"Huainanzi Yuandao" cloud "''The man who is the Taoist, covering the sky and the earth, outlines the four directions, and has eight poles. "Its virtue is excellent and heaven and earth and yin and yang, and the five elements are adjusted at four times...... Moistened in grass and trees, soaked in gold and stone. The virtue of "gold and stone" to the present "Tao" comes from the Shang and Zhou dynasties, and the so-called "Mozi Fei Xianxia" is the true portrayal of "the bamboo silk of the book, the gold and stone of the carving, and the plate of the carving, which will be passed on to future generations". The study of gold and stone as a discipline originated in the Song Dynasty, and scholars wrote a variety of works and achieved remarkable results. Although it was fashionable and did not have the technique of photographing, the sages not only printed books with facsimile engraving (stone), but also used traditional Chinese techniques to cover paper and spread the shape with ink. This is not difficult to find in the two books of Lu Dalin's "Archaeological Map" and "Archaeological Map" of the Song Dynasty collected in the "Siku Quanshu", and the ancient artifacts contained in it are all engraved in ink rubbing. It can be said that the inheritance of gold and stone in the way of rubbing, the Song people have opened up the trend, so the circulation and collection of rubbings is a logical thing.
After the prosperity of the Qing Dynasty, due to the rise of primary schools represented by the study of "Shuowen", the study of gold and stone was more vigorous, and the collection of gold and stone rubbings, or taking advantage of the inscriptions, or giving gifts to each other, was the elegance and fashion among literati and scholars. Its collection and inscriptions were all first-class scholars at that time, such as Zhang Tingji, Ruan Yuan, Liu Zhou, Wu Shifen, Chen Jieqi, Weng Fanggang, Wu Dayi, Sun Yirang, Yang Shoujing, Luo Zhenyu, Wang Guowei and others, and its atmosphere continued until the Republic of China. As a contemporary scholar and seal carving artist, Mr. Fong's collection of rubbings of gold and stone is influenced by this cultural background.
In the thirties of the twentieth century, Fang Jiekan and Zhang Daqian and friends
Fang Jiekan (1901-1987), a native of Yongjia, Zhejiang (now Wenzhou City), was originally known as Wenyu, the word Puru, and later changed his name to 巖, the word Jiekan, with the word line, alias Yuzhen Lou Owner. As early as the twenties of the twentieth century, he was hired by Liu Haisu and Huang Binhong as professors of Shanghai Art College and Shanghai Xinhua Art College. After the victory of the Anti-Japanese War, he actively participated in the post-war cultural restoration and organization of art groups in Shanghai. After the founding of the People's Republic of China, he served as the deputy director of the Wenzhou Cultural Relics Management Committee and the first director of the Wenzhou Museum for more than 30 years.
Lot 1628
Fang Jiekan Collection "Ji Jin Tu Piece Collection"
A total of 508 pieces
Publication: All three volumes of Fang Jiekan Zangji Jintuo Films, published by Shanghai Painting and Calligraphy Publishing House, 2023.
27×19.5 cm×508
估价:RMB 350,000-550,000
The book "Fang Jiekan Collection of Ji Jin Tubing" edited by Mr. Fang Jiekan's philosopher Fang Guangqiang Xian has a total of more than 500 papers of gold and stone rubbings collected by Mr. Fang Jiekan, and the "gold" category is mainly Shang and Zhou bronzes, plus a small number of Qin edict measuring wares and Han Dynasty bronzes, new mang measuring tools and miscellaneous wares, while the "stone" category is only ten pieces. Although Mr. Fang's collection is not on an equal footing with big collectors such as Chen Jiechu's "Zheng Zhai" and Liu Tizhi's "Xiaoxiao Jingge", it is also distinctive, and the collection is not abundant.
Comparison of the original bronze ware and inscriptions with Fang Jiekan's original extension
The pre-Qin bronze inscriptions included in this book are many famous heirlooms, and there are quite a few remarkable. For example, the "Liangshan Seven Vessels" unearthed in Shouzhang, Shandong Province in the Daoguang period, "Taibao Fang Ding" (No. 24), "Taibao Gui" (No. 115), "Taishi Youzuo Zhao Gongling" and "Yan Fang Ding" (No. 35), have accounted for four-sevenths; ), "Yang Gui" (No. 120), "Zuo Shu Huan" (No. 192); Li Shannong's old collection of "Shu Ding Ding" (No. 57), "Uncle Yu Lu Zhong" (No. 2), "Wengu Ri Gui Ning" (No. 10), "Yi Ding" (No. 52), "Six Years of Xuan Shenggui" (No. 119), "Jing Gui" (No. 118), "Zheng Yu Zhonggui" (No. 106), "Mai Ding" (No. 58) from Sun Yirang's old collection and now in the Zhejiang Provincial Museum, "Bo Yu Gui" (No. 76), "Ji Hou Gui" (No. 88), "Chengyu Shenggui" (No. 95) and "Chen Hou Yindun (No. 132), "Gong Gong Silence" (No. 131), and "Xi Zhong Zhong" (No. 1) in the Shanghai Museum, etc.
