Zhang Jin
The Song people's paper is exquisite and inky, and the pen is qingyuan, which is completely different from the face of Tang Dynasty calligraphy. In addition to the changes in the creative concept of the bookmakers themselves, material changes such as the change of paper, the promotion of the heartless pen, the abundance of ink-making raw materials, and the application of tables and chairs have also played an important role.
Perhaps because it was held on the occasion of the 600th anniversary of the Forbidden City, or because it was trapped by the global epidemic, the "Characters of the Ancient Times: The Palace Museum's Collection of Su Shi-themed Calligraphy and Painting Special Exhibition" is mainly based on the cultural relics collected by the Palace Museum, and there are also a small number of Tianjin Museum collections. Therefore, some Dongpo fans have many regrets about the absence of famous works such as "Cold Food Posters" (now in the National Palace Museum in Taipei) and "Taibai Immortal Poetry Scrolls" (now in the Osaka Municipal Museum of Art). However, this just makes way for some relatively small-named Song people's inkblots, including many works that rarely reveal their true appearance and even lack prints in the past. As far as Su Shi is concerned, the "Zhiping Thesis", "Spring Post", "Return to the Courtyard", "Book and Jinglin Virgin's Poem" on display this time are all the best prints ever published in the catalogue of the Wright Exhibition, which is indeed rare. ("Characters of The Ancient Past: Special Exhibition of Su Shi's Themed Calligraphy and Paintings in the Collection of the Palace Museum", 2020; "No Dance Reading Series: Su Shi's Legendary Inkblots and Prints", in "Nodancing's Blog", September 9, 2020)
Su Shi's "Homecoming Post"
Part of Su Shi's "Book and Jinglin Virgin Poetry Queen"
The Song people's paper is exquisite and inky, and the pen is qingyuan, which is completely different from the face of Tang Dynasty calligraphy. The Tang and Song dynasties are originally a concept in the study of historiography, but they are also reflected in visual art. I think that in addition to the changes in the creative concept of the bookmakers themselves, the changes in paper, the promotion of the heartless pen, the abundance of ink-making raw materials, the application of tables and chairs and other material changes have also played an important role, and even the book writers do not know it to participate in shaping their creative ideas. Although this special exhibition does not pay much attention to the use of stationery, it should not be considered off-topic to talk about as a hidden volt line.
introduction
The Song people were fond of literary rooms, and literature such as the Four Genealogies of Wenfang, the Tuzan of Wenfang, the Ink Classic, and the History of Yan were all written at this time, and there were also the compilation and publication of works such as the "False Transmission" anthology "Wenfang Four Friends Except for the Collection" (Cheng Zhangcan, "The Drama of WenRu and the Talent of Zihan", 2017; Hou Tijian's "Polyphonic Jokes", 2018), so under such a custom, it is difficult for Song Dynasty calligraphy to bypass the literary room to talk. Huang Tingjianyun: "If you study one, you can live a lifetime." Ink one, can be a year old. Paper is hemp, stalk, rattan, bamboo, according to its real estate, all have good work. However, the penman is the most difficult, and his choice is like Guo Tai's commentator, and his heart is like the wheel of the wheel. "Pen, ink and paper are the tools most closely related to the creation of calligraphy, and their shape and performance directly affect the final presentation of calligraphy, while other instruments around the desk together constitute the material environment of Song Dynasty calligraphy.
Emperor Huizong tried to summon Mi Fu to write a book, "Yu Yaolin Hall Zhang Silk Map, Fang Guang Er Zhangxu, set up agate yan, Li Tingjue ink, tooth pipe pen, gold brick box, jade paperweight, water drops,...... Shang Daxi, as far as the genus of the brick box and paperweight is given, and the doctor of calligraphy is removed. ("Qian's Private History") The interaction between the literary room and the writer is full of sense. Song Ben's "Broken Gold" lists 16 kinds of "shi ji": brick basket, pen and ink, book tube, brick box, fence, bookshelf, paste cylinder, drip, cutting knife, book cut, book climb, zi box, paperweight, pressure ruler, boundary square. Mr. Yang Zhishui once took this as a guideline to comb through the literary ware excavated from the Song tomb in detail, which was wei as a grand view ("The Use of The Literary Ware Excavated from the Song Tomb and the Two Song ShiFeng", 2015). The utensils may be large and small, and the literature may be added or deleted, but they are all in line with the aesthetic atmosphere of the Song people.
paper
Let's talk about paper first, because its connection to the bookmaker is the most certain, and the ink on the paper is there, clearly understood. After the fall of the Wei and Jin dynasties, the scholars attached great importance to the performance of writing paper, and the two "Books of Tang" contained that there were cooked papermakers in Tang Zhongshu Province, Secretary Province, And Donggong, and the number of people was not equal, and the Song people Yao Kuan said that the content of his work was to beat paper, that is, to make the performance of raw paper ripe through pounding, so as to facilitate writing (Xixi Congyu, volume below). After five generations of brewing, the Song people's requirements for the production and processing of paper have become more and more demanding.
