Editor's note: In the history of calligraphy and painting appraisal, there has never been a shortage of appraisal cases with different opinions and disputes. And the appraisal of the past generations, the so-called "giant eye", can always pick up the gold through the sand, remove the clouds and fog, and distinguish the good from the bad, the true from the false. The author of this article is Mr. Fu Shen, a well-known connoisseur and art history research scholar. Mr. Fu Shen analyzed and studied this ink from many aspects of materials, style, literature, circulation, and technical testing, and finally related it to the poet Li Bai, and as a family, this conclusion cannot but be said to be shocking! However, this just triggered our thinking and remembrance of the true face of Li Bai's calligraphy, in view of this, the full text of the special issue is published for the benefit of readers.
Li Bai (701-762), known as Taibai, known as Qinglian Jushi, also known as "Qi Xianren", was a famous poet of the Tang Dynasty in China, a well-known and admired poet and wine fairy, and a representative of the Tang Dynasty meteorology and classical culture. The Tang Dynasty (618-907), in which Li Bai lived, was a powerful and influential dynasty in Chinese history. It has achieved high achievements in politics, economy, society, culture, diplomacy and other aspects, and was one of the world powers at that time. Tang has contacts with Asian and European countries, and is the economic and cultural center of Asia. With the increasing economic prosperity, the culture and art of the Tang Dynasty also entered a prosperous period, reaching a peak state in poetry, painting, calligraphy, etc., and playing a magnificent and inclusive colorful movement of the great era. In the Tang Dynasty, being a chivalrous man and a great general was the outlook on life of the people at that time. Throughout Li Bai's life, we can see the life experience of a young ranger, a middle-aged politician, and a Taoist in his later years. Odd people often have an unattainable talent that makes them seem to be inherently superior to others in everything they do. However, as a representative of the Tang Dynasty's romantic poetry school, because Li Bai's poetry is too dazzling, and the light of the swordsman and calligraphy achievements is hidden by it, it is not known! Historical records record that Pei Min, the first swordsman of the Tang Dynasty, is Li Bai's master, and Li Bai also said that he has not tasted defeat except for Pei Min, because the master is called the first swordsman in the world, so Li Bai is also considered by later generations to be the top three swordsmanship masters in the Tang Dynasty.
The art of calligraphy was highly developed and gradually popularized in the Tang Dynasty, and many literati were both poets and calligraphers, including Li Bai, a calligrapher who was overshadowed by the name of the poem. Li Bai and Zhang Xu, a great calligrapher of the Tang Dynasty at the same time, were known as the "Eight Immortals in Drinking", and had a close relationship, and his free and easy calligraphy style had a certain impact on Li Bai's calligraphy art style. Later, Li Bai served in the Hanlin Academy, and the rich resources of the Hanlin Academy also provided Li Bai with more opportunities to learn. Because the Li Tang royal family admired Wang Xizhi's writings, in such an environment, Li Bai was also affected. Poets of the Tang Dynasty depicted and commented on the works of calligraphers in their poems, and calligraphers expanded the field of poetry for poets.
Li Bai once wrote the poem "Wang Right Army" and praised Wang Xizhi: "The right army is halal, and it is chic and dusty. Li Bai had a deep friendship with Huaisu and Zhang Xu, two famous cursive representatives of the Tang Dynasty, and met Huaisu in Lingling and wrote "Cursive Songs". On the way to refuge, he met Zhang Xu and made "Tiger Walking". When Li Bai was watching Huaisu's cursive writing, he wrote a poem: "The wind and rain are frightening, and the falling flowers and snow are boundless." Get up and don't stop to the wall, and a line of numbers is as big as a bucket. It was like hearing a ghost, and I saw the dragon and snake walking from time to time. The left and right sides were like shock, and they attacked and fought with Chu and Han. This description shows the beauty of the form expressed in the art of calligraphy through the lines and shapes of Chinese characters.
When it comes to Li Bai's calligraphy works, the world knows more about the "Balcony Post" in the collection of the Palace Museum, although it is quite controversial, it is also a wonderful ancient calligraphy work. But what I don't know is Li Bai, who has been scattered overseas and wandered for many years, "Mocking Wang Liyang's Refusal to Drink".
