Sky-high Fortune Teller _ Fortune Teller Price

Why can Master Hongyi's "Let Go" shoot sky-high prices?

The value of art is closely related to its own spirituality. What kind of art is spiritual? At least it doesn't stop at the pleasing level, and its subject or essence is pleasing to the eye.

Recently, Master Hongyi's "Let Go" with only two words sold for 4710.5 million yuan. 20 1 1, Master Hongyi's masterpiece Hua Yan Ji Lian 300 was sold for 60.95 million yuan, setting a new record for modern calligraphy auction in China. How many contemporary people can read the works of Master Hongyi? Even how many people who collect his works can understand it? For some time, I have always held the view that "looking for paintings outside paintings" is a necessary condition for excellent works of art. Where did paintings come from? From the perspective of mysterious thoughts and knowledge, the mysterious things in the world are subjective under objective conditions! You and I can't touch its precise residence, but it can penetrate, but it can make you and I feel its inner nature. Excellent works of art have an "emotional code" for people with a certain level of appreciation, which is consistent with the art in our brains! Master Hony's mage has this wonderful spirit-it makes people who appreciate it forget whether they are arguing or not. Are you a good Mo Miao? Is it full of spring scenery? Is it full of autumn? There is an inexplicable smell, such as a gurgling stream and a long piano sound, which suddenly "drills into" the souls of onlookers. It is no longer a superficial body, but an possessed and elusive soul.

We have reason to say that art without spirituality can hardly be classified as outstanding; Let alone great! Usually, the strength of spirituality conveyed in works is roughly proportional to the influence of artistic creators. In other words, a great artist can only be called a great artist if he has no spirit under his wrist. I think spirituality includes both the richness in an artist's artistic life and the purity in his works. In other words, the ups and downs of the artist's career and unattainable achievements jointly construct the spirituality of artistic value, which in turn restricts artistic value.

It is true that environment makes people. When we review the track of Master Hongyi through historical materials, we will sincerely admire Li Shutong as Master Hongyi. On the contrary, it is God's injustice to Li Shutong. Master Hongyi (1880-1942) was originally named Li Shutong, also known as Li Xishuang, Ang Lee and Li Liang. His music name is, his young name is Cheng, his scientific name is Guang Hou, his handwriting is cool, and his other name is Shu Tong. After tonsure, he became a monk, and he was given the name Hongyi, and he was named the old man at night. My ancestral home is Pinghu, Zhejiang, and I was born in Tianjin. His fathers, Li Xiaolou and Li Hongzhang, were both scholars of Daoguang (1884) and ministers of official departments. Mother Li is Li's wing room. She can write poems. Master Hongyi lost his father in his early years and grew up under the care of his mother. Educated by Cai Yuanpei, 190 1 entered Nanyang Public School. 1905 went to study in Japan, studied oil painting at Tokyo Art School, and studied music at the same time. Together with Zeng Xiaogu, Xie and other students studying in Japan, he founded the Spring Willow Drama Club and performed such plays as La Traviata, Black Slave's Call to Heaven and New Butterfly Dream. 19 10 Li Shutong returned to China as the chief teacher of the graphic department of Tianjin Beiyang Institute of Technology. The following year, she was hired as a music teacher in Shanghai Chengdong Girls' School. 19 12, a former literary editor of Pacific newspaper, in charge of supplements and advertisements, initiated and organized literary societies with Liu Yazi, and edited the magazine Literature and Art. In June 5438+10 of the same year, the publication of Pacific Daily was closed, and music and art teachers from Zhejiang two-level normal schools applied for jobs. 19 15 used to be the art director of Nanjing Normal University. In teaching, he advocated sketching, began to use mannequins, organized foreign painting research societies, Xerox societies and Ningshe societies among students, and advocated aesthetic education. 19 18 August 19 Hangzhou hupao temple became a monk, traveled to Wenzhou, Xincheng Beishan, Putuo, Xiamen, Quanzhou, Zhangzhou and other places to teach Buddhism, and engaged in the writing of Buddhist Nanshan law.

The reason why I quoted the information shared above is to explain a problem that many people ignore: the key to artistic value is art itself; The "legend" and "contradiction" of the subject of artistic creation also play an important role in artistic value. In other words: at all times and in all countries, most great artists have "talking about capital" that people relish. Generally speaking, two artists who have achieved the same achievements, the richer their lives, the greater their artistic value. This may make some people feel unconvinced! When we calm down and think about it, we will find that whoever brings more imagination to the viewer will think that the artistic value of his creation is greater. Take Master Hongyi as an example to illustrate the above situation: Born in a wealthy family, he has a high talent.