The "Four Genealogies of the Literary Room" says: "In Shuzhong, hemp is used as paper, and there are jade shavings and crumbs. Between Jiangsu and Zhejiang, young bamboo is used as paper, northern soil is made of mulberry skin, rattan is used as paper, and sea people are made of moss as paper. Zhejiang people use wheat stems and rice stalks as brittle and thin, and those who use wheat mallet oil vines as their best. (Volume III) This text is generally considered to be a sub-territorial description of the northern Song Dynasty paper industry. Among them, the rapid development of bamboo paper and the prosperity of leather paper are the two major characteristics of the paper industry in the Song Dynasty.
Bamboo paper was first seen in the late Tang Dynasty, when Shaozhou (present-day Shaoguan, Guangdong) and Muzhou (present-day Chun'an, Zhejiang) had the process of making paper from bamboo. Entering the Northern Song Dynasty, the resources of Jiangnan were further developed, and the bamboo that spread widely in Pingye was fully utilized. When Su Shi lived in Lingnan, he once said: "In the past, people used seaweed as paper, but now there is no more." Today's people use bamboo as paper, and there is nothing in ancient times. The record of the Jiataihui Jizhi (1201) is even more illustrative:
Will audit the paper is still good. The name of the rattan paper is the oldest, followed by the moss note, but now the unique bamboo paper is famous in the world, it is effective, can not be as if, so cover the rattan paper. There are three bamboo paper contents, known as Yao Huang, Yue Xue, and Shao Gong. The third class is also known as the "showman", and his cultivation is as usual and widely multiplied. Since Wang Jinggong was good at using small bamboo paper, it was even shorter than the current Shao Gong, and the scholar master did it. Before Jianyan and Shaoxing, books were exchanged briefly, and the rate was more useful. After the book was abolished and the book was used, the paper was used, so the seller of bamboo paper did not sell it, but the bookmaker was pleased. Slippery, one also; hair ink color, two also; yi pen sharp, three also; curly Shu although the ink for a long time is unswerving, four also; sexual not beetle, five also. Mr. Dongpo returned from overseas and wrote to Cheng Deru Shuyun: "The accusation is to buy 100 Pieces of Cheng Yi Pens in Hangzhou and 2,000 Pieces of Yuezhou Paper, often making and showing their hands in half." (Vol. 17)
The five advantages of bamboo paper listed in this paragraph, in addition to the debatable "sexual not beetle", the other four points are more pertinent, and so on, and these are precisely the reasons why "only the author is happy". Mi Fu also uses bamboo paper, and his book "History of Books" Yun: "Yu tasted the bamboo, smooth as a gold plate, shortly made of shafts on the oil fist, repeated into the pipe, dozens of sheets a day, learning books and poems sent to Xue Shaopeng and Liu Jing." According to the researchers' observation, the rice book "Coral Thesis" is used as Huiji bamboo paper (Pan Jixing, "History of Chinese Science and Technology, Papermaking and Printing Volume", 1998).
The Palace Museum's collection of rice "Coral Thesis"
At the same time as the rapid rise of bamboo paper, leather paper has reached its peak and completely replaced the genus of vine and hemp. The advantage of leather paper is that it has strong tension and long life, but the cost is higher than that of bamboo paper, so most of the more exquisite engravings, calligraphy and painting, public and private documents use leather paper. The "Wenfang Tuzan" refers to the paper category with "to be made", which is to borrow the name of the skin. In this special exhibition, Su Shi's "New Year Exhibition Celebration Post" uses mulberry paper, and "Three Horse Tuzan Fragments" uses mulberry paper. In addition, there are many authentic works of the Northern Song Dynasty written on leather paper, such as the National Library of China's Sima Guang's handwritten "Zizhi TongJian Manuscript". The Suzhou Ruiguang Temple Pagoda unearthed the Northern Song Dynasty Tianxi Year (1017) "Dravidian Sutra" scroll test, it can be seen that its paper is a mixture of bamboo and stalk (Xu Mingqi, "Research on the Ancient Scripture Paper of Ruiguang Temple", 1979).
Part of Su Shi's "New Year Exhibition Celebration Post"
Part of Su Shi's "Fragments of the Three Matuzan Scrolls"
Part of the Zizhi TongJian Manuscript in the collection of the National Library of China
Suzhou Ruiguang Temple Pagoda unearthed the end of the volume of the Dravidian Sutra
Dravidian Sutra Volume 19 Yellow Sutra Paper Bamboo Fiber (100 times magnification)
Song Paper not only has a development in manufacturing raw materials, but also pays attention to the processing process. The "Four Spectra of the Study Room" says: "And with a fine cloth, first with a mask glue to make Jin Ting hide his writer, it is called caviar note, also known as Luo note, and now there is also a yan in the creek." (Book III) This depicts the ribbed note. The paperman first brushes the fabric with glue to make it stiff, and then places the paper on it to make the grain out. Because of the fine grain of the fabric, this processing paper is also called "caviar". By enlarging the partial enlargement of Mi Fu's "Book Sending Lifting Straight Poetry", we can understand this paperiness by observing the ink color pattern.