Fig.1 "Mocking the King Liyang Refuses to Drink", 26.4cm×67cm on paper
1. "Mocking King Liyang's Refusal to Drink"
This Li Bai's "Mocking Wang Liyang's Refusal to Drink Post" is 26.4 cm long, 67 cm wide, on paper. The whole post has a total of 50 words, and the signature is Li Bai. The poem says: "The ground is white, the wind is cold, and the snowflakes are as big as hands." Laugh and kill Tao Yuanming, don't drink the wine in the cup. Lang stroked a piano and planted five willows. Empty head scarf, what do I have. The poem was included in the 182nd volume of the "Quantang Poems" and has been passed down to this day. The works have a number of collection seals such as Ogi Sheng, Zhiliu Peiqiu and his wife, and the same true reward.
According to what the author has seen, "Mocking King Liyang Refuses to Drink", the style of the book is clean, with the skeletons of Ouyang Xun and Chu Suiliang, and some shadows of Sui and Northern Qi. This may be related to the fact that since Tang Taizong to Tang Xuanzong, he has advocated retro in calligraphy from top to bottom, and it is also directly related to Li Bai's experience as a young ranger. This post is a total of five crosses, should be written by Wang Liyang when drinking, calligraphy with a pen hearty, vertical and horizontal, each dip in ink straight to the end, a poem dipped in ink six times. The size of each word is staggered, not informal, and reading this work carefully, such as a chivalrous sword wielding, straight to the chest, which makes people can't help but boil their blood when they see it. From the words, you can see that a generation of swordsman Li Baizong is a genius, and his style of writing is unique, which is also very in line with Li Bai's different life as a poet immortal, wine fairy, and swordsman.
Through observation, in addition to the style of the Jin and Tang dynasties, this post is exactly the same as the style of Li Shimin's "Jin Ancestral Inscription". Comparing the Feibai calligraphy of the inscription of the Jin Ancestral Hall with the ink of the post, from the penmanship to the characteristics of the pen, the mention and press can clearly see the commonality of the early calligraphy style of the Tang people.
Fig.2 Comparison of the inscription of Tang Li Shimin's "Jin Ancestral Hall" and the calligraphy of "Li Bai mocks Wang Liyang's refusal to drink".
The paper used in this post is produced in Sichuan paper during the Tang Dynasty, due to the passing down of the years, the overall color is yellow and black, the creases on the paper surface show that the paper is brittle at present, the fiber is finer, the size of the paper is consistent with the paper regulation commonly used by the Tang people, the ink color is deep, and the paper is integrated, the paper surface is covered with natural pulp, the color and the paper surface break is the same as the Tang Dumu's "Zhang Haohao Poem Scroll" in the collection of the Palace Museum. The overall color of the work is mellow and ancient, the style of calligraphy is robust, and the momentum is vigorous, revealing a strong and bold atmosphere, which is completely consistent with the Tang people's comment that "the handwriting is sharp, and the phoenix is long".
2. Use a pen and ink marks
1. Use a pen
In addition to the documents unearthed in Dunhuang, Turpan and other places since modern times, there are only 100 pieces of ink in the Jin and Tang dynasties. Connoisseurs of the past generations have examined and compared their writing characteristics, and can determine that most of them used core hard pens. The Tang pen in the collection of the Shosoin Institute in Japan can be physical evidence, and there are relevant historical documents to corroborate.
Li Bai's "Mocking Wang Liyang's Refusal to Drink" shows the characteristics of a short-edged and hard core pen made by wrapping paper in terms of brushwork. Let's try to take the word "drink" in the title of the post as an example. This is one of the larger words in the whole post, about 6.5 centimeters square, the second stroke of the upper part of the word "food" next to the word "people" is written as a short stroke, this stroke is the thickest stroke of this word, using the side, against the paper and the book, the width of the stroke is about 1 cm. The size of the 17 Tang pens in the collection of the Kashokura Institute is about 1.5 cm with a diameter of about 1.5 cm and the largest is about 4 cm with a diameter of about 2 cm. The hemp paper wrapped in the refill of this pen accounts for about three-fifths of the nib, which means that its effective use range is only two-fifths of the nib, because it can't be pressed down any further. In the case of the thickest Tang pen in the collection of the Shosoin Temple, the diameter of the pen shaft is 2.3 cm, which seems to be shocking today, and can only be held by the "single bud method", and the effective use range of the pen tip is only about 1.6 cm, so it is not surprising that there are almost no large characters in the ink blots handed down from generation to generation in the Tang Dynasty. Li Bai's "Mocking Wang Liyang's Refusal to Drink Post" swept out obliquely, and the pen was neatly and short, strong and powerful, and those who were not familiar with the pen could not do it. It is impossible to write this effect if you use a long-edged pen made by the non-wrapping method, which is the pen we usually use today. The paper wrapping pen with a front of about 2.5 cm can just achieve this effect. The author tried many times and found that only with the copied Tang Dynasty hardcore pen can the feeling of the original post be written.
