Zhou Lianggong, a Qing Jinshi scholar and connoisseur of calligraphy and painting, commented on the study of the seal of the Song Dynasty: "This way is the same as the sound poem, the Song and Yuan dynasties have no poetry, and the poetry of the Ming Dynasty can follow the Tang; the Tang and Song Dynasties have no seal, and the seal of the Ming Dynasty can inherit the Han." The Qing Dynasty Chen Keshu's "Seal Carving Proverbs" also extends this. Three hundred years later, Mr. Fu Baoshi had in the "Outline of the History of Chinese Seal Engraving" that "Zhu Wenyin after the Sui and Tang Dynasties was completely unrecognizable, and it was mainly based on 'Reticulating Pan hui', focusing on alignment and symmetry." "The three theories have left one thing behind and the other, and they are almost abandoned. The development of the Ming and Qing seal engraving genres is a conceptual breakthrough for the "Yinzong Qin han", but abandoning the Song seal and cutting off history will not be able to interpret the stylistic source on which the Ming and Qing literati seal carvings rely. For more than three hundred years in the two Song Dynasties, in the literary and artistic category, it is comparable to the Sheng Tang Dynasty, and although the Song poetry is not as good as the Tang poetry, it is far above the Ming and Qing dynasties. Words have become the iconic literary genres of the Two Song Dynasties. The Tang and Song dynasties with the highest literary achievements were only Han Liu, and the Song occupied six. The courts of the Two Song Dynasties set up a complete and elaborate Hanlin Picture Academy, and the art of calligraphy and painting was even more splendid and complete, and the two Song Dynasty printing studies were placed in such a cultural background. Emperor Huizong of Song and Emperor Gaozong favored calligraphy and painting, and the seal of the Inner House Calligraphy and Painting Collection was even more magnificent. The emperor's fascination with calligraphy and painting has become a fashion orientation, and the participation of literati and scholars in practice is a key to the forward deduction of printing, making the two Song Dynasties an irreplaceable turning point in the history of printing, and affecting the formation of the "Yuan Zhuwen" printing style.
One or two seals used by the Song Dynasty
When the Sui and Tang dynasties appraised calligraphy, there was very little precedent for the collection of seals, but only signed the name on the handwriting or the side page of the legal book, indicating that it had been identified by his eyes, and Tang Zhang Yanyuan's "Records of Famous Paintings of Past Dynasties" Volume III "Narration from the Ancient Paiwei Escort Office" recorded: "The former imperial palace, from the Jin Song Dynasty to the Zhou Sui Dynasty, collected books, and did not make a mark, but it is prepared to list the identification artists at that time. "The "charge", as the name suggests, is also the money spent on the charge. For example, Wang Xizhi's "Funeral Post" is next to the lower right side of Xu Shengquan's detention office, Wang Hui's "New Moon Post" is post-Manyu and Yao Huaizhen's detention office, Wang Xizhi's "Second Xie Ti" between "Liang Bu" and "Re-worship" Yao Huaizhen 'Zhen' character detention office, especially "Feng Orange The" charge office has more than ten people such as Zhuge Zhen, Liu Guyan, Zhiguo of the Sui Dynasty, and Ouyang Xiu and Han Qi of the Song Dynasty. From the current point of view, the Oshiage Will Undoubtedly deface the ancient Fa-Ti, but the ancient collection system has not yet been perfected, and it can be seen that the seals of the past dynasties can be seen, and it was not until after the Northern Song Dynasty that the Oshiage Was gradually replaced by the Obishi Seal.
