I Can Extract Abilities From Antiques

In any era, in any industry, there is a chain of contempt more or less.

For example, hospitals.

Brain doctors are at the top of the "chain of contempt".

Because in their opinion, brain surgery is a very delicate job, almost impossible.

In contrast, doctors in thoracic surgery appear to be a bit -LOW.

However, the status of thoracic surgery is also very high, and heart surgery is almost impossible.

So the chain of contempt in the medical profession extends to the internal medicine department, and the surgical department looks down on the internal medicine department, which is a common phenomenon.

Similarly, in the cultural relics world, there are also chains of contempt.

In the appreciation of cultural relics, those who appreciate 'soft objects' are basically inferior to those who appreciate 'hard objects'.

The so-called soft objects are calligraphy and painting.

Appreciation of this kind of thing can only rely on lines, painting style and gestures, and another is the material of rice paper, so it is difficult to appreciate calligraphy and painting.

In contrast, there are many more clues to the appreciation of porcelain.

On the one hand, its material can be analyzed, and on the other hand, the glaze pattern and inscription recognition of the porcelain are important conditions in the appreciation process. In this way, the appreciation of porcelain is really simple.

However, experts in the appreciation of porcelain also look down on them, that is, those who appreciate jade.

Because jade appreciation is nothing more than the authenticity of the raw materials, it is easy to distinguish.

At most, there is another carver. Compared with porcelain, jade has fewer steps.

However, those who play jade do not despise miscellaneous appreciation.

"Miscellaneous" includes things like bamboo, wood, teeth and horns, which does not require cultural heritage.

And at the top of this "disdain chain" is the "stone post" in "software"

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Because the appreciation of inscriptions first requires literacy.

Of course, this is not just modern Chinese characters, but also needs to be familiar with official script, seal script, cursive script, running script and oracle bone script, Shang and Zhou inscriptions and inscriptions, so that the appreciation work can be carried out smoothly.

Therefore, this post, stele post, has always been the most learned kind in the collection.

Commonly known as the black tiger, non-professionals basically do not understand.

The former collectors said that they were playing inscriptions on tablets, and everyone else had to respect them.

Because in the past, people who played inscriptions on tablets were all very high-ranking and very knowledgeable.

The old generation is full of infinite respect for the inscriptions.

He has different versions of inscriptions.

For example, the extension of the Song Dynasty is called Song Tuo, the extension of the Yuan Dynasty is called Yuan Tuo, and there are Ming Tuo and Qing Tuo.

The same monument of different ages, the price difference is very large.

Speaking of the Song Dynasty, the collection is Song Tuo, Song paintings, Song characters, Song editions, and Song porcelain.

Anyway, everything that comes with Song is expensive, not cheap.

Most of the Dharma texts mentioned now are basically engraved on stone slabs or wooden boards by later generations based on the ink traces of predecessors, after double-hook tracing.

Then it was expanded and bound into a book, which served as a model for writing and copying.

And this "Chunhua Pavilion Tie" is the oldest piece of the series, known as the "Bible" in the history of calligraphy of the Dragon Kingdom.

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The full name is "Chunhua Secret Pavilion Law Post".

In the third year of Chunhua in the Northern Song Dynasty (992), Emperor Taizong of the Song Dynasty issued a decree to compile and select the emperors, famous ministers, calligraphers and other ink traces of the emperors, famous ministers, and calligraphers in the palace.

The original is engraved on a jujube woodblock.

Although the jujube wood block is easy to crack and deform, and it is not as durable as the stone block, it can be carved very finely and realistically.

A total of ten volumes.

The first volume is the dharma of the emperors of the past dynasties.

Volumes 2 to 4 are the Dharma posts of famous ministers of the past dynasties.

The fifth volume is the ancient method of Zhujia.

The sixth to eighth volumes are the books of Wang Xizhi.

The ninth to tenth volumes are the books of Wang Xian.

A total of 420 pieces of ink written by 103 emperors, famous officials and calligraphers of the previous dynasties of the Long Kingdom and Song Dynasty were collected.

The Song Dynasty paid more attention to cultural construction, and was close to the Tang Dynasty.

So many inkblots from before Tang are still there.

The calligraphy of Longguo was fully formed in the Tang Dynasty.

The people behind are all how the people in front of the tomb write.

Strictly speaking, none of the people behind can write about the predecessors.

The words of Ouyang Xun, Liu Gongquan, Yan Zhenqing, Zhu Suiliang, and Su Huang Mi Cai are all under this path, not above this path.

The so-called Su Huang Mi Cai refers to the collective name of the four calligraphers in the Northern Song Dynasty, Su Shi, Huang Tingjian, Mi Fu and Cai Xiang.

And this "Chunhua Pavilion" covers Xing, Cao, Li, Zhuan and other fonts.