The texture of the fabric seen in part of Mi Fu's "Book Sending Lifting Straight Poetry"
Further than the ribbed note is the character of the stone flower note, its pattern is very many, the cardboard "carved landscape forest, folded branches and fruits, lion and angus, birthday star eight immortals, Zhong Dingwen, different widths, the text is very thin" (Tao Gu "Qing Yi Lu" volume down), but the naked eye is difficult to distinguish. In 2017, the National Palace Museum in Taipei worked together to continuously improve the shooting method and combine it with image processing software to make these hidden patterns appear, which can indeed be consistent with the records of the Qing Yilu (Song Dynasty Flower Notes Special Exhibition, 2018).
Staff at the National Palace Museum in Taipei use frontal reflection light to photograph Li Zongchen's "Book To Shi Long Poem"
National Palace Museum, Taipei, partially shown in Cai Xiang's "Zhi Tong Li Dang Shi Tun Tian Zhi Mu" (left: after treatment; right: before treatment)
National Palace Museum, Taipei, partially shown turtle shell pattern in Su Shi's "To The Filial Piety Ping Guo Junzhi Mu" (left: after treatment; right: before treatment)
The National Palace Museum in Taipei has a collection of floral patterns shown in parts of Su Shi's "Jiuliu Ti"
The National Palace Museum in Taipei has a geometric pattern shown in part of Su Shi's "Screen Matter Post"
The National Palace Museum in Taipei has a collection of local melons and grass patterns in Huang Tingjian's "Songfengge Poetry Scrolls"
From the attached Su Shi's "Screen Matter Post" part can be seen in the part of the arsenic flower has a significant phenomenon of ink rejection, which may be caused by the special substance coated on its ornamentation, the purpose is to highlight the ornamentation of the arsenic pattern, and the ink rejection phenomenon of the Shanghai Museum's collection of "Moving and Stopping The Post" can also be observed.
Shanghai Museum collection of Shen Liao's "Moving stop post" part (taken from Weibo @ Napoleon Napopo)
Fu Yaoyu's "Steaming Sticker Pages" in this special exhibition are also written on flower paper (Napoleon Napoleon's "Calligraphy of The Song Dynasty such as Su Shi in the Forbidden City", 2020.9.16), which viewers can pay attention to.
Part of Fu Yaoyu's "Steaming Post Page"
In 2008, archaeologists excavated a papermaking site in Sizhou Village, Fuyang City, and a complete set of papermaking remains containing raw material pretreatment, cooking, cooking, rinsing, paper copying, baking paper, water supply and drainage were revealed (Fuyang Sizhou Song Dynasty Papermaking Site, 2012). This papermaking process is almost the same as the bamboo paper workshop process that is still active in Zhejiang, Fujian and other places today, which is why the several special properties of bamboo paper mentioned in the "Jiatai HuiZhi" quoted earlier are inherited by modern bamboo paper and are still felt by the writer.
Functional zoning map of the remains of the Song Dynasty papermaking site in Sizhou
Left: A pool presumed to be a paper-making pool (C2); Right: The second layer of the site is piled up with excavated stone mills and stone mills
The innovation of papermaking technology has brought about the change of paper width, Hanjin paper is more than one foot (about 23 cm), Tang and Wudai paper is slightly taller, about one foot (25-27 cm) of Tang Dynasty, and the scale of Song Dynasty calligraphy works is larger, such as the "Man Comes to Get The Book" in the special exhibition is 31.5 cm high, Lin Hejing's "Zishu Poetry Volume" is 32 cm high, and the increase of the paper width gradually affects the transformation of the brush process.
