Riding the wind of rebirth

Chapter 1374 Boy Kung Fu

"More recently, there were Yangzhou natives such as Jin Zhongyu and Zheng Zhuyou who had restored cultural relics in the Forbidden City. They were not only experts in restoring cultural relics, but also famous antique painters and calligraphy and painting connoisseurs."

"Master Zheng himself once said that creation is not his specialty, but as long as there is an 'authentic copy', he can copy it without any distortion."

"At that time, Zhang Daqian's imitation of Qing Shi Tao paintings was so lifelike that he could even deceive experts such as Chen Banding. But he could not deceive Master Zheng Zhuyou."

"Once Zhang Daqian invited Zheng to his home, brought out a large number of Shi Tao paintings, and made it clear that some of them were imitations by him."

"Mr. Zheng looked at each one calmly, with a very relaxed expression. In a short while, he could distinguish the original painting from the imitation painting, which greatly impressed Zhang Daqian, who always thinks highly of himself."

"The Forbidden City set up a museum restoration factory, specially inviting Mr. Zheng Zhuyou and Mr. Jin Zhongyu from Shanghai, and also transferred some experts such as Zhang Yuexuan from Shanghai, Suzhou and Hangzhou to mount paintings, copy and reproduce calligraphy and paintings. Many were seriously damaged. The cultural relics have been reborn in the hands of these famous restorers.

"The middle-aged masterpiece "Tiaoxi Tie" by Mi Fu in Rongbaozhai was restored by Mr. Zheng Zhuyou and others based on the photos of the 'Yanguang Room' where this work was hung at that time."

"It is also because of the development of modern mounting art. With the improvement of skills, Yanggong gradually began to move from mounting to 'antiquing'. In order to earn foreign exchange from exports, Yangzhou successively established art workshops, mounting production cooperatives, Yangzhou craft factories, and finally An antique Chinese painting workshop and a mounting workshop have been established to specialize in antique calligraphy and painting creation."

"Masters among them, such as Xu Gongze, etc., imitated Song and Yuan landscapes and created works that were very popular at the Canton Fair. At its peak, there were hundreds of painters busy exporting Yangzhou traditional paintings in the Yangzhou Craft Factory."

An old man with sleeves on his hands said: "Look, let me tell you! We need to train more young people. Young people have sharp eyes and steady techniques. We old men can do this job without energy and energy alone." Gain and lose!"

The old man who just spoke is named Jian Changchun. Rong Baozhai is currently the most powerful framer and a master of double hooks. The person who criticized him is Sui Kuang, the general manager of Rong Baozhai's calligraphy and painting department.

"Old Jian, please stop complaining." Another old man said: "How can a technique like Xiao Zhou's be possible without more than ten years of practice? Then why don't you start making paste at the age of five or six? It can be done at home, but it can't be done at home Our unit is employing child labor!”

While explaining, Zhou Zhi had already taken off the back frames of the four ancient paintings, scalded and rolled the cores of the paintings to remove old impurities, and rejoined the cracks and other places.

"For thousands of years, countless paintings and calligraphy works have been preserved, collected and displayed through mounting. The Yang style mounting techniques are exquisite and unique, integrating traditional aesthetic habits and cultural characteristics, and are the perfect embodiment of exquisite Yangzhou culture."

The technique is skillful, lively and free, and some difficulties are almost solved instantly, which makes even the old gentlemen who are good at framing feel relaxed and happy.

When Jian Changchun heard this, he couldn't help but sigh. Thinking about his son's curriculum arrangement for his precious grandson, apart from supplementary lessons in mathematics, physics and chemistry, the rest were piano, flute and badminton. It seemed impossible that he wanted his precious grandson to follow him in cooking. .

"Teacher Xiao Zhou, where can we find the two books you just mentioned?" Sui Kuang was more concerned about this: "It seems that we have never seen what you are talking about..."

