Emperor Xuan of the Han Dynasty "thought about the beauty of the humerus, is to paint his people in the Qilin Pavilion", opening a precedent for "picture heroes" in Chinese history. Yu Xinyun, the great poet of the Northern and Southern Dynasties, "The Son of Heaven painted the Pavilion of Lingyan, and returned to the ministers; Out of the palace of peace and happiness, the real thinking of the virtuous. "Lingyan Pavilion" became a place for the emperor to commend meritorious heroes. The Tang Dynasty inherited the tradition of painting heroes, Tang Taizong Zhenguan 17 years (643), in order to commemorate the founding of the country, stabilize the foundation of the dynasty, ordered the then calligraphy and painting national hand Yan Liben to paint 24 life-size ministers in Lingyan Pavilion, inscribed by Chu Suiliang, Taizong said:
Since ancient times, the emperor has praised virtue, not only inscribed in Zhongding, but also graphically in Danqing. It is a good dew and a beautiful pavilion; Jianwu warriors, Yuntai records its traces. Situ and Zhao Guogong Wuji,...... Therefore, the governor of Xuzhou, Hu Zhuanggong, Qin Shubao, etc., or push the pillars, seek to go far, make up the curtain, and dominate the economy; or learn comprehensive scriptures, Defan Guangmao, hidden offenders are the same, loyal and heard every day; or strive for the banner of righteousness, commission the feudal mansion, show the festival wholeheartedly, and mark the odds of a hundred battles; Or by the temple, the soil aspect, the atmosphere is loaded, and the king is slightly proclaimed. And the deed of Kuotunyi, the labor brigade. Praise Jingye in the grass, and the wing Chunhua in Longping. Outstanding achievements, crowns; Chang Yan is straight, and the gentry is caged. It is advisable to consider the facts, Hongzi Lingdian, and can be drawn in the Lingyan Pavilion. The bosom of the Gong is not thankful for the previous load; The righteousness of Jingxian will always be in Houkun. The world's capable people with lofty ideals are all proud to be able to enter the Lingyan Pavilion. "History of Poetry" Du Fu "Danqing Presents General Cao Ba" cloud: "Danqing does not know that the old man is coming, and wealth is like a floating cloud to me." …… Ling Yan's heroes have few colors, and the general has a new face. The good face entered the virtuous crown on his head, and the big feather arrow on his waist was fierce. Bao Gong and Gong Mao launched, and fought heroically. The first emperor and the horse are full of flowers, and the painting is different from the mountain. The Tang Dynasty poet Li He's "Thirteen Songs of the South Garden" also said: "Why don't men take Wu hooks and collect Guanshan Fifty Prefectures." Please go to Lingyan Pavilion temporarily, if you are a scholar and a marquis. It is a pity that Lingyan Pavilion was destroyed in the war, "Lingyan Pavilion Heroes" is also rare to circulate, the Song Dynasty only left four stone carvings, in the 60s of the 20th century, Jin Weinuo's "Bu Yuan Map" and "Lingyan Pavilion Heroes Map" had been specially discussed. After the late Ming Dynasty, printmaking became a relatively independent art, and figure prints with independent art forms appeared, such as Chen Hongshou's "Water Margin Leaves" at the end of the Ming Dynasty. At the beginning of the Qing Dynasty, Liu Yuan was influenced by Chen's Water Margin figure painting method, and repainted the "Lingyan Pavilion Meritorious Heroes", which was engraved by Zhu Gui, a Suzhou engraving expert, and engraved "Wushuang Spectrum" by Jin Guliang in Shanyin (Shaoxing), which can be called a double masterpiece of Kangxi printmaking. The previous research on the "Heroes of Lingyan Pavilion" mainly involves the biographies of historical figures, the art of engraving and engraving, etc., and the representative achievements of the former include Bian Xiaoxuan's "The Change of Xuanwu Gate" and "Twenty-four Heroes of Lingyan Pavilion" and Hu Zhen's "Heroes of Lingyan Pavilion"; The research on the art of printmaking and engraving includes Zheng Zhenduo's "A Brief History of Ancient Chinese Woodcut Printmaking" and Cai Changlin's "Research and Restoration of the Heroes of Lingyan Pavilion". Regarding the research on the literature version of "Lingyan Pavilion Heroes", there are mainly Gu Tinglong, Du Zhenggan, Chen Hongyan, Weng Lianxi, Liu Yu and others, all of whom discuss a single version. From the perspective of ancient book preservation, this paper discusses the edition, circulation and collection of the surviving Lingyan Pavilion Heroes, and reveals its unique value in "poetry, calligraphy, painting and sealing", document protection and cultural exchange. 