The Beauty of Ancient Books: The Evolution and Development of Ancient Books, by Zhang Weidong
Fangji Publishing House, June 2021, first edition
Mr. Meng Dafeng was kind and helped me to find the author to ask for two signed copies, one of which was one. From the author's preface, I learned that Mr. Zhang Weidong has been engaged in ancient books for more than 30 years, and is also engaged in teaching and research work, and sometimes publishes his research experience in journals and magazines, but he feels that many people do not know much about ancient books, and this is his motivation for writing this book. For example, in the first chapter, he first explained what an ancient book is, giving the definition: "Ancient books refer to books that study ancient Chinese culture, which is the customary title of ancient books", and then writes about the prerequisites for so-called ancient books and which books are included in ancient books. The author pointed out that the number of ancient books in libraries, museums and document collection units is more than 27 million, and this does not include ancient books stored in the folk, according to the author's estimation, if you add the folk collection, the total number of ancient Chinese books is 35 million to 40 million, so he believes: "Among all the Tibetan varieties, ancient books are the one with the largest number of surviving." ”
On the whole, the author's view of rare books is almost the same as that of his mainland counterparts, for example, he quotes the most common "three sexes and nine articles" in the mainland, and also quotes the definition of rare books given in Ding's "Book Collection of Good Books": old engraving, fine books, old copies, and old schools. So what is the standard of rare books that Mr. Zhang believes? He listed eight articles in the book, the first of which was the periodical and movable type book before Ming Hongzhi, and the second one was the essence or rarity of the periodicals and movable type books published and movable type books after Ming Jiajing to modern times. Judging from the second article, its suspension is higher. But he did not say whether the version of zhengde between Hongzhi and Jiajing should be classified as upper or lower.
Mr. Zhang ignored the meaning of the word "rare book" in different eras, and at the same time talked about the earliest source of "rare book",Hong Mai's "Rong Zhai Essay" volume 10 "Dongpo Inscription Tanzhou Thesis": "Ten volumes of Tanzhou stone carvings, engraved by Gai Qian Xibai, are the most rare books." Although the term "rare book" was not invented by Dongpo, the term "best book" is cited by many people. However, what is "most", I have not seen anyone explain in detail. In the past, Mr. Lu Xin once ridiculed Mr. Huang Pei for liking to use the word "initial seal", Mr. Lu believed that the first seal is the first seal, how can you still crown the word "most", this is just like Jia Baoyu's first test of Yun Yuqing, "first test" is just that, how can it be "first try".
Of course, the "rare book" mentioned by the Song people obviously has a different meaning from the common word in the current catalog version, so there is a Westernized "three sexes and nine articles". Although the "few engravings and manuscripts circulated before the Qianlong Dynasty" are widely criticized, if a specific time limit is not given, it is even less operable.
In this book, the author explains the layout and structure of ancient books in the form of illustrations, briefly describes the classification and historical evolution of ancient books, ignores the origin of the four-part class method, and also talks about the history of writing and the history of ancient book printing, which is called both graphic and textual, but perhaps in order to control the cost, the illustrations in the book are black and white, although the details of the book can also be seen clearly, but after all, it is not as realistic as the color plates, if the reprint can be replaced by color printing, I think readers are more liked.
Proof of "Zhou Yi Playing With Words and Difficult Learning", written by Chen Kailin
Mulan Cultural Undertaking Co., Ltd. was printed for the first time in march 2020
I accidentally met Mr. Chen Kailin in a certain group and soon got this big book from him. The book is 8 small, hardcover, four volumes, and is one of the 32nd part of the "Classical Literature Research Series" edited by Pan Meiyue and Du Jiexiang. The background of the book is described in detail in the Preface. It first talked about the life of Zhang Cizhong, the author of "Zhou Yi Playing With Resignation and Difficult Learning", Zhang Cizhong was a person who was qixin unitary tomorrow, and the chief examiner was Qian Qianyi, who believed that Zhang Cizhong would be able to fold the Gui in the South Palace, but unfortunately he repeatedly got on the bus and finally failed to be selected. After the change of the State of Jiashen, Zhang Cizhong closed his door and devoted himself to writing, and Huang Zongxi said in the epitaph written for him: "There are two poor people in Haichang: Zhu Kangliu and Zhang Yuanyue. The short Zhan broken house, all mixed with the power of decades, the wind and rain, sinking into it. Every time the two men attacked each other, they wrote a book, quoted here, and used Zhang Qi to say. As for Zhang Cizhong's achievements in Yixue, siku Guanchen praised in the summary written for "Zhou Yi's Play with Words and Difficult learning":
Although it is inevitable to open the door of speculation by abolishing all the righteous examples of the various families, but if it abolishes all the maps, it will really have the power to slash the hazelnuts. And the purpose is to cut to personnel affairs, and it is more helpful to scholars, and it is far better to regard paintings as one after another, and to calculate the scriptures and yi spectra in vain, while those who are easy to change and do not speak are far superior.
