The single piece of stele rubbings with the highest transaction volume was "Twenty Pieces of Longmen", which sold for 110,000 yuan. In 2003, the Dahai Museum spent a huge amount of money to acquire Song Dynasty's "Chunhua Pavilion Tie". The price at that time was high, but that
It's just a eucalyptus, but it has caused considerable controversy.
Monument auction has appeared
"Dark horse", such as Hanhai's auction of a rubbing of the "Remnant Monument of Wang Ji" from the Three Kingdoms, which was sold for 341,000 yuan.
The Dahai Jiatai "Xiyutang Dharma Poster" is considered to be the highest price that Chen Wenzhe knows, reaching 825,000 yuan.
Compared with oil paintings and calligraphy and painting, there are too few investors involved in the collection of inscriptions and calligraphy, and the investment vitality is not obvious. They are mainly researchers, calligraphers and painters.
Maybe stele rubbings are really just a collection, a collection with a deep cultural complex, rather than the best investment market.
It is also because of these reasons that the market for stele extensions has always been tepid. It seems that this is also the reason why Li Tianqiang was able to buy so many stele extensions.
The price is not expensive, and you can buy so many things that are of some value at first sight. If one of them is genuine, it will be a huge profit.
Not to mention anything else, just for these eternal arts, we also need to have a good understanding of the inscriptions of the past dynasties.
In terms of the overall understanding of the inscriptions, the appreciation is also from the outside to the inside, with continuous deepening. The attention shifts to the pile of inscriptions again. It is obvious that these inscriptions have some skills and are not fake at first glance.
During the Song and Yuan Dynasties, he extended his ambitions to Runan, and Zao Shi turned over the temple of Confucius. He once heard idioms from Mengzhuang, but the ancients no longer passed them on.
This poem discusses the calligraphy of Yu Shinan. Yu Shinan was the first of the four great masters in the early Tang Dynasty. His calligraphy had a great influence on the calligraphy of the Tang Dynasty, and Li Shimin also respected him very much.
However, due to its long history, Yu Shinan's calligraphy, as well as the few scattered publications today, are both good and bad.
The meaning of this poem is that Yu Shinan's ink ink "Manuscript of the Epitaph of Princess Runan" is not the original work, but a Song Dynasty copy.
And Yu Shinan's "Confucius Temple Stele" is not an original rubbing, but a re-engraved rubbing. Mr. Qi Gong, the author of this poem, lamented that he once heard Zhuangzi say that if the deeds of the ancients are not passed down to later generations, then this person will be
It will not be known by future generations, this is the real death.
As the leader of the Four Great Masters of the Early Tang Dynasty, Yu Shinan will at least make us remember this person, regardless of whether there are many true or false posts in existence.
Therefore, Qi Lao would be very excited every time he saw a new ancient calligraphy inscription published. Mr. Qi Gong later made a self-note on this poem: The epitaph of Princess Runan of Yu Shinan was seen in the collection of inscriptions. In modern times, an ink copy was circulated.
Photocopy.
The original copy is now housed in the Maritime Museum. In 1972, experts at the museum said that it was indeed a Song copy. Fortunately, I judged it to be correct from the photocopy in the past.
However, the imitation is all there, and can be identified even in the photocopy, without having to visually inspect the paper. Mr. Qi Gong once saw the "Epitaph of Princess Runan" in a collection, and later an ink copy came out, claiming to be authentic.
At that time, Mr. Qi Gong judged based on the photocopy that this so-called authentic work was just a copy by later generations.
This ink copy was later collected in the Dahai Museum. In 1972, the museum asked experts to identify it and found that it was actually a Song Dynasty copy and not an authentic work.
Mr. Qi Gong relied on the photocopy, without looking at the original, to see that this post was copied by later generations. This shows that the method copied is indeed ordinary.
Because, for a truly good method of copying, you must hold the original and look at it carefully against the light to see the traces of copying.