1. Since the launch of the Chinese Ancient Books Protection Program in 2007, in 2009, the Cultural Relics Publishing House photocopied the Lingyan Pavilion from Zheng Zhenduo's collection of the National Library; In 2010, the library of Fudan University commissioned Hangzhou Huabao Zhai to photocopy Liu Chenggan's collection of "Lingyan Pavilion Heroes"; In 2011, "Chinese Reinvention Rare Book" was photocopied from the collection of Wang Xiaoci of the National Library. In 2020, the Cultural Relics Publishing House photocopied "The Heroes of Lingyan Pavilion" (folded) based on the collection of the Vanderburg European Wood Foundation and the original copy of the "Xi Yongxuan Book Series". Based on the bibliography of Chinese Rare Books, the General Catalogue of Chinese Ancient Books, the Census Catalogue of Ancient Books, the CALI Joint Catalogue (Xueyuan Jigu), the Ancient Books Auction Network, the Japanese Chinese Catalogue, and the OCLC Joint Catalogue of the United States, this paper sorts out the line-bound version of Lingyan Pavilion Heroes (ordinary paperback, hardcover, etc. are not included) circulating at home and abroad. The arrangement is as follows: (1) the 7th year of the Kangxi reign of the Qing Dynasty (1668) Zhu Wat Tang inscription and re-engraved version (2) the 9th year of Guangxu of the Qing Dynasty (1883) Xu Yuan's copy (3) the 10th year of the Qing Dynasty (1884) the lithograph of the Shanghai Tongshu Bureau (4) the copy of Tao Xiang's "Xi Yongxuan Series" in the Republic of China (5) the "Ancient Chinese Printmaking Series" of the Shanghai Editorial Office of Zhonghua Book Company in 1961 and 1962 Photocopy of the collection of Zheng Zhenduo according to the National Map (6) Photocopy of the collection of Zheng Zhenduo according to the National Library of the People's Republic of China in 2009 (7) Photocopy of the collection of Liu Chenggan of the Fudan University Library in 2010 (8) Photocopy of the Chinese Reconstructed Rare Book in 2011 (9) Photocopy of the collection of the Vanderberg Foundation in Europe (10) 2020 Cultural Relics Publishing House "Ancient Chinese Printmaking Series of the Feng Family in Europe" Photocopy from the collection of the European Vanderburg Wood Panel Foundation
Liu Yuanzi is accompanied by Ruan, a native of Kaifeng, Henan, and the year of birth and death is unknown. Born with the Red Banner of the Han Army, Kangxi (1662-1722) was summoned to the inner court, and the official was appointed to the Ministry of Works. Painting landscapes, figures, freehand flowers and birds, calligraphy, seals, especially good dragon water. Painting "Lingyan Pavilion Hero Portrait" came to life, and its Kangxi seventh year (1668) first month looked at the day of the "Self-Order" cloud:
Young orphans eat poor, out of the village school, the skill of string recitation, not deep study, and the habit of the ancients' pictures, painstakingly copying, can know the reason for it. Slightly longer, like to entertain yourself with the size. …… The day becomes a picture, and the picture must be as good as it gets. Even if you wander in the sea, sweep the door of the prince, look at the mountains and rivers, after several appreciations, feel the size of the seeing, there are slight similarities and differences, then on the contrary, you want to ask for the ancestors of the people, and the husband of the time of the pen, sit and lie down, the benefit of knowing the difficulty of things, it seems that there is a heaven, and can not be strong. Ren Yin (1662) autumn, Pingbo Gusu, serving Shoumin Tong Fuzi door wall, living for six years, in the guest window lights, occasionally see Chen Zhanghou's painting "Water Margin Thirty-six People", see its ancient law is strict, the posture is magical, and the deep yearning. Cherish the essence of Chen Gong's wonderful pen, not to show loyalty, and Gu You's high roller from the green forest, what is it? Don't follow suit, don't be a volume of "Lingyan Pavilion Heroes", but with the compassion of the great priest and the loyalty of the emperor, crown it in Jianduan, talk about the prosperity of the discipline and the extremes of benevolence and righteousness. The poems are collected by the Ministry of Work, and the words are imitated by the families, and they do not dare to take their own presumptuousness. With Chen Gong's pen and ink, it is not the power of the child's source, but the "Water Margin" and the "Ling Yan", but also from the Ling Yan into the sage and sage, into the Bodhisattva, the view is the picture, in the forest of the phase, confirming the realm of Bodhi, Yu Xiaozi really has deep ambitions. Mr. Adult, who is the world, has no name for Liu Yuan, and there is still a person who sees the size.
Zhu Gui engraved a small note cloud: "Gui Shi Confucianism, the family is poor, painstakingly scheming, will be entrusted to the contemporary good calligraphy and painting, in order to sell its last skills." Wu Shen Qiu accompanied Mr. Weng Liu to "Lingyan Pavilion Map" to confer Zi, Gui was fortunate to be attached to Mr. Hou, a few Ji tail Qingyun, Rong Shi Jian, to the world, the knower of it is not embarrassed. "Liu Hui Zhu engraving has become a good story in the history of art and engraving. Xu Yuanwen, a contemporary of Kunshan, made a preface:
Emperor Taizong of the Tang Dynasty ordered Yan Liben to paint eighteen scholars of Tiance Mansion, and painted twenty-four heroes in Lingyan Pavilion. According to it, the picture of Yingzhou is still passed down to the world, and the character of Ling Yan is no longer examinable. Today, Liu Zi accompanied Ruan, prepared the Tang book, because of his meritorious deeds, in order to see his face and figure it, the appearance is like a living, and the cough can be heard. Not only the paintings are fascinating, but also the breadth of the examination and the weight of righteousness, far away from the ancient and modern painters.