"Actually, Yang Gong, Su Gong, and Jing Gong each have their own strengths." Zhou Zhi smiled: "The only thing Yang Gong has more than the two is the literary inheritance of these two books." "But because of the long-term lack of Due to the attention paid to both books, there are no special printed editions of the two books for circulation. Some chapters of "Decorative Records" were once included in "Zhao Dynasty Series", "Xuehai Leibian", "Shu Gu Congchao", and "Meigang Collection of Ancient Books" Among the ancient notebooks such as "Zangxiutang Series", "Cuilang Series" and "Taoyuan Series", I have only seen half of the Qiushi Zhai edition in the Shanghai Antique City."

"The rest are fragments of a manuscript I saw in Suzhou."

"Shang Yan Su Xin Lu is relatively recent and is in better preservation condition. However, there is no printed copy. There is a Qing Dynasty Zhusilan manuscript, which was later included in two sets of "Yu Yuan Cong Ke" and "Song Lin Cong Shu" Among the engravings."

As he spoke, he wiped his hands clean and took out a book bound according to the ancient method from his bag: "This is what Mr. Wang asked me to bring to Rongbaozhai. This book is excerpted and put together based on the relevant documents that I can find now. The manuscript of "Decoration Records", this one is based on the Zhusi column of "Shang Yan Su Xin Lu", and the two sets of "Yu Yuan Cong Ke" and "Song Lin Cong Shu", and then I corrected and transcribed it. 's manuscript."

"Thanks to Rongbaozhai for providing the venue and materials this time, so that I can report and present to all the masters. I am really grateful." Zhou Zhi held the book in front of Sui Kuang: "I copied these two books by myself, Liao Biao Respect to Rongbaozhai for saving and restoring many precious cultural relics in our country over the past century."

"Xiao Zhou, you're welcome, you're welcome!" Sui Kuang smiled from ear to ear and took the book: "Our Rongbaozhai always welcomes guests like you, hahaha..."

"Xiao Zhou's handwriting is also quite good. No wonder he is so good at repairing calligraphy and paintings." Jian Changchun also handed over a book, and when he opened it, his eyes lit up: "Child's skills."

Zhou Zhi's calligraphy was first practiced on stele, Liu and Yan. After laying the foundation, he began to practice calligraphy. He began to practice Huang Tingjian in the third grade of junior high school. When he entered university, he began to imitate Wen Zhengming, who was related to Huang Tingjian. After practicing the method, it is almost a matter of course.

After hearing this, several calligraphers also came over, looked at Zhou Zhi's manuscript, and nodded silently.

Not to mention how high the calligraphy level is, at least it is no problem to enter the calligraphy association, and the frame structure and stroke characteristics can be seen at a glance that they were developed from the beginning of Datongzi Kung Fu.

It is more difficult for people today to practice calligraphy than it was for ancient people. The most difficult and important one is the "law". Modern people don't have so much hard work. It is rare to practice calligraphy regular script into muscle memory before moving on to the next step. developed in one stage.

The result of the simultaneous advancement of regular script and cursive writing is that the foundation is not solid. It is inevitable that there will be occasional legal "violations" when writing, and it is impossible to "follow one's heart without violating the rules" like the ancients.

Of course, many contemporary calligraphers do not think it is a fault, but instead think it is a "self-created method" and a breakthrough, and Zhou Zhi has nothing to do with them.

However, such calligraphy will lack the "charm" of ancient calligraphy, the balance of "dancing in shackles", and the unrestrainedness and relaxation within the framework of strict laws.

Nothing is excessive. Although some parts are allowed to be exaggerated and graceful, the whole is still balanced and stable, happy but not obscene, sad but not sad. This is the Chinese aesthetic.

There is a saying that goes well, "We must never use the excuse that 'classicism is outdated' to cover up our laziness, opportunism, or incompetence."

Those who can come here to observe are all experts, so when the calligraphers see Zhou Zhi's handwriting, their first thought is nothing else but - Do the parents of this child not care about what he studies? If you do this all day long, how can you get into college?

(End of this chapter)