Wang Xizhi's "Bong Tangerine Thesis"
The Song dynasty followed the old system of the Southern Tang Dynasty and set up the Hanlin Academy under the Inner Province, with four bureaus of astronomy, calligraphy, painting, and medical officers, reviving calligraphy and painting and enriching the collection of the Inner Province. According to the Southern Song Dynasty Deng Chun's "Painting Succession", the famous paintings of the Song Dynasty's Taizong Duan Gong in the first year (988) have been stored in thousands of volumes, and the Collection of paintings and calligraphy collected by the Hui Song Dynasty after 141 years of seven dynasties, the calligraphy and paintings collected by the Inner House are filled with, and a hundred times that of the previous dynasty. Emperor Huizong of Song collected a wide range of calligraphy and painting treasures from all over the world, expanded the Hanlin Picture Academy, and the Inner House collected the famous relics of the past, reaching an unprecedented abundance, and ordered Wenchen to compile the Xuanhe Book Genealogy, xuanhe Painting Spectrum and Xuanhe Bogutu. Xuanhe Neifu not only gathered the treasures of the world, Song Qiaonian, Mi Fu, Cai Jing, Liang Shicheng, Cai Bian, etc. devoted themselves to the protection and sorting of the calligraphy and paintings collected by the Inner House, reframed and compiled into volumes, and Song Huizong personally inscribed labels and graded them into Tibet. From the existing famous calligraphy and paintings, the Guan Jian Collection seals are: 1. 1.2. A gourd-shaped seal of the "Royal Book"; "Double Dragon" round seal; 3. 1. "Xuan Gong" with one bead; 1.5. "Zhenghe" rectangular print; 1.1.1.1.1. "Xuanhe" rectangular print; 7. "Zheng Gong" is printed with one bead; 8. "Seal of the Inner House Book" nine stacks of large prints; "Double Dragon" square seal one; 9. 10. "Xuanhe Zhongbi" oblong seal; 11. A rectangular seal of the "Royal Book"; 12. Seal of the "Treasure of the Imperial Book"; 13. "Grand View" Seal;13. "Heavy sum" printing. The former Seven Seals are called "Xuanhe Seven Seals" in modern times, which specifically refers to the "Xuanhe Loading" hand scroll on the constant stamp of the seven Seals, and the seals are only occasionally exchanged for the "Daguan", "Chonghe" and "Double Dragon" seals at the "Zhenghe" printing place, and the position of the seals remains unchanged. Some absurd people have put forward the phrase "More than a dozen seals of Xuanhe", but they do not know that the meaning of "Xuanhe Seven Seals" cannot be misinterpreted by using the number of seals. Xuanhe hand-scroll format is the standard five-paragraph style: blue-green Aya Tiantou, yellow silk front water, calligraphy and painting original width, yellow silk after water separation, white Song Goryeo note tail paper. Among the surviving Xuanhe relics, relatively well-preserved works include the Northern Song Dynasty Liang Shi Min's "Luting MixueTu" volume, which can be called the standard part of Xuanhe Neifu's loading pool. In the Qing Dynasty, Gao Shiqi recorded in detail the format of "Xuanhe Loading", materials and silk, and signatures in his "Records of the Summer Of Jiang Estate", and Mr. Xu Bangda also studied it deeply (with photos). After many great traces of calligraphy and painting passed through Nandu, the original Xuanhe inscription was cut and discarded into the Southern Song Dynasty "Shaoxing Suit" style, such as Tang Huaisu's "On The Book Post" volume, Tang Dumu's "Zhang Haohaoshi" volume, the Fifth Dynasty Yang Ning style "Leek Flower Thesis" volume, and the Fifth Dynasty Wei xian's "Gao Shitu" volume. From the Southern Song Dynasty to the Ming and Qing dynasties, most bibliographies did not record the "Seal of the Inner House Books" in the list of Xuanhe Zhuxi, such as the elaborate "Records of Clouds and Smoke Passing Through the Eyes" and Gu Fu's "Spectacular Life".
