Every long thing hides a history of abandonment

Long things, although superfluous, are indispensable to literati and scholars. If it does not have a long object, let alone elegance. If what is necessary is the thing that is red dust and ordinary things that protect one's life, then the long things are the spiritual treasures of the literati and scholars. The place where these long objects are stored is no more than the scribe's study. This is the intimate place of the exclusive scribe, as Wen Zhenheng designed in the Chronicle of Long Things, "it should be clear and pure, not too open." Clear and clean can refresh the mind, too open is laborious."

The study is a place of leisure, a place where the mind dwells, even if it is just a superfluous corner of the room, it is also a universe in which the mind travels infinitely. In the study, one bed and one bed, one stone and one seal, all convey the soul of the owner.

Both love long things, can not give up, naturally can not "things I forget twice", however, love things, may not be forced by things, may wish to borrow things to swim in the heart, how fast.

This article is from B04-B05 of the Beijing News Book Review Weekly's March 25 feature "Long Things".

"Theme" B01 丨 Long Object

"Theme" B02-B03 丨 The birth of a way of life

"Theme" B04-B05 丨Pinwu Travel Heart The universe of infinite travel of the mind

"Literature" B06-B07丨The Desert and the Ashes: Edmund Abbots' Book of Problems

"Art" B08 丨 "Antonin Aalto" A labyrinth that is difficult to enter and cannot get out

Written by | Lee Shane

(The exhibits in this article are from the special exhibition "Taste and Material Travel Heart- The Life and Art of Chinese Literati" jointly sponsored by Shanghai Jiao Tong University and Shanghai Museum, and the picture is from "Taste and Material Travel: The Life and Art of Chinese Literati")

"Taste and Material Travel: The Life and Art of Chinese Literati", by Shanghai Jiao Tong University, Edition: Shanghai Calligraphy and Painting Publishing House, September 2021.

Iron wooden plank foot open light strip a few

Ming dynasty

Length 191.5cm, width 50cm, height 87cm

A few cases were the basic furniture in the scribe's study. Wen Zhenheng's "Chronicle of Long Things" Yun: "Naturally, several woods such as pears, iron pears, and fragrant nan are made of them, and the first is expensive, not more than eight feet long, not more than five inches thick, not too sharp at the flying horns, and must be flat and round, which is the ancient style." "Iron pear, that is, iron wood." This strip is made of iron wood. Compared with rosewood, although the material of ironwood is not valuable, it has strong material properties and makes large pieces of furniture, which has a sense of heaviness. Qu Dajun's "Guangdong New Language" said that tieli wood is "strong and heavy", which has not been bad for thousands of years, and the wood is yellow at first, and after a long time, it is iron black, so naturally there is an ancient rhyme of years and years. Looking at its style, just as Wen Zhenheng said, the panel and the board are enough to be smouldering, erasing the edges and corners, and doing a flat circle treatment. It seems quite comfortable.

Articles, Mr. Wang Shixiang's "Ming-style Furniture Research" has been explained: "Furniture names, where the word 'strip' is crowned, its shape is narrow and long", the strip refers to "the long number composed of three thick plates, or although it is made of side plates, the appearance is still similar to the length of the thick board." ”

This iron wooden strip is exactly one of the pieces written by Mr. Wang Shixiang in the book. Mr. Wang Shixiang introduced that "several are iron wood, the plate foot is about two inches thick, and the shape is simple and solemn." It was found that this strip was exactly the same as the style of the strip in the "Lady Figure" painted by an unknown painter in the early Qing Dynasty entitled "Portrait of Li Qing", and the picture matched, which can be described as a strange coincidence. And this strip is the relic of Mr. Chen Mengjia, a good friend of Mr. Wang Shixiang.

Mr. Wang Shixiang mentioned in the text of the Qing Dynasty female figure.

Mr. Chen Mengjia is well-known in the history of literature, is a representative figure of the Crescent Poets, has a deep effort in epigraphy and paleography, and is also one of the earliest collectors and researchers of Chinese Ming-style furniture. The friendship between Wang Shixiang and Chen Mengjia began with a common love for Ming-style furniture. Wang Shixiang once wrote in "Nostalgia for the Dreamer" anecdote about the two men collecting Ming-style furniture:

