These calligraphy works are treasured in the Palace Museum, Shanghai Museum, Liaoning Provincial Museum and other places, and the State Administration of Cultural Heritage has previously clearly stipulated that these calligraphy works are not allowed to be exhibited abroad.
01
Lu Ji "Ping Fu Post"
PingFu Ti volume (Western Jin Dynasty) Lu Ji, Tibet. "PingFu Ti" is a calligraphy work of Lu Ji in the Jin Dynasty, with tooth-colored hemp ink on paper, a total of 9 lines and 84 characters, an unnamed model, the Song people set it as a Lu Ji work, and Mi Fu was designated as one of the "Fourteen Scrolls of Jinxian". Written in the Western Jin Dynasty, the Pingfu Ti is the earliest famous Fa Ti of the era passed down, and it is also the first orderly Fa Ti ink in history. It has the reputation of "the ancestor of The Fati". Lu Ji's "Ping Fu Ti" was rated as one of the nine "treasures of the town and the country".
02
Wang Xun's "Boyuan Thesis"
"Boyuan Ti" is a letter written by the famous calligrapher Wang Xun of the Eastern Jin Dynasty, on paper, a book, a total of 5 lines and 47 characters, 25cm in length and 17.2cm in width, hidden in the Palace Museum in Beijing. The "Boyuan Thesis" is called "Sanxi" together with Wang Xizhi's "Qingtian Thesis when the Snow Is Fast" and Wang Xianzhi's "Mid-Autumn Festival". In the 1930s, when the Qing imperial family was expelled from the Forbidden City, the old imperial concubine took the "Boyuan Ti" out of the palace for money, so she was scattered and wandered in the chaotic world. Until 1950, when bao ti appeared in Hong Kong, Premier Zhou Enlai instructed that the second treasure be purchased with heavy money and then handed over to the Palace Museum for treasure.
03
"Orchid Pavilion Preface" Divine Dragon Ben
Wang Xizhi's "Orchid Pavilion Preface" Shenlong Ben, tang Feng Chengsu facsimile, paper, line book, length 24.5cm, horizontal 69.9cm, 28 lines, 324 characters. Because the beginning of the volume has a small seal of the Tang Zhongzong Li Xian's dragon year number, it is called "Shenlong Ben". The surviving Lanting preface ink is the most written by the "Divine Dragon Ben", which is the most widely circulated and has the greatest influence. This imitation is exquisite, and the brushwork, ink, line style, and charm are all reflected, and it is recognized as the best facsimile. It is now in the palace museum in Beijing.
04
Ouyang Inquiry "Dream Dian Ti"
"Dream Dian Ti" volume (Tang) Ouyang Inquiry, "Zhongni Dream Dian Ti" is one of the top ten Chinese famous posters, on paper, 25.5 cm in length, 33 .6cm in width, for the famous Tang calligrapher Ouyang Quan, is one of the four existing inkblots of Ouyang Quan. It is now in the collection of the Liaoning Provincial Museum. Ouyang Zhen (557-641), a native of Changsha, Hunan, was one of the "Four Houses of the Early Tang Dynasty", and the writing of the Zhongni Dream Dian Ti is very close to Wang Xizhi's "Orchid Pavilion Preface", indicating that Oushu is indeed inheriting Wang Xizhi and innovating.
05
The Law of Good Seeing
The Law of Good Seeing, Vol. (Tang) Guoyi, Palace Museum. Silk bar on paper, length 22.6 cm, width 468.8 cm. The "Law of Good Seeing" describes the matter of Shakyamuni's propagation of the Buddha, and at the end of the volume, the upper book is "The Book of the Law of GoodNess", and the next is signed "Zhenguan Twenty-second Year December 10th Interpretation". This volume is neatly written, the structure is evenly painted, the pen is flexible and skilled, and the weight is appropriate. The whole article is completed in one go, and the achievements are exquisite.