Regarding Zhang Cizhong's experience in studying Yixue, he said in the preface: "Yu was a foreign fu at the age of seven, and the first gentleman taught Yu Jingxue, and he drafted the Spring and Autumn Period, and his intention was uncertain. Holding it, he asked the people, saying: "Confucianism seems to have a cause in "Yi", and it is appropriate to read "Yi". He then conferred on Wen Gong the Original Meaning. Zhang Cizhong's father taught him the scriptures, and one day his father was looking for someone to calculate the gua, and the zheng said that this son seemed to have a cause for learning "Yi" and should study Yi Xue, so his father taught him to read Zhu Zi's "Zhou Yi Benyi". But at that time, Zhang Cizhong still had to study hard in order to take the exam, although he had read the "Zhou Yi Benyi", but he did not understand the essence, until one day when he heard the scribe read "Don't use the hidden dragon", he instantly had a sense of empowerment. Since then, until his old age, Zhang Cizhong has been seriously studying Yi, and spent more than twenty years writing "Zhou Yi Playing With Words and Difficult Learning", which was drafted seven times, which shows that this book is Zhang Cizhong's most important work.
Chen Kailin made a systematic rationalization of this book, believing that this book is rich in material and extensive, but because there are too many quotations, it is inevitable that some errors and deficiencies will arise, and Chen Kailin summarizes these into nine categories, such as ""Notes" and "Shu" are confused", "even quoting many people, without distinction", "not investigating the source", "transferring other books, not verifying the original book", and so on, which shows that Chen Kailin has made great efforts to rationalize this book.
Why should Chen Kailin make a systematic proof of this book, he wrote a 20-page "Afterword" at the end of the book, in addition to the "Supplement" and "Supplement", this kind of writing is quite rare, but you can also learn about Mr. Chen's life, and at the same time he answered why he studied "Zhou Yi" in the text. Mr. Chen was born in Magang Town, Macheng City, Hubei Province, his father is a teacher, he grew up to go to a long distance to go to school, life is hard, every day he pans for rice and steamed rice, he eats with pickles, until he graduated from junior high school in 2001, he first saw the bookstore in the city, that time he had a strong possessiveness of books, for which he bought three books, and later every afternoon when he herded cattle in the mountains, these books became the treasures he carried with him.
Later, he was admitted to the high school of Macheng Normal School, saw for the first time that there was a small library in the school, and he had a strong love for books, but because of the poor economic situation at home, he could only save money to buy books. One day he bought Liang Haiming's translation of the I Ching at a book stall, which led him to establish a connection with the Zhou Yi. In 2005, he was admitted to Chongqing Technology and Business University, and in his sophomore year, Tang Dezheng opened an elective course on "Zhou Yi and Chinese Traditional Prediction", which gave Mr. Chen a deeper understanding of Yixue. At the graduate school level, Mr. Chen examined the Yibi of the Jingyi Examination, and found a Qian Qianyi anthology from it, which was Qian's preface for Zhang Cizhong, so he began to proofread the book, and finally formed this big book.