pen
The brush shape system has the greatest influence on the writing experience and the style of the writer, so Huang Tingjian attaches the most importance to the choice of pen in the use of the literary ware. He and Su Shi are widely quoted on the differences over the use of the pen:
Dongpo Pingsheng liked to use the Xuancheng Zhuge family pen, thinking that those who were under Zhuge were better than those who worked elsewhere. Ordinary life writing, every Zhuge pen is like a change of meaning. Self-proclaimed pen theory is poor in this. Seeing that there are jujube core pens between a few stones, he will sneer, thinking that today's people are curious but still different, and they have no use for it. However, Dongpo is not good at double hooks and hanging wrists, so the scribes do not complain about this. ("The Treatise on the East Slope")
Huang Tingjian served Dongpo all his life, leaving a large number of relevant texts and comments, which can be called the "Rainbow Treasure Book" that no one in the future Su Fan did not read, but many of them also carried private goods, open and ridiculed, which was very interesting. It is said that Su Shi used to use the brush made by the Zhuge family, but he was dismissive of the new type of jujube core pen, while the Huang clan preferred to use this jujube core pen, the so-called "Huang Lu straight sample" that is, the jujube heart shape ("Tiewei Mountain Congren" Vol. 5). Huang Tingjian attributed Su Shi's preference for Zhuge Pen to his poor hanging wrist, and could only write books on his wrist. The relationship between writing posture and pen selection, Huang's other explanation:
(Wu Wuzhi) is unintentional and scattered, and small and large can be satisfactory. However, scholars like to use xuancheng Zhuge pen, write a case, rely on the pen to form a word, so Wu Jun's pen is also less happy. Let the scholar try to lift the pen, go to the paper for a few inches of the book, when the left and right are as desired, there is no regret in the fat and straight, but the Zhuge pen is defeated. ("Shu Wu Wu Zhi Pen")
Two quotations from the valley are quoted above, and four keywords are mentioned: Xuancheng Zhuge Jia Pen, Jujube Core Pen, Wuxin Sanzhuo, and Wu Jun Pen. Regarding these concepts, researchers such as Zhu Youzhou ("Jujube Examination and Examination of Pens", 2012; "Sanzhuo Pen Examination", 2013) and Chen Wenbo ("Huang Tingjian and His Penmanship and Heartless Pen") have explained them in detail and will not be repeated here. In short, Wu Jun (Wu Zhi) is good at making no heart scatter Zhuo pen, "scatter Zhuo" is "scatter za", which means to use pure hair or mixed hair to scatter the pen head, which is the opposite of the previous generation of wrapped heart wrapping paper method (whether the scatter zhuo pen has a pillar heart is quite controversial, here from Mr. He Yanquan said for the time being, I think that at least the Zhuge family made of the scatter Zhuo pen still has a pillar heart, but its process is different from the wrapped heart winding paper method, and the pillar heart is not bound). The jujube core pen belongs to a kind of unintentional scattering pen, which is named because the tip of the pen is rich and sharp, and it resembles a jujube core. Although the Xuancheng Zhuge Jia Pen also made a heartless pen in the later period, it can be regarded here as a heartless pen as opposed to the heartless scattering zhuo. Zhuge Pen is the "front wave" in the Song pen, and the unintentional scattering zhuo is the "back wave".
The National Palace Museum in Taipei holds the word "Sanzhuo" in Cai Xiang's Tao Sheng Ti
The so-called pen with a heart, Huang Tingjian once memorized the Zhuge Family Law in detail:
Xuancheng Zhuge Gao is a scattered Zhuo pen, about an inch and a half long, hidden in the pipe, out of half, cutting the pipe Hong fiber is equivalent to half an inch. Its heart is made of chestnut tails, but three ears, but if it is hairy, it is firm and soft, and it is the best pen. ("Pen Says")
There are two parts of the pen, the main and the second, and the penman Zhuge Gao ensures the strength of the pen, one is to let the pen enter the pipe 2/3, and the other is to use the chestnut tail as the pillar center. The appearance of the pillar heart of the Song pen can be used as an example of the brush excavated from the tomb of Ma Shaoting in Hefei, when the pen shaft and pen cap were unearthed, but the pen head was only a bunch of pen cores, and its material was a plant fiber such as hemp, and the rest of the brush was decayed (Hu Jigao, "Remembering the Dehydration and Restoration of Ink Ingots and Brushes Excavated from the Song Tomb on the Outskirts of Hefei", 1991).
Brush excavated from Ma Shaoting Tomb in Hefei (after dehydration restoration)
In general, the heart pen and the heartless pen represent the two major genres of Song pen production, and the writing effect caused by them is also very different, and it is best to use Huang Tingjian's "Jun yi Ti" in the special exhibition as an example to explain. This post was written by Xu Bangda's "Records of Ancient Calligraphy and Paintings" (vol. 1, pp. 302 and 303), but the interpretation is not accurate, and the interpretation of the special exhibition catalogue is also flawed. With reference to Mr. Chen Zhiping (Huang Tingjian Calligraphy Research, 2004), the following is read in the following text:
Yesterday night went to Junyi's house to drink, for the sons of abuse of wine, drunk can not speak, today the head of Yu Cen Cen did not wake up, the net people are quite able to say that my friends are too careful, feel ashamed, feel ashamed. After the blessings of the past, this morning there was no need to make porridge, so he told this same bowl of rice, and still brought the new seven strings to wash the sick ears. How is it? □□ jian bowed his hand.
Deyu Xianyou's feet.
Borrow all the books on the eastern slope.
The Palace Museum collects Huang Tingjian's "Jun Yi Ti"
This letter was written by Huang Tingjian to a friend the day after he was drunk, and Mr. Xu Bangda said: "The calligraphy of this post is extremely decadent, probably because the wine was not awake at that time." Paper and ink are also not very good. "I think that in addition to the hangover the night before and the reason why waking up is still very high, the "decline" of strokes may also be affected by the unintentional pen. Due to the lack of pillar cores, coupled with the fact that its pens may not all be made of hard millimeters (such as "Lu Ram Milli-like"), the strokes are not satisfactory, and it is difficult to write sharpness, but there are often unexpected effects. Specific to the appearance of the stroke, it will appear in the middle of the stroke, and the starting and closing and turning points will not show the angle.