06
Huai Su "Bitter Bamboo Shoot Thesis"
"Bitter Bamboo Shoot Thesis" volume (Tang) Huai Su, Shanghai Museum collection. Huai Su "Bitter Bamboo Shoot Post", ink on silk, two lines and fourteen characters. The calligraphy is handsome and healthy, the ink is as new as new, and it is close to the erwang calligraphy style, which is a wonderful stroke in Huaisu's handwriting. Qing Wu Qizhen's "Book of Calligraphy and Painting" commented: "The calligraphy is beautiful and healthy, the structure is comfortable, and it is a super wonderful book for the master." "The traits of bitter bamboo shoots and tea have many similarities with people in the Buddhist path, and Huai Su fully embodies the various fates of tea and Zen through calligraphy.
07
Du Mu's "Zhang Haohao's Poem"
"Zhang Haohaoshi" volume (Tang) Du Mu, collection of the Palace Museum. "Zhang Haohaoshi" is a poem of the late Tang Dynasty, a five-character ancient poem written by Du Mu. This poem is heavily painted, recalling the beautiful scene of Zhang Haohao's first breath of clear rhyme and fame six years ago. At that time, Zhang Haohao, who was graceful and graceful, had only been a few years old, and had become the daughter of the "Danglang" who sold wine in dongcheng. Du Mu used exquisite poetic language to reproduce Zhang Haohao's tragic career of ups and downs, and expressed the poet's deep sympathy for such a suffering woman who could not control her own destiny.
08
Tang Ren G "Long Live the Heavenly Post"
Tang Ren G 'Long Live Tongtian Ti', also known as Tang G 's 'Wang Xi Yi Men Shu Han', collection of the Liaoning Provincial Museum. The Song Dynasty's "Secret Cabinet Continuation", the Ming Dynasty Huaxia's "True Appreciation Of Thesa", Wen Zhengming's "Stop Cloud Pavilion Post", Wang Kentang's "Yugang Zhai Post", and the Qing Dynasty's "Sanxitang Fa Ti" have been inscribed. Among them, it is famous for its fine carving of the True Appreciation. Tang G's "Long Live tongtian post" is more important than the "Yuan Eunuch Post" collected in Taiwan, the "Kong Shi Zhong Ti" and the "Funeral Post" collected in Japan. With its faithfulness to the style of the original work, it provides a reliable basis for people to study the calligraphy of the Second King and the Eastern Jin Dynasty to the Six Dynasties.
09
Yang Ningshi "Immortal Living Law Thesis"
"Immortal Living Law Thesis" volume (five generations) Yang Ningshi, the palace museum collection. The Immortal Living Fa Ti, written in the first year of the Later Han Dynasty (948, when Yang Ningshi was 76 years old), is a representative work of his later years. At the front of the volume, there is an inscription "Yang Ning-style book immortal living method inkblot", and after the post, there are Song Dynasty Mi Youren, Yuan Dynasty Shang Ting, Qing Dynasty Zhang Xiaosi inscription and The Five Elements of the Kaishu Interpretation.
10
Lin Kui's "Self-written Poems"
Zishu Poems Volume (Northern Song Dynasty) Lin Kui, Collection of the Palace Museum. This volume is on paper and in writing. Length 32 cm, width 302.6 cm. Self-written and written 5 poems, the penmanship is very strong, and the end of the volume is self-aware: "The emperor ascended the throne in the summer and May", which should be the first year of Emperor Renzong's heavenly saint (1023), when Lin Kui was 57 years old. This painting has Su Shi and Qing Qianlong, and after the volume there are Wang Shizhen, Wang Shimao, Wang Hongxu, and Dong Yubao.
11
Cai Xiang's "Self-written Poems"
"Zishu Poems" volume (Northern Song Dynasty) Cai Xiang, on paper, three paper, 28.2cm in length, 221.2cm in width, xingshu, collection of the Palace Museum. At the age of 40, I was not confused, and I was used in middle age, and I was still not happy when I was late. The lightness of the mood is seen directly between the pens. The whole passage is smooth and natural, calm and beautiful, elegant and elegant, and contains clarity. The first line of the work with kai, very intentional, gradually smooth and informal, overflowing into the grass, and finally sprinkled as a small grass, the more to the later more dashing and free, posterity rated as: "the first small line of this public book".
