This very local calligraphy work, huang Tingjian's masterpiece "Pillar Ming", was auctioned for 436.8 million yuan (including 12% commission) at the Beijing Poly International Auction, which caused a great sensation in the domestic collection and calligraphy history circles, and the "most expensive" works in the history of Chinese calligraphy were simply ridiculously expensive! Once again, the infinite possibilities of calligraphy value are verified.
The works are as follows throughout:
This painting of the famous Northern Song Dynasty calligrapher Huang Tingjian (1045-1105) ink "Pillar Inscription Scroll" is in paper, a total of more than 600 words, the book Wei Zheng "Pillar Inscription" text, there is no year on the volume. The volume is 32 cm high and 824 cm long, plus the inscriptions of famous artists on the tail paper, the total length of the volume is about 1500 cm. It was originally stored in the Fujii Arikan museum in Kyoto, Japan. As follows, we will enlarge the original picture in WeChat to the maximum visual effect, for everyone to enjoy!
Huang Tingjian's handwriting, which was ridiculed by Su Shi as "dead snake hanging from a tree", especially like this "Pillar Inscription", is very attractive after enlargement! Right?
In fact, Huang Tingjian was first a student of Zhou Yue. With the wide eyes and high knowledge, Huang Tingjian soon transferred to the "Second King" or even said "Lan Ting". He has a poem praising Yang Ning's style that can explain the depth of his understanding of the practice of "Orchid Pavilion Preface": "The people of the world have learned the lanting noodles, and they want to change the bones without jindan." Who knows Luoyang Yang Fengzi, the next pen will go to the Wusi column. This cannot but be without his deep understanding of Xizhi's calligraphy.
Huang Tingjian's calligraphy is unique in its royal body, breaking the framework of the thousand-year-old royal body. Then, Huang Tingjian studied Su Shi, and although he and Su Shi were friends and mentors, they were actually only eight years apart. Judging from the inkblots of the Xingbang Codex that Huang Tingjian has passed down to the present day, its skimming opening, the flat shape of the glyph, and the upward movement of the characters to the right all clearly show the characteristics of Su Shi's calligraphy, and even some exaggerations and emphases, but it is too jerky and not familiar with Su Shupu. Huang Tingjian, on the other hand, influenced Su Shi with zen enlightenment.
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