Tablets, thesis Jane said
Pressure
Learning books, in ancient times, was called "Linchi". That is, near the Yanchi, absorb water and ink, and learn the meaning of writing with a pen.
How to learn books in the pond? Imagining out of thin air, letting the pen be the body, gathering ink to form, of course, not, we must seek it from its good, that is, we must take the word of the book to obtain the law as a model word, take it as a word model, after contact with it, the ears are grinding, and the edification is infected, in order to replace the word of the law book with the word of the law book, so that the word of the book is in accordance with the rules, and gradually becomes radiant, which is a success.
Picture Appreciation: Stone Drum Text
However, where can the Book of Laws of the Exemplary Character be sought? Of course, there is no shortage of people in our country's first saints, and their handwriting ink is the most valuable. You can observe its use of the pen to make the rotation, you can rub its ink into the paper, you can play with its knot chapter, you can not only glimpse it, but also get its full picture. However, it is easier said than done! Famous inkblots have been regarded as the most precious treasures in the world throughout the ages, and ordinary scholars basically cannot see them.
Fortunately, the ancient texts for Ji Sheng, Song Gong, Jing De, and Zhi Shi may not last long, or "skeletonized in the golden stone", or "pondered in the pan cup" ("Mozi and Love"). Although it belongs to the craft processing, it may lose its original appearance, but it is not far away. The craftsman's engraving technical ability is high and low, the lower one must be far from the original work, and the high one may even gain. Either way, it's always better than nothing. Therefore, the learner can ask for it on the gold and stone, play with it, ask for strokes from the mouth of the word, and appreciate the wind god by looking at the bottom of the word. Although there is a layer of diaphragm after all, it can always be caught.
However, in seeking the word model in this way, there must be time and place restrictions, and if you want to put yourself on the right side of the seat and observe and read day and night, it is difficult. So the ancestors invented a remedy, which is the Fushi exhibition paper pounding - this is a kind of printing as far as possible without losing the handwriting on the stele, but it has a concave and convex feeling than the printed matter. Although the wind god hidden by the angle of the bottom of the word can no longer be obtained, the word is clear and considerable. As a word model to seek standardization, it is undoubtedly much more convenient than the original stone on the spot.
Picture appreciation: Qin Langya carved stone
Rubbings are based on stone molds, which not only provide convenience for scholars, but also facilitate the circulation and popularization of famous traces of legal books. The inkblots of some sages and philosophers are carved into stones, pounded into rubbings, or bound into books, for scholars to learn the characters linchi, this is the so-called "Fa Ti".
In the usual discourse, the concept of "stele" and "post" is vague. It is often confused, or a poster or a stele. In fact, "stele" is "stele" and "post" is "post", with different origins, different natures, and different functions. One is aimed at engraving stones, which belong to the original carvings of the people, the content is solemn and rich, and the emphasis is on practicality; the first is mainly to take the model of practice, deliberately copy, and emphasize its artistry, the original is mostly a work of ease, and its content may be negligible. Therefore, there is a special rule in calligraphy, that is, the former is called "stele", and the latter is called "post". In history, many scholars have done special research on "steles" and "posters" and achieved remarkable results. In order to help you have a basic understanding when learning, we would like to introduce:
First, the occurrence and development of "monuments"
The stele of the predecessors often began with three generations (Xia, Shang, and Zhou). The Song dynasty people Ouyang Xiu, Zhao Mingcheng, Zheng Qiao, the Ming people Yang Shen, Lang Ying, Shen Yi, Yang Shiqiao, Du Yi, etc. all included in the Golden Stone Books they wrote, including the "Monument of Hengshan", the "Carved Stone of Tanshan Mountain" of Emperor Zanhuang, the "Epitaph of Bigan" of Weizhou and the "Carved Stone of Red Cliff" in Guizhou, and the name was "Three Generations of Carved Stones". In fact, they are all said to be attached to the association, which is not enough to be trusted. From what we see today, takumoto is a late thing.