Fig.3 Shosoin in Japan existing Chinese Tang Dynasty hardcore pens
2. Ink marks
According to Chen Yi's "Negative Xuanye Lu" in the Southern Song Dynasty, he once saw the ink of Li Yangbing's seal book in the Tang Dynasty: "Common authentic handwritings, the beginning and end of their calligraphy and paintings, are slightly exposed. Reflecting the sun, a wisp of ink in the center is twice thicker, covering it with a powerful brush, and straight down, so the front is often in the painting. ”
This account has been used by later generations as a model for the use of the pen in the center, and it is clear that the commentators have only focused on the penmanship and neglected the writing tools on which the penmanship is based. Through the study of ancient pen documents, supplemented by the data of Tang pen in the collection of Shosoin in Japan, imitation objects and unearthed cultural relics disclosed in modern times, it is increasingly difficult for us to ignore the influence of factors such as writing tools and living systems on the Book Fair. The discovery of the ink blot of Li Bai's "Mocking Wang Liyang's Refusal to Drink" confirms this.
Fig.4 A thin line can be seen in the large character pen marks, which is the effect caused by the unique hardcore pen of the Tang Dynasty
Through observation, the words "drink" and "ken" in the title of the poem "Mocking Wang Liyang's Refusal to Drink" appear "the ink in the center is thicker", but this ink line is not due to the full ink dipping, and the ink is concentrated in the middle of the stroke when writing, but is obviously a hard pen trace, which confirms that the brush used by Li Bai to write "Mocking Wang Liyang's Refusal to Drink" must be a core pen made by wrapping paper, and "the pen is powerful". From this ink line, it can be seen that it is not the trace formed by the center of the pen when it is dipped in ink and full of writing, but it is obviously a hard pen scratch, which confirms that the brush used to write the post is caused by the hard core pen (chicken distance pen) made by the unique paper wrapping method of the Tang Dynasty. In the late Tang Dynasty, the appearance of the Sanzhuo pen, the paper wrapping hard core pen was not very popular, and there was almost nothing to see in the Song Dynasty, which also strongly confirmed that the style of calligraphy in this particular period was greatly influenced by the brush, and the pen was sharp, clumsy, naïve and natural.
In addition to the characters written in thick ink, ink lines and scratches are formed in the middle of the strokes due to "mortgage millimang" and "strong pen", and the words made by the dry pen can also reflect that Li Bai used a paper pen. For example, the word "calendar" in the title, the last horizontal stroke is like a double hook frame that has not been filled, there are two thin ink lines on the top and bottom, and the lower one is particularly straight and powerful, like the black silk column made with a bone pen on the Tang people's scriptures. This is because the amount of ink stored in the paper and pen itself is not large, and the first two words "mock" and "king" are written very hard and thickly, resulting in the ink drying up of the word "calendar". After the pen is dry, the hair on the outside of the refill explodes to form a "thief hair", because it may be purple hair, it is relatively hard, so it can form a straight ink line. And the ink in the center of this pen is the trace of the "heart pillar" wrapped in hemp paper. Because the hair of the pen can not be gathered after drying, and the pen can not be against the paper, so the pen can only be lifted slightly and written lightly, so there are no scratches on the paper.
