The surging news learned that the southern branch of the National Palace Museum in Taipei is holding a "Popular National Treasure Exhibition", focusing on the famous works in the art history of the National Palace museum in Taipei, and the cultural relics on display are all popular and popular national treasures, such as the treasure of the Town Courtyard of the National Palace in Taipei, the qingcui jade cabbage, which is considered to be the only inkblot of Tang Xuanzong's "Ode to the Partridge", the bronze ware Ehou Gui of the late Western Zhou Dynasty, and the Song "Su's Calligraphy Album".
The exhibition spans the entire year, from January 25, 2022 to January 29, 2023, divided into four gears, with regular replacement of exhibits. Among them, Tang Xuanzong's Ode to the Partridge Bird, which commemorates brotherhood, is also currently on display in its entirety (January 25-April 24), which is rare to see.
Tang Xuanzong's Ode to the Partridge (Partial)
Emperor Xuanzong of Tang (685-762), known historically as Emperor Ming of Tang, was good at writing and writing. Because the partridge bird has the characteristics of "flying and singing" and "walking and shaking", it will be interconnected when flying and walking in groups, so it is extended to be a symbol of brotherhood and fraternity in the "Book of Poetry" "Xiaoya Changdi".
For this rare masterpiece, it can be appreciated from both the content of the article and the perspective of calligraphy.
In the autumn of the ninth year of the new century (721), because the courtier Wei Guangcheng praised the gathering of the palace with praises for the partridge birds, Emperor Xuanzong bowed down and wrote this volume in person to commemorate the brotherhood. Tang Xuanzong borrowed the nature of the partridge when it flew, and was willing to share the suffering with his brother like the thousands of partridge birds gathered by the Lin De Temple.
The Volume of Ode to the Partridge, on paper, 24.5 cm in length and 184.9 cm in width, is composed of four pieces of paper, a total of 44 lines, 331 characters, and the number of words on each line varies, and there are cursive characters "Le" and Xuanzong Imperial Guard at the end of the page. The front water separator silk is each section, 24 .8cm in length and 22 cm in width, and the back water is silk, 24.3 cm in length and 11 cm in width. The trailing tail is on paper, 24 .8cm in length and 300.9 cm in width, with Cai Jing, Cai Bian and Wang Wenzhi.
The Ode to the Partridge is the only surviving manuscript of Emperor Xuanzong of Tang (685-762), which was placed in the style of a horizontal scroll collected by the Inner House during the Xuanhe period (1119-1125) at the end of the Northern Song Dynasty, named "Xuanhe Loading". The salient feature of this form is that according to certain specifications, the "Royal Book" (gourd seal), "Double Dragon" (square seal), "Double Dragon" (round seal), "Xuan Gong" (LianZhu seal), "Zhenghe", "Xuanhe", "Zhenggong" (Lianzhu Seal) are stamped around the center of the painting, collectively known as the "Seven Seals of Xuanhe". Drag the tail part, and add another "Seal of the Inner House Book". In front of the painting, a signature written by Emperor Huizong of Song (1082-1135) with the "Thin Golden Book" will also be attached. In this piece, there is no huizong signature and double dragon seal, and only half of the Xuangong and imperial seals remain, which should have been cut when the descendants reinstalled, but some scholars have questioned whether this piece is the authentic handwriting of Tang Xuanzong.
Tang Xuanzong introduces the original eulogy in the preface to the first half of the article, and the second half is an ode poem:
Ode to the Wagtail. Bow down with Wei Guang. There are only five brothers. Analogy to Fang Bo. See you in the first year. Although it is loaded with reverence for the screen, there is a smile. It is to quit the shepherd and each guard the capital. After each listen to the government. Extend into the palace. Shen Youyu Zhizhi. The Poetry of Yong Chang Di. Yong Yongru. Yi Yiru. Show the love of heaven also. Autumn September. There are thousands of partridges. It inhabits the Garden Tree of Linde. It's unbelievable. Flying and shaking. Got to be in the original fun. Kun Ji Xiang le. Look at the viewer for a long time. Don't be afraid. Gather yourself. I thought that the birds had no ambitions. Zuo Qingdao led the governor Shi Wei Guangsheng. Talent white phoenix. Argue the strong chicken. Known for its great knowledge. Name to Xuan Sill. Wait and see. To offer its ode. The husband praises therefore praises virtue. Praise success. Gu Xun is vague. Sincerely, there is a negative. Beautiful. Bow down to the clouds. Ikuen Palace. Strange trees and green onions. Gentle. Stop the snow in the face of frost. Yi Mao yi yue. Rolling away. Branches and branches are the same. Spit green with English. Early spring. Harvest Festival. Cold dew slightly knotted. The breath is clear and weak. Gui Gong Lan Dian. Only the feast. Qi YongQu Xi. Line shake and fly. Urgent and difficult. There is more to it than enough. Gu Wei Deliang. Night and night. Sloppy. What is taught on the Top. The effect of the next. It's really embarrassing. Nature. Lu Wei divided the government. Pro-virtuous. Where you go. Laugh and speak. Patrol the court to remove the. Watch this bird to please my heart. Good history books.