Other inscriptionists also praised Liu Yuan's "Lingyan Pavilion", and most of them were moved. Based on the bibliographies of each family, the editions of the distinctive collections are reviewed. (1) In the seventh year of the reign of Kangxi of the Qing Dynasty (1668), the engraved version and re-engraved version of the Zhu Wat Hall are based on the biographical biography of the History Department of the "Bibliography of Chinese Ancient Rare Books", and the "Lingyan Pavilion Meritorious Heroes" has the engraved copy of the Zhu Wat Hall in the seventh year of the Kangxi reign of the Qing Dynasty (1668), and the collection units are: National Library Map, Nanjing Library, Peking University, Fudan University, Shandong Provincial Museum, Shanghai Library (Gu Tinglongba), Hangzhou Cultural Management Association (Zhang Zongxiangba), etc., to the "General Catalogue of Chinese Ancient Books", in addition to the biography of the Department of History, In addition, Tao Xiang compiled the 19th year of the Republic of China (1930) "Xi Yongxuan Series" (Lingyan Pavilion Hero Images) (see page 581, number: Shi 20907023), and there are also works in the sub-section of calligraphy and painting (see page 1385, number: Zi 30916327). Since the launch of the ancient book census under the Chinese Ancient Books Protection Program, the "National Basic Database for the Census of Ancient Books" and the "Joint Catalogue and Evidence-based Platform for Chinese Ancient Books" have added the Qing Kangxi inscriptions in Zhejiang Library and Tianyi Pavilion Museum (only the preface remains), the facsimile of Xu Yuancheng in the ninth year of Guangxu in the Qing Dynasty (1883) (Hunan Provincial Library) and the lithographs of the Shanghai Tongshu Bureau in the tenth year of Guangxu in the Qing Dynasty (1884) (Nanjing University Library, University of Hong Kong Library, Jiangxi Normal University Library, Tianjin Municipal Party School Library, Zhejiang Library, Shaoxing Library, Henan Provincial Library, Anhui Provincial Library, etc.). It is known as the Kangxi Zhu Wat Tang engraved book "Lingyan Pavilion Heroes" There are nine domestic collection units and three foreign units collection, the list is as follows:
There are at least six different versions of the above-mentioned "Lingyan Pavilion Heroes", each of which is recorded as an engraved copy of Zhu Guizhu Wat Hall in the seventh year of Kangxi (1668), which is actually quite different, so it is distinguished by "A, B, C, D": 1. Fudan University Library Jiaye Hall Collection (A) This two volumes, the first volume of the inner cover inscription: Liu Yuanjing painted Lingyan Pavilion, with three pages of Tuas, three pages of Emperor Guan, and Wumen Zhu Wat Hall conferred Zi; Then there is Liu Yuan's preface and Zhu Gui's engraved "tablet", a catalogue of twenty-four meritorious heroes, and thirty pictures of the text: including three pages of twenty-four meritorious heroes and three pages of Emperor Guan. Volume 2: Wu Weiye's "Inscription of Liu Ziban Ruan Lingyan Pavilion", Wang Shimin's "[Preface]", Xu Yuanwen's "Preface", Song Shiying's "Portrait of Lingyan Pavilion's Heroes", Xiao Zhen's "Preface", You Dong's "Inscription", Shen Bai's "Inscription", Yuan Fang's "Preface", Tong Pengnian's "Preface". It can be seen that the title of "Lingyan Pavilion Heroes" is also Wu Weiye's "Lingyan Pavilion Picture", Song Shiying's "Lingyan Pavilion Heroes Portrait" and so on. The collection of books is printed with "Liu Chenggan Zizhen No. 1 Hanyi", "Wuxing Liu's Jiaye Hall Collection Book Seal" and so on.
Fig.1 The preface of the Jiayetang collection of Fudan University Library is the same as that of Fudan University, including the collection of Nanjing Library (according to Mr. Han Chao of the library) and the Tianyi Pavilion Museum (informed by Dr. Li Kaisheng of the library), but the order of the preface is slightly different from that of Fudan, and the order of the two Wu Weiye and Wang Shimin is just reversed. This book is different from the Zheng Zhenduo book in the National Atlas Collection (referred to as Zheng Zhenduo Edition), the Gu Tinglong Baben (referred to as the above picture) and the Feng Debao Collection in the Shanghai Library. Zheng Zhenduo's "Zi" word wooden card has an oblique hook next to it, and it has nothing; The word "grant" in Shanghai Library is "friend" at the bottom right, and all other books are "again"; Vanderberg's "Zi" sub-wooden sign has a slight hook stroke; The strokes of the "Wu" character in the Fudan collection are different from those in the Nantu collection and Wang Xiaoci's collection. The reconstructed rare book is the same edition as the Vanderburg book, and is different from the other five.
