Lu Fei was so excited that he almost went crazy when he saw the "Dao Tie" written by the calligraphy sage Wang Xizhi.
After calming down, Lu Fei approached again and began to appreciate it inch by inch.
This sticker is on hard yellow paper, 28 centimeters long and a little over eight centimeters wide.
There are only two lines of ten cursive scripts in the entire poster, which reads: "The great road will not be broken for a long time, and it will never happen again."
There are seals such as "The Treasure of King Lu", "Han Fengxi Seal", "Zhang Duxing Seal", "Mi Wan Zhong", "Yi Zhou Appreciation" and so on inside and outside the calligraphy frame.
There are also inscriptions and postscripts by Zhao Mengfu of the Yuan Dynasty, Zhu Zhifan of the Ming Dynasty, and Zhang Zhao of the Qing Dynasty, from which we can know the traces of its spread.
Among them, Zhao Mengfu's postscript states: "Emperor Wu of Liang commented on the book to the right army, saying that 'the dragon jumped over the Tianmen, and the tiger crouched in the Phoenix Pavilion'. This is the post."
None of the engravings in the world exist. How can it be that Jin cherishes the sacred things in the world and does not want them to be passed down indiscriminately?
It seems that good things have not yet come. If someone can make a piece of stone and carve it to spread it far, I would like to help you copy it.
I traveled north and south, and this matter was almost abandoned. I don’t know when this fate will come true? On September 7th of Dinghai in the Yuan Dynasty, it was inscribed with the words "Meng Fu."
"Daodao Tie" is the most prominent among Youjun's cursive scripts, and later generations called it "One Stroke Script".
Zhang Chou of the Ming Dynasty wrote in his "Qinghe Painting and Calligraphy Boat": "There are many old brushes, so-called one-stroke calligraphy."
In the cross, the first five characters are connected with one stroke, the next two characters are connected with each other, and the next two characters are connected with hooks. The last word "ye" is drawn vertically down with the last stroke to control the blank space of the scale.
People who forcefully write a book often seem to be pretentious.
This book by Wang Xizhi is like clouds moving in the sky, like a dragon swimming in the sky, which is extremely precious.
After admiring it for a while, Lu Fei finally looked away.
I turned over "Da Dao Tie" to check the framing condition.
Overall, it is quite well preserved.
Since it's okay, try not to fuss.
If you miss it, it will be a big sin.
Lu Fei found a watering can, sprayed a layer of protective agent evenly on "Da Dao Tie", and carefully moved it aside to dry naturally in the shade.
Then he brought over another painting tube. He opened the lid and smelled the smell. The unique smell of silk made Lu Fei's eyes light up.
Turn the scroll scroll out and look at the mounting style. It's a typical Northern Song Dynasty mounting style.
Untie the rope and slowly unfold the scroll.
When the screen was halfway unfolded, Lu Fei went completely crazy.
"Oh my god!"
""Xiaoxiang Bamboo and Stone Picture", a painting of a bearded man?"
"OMG!"
“It’s the Chinese New Year, it’s such a Chinese New Year!”
"This New Year's gift is really awesome."
Seeing the authentic work of the calligrapher Wang Xizhi for the first time, Lu Fei went crazy.
When he picked up the painting tube, Lu Fei felt much calmer.
Because Lu Fei feels right, nothing can compare with "Da Dao Tie".
Even when he saw the Northern Song Dynasty silk, Lu Fei was not too excited.
But when the scene unfolded, Lu Fei was dumbfounded.
Because, this fucking thing turned out to be a painting by Su Dongpo, the bearded man, "Bamboo and Stone Pictures of Xiaoxiang".
Su Dongpo can be said to be versatile, proficient in poetry, poetry, music, chess, calligraphy and painting.
But what people remember more is Su Shi's attainments in poetry and calligraphy.
As for the neglect of Su Dabeard's painting skills, it is not because he is not good at painting, but because he paints too little.
This "Xiaoxiang Bamboo and Stone Picture" is a horizontal axis, just over one meter long and thirty centimeters wide.
This painting adopts a long scroll composition, with the confluence of Xiaoxiang River west of Lingling, Hunan Province as the background.
There are not many scenes in the picture, just a piece of earth slope, two stones, and a few sparse bamboo clumps; "On the left and right, there are mist, water, clouds and mountains, which are endless, just like the Xiangjiang River meets the Xiaoshui River, and connects to the Dongting in the distance, the scenery is vast."
At the end of the scroll, there is the inscription "Shi Wei Xin Lao Zuo"
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In his paintings, Su Shi liked to paint dead wood, bamboo and rocks. The objects he created were mostly simple in form but rich in meaning.