"For example, the pair of Ming rosewood straight frame grids, placed in the furniture store on the east side of Lubanguan South Exit Road for a year or two, I went to see it many times, I couldn't do it, and finally it was obtained by the dream family." But I didn't pour a lot of energy into academic research like he did, often riding a broken car, knocking on the door of the house, visiting the ghost market stalls, and working hard, so I could buy things that the dreamers could not see. I bought a pair of iron wooden hats and chairs at a low price, and the dreamer said, 'You are a white pick, you should give it to me!' 'Pick it up and take it away.' I said, 'Nor can it be given to you by the white pick.' And snatched it back. The dreamer bought a bright yellow pear five-legged round incense table, and I loved it very much. I said, 'How much money you bought, plus ten times to give it to me.' 'Picked up and tried to snatch the door and go out. The dreamer said, 'You can't add a hundred times!' He was stopped by him at the door. ”

Years after Chen Mengjia's death, Wang Shixiang wrote in his recollection:

“...... Hearing the bad news of the dreamer, I felt particularly sad, and I was unable to protect myself, so I didn't dare to express anything at that time, only to bury my grief in the deepest part of my heart... More than thirty years ago, when the dreamer showed me the lacquerware, prints, and bamboo carvings he had collected, he said to me: 'Now I am committed to professional research, and when I am old, I will do some work that is of interest outside the profession.' This refers to the study of the above-mentioned artifacts. However, I believe that his favorite is still Ming-style furniture, if the day is a holiday, fortunately escaped the disaster, live to this day, I believe that the emperor has long been written into the Ming Dynasty furniture of the emperor's masterpiece, this topic can not be written by me, even if I want to write, I dare not write.

Dreamer! Dreamer! Woohoo! ”

Chen Mengjia.

In 1986, Wang Shixiang published "Ming-style Furniture Treasures" at The Hong Kong Sanlian Bookstore, and he deliberately included ming-style furniture collected by his friend Chen Mengjia, and on the title page of the book, he wrote:

"I would like to commemorate Mr. Chen Mengjia with this book."

Chen Hongshou Ming Duan Yan

Length 16.5cm Width 10cm Height 5cm

This is a party copy of the hand, the yantang is slightly trapped, except for the inscription, there is almost no carving. The upper side of it is engraved with a line of kai, which reads: "Xiangguang Lord Yan". Some scholars believe that this "Master of Xiangguang" is the literary suzerainty and calligrapher Dong Qichang, who was at the same time as Chen Hongshou, and his name is "Xiangguang Resident", but there is no evidence. On the right side, there is an inscription in the Book of Li that reads: "Er Wei Jian, Three Long; Er Wei Mo, Carry What Guilt; Er Wei Is Not Inflammatory, Wing Civilized and Elegant, And Friends with The Lonely and Pure." like. The fall is "Dragon Media Title" and "Yi Zhai Old Man". There is also an inscription on the back of it, Yun: "I have not, to the alternate Yu Dumen, the guest is to study, read its inscription, is the relics of Marquis Zhanghou of Yue Chen." belch! The deformed people are very good, the appreciation must be refined, and it is urgent to cherish it, so as to reach the Hanling tablet stone", there is a "dragon medium" drop. Case, "dragon media" for the Qing Dynasty poet Wu Jiaji character.

The most precious thing about this square yantai is the cursive inscription on the left:

"My body and my son are like jade, and the gold of the gold is humiliating." The payment is "Old Lotus"

Lao Lian, that is, Chen Laolian, is also the Chen Zhanghou mentioned in Wu Jiaji's inscription. That is, the calligrapher and painter Chen Hongshou at the time of the Ming and Qing dynasties, Lao Lian and Zhang Hou were his number and character respectively. Chen Hongshou's paintings are quaint in color and are known for their characters. I believe that everyone who has seen Chen Hongshou's character paintings will be touched by its exaggerated and mutated image, which is quite similar to today's comics. The uniqueness of his style was later xued as "the power of the qi bureau, the super plucked and the fallen, above the Qiu (Ying) and Tang (Yin), Gai Ming did not have this ink for three hundred years". Imagine Chen Hongshou's strange and bizarre characters, if he uses his pen to dip ink from this square yantai, he will also have a sense of admiration for this square yantai. Chen Hongshou's life is also quite legendary, he once traveled to the Capital Division, was ordered to copy the statues of the emperors of the past, and then entered the Inner Palace to see the paintings in the palace, but refused Chongzhen's appointment to serve him to the will of the inner court, and returned to the south in the sixteenth year of Chongzhen and lived in seclusion in Shaoxing. The following year, the Jingshi fell and the Ming Dynasty collapsed. When the Qing soldiers entered eastern Zhejiang, Chen Hongshou took refuge in the Yunmen Temple in Shaoxing and cut his hair to become a monk, but he was an alcoholic, and zeng Ziyun said: "How can you be a monk, just borrow a monk's life?" But nine years later, such a genius and arrogant man "fell to his bed and muttered the trumpet of the Buddha."