Fig.2 The fourteenth figure of the Wumen Zhu Wat Tang Zhuzi Fudan Collection "Lingyan Pavilion Heroes" is "Chai Shao", and the introductory text mentions "Song Laosheng", which is the same as the inscription of Wang Xiaoci of the National Library, the Nanjing Library, the Peking University Library (titled "Lingyan Map"), and the Shandong Museum (with supplementary paintings). The other two parts of the National Atlas Collection: the Reconstructed Rare Book and the Zheng Zhenduo Collection, both of which are "Zhu Laosheng", and the Vunderberg Collection of the European Wood Panel Foundation, Zhejiang Library, and Shanghai Library are the same, which are translation errors.
Fig.3 Chai Shao-Song Laosheng
Fig.4 Chai Shao-Zhu Laosheng 2. The National Library of China has two original collections of Wang Xiaoci, call number: A03858/A03859. (1) A03858 (B) is the base of "Chinese Reinvention Rare Book", with the title on the inner cover: Liu Yuanjing painted Lingyan Pavilion, with three pages of Tuas and three pages of Emperor Guan, and Wumen Zhu Wat Hall awarded Zi; There are prefaces or inscriptions such as Tong Pengnian in the seventh year of Kangxi (1668) and Xiao Zhen, Shen Bai, and Yuan Fang in the eighth year of Kangxi (1669), Liu Yuan's preface, Zhu Gui's engraved "tablet", and a catalogue of twenty-four meritorious heroes, and thirty pictures of the main text: including three pages of twenty-four meritorious heroes and three pages of Emperor Guan. This collection is printed with "Adjacent Garden Collection, Adjacent Garden Appreciation Books, Taiyuan Wang's, Licheng, Ming Hui Lu Collection of Gold and Stone Calligraphy and Painting Notes, Ming Hui Secret Treasure, Inch Heart Inexhaustible, with Clumsy Preservation of My Dao, Liuyutang Calligraphy and Painting Seal, Liuyutang Picture Secretary, True Reward, Zhang Yi, Yiyin, Tingpei, Mengmo, Flying Pieces of Yunji, Jingzhi Ping, National Beiping Library Collection" seals.
Fig.5 Selected Seals of the Reconstructed Rare Books Collection (2) A03859 (C) is another part of Wang Xiaoci's collection. This book is more than A03858 Kangxi nine years (1670) You Dong "inscription", at the end of the book there is Chen Zhi transcribed the Qing Wu Weiye "Title Liu Ban Ruan Ling Yan Pavilion Map" poem, the end of the cloud "Xuantong two years (1909) July 22, Shumei Village this poem in Pikuying under the north window. There is a "Chen Zhi" seal under it. Wang Xiaoci Bayun is attached: "It has been ten years since I asked for this book, and I have not seen it yet." Today, Mr. Cheng Xiaoqi (i.e., Chen Zhi) has a false view, and he can't bear to let go of his love, and he really rubs thousands of times a day. Jiwei (1919) April Luhe Wang Licheng is cautious. This book has the seals of "filial piety", "Ming Huilu collection of gold and stone calligraphy and paintings", "fine to this level" and "collection of the National Beiping Library".
Fig.6 You Dong's "Inscription"
Fig.7 Wang Xiaoci's inscription Chen Zhi transcribed Wu Weiye's "Inscription of Liu Ban Ruan Ling Yan Pavilion", call number 16749 (Ding), which is in the collection of Zheng Zhenduo. In the 1960s, this book was photocopied by the Shanghai Editorial Office of Zhonghua Book Company and included in the "Ancient Chinese Printmaking Series". In 2009, it was photocopied again by the Cultural Relics Publishing House. This book is quite different from the above three, and the "Zi" is particularly obvious, and it should be a re-engraved version.
Fig.8 Qu Tutong inscription 1 National map Zheng Zhenduo 2 The inscriptions of other versions of "Qu Tutong" currently seen in the Fudan collection are all selected from Du Fu's poem "Entering Hengzhou", "The atmosphere must be in the period, and the gnats can be used", but the Zheng Zhenduo collection quotes Du Fu's poem "Northern Expedition": "All the use is eagle Teng, and the enemy is like (the collection of this book is "over") arrow disease". 3. Zhejiang Library Collection (E) Zhejiang Tu Collection has Liu Yuan's preface, and other prefaces are missing. Another Zhou Chun inscription: "According to legend, the picture is painted by Jiahe Zhu Binzhan, and Wuguan Rong made Zhongzhou Liu Yuanzhu pay for his own carving." Cover Chen Laochi's "Portrait of the Water Margin", and those who participate in "Cheng's Ink Garden" and "Fang's Ink Spectrum" regard the later Jin Guliang's "Wushuang Spectrum" as ten times finer, but the words are inferior. Songhao Zhou Chun question. "The relationship between "Lingyan Pavilion Heroes" and Chen Hongshou's "Water Margin Portrait", "Cheng's Ink Garden" and "Fang's Ink Spectrum" is revealed. This book has water damage and the damaged area has been repaired.
