Many people present praised him, and he is worthy of being a famous calligraphy in history! The "Mid-Autumn Post" uses the pen like a fire chopsticks to paint ashes, with continuous characters, and is well-prepared for rules and is known as "Yibi Shu". This also shows how profound Wang Xianzhi's skills are. He finishes the thirty-two characters in one breath.

"The history of the three calligraphy treasures is very bumpy! Even the paintings copied by Mi Fu in China are hard-won." Old Li said with a slight slightest. Almost all these treasures have a bitter history, which has remained thrillingly until now.

Take Mi Fu's "Mid-Autumn Post" and "Boyuan Post" in China for example. From 1911 to 1924 before Puyi left the palace, the "Boyuan Post" and "Mid-Autumn Post" were hidden in the Shoukang Palace where the imperial concubine Jingyi lived. When Puyi left the palace, the imperial concubine Jingyi took the post out of the palace and sold it to an antique dealer through her nephew and grandson, and sold it to Guo Shiwu.

These two posts of Guo Shiwuzang were always kept secret and were not known after his death. After his death, these two posts were owned by his son Guo Zhaojun. After the victory of the Anti-Japanese War, Guo Zhaojun donated all the porcelains of his father Guo Shiwu's Wu's Luzhai to the Palace Museum, so Guo Zhaojun was given the position of manager of the Central Bank North Branch.

In 1949, he withdrew to Guangzhou with the bank and was evacuated in Guangzhou. Guo Zhaojun went to Hong Kong for business relations and marshal his "Mid-Autumn Post" and "Boyuan Post" to an Indian. The Indian Post mortgaged it with more than 100,000 Hong Kong dollars to HSBC Bank.

Because he lost money in business, the mortgage period expired one year later and was unable to redeem it and was ready to sell it. He found Xu Bojiao to discuss a solution. Xu Bojiao immediately wrote a letter to the owner of the Palace Museum, who reported the whole story to Premier Zhou. On November 5, 1950, Premier Zhou personally wrote a letter to Ma Xulun and others, instructing him to "agree to buy back Wang Xianzhi's Mid-Autumn Tie" and Wang Xun's Boyuan Tie" and finally returned to the Palace Museum.

"You are so lucky. These three pieces are panda-level national treasures. By the way, if there are any ancient calligraphy and paintings of our country, maybe there are any precious national treasures. If you have time to put on his tone, you will have some time." Mr. Li said.

"It should be gone. Judging from that guy's down-and-out appearance, he shouldn't hide it privately." Tang Xin replied. When he recalled Brown's appearance, he could guess that all these magical treasures were definitely taken out.

It was a pity that Mr. Li was waiting for it, but he was also expected. To be honest, it was already a blessing to encounter three such precious national treasures at once.

"What other precious works are there for those piles of calligraphy and paintings? Take them over and we will take a look." The old senior said to Hong Yaobao.

"All of them are pretty good. Among them, Tang Yin has many works, and there are also many of them in the Bada Mountains. There are more of them in the Ming and Qing Dynasties!" Hong Yaobao took it over and introduced.

Speaking of Bada Mountains, don’t think it’s eight, but it’s actually just one, called Zhu Da. This is not only a very famous painter, but also a descendant of the royal family. Unfortunately, because he lived in the late Ming Dynasty and his country was in a difficult life.

After the fall of the Ming Dynasty, Zhu Da was nineteen years old. Soon after his father passed away, he felt extremely depressed and sad. He pretended to be deaf and dumb, hiding his name and hiding in the mountains and seclusion to preserve himself. Zhu Da's paintings often saw a strange sign, as if it was a crane-shaped symbol. In fact, it was composed of the four words "March 19th" to express his deep affection for his homeland. The 19th day of the Jiashen month was the demise of the Ming Dynasty.

At the age of 60, he began to write poems and paintings with the signature "Bada Mountain Enters". When he signed the paper, he often connected the four words "Bada Mountain Enters", as if it was like "crying" and "laughing" to express his painful mood of laughter and crying.