Ming Chen Hongshou Immortal Birthday Celebration Art Museum Indianapolis Museum of Art Collection

The process of handing over this brick platform that he left behind is also very reasonable. It was originally the relic of Jiang Xingkai, a Haining bibliophile during the Jiadao period of the Qing Dynasty. Jiang Xingkai's collection of gold stone calligraphy and paintings and ancient books of the Song and Yuan dynasties is very rich, generous in nature, widely traveled, and in his later years, his family fell in the middle of the road, and he still did not speak of money. His brother Jiang Xinghua knew that his life was embarrassing, and once on the pretext of visiting a doctor, he had a golden sleeve. Jiang Xingkai was grateful, and gave away his collection of Chen Hongshou Yantai and the five ancient stones of the Song monk Fanlong writing the scriptures and the Song Lucheng clay stones. After Jiang Xinghua obtained these five ancient stones, he specially set aside a zhai to store, called "five yan zhai". In recent times, the landscaper Chen Congzhou once went to Haining Jiang House for an inspection. After returning, he wrote the "Haining Jiang's Yanfen Caotang Library History and Library Investigation Record", which wrote:

"Yanfen Caotang is later entered into Yizhiju, and then into the Sikong Room, and its shape and width are the same as the former. Finally, there is the Beiyuan Xiashan Building, Zhou Shouchang Book. The old Collection of Dong Yuan's "Xiashan Map" is here (now the Picture Collection shanghai museum). The avoidance is the aisle that leads to the halls on both sides, the first of the east is Wuyan Zhai, the three south directions, hanging Zhang Tingji (Shu Wei) Li Shu'er; the five Stones are hidden, crowned with the Song Dynasty Fanlong Scripture Writing Yan, and the Ming Dynasty Old Lotus (Chen Hongshou) Xiangguang Master Yan (commonly known as The Painting Mei Yan, now in the Shanghai Museum). ”

Chen Congzhou also listed a separate article in the "Zi Room Yumo" "Chen Zhanghou (Lao Lian)" wrote:

"To the Yan side of the lord of the old lotus incense, there is an inscription of the old lotus, which has now been donated to the Shanghai Museum." To Lao Lian's painstaking teacher,000 wishes, he was unable to achieve anything. ”

"Zodiac Zhou Yin" Zhu Wenya Seal

Late Ming Dynasty

Length 4.45cm, width 4.4cm, height 3.8cm

Before the middle of the Ming Dynasty, the seal was not the way of the scribes. Until Wen Zhengming's eldest son Wen Peng (Guobo), the first scribe to rule the seal. In the early Qing Dynasty, Zhou Lianggong's "Biography of the Indians" recorded, "The Way of Printing, from the national Bo to open it, was enshrined by posterity as the Golden Rule".

Zeng Whale "Zodiac Zhou Statue" aka "Huangshi Statue Shangshu Statue"

According to Zhou Lianggong, Wen Peng's initial seals were all made of ivory: "First, the public office was sealed, all were tooth seals, and the ink fell, and li Wenfu, a Jinling man, was ordered to engrave the text." Li Shan carved the edges of the fan, and its engraved flowers are exquisite. The public is printed in india, and it can not lose the meaning of the public pen. Therefore, the gongya seal is half out of Li's hand. One day, Wen Peng accidentally obtained a batch of Qingtian stones, and since then, "it is no longer a tooth seal" and the engravers have been engraved, and therefore "gold and jade are precious stones".

In the Ming Dynasty, shizhang and yazhang were born in parallel, and shizhang jumped on top of it since Wen Peng, and although there were yazhang, they gradually declined. The reason why tooth medallions are becoming increasingly rare is also due to the material. Although the tooth quality is elegant and durable, it is also difficult to sculpt because of its toughness. Carving tooth seals, and can only use thin knives, the printed text is cut and carved, not as fast as the stone seal carved. Therefore, the future generations of seal makers are reluctant to carve tooth seals.