Fig.9 Zhou Chun's inscription 4.Gu Tinglong's inscription in the Shanghai Library (self)
Fig.10 Qin Qiong's inscription 1 Shanghai Library 2 Fudan Collection Shanghai Library Collection Chai Shaoqi and Qin Qiong's inscription "Liu Cen Guan/Xue" is different from each other. This Gu Tinglong Bayun:
This first printing of "Lingyan Pavilion Heroes", painted by Liu Yuan of the Great Liang, Wumen Zhu Gui Journal, the two clans of art are superb, complement each other. The print is not widely circulated, and Tao Shiyuan tastes a copy, and Qian can copy the lithograph by hand. Rotate the remnants of the first print, reuse the Koluo version of the jingyin, and come out in combination, why is the original carving so precious! Liu Ketong Peng Nianmu, Tong is a member of the Blue Banner, and Kangxi served as the political envoy of the right cloth in Suzhou in the second year, which is enough for the collection of Wu Wu literature. It is the old collection of the female brother Pan Junboshan, the gentleman is very good at identification, the collection of cultural relics is very rich, and the qualifications for the examination are not comparable for playing. Ten years after the death, the Lingzi family has more than 10,000 celebrity codex collected since the Song and Yuan dynasties to the government, and it is hoped that those who are in charge of their affairs will be good at class, and the governance will be compiled, and there will be a huge amount of scholarship. Last year, the family was able to handle this and leave the desk. This book is donated to our museum, and its generosity can be admired. Rate the book to a few words, in order to show the knowledge of the treasure, do not ignore it in the ordinary edition. September 23, 1952, Tinglong. This volume is lost to Emperor Guan and Zhu Gui each with a frame, and the order is cut out of order, which can be referred to in the pottery book. Again.
Fig.11 Gu Tinglongba5.Shandong Museum Collection (Geng) This book has Wang Lutian's supplementary painting page, only the picture remains, and the preface has been lost. There is an old Xi Bayun: "Liu Banruan painted the portrait of the twenty-four heroes of Lingyan Pavilion, which is exquisitely portrayed, and it is a pity that there are shortcomings." Wang Lutian is to make up for it. The pen is beautiful, and I want to drive the original up, and I should pay for the pool, so as to pass it on forever. Old West Chronicles. Wang Lutian, that is, Wang Guancheng, the word Lutian, was a native of Zhengding, Hebei Province in the late Qing Dynasty, and his father Wang Yinchang was a fellow knowledge of Wuding, and also a famous landscape artist. Guan Cheng lives in Jinan, works in the landscape, copies Wang Yuanqi, is called a product, and has a personal style.
Fig.12 Chai Shao's inscription in the collection of Shandong Provincial Museum, the same as the "Song Laosheng" 6.European Woodblock Foundation (Xin) This book was acquired by Feng from the Guardian Rare Books auction in 2007. In 2019, Xueyuan Publishing House and Cultural Relics Publishing House published line-bound editions in 2020, and the photocopied synopsis is written in more detail, see above. This book is the same edition as the rare book of the National Atlas Reconstruction.
Figure 13-1 Auction catalogue of Guardian's Rare Books in Autumn 2007: 1634
Fig. 13-2 Photocopy of the Vondeburg book (the middle and lower parts of the two books are the same) by the Cultural Relics Publishing House, which is the base of the "Xi Yongxuan Series" and is also printed in the "European Fung Ancient Chinese Printmaking Series". The rest of the collection is limited to conditions, such as the collection of the Hangzhou Cultural Management Association, due to institutional adjustment, the collection of books is the Hangzhou Museum, and the staff of the museum have not been able to find it; There is a collection of Walters Art Museum in Maryland, USA, which is introduced on the Internet, and the museum staff replied that he could not find it; The preface of the seventh year of Kangxi in the collection of the National Archives of Japan has not yet been seen, and it is expected to be verified in the future. (2) The ninth year of Guangxu of the Qing Dynasty (1883) Xu Yuanci copy (Hunan Provincial Library)
Figure 14-1
Figure 14-2 Xu Yuan's repentance is inscribed on the Zhugui tablet: "In the ninth year of Guangxu (1883), Xiaoyangyue Gongshi Xu Yuan repented." It can be known that it is a copy of Xu Yuan's regret, which was collected by Gu Bingxin in Baoshan, Shanghai, and has "Baoshan Gu's collection of prints" (white), "Xinzang" (white), "Bingxin's collection" (Zhu), and "Songquan" (white) seals.
Fig.15 Xu Yuan's Confession Catalogue of Ancient Books in Hunan Library, edited by Ningyang, 1 volume (call number 391.1/880-2). (3) The lithograph of the tenth year of Guangxu of the Qing Dynasty (1884) of the Shanghai Tongshu Bureau, which was engraved by the Shanghai Tongshu Bureau in the tenth year of Guangxu (1884), according to the lithograph of the Kangxi Zhuwat Hall. In the seventh year of Kangxi (1669), in August, Tong Peng's preface, in the eighth year of Kangxi, Xiao Zhen's preface, Shen Bai's inscription, and Yuan Fang's preface. In the seventh year of Kangxi, Liu Yuanxu was narrated. There are many collectors of this book, including Nanjing University Library, Zhejiang Library, Shaoxing City Library, Anhui Provincial Library, Henan Provincial Library, Tianjin Municipal Party School and other libraries.