Picture appreciation: Western Han Dynasty Five Phoenix Carved Stone
The earliest carved stone in China is the "Yongyi Carved Stone" excavated in the early Tang Dynasty, or "Qiyang Carved Stone". Its shape resembles a tall steamed bun, so people are used to call it a stone drum. The Book of Later Han and the Biography of Dou Xian, Li Xian's note: "The square is called a monument, and the round one is called a jie." Ming Guo Zongchang was rightly named "Shi Jie", which was true. "Jie, reveal." ("Hanshu Yangxiong Biography") "Shuowen Jiezi" said: "Jie, the stone of the special." "It can be seen that jieshi is different from the stele. The stele, humble also, flat and thin, so it points to the dead. The 碣 points to the living. Judging from the Stone Drum Text, it is of the same nature as the bronze inscription, and it also belongs to the work of Ming Gong Ji De, so we believe that Jie Dang is an alternative transformation of bronze Yi ware. Its font is da seal, the old book of 籀. The era belongs to the Spring and Autumn Warring States period, and it is the earliest stone carving in China. About the same time or slightly later as the "Yongyi Carved Stone" is the three stones of the "Curse Chu Wen" unearthed during the Song Dynasty, and the font is slightly similar to the stone drum text. At the same time as or slightly later with the stone drum, there is also a kind of stone inscription, that is, the twelve-sided jade pillar "Xingqi Jade Peiming", which is the earliest record of Qigong in China, and the font is close to the Qin Seal.
Qin Shi Huang unified China, in order to praise merit and extend his hegemony, he made seven eastern tours, and everywhere he went, there would be carved stones. According to records, there are seven carvings such as Yishan, Taishan, Zhifu, Langya, Jieshi, and Huiji. Except for the "Carved Stone of Yishan Mountain", it is found in the "History". Only the "jieshi carved stone" is called "carved stone gate", and the rest are called "standing stone". It can be seen that the former is suspected to be a cliff, and the latter is no different from the "Yongyi Carved Stone". The font belongs to the Qin seal, all of which are from the hand of Li Si, but the inscription does not contain the bibliography of posterity.
Photo Appreciation: Eastern Han Dynasty Stone Gate Song
Chen Que's "Negative Xuan Ye Lu" quoted Liang Youyuan as saying: "In the two hundred years of the Western Han Dynasty, there was no monument, and the king of Gai mang was evilly praised for merit, and all the stone carvings where they were placed were made for servants to grind them, and they were still strictly forbidden and could not be left behind." "I don't know where this theory comes from, and there is no record of it. Han inherited the Qin system, Qin still did not see the tombstone, but there were carved stones, so it was reasonable that the Western Han Dynasty did not see the tombstone. There are very few inscriptions in the Western Han Dynasty, and there are no tombstones, epitaphs, temple tablets, etc., and there are about ten kinds of people who can be collected and confirmed:
1. Qunchen Shangshou Carved Stone (156 BC), Seal, Yongnian County, Hebei.
2. Lubei Majesty Stone Inscription (149 BC), seal, formerly the Tibetan North, later returned to the Confucius Temple.
3. The stone inscription of the Middle Temple of Guangling (54 BC), Han Li, from Jiangdu to Mengmiao Temple.
4. Bazhou Min Yang Liang Mai Shan Ji (68 BC), Han Li, excavated in Ba County, Sichuan.
5. Stone inscription of Huo's tomb (57 BC), One Seal, Two Han Li, Dou Ma, Xingping County.
6. Lu Xiaowang Wufeng Carved Stone (56 BC), Han Li, Confucius Temple.
7. Carved Stone of Yan Xiaoyu (26 BC), Han Li, Feicheng, Shandong, now in Shandong Museum.
VIII. Tomb of Qing of Shanggu Province (7 BC), Han Li, Confucius Temple.
9. Zhu Qiqing Tomb (2 BC), Han Li, Confucius Temple.
10. LaiziHou Carved Stone (16 AD), Han Li, Zou County, existing Confucius Temple.
The average word count is small and unwritten. The so-called Han Li here refers to the font commonly used during the Western Han Dynasty.