Gao Shiqi's "Summer Records of Jiang Estate" Volume 1
The Seven Seals of Xuanhe are arranged with Xuanhe seals
Song Huizong Zhao Tuo thin golden book
After Jing Kang, the Gaozong Dynasty attached no less importance to calligraphy and painting than the previous dynasty. The inner house collection seal can be seen: "Jianyan" lianzhu seal, "Shaoxing" lianzhu seal six, "Gangua" Gua Xiang round seal, "Treasure of the Imperial Book" nine stacks of text large square seal, "Inner House Book Seal" nine stacks of text square seal, "Royal Palace Law Book" large square seal, "Deoksugung Palace Book Seal" nine stacks of text large square seal, "Deshou" bead seal one, "ZixiaoDian Imperial Book Treasure" large square seal, "Ruisi Dongge" large square seal, "Ruisi Dongge" nine stacks of text large square seal, "Fenghuatang seal" One large square seal of the Nine Stacks of Texts, one large square seal of the "Lost Book Seal", one large square seal of the "Machine Qing Reward", one large square seal of the "Seal of the Secretary of the Inner Temple", one white seal of the "Royal Book", one white seal of the "Ruisi East Pavilion", one white seal of the "Machine Qing Reward", and one white gourd-shaped seal of the "True Pavilion". During the reign of Emperor Lizong of Song, there was still a large square seal of "Ji Xi Dian Bao", "Ji Xi Dian Book Seal", "Inner Temple Wen Seal", and "Imperial Palace Book" ("Wen Yuan Yinghua" Song carved orphan copy, Zhonghua Bookstore photocopy). According to Mr. Xu Bangda's research, most of the inner house prints of "Shaoxing Loading" are in the lower half of the last part of this painting, without exception. If its part is not conventional, it will be forged for posterity.
Song Gaozong's "Edict of Giving Yue Fei a Hand" is in the collection of the National Palace museum in Taipei
Xuanhe Dianbao Xuanhe Zhongbi Double Dragon Seal Royal Book Gourd Seal
Ruisi East Pavilion Ruisi East Pavilion
Zhenghe Zixiaodian Imperial Book Treasure Shaoxing
2. The two Song Dynasties private collection seals
"Song History Printing" Yun: "After the two Han Dynasties, people and subjects had gold seals, silver seals, and bronze seals. In the Tang dynasty, all the divisions used copper seals, and the Song Dynasty... The five-year edict of the Great Zhongxiang Symbol, the private notes used by the temples and the shishu house, will henceforth be squared one inch, carved wood for text, and may not be cast privately. "There are very few physical objects passed down from private seals in the Song Dynasty, which is related to the edict that private seal materials can only be made of wood, and wooden seals are perishable, easy to burn, easy to damage, and difficult to pass on." Interestingly, before the Song Dynasty, wooden seals were used as ming artifacts for burial. The prohibition of privately minted seals has also objectively promoted the use of other materials, such as jade, ivory, agate and other hard materials, but this material is expensive and cannot be owned by ordinary people. Due to the Northern Song Dynasty's literati preference for elegance, the scope of use of seals was expanded, and the name seal was stamped under the name of calligraphy and painting, and the seal of the name of the calligraphy and painting was gradually emerging. If Dongpo emphasizes the three-in-one of poetry and painting with "the same poetry and painting book, heavenly work and freshness", then Song Huizong and Mi Fu advocated painting furniture and printing, and the uniqueness of the comprehensive integration of poetry, painting and printing pushed literati painting to a new aesthetic form. Private collection of seals began in the Northern Song Dynasty. Due to the prosperity of calligraphy and painting collection, seals are frequently used in collection activities, and the content style is either taken from the county, or to take official positions, or to focus on examination and approval, or to be aimed at collecting. The seal of the Northern Song Dynasty calligraphy and painting collection has become an important basis for the identification of calligraphy and painting. Ouyang Xiu's "Reading to duanming waiters" and "Shang En Ti" on the ruler Zhu Wenyin is the earliest private seal of the Song Dynasty, according to the "Song History of Public Opinion", the emperor ordered Ouyang Xiuhuan to write the seal "Emperor Gong Zhi Tian's Treasure of The Mandate of Heaven". Then the "June 1st Resident" seal should be written for his own seal, and another craftsman engraved the seal in his later years, and the seal should be in the song Renzong Jiayou year. The "Xiu" character seal and the "Drunken Son's Descendants and Eternal Protection" used by Ouyang Xiu in peacetime are both Jianzang