Fig.16 Collection of Nanjing University Library (4) Tao Xiang's "Xi Yongxuan Series" during the Republic of China This is one of Tao Xiang's "Four Kinds of Zhu Shangru Woodcuts", which was printed in the "Xi Yongxuan Series". Tao Xiang Bayun: "This spring, the scenery touches four kinds of finished work, and the Ziyang Zhu family has seven fragments of "Lingyan Pavilion Heroes Images". Yu also got the full text of "Summer Mountain Villa Pictures", all of which were originally printed, and then photographed, and printed with glass plates, respectively, added to them, and made today's scenery and touch the art of advancement. Shibu. "Tang Lan Xuyun again:
Zhu Shangru woodcut four kinds of "Lingyan Pavilion Hero Image" (Liu Yuan painting), said "Wushuang Spectrum" (Jin Shi painting), said "Cultivation and Weaving Picture Poem" (Jiao Bingzhen painting), said "Summer Mountain Village Map" (Shen Yu painting), such as carving exquisite, three hundred years unparalleled, unfortunately spread in the world only this also. "Lingyan Pavilion" has not seen the plate, "Wushuang Spectrum" has a strange appreciation of the Xuan translation, "Cultivation and Weaving Map", "Summer Resort Map" and re-carved during the Qianlong period, although there is a popular in the world, ask for its original first printing, it is not easy to obtain. In the early years of Guangxu, the same clerk's office had taken photographs and printed them in Western France, although the traces existed, the charm was lost. Wujin Tao Shiyuan Yulan said: "The art of carving, the stone is easy to see, and the wood is the opposite." To see, but the art of the above is to achieve the author's divine will, the pen is vivid, and the silver hook iron painting, and can be elegant, it is very accessible. Occasionally, I tried to convey the truth with the glass version, but I was unable to get the original initial print, but I gave the ability to copy the shadow hook and write, and the upper version was very different, which was very different from the stone print, and it was pleasing to the eye. However, it may be a pity that it is not true. To steal has a feeling, the essence of the husband's art, often have to highlight the right of the ancients and make the good people of later generations chase after the mechanics, and can not get its likeness, the original beginning, then there is no self-imitation, no imitation, the door of art will be plugged, is not sad. Therefore, the gift of the shadow copy, but also want to make the art of the first line of the ear, and the meaning of the truth is different, and so that the art of the transmission of the art is widespread, and know that there is no such person in vain, this is also my subtle purpose. If it is necessary to convey its true purpose, it is also small. "The garden is like this, and it is in order. Ji Si (1929) September, Tanglan, Wuxi.
The preface explains in detail Tao Xiang's attempts and efforts in over-engraving and restoring traditional techniques, combining traditional engraving with photolithographs and cologues to achieve good printing results. At the same time, it is clearly pointed out the limitations of simple lithographs, "in the early years of Guangxu, the same clerkship used to photograph and print in Western law, although the traces exist, the charm was lost." This Du Zhenggan's "Shiyuan Lithograph "Lingyan Pavilion Heroes" has a special study, which can be referred to. Others: In 1961 and 1962, the Shanghai Editorial Office of Zhonghua Book Company published the "Ancient Chinese Printmaking Series", and the collected "Lingyan Pavilion Heroes" was photocopied according to the collection of Zheng Zhenduo of the National Atlas. In 2009, the Cultural Relics Publishing House photocopied the original line according to the collection of Zheng Zhenduo according to the national map. In 2010, Hangzhou Fuyang Huabao Zhai photocopied the book according to the collection of Liu Chenggan of Fudan University Library, and some of it was sold overseas, and it is now collected by many libraries in North America, Japan, Hong Kong and Taiwan (OCLC online cataloging system can be consulted). In 2011, "Chinese Reinvention Rare Book" was photocopied according to the collection of Wang Xiaoci of the National Library. In 2019, Xueyuan Publishing House and 2020 Cultural Relics Publishing House published the "European Feng's Ancient Chinese Printmaking Series", which is based on the collection of the European Vanderberg Wood Block Foundation, edited by Weng Lianxi and Liu Yu, and is one of the series of journals of the Chinese Ancient Printmaking Research Association. Two
The preface to "The Heroes of Lingyan Pavilion" plays an irreplaceable role in understanding the origin, artistic characteristics and evaluation of Liu Yuan's paintings. Compared with the National Atlas Zheng Zhenduo and the National Atlas Reconstructed Rare Edition, Wu Weiye, Wang Shimin, Song Shiying, Xu Yuanwen, You Dong (National Atlas Wang Xiaoci Collection) and other five prefaces have not been included, and the list is as follows:
The prefaces of Wu Weiye, You Dong, Wang Shimin, Song Shiying, Xu Yuanwen and others can make up for the lack of collection or misuse of their own poetry collections. Among them, Wu Weiye Xuyun:
"Accompany Ruan to travel to the gate of Fang Bosan Han Tong Gong, temporarily stay in Wu Wu, hate that he has not met each other, and occasionally take a picture, in order to imagine that he is a person, and the meaning will be a fall." "Liluo", (Qing) Jin Rongfan's Qianlong engraved book "Wu Poetry Collection", and Dong Kang's engraved book "Plum Village Family Collection Manuscript" of the Republic of China are all "Leiluo".
