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When it comes to calligraphy, people naturally think of a group of calligraphers such as the father and son of the "Second King", Ouyang Qian, Chu Suiliang, Yan Zhenqing, the "Song Four Families", Zhao Meng, and the "Wumen Four Families", and it is precisely because of their interpretation and inheritance of calligraphy art that a brilliant and splendid history of calligraphy has been formed. "Shenlong Lanting", "Chu G Lanting", "Qingti when the Snow Is Fast", "Mid-Autumn Festival", "Self-Narration", "Bitter Bamboo Shoots", "Zhang Haohao Poem", "Leek Flower Post", "Huangzhou Cold Food Post", "Songfeng Pavilion Post", "Shu Su Ti", "Amaranth Poetry Post"... These masterpieces are captivated by the unmath, because they are constantly rewriting and continuing the history of the book, interpreting the most authentic meaning of the classics.
Jin Wang Xizhi's "Qing Ti in the Fast Snow" is now in the National Palace Museum in Taipei
After more than a thousand years, these masterpieces lie quietly in the world's major museums, but perhaps only a few people know that 500 years ago, they were gathered in the Tianlai Pavilion in Jiaxing, Zhejiang Province, and these are only a small part of the calligraphy collection of its owner, Xiang Yuanbian. Combing through the catalogue of legal books collected by Xiang Yuanbian, the number of legal books in the past dynasties is more than 600, which is a basically complete history of pre-Ming calligraphy, and this scale is unique in the history of Chinese calligraphy collection.
Xiang Yuanbi statue
Xiang Yuanbian (1525-1590), Zi Zi Jing, Mo Lin Jushi, etc., many other signatures, Jiaxing people. In his youth, he inherited his ancestral business, mainly engaged in pawnshops, was willing to engage in business, and had no intention of doing anything. Influenced by his father and brother, he likes to paint and write poetry.
Because Xiang Yuanbian was a businessman and had no meritorious name, the style of the poems he composed was not very high, and he was often ridiculed by the literati, so he had many negative evaluations in many Ming and Qing notes. In the eyes of many people, he is just a vassal and elegant "local tycoon", with a stingy and mean face, and because Wen Peng and Wen Jia brothers have long served as his calligraphy and painting appraisal consultants, his own appreciation level has also been questioned. He did not have a single work, and the most impressive thing was the various seals stamped on the masterpieces of the past, and at this point, he and the Qianlong Emperor could be described as having the same disease, which made Xiang Yuanbian's artistic image more and more blurred and crude with the passage of time.
Jin Wang Xianzhi's Mid-Autumn Festival Thesis is now in the Palace Museum in Beijing
Most people seem to focus only on the art itself and the artwork itself, ignoring the practical significance of connoisseurs for the dissemination of art. In fact, without the existence of connoisseurs, works of art would not have been able to be passed on to the world. Not only that, the connoisseurs have gradually formed their own collection concepts, aesthetic orientations and quality standards, and even after forming a certain scale, they can sort out the source of art. These elements have influenced the creative style of artists to varying degrees, and this powerful driving effect even influences the direction and development trend of various art genres.
Xiang Yuanbi "Mid-Autumn Festival"
In the middle of the Ming Dynasty, the "Wumen Calligraphy School" and the Jiangnan calligraphy market were extremely prosperous, and Xiang Yuanbian lived in such a cultural background. He was not a pure speculator of painting and calligraphy, and his collection of paintings and calligraphy was only out of love of art, so that he often spent thousands of dollars on it.
Tang Huaisu's "Bitter Bamboo Shoot Stickers" is now in the Shanghai Museum
A major feature that distinguishes Xiang from other collectors is that these famous works of law books are not shelved and secret, but are studied and played with the literati and scholars around them. And Ningbo Tianyi Pavilion, which is also extremely prestigious, can really enter its inner secret treasures, and there have only been more than a dozen people in hundreds of years. In the environment where almost all collectors are "self-effacing and enjoy their own success", Xiang Yuanbian's selflessness is even more precious.
Song Huang Tingjian's Songfeng Ge Ti is now in the National Palace Museum in Taipei
Many literati and scholars in the middle and late Ming Dynasty had the experience of visiting Tianlai Pavilion, such as Dong Qichang, Zhan Jingfeng, Chen Jiru and others, which made the Jiangnan area form a cultural exchange circle with the Xiang collection as the core. One of the biggest beneficiaries is Dong Qichang. When Dong Qichang was in his twenties, he traveled to Jiaxing and was in the same door as Xiang Mu, the son of Xiang Yuanbian. Xiang Yuanbi appreciated his talents, tasted and commented on the famous works of the Fa of the Past Dynasties, and used his own collection for Dong Shi to study and copy, which had a subversive impact on him. Dong Shi still remembered this until his later years, and he said in the "Mo Zen Xuan Shu": "During the three or five years, li (referring to Jiaxing) traveled to study, and did everything in his power to collect the Ink Of the Jin and Tang Dynasties hidden by Xiang Tai's student Jing, and he knew that he had painstakingly spent years and months in the past. ”
Song Mifu's Poems of Theory of Thesis of TheSis of Theoxi (partial) is now in the Palace Museum in Beijing
Chen Jiru also had yun Dong's self-preservation of the Guan Tianlai Pavilion before he could "directly understand people with pens and ink to use samadhi". This is enough to explain the key role played by Xiang Yuanbian. It can be said that the trip to Tianlai Pavilion completely influenced Dong Qichang's view of calligraphy, laid a solid foundation for him to become a master in the future, and also led his calligraphy creation to a customs clearance avenue, and even the theory of "painting dividing the north and south sects" advocated in the future is also greatly related to this.
Yuan Gong Xuan's "Professor's Thesis" is now in the Palace Museum in Beijing
Xiang's position in Chinese cultural history is evident. In addition, an interesting phenomenon is that those Xiang's collection marks, which were harshly criticized by the previous generation of literati as "zhu traces", have been used as a symbol of the most precious treasures and masterpieces because of the name of Xiang Yuanbian that no one in the collection industry has ever been able to reach, which constitutes an inseparable content of these famous relics, which may also be an important reason why many Xiang's collections can still survive despite several disasters.