seals. Early private collection seals also include Su Shunqin's "Descendants of the Six Kingdoms Of Xiangyin", "Four Generations of Xiangyin", "Descendants of Xu Guo", "MoHao", and "Records of Martial Arts" Zhu Wenyin, which are stamped in the "Self-Narrative Post". There are many imprints of calligraphy and painting in the two Song Dynasties, and Mr. Xu Bangda's eye-catching ones are the Zhu Wen Hulu Seal of Han Nongxu "Shao Xun", Zhang Cheng's "Western Qin Zhang Cheng", "Western Qin Zhang Cheng's Seal", "Western Qin Zhang Cheng's Treasure of the Family Collection" Zhu Wenyin, Jia Xiangdao's "Xiang Dao", "Jia XiangDao's Descendants Yongbao's Seal", "Wei Guogong", "QiuYuan Book" Zhu Wenyin, "Yuesheng", "HuluYin", "QiuYuan Treasure Play", and some collector's seals that do not know their names and but know their surnames or names and have not been examined: "Examining the True Traces" Zhu Wenyin, "The Most Happy for Good" Zhu Wenyin, "Bao Jian Zhai" Zhu Wenyin, "Innocent Heirloom" Zhu Wenyin, "Wuxing Kaiguo" Zhu Wenyin, "Jinyun Ye Clan" Zhu Wenyin, "? Zhu Wenyin of "HuangShou", Zhu Wenyin of "Jinzhi", Zhu Wenyin of "Shuangxuan Zhen play", Zhu Wenyin of "Zhenhuatang Ji", Zhu Wenyin of "Strong Father's Book", Zhu Wenyin of "Passing Shishou", Zhu Wenyin of "Biling Kaiguo", Zhu Wenyin of "Jian Gu Tang", Zhu Wenyin of "Zhang's Book", Zhu Wenyin of "Descendants of ZhengXian", Zhu Wenyin of "Puyang FuShi", Zhu Wenyin of "Qing Uncle Play House", Zhu Wenyin of "Shuanggui Fangshi", and so on.
June 1st Layman Autumn Ridge Books
Third, the two Song Dynasties jian Tibetan printing style
Folded seal form: According to the Song Shi Youfu Zhi, "Taizu Zhao recast the Zhongshu Menxia, the Privy Council, and the Three Divisions envoy seal." First of all, the old seal was cast by the five generations, and the seal carving was not a worker. And the Casting Seal Officer in Shu Zhong, Zhu Gentle, said to himself his ancestral words, Tang Libu Cast Seal Officer, Shi Xi Miao Seal... Sergeant gentle recasting. The official seal of the early Song Dynasty followed the style of the Tang Dynasty seal and changed slightly, and this format was actually the "buckling and winding" form of "Miao Seal". Later, the situation changed a bit. Emperor Huizong "in the first year of the Great View, and obtained the jade worker, using the jade in the middle of the Yuan Feng Year to refine the Heavenly Son, the Emperor's Six Seals, and stack the seals." Therefore, at least since the end of the Northern Song Dynasty, the stacked seal should have been used to cast this wide-brimmed large seal. For example, in the "Seal of the Inner House Book" and "Xuanhe Dianbao", the strokes are bent and folded, and the folds vary according to the number of strokes of the words. The degree of buckling transitioned from less to more, to the Yuan Dynasty has developed into nine stacks of seals, the Qing Dynasty even appeared thirteen stacks, this pattern decorative effect, Mr. Sha Menghai in the "History of Printing Studies" described its dull like a weave, but also like a door lattice flower window, neat and uniform, rarely interesting. The private seals of the Northern Song Dynasty sometimes used the official seal pattern, such as the "Seal of Zhu Rong" (non-Jianzang seal), but the pattern was much beautified.
The Seal of the Inner House Books After Zhu Rong
2. Small seal into the seal: After Emperor Taizong of Song succeeded to the throne, he deeply understood that "those who think that the written word, the basis of the six arts, the rate of solidity is from the ancient law", and ordered Xu Xuan and others to proofread the "Explanation of Words and Characters". Xu Xuan was a bureaucratic scholar of the Southern Tang Dynasty and the Song Dynasty, and was the leader of the poetry circle in the early Song Dynasty, and his influence was great. Ouyang Xiu's "Records of Seo Hyun Sungai Monastery" commented: Hyun and his brother Kai can both score eight small seals, and the penmanship is quite weak. It is famous for its Wenhan in Jiangnan, and its name is Erxu, which is known as the sect of scholars. It can be seen that the early Song Seal Book advocated small seals. The Heilongjiang Provincial Museum holds Xu Xuan's Fragments of the Seal Book of a Thousand Characters (Song Facsimile), which has a stable structure and a slight lack of penmanship as Ouyang Yongshu commented. The official seals of the two Song Dynasties are not only "Miao Seal", but also change the small seal. Some of the Seals are a mixture of seals, miao seals, and small seals, and there are still errors. It is worth noting that like Su Shi's "Zhao Junsu Clan" and Xue Shaopeng's "Qingjue Ge Shu" are beautiful and elegant, Yuan Zhuwen is actually inheriting his mantle.