Picture Appreciation: Eastern Han Dynasty Shi Chen Monument
The Eastern Han Dynasty is a prosperous era of inscriptions, which can be called a peak of China's inscription art, and there are all kinds of jie, stele, zhi, que and stone scriptures. At that time, the so-called "protégés" often sang praises and praises for their carved stones after the death of their lords, such as mourning, so that on the occasion of the Eastern Han Dynasty Huan and Ling, the real meaning of the tombstone (stone system) was officially produced. The construction of monuments was extremely popular, and there were many monuments throughout the counties. From Li Daoyuan's "Notes on the Water Classics" to Weng Fanggang's "Two Han Golden Stones" at the end of the Qing Dynasty, Wang Yirong's "Han Shi Inventory", Wang Chen's "Han Li Jin Cunlu", plus some Han Dynasty inscriptions unearthed since liberation, the total number has reached more than 200. His famous titles include the "Monument of the Opening of the Emperor" (163), the "Three Gongshan Steles" (117), the "Shaomu Dao Kaimu Temple Shinto Dao" (123), the "Northern Phase View" (143), the "Yi Ying Stele" (153), the "Ritual Instrument Stele" (156), the "Huashan Temple Stele" (161), the "Confucius Monument" (164), the "Xianyu Huang Stele" (165, 1973 tianjin excavation), the "Hengfang Stele" (168 years), the "Before and After Shi Chen Stele" (168, 169 years), "Former and Later Shi Chen Stele" (168, 169 years), " Xia Chengbei (170), Kong BiaoBei (171), Lu Junbei (173), Han Renming (175), Chen MinBei (184), Cao Quanbei (185), Zhang Qianbei (186), and "Three Odes": Shimen (148), Xixia (171), Fu Yan Ge (172), and Xiping Shijing (172-178).
If we talk about the calligraphy characteristics of the Han tablets, they can be described as charming and salty, and each has its own heroic posture. For example, the simplicity and vigor of "Zhang Qian", the pingzheng and rigorousness of "Yi Ying", the thin and hard psychic of "Ritual Instrument", the vigor and abundance of "Hengfang", the square of "Xiping", the opening of "Stone Gate", the ancient humble Kuiwei of "Xi Narrow" and "Fu Yan Ge", the ancient thickness and dignity of "Shi Chen", the beauty and elegance of "Cao Quan"...
As for the writers and writers, The Han tablets are generally not inscribed. The only one who can be examined today is the Guo Youdao Monument, which wrote an article for Cai Yong. Most of the Xiping Stone Classics are Cai Yongshu. The only stele written by Ming Ming and written by the authors is the "Wuban Stele", which is the Ji Boyuan Book, the "Ode to the Western Narrow" is the Qiu Jing Book, the "Ode to the Fu Que Ge" is the Qiu Jing Wen, the Qiu Shu and several others.
Photo appreciation: Epitaph of Zhang Xuan of the Northern Wei Dynasty
During the Three Kingdoms period, Cao Cao reversed the previous system and ordered the prohibition of monuments. However, due to the division of the world, its prohibition was not fully implemented, and there were still many tombstones and temple stele, such as Cao Wei's "Persuasion Tablet" (i.e., "Gongqing Shangzun Trumpet", 220), "Zen Table" (Huang Chu yuan year, 220 years), "Fengkong Qibei Stele" (220), "Paradigm Stele" (235), "Cao Zhen Remnant Stele" (unknown date), "Wang Ji Broken Stele" (261), Sun Wu's "Jiuzhen Taishougu Lang Stele" (272), "Zen GuoShan Stele" (276), "Tianfa Shen Zhen Monument" (276), "Gefu Jun Stele" (only see the stele). There are only a few bibliographies of the Shu tablets, but no authentic works have been seen, and many are not credible. Others that must also be mentioned are the famous Three-Body Stone Sutra (240-248), written in ancient Chinese, small seals, and Lishu, respectively, and the Li Baotongge Daoji (263). The font of the Three Kingdoms Period stele is generally still subordinate, and some are seals. The "Gefu Junbei" is the "originator of the main book" (Kang Youwei's "Guangyi Zhou Shuangyi"). At this time, it is generally not clear who signed the author and the author.