The temple steles are the most prominent among Yu's books. The original stones have been lost for a long time, and most of them are Shaanxi copies. However, after copying Yu's books, I know it is natural, but I don't know why it is so. When compared with the Tang Dynasty stone fragments, the distortion is obvious.
I don't know who made the Chengwu imitation, but it is similar to the Tang Dynasty stone. Unfortunately, the stone surface is so beaten and polished that only the frames are left, and the strokes are too thin and look like dry bones.
Photocopies of the Tang stone temple stele have been widely circulated, but unfortunately it is a combination of the original stone and the re-engraved version. However, looking at the "Huangshan Valley Inscription and Postscript", there are many records of the combined version, and we know that the original Tang inscription must have been cut off during the Northern Song Dynasty.
I have been writing about the precious treasures hidden in the stone canal for a long time. After many catastrophes, I wonder if they are still alive. In the following self-note, Mr. Qi Gong also talked about other works of Yu Shinan.
Yu Shinan's "Confucius Temple Stele" is the most illustrious and influential. Unfortunately, the original stone was destroyed long ago. The most commonly seen one now is the heavy engraving by Wang Yanchao of Shaanxi Province.
It is a pity that the copyist knew about Yu Shinan's calligraphy but did not know why. Because compared with the original stone fragments, the distortion is immediately obvious.
There is also a "Confucius Temple Stele" unearthed in Wu County, Qilu City. This stele was unearthed from the river. Compared with the original stone fragment, it is relatively similar.
But it's a pity that it's so worn that only the frame is left, and the strokes have been worn so thin that they look like dry bones.
In addition, there is also a Tang stone version of "Temple Stele", which has been widely copied and circulated. Unfortunately, this version is a combination of the original stone and the re-engraved version.
Huang Tingjian, the great calligrapher of the Northern Song Dynasty, once wrote in a postscript: "How can I buy the engraving of Yu Shu Zhenguan in the Confucius Temple for a thousand taels of gold?" It can be seen that the original stones of Tang inscriptions were difficult to see during the Northern Song Dynasty and had been lost.
In addition, Yu Shinan also has an engraving of "Ji Shi Tie", which was once hidden in the Shiqu Baoji of Qianlong's inner palace.
After Qianlong's death, after several catastrophes, Qi Lao lamented that he didn't know if he was still alive. As one of the four great masters in the early Tang Dynasty, Yu Shinan had a good relationship with Master Zhiyong, a descendant of Wang Xizhi.
Zhiyong was deeply influenced by Wang Xizhi's calligraphy tradition, and Yu Shinan also inherited Wang Xizhi's calligraphy tradition under Zhiyong's careful teaching.
His calligraphy is smooth and elegant, soft on the outside and strong on the inside. Among the four great masters of the early Tang Dynasty, Yu Shinan can be said to be the best among the four.
Therefore, Qi Gong laments that such a famous artist has almost no real works handed down from generation to generation. The so-called works handed down from generation to generation are also fake but not genuine. It is really a pity.
Well, as long as you understand these, especially Mr. Qi Gong's writings on Yu Shu, it will be easier to identify the inscriptions in front of you.
You don’t need to look very carefully to see that the temple stele stickers, "Ji Shi Tie", "Huangshan Valley Inscription and Postscript", "Princess Runan Epitaph", etc. are all based on previous copies and re-created copies.
of.
Of course, these copies have certain skills, otherwise they would not be collected here by Li Tianqiang. However, these are not ancient copies, but are carefully copied by modern people.
Judging from the handwriting, it should be written by everyone, but these are really not ancient or rare books.
Looking at that stele again, although this stele is a better imitation, it is also more ridiculous because Chen Wenzhe can see that it is an imitation of the one in the Forest of Steles in Chang'an.
Chen Wenzhe had been to Chang'an Forest of Steles. Although he was not very interested in the Forest of Steles at that time, he had carefully looked at each piece.
Although I am not particularly fond of Tang steles, many of the important original steles there are national treasure-level cultural relics!
A look at a treasure like this will teach you a lot.