In addition, there are a large number of collections in the rubbings that can also be found in the Yuhua Pavilion, such as "Rhino Fish Father Ding" (No. 45), "Yan Fang Ding" (No. 50), "Chen Hou Ding" (No. 51), "Zhengren Ding" (No. 53), "Houwei Fang Ding" (No. 59), "Qi Bo Every Death" (No. 96), "Lu Gui" (No. 112), "Song Gui" (No. 121), "Raccoon Dog" (No. 193), etc., and their sources should be the same. It is worth noting that there are also a number of bronzes from the late Shang Dynasty to the early Western Zhou Dynasty in the rubbing, all of which bear clan inscriptions, which are important golden inscriptions to understand the early primitive script configuration, such as "Ya Xu's Father Ding Ning" (No. 5), "Wu Zheng Father Gui Ning" (No. 6), "Shang Women's Ning" (No. 8), "Liding" (No. 13), "Xin Ding of the Father" (No. 21), "Ran Father Xin Ding" (No. 22), "Ya Chou Father Ding Fangding" (No. 27), "Tian Huang Zuo Father Wu Fang Ding" (No. 31), etc., all of which are the old collection of Pan Zuyin. Clarifying the sources of these rubbings can also find a channel for Mr. Fang Jiekan's collection of rubbings, and then explore the academic circle at that time, which is helpful for us to deeply study Mr. Fang's academic career.
As one of the most outstanding seal carving artists in the past 100 years, Mr. Fang Jiekan has made more than 40,000 square seals in his lifetime, which has had a great influence on contemporary times, especially in the early forties of the twentieth century. However, looking at Mr. Fang's artistic achievements, he is actually the most famous in Jinshi Studies, and his many books of "Jade Seal Lou Seal Printing Series" and "Jiekan Seal Printing and Storage" and "Seal Seal Literature Collection" can be said to be the most representative typical works. The rubbings of gold and stone collected by Mr. Fang Jiekan are not only the first-hand reference materials of Mr. Fang's ancient seals, but also the foundation and important source of Mr. Fang's research on the study of gold and stone. From this point of view, the collation and publication of the "Collection of Pieces of Fang Jiekan Zangji Jintuo" can highlight its significance.
Incidentally, in order to facilitate readers to have an in-depth understanding of the connotation and academic information of Mr. Fang Jiekan's collection of gold and stone rubbings, in addition to the "Illustrated Edition", a special volume of "Examination and Interpretation Edition" is specially added to this book, which is written by Ge Liang, a researcher from the Shanghai Museum. Under the direct leadership of Director Ma Chengyuan, the Bronze Department of the Shanghai Museum has long been an important center for the study of Chinese bronzes and Jijin characters. Mr. Fang Jiekan's rubbings of the collection of gold and stones, which were interpreted by him, were clearly sorted out, properly interpreted, and full of meanings, especially the two sections of "Pseudo-inscription" and "Translation", which showed his appreciation skills. The opening of the book is beneficial, and I believe that readers will have a good harvest.
"Fang Jiekanzang Ji Jin Tu Piece Collection" is in three volumes
I heard the name of Mr. Fang Jiekan as early as when I was studying at Jilin University, which was related to my professional direction and research interests. After I started my job, Mr. Fang and I served as the leaders of provincial and municipal museums in Zhejiang, and although we were engaged in cultural and museum work together, as a junior, I never had the opportunity to ask Mr. Fang for benefits in person. In addition, the car journey to Wenzhou was as long as a whole day, and often encountered landslides, and a block did not know how many hours to pass, so everyone regarded it as a daunting road, and generally did not travel to anything important. When I finally had the opportunity to arrive in Wenzhou for the first time, Mr. Fang had already driven west, but unfortunately I was not able to meet him, which was a deep regret.
Cao Jinyan
(Director of the Institute of Chinese Character Culture, China Academy of Art, Professor and Doctoral Supervisor of the Department of Calligraphy) December 2021
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