Zhou Lianggong, who wrote the "Biography of the Indians", made friends with Huang Daozhou in his early years, and in his article "Before the Seal of the Book Huangzi Huanzi Kehou", he specifically mentioned that "the seals used on the silk straw of Mr. Huang (Zodiac Zhou) in Zhangzhou are all out of the zi ring hand." ”

Huang Zihuan, also known as Huang Shu, is a famous artist of Fujian Zhiyin. This tooth medallion may be exactly what Huang Shu engraved. Zhou Lianggong remembered Huang Shuzhiyin "Shegu Meaning Becomes Bizarre", the so-called bizarre, in fact, is to learn the way of seal carving with gold and stone. Zodiac Zhou himself is also quite accomplished in epigraphy, Zhuang Qili's "Zhangpu Huang Mr. Huang's Annals" Yun Huang Dao Zhou wrote inscriptions for the ancestors, "The characters are from ancient times, such as more than three generations of stele." After the restoration of the small stone screen in the grave, Yan Yue: Qingyuan Xuanyi, with thirty-five words engraved on the back, the language is the same as the ancient proverb, incomprehensible. It can also be seen that the zodiacal week is quite profound in this way.

Zodiac Zhou is valued in academic calligraphy, and his personality is also admired by the world. Its "strict and cold, not with the world, the secretary of state is afraid and jealous." Although his calligraphy is known in the world, he said that his calligraphy was not a small way, and he had the words "do not care about it". After the fall of the Ming Dynasty, Huang Daozhou continued to support the Prince of Ming as emperor in Fujian, established the Longwu regime, and fought against the Qing army. However, in the end, he was weak and was eventually captured and escorted to Nanjing. The Qing army has been trying to lure this famous soldier in the sea, but Zodiac Zhou insists on refusing to lure him and hunger strikes Mingzhi. When the Qing court finally ordered his execution, he had been on hunger strike for twelve days. His wife wrote a letter with only one sentence: "Loyal subjects have a country and no home, do not look inside." ”

On March 5 of the second year of Longwu, Huang Daozhou washed and changed his clothes, washed them, and calmly said to the jailer: "Someone once asked me for calligraphy and painting, and I have promised to renege on my word. So I laid out paper and polished ink, first made small letters, and then changed the writing, because the paper was too long, and it was done in cursive in large characters. He also painted two large ink paintings, one painting of remnants of mountains and water, and the other painting of long pine and strange stones. After the painting is completed, they are all inscribed with a model and stamped. Since these three paintings and calligraphy have not been passed down to the world, we do not know whether the stamp on these three paintings is this delicate tooth stamp.

After writing, Huang Daozhou was escorted out of the door and walked to the vicinity of Donghua Gate, he remembered that the Ming Taizu Mausoleum was nearby, and saw a gate with the inscription "Fujian" in his hometown, so he stopped and pointed to the word "Fujian" and said:

"I am in Yan, I am in Yan, and I die here."

After saying that, facing the southern hometown, straightening out the clothes and crowns, and performing three prayers. The doorman asked him to leave his last words, and he had no ink and paper in his hand, so he tore the placket of his clothes, bit his fingers, and wrote in blood: "Gang chang is eternal, and righteousness is thousands of autumns." Heaven and earth know me, and my family is worry-free. Then he was sentenced to death.

label.

Moon Ming CanghaiQin

Yuan to Ming Dynasty

Pass length 117.5 cm, crypty 112 cm, shoulder width 18.3 cm,

The tail is 12.5 cm wide and 4.5 cm thick

The violin is indispensable to the scribe's study. The so-called "piano, chess, calligraphy and painting", the piano is the first. In the Ming Dynasty scribes' study, there are also many four-axis paintings or screens with the title of "Qinqi Calligraphy and Painting". In paintings depicting some literati and scholars, such as the Eighteen Scholars' Diagram and the Seven Sages of the Bamboo Forest, one of them is often asked to wave the strings. In some paintings that show The seclusion of Gaoshi, if the Gaoshi did not play the guqin himself, there must be a boy holding the violin at his side.

Late Ming engraving of "Xi Xiang Ji" print, Zhang Sheng played the piano

The reason for this is that in the eyes of the ancients, the piano is a pleasure for the heart. Confucius is between Chen Cai, the drum and piano are endless, and the Qin De is safe; Yu Boya and Zhong Zi period take the intersection of the piano sound as the acquaintance, so this piano is the voice of the heart. The sound of the piano has alpine flowing water, there is a pine forest wind, and the piano is in harmony with nature. Gao Lian said in the "Eight Notes of Zunsheng", "Those who know the piano take Gagaku as the positive." According to the strings must be clearly distinguished by fingers, the sound should be chosen without a trace, the movement is leisurely, the temperament is warm, so it can play the sound of the mountain flowing water in the song, and the fun of the pine wind and the night moon is under the finger, it is for the gentleman's yaye, is it not virtuous in the heart, there is no ink in the abdomen, can talk with the sages? Wen Zhenheng, the author of "The Chronicle of The Long Thing", is himself a master of the piano, but he writes more realistically:

"The piano is ancient music, although it cannot be practiced, it must also be hung on a bed, and the guqin has been over the years, the paint has receded, the pattern is like a plum blossom, the darkness is like ebony, and the sound of playing is not sinking."

