fire in the palace. Unfortunately, all the original Zao wood rubbings of "Chunhua Pavilion Tie" were burned. Therefore, the early rubbings were extremely precious and were regarded as treasures and priceless.

"Brother, just tell me directly, what is this for?" Qin Haofeng asked from the side, "Now I'm posting this, and now I'm posting that, it makes me want to have a pot sticker!"

Several people laughed immediately after hearing this. Zhuzi smiled and touched Qin Haofeng, "Tch, I don't understand this. To put it bluntly, it's just like Pang Zhonghua's fountain pen copybook, which people used to practice calligraphy in ancient times!"

Chen Yang smiled and waved his hand. Zhuzi's explanation was just one of them. In fact, the earliest stickers were not used for people to practice calligraphy. If they were used to practice calligraphy, then what were they used to practice calligraphy before the invention of paper? ?

"Tie, one of the carriers of calligraphy art. Before the invention of paper, most ancient people wrote words on thin and slender pieces made of bamboo or wood, called slips or slips; or they wrote on silk fabrics, called tie. After the invention of paper, any small text written on paper or silk fabrics was called a post."

"Fa Tie means calligraphy posts."

Chen Yang looked helplessly at the people in front of him and explained to them, "In the Tang Dynasty, due to the emperor's love, there was a collection of calligraphy that copied the ink of the predecessors, namely the "Long Live Tongtian Tie". By the Song Dynasty, people The calligraphy ink of famous masters of the past dynasties is engraved on stone or wooden boards, and then it is rubbed into ink and framed into a volume or volume. This kind of engraving not only spreads the calligraphy of the ancients and expands its influence, but also is a good way to learn. It is a model for calligraphy, so it is also called Dharma calligraphy."

After hearing Chen Yang's explanation, everyone nodded slightly to express their understanding. Chen Yang looked sideways at Song Qingyun and asked Song Qingyun to tell him about Dong Qichang's calligraphy. After all, he was not very good at calligraphy.

Song Qingyun put his hands on the edge of the table and looked at Dong Qichang's calligraphy in front of him, "Dong Qichang's calligraphy combines the styles of various schools in the Jin, Tang, Song and Yuan dynasties. It can be said that Jin people's calligraphy takes the rhyme, Tang people's calligraphy takes the method, and Song people's calligraphy takes the meaning! He has many calligraphy styles. Their characteristics are integrated and self-contained, and their calligraphy style is elegant, ethereal, and self-sufficient. The strokes are vigorous and graceful, plain and simple. The brushwork is precise and always maintains a straight edge, with few clumsy or clumsy strokes. In In terms of composition, between words and between lines, the layout of the lines is sparse and well-proportioned, striving to follow the ancient method. The use of ink is also very particular, using dry, wet and thick light to achieve its beauty. "

Then Song Qingyun explained in detail to Chen Yang and others. He used Xuandejia paper, his pen and ink were handy, and he always took advantage of the mood to write every page with great joy and energy. It can be said that the pen is like a dragon in the sky and the ink is like cast iron. His mind wanders among the sages, and is proud of his appearance.

If you look closely at this post, you will see that it was written completely at random and at will. The writing is relaxed, willful and frank throughout, full of charm, gentle in rhythm, rigorous in structure and graceful in style. The writing force is strong and even, and the words are simple and elegant. There is no trace of rigidity, but also full of emotion, ups and downs, and quaint and elegant mood.

"Stippling has both the flow of lines and the jumping of dots, and it also has Su Shi's slightly dangerous posture of low left and high right," Song Qingyun pointed at the copybook and explained to Chen Yang, "and the work has no trace of anger. Zhang is restless and sloppy, but embodies a plain, elegant, steady, impartial and non-exciting mood, which makes people feel as if they are also on a boat, as if the wind is flowing on the water and the warm breeze is blowing."

"It's a temporary post, but it's also a creation. It's both appropriate and lyrical. It's worthy of everyone!"

After Song Qingyun finished speaking, he smiled and pointed to the appraisal seal on the copybook: "When I opened it, I didn't have time to carefully check whether it was Dong Qichang's original work. When I saw these appraisal seals, I was completely We can be sure that this is the authentic work of Dong Qichang!"

Although Song Qingyun spoke very professionally and explained in detail, Zhuzi and others did not understand it at all. They knew that Song Qingyun used a lot of idioms. Qin Haofeng blinked. It seems that the way to identify calligraphy and painting works is to go up. Stacking idioms, Brother Yang also explained calligraphy and painting in this way before, and now Boss Song also explains calligraphy in this way. It seems that I need to learn more idioms.

Song Qingyun turned around and looked at Dao Scar, who was standing stupidly next to him, "Do you understand?"

Scar shook his head like a rattle and grinned, "There are no characters, so I can't understand!"

Song Qingyun was so angry that she really wanted to give him a slap in the face. She picked up an erotic picture, so why did she let him see it?

"Go and get the box wrapped in a torn cotton jacket on the table!" Song Qingyun gestured to Scar, "This is the best thing today!"

Scar walked over, opened the tattered cotton-padded jacket, flipped it aside, and walked over with the box in both hands. Then he placed the box on the table and opened it gently. When he saw the items inside, Scar stepped back. After a few steps, he raised his hand and said seriously, "Boss Chen, I didn't break this into pieces. I just took it from over there. It has nothing to do with me!"

Chen Yang chuckled and carefully took the object out of the box. Zhuzi's eyes widened instantly and he pulled Lao Shan away with one hand, "Get up, let me take a look!"

"It's okay, this object is like this, it's called gold wire!"