The brush used for painting has a lot of calligraphic meaning, which provides valuable experience for later generations of literati to use the brush to "write" their paintings.
In addition to dead trees, Su Shi loved bamboo very much. He once said, "I would rather eat without meat than live without bamboo."
Su Shi first learned from Wen Tong when he painted bamboo, but the bamboo paintings made by Su Shi were "generally freehand and did not seek resemblance in form", which is a typical literati painting style.
This picture uses the strong contrast between near water and cloud water, squatting rocks and distant mountains, Xiaozhu and smoke trees as the focus of the painting.
The picture has a reasonable layout from far to near and far away, traditional and simplified, size, density, movement and stillness, clear paragraphs, rich layers, and rigorous structure.
At the same time, the intersection of the Xiaoxiang River and the Xiaoxiang River is taken as the center, so that the picture has a climax like the waves crashing on the shore.
Around this climax, the picture evolves into the rising and falling smoke, water, clouds and mountains, and the spacious and stretching Xiaoxiang River, which makes people feel open, and the quiet and deep wilderness makes people feel relaxed and happy.
The opposite bank, shaded by smoke trees, is a feast for the eyes. The mountains, rivers, and objects are all present, and the scenery is full of artistic conception.
In his creation, Su Shi always grasped the idea of describing the artistic conception of "water" in everything above and below the two rivers of Xiaoxiang.
The bamboo leaves in the painting are of different shades. From the analysis of the growth of the bamboo, some of them are painted in light ink and there is no possibility of interpreting them as the backs of the leaves.
In particular, the bamboo leaves that are turned up at the ends are exactly the same ink color, and there is no difference in shades because they are turned out from the back.
The reason for using a mixture of thick and light ink is to make the picture full of variety and to prevent the originally dense bamboo leaves from giving people a sense of congestion.
In this painting, there are many leaves painted with light ink, which are randomly interspersed among the leaves painted with thick ink. For the sake of overall coherence, many small branches are added between the leaves.
However, unlike the practice of "lightly kicking branches and thickly lifting leaves" that was commonly used in later generations, the ink color of the small branches is very dark and can still be seen through the leaves.
Bamboo leaves painted by Su Shi Lifelike, the length, width, and narrowness are as natural as nature, and the leaf tips are both sharp and vivid, full of life.
The folded leaves are drawn with the pen turning and jumping in one go.
The bamboo poles are written in regular script and running script with strokes such as strokes, strokes, vertical strokes, and horizontal strokes. The strokes are in place. "The brush is delicate and tender, with a high standard of charm. It has no smell of a painter, and it is obviously the pen of a literati."
The value of this painting is not only a rare painting by Su Dongpo.
What's even more awesome is that this painting has been passed down in an orderly manner.
There are clear records of this "Xiaoxiang Bamboo and Stone Picture" in historical materials.
In the second year of Yuan Tong, Yang Yuanxiang, a Hunan calligraphy and painting collector, collected this painting.
In the third year of Hongwu's reign in the Ming Dynasty, Li Bingzhong of Liangtai purchased this volume from Du, and it was as if he had found a treasure.
In the thirty-seventh year of the Jiajing reign of the Ming Dynasty, Li Jiafeng, a descendant of the Jinling Li family, came to Jiangyang with this volume.
Here I met the Ming Dynasty writer Yang Shen by chance. During the dinner, Yang Shen left a seven-character postscript on the painting. Yang Shen's calligraphy undoubtedly added a lot to "Xiaoxiang Bamboo and Stone Pictures".
In modern times, there are two private collectors of "Xiaoxiang Bamboo and Stone Pictures". The first is Bai Jianfu, the secretary-general of the Beiyang warlord Wu Peifu.
During the reign of the Beiyang warlords, Bai Jianfu bought two handed down paintings by Su Dongpo from the Fengyulou antique shop in Tiandu.
One is "Dead Trees and Strange Rocks", and the other is this "Xiaoxiang Bamboo and Rocks".
During the Anti-Japanese War, Bai Jianfu sold "Withered Wood and Strange Rocks" to the islanders, and "Xiaoxiang Bamboo and Stone" became the only Su Dongpo painting in China.
In 1961, Bai Jianfu was in financial difficulty and decided to sell "Xiaoxiang Bamboo and Stone Pictures".
He made a special trip to the Magic City and showed it to an acquaintance of his. Zhang Heng, the director of the Magic City Museum at the time, admired it and hoped that Zhang Heng would find a buyer.
However, Zhang Heng identified the painting as a fake, and Bai Jianfu left in anger.
Since then, the whereabouts of this "Xiaoxiang Bamboo and Stone Picture" have been unknown.
Unexpectedly, this valuable treasure fell into the hands of the George family.