Xuanhe Zhongbi Four Generations Of Seals (Non-Jianzang Seals)
Qing Gong Ge Shu Zhou Gong Yan (sincerely) Father
3. Seal into the seal: Song Taizong advocated the restoration of the ceremonial system, and the collection and collation of ancient artifacts by the public and private in the Song Dynasty was in the ascendant. The Neifu compiled the Xuanhe Bogu Catalogue and compiled the paintings of the Yi vessels in its collection into a book and printed it. Liu Chang searched for more than ten pieces of pre-Qin Ding Yi, examined the text, and asked the craftsmen to carve stones and paint portraits to write a "Record of Ancient Instruments of the Pre-Qin Dynasty". In the sixth year of Jiayou (1061), Ouyang Xiu wrote the "Collection of Ancient Records", which explained the inscriptions of the pre-Qin ancient artifacts in the collection. Zhao Mingcheng's "Records of the Golden Stone", Huang Bosi's "Errors in the Publication of the Fa Ti", Zhai QiNian's "History of Qi", and Jiang Kui's "Dai Tie Ping" have been published one after another, and the ancient Yi instruments and inscriptions have been deeply studied, which is the beginning of epigraphy. The inclusion of ancient Wenqi characters in the seal is highly valued by scholars, such as "Shaoxing", "Xuangong", "Zhenge" gourd seal, "Jia Xiangdao's descendants and grandsons Yongbaozhi" The seals are printed in the style of seal or ancient Wenqi characters.
Shingō Xuanhe
4. Taking the French and Chinese Seals: The rise of epigraphy has made the literati generally enthusiastic about examining the history contained in the ancient seals. The "Collection of Ancient Seal Notation" came into being, and the Han seal was first shown in the form of a seal, so that the literati realized that the natural elegance and simple beauty were very different from the fancy of the official seal pattern, and the aesthetic taste of the seal could be explored, such as the "Autumn Valley Treasure Play" white seal, the size of the seal, the seal method of the printed text and the seal method of the seal face, all of which were directly taken from the Chinese seal.
Autumn Canyon Treasure Play
The aesthetic tendencies and styles of the two Song Dynasties public and private collection seals have changed, such as Jia Xiangdao's "Autumn Valley Treasures" white text prints are almost invisible after the Southern Song Dynasty, the wide-edge prints have become thinner, and the cumbersome geometric stacked seals have transitioned to concise small seals. Mi Fu, who often opposed the emperor's edicts, clearly recorded in the "History of Books": "The seal of the books in my ancestral secret cabinet is less than two inches, and the circles are fine, and the same is true of the character prints of the books in the upper cabinet." After Emperor Renzong, the Printing House gave the scriptures to use the Shangge book characters, the large print of rough text, if applied to calligraphy and painting, accounting for more paper and painting, it is detrimental to the book post. Although the seal of the secret cabinet of the nearly three museums is thin, the circle is as thick as half a finger, and the calligraphy and paintings are also printed... Wang Yi saw that the Yu family seal was similar to the Tang seal, and at the beginning he changed it to a thin circle, but still asked for yu as a seal, if the seal had its own method, it was impossible in recent times. At this time, Mi Fu had realized that the wide-edged rough white style was the most dazzling on the calligraphy and painting, and if the white text and the big seal were gathered in one line, it would annoy the reader and deface the calligraphy and painting. From the analysis of the heirlooms, the two Song Dynasties are very strict in the plutonium printing format and the principle of plutonium printing, and it is not appropriate to stamp the picture of the famous relics of the world, or even to pick up the paper and print, although it is helpless, it can also be said to be the best of both worlds.