There are also three corrections:
1. The poem "Eldest Sun Yan's Heart", "Heart", "Wu Poetry Collection" is the same, and "Plum Village Family Collection Manuscript" is "Lung Attached", which is wrong.
2. "Counting the former Hanmo family, there are eight or nine well-known friends in China." "Fine", "Wu Poetry Collection" as "absolute", wrong. The manuscript of the Plum Village Family Collection is the same as the preface.
3. "The situation of the silk silk chasing the camp hill", "Qiu", "Wu Poetry Collection" as "Qiu", "Meicun Family Collection Manuscript" "Qiu" word lack of pen, all for Yongzheng Hou.
The above examples all illustrate the documentary value of Wu Weiye's preface to Kangxi's "Lingyan Pavilion Heroes". You Dong inscription, the last title "Kangxi Gengxu (nine years, 1670) first spring, Wu Xia brother You Dong wrote", You Dong "Xitang Miscellaneous Collection II" (Qing Kangxi carved book) volume four contains this inscription, the title is "Lingyan Pavilion Meritorious Hero Map" (title note: attached to the second picture, Guan Hou Ertu), the writing time is not marked, this preface can make up for the shortcomings, and can also be used as the information of the chronicle of You Dong's works. Two other sites can be collated:
1. "Yang Zihua paints horses, and smells neighing every night." "Xitang Collection" is a "long hiss" as "hoof".
2. "I know that on the day the picture is completed, the twenty-four dukes will appear on the paper, look at each other and smile, isn't it the essence of Heyue, and the pen of the begging literati to pass on?" "Xitang Collection" is "Heyue Jingshuang" as "Heyingyue Show", which loses the charm of the original classics.
In short, the academic and historical value of the preface to the "Diagram of the Heroes of the Lingyan Pavilion" is relatively high, and it cannot be regarded as coping. Wu Weiye, Wang Shimin, You Dong, Tong Pengnian, etc. were all at that time, and their articles are worth paying attention to. 3. Liu Yuan's "Lingyan Pavilion Heroes" is unique in terms of cultural continuity and innovation. On the one hand, he inherited traditional Chinese painting, that is, the inheritance from Yan Liben to Chen Hongshou, such as the preface of the prince Tong Peng: "Over the past few years, the dyeing and painting people who see the son are not one, and the body is inconsistent, or the mountains are as green as Beiyuan, or Xiao Qiping is far away as a cloud forest, or Xiuling Mokong is like a Taoist monarch, or the smoke and clouds are dripping green, and the sky is dry and dry, such as with Ke and Zizhan, which are mostly vertical and horizontal in the north and south, and with the spirit and the luck." Wu Weiye, a generation of talents, "Title Liu Zi Accompanied by Ruan Painting Lingyan Pavilion" cloud: "Bianliang Liu Jun accompanied Ruan, genius and superb, especially good at calligraphy and painting, from Zhong and Wang below, eight points, line grass, all similar to each other. Shanshui Ya is good at all families, and comes up with new ideas to paint characters, such as the "Lingyan Heroes Picture", the weather seems to be, the clothes are different, although (Yan) is the comeback, there is no way to pass it. Chen Hongyan, a research librarian at the National Library, said: "Liu Yuan's painting style is very close to Chen Hongshou's, using different postures and faces to outline the characters, distinguishing the different temperaments and personalities of the characters, and the lines are skillful." Most of the images do not use the background, focusing on the characters, generally only one or two people are written, which can be seen in the depth of the author's character sketching skills. If you look at each of the characters depicted, you can see from the outside of the clothes where the shoulders are, where the elbows are, where the waist is, and where the knees are. Although each one is a separate image, because of the clever changes in body shape and posture, it is admirable and interesting to read. This is a big improvement over the Hui school, which has long paid little attention to portraying the expressions and inner world of characters. Qing Zhou Chunba's "Lingyan Pavilion Heroes" (Zhejiang Library Collection) pointed out that "Lingyan Pavilion Heroes" "is based on Chen Laochi's "Water Margin Portrait", and refers to "Cheng's Ink Garden" and "Fang's Ink Spectrum". Indeed, the "Tuas Picture" attached to the "Lingyan Pavilion Heroes" breaks through the traditional Chinese Guanyin style and brings Western characteristics.
Fig.17 The Tuas diagram of Fudan Jiaye Hall, the Virgin holding the monk and the Holy Spirit This is a unique "Tuas diagram", which can be found from the "Lingyan Pavilion" in the "Fang's Ink Spectrum" and the "God Diagram" in the "Cheng's Ink Garden".