Junyi Thesis is partially written
This feature is also expressed in the stylistic sequence of Huang Tingjian's calligraphy. In the past, researchers paid more attention to his large-character works, such as "Niukouzhuang Inscription Volume" and "Gift Zhang Datong Volume".
Huang Tingjian's "Niukouzhuang Inscription Volume" with partial pen (taken from Chen Wenbo, "Huang Tingjian and His Penmanship and Heartless Pen", 2017)
In fact, through careful comparison, we can find that many of his later codexes are also in line with the characteristics of the heartless pen. For example, the two posts of the "Commandments and Even Books" (c. 1097) and the "Mountain Pre-Thesis" (1101) are viewed together with the earlier "To the Seventeen Envoys of the Jingdao Seventeen Envoys and poems" (1089), and it can be seen that the texture of their dot paintings is obviously different. Mr. Chen Zhiping speculated that the "Junyi Thesis" book was written around the second year of yuan fu (1099), and from the point of view of the dot painting, it was in line with the change of Huang's pen.
Partial comparison of Huang Tingjian's small-character codex with a pen (left: "To the Seventeen Envoys of the Jingdao Road" in the Collection of the National Palace Museum in Taipei; Middle: "The Book of Commandments and Puppets" in the Shanghai Museum; Right: "Mountain Pre-Post" in the Collection of the National Palace Museum in Taipei)
The Song people have long understood the characteristics of different wool materials, and the Northern Song Dynasty Zhu Yu tasted and said: "It is best to use rabbits to make pens, and good people use chinchilla whiskers or orangutan hair as strange, but it is not as convenient as rabbits to write books." ("Pingzhou Can Talk" Volume II) Zhu Yu has lived in Lingnan for many years, and it is difficult to see rabbits suitable for pen making, so he has this sigh. Dongpo also tasted who lived in Jiangnan, and the impression of the southern rabbit was neither eaten nor used: "Yu is extremely beautiful in the north to eat the rabbit, and comes to the two Zhejiang Huai, this thing is rare, it is advisable to cherish it." Every time you get food, the rate is less flavorful, and there is a slight fishy shrimp gas. Gather its skin dozens of easy pens under the capital, all clouds this southern rabbit, without wind and frost, not long unusable. It is known that this object did not produce Pizawa Maya. In the third year of ShaoSheng (1096), Su Shi bought two pens for 20 yuan in Lingnan, and as a result, "the ink floated together, scattered, and there was no pen in Lingnan" ("Shu Lingnan Pen"). In 2006, Changzhou Changbao Steel Pipe Factory excavated a tube of rabbit milli pen (a wolf millimeter), with a length of 26.1, a pen pipe diameter of 1.1, a pen sleeve diameter of 1.6 cm, a pole and a hat made of bamboo, and the excavation condition is good, allowing us to get a glimpse of the whole picture of the hard milli pen of the Song Dynasty.
Changzhou Changbao Steel Pipe Factory Song Tomb unearthed rabbit pen
ink
Song ink raw materials are more diverse than the previous generation, including pine smoke, lacquer smoke, oil smoke, petroleum smoke and mixed smoke (Chen Tao, "Song Dynasty Ink Industry Review", 2014), but there are very few archaeological excavations and better preserved forms, and more excavations have been fragmented.
The tomb of Shi Shengzu of the Southern Song Dynasty in Quzhou unearthed ink blocks and their extensions
A total of 4 cases of ink blocks and broken ink were excavated from the Tomb of the Lü Family in Lantian, which have specimen significance. The researchers conducted scanning electron microscopy analysis of these four ink blocks, and after comparing them with modern pine and oil smoke inks, they concluded that the inks unearthed from the Tomb of the Lü Family were all pine smoke inks. Because of its large particle size and spherical shape, it is more consistent with pine smoke ink (Lantian Lü Family Cemetery, 2018).
Lü Dazhong of the Northern Song Dynasty of Lantian and his ex-wife and stepmother were buried together in the tomb of the "Nian Li" inscription ink block
Comparison of scanning electron microscopy of ink block samples (left: ink block excavated from Lü Dazhong's tomb; middle: Hu Kaiwen Ink Factory to make pine tobacco ink; right: Hu Kaiwen Ink Factory to make oil smoke ink)
This conclusion does not mean that pine tobacco ink is absolutely dominant in the market, and in the notes of the Song Dynasty, the record of tung oil and sesame oil taking smoke to make ink is very common. At the time of Hui and Qin, He Xue, a native of Pucheng, also recorded an ink method of mixing oil smoke, which can optimize the ink and make it hard and durable: "Pu Da Shao ink used in recent times, cover oil smoke ink also." Later, he saw That Zhongyong, Yan Shaoxingchu, and the zhonggui Zheng Jiren fushu minor master Wu Jiu came from Fuling in the Immortal Guan, and Da Shaoru took the hand stab and came to the ship. Because I asked how the ink of the oil smoke was so strong. Da Shaoyun: 'Also half with pine smoke and peace, but not for a long time.' (Chunzhu Chronicles, vol. VIII) Ink makers like Pu Dashao have many names in the notes of the Song dynasty.
