Wang Xianzhi’s cursive mid-autumn scroll

[Wang Xianzhi’s Cursive Script of the Mid-Autumn Festival Postscript]

The Mid-Autumn Festival Postscript, which is said to be the book of Wang Xianzhi of the Jin Dynasty, is made of paper and hand scrolls, 27 cm in length and 11.9 cm in width
The Mid-Autumn Festival Posture is a famous ancient calligraphy work. It was once honored as one of the “Three Wishes” by Emperor Gaozong Hongli (Emperor Qianlong) of the Qing Dynasty, which means the treasure of the world
There are three lines in the running script, 22 words in total, and the explanation is:
The Mid-Autumn Festival Calligraphy is an incomplete copy of Wang Xianzhi’s “December Cutting Calligraphy” carved in the “Baojin Zhai Calligraphy Calligraphy”. There are six words “December cutting to no” before the “Mid-Autumn Festival”. The stickers were written with bamboo paper, which was fashionable in the Eastern Jin Dynasty and could not be produced until the Northern Song Dynasty. It can be seen from the running brush that the brush used is soft and heartless, while the Jin Dynasty used a hard brush with a heart, which has poor water absorption. The lifting, pressing and turning of the brush are often not flexible and easy, and often lead to theft. The effect of such a paste, which is plump and mellow, coherent in lines, coherent in movement, and natural and elegant, cannot be written. The Great View Record of Wu Sheng in the Qing Dynasty said: “The calligraphy is ancient and thick, and the ink is fresh and moist, but it looks like a fat maid. Although it is not filled with hooks, it may be imitated by Song people.” According to the research of contemporary calligraphers and painters, most of them think that it is Song Mi Fu, so it is also valuable
At the beginning of the volume, the title of the Qing Emperor Gaozong Hongli Xingshu is “Zhibao”
The Qianlong Emperor wrote a paragraph across the water
The line of Emperor Qianlong’s inscription “The Mid-Autumn Festival Post of King Xian of Jin” on the top right of the post body
At the back of the volume are the inscriptions and postscripts of Dong Qichang and Xiang Yuanbian of the Ming Dynasty and Emperor Qianlong of the Qing Dynasty, and the paintings of Emperor Qianlong and Ding Guanpeng are attached
On the front and back of the volume and across the water are the seals of the “Xuanhe” Inner House in Beijing, the Southern Song Dynasty Inner House, the Ming Xiang Yuan Bian, the Wu Court, and the Qing Dynasty Inner House
This post was once collected by Xuanhe and Shaoxing Inner Mansions in the Song Dynasty, Xiang Yuanbian in the Ming Dynasty, and Inner Mansions in the Qing Dynasty. In the Republic of China, the royal concubine of Emperor Jingyi carried her out of the palace and dispersed among the people. It was owned by Guo Baochang and then transferred to his son Guo Zhaojun. Later, together with Wang Xun’s “Bo Yuan Tie”, they were pawned in a foreign bank in Hong Kong. At the end of 1951, when the pawn period was about to expire, some foreign people wanted to buy it. Premier Zhou Enlai immediately instructed the relevant departments to buy it back and enter the Palace Museum
Books such as Xuanhe Shupu, Qinghe Shuhuafang by Zhang Chou of the Ming Dynasty, Qinghe Seeing and Hearing Table, Qinghe Secret Luggage Table, Wang Jiayu’s Coral Net Book Postscript, Qinggu Fu’s Life Spectacular, Bian Yongyu’s Collection of Calligraphy and Painting in Shigu Hall, Wu Sheng’s Grand View Record, Shiqu Treasure Collection, First Edition, and other books.