From the Western Jin Dynasty to the Sui Dynasty, it can be said that it was the heyday of China's inscription art, with tombstones, epitaphs, land purchase coupons, temple tablets, cliffs, statue inscriptions, stone inscriptions, and scriptures. If the Qin and Western Han Dynasties are likened to Turui, and the Three Kingdoms of the Eastern Han Dynasty are likened to blossoms, then at this time it can be called fruit. Because Emperor Wu of Jin had issued an edict reiterating the ban on steles, there were still few tombstones, only the "Monument of The Mingwei General Gao Xiu" (269), the "Monument of Lady Sun of Rencheng Taishou" (270), and the "Han Shou Table" (?) ), "Monument to the Emperor of Yuyang Province" (?) ) and a limited number of statues. The temple stele includes the "Emperor Sanlin Taixue Peiyong Monument" (278), the "Qi Taigong Lü Wangbiao" (289) of Jixian County, Henan, and the Jilin "Monument to the Good King" (belonging to Jie). Epitaphs are slowly developed after the implementation of the ban on steles, and the tombstones are moved to the ground. Epitaphs of the Western Jin Dynasty have become more common. Famous ones such as "Guan Luozhi", "Cheng Huangzhi", "Pei Zhizhi", "Xun Yuezhi", "Guo Huaizhi", "Zhang Luzhi", "Shi Yuzhi" and so on.
After the Western Jin Dynasty, perhaps due to the role of the Jin Wu Edict, the tombstones were greatly reduced, and only the "Cuan Baozi Stele" (405), which was excavated in the southwest border, was greatly developed. In recent years, the "Xie Kunzhi", "Wang Xingzhi", "Wang Minzhi", "Wang Danhuzhi", etc. unearthed in Nanjing have actually caused a great controversy about the authenticity of Wang Xizhi's "Orchid Pavilion Preface". But the most common epitaph is the Northern Dynasty. Most of the so-called Wei monuments we call today are from the Northern Wei Dynasty, but they are actually Wei Zhi. Secondly, there have also been great developments in the iconography, cliffs and scriptures. Shi Yan and land purchase coupons do not reduce the former dynasty.
Important inscriptions of this period are:
Southern dynasties
Song: "Xiao Xi Shinto Stele", "Liu Huaimin's Epitaph", "Kou Xiong Statue", "Cuan Long Yan Stele", etc.
Qi: "Lü Chaozhi", "Wei Wei Zun Buddha", "Xiao Yan Statue" and so on.
Liang: "Xiao Shizhi", "Fistula Ming", Emperor Taizuwen and Xiao Zhengli, Xiao Xiu, Xiao Hong, Xiao Guo, Xiao Ji Shen Dao Inscription, "Cheng Qianzhi", "Shixing Zhongwu King Monument", "Liu Jingzuo Statue" and so on.
Chen: "Guan Jing Monument", "Zhao He Statue" and so on.
North Morning
Sixteen Kingdoms: "Deng Taiwei Ancestral Inscription", "Guangwu General Monument", "Lü Xian Tomb Table", "Liang Shu's Wife Hua □ Tomb Table", etc.
Wei: Zhao Zhen's Statue Record, Kou Qianzhi's Song Gaoling Temple Stele, Cui Hao's Tomb Inscription of Hang Bi Gan, Wang Yuan's Shi Men Ming, Xiao Xianqing, Zhu Yizhang, etc. "Twenty Pins of Longmen", "Monument to the Great Dynasty Huayue Temple", "Sima Yuanxingzhi", "YuanXianZhi", "Zheng Wengong Monument", "Yunfeng Mountain Stone Carving" forty-two kinds, "Yang Yi Monument", "Diao Zunzhi", "Cui Jingyongzhi", "Jia Sipo Monument", "Zhang Ronglong Monument", "Yuan Yanzhi", "Gao Zhen Monument", "MaMingsi Temple Root Master Monument", "Li Chaozhi", "Zhang Xuanzhi" ("" Zhang HeiNuzhi"), "Yao Boduo Statue Inscription", etc.