"In recent times, there are many hands of ink workers. Since Pan Gu, Chen Zhan, and Zhang Gu were famous for a while, there were also disciples of Changshan Zhang Shun, Jiuhua Zhu Xiao, Jiahe Shen Jue, and Jinhua Pan Heng, all worthy of the old people. (Zhang Bangji's "Mozhuang Manga" volume VI) Did not love Bao, the ink workers mentioned in this sentence appeared in the hefei Northern Song Dynasty Ma Shaoting husband and wife burial tomb, the male coffin unearthed ink block shape nearly rectangular, the middle of the front column line remained inscription "Shezhou Huangshan Zhanggu", the female coffin unearthed ink block slightly long shuttle-shaped, the middle of the front contained inscription "Jiuhua Zhu Xiao Ink", the ink is loose and can not be picked up. The M4 of the former Southern Song Dynasty family tomb in Wujin Village, Changzhou, unearthed residual ink from oil smoke, and archaeologists speculated that this ink was made by Ye Maoshi, an ink worker of the Southern Song Dynasty, according to the surviving inscriptions, and its people were recorded in the Yuan Dynasty document "History of Ink".
Hefei Ma Shaoting husband and wife joint burial tomb excavated ink blocks (left: M1 male coffin unearthed; right: M2 female coffin unearthed)
The M4 of the former Southern Song Dynasty family tomb in Wujin Village, Changzhou, unearthed ink from oil smoke
The literati of the Song Dynasty had high requirements for ink, and Ye Mengde said: "Every time you use ink removal, the stone grinding is not black." Stagnant pen and ink, such as the old blunt horse with sick eyes. Those who do not pay attention to ink in this world, and there is no blackness in many words, why not compare? This is not the case. The black one is rare, but it has not tasted the ear of the other. Regardless of the ancient ink, only in recent years Pan Gu pro-creator black. He, such as Zhang Gu and Chen Zhan, and Pan Made It disciples to respond to people's requests, are not black. The writing is not black, and the old view is unexpected, which makes people unhappy. The hobby of life has been removed, but this thing has not been forgotten. For several years, I begged for ink on people, and there was no return. (On the volume of "Summer Escape") Ye's diligent good ink needs to meet two conditions: black and not lagging pen. Su Shi is also quite obsessed with the "blackness" of ink, so that the procedures for testing blackness are very exquisite:
There are hundreds of inks in the remaining ink, and there are no black people in the end, but one or two are satisfactory. (Shu Mo)
The world says that bamboo paper can be tested and inked, and it is wrong. When inappropriate ink paper. Bamboo paper cover should be black, if the pool, shejing white jade board, is really can try ink, if on this paper black, everything is black. Faded ink stone stone research, fine white jade board book, all ink is defeated. ("Ink Test")
The quality of ink can not only determine the final presentation of calligraphy activities, but also greatly affect the psychological experience of the calligrapher when writing, if it is not satisfactory, then "if the sick eye is leftovers of the old blunt horse", so Sun Guoting has long pointed out that "paper and ink are hairy" as a combination, "paper and ink are not called" is obedient. Looking at the ink on the eastern slope of the world, most of them are black and have a sense of accumulation, which is the performance of first-class Song ink.
inkstone
Yan has the least direct impact on the writing effect, but because its texture is mostly stone and pottery, it is not easy to wear, and it is the longest among friends, so it has the deepest bond with the calligrapher, and the number of heirs and excavations can be called the crown of the literary utensils. This special exhibition selects the scroll of "Playing with Yan on the East Slope" painted by Huang Shen in the Qing Dynasty, which is also a true portrayal of the intimate relationship between the literati and Yan.
Huang Shen painted a picture of "Playing with Yan on the East Slope"
Most of the physical objects unearthed during the Han and Song dynasties are flat bricks, Puyong stones, and ji-shaped stones, which are also reflected in the previous generation story maps drawn by the Song people, which can help us understand their use scenarios.
Left: Part of the "Southern Tang Wenhui Map" collected by the Palace Museum (Song); right: part of the "Wenyuan Tu" of Zhou Wenjie in the collection of the Palace Museum (five dynasties).
Song Yan is the most characteristic of the times with the scribe hand yan. The scribe is evolved on the basis of the ji-shaped brick, which is raised by the slope and gradually leveled with both sides, and the bottom is hollowed out from the tail of the brick, omitting the bipedal, leaving three side walls, or from the end of the brick to the bottom of the yan arc concave, because one end can insert the hand in order to move, so it is called "scribe" (Hua Cixiang," "Song, Liao, Jin Unearthed Stone Research", 2005). Its surface is generally rectangular, with a slightly narrower head and a slightly wider tail. The Lantian Lü family tomb unearthed 18 pieces of Yantai fan, and 11 cases of scribes were excavated.
