Huang Tingjian's book "Liu Mingzhong Ink Bamboo Endowment"
Huang Gushu "Liu Mingzhong Ink Bamboo Endowment"
Description: Huang Tingjian (1045-1105) Northern Song Dynasty poet, calligrapher, character Lu Zhi, No. Valley Daoren, Fu Weng, Fenning (present-day Xiushui County, Jiangxi) people. The history of the Song Dynasty has been passed down, passed on to the clouds: the cursive script of good deeds, the kaishu is also a family of its own, together with Zhang Qi, Chao Shuzhi, Qin Guanju tour su shimen, the world is called "four bachelors". His calligraphy was initially taught by Zhou Yue, and later by Fa Yan Zhenqing and Huai Su, influenced by Yang Ningshi. You are particularly powerful in "Crane Ming". His calligraphy, along with Su Shi, Mi Fu and Cai Xiang, was the four great masters of the Song Dynasty and had a great influence on later generations. The "Liu Ming Zhongmo Bamboo Endowment" written and written by him is both in italics, and it is mainly based on calligraphy. Slightly pencil, unique.
Huang Tingjian's pseudo-traces examine Shui Zhaoyou
Since the invention of paper in the Han Dynasty, until the Wei and Jin dynasties, calligraphy has been widely created on paper. Coupled with the eastern Jin Dynasty's beginning of calligraphy to use clay stamps, the artistic value of calligraphy has been further improved. Gradually, people either out of copying and learning, or in order to seek profit by name, the counterfeiting of famous calligraphy is becoming more and more common. As early as the Jin Dynasty, there were Zhang Yi imitating Wang Xizhi's calligraphy, and in the Tang Dynasty, there were also Cheng Xiu's pseudo-Wang Right Army Books, but they all used double hooks or fillers to imitate the ancients' famous deeds. In the Song Dynasty, some people deliberately falsified it, and Mi Fu once forged the Book of Chu Suiliang. In the middle and late Northern Song Dynasty, calligraphy creation became more prosperous, the ranks of literati calligraphy painters grew day by day, and calligraphy works were widely bought and sold as commodities in specialized calligraphy and painting markets. With the increasing habit of citizens, literati and merchants and wealthy households to buy and collect works of famous artists, the counterfeiting of calligraphy in the Song Dynasty became a common practice.
As a great poet and calligrapher of the Northern Song Dynasty, Huang Tingjian enjoyed a very high reputation in society, and his handwriting was deeply loved by the people, and many people asked him for works. According to historical records, he wrote many precious works in his lifetime to give gifts to relatives, friends, monks and poor people. In Yang Wanli's Chengzhai Ji ,vol. 117, he refers to Jiang Xiang (Zi Yanhui) of Shuizhou. "Its collection of valley poetry and paintings has more than two hundred pieces of paper." In addition to collecting inkblots from the Yellow Valley, Shiren also made his books a collection of inscription stones, and the Southern Song Dynasty Zhou Bida "Zhou Yiguo Wenzhong GongJi. Pingyuan Continuation" volume Eight Clouds: "Now Jiangxi Yuzhang, Luling, Yichun are carved valley true grass, but shuzhong Liu's ten volumes of grass saint Yuqi, the real twilight pen also." At present, the southern Song Dynasty engraved orphan books "Yu Gutai Fa Ti" and "Fengshu Ti" in the Shanghai Library contain as many as thirty-nine works of Huang Tingjian.
At that time, because of Su Shi's relationship, Huang Tingjian was involved in the whirlpool of party contention, exonerated the dynasty, and was degraded for the second time in a row, especially after being listed as a member of the Yuanyou Party, he was banned by the supreme ruler, and most of his writings, handwritings, and inscriptions were sealed and destroyed. In April of the second year of Chongning," he "destroyed and published the Tang Jian and the Collection of Three Su, Qin, and Huang Texts" (History of the Song Dynasty, vol. 19). Xuanhe 6th year "Winter October Geng noon, edict: there are those who collect su and huang wen, and order them to be destroyed, and the offenders are considered to be greatly disrespectful" (History of Song, vol. 23). Zhou Bida wrote: "Since the worship and contemplation, all pieces of text are strictly forbidden to cut only words" (Zhou Yiguo Wen Zhonggong Collection. Pingyuan Sequel, Vol. XI).