This book is accompanied by Qian Qianyi's "Zhou Yi PlayIng With Words and Difficulties", in which the text first laments that Zhang Cizhong repeatedly gets on the bus and does not sell, which makes Qian Qianyi sigh "is also poor". One spring, Qian Qianyi went to the West Lake to visit, Zhang Cizhong came to visit him specially, Qian asked Zhang what he was doing at home, Zhang said that he was reading Yi, and then took out this manuscript, Qian read it and thought that this draft: "About the roots are rooted in poor reason, and immersed in deep knowledge, in the meaning of "Yan", "爻", "Ten Wings", vast and vast, hundreds of homes, all of them are discerning and eclectic. Tan "Yi" in recent antiquity, this is a remarkable one. Qian Qianyi was indeed an expert, and this preface concisely evaluated the invention of Zhang Cizhong's book, and determined that there would be a confidant after a thousand years. The fact is that less than 500 years later, Zhang Cizhong met Chen Kailin, a confidant, and after his systematic collation, the book was more known to the academic community, and at the same time, Chen Kailin also proofread some problems, so the jingxue community, more accurately, said that the Yixue community saw the final version of the book.
"The Words of the Book Ticket", (Japanese) Saito Masazo, translated by Wei Dahai
Kinjo Publishing Co., Ltd. August 2021 1st Edition 1st Printing
One day Mr. Zhi'an came to WeChat, saying that a friend published this book, the friend asked for an address to send me a copy, and then I added the WeChat of Mr. Guo Fengling of the Publishing Division of Zhongtu Network, and Mr. Guo sent three copies of this book before long: hardcover, raw edge and brush silver mouth. I was embarrassed to be so generous and solemnly thanked the other party. A few days later, I received a phone call from Mr. Xie Qizhang, who said that Mr. Guo wanted to find several friends to sign 50 sets of this book as a product of activity. There are only 50 sets of books, of course, about one signature is the most convenient, but because the epidemic has not yet passed, Guo Fengling found Zhi An, Wu Xingwen, Xie Qizhang and I, and signed and sealed these 50 sets of books. Of course, all 50 sets of books were taken, and what I got was not a signed copy.
The book is 64 large, similar to a pocket book, and I don't know if it counts as a Japanese bunko book. In front of the book there is the preface to the Chinese edition by Mr. Chen Zishan, the preface mentions that the first version of this book has more than 20 kinds of original book tickets, I immediately flipped through this book, and there are indeed color library ticket illustrations in the back, but at a glance, I know that it is a printed material rather than the original, and when it is suddenly lost, the "first version" mentioned by Teacher Fang Wuchen refers to the first edition produced in Japan. For the situation of this version, Teacher Chen has the following description:
First published on August 6, 1929 by the Tokyo Bunka Market, the book is a 16-folio book with elaborate paper and binding. The book is made of French pure marble (pattern) paper, Austrian black rosé paper, Spanish Andalus paper, British and German pure thick paper, and Japanese washi paper fine printed and bound, small sheepskin hardcover, the top and spine of the book are printed with the words EX LIBRIS (the meaning of the Latin book stamp), and the cover title is gilded and decorated with colored patterns. The first edition was limited to 500 copies, of which 12 were the author's own copies, and the other 488 were deluxe copies, which were sold by number. Among the more than seventy kinds of various works of Shozo Saito, this "Words of The Book Ticket" is the most gorgeous and magnificent.
Teacher Chen said that the collection of book tickets has a long history, which began in The 15th century in Germany, to the end of the 19th century and the beginning of the 20th century in Europe and the United States reached a golden age, became an important part of Western book culture, according to Saito Shozo's research, the early years of Meiji (1868), the collection of book tickets has been introduced to Japan, and then has been widely recognized by the Japanese literary circles and the book collection community, and Saito Shozo is the most powerful advocate and promotion of book collection tickets, his "Words of Book Collection Tickets" is regarded as the "Bible" of book collection tickets by the Japanese book collection community. Teacher Chen also said that the book has a special relationship with Chinese modern and contemporary writers, because Lu Xun also purchased the book. On June 13, 1930, Lu Xun wrote in his diary: "Go to the Neishan Bookstore at night and buy a copy of "Words of Book Collection Tickets" for ten yuan. But Teacher Chen said that although the ten yuan ocean was already a large amount at that time, Lu Xun bought not the first version, but the revised supplementary version of the Japan Prospect Society in April 1930, because the first version was very popular and sold out in less than half a year, so there was a re-version. However, the re-release cannot catch up with the first version, whether it is paper or binding.