Fourth, the two Song Dynasty literati printing matter - take Mi Fu as an example
The two Song Dynasties really used a large number of model seals and collection seals in calligraphy and painting, and the names used were various, and they should take Rice Fu as the first. As a well-known calligrapher and painter and calligraphy expert in the two Song Dynasties, his communication office and all important figures in the art and literature circles, including Song Huizong, can reflect the delicate texture of the development of printing between the two Song Dynasties from the microscopic individual, and the small can see the big, which can be deeply observed. There are many records about rice in the History of Song. After the fifth year of Yuan Feng (1082), Mi Fu began to search for the Jin people's Fa Ti, and the following year he received Wang Xianzhi's "Mid-Autumn Festival Thesis". Wang Xizhi's "Wang Liu Ti", Xie An's "August 5th Post", Gu Kai's famous painting "Pure Name Heavenly Daughter", Dai Kui's famous painting "Guanyin", Chu Suilianglin's "Orchid Pavilion Preface", and Xie An's "August 5th Post" are all collected by Mi Jia. Its Hui carved family collection of the six dynasties since the famous "Baojin Zhai Fa Ti", for the Yilin rare book. Su Shi who lived in Hainan, Mi Fu had sent gifts for Zhiyin, Su Shi's "Book of Chapters with Mi Yuan" has: A certain yesterday was too cold, the night was violent, Dan fu was tired, eating Huang Qi porridge was very beautiful, lying down to read the four seals Qigu, where the illness was lost. Tomorrow will be begging and need a little key or rain over the time also... Mi Fu prefers plutonium seals, and there are more than a hundred seals for his own use. In his "History of Painting", there are more: Yu Jia's highest quality calligraphy and painting, with the name character seal, the examination of authentic handwriting, the divine character seal, the Ordinary Life True Appreciation Seal, the Mi Fu Secret Seal, and the Baojin Zhai Tibetan calligraphy and painting have the Yu family seal on its four corners, which can be recognized when seen. It is even more amazing, the seal of the Mi surname Han Ink Seal, the seal of the identification law book, and the seal of the Mi surname secret play. Six jade seals: Xin 卯米芾, Mi Fu's seal, Mi Fu's seal, Mi Fu's seal, Mi Fu's seal, the above six white characters, some of which are excellent. The jade seal is only in the book post, and other seals that use the mi surname To play with are inferior. No one to put down. The other characters are printed with hundreds, although the reference is used for the upper print. Self-painting ancient sages only use jade seals. "The seal was jade, which was extremely luxurious at that time, because in the early years of the Northern Song Dynasty, the emperor Baoxi Neifu even had almost no jade seal.
Seal of the Yuanzhang of Mi Fu The Seal of Mi Huang
V. Refuting the "Yiyang Family" in the "Gongfu Ti" of the Yin Song Dynasty
"GongFu Ti" "Yiyang Shijia" (left half)
In the debate about the authenticity of the Gongfu Ti, the Tibetan seal of the Sorcerer is also one of the focuses of attention. On February 18 this year, the Shanghai Long Art Museum displayed the original "Gongfu Ti" in Beijing, and combined with the opinions of many experts, pointed out that the two residual seals on the "Gong Fu Ti" should be combined and interpreted as the "Yiyang Shijia" seal. After image comparison and analysis, this seal is consistent with the "Yiyang Family" seal in the Northern Song Dynasty's famous monuments such as the Northern Song Dynasty Xu Xuan's "Private Sincere Post", the Northern Song Dynasty Lü Gongqiu's "True Teachings", and the Northern Song Dynasty Huang Tingjian's "Baby Xiang Ti". It is also comprehensively believed that the "True Teachings" and the Liaoning Provincial Museum's collection of Ouyang Inquiry's "Thousand Characters" and other seals such as "Puyang FuShi" and "Qing Shu Play House" and song Dynasty documents such as Song Fu Xunmei's "Yiyang Family Strategy" further attributed the owner of the "Yiyang Family" seal to the Song Dynasty Fu family, so that there was a clear clue in the early collection of Gong Fu Ti.