Fig.18 Fang's Ink Spectrum, Volume 2, "Lingyan Pavilion"
Fig.19 Cheng's Ink Garden, Vol. 12, Picture of God
Fig.20 Raphael's Sistine Madonna from the Italian Renaissance painter Raphael's Sistine Madonna, to the "Lingyan Pavilion" in Fang's Ink Spectrum, the "Picture of God" painted in Volume 12 of Cheng's Ink Garden, and then to the "Tuas Picture" listed in the Heroes of Lingyan Pavilion, we can faintly see the connection between them. According to Mr. Liu Yang in Beijing, the "Tuas Tu" portrait actually depicts "the Virgin holding a child (i.e., a little monk, representing Chinese Buddhists) to receive the Holy Spirit of Catholicism (the Trinity) (the dove represents the Holy Spirit)." In Raphael's Sistine Madonna, the children usually held have hair, but the little Chinese monks do not. The Catholic Trinity is most evident. The picture is a metaphorical representation of a child (a monk representing native Buddhism) receiving the Holy Spirit under the teachings of the Virgin, representing a switch to Catholicism. The child is an adult face, representing all the Buddhists in China. In addition to Liu Yuan's painting method and ideas of "Lingyan Pavilion Heroes" were influenced by the cultural exchanges between the West in the late Ming and early Qing dynasties, Zhu Gui's carving skills were also influenced by the West. Cheng Ying's "Qing Dynasty Gusu Prints and Their Three Art Styles" pointed out that did the northern court have a direct impact on the Western painting boom and the "imitation Taixi brushwork" of southern Gusu prints? The answer is yes, there is a person who connects the court and Suzhou is very important, he is Zhu Gui, a native of Suzhou, born in the Zhuzhu Lane of Suzhou City, a famous carver who was active in the early Qing Dynasty to the middle of the Qing Dynasty, Zhu Gui in the early Qing Dynasty had his own carved book workshop "Zhu Wat Hall" in Suzhou, and Zhu Gui engraved "Lingyan Diagram of Meritorious Heroes" in the seventh year of Kangxi (1668,...... Around the thirtieth year of Kangxi (1691), he became a carver in the royal special service. In the 35th year of the Kangxi reign (1696), Zhu Gui participated in the engraving of Jiao Bingzhen's "Ploughing and Weaving Map", which was deeply influenced by Western techniques and paintings. In the fifty-second year of the Kangxi reign (1713), Zhu Gui participated in the engraving of the "Sacred Book of Longevity" and learned the creative process and creative tools of the missionary painter's copper engravings. It can be seen that during the Ming and Qing dynasties, the cultural exchanges and influence between China and the West became increasingly significant, and the Kangxi Dynasty can be said to have reached a peak, creating a prosperous era of Kangqian and Qian. I didn't want to prosper and decline, after Qianlong, the country was closed to the country, and the art of printmaking gradually declined. It was not until the Republic of China that Lu Xun and Zheng Zhenduo rediscovered the artistic characteristics and influence of printmaking on the public, and on March 14, 1934, Lu Xun's "Anonymous Woodcut Collection" prefaced: "Woodcut is inherent in China, and it has been buried underground for a long time. Now there is a revival, but it is full of new life. The new woodcut is robust and distinct, the art of the new youth, the art of the good public. "Laying the foundation for the revival of modern printmaking. "Lingyan Pavilion Heroes" is also rich in poetry, calligraphy and seals, and the life of the characters is integrated, the "poetry, calligraphy, painting and printing" five into one, showing a unique charm, such as the vast majority of poems from Du Fu's poems (the only exception is to quote Lu You's poems), most of the printed texts are selected from the Eastern Han Dynasty Ma Rong's "Zhongjing", reflecting the social trend of thought in the early Qing Dynasty. As Yuan Fu said in the preface of "Lingyan Pavilion Heroes": "The picture of Lingyan is particularly ingenious. Sincerely looking up and looking down on the world, there is a way to get it in the article and poetry, with the eyes and ears of the new world, to inspire the world's aspirations, its contribution to the world and the hearts of the people is not shallow! Shi Qian is a biography of the family, copying the characters, the eyebrows are like seeing, and the cough is like smelling. Since Longmen, the biographer has only been able to obtain his lineage merits, and his face is no longer dreamed. Accompanied by Ruan is a book, Yiyi is vivid, and the praise and depreciation are at the bottom of the pen, and the loyalty and righteousness are in the positive fruit, which is a great question and a great article. But you can understand in this, I call (the original "for") the text of the dragon gate, the painting of the dragon gate. Accompanied by Ruan's text and Ruan's paintings, it should be a part of the Lingyan family, and those who see it should not be a character view. Indeed, there is a certain correspondence between the calligraphy and seal carving art in the picture of the heroes and the character and value orientation.
Author's Affiliation: Fudan University Library
Author: Yang Guanghui
Source: "Journal of Jiangsu Normal University Philosophy and Social Science Edition" WeChat public account
This article was originally published in Journal of Jiangsu Normal University (Philosophy and Social Science Edition), Issue 1, 2022