In addition, Ye Lingfeng once corresponded with Saito Shozo and exchanged book tickets. Saito presented Ye with the first edition of the "Words of the Hidden Book Ticket" and one volume each of the "Paper Fish Fanchang Chronicle". In December 1933, Ye Lingfeng published a long article "Words on The Book Ticket" in the second issue of the fourth volume of Modern, and Teacher Chen said: "This is the first article in China, and it is also a more authoritative article on the history and artistic characteristics of the book ticket for a long time to come. This article not only borrows the title of Shozo Saito's book, but also deeply influenced by the book in terms of content, so Teacher Chen gave this conclusion: "It is not an exaggeration to say that the study of Chinese book tickets was inspired by the Japanese book ticket 'Bible' from the beginning." ”
In the preface, Mr. Chen introduced the life of Saito Shozo, saying that he served in the business community in his early years, served in the post office, the construction bureau and the trading company, but he loved books as he was destined, liked to collect the first edition, limited edition, banned book and book tickets, and later transferred to the literary world, served as the editor of several magazines such as "Book Exchange", and in his later years served as the honorary director of the Maozaki Municipal Library. Unfortunately, I hadn't read his book before, but I was curious about his title. For example, "Book Of Adultery" and "Silver Fish Troop", I can basically guess the contents of the book, but "Paper Fish Hell" I don't know what it is written. Teacher Chen said that he is also a sexologist, and he wants to write this kind of content in "Thirty-Six People of Lust".
Shozo Saito views the nobility of the goodness of the collection with the eyes of a bookworm, and he first states in the Preface:
Among all kinds of fun, the most noble ones are reading and loving books. In fact, the supreme hobbies of human beings are "like to read" and "love books"!
If it is a standard bookworm, it is estimated that everyone agrees with his conclusion. However, Japan's ancient books are basically similar to the Chinese wire-bound book form, those ancient books are covered with tibetan book seals, how does Saito view the difference between tibetan book prints and book stamps? In the text, he claimed that he did not want to disparage the traditional book collection, but in practice he said that "the abounds of book collection prints are mostly beautiful scenery." This statement is similar to the Horse Racing, which is more than a matter of heart and mind rather than fairness: there are good and bad books in the collection, and Saito should compare the best book prints with the best book tickets, which is fair.
But this is not a game, the best thing about a writer is that you can be both an athlete and a referee, and I can compare it as much as I want, and I say whoever wins wins. But if you think carefully, Saito's words are not all unreasonable, after all, most of the tibetan seals on the ancient books we see today are not so good. This is as Saito said: "But if you can see the seals everywhere on the streets, and dip them into inferior printing mud and print books indiscriminately, the life of books will naturally shorten." ”
But what about poor library tickets? Saito did not say, he just said: "The location of the selected affix of the book stamp is roughly the same as the position of the book seal", I think his sentence is missing the prefix, he should explain that the condition for this sentence to be true is to refer to the book in dress, and the line bound book will never be so, because the book seal will basically cover the first page of the online book title, and it will be covered in the blank space, and the book ticket, no matter how small the production, is difficult to paste in that position. I have received several books with book stamps and engraved bookheads, and the position of the tickets is on the front of the folding plate on the inside of the envelope, and the middle position of the sticker on this side, if there is no line-bound book of the envelope, where the book stamp is pasted, I have never seen. This can only be listened to Saito's, he said that where the sticker is appropriate, it is appropriate.
Apparently, Saito has a preference for library tickets, and he makes this comparison: "The same collection of books is the opposite of the scenery." The same is true of library tickets, where poor design will only make itself tasteless in the end. Therefore, the production of hidden tickets is clever. "It's another round of The Field Horse Race, but it's fairer this round because he also talked about the dullness of the clumsy book tickets.