3. Research on the age of creation
"Notes on the Chronicle of Li Bai's Complete Works" is annotated under "Gift to Wang Liyang after Getting Drunk on the Snow": Wang Liyang, county commander Wang. Liyang is a county in the Tang Dynasty, located in Ma'anshan City, Anhui Province, named after "there is Lishui in the south of the county". The person who examines Wang Liyang is Wang Lizhen, who can be checked in history as Wang Lizhen, who served as the Cheng of Liyang County in the first year of Taiji of Tang Ruizong (712). In the seventeenth year of Kaiyuan (729), he was appointed as the city of Liangzhou. Assuming that Wang Lizhen was born at the age of twenty, and Liyang County Cheng was the first official position he held, then it can be deduced that Wang Lizhen was born around 692, about nine years different from Li Bai. By the second year of Shangyuan (761), Wang Lizhen was 69 years old. Due to factors such as age and seniority, even if he was persuaded to drink, Wang Liyang refused to drink because he was not strong enough to drink, and Li Bai, who was knowledgeable and reasonable, would not use the "mocking" way to write poems. Therefore, the poem must have been written before 761. And according to the old and new "Book of Tang", the first year of Tang Suzong (760) was famine, fighting rice and thousands of dollars, and people were cannibalistic. In 761, there was a great famine in Jianghuai, and Li Bai could only wander around Jinling, relying on people to make a living. In the case of severe famine for two consecutive years, Wang Lizhen, as the magistrate of Liyang County, is not a wealthy family, worried about the disaster, the victims, and social security, how can he be in the mood to drink with Li Bai, "The book is bald and the rabbit is hairy, and the poem is two cows' waists?"
Also from the analysis of the wording of the poem. Li Bai used the sentence structure and rhetoric of "snowflakes are as big as ×" only twice, one is "North Wind Travel" written in Youzhou in October of the eleventh year of Tianbao (752): "The candle dragon perches on the cold door, and the light is still open." Why can't the sun and the moon shine like this? Only the north wind comes up from the sky. The snowflakes in Yanshan are as big as a seat, and the pieces blow down the Xuanyuan Terrace ......" is "the white wind is cold, and the snowflakes are as big as hands" of "Mocking Wang Liyang Refuses to Drink". This is both exaggeration and realism, and although the poet has a rich imagination, it is difficult to write such simple but penetrating verses without being there. The snow in Youzhou is as big as a seat, and the snow in Liyang is as big as a hand, both of which are written as big as snow, but the degree of exaggeration is in line with the reality of geography and climate. After Li Bai returned from Youzhou, he went all the way south, crossed the river in Hengjiangpu, Liyang County, Hezhou in the early winter of the twelfth year of Tianbao (753), and traveled to Xuancheng and Jinling. The poet who has just experienced the heavy snow in Yandi in Youzhou, and when he travels to Liyang in the next year, he encounters heavy snowfall, and the two snow scenes are the same literary heart, so he uses the same sentence structure and rhetoric.
Therefore, the author deduces that the poem "Mocking Wang Liyang Refuses to Drink" was composed in the early winter of the twelfth year of Tianbao (753). This year, the poet fairy Li Bai came to Liyang after traveling to Youzhou, when the snow was falling, Liyang County Wang County set up a banquet to entertain Li Bai, Li Bai frequently raised a glass during the banquet, appreciating the beauty of Liyang Mountain, water and wine, but unfortunately people are not "beautiful", because no one accompanied him to drink, so the poem "Mocking Wang Liyang refused to drink". Although Wang Liyang is a little-known figure, he is known to future generations because of Li Bai's poems and handwritings.
Fourth, the circulation has been investigated
According to the data of Japanese academic circles, Li Bai's "Mocking Wang Liyang's Refusal to Drink" is speculated to have been written in the twelfth year of Tang Tianbao (753), and was presented by the great poet Li Bai to the Japanese students who had close contacts with him (passed on as Abe Zhongmaro) and brought to Japan for collection, which is consistent with the way and time when Li Bai's poetry anthology was introduced to Japan. As early as 717, the scholar and politician Kibi Shinbei of the Nara period of Japan and the envoy Abe Nakamaro sent to the Tang Dynasty came to the Tang Dynasty to worship and communicate. In 753, Kibi Zhenbei entered the Tang Dynasty for the second time and returned to Japan with the Tang monk Jianzhen, carrying a large number of Tang Dynasty items, including the "Mocking King Liyang Refuses to Drink Alcohol". One of the purposes of Jibei Zhenbei's two visits to Datang was to search for Han nationality. Li Bai was famous in the era in which he lived, and his anthology was collected by the Tang Dynasty mission and brought back to China.