12
Fumihiko 's Three Scrolls'
"Three Thepical Scrolls" (Northern Song Dynasty) Wen Yanbo, collection of the Palace Museum. Wen Yanbo's writings are rare in the world, and these three posts seem to be criticized for the case. Wu Rongguang's "Records of Xin Ugly Selling Xia" has a bibliography, but the Tibetan seals of the various families and the King of Rongjun are missing. These three posts are written by Wen Yanbo's official copywriter, and the first post is old, seems to have been exposed, and the ink color is tired. The second sticker is as big as a fist, the gesture is calm, and there is Yan Zhenqing's legacy, and Zhang Heng believes that this is the first inkblot passed down by Wen Yanbo.
13
Wang Anshi's "The Will of the Lengyan Sutra"
"The Will of the Lengyan Classic" volume (Northern Song Dynasty) Wang Anshi, Shanghai Museum collection. The Song Wang An Shi Shu Leng Yan Jing Zhi Zhi Volume has a line in the middle of the main book, and the knots are slender and tightly gathered. There are strange vertical changes in the posture of the word, left pitching right, up and down, horizontal pen escape, lonely out of the pick, quite a strange fun. Use the pen to be clear, start the pen and press lightly, guide the transfer and release, make the rotation flexible, quite Yang Ning's penmanship. The whole line is close, there are few blanks, but the words are staggered between the lines, not stagnant, there is a "horizontal rain and oblique wind" trend, and the meaning of Xiao Is scattered and simple.
14
Huang Tingjian,"The Seats"
"Theravada" volume (Northern Song Dynasty) Huang Tingjian, collection of the Palace Museum. This volume is on paper, large cursive, 33 cm in length and 729.5 cm in width. The Theravada was originally an excerpt from the quotations of the five generations of Jinling monks, and the whole passage is the language of "Zen Buddhism". This volume was written by Huang Tingjian for his friend Li Rendao, and the "Valley Old Man Book" and the "Valley Road People's Seal" were signed. After the volume there are Wu Kuan of the Ming Dynasty and Liang Qing Biao of the Qing Dynasty.
15
Mi Fu 'Poems of The Amaranth Stream'
"Poetry of The Dragon Creek" volume (Northern Song Dynasty) Mi Fu, the Palace Museum collection. "Song Mi Fu Xi Poetry Thesis", Northern Song Dynasty, Mi Fu Book, paper, xingshu, length 30.3cm, horizontal 189.5cm. He wrote his own poem for the book of Mi Fu on August 8, 1088, the third year of Song Yuanyou (1088). A total of 35 lines and 294 words, this is a book written by Mi Fu when he was thirty-eight years old. The bell has "Shaoxing", "Ruisidian Seal", "Xiangyuan Bian Seal", "Qianlong Imperial Treasure", "Jiaqing Imperial Treasure", "Xuantong Imperial Treasure" and other treasure seals. Under the first line of the post there is the number of the "du" character of the Xiang collection, and after the post there is Mi Youren and Li Dongyang.
16
Zhao Tuo's "Cursive Thousand Character Text"
Cursive Thousand Characters Volume (Northern Song Dynasty) Zhao Yao, Liaoning Provincial Museum Collection. This volume is written on paper, cursive, 31.5 cm in length and 1172 cm in width, depicting a golden cloud dragon, 3 zhang long, without a single seam. The cloud dragon pattern is vivid and orderly, and it is still the legacy of the Tang Dynasty, which is invaluable to the study of papermaking technology in the Song Dynasty. The thousand-word text written in the wild cursive written on it is written in one go, the gestures are volleying, unpredictable, like the Yangtze River rushing, a thousand miles, the pen is fast and smooth, and the knot body is strangely elegant. This volume was written in the fourth year of Xuanhe (1122) and is a rare treasure of Zhao Tuo's calligraphy when he was 40 years old.