Saito also talked about the history of Japanese book collection tickets, he was surprised that the Japanese people wanted everything to innovate, but the collection of book tickets was quite slow to enter Japan, which should be out of patriotism. Saito said that The Japanese book collection ticket has been around for a long time, and he cited three Japanese Buddhist books with book tickets from the Treasure Calendar years, a discovery that categorically countered the statement of a Westerner that Japan has never had a book ticket fun. However, Saito distinguished between pure Japanese book tickets and European and American book tickets to illustrate the difference in concepts between the two, and he made many similar comparisons in the book, and flipping through the book can give a conceptual understanding of the history of Japanese book collection tickets.
Compilation, Publication and Circulation of the "Four Great Books" of the Song Dynasty, by Zhang Weidong
Yuanhua Cultural and Creative Co., Ltd. October 2020 edition
This book is divided into six chapters, the first chapter is "Introduction", the other five chapters are about the compilation of the Song Dynasty government books and the compilation, edition, transmission and corresponding academic value of the four major books of the Song Dynasty, and the sixth chapter is the conclusion.
The author first told the origin of similar books in the "Introduction", believing that the "Imperial Records" compiled in the Three Kingdoms Wei were the originators of similar books, and then all the imperial dynasties had compiled them, and by the Time of the Qing Dynasty, the number of similar books had exceeded 700, but because of the Four Evils, there were only 500 kinds of books in existence, but only in the Song Dynasty, there were 73 kinds of books, of which the Song Taizong Dynasty successively compiled the "Taiping Imperial Records", "Taiping Guangji", "Wenyuan Yinghua" and "Yuangui of the Book", these four types of books are voluminous, so they are called "the four major books of the Song Dynasty".
In terms of content, these four books have their own emphases, "Taiping Imperial Records" belongs to the comprehensive book of encyclopedic knowledge, "Yuangui of the Book" belongs to the specialized category, "Wenyuan Yinghua" is a collection of articles, and "Taiping Guangji" is a novel. "The materials of the four kinds of books are not only not repeated, but also have a detailed narrative, which is beyond the reach of his books and is happy to be used by future generations of editors."
In this treatise, the author systematically describes the compilation of each of the four great books, the biography of the compiler, and the basic categories of each book, as well as the status of the editions of each book. For example, when talking about the Taiping Imperial Records, the general comment given by the author is: "Among the existing ancient books, it is the one that preserves the most documents and ancient books of the five dynasties. And the book is relatively complete, with more whole text, so scholars can use the book to glimpse some of the original documents.
For example, the "Fan Zi Ji Ran" and "Book of Victory" about agricultural technology, the original book has been published, and later generations rely on the quotations in the "Taiping Imperial Records" to learn some knowledge about agricultural production more than 2,000 years ago. Another example is the armillary celestial instrument and ground motion instrument created by Zhang Heng, the original book has also died, fortunately, thanks to the "Taiping Imperial Records", Fang let future generations know that Chinese manufactured the world's earliest related instruments. In addition, the Taiping Imperial Records also preserved a large number of ancient geography books, and when wang Mo of the Qing Dynasty compiled the "Han and Tang Dynasty Geography Books", he quoted a large number of the contents of the Taiping Imperial Records, which said: "The Taiping Imperial Records Bibliography has 1,690 kinds of books, and about 300 kinds of geographical books, which are particularly rich compared to various types of books. For this reason, the Siku Guanchen pointed out the reasons in the "Outline" of the book: "At the beginning of the Song Dynasty, the ancient books were not far away, that is, the books adopted also had a source, and they were parted with the later nails, so although they were eroded and broken, they could still be used as canons." ”
Despite this, Zhang Weidong pointed out that the works cited in the Taiping Imperial Records did not exist in the original books in the early Song Dynasty, and some of them also followed the previous types of books. Ming Hu Yinglin believes that the "Imperial Records of the Xiuwen Exhibition" recorded in the book before the Jin and Song Dynasties, and the "Wen Si Bo Essentials" obtained by Qi and Liang later. The Taiping Imperial Records did not elaborate on the references to previous books, so the books cited were repetitive and false.