Northern Song Dynasty Lü Gongchen "True Teachings"
"True Teachings" in the lower right corner of "Puyang Fu", "Qing Uncle Play House", above the "Shijia"
Indeed, the use of the core evidence "Yiyang Shijia" seal as the starting point of the "Gongfu Ti" can resolve some disputes, and the specific argumentation method of "confirming history" plays a key role in the identification of calligraphy and painting. However, through the "Yiyang Shijia" seal, the witness speculated that "the Gongfu Ti was for Yuanfeng's fourth year Guo Zhengxiang took a detour through Jiujiang to visit Su Shi, and after leaving Huangzhou, he was imprisoned and was collected by the Fu clan of Puyang". There is no examination of the "Yiyang Family" seal body, this seal generation method is only a description of subjective feelings, without strict evidence as support, it is inevitable to wear chisels and appendages. Wang Guowei's "double evidence method" is still suitable for many disciplines such as history, archaeology, and examination of ancient calligraphy and painting, which is a matter of academic attitude and academic norms. The author examines the style and evolution of the two Song Dynasties and the Tibetan seals, and outlines that there are four forms: stacked seal form, seal into the seal, small seal into the seal, and French and Han style. Of course, the private seals of the two Song Dynasties also have lishu seals and calligraphy seals, because they do not belong to the category of Jianzang seals, so let's skip them. "Yiyang Shijia" is a white text seal, the layout is dense and decent, the knife method is stable and the punching and cutting are used, such as the "righteousness" character starting from the pen three horizontal, the single knife straight into the deep, the "world" is also the main knife, "home" and "yang" are the combined use of the cutting knife and the small impulse, which is the knife effect that can be "carved" for the stone seal. In the Song Dynasty, there was no precedent for engraving with stone, and jade and copper seals were mainly three processes: "rolling" and "casting" and "wire welding and casting". Stone engraving is only after the Yuan ming, if analyzed from the technical level, the "Yiyang family" from the use of printing text, seal layout, lithography materials, knife engraving techniques, etc. are not similar to the two Song Jian Tibetan printing styles, so this seal is not carved by the Song people. In addition, the County's Wangbei baiwen was used as a collection seal, and was used at the beginning of the Yuan Dynasty, such as Ouyang Xuan of the Yuan Dynasty, "Taishi ShiXuan", "Ji Gong Shi Family", Zhang Yu "Chongguo Family", and so on, and so on. Attached to the Song Dynasty White Text Seal "QingBai Heirloom" and "Descendant Shichang" (this seal was later imitated by Xiang Yuanbi), there are the same words as "Yiyang Shijia", which can be clearly detected by those who know it.
Yuan. The Jigong family, the Taishi family, and the Chongguo family
surname. Innocent heirs to the family descendants Of Chang
The Song people were forbidden to use coarse white text as a collection seal, and the reason for this was the protection of famous calligraphy and paintings. Literati such as Mi Fu have long recognized the broad-edged and crude white stylistic customs and deface calligraphy and paintings. In the two Song Dynasties and three hundred and twenty years, probably only Jia ShiDao's white text seal of "Autumn Valley Treasure Play" was covered. From the analysis of the heirlooms, the collectors of the two Song Dynasties had strict plutonium printing formats and plutonium printing principles. Su Shi was a "Yuanyou Party member" who was repeatedly devalued, the inkblot was destroyed several times, and the precious such as the "Gongfu Ti" was passed down to the "Yiyang Family", so why did he unusually cover the Zhu Wenjian Tibetan seal that did not conform to the Song people's use of printing conventions? If the "Yiyang family" is really a descendant of the "Puyang Fu clan", then why does it not pay attention to etiquette and cover the collection of seals on the head of the "Puyang Fu clan", which is not in line with the logic of Confucian culture. The two Song Dynasties and the private calligraphy and painting collection is the peak of the collection culture, and the Jianzang seal has been formally formed in the two Song Dynasties, but due to the special nature of the use of the Jianzang seal, the history of printing is still marginalized in its attention and special research. Through the ontology of calligraphy and painting and the history of song and other documents and historical materials, the author examines the system of seals used in the two Song Dynasties, and demonstrates the evolution of the style of Jianzang printing itself, which is also easily overlooked in the study of printing. The identification of ancient calligraphy and paintings by connoisseurs of ancient connoisseurs is also "protective". The so-called truth is cautious, and it is more prudent to abandon it! This is a prudence and reverence for scholarship, and it is also to protect the transmission of ancient works, and some space should be left for history.
Author: Li Luping Source: Rare Books