This piece of piano is a Fu Xi clan qin, and paulownia wood is cut into. Over the years, the black lacquer light has faded, and the plum blossom lines can be seen on the surface, which is completely in line with the guqin valued by Wen Zhenheng's pen. Above the dragon pond on the back of the piano is inscribed with the golden book "Moon Ming Canghai", which is the name of the piano. However, the most eye-catching feature of this piano is that the seal book "Long Yangzi" is engraved under the dragon pond on the back of the qin, and the yin inscription in the qin pond is "To the beginning of October, the East China Sea Yunlin sheng supervised the manufacture". Zhizheng is the era name of The Last Emperor of the Yuan Dynasty, Emperor Yuanshun, and zhizheng is the twelfth year of Zheng. Donghai Yunlinsheng is the legendary painter Ni Zhan, who was famous and eccentric at the end of the Yuan Dynasty. As for "Long Yangzi", he is considered to be a legendary figure in the late Yuan and early Ming dynasties.

Leng Qian became famous not only because he was one of the heroes who followed Zhu Yuanzhang in his early years to build the Ming Dynasty, but also because at least in the middle of the Ming Dynasty, he had already become a taoist immortal from a real historical figure. The Ming Dynasty Wang Jun's "Zhenze Long Tale" lists Leng Qian in the list of immortal interpretations, describing two magical anecdotes of Leng Qian. Leng Qian asked him for help from a poor friend, so Leng Qian drew a door on the wall, asking his friend to knock on the door, and the door opened with a bright eye. This person arbitrarily took a big look, but when he left, he accidentally dropped a name with his own name. On his day, the officials guarding the Inner Treasury discovered that the Inner Treasury had been stolen, so they found a humble friend according to the name left at the scene.

Under a stern message, the friend confessed his humility. Leng Qian was arrested, and he was about to go to the city gate and said to the young official who arrested him: "I am dead, and I have less water to save my thirst." So the young official drew water from a bottle for him to drink, but he was not as humble as to "drink and insert his foot into the bottle, and his body gradually disappeared."

Ming Ren painted "Eighteen Bachelors' Figures of the Qin", in the collection of the National Palace Museum in Taipei

Leng Qian, who had drilled into the bottle, was brought to Zhu Yuanzhang's imperial court, and Zhu Yuanzhang asked him to come out of the bottle and promise not to kill him. However, Leng Qian peeked into the emperor's murderous heart and responded, "The subject is guilty and does not dare to come out." An angry Zhu Yuanzhang smashed the bottle, and the fragments and pieces of the bottle were all responding to the emperor, but Leng Qian did not know where to go.

Painted walls into doors, invisible in bottles. It is no wonder that he was worshipped as a god-like being in the late Ming Dynasty, and even traveled with Zhang Sanfeng. Among the series of paintings forged by Suzhou painters in the late Ming Dynasty, there is a painting that is often forged, which is the so-called "Penglai Xianyi Tu" drawn by Leng Qian, and the forger also specially created Zhang Sanfeng's inscription, matching the two legendary immortals together and packaging them for sale.

Ming Dynasty painters forged the Lengqian "Penglai Xianyi Tu" (partial), in the collection of the National Palace Museum in Taipei

Specific to this piano, it is also difficult for us to confirm that he was really supervised by Ni Zhan and coldly owned. Although it is reasonable for Leng Qian to have a piano, he is originally a music master, Leng Qian wrote a volume of "Taikoo Zhengyin", Song Lian wrote a preface for him, praising the beauty of his piano sound, Yun:

"Leng Junjian held the piano for the Yu drum and listened to it, and yu was blind and listened to it, and it was humble and autumn- and spring-warming; there were few sorrows and hong groans, and the storks and phoenixes chased and harmonized; the stones were hydrated, the waterfalls were directly on it, and the winds of songgui answered each other and rushed to each other; earnestly like Yu Xiajunchen, the rules were ironic, and there was no hurt or anger; when it was bustling like Chinese, the world was rich, and the fields were riding and dragging, frolicking and laughing, and the night of the day was also known. Yu tired of forgetting to sleep, not knowing the peace of mind, the look of suitability, reading the day and the afterglow of the afterglow in the ear. ”

Looking at Song Lian's preface, you can imagine how the scene of cold and humble playing the piano is. Whether he plays this piano or not, it is enough to make people want to see its remains when watching the piano.