In his early years, he studied in Nanyang, Tokyo, Tianjin and Nanjing, and had contacts with Cai Yuanpei, Zeng Xiaogu, Xie and others. At that time, if I had been to so many places when I was older, I really didn't know so much about high fitness. More importantly, he quietly retired into Buddhism when the world thought it was brilliant! Li Shutong, as a place where "the endless treasure that attracts worldwide attention, a bright moon shines on the world" and "Twenty Shocks the World", undoubtedly increases its own "legend" and "contradiction". How much self-discipline it takes if someone is willing to be dull when experiencing prosperity! So people in the secular world have great confusion and admiration for it.

Master Hongyi is not only full of "legendary contradictions" in his life choices and experiences, but more importantly, he truly presents the world with "things" that can be left behind besides calligraphy. Calligraphy is Li Shutong's lifelong hobby, and his "external work" is extraordinary. In the cultural development history of China for nearly a hundred years, Master Hongyi is recognized as a generalist and genius in academic circles: poetry, lyrics, drama, painting, seal cutting and music are omnipotent. Li Shutong's poetry occupies a place in the literary history of the 20th century. Mr. Guo Moruo said: "In the study of modern new poetry in China, we have to mention Xu Zhimo. In the study of modern ideological and cultural history in China, there is a person who cannot but attract our attention. This is Li Shutong, a legendary and famous artist all his life, a pioneer of modern art in China and a master of a generation of eminent monks. When young Li Shutong lived in Shanghai, he would record his past poems and compile them into Poem Bell Collection, which was circulated among the members of Chengnan Literature Society, and then compiled into Poem Bell Collection. On the eve of becoming a monk, he compiled more than twenty poems from the 26th year to the 30th year of Guangxu (1900- 1907). Among them, Farewell was once all the rage and became an enduring masterpiece. He is the pioneer of China drama movement and the founder of China drama. He is the main member of the first drama group "Spring Willow Society" in China.

La Traviata, which was staged during the Spring Festival in the 33rd year of Guangxu (1907), was the first drama staged by China people, with Li Shutong as the heroine Margaret. Later, he starred in The Black Slave's Call to Heaven and the one-act drama Living in Compassion, The Painter and His Sister. Good at sketching, oil painting, watercolor painting, Chinese painting, advertising, woodcut, etc. He is one of the pioneers of China's oil painting, advertising painting and woodcut. He was the first person to introduce western painting knowledge to China, and edited Woodblock Prints Collection together with educator and writer Xia Mianzun.

He is the earliest creator and advocate of modern printmaking art in China. He widely introduced western art schools and artistic trends, organized western painting research societies, and wrote works such as History of Western Art, Introduction to European Literature, and Usage of Plaster Model.

Li Shutong made great achievements in seal cutting: he started from Qin and Han Dynasties in his early years and joined Xiling Printing Society at the age of 35. At the age of 39, before he became a monk at Tiger Run Dinghui Temple in Hangzhou, he gave his seal cutting works and Tibetan seals to Xiling Printing Society. The organization built a "seal tomb" for it and erected a monument to commemorate it. Li Shutong's contribution to Indian studies is also reflected in his promotion of modern seal cutting. He personally initiated the establishment of another printing society after Xiling Printing Society-Xerox Society, and regularly collected and sorted out the works and historical materials of the printing society, which was the first thing that led the trend in the history of modern seal cutting. In terms of music, Li Shutong is also the first person in China to write music songs, and has achieved fruitful results and far-reaching influence. He edited Music Magazine, the first music periodical in China. He was the first person to promote the western "King of Music" piano in China and the first person to compose music with staff in China. He explained harmony and counterpoint in Zhejiang No.1 Normal School, was the first person to introduce western music theory into China, and was also one of the earliest promoters of "school music songs".

In the thirty-first year of Guangxu in Qing Dynasty (1905), the Collection of Songs of Chinese Studies was edited and published, which was used as a teaching material by primary and secondary schools at that time.

His songs "Song of the Motherland", "Greater China", "West Lake" and "Late Bell and Bright Moon" have far-reaching influence. In addition to the listed "works outside the book", his contribution to Buddhism can be described as enormous. He is a respected master of legalism in modern Buddhism, and he has a good knowledge of Huayan Sutra translated in Jin and Tang Dynasties. Master Hongyi's Buddhist thought takes Hua Yan as the mirror and the four-point method as the line, and the result leads to the pure land. That is, learn Hua Yan, practice the promotion method and believe in the pure land method. His Notes on Four-Point Dharma for the Military Capacity of a Bhikkhu and A Brief Introduction to the Dharma of Nanshan at Home are compulsory in the Buddhist circles in contemporary China.