Northern Song Dynasty Ji-shaped Yan and Scribe Yan (left: Yangzhou Baoying Northern Song Tomb excavation; right: Lantian Lüying and wife Wang's joint burial tomb excavation)
Most of the Song tombs were excavated from practical bricks, and many of them still have traces of use, and the number of burials is not limited. For example, the M12 of Yuhang Lishan excavated one side of the scribe brick and the two sides of the rectangular stone stone, of which there are ink marks on one side of the scribe brick surface, and a small amount of cinnabar remains on the brick surface of the rectangular brick ("Yuhang Xinqiao Lishan Song Tomb Excavation Briefing", 2015; Liu Weipeng: "Zhejiang Southern Song Dynasty Tomb Burial Customs Pipe Peep", 2014). Among the scattered cultural relics excavated from the Lantian Lü Family Tomb is a round stone, with a plain surface, polished smooth, scratches on the outer bottom surface, and obvious cinnabar marks on the brick surface.
The floor plan of the tomb of Yuhang Lishan and the excavated three-square stone stones
Round stone stones and traces of cinnabar were excavated from the tomb of the Lü family in Lantian
There are many issues related to Yan, such as stone materials, brick boxes, etc., but limited in space, I just want to talk about Yan Ming here. This special exhibition exhibits a kind of Imitation Song Knot Rope Pattern Stone in the Qing Palace, which attracts people's attention because of the Su Shi inscription at the bottom.
The Qing Palace imitates the Song knot rope pattern stone and the box
"Western Qing Yan Spectrum" bibliography of Su Shi inscription knot rope Yan (from left to right, the front, back, and side of the writing)
It is made of endstone, 12.3 meters long, 6.6 wide, and 1.6 centimeters high, and there are turquoise erosion marks caused by aging on the surface. The original rosewood brick box is combined, and the box surface is engraved with gold Qianlong Yanming. The emphasis is on the back of the knotted rope pattern, engraved with the Su Shi Yan inscription:
Guest will be the end of the creek, please buy for yan. Shi Yue: Yu only has two hands, one of which cannot be written, but there are three stones, and Xi Yi is more. Now I have obtained this dragon's tail sketch, four beautiful tools, and shame on the guest. And the beauty of the wind and moon in the country and mountains, before me, I can't give a hand for a day, and I am ashamed of Yan. The gentleman of the Queen of Yi will be poor across the sea, and the sun and the moon will be in harmony with the light, and the jade virtue will be worthy of this jade and golden voice. Dongpo residents.
There is no doubt that this Yan is a Qing imitation (Wu Kasagu," Jushi Wutian Eating Broken Yan, 2020), and it is doubtful whether this Yan Ming was written by Su Shi himself. The Song Dynasty's "Dongpo Collection" contains nine yanming poems, but there is no such thing, and the Ming Dynasty Mao Jin's "Jinzhi Series" includes six volumes of the "Dongpo Inscription" compiled by him, which contains seventeen yanming poems, but there is still no such thing. In 1986, Kong Fanli collated and proofread the "Su Shi Anthology" into this Yan inscription, the source of which is the "Western Qing Yan Spectrum", which is at least unknown to Mao Jin, and when it appears remains to be investigated.
Dongpo Collection, Vol. 19 Selected Leaves (Southern Song Dynasty Hangzhou Edition, National Library of Japan)
Even if the era of this Fang Yanming is unclear, but according to the excavation of Song Yan, it can be known that there are indeed many cases of Song people carving (writing) inscriptions on the Yan, which can be roughly divided into three categories according to the content of the inscription: first, the names of craftsmen and merchants (in addition to the pictures attached to this article, you can refer to the chicken crown pot "Zezhou Chengni Yan", 2015); second, poems, proverbs; third, epitaphs. The following is provided in the attached figure as evidence, and will not be repeated.
Tianjin Museum collection of Song Cheng mud brick and Yan back stamp "Ink Liu Wanzao"
Zhuji Southern Song Dynasty Dong Kangsi tomb excavated stone stone and its inscription "Jasper Zi"
The Tianjin Museum collects Song Ji-shaped pottery and inscriptions on the side of the stone (inscription: "Always worry about yourself, do not see what he is not, in the middle of the language, nothing to return early." Fan Guang □. ”）
Lantian Northern Song Dynasty Lü Province Lady Shan Tomb excavated copy of the back of the ink book "□ Ding Hai Meng □□ Burial"
The tomb of The Husband and Wife of Lü Jingshan in the Northern Song Dynasty of Lantian was excavated from the three-legged Stone and the epitaph on the back
The Southern Song Dynasty tomb in The Western Gate of Wuyi Mountain was excavated from duan yan and its yanbei epitaph
epilogue
In the Song paintings and excavated tombs, we can also see many other literary utensils other than the four friends of the study room. For example, Song Ren Mayuan's "West Garden Yajitu" has a scene of people watching the writing, and at least the printing clay and paperweight can be seen on the bookcase.