Emperor Xuanzong of Tang was the seventh emperor of the Tang Dynasty and reigned for forty-four years. He Chuanxin, who was the vice president of the National Palace Museum in Taipei, mentioned that at the beginning of The tang Xuanzong's reign, there was a lot of dispute in the family, and he had to win over his brothers, but he did not want them to actually interfere in politics, so he sent five brothers to an area far from the central government and met them once a year.
As far as his calligraphy is concerned, Tang Xuanzong's calligraphy inherits the style of Wang Xizhi (303-361) of the Jin Dynasty, with fewer hidden edges, rich and plump lines, strong and powerful handwriting, and more calm and majestic handwriting, showing Sheng Tang's preference for plump beauty. "This volume of calligraphy from beginning to end, the pen is focused, clearly explaining the beginning, turn, pause and end of each stroke. In terms of glyphs, it is obviously similar to Wang Xizhi's "Orchid Pavilion Preface", but the strokes are more stout, which can be seen that since the early Tang Dynasty, Tang Taizong advocated the influence of Wang Xizhi's calligraphy on the descendants of the royal family, and also reflected the goodness of the tang dynasty for the beauty of abundance. ”
According to the Xuanhe Book Genealogy, there were 25 authentic works of Xuanzong in the imperial palace at that time, including four lishu and twenty-one xingshu. Of Tang Xuanzong's surviving calligraphy works, only this one is ink, while the other surviving ones are only inscriptions, such as: "Pei Guangting Stele", "Golden Immortal Princess Shinto Stele", "Qingcheng Mountain Changdao Guan Shu", "Neishi Province Meritorious Monument" and so on.
Whether this piece is indeed a true relic of Xuanzong is still controversial in academic circles. Some scholars have questioned the "Ode to the Partridge" as a hook facsimile, and the earliest doubts appear in the "Dongtu Xuanlan", and Xu Bangda also agrees with this view. But more people on this issue remain skeptical, like Jiang Zhaoshen, He Chuanxin, and so on. However, Hou Yili of the National Palace in Taipei, after looking at it in visual inspection and high-definition digital, believes that this volume should be written in ink.
Whether it is the insistence that the "Ode to the Crane" is a genuine manuscript, or that it is a double-hook imitation or a forgery, everyone believes that the book inherits Wang Xizhi's style of writing, and at the same time has the rich beauty of the Tang Dynasty, with the characteristics of the style of the Tang Xuanzong period.
Regarding the age of this inkblot, Xu Bangda believes that the completion of the Ode to the Partridge will not be later than the twenty years of the new century, and it is a work before the age of forty-two. Jiang Zhaoshen proposed in the article "Tang Xuanzong Shu Wagyu Ode to Complete the Year Examination" that the completion time should be "seven years of the new century", which has a fairly extensive and sustained impact, and Lin Baiting, Huang Weizhong, Tan Yiling and others of the National Palace in Taipei also follow the saying of "seven years of the new century".
He Chuanxin and Fang Zhanli of the National Palace in Taipei put forward the idea of "five years of opening the new century.". Hou Yili of the National Palace in Taipei put forward the theory of "the ninth year of the new century" and questioned the authenticity of the text itself on the trail, believing that the quality of the writing of the pai by Cai Jing and Cai Bian was slightly inferior, and there were many clerical errors, so it was not a genuine manuscript but a well-founded manuscript, and this volume was changed from an album to a hand scroll during the Xuanhe period.
Late Western Zhou Dynasty
Northern Song Dynasty Ding kiln white porcelain scratched peony pattern dish
Song and Liao jade dragon pattern plate
Qing Yongzheng enamel color five luntu bowl
In addition to "Ode to the Partridge", the first file of the "Popular National Treasure Exhibition" will also present the late Western Zhou Dynasty Ehou Gui, the Northern Song Dynasty Ding kiln white porcelain scratched peony pattern plate, the Song and Liao Jade Dragon pattern plates, the Qingqianlong golden tire painting enamel Western character cups, plates, etc. Song's "Su's Calligraphy Book" will be unveiled in the second file, which opens on April 26.
"Song Su Clan One Law Book" Book Song Su Shi Shu Shu Zhi Mu
(This article is compiled from the official website of the National Palace Museum in Taipei and previous related reports)