Wang Xizhi, Wang Xianzhi, Liu Gongquan, and Ouyang Xun were all among them.

No one could have imagined that after the Song Dynasty, the influence of this "Chunhua Pavilion" on the calligraphy of Longguo in the next thousand years.

The literati of all dynasties were proud to own it and fortunate to appreciate it.

This is the best calligraphy selected by the highest literati at that time.

In a sense, "Chunhua Pavilion" is the conclusion of the calligraphy before Song Dynasty.

It picks out all the good ones.

At the same time, it is also the most iron proof that Wang Xizhi can be called "Sage of Calligraphy".

Because in the six, seven and eight rubbings, many of the lost Wang Xizhi's calligraphy has been preserved.

There are as many as 170 posts.

It is the most important historical document to understand and study Wang Xizhi.

At that time, "Chunhua Pavilion" had a total of several expansions, and there was no record in history.

However, according to general inferences, there are only a few dozen copies.

After Song Taizong was extended, he rewarded the prince's close ministers with only one copy, and soon stopped rewarding them.

Therefore, "Chunhua Pavilion" was very precious at that time.

Just over fifty years later, a fire broke out in the palace.

The original version of "Chunhua Pavilion Posts" and the famous posts kept in the palace have all been burned.

The surviving Northern Song Dynasty ancestral block copy "Chunhua Pavilion" is even rarer.

The so-called ancestral copy is the original of the ancestors, the earliest one.

Although it was re-engraved in the thirty-fourth year of Qianlong, and it was also engraved in the Republic of China, but the value is not great.

Because of the study of rubbings, the further back is, the less clear the front is.

The original extension is the clearest, and the re-engraving is not as good as the original extension. Every extension will damage the surface of the stone or plank.

You, for example, need to wet the water when the characters are rubbing. Too much water will cause the stone to burst easily.

・・・・・Seeking flowers...  

In the past, once an important epitaph was published, five were first rubbed, which was called the first rubbing.

Then go up and tap a few times, and it is not the first rubbing book.

It belongs to the second rubbing.

With the advancement of the age of the original stone and the continuous damage, the later rubbings are far less valuable than the previous ones.

In, for example, reprints.

To turn a copy is to take the original rubbing and engrave a copy.

Although the difference between this re-engraving and the original extension is very small, this insignificant difference is the mystery of it.

Hu Muzhi didn't know which version of the book "Chunhua Pavilion" was bound in front of him, so his expression was very calm, he raised his hand and took out a copy from the wooden box.

As soon as he held it in his hand, Hu Muzhi recognized the extraordinaryness of this paper.

It is as thin as an egg membrane, as firm as jade, thin and smooth.

"It's actually Chengxintang paper. 35 Hu Muzhi was surprised.

You must know that this Chengxintang paper is a kind of precious rice paper produced in the Southern Tang Dynasty, and it was once rated as the best paper in the history of the Dragon Kingdom.

"Can you use this kind of paper to engrave, don't you think..."

Immediately, Hu Muzhi opened the book "Chunhua Pavilion".

What catches the eye is a few big characters: the sixth law of the book, the book of Wang Xizhi.

The overall use is black and white, and the ink is thick, black and shiny, and it looks full of texture.

This belongs to Ujintuo in the rubbings.

After reading one book, Hu Muzhi began to read the second book.

The seventh chapter of the Dharma is the book of Wang Xizhi.

The third.

The eighth chapter of the Dharma, the book of Wang Xizhi.

After reading all three books, Hu Muzhi's heart couldn't contain his excitement.

Because he can basically confirm that this is the six-seven-eighth volume of the ancestral block copy of "Chunhua Pavilion".

Because according to historical records, the Northern Song Dynasty ancestral block "Chunhua Pavilion" was the first time that the royal family used the method of rubbing to print.

The method used is Chengxintang paper and Wujintuo.

After more than a thousand years of various disasters, this ancestral print has been handed down like a rarity.

Although the Magic City Museum has it, it was also after 2003, and it was purchased from an American businessman.

Spent $450w and only had four, six, seven and eight volumes.

This price set a new world record for Long Guo's calligraphy and painting at that time.

Hu Muzhi had some doubts, and the six, seven or eight volumes among them were probably the three volumes in front of him.

With excitement, Hu Muzhi put all the six, seven and eight volumes of "Chunhua Pavilion" back into the wooden box, then turned his head and walked towards Lin Yuehong.

He wanted to inquire about the price of this thing before the others came.

Although it is said that in this era, in Western auctions, no one wants anything similar to posts.

Because foreigners don't understand.

But it cannot be ruled out that there are people who wait to know the value of this thing.

"Mr. Lin." Hu Muzhi called out to Lin Yuehong who was sitting on the stool.

"Huh?" Lin Yuehong raised his head and looked at Worker Hu Muzhi puzzled.