From the existing calligraphy of the Tang Dynasty in Japan, we can get a glimpse of a large number of Chinese books brought back from the Tang Dynasty by the Japanese mission to the Tang Dynasty, including the fragments of the Spring and Autumn Classics, some of the volumes of the Book of Rites and Justice, a part of the Wang Boji calligraphy, fragments of Tang poems and fragments of historical records preserved in the Tokyo National Museum, a collection of poems by Hanlin Bachelors, which has been rated as a national treasure of Japan, and the sixth volume of the new book of the world collected in the Kyoto National Museum. On November 16, 753 A.D. (the fifth year of Tenpei Katsuhei in Japan), Master Jianzhen, Abe Nakamaro, and the deputy envoy of the Tang Dynasty, Kibi Shinbei, returned to Japan with the Japanese mission. "The Biography of Tang Dahe and the Expedition to the East" contains the items that Jianzhen brought to Japan on his sixth eastward journey: "The meat relics of the Rulai will be 3,000 grains...... Wang Youjun's authentic handwriting is a post, Xiao Wang's authentic handwriting is three posts, Tianzhu, Zhu He and other miscellaneous books are fifty posts......" and "fifty posts", recording the number of ink damage, and Xu Libai's post is also among them.
Fig.5 Five-year bill for Enki at Chikushi Kannonji Temple in Japan
The post has long been stored in the Chikushi Kannonji Temple in Dazaifu City, Fukuoka Prefecture, which was the residence of Jianzhen after his journey to the east, and also the resting place chosen by Xuanfang, another high-ranking monk who sent Tang Dynasty. Later, when Kannonji Temple was fired, the shrine and various treasures were taken away by the Tan family for safekeeping, and during the Edo period, they became the private collection of Hosokawa Tadako (1563-1646), the lord of the Okura Domain (present-day Kokura Kita-ku, Kitakyushu City, Fukuoka Prefecture). After the Meiji Restoration, Japan implemented the "abolition of feudal domains" and the former feudal lord himself had to move to Tokyo, and the Hosokawa family was forced to sell part of the collection one after another. In order to verify the authenticity and historical and artistic value of the post "Mocking Wang Liyang Refuses to Drink", Mr. Ning Fan of Tomorrow had many in-depth exchanges with relevant experts in the Chinese cultural and museum circles in the 80s of the 20th century. On December 18, 1989, the first year of Heisei (1989), the Shoki Bunko commissioned the Kyoto National Museum Cultural Property Preservation and Repair Office and Usami Matsurudo Co., Ltd. to reframe the post in the form of a vertical scroll in accordance with the standards of Japanese cultural properties. In the 90s of the 20th century, the worst economic crisis since World War II broke out in Japan, and many large collectors sold their collections. In 2017, the Hong Kong Li Bai Poetry and Calligraphy Research Association obtained the post from a Japanese collector and asked the author to authenticate it.
Fig.6 Comparison of ink colors under the microscope The materials of the Tang Jing and Li Baiwang Liyang posts of the same period
5. Testing and analysis
From the comparison of the ink color and the paper pictures under the microscope, it can be seen that Li Bai's "Mocking Wang Liyang's Refusal to Drink Alcohol" is very similar to the ink-colored paper presentation of the scriptures under the volume of "Speaking of the Innocent Sutra" around the 700th year of the Tang Dynasty and the scroll of the "Vimala Sutra" from the Sui to the early Tang Dynasty, which can basically be determined to be works of the same era. The National Institute of Earth Sciences of Japan Co., Ltd. used carbon-14 methods to test the paper used in the post, and the test found that the production time of the paper used in the post was about 700 A.D. (± 30 years), which is also basically consistent with the works of the Tang Dynasty recorded in the literature.
epilogue
Throughout the "mocking king Liyang refuses to drink post", the paper color is mellow and ancient, from various aspects including the detection of paper age, and the comparison of the material and ink color of the Tang people in the same period, the writing traces of the hard-core pen, the style of writing habits, etc., it can be seen that this post is not a Tang pen can not be written, it is undoubtedly the ink of the Tang people, and the content of the poem is also consistent with the record, so it can be determined to be Li Bai's authentic handwriting. As a treasure of the Tang Dynasty law book associated with the Tang Dynasty poet Li Bai, Li Bai's "Mocking King Liyang's Refusal to Drink" is a survivor who broke through time and space in the long history, and is an important cultural relic for the study of Tang Dynasty history, literature and art, with important historical and artistic value, and is a well-deserved national treasure and an important cultural heritage of all mankind.
Attached: The arguments of Chinese and Japanese cultural experts on "Mocking Wang Liyang's Refusal to Drink".