Regarding the process of writing the Taiping Guangji, according to the "Jade Sea" quoted in the "Huijiao": "First, the emperor read the books, the bibliography was complicated, so he ordered the revision of this book. In March of the second year of the Xingguo Dynasty, Zhao Fang and other collections of novels in the history of the wilderness were five hundred volumes, and they were written in August of the third year, known as the Taiping Guangji. Regarding the book, Song Chen Zhensun said in the "Explanation of the Records of the Zhizhai Book": "In the second year of ping tai xingguo, the zhao scholars Li Fang and Hu Meng revised the "Royal Records", and also took the wild history, biography, story, and novel collection, and next year the book was completed, named "Taiping Guangji". Regarding the content characteristics of the book "Taiping Guangji", Zhang Weidong summed up three points: a distinct religious and cultural color, this section talks about the category of the "Guangji" book that integrates the three schools of Confucianism, Interpretation and Taoism, and at the same time said that the religious stories of the two items of Buddhism and Taoism in the book account for the largest proportion, so he called "Guangji" "our first collection of novels." The second point summarized by Mr. Zhang is that "Guangji" has a profound humanistic cultural knowledge, and the third implies the hierarchical consciousness of life and spirituality in China's ancient philosophical thought.
For the edition of this book, Zhang Weidong listed nine types in the book, and the first one in line was the Ming movable type. At that time, Mr. Huang Yongnian accidentally saw one from the old bookstore, and the owner thought it was a fragment, but after he looked at it carefully, he found that it was actually the whole book, so he paid for it and rushed back with the book, so he also gave his study a hall name "Heart Taiping Nunnery". After Mr. Huang's research, he found that the "Taiping Imperial Records" of the Minglong Qingjian Minren Rao and other copper movable scripts were actually the same set of copper movable characters as the Taiping Guangji, and later editionists have always only called the Taiping Guangji movable type, and Mr. Huang was the first to point out that it was a copper movable type. He had always regretted that he had not been able to buy the Taiping Imperial Records in copper movable characters, otherwise he could have changed the hall name to "Double Taiping Temple".
The book describes the status of several other books in the same style, so flipping through this book can fully understand the history of the four major types of books, and at the same time understand the various speculations about the book. In fact, the most speculated in later generations is why Song Chu spent so much effort to compile these kinds of books, such as the "Hermit Tongyi" said: "Late years, trapped in their hearts." Therefore, the ministers of the kingdoms, all old and dead, thought that they had won the old hero's law and pushed it as a long-term strategy. ”
This kind of statement is quite a kind of conspiracy theory that is popular in the world, how does Mr. Zhang Weidong think about this issue? Flip through this book to see.
"Seal of the Stone Yan Museum", engraved by Zhou Xiding
Photocopies of Bonan Mountain Pavilion in 2021
This book was donated by Mr. Yin Heng, the owner of the Bonan Mountain Museum, and is a volume in a line binding, which is the first type of "Bonan Series", and a total of 100 copies are printed on handmade history paper, without numbering. Before there was a preface by Mr. Yin Heng, mainly introducing the life of the seal engraver Zhou Xiding, focusing on Zhou's good at full-form expansion, in the 1940s published the "Shizhaiguan Seal", which contains more than a thousand squares of self-engraved seals, because this seal is rare, so Mr. Yin imitated and photocopied hundreds of copies to be widely circulated.
Zhou Xiding, also known as Zhou Kangyuan, was originally from Linchuan, Jiangxi, and has long lived in Beijing, so he is regarded as a seal engraver and ancient artifact heirloom in the capital. In 1921, Yi Dachang, Luo Zhenyu, Ding Foyan, Shou Shigong, Ma Heng, Mei Lanfang, Shang Xiaoyun and dozens of other people initiated the establishment of the Ice Society, with Yi Dachang as the president and Zhou Kangyuan as the vice president, the site of the society is in the backyard of Guguang Pavilion operated by Zhou Kangyuan, the Ice Society meets every Saturday and Sunday, the members show the gold and stone cultural relics they have hidden, and later most of these artifacts are made into rubbings by Zhou Kangyuan and edited into books. Ding Foyan's Jinshi work "Shuowen Gujing Supplement" is a rubbing provided by the friends of the Ice Society, because the society brings together a large number of Kyoshi seal engravers, so it is also known as the most important printing society in the north, which can be compared with the Xiling Seal Society in the south.