Eastern Wei: "Gao Zhanzhi", "Monument to the Emperor", Wang Changrushu "Li Zhongxuan Repairs Confucius Temple Stele" and so on.
Northern Qi: The wind of the carved scriptures is greatly enhanced, and it is often seen that the Buddhist scriptures are carved on the cliffs. For example, the "Taishan Diamond Sutra", "Tianzhu Mountain Inscription", "Buffalo Mountain Manjushri BanruoJing", "Yunfeng Mountain Record", as well as Taishan, Gangshan, Tieshan and other inscriptions, others are Liang Gongzhi's book "Longdong Wang's Sense of Filial Piety", "Zhu Dai Village Zhi", "Ximen Leopard Ancestral Hall Stele", "Lou Ruizhi", "Fan Zhizhi" and so on.
Northern Zhou: Zhou Wenyuan's "Ode to Hua Yue", "Cao Kezhi", "Shi Zhenzhi" and "Zhang Shengmiao Statue Inscription".
The Wei and Jin dynasties were actually an era of great change in Chinese characters from subordination to truth. Therefore, the early inscription fonts during this period generally have the will of the Lishu, such as the "Cuan Baozi Stele". The late zhenshu was basically fixed, such as the "Zhang Ronglong Monument", the "Monument to the Ambassador", and the "Zhang HeiNuzhi". During this period, whether it was the stele, or the Moya, or the statue, the basic unified appearance, that is, most of it was flat, and there was a more obvious difference with the sui and Tang dynasty finalized real books, so the general people called the font at this time "Wei stele body", of course, classified into the real book. At this time, the situation of the inscription of the inscription and the author of the stele appeared. As for the calligraphic characteristics of the Wei Stele, there have been many discussions and comments since Bao Shichen. Kang Youwei's "Guangyi Zhou Double Volume forty-Six Sects" is analyzed as sixteen sects according to characteristics, although it is inevitable that there are flashy and unrealistic, pretending to be mysterious and false, but it can be used for our reference.
The Sui Dynasty was unified, and the art of opening monuments was a new style. Mr. Zhu Jianxin said: "The Sui Monument inherits six generations, the lower Qi Three Tang Dynasties, and the eight points of the Small Seal tend to be subordinate to Kai. The gods change without departing from the rules. After covering the danger, it gradually entered the Tanyi. And in the midst of the neatness, it is still ancient. This is basically true. The sui dynasty monuments we see today do have the above characteristics. For example, "Longzang Temple Stele", "Cao Zhi Stele", "Pingchen Song Stele", "He Ruoyi Stele", "Dong Meiren Epitaph", "Chang Ugly Nu Epitaph", "Su Xiaoci Epitaph", "Yao Jian Epitaph", "Meng Xianda Stele", "Guo Fen Stele", etc., as well as the Thousand Buddha Mountain of Licheng, the Cloud Gate of Yidu, the Two Mountains of Yuhan or the Statue Record, etc. can be seen in the transitional characteristics of carrying forward and starting down.
Tang Chengsui pushed forward even further, and there was another peak in China's ancient inscription art. The grandeur of the monument is even greater than that of the Eastern Han Dynasty. The characteristics of its era can be summarized as follows:
1. From the emperor down to the big bureaucrats, literati and inkers, they all participate in the inscription system activities;
2. Institutionalization of monument construction, according to the nine-pin Zhongzheng system, strict regulations, and clear hierarchy;
