This method of stele expansion began in the early Tang Dynasty and has been developed by the Song, Yuan, Ming, and Qing dynasties for more than 1400 years. More than a hundred years ago, without photographic and photocopying technology, the stele technology has always been an important means of inheriting Chinese culture, and many precious calligraphy works have been preserved through the stele.
Both the "Manuscript" and the "Takumoto" are copies of the famous handwriting, but their access methods and methods are different.
"搨" is "imitation", which is to cover paper or silk and other materials on the real thing for reproduction, it is divided into two types: direct imitation and first double hook and then filling. The reproduction obtained by the former method is called a "facsimile", and the reproduction obtained by the latter method is called a "double hook filler".
An important condition for imitation is transparency, the ancients in the dark room according to the window to reflect the sun hook imitation, the facsimile obtained by this method is called "ringing book"; there is also a paper coated with yellow wax on the real thing for imitation, the facsimile obtained by this method is called "hard yellow book".
▲ Divine Dragon Ben "Orchid Pavilion Preface"
Because the imitation is directly covered on the authentic copy, its effect is the closest to the real thing, almost chaotic, and there is a praise of "the next authentic handwriting". The Tang dynasty was the most refined, and there were many famous masters, such as Feng Chengsu, Zhao Mo, Zhuge Zhen, Han Daozheng and others. The Divine Dragon Book "Orchid Pavilion Preface" was copied by Feng Chengsu.
"Tuoben" is calligraphy or image obtained by performing vertebral tuotuo on goldstones or other carvings with paper and ink. Because it is metamorphosed from the physical object, it is also called "metamorphosis" or "off-the-shelf".
▲ "Dead Tree Endowment" Takumoto
One of the most important methods is "vertebral extension". The process is to first apply water wax or white mustard (a kind of Traditional Chinese medicine) water to the engraving, then put on the paper and flatten it with vertebrae, so that the paper can be smoothly attached to the engraving, and then use the rubbing ink dipped in the rubbing to take it on the paper. It is easy to break the paper directly with the vertebrae, and the felt should be cushioned when playing the paper. After the rubbing is completed, in order to prevent mildew, it is necessary to coat its surface with another layer of wax, so the vertebral rubbing is also called "felt wax".
According to the Sui Shu Jing Shu Zhi, the method of vertebral expansion was already used in China during the Liang period, or earlier, but there is no physical object visible.
▲ Tang Taizong Li Shimin "Hot Spring Inscription" part
The earliest surviving Tuoben is tang taizong Li Shimin's "Hot Spring Inscription", which was found in the dunhuang stone chamber in the late Qing Dynasty, followed by the Tang inkblot of "Yonghui Six Years", which can be determined to be the Tuoben of the early years of the Tang Dynasty.
There are two main techniques of vertebral rubbing, puffing and rubbing.
Flutter is to use the rubbing ink to directly hit the rubbing paper, and the rubbing is to rub the rubbing ink on the rubbing paper, and the speed is faster. Because the puff is mostly used in the vertical direction, it is more suitable for uneven or small utensils on the surface of the vertebral expansion, and the rubbing is suitable for some utensils with a relatively flat surface.
Takumoto itself is also a precious cultural relic and work of art. Due to changes such as damage to the carvings, the early or stone carvings are also very precious. Huang Tingjian once had the saying "Confucius Temple Yu Shu Zhen Guan carving, a thousand and two gold that was purchased".
The history books record that the Song Dynasty Zhao Zigu took the "Orchid Pavilion Preface" and other calligraphy and paintings to cross the Shengshan Mountain by boat, encountered a strong wind in the middle, the boat overturned, and the people almost lost their lives, and the only calligraphy and painting they carried were "Orchid Pavilion Preface" fished out of the water. He said happily, "Lan Ting is here!" The theory of the surplus. Life can be light, this treasure is a treasure! "This is Dingwu Lanting.
Historically, the so-called "copy" before the Song and Yuan Dynasties was specifically referred to as "imitation", that is, "facsimile" and "double hook filler book". After the Song and Yuan dynasties, the words "搨" and "拓" were often confused, so the "facsimile" and "double hook filler" were collectively referred to as "facsimile" to distinguish them from "Tuoben". Because "Vertebral Extension" is simpler and easier than "Imitation", coupled with the prevalence of engraving posts after the Song and Yuan Dynasties, the world therefore uses "Vertebral Extension" more often, and "Imitation" is used less.
▲ Han Dynasty Hou Zi Zi Remnant Stone Takumoto
There are many titles in Takumoto, according to its artistic and academic value:
The original stone has been destroyed and only one surviving copy is called the "orphan book",
The only surviving copies of the takumi are called "rare books",
Early takumoto with less loss is called "initial takumoto",
The undamaged extension of a certain word is called "the undamaged version of so-and-so word",
The first tuoben at the time of excavation is called "unearthed chutuoben".
These are called "rare books".
According to the different materials such as paper and ink used and the extension method, there are many kinds:
For example, the Song Dynasty Tuoti used linen pattern paper, in order to prevent the woodblock from cracking and glue a layer of linen on it, such a rubbing is called "septum Tuoben";
During the Kang and Qian years, peach blossom paper was often used, with black and shiny oil smoke ink to expand the paste, such an extension was called "Ujintuo"; in the early Qing Dynasty, the white Lianshi paper was used, and the ink was extremely light, and such an extension was called "Disaster Yarn Extension";
With ink as faint as a cicada's wings, such a takumoto is called "cicada wing taku";
The takumoto with dark and thick ink is called "thick ink ben";
The rubbing obtained with light ink is called "light ink book";
In addition, there are also takumotos that are imitated with a back pen called "Ying Tuoben",
The top book made of colored wax is called "wax top book".
According to its provenance and origin, the Tuoben engraved in the palace and extended to the ministers such as the "Chunhua Ge Ti", the "Daguan Ti", and the "SanxiTang Ti" are called "Zhiben"; in the Song Dynasty, the More Crude Tuoben that was popular at this time was called "Yuchang Ben"; and so on.
▲ Part of Wang Xianzhi's "Chunhua Ge Ti"
Due to the cultural and economic value of Takumoto, there have always been many counterfeiters. For example, the original has been destroyed or lost and re-engraved is called "re-engraving"; the original is still there, but because of the age and vague or defective, posterity still expand the re-engraving is called "re-engraving": in order to deceive people's trust, the counterfeiter fabricates the text according to the information, and the one that is engraved in vain is called "pseudo-engraving"; in addition, there are various techniques such as filling in wax, dyeing and filling, and falsifying inscriptions.
▲ Part of "Grand View Thesis"
In addition, according to the era, there are "Tang Tuo", "Song Tuo", "Yuan Tuo", "Ming Tuo", "Qing Tuo", etc., and according to the geographical division, there are "Shaanxi Tuo", "Shu Tuo", "Min Tuo", "Dian Tuo" and so on.
Most of the copied objects of "Imitation" are ink, while the reproduction objects of "Vertebrate" are mostly stone carvings and other materials, and the way they are made is not the same, so the reproduction effect of "Tuoben" and "Shuben" is also different. However, before the invention of photocopying technology, they are the most effective methods and means of preserving and disseminating the art of calligraphy and painting. Today, while we appreciate and learn from the art of our predecessors, we should also thank the ancients for the methods of reproduction.