Shi Shuqing held this view in the "Preface to the Seal of the Stone Yanguan": "At that time, the sons of the Northern Ice Society provided the study of seal carving, which was comparable to that of the Southern Xiling Seal Society. In this preface, Shi Shuqing speaks of Zhou Kangyuan as "a weak crown imitation seal, a private Shu Ding Jing, so the word Xi Ding." In addition to seal carving, it is also called "proficient in seal carving and ancient ware, especially in the shape of the rubbing, which is the first in ancient and modern times." As early as 1962, Mr. Shi wrote a "Tribute to Mr. Zhou Xiding" published in the third issue of "Cultural Relics", which said that Zhou Kangyuan's total number of seals in his lifetime was more than 3,000 square meters, at which time Mr. Shi emphasized that Zhou Kangyuan's higher achievement was Chuantuo: "Zeng Handtuo the Forbidden City Wuying Hall, Baoyun Building and private collection of bronzes, as well as jade, oracle bones, pottery, seals, seals, seals, coins, stone scriptures, stones, ink and other utensils, can detect its evolution, and in the engraving of the seal, there is a comprehension, so it can become a style of its own." ”
However, there are not a few people who can make rubbings, and Zhou Kangyuan's stunt is full-shaped rubbing. Shi Shuqing wrote: "As for the three-dimensional image of chuantuo ancient bronzes, it is first necessary to distinguish between the light and shade of Guangxu, and then to examine the thickness of the form, which is the most difficult in the art of ink tuo. This method began in the Qing Dynasty when Chen Jieqi wrote the "Ancient Records of the Transmission of The Ancient Records of The Emperor", and Mr. Zhou can be said to be the culmination of its masterpiece. In order to spread the word, he participated in the Society for the Study of Painting Techniques to learn perspective painting in 1915. However, the example given by Shi Shuqing is somewhat surprising:
In 1921, Mr. Zhou hand-expanded the "Qin Gonggui" unearthed in Tianshui, Gansu. The inscription of this bronze is molded with movable type, cast in the lid and body of the vessel, because the copper rust is very thick, it is not known that there is a line of inscription between Qin and Han, because Mr. Zhou was careful when he was rubbing ink, he found it.
If the inscription on the "Qin Gonggui" is made of movable type molds, then this is enough to push forward the history of movable type printing for more than a thousand years, and Bi Sheng will not be able to specialize in beauty. Of course, I have not seen the original object, and I cannot determine whether the inscription on the Qin Gonggui is modeled by movable characters. But what Mr. Shi wants to explain more here is that Zhou Kangyuan's "skills in the full form of expansion are also strange!"
This notation is preceded by two prefaces, Peking Zhu Guangtao and Chen Banghuai. Zhu Xu compared Zhou Kangyuan's printing style with the Sons of the Zhejiang Sect, and also talked about Zhou Kangyuan's private Shu longhongshan people. In addition to evaluating Kang Yuanzhiyin, Chen Banghuai's preface praises him more as a generation of grandmasters of quan-shaped Tuo: "Judge its back, distinguish its yin and yang, and determine the depth of its ink qi; look at its distance and proximity, quasi-its scale, and match it with the arithmetic theory." The one who expands the king, the three-dimensional of the instrument, the non-plane also, the one that has never been seen before. ”
Some things are indeed coincidences, the first time I heard the word "stereoscopic", it was also a little related to Chen Banghuai. More than twenty years ago, I went to the Tianjin History Museum to see the very famous "Xianyu Huangbei", where I met Chen Banghuai's son, who was the deputy director of the museum at that time, and when we talked about the production of rubbings in conversation, he mentioned the three-dimensional expansion, and at that time I did not know that the three-dimensional expansion was the full-shaped expansion. Now that I have obtained this sealed score, I have seen the order of Chen Banghuai here, and I immediately recalled the situation of watching rubbings in those years. In addition to these two prefaces, this "Yincun" also has Xu Shichang's inscription and the couplets written by Chen Baochen and Fang Wuyu, as well as a number of celebrity inscriptions, which show the wide range of Zhou Xiding's travels.