3. The inscription is more famous and mastery, the words are magnificent, and the book carving is exquisite;
4. Taoist and Buddhist scripture carved stones prevail.
Photo appreciation: Sui Longzang Temple stele
In the three hundred years of the Tang Dynasty, there were no less than a thousand inscriptions. Cliffs, statues, scriptures, scriptures, etc. have not been reduced; epitaphs and land purchase vouchers are still popular, but the stones seem to disappear from themselves. Qing Ye Chang chi once praised the Tang statue and the scripture carving, saying: "The world is called the Wei statue, but I don't know the essence of the Tang carving, it is incredible..." In fact, all kinds of inscriptions have reached an unprecedented artistic level. Tang inscriptions are generally signed with authors and writers, and the authors often write famous pens, not only the words are exquisite, the writing is even more unique, the truth, line, affiliation, and the seal are all prepared, especially the true books are the most characteristic and representative, and the number is also the largest, so it is called "Kai shu" by posterity. The second is the xingshu, the repetition is the lishu, and the seal stele is only seen in the stele. The True Book Yu Chu is a school, characterized by gentleness and elegance; the big and small European is a school, known as a dangerous and vigorous at that time; after Yan and Liu are a school, they are rich and beautiful, and the tree is distinctive. Since Emperor Taizong advocated the inclusion of xingshu into the stele ("Hot Spring Inscription"), Xingshu Dasheng, Ou, Yu, Chu, Feng (Chengsu) and others were also good at writing in addition to true books. Later, Li Yong was even more proficient in Xingkai. Those who are capable of writing include Lu Zangyong, Han Zemu, Cui Miao, Shi Weize, cai Youlin and so on. Seal Book, Li Yangbing, Qu Lingqing, Yuan Ziding foot and three, and the first to recommend Li Shi.
The famous monuments of the Tang Dynasty are full of sweat and cattle, and they are not enough to mention. For example, Yu Shinan's "Monument to the Temple of Confucius", Chu Suiliang's book "Sacred Order of the Yan Pagoda" and "Brick Pagoda Inscription", Ouyang Shu's "Jiucheng Palace" and "Huadu Temple", Xiao Ou's book "Daoyin Master's Stele" and the newly published "Epitaph of Quan Boy", Yan Zhenqing's book "Duo Pagoda" and "Magu Immortal Altar", Liu Gongquan's book "Xuan secret pagoda", "Dinghui Zen Master's Stele", Li Yongshu's "Li Sixun Monument", and "Yuelu Temple". Tang Xuanzong's book "Taishan Ming", Han Xuemu's book "Monument to the Emperor of Huayue Province", Li Yangbing's book "Three Tombs" and so on.
There are still many inscriptions in the Five Dynasties and Ten Kingdoms and after the Song Dynasty, but they are not as brilliant as previous dynasties, and most of them are not valued by scholars. Looking at the history of the production and development of inscriptions in China, from the perspective of calligraphy alone, it can be divided into the following stages:
The first stage, from the Spring and Autumn Period and the Warring States period to the unification of Qin, is the "indiscriminate period":
The second stage from Qin to the end of the Western Han Dynasty can be called the "Qin carving period":
The third stage from the Eastern Han Dynasty to the Three Kingdoms, can be called the "Han Monument Period":
The fourth stage of the unification of the Western Jin Dynasty to the Sui Dynasty, represented by the Wei Monument, can be called "Wei Zhi Period":
The fifth stage of the Sui and Tang dynasties, represented by the Tang Stele, we call it the "Tang Stele Period".
Five generations and even the Ming and Qing dynasties, the characteristics are basically the same as those of the Sui and Tang Dynasties, which is not enough to discuss.
(To be continued)
This article is based on the lecture notes of "Introduction to Chinese Theology" at the first calligraphy class of the Beijing Normal College (First Normal University) founded by Mr. Ouyang Zhongshi in September 1985, originally published in Introduction to Calligraphy, Higher Education Press, 1988.7. Slight changes were made when pushing.
About the Author
Zhang Xin, the word for this husband. Famous scholar, professor of Peking University, doctoral supervisor. He is a director of the China Overseas Friendship Association, a director of the China Soong Ching Ling Foundation, a director of the Chinese Calligraphers Association, a member of the Academic Committee, the president of the Peking University Calligraphy and Painting Association, an expert in the review of humanities dissertations of the Ministry of Education, and one of the earliest doctors of archaeology in China. He was once rated as one of the "Top Ten Teachers of Peking University" and was hired as the general consultant of the national "True Language" series of activities.
Note: This article is the original work of Professor Zhang Xin, please do not reprint or copy without the author's permission. Respect the rights and interests of authors together!