Coincidentally, his younger brother Zhu Daoming, whose courtesy name is Qiuyue, was also a painter. His style was similar to that of his brother, and he was also rough and bold. His calligraphy and painting was signed by Niu Shihui, and he wrote these three characters in cursive script, which looked like the four words "I will not worship the king", which expressed his feelings of not surrendering to the Qing Dynasty. At the beginning of the signature of the two brothers, the character Zhu was separated, one with the character "niu" and the other with the character "eight". This kind of hidden name can be said to be a good intention.

"Oh? The works of Tang Bohu and Bada Shanji? Come and take a look." At this time, the interests of the old predecessors were aroused again, and they were clamoring to read the paintings.

Needless to say, Tang Bohu's name was very famous in the Ming Dynasty. His paintings, Zhu Zhishan, Qiu Ying and others were all very outstanding, not to mention that Tang Bohu was also known as the leader of the four great talents of the Ming Dynasty?

Bada Shanzu's works are unique in the history of China, and the exaggerated techniques are most obvious. They use form to describe the situation and transform the shape to draw the spirit; they are simple and light ink, and they are unrestrained in writing; they are sparse in layout and empty in artistic conception; they are full of strength and majestic.

His form and technique are the best expression of his true feelings. His writing is unrestrained and does not constitute a law, vigorous and round, elegant, and elegant, and his composition is not complete. His flower and bird are not counting how many or how big it is, but focusing on the status and momentum of the arrangement. Whether it is used in time, surprisingly, and cleverly.

After reading a landscape painting where Bada Mountains entered, a senior sighed: "The eight mountains entered the landscape, seem strange, wild, rough, and mostly like works that rely on their talents. However, if you carefully savor it, you will see the luxuriant appearance of Huang Gongwang; the purity of Dong Xiangguang; and the simple and far-reaching nature of Ni Yunlin. If you go out to the right of the three, you will be strange and magnificent, and you will enter the realm of Arhat."

"Haha! His special life experience and the background of the times made his paintings unable to express his feelings like other painters, but were expressed through his obscure and inexplicable poems and strange and distorted paintings." Li Lao smiled.

After reading his works, you will find that the fish and birds painted by Bada Shanzu have been drawn with just a few strokes, either lengthening their bodies or tightening them, and are tilted instead of right or wrong. Especially the pair of eyes, sometimes an oval shape, are not the fish we see in life, the eyes of birds, the eyes of fish, and birds are all round, and their eyes will not turn even when we are in zhong yāng.

The fish and birds' eyes can turn when they enter the eight mountains, and sometimes they roll their eyes and stare in. The rocks he painted are not as round as usual paintings as usual painters, with large and small tops and small tops, heavy heads and feet. He can be wherever he wants, regardless of whether it is stable or not, and whether it can stand or not.

The trees he painted were crippled with dead branches, just a few coconuts and leaves, and even tens of thousands of trees in the forest could not pick out such a tree. The scenery he painted was the mountains, bare trees, falling from east to west, and desolate.

"The paintings of Bada Shanzhi are a bit similar to those of the current comics." Hong Yaobao smiled. After reading his paintings, everyone may feel this way.

That style of painting is not like the ancient Chinese ink paintings, and the shape is not similar, but the ideas to be expressed are very clear, because the use of exaggerated techniques can better reflect the various emotions in the painter's heart.

Hearing Hong Yaobao's comments, Mr. Li and others smiled slightly. It was not the first time he heard such words.

"In fact, the biggest feature of his works is 'less'. One is that there are few objects depicting; the other is that there are fewer pens when shaping objects. Each of his fish, a bird, a chick, a tree, a flower, a fruit, or even without drawing a stroke and just stamping a seal can form a complete picture, which can be said to be too small to be less. It is said that "loving the ink is like gold" and that it is said that "a little bit better than the more". Only the eight majors have truly achieved this. It can be said that they are unprecedented and difficult to succeed." Mr. Li commented.

(Network.)v
Chapter completed!