The Nelson-Atkins Museum of Art holds the use of a study room vessel from Ma Yuan's West Garden
Thousands of years later, archaeologists found the figures of these two artifacts in the joint tomb of Lü Daya in Lantian, which is very similar to the painting in the "West Garden YaJitu", especially the excavation of cinnabar printing mud is extremely rare.
The tomb of Mr. and Mrs. Lü Daya was excavated from the white glazed round box and residual cinnabar
The joint burial tomb of Lü Daya and his wife unearthed iron paperweights and their line drawings
There are many paperweights unearthed in this shape, and combined with the images, it is easy to understand its usage and the reasons for its commonness. In addition, paperweights made of copper, stone, crystal, agate and other materials have been unearthed. Last year, a stone paperweight was unearthed in Nanjing, with a sword-wielding woman carved on the front and a "chapter" to record one side, which made the viewer have many imaginations about its users.
Stone paperweights excavated from the Kansong Tomb in Shimen, Nanjing (exhibited in the Six Dynasties Museum, photographed by the author)
The conversation diverged, and the third time in "Dream of the Red Chamber" carried Bao Daichao and the three of them to drink tea at the "threshold outsider" Miaoyu, the following text was stored:
I also saw that Miao Yu took out two other cups, one with an ear on the side, and the cup was engraved with three subordinate characters of "(Divided) 瓟斝", followed by a line of small real characters, which was "Jin Wang Kai Zhen Play", and there was also a line of small characters "Song Yuanfeng Five Years april Meishan Su Shi was seen in the Secret Palace", Miao Yu poured a line of small characters and Bao Chao. That one was shaped like a bowl and was small, and there were also three hanging beaded seal characters, engraved with "point rhinoceros", Miao Yu poured a sword and Dai Yu, still pouring the green jade bucket that he used to eat tea every day to pluck the jade.
According to the Dongpo style on the axe used by Baochao, it can be known that this object was once hidden in the Secret House of Beijing, and later appreciated by Dongpo (but it is more likely that it is a Qing imitation artifact like the aforementioned knotted rope). Here is the most inky passage on Miaoyu in the whole book, through the plot of inviting the two of them to eat "body tea", the author vigorously depicts Miaoyu's taste in life for us. The famous objects involved in this paragraph, such as the large cup of bamboo roots carved by the nine curves and ten rings and the 120 knots of the whole carved bamboo root, and the snow harvested on the plum blossoms of the Panxiang Temple five years ago, are all things that are difficult to find. In contrast, the rainwater used to entertain Jia Mu and Liu Grandma's party is unusual. Miao Yu entertained Bao Chao with drinking utensils inscribed on Dongpo, revealing the imagination of the Qing Dynasty literati for the cultural meaning symbolized by Su Shi.
Qian Hui'an (1833-1911) painted part of "Drawing on the Tea of Cui Pin"
The literary utensils other than the four friends of the study room are similar to tea sets, flower utensils, and incense utensils, and the functional attributes are not so strong, and the designers need to consider its ornamental value more, so it is more suitable as a dojo for the Song people to show their aesthetic interest. Later generations caress things and think of people, which will naturally give them more beautiful imaginations.
The Lantian Lü family tomb unearthed a playful double lion-shaped pen holder
Zhuji Southern Song Dynasty Dong Kangsi tomb excavated stone carvings of turtle button water 丞
The use of literary ware is an important part of the material level in the history of art, especially the history of calligraphy. To borrow from Mr. He Yanquan of the National Palace Museum in Taipei: "Many studies imply a basic assumption that the tools of ancient and modern scholars are the same and have never changed due to the times or preferences. The long-term research inertia has indeed caused many misunderstandings about calligraphy, often attributing the material part to the creation of calligraphers, and under the efforts of many people, a history of calligraphy without material concepts has gradually been formed. (Dark Flower Shadow, 2017) In addition to the use of literary room utensils, there are many material information that should be observed in the study of calligraphy history, such as the development of tables and chairs in the Tang Dynasty and the full popularity after entering the Song Dynasty, which profoundly affected the changes in paper, pen and stone shapes and people's writing habits (Huang Zhengjian, "Chairs and Rope Beds in the Tang Dynasty", 1990; Hang Kan, "On the Spread of Chairs in the Central Plains during the Tang and Song Dynasties", 2019). These processes of material change have been gradually forgotten in the Song Dynasty (He Yanquan, "Brushes, Tables, Chairs and Calligraphy in the Northern Song Dynasty", 2013), but together they shape the imagination of future generations of Song Dynasty art, although it is hidden, if it can be observed, it can also slightly increase the enjoyment of viewing. Or in other words, the theme exhibition of calligraphy and painting is also an exhibition of social life, in addition to pen and ink, we may be able to see a more "lively" Su Dongpo.
(P.S. This article is written by Teacher Zhang Xuefeng and his friends Wu Yibing and Huang Wei to provide information and help, and I would like to express my gratitude.) ）
Editor-in-Charge: Shanshan Peng
Proofreader: Yan Zhang