Fig.7 A letter written by Mr. Xie Zhiliu in 1986
1. In April 1986, Mr. Xie Zhiliu, who was then the head of the National Ancient Calligraphy and Painting Appraisal Group of the State Administration of Cultural Heritage, went to Japan to inspect and saw this post, which left a deep impression on him, and mentioned in the letter he sent to his wife Chen Peiqiu: "I was surprised to see Li Bai mocking Wang Liyang's post, the pen is strong, the momentum is strong, the style of calligraphy is in line with the style of the Tang Dynasty calligraphy, and it is the ink of the Tang Dynasty. ”
Figure 8 Mr. Li Zhizhong's appraisal opinion
2. In November 1987, Tomorrow Xiangning Fan brought the post to China, and asked Mr. Shi Shuqing, then vice chairman of the State Cultural Relics Appraisal Committee, Shi Shuqing organized Professor Yan Shaoxuan and Sun Jing of the Department of Chinese and Chinese Language and Literature of Peking University, Li Zhizhong, director of the Department of Rare Books and Special Collections of the Beijing Library (now the National Library of China), and many other experts and scholars to study and discuss the "Mocking Wang Liyang's Refusal to Drink Alcohol". Mr. Shi Shuqing believes: "The ink of this post is deep, old and natural, the pen is strong and free, and it can be identified as the handwriting of the Tang Dynasty from the ink brushwork, which has the characteristics of the free pen of the literati at that time. Through the study of the book style and paper, Yan Shaoxuan believes that "this roll of paper is ...... It is similar to the Dunhuang scriptures, which can be proved to be the Tang people's Tang paper handwriting". Mr. Sun Jing believes that "through an in-depth study of the issue of evasion in this post, it is believed that from this post, we can see the indulgence of Li Bai's poetic style and the Tang people in the coexistence of the three religions and the relatively free thinking environment, and call the post 'one of the pillars of history'." Through the observation of the paper and handwriting of the post, Li Zhizhong believes that "the fiber, thickness, finish, tensile force, etc., of the paper used for the post, are consistent with the paper used by the Tang people to write scriptures in the Dunhuang testament, and it is identified as the hemp paper of the Tang Dynasty;
Figure 9 Mr. Qi Gong's appraisal opinion
3. In the spring of 1989, Mr. Qi Gong, then chairman of the State Cultural Relics Appraisal Committee, went to Japan to participate in the calligraphy exhibition of the famous Japanese calligrapher Nobuyyama Kamijo. This work calligraphy style is unique, both form and spirit, all aspects reflect the characteristics of the Tang Dynasty, the characteristics of the times are obvious, it must be the Tang Dynasty wonderful ink, whether it is written by Li Bai himself, it cannot be denied, further research is still needed, just from the calligraphy art, it is a wonderful Tang ink. ”
Fig.10 Appraisal opinion of Japanese expert Akira Fujieda
4. Mr. Akira Fujieda, a special member of the Japan Cultural Property Protection Council, once wrote an article pointing out that an ancestral collection of the Hosokawa family, Li Bai Mobao's "Mocking King Liyang", should be hemp paper produced in Sichuan Province from the material of the paper, which is mostly seen in the Tang Dynasty and uses a deer brush from the Tang Dynasty. The glyphs of the characters "calendar, wind, flower, cup, five, plant, he, and have" used in poetry were no longer used in the Song Dynasty. He believes that this ink treasure should be an important document in Li Bai's related research.
Figure 11 Mr. Chen Peiqiu's appraisal opinion
Mr. Fu Shen's appraisal opinion
5. In 2017, the staff of the Hong Kong Li Bai Poetry and Calligraphy Research Association also invited Mr. Xie Zhiliu's wife, Mr. Chen Peiqiu, to re-authenticate the post. Mr. Chen Peiqiu believes that "this post penmanship, obviously revealing the early Tang Dynasty Europe, Chu and Sui and Tang Dynasty to write the scriptures with the pen to take the momentum, this post in line with the characteristics of the Tang Dynasty pen, for the Tang Dynasty ink is undoubted, a closer look at this post, there are literati with the pen is not informal, the feeling of imagination, the pen is faintly sword and wine flow, and the history of Li Bai recorded in the Tang Dynasty sword fairy, wine fairy is very consistent, when it is Li Bai's true handwriting."
The author is a well-known art historian, calligraphy and painting connoisseur, and former director of the Chinese Art Department of the National Freer Museum of Art
For details, please refer to the 12th issue of Chinese Painting and Calligraphy magazine in 2020