After the fierce prohibition and destruction, coupled with the sale of war and chaos, in the early Southern Song Dynasty, Huang Tingjian's surviving calligraphy works were very rare, which can be described as rare and extremely precious. Shi Huihong, a friend of the valley, said: "The valley is full of ink and magic,...... Even the city can take advantage of the price dispute" (Shimen Wen Zen, vol. 27). His grandson Huang Huang said: "Cursive Yu Qiwei, after the public death, people competed for his words, a piece of paper thousands of gold" ("The Biography of Mr. Yu Zhang"). In April of the third year of the Southern Song Dynasty, Emperor Gaozong of Song lifted the ban on the YuanYou Party: "Yi Di, pardon the world." Held the Ren Patriarchal Dharma Degree, and hired the YuanYou Party membership. The Jiayou Method is different from Yuanfeng, and the reward is heavy and the conditions are lenient. He was a member of the Stone Carving Party, and was given the official position of the Yuan Dynasty and the grace of The Grace" ("Continuation of the Zhizhi Tongjian", vol. 105), and Huang Tingjian restored his reputation twenty-four years after his death. In the first year of Shaoxing (1131), he was posthumously awarded the Zhilong Tuge. In the first year (1275) of Emperor Gongzong's reign, he was given the title of "Wenjie" (文節) by Taichang Temple. Huang Tingjian's works were then reprinted and published, and the Southern Song Dynasty Qiandaojian Inscription in the Peking University Library ("Fifty Volumes of the Great Collection of Mr. Huang's Great Full Text", the National Library of China's Collection of Southern Song Dynasty Shaoding Five-Year Engraving "Twenty Volumes of Valley Poems", and the four series of photocopied Southern Song Dynasty periodicals "Thirty Volumes of Mr. Yuzhang Huang's Collected Works" are the earliest editions of Huang Tingjian's works that I have seen so far. Coupled with the fact that the Yellow Book was favored by Emperor Gaozong of the Song Dynasty, he studied and copied it without quitting, and there were good ones, and officials and the people even sought the Yellow Book, and the Yellow Book was forged and fake, so it arose among the merchants, and the "Thousand Character Scrolls" of the Southern Song Dynasty held by the Palace Museum was an example. Liu Minzhong of the Yuan Dynasty, when he titled the Valley "Wish Post", said: "However, his books are many forgeries" (Zhong'an Collection, vol. 10). The yellow book forgery was already quite popular in the Song and Yuan dynasties. After the middle of the Ming Dynasty, the trend of commercialization of calligraphy and painting art further developed, the evil customs of counterfeiting and counterfeiting intensified, and some literati calligraphers were also proud to imitate their favorite ancient calligraphy, such as Shen Zhouwen Zhengming and some other famous scholars of the time, who also imitated Huang Tingjian's calligraphy, in this way, it also played a role in fueling the trend of counterfeiting and counterfeiting, and the yellow character counterfeiting increased greatly. Ming Zhang ugly said in the "Catalogue of Authentic Works": "There are two books in the Fa that are difficult to distinguish between true and false,...... Song Huang Fu Weng's "Li Bai QiuPu Song", one in hancheng Liangtai Shishi, one in Dong Xuanzai Shangshu's house. ...... Although he is a good judge, he cannot distinguish between his superiority and inferiority. Dong Qichangbao's "HuangwenJie Gong Inspirational Poems Authentic Manuscript Volume" Yun: "Huangwenjie Gongshu Shi many facsimiles, and more fakes" (壬寅销夏錄).
The manufacture of Huang Tingjian's forgery is mainly in the following areas:
Suzhou area: mainly forged Huang Tingjian's inscriptions, mostly from the Ming Wanli to the Qianlong period of the Qing Dynasty.
Kaifeng area: Many forged Huang Tingjian's calligraphy works, such as "This Junxuan Poem". Most of them are in the late Ming and early Qing dynasties. Its characteristics, the ability to counterfeit and the skill are very clumsy, mostly kneaded and dyed, then written, and later dyed with a layer of color. Therefore, there are many traces of powder shedding on the paper, and the ink of writing is often uneven.
Jiangxi region: Because Huang Tingjian is a celebrity in Jiangxi, since the Ming and Qing dynasties, there have been people who specialize in forging ink, and the writing and old methods are very poor, most of them dye paper or silk very black, deliberately creating an old look, which is easier to identify.
It should be pointed out that the forgeries handed down to the generations are mainly Tuoben, and most of them are carved in the Qing Dynasty. The Qing Dynasty was the heyday of the engraving of the post, and also the peak of the carved post. Qing Qian Yongyun: "Wuzhong has both fake calligraphy and paintings, and counterfeit Dharma thesis, which is called a head-filling goods" ("Luyuan Cong Dialect 9"). More than ten kinds of pseudo-posts listed by Mr. Rong Geng in the "Cong Timu" were all engraved in the Qing Dynasty. Some of the engravers are literati inkers, who, out of personal interests, collect inkblots and expanded copies provided by collectors, and engrave them into posts, such as Qian Yong's "Qin Post" for Shi Liang in Jiaqing in the 20th year, and "Huang WenJie Official Posters" for Huang Song in the 21st year of Jiaqing. Some of them were Huang Tingjian's fellow villagers who were officials in other places, who sang praises for celebrities in their hometown, borrowed celebrities to erect legends for their own tree monuments, and also made up and carved Yellow Posters. For example, Wan Chengfeng, a native of Yining, Jiangxi, Qianlong Jinshi, Zhi Jian, Guan Zhi Bingbu Zuo Shilang, Jiaqing First Year Review and Engraving "Song Huang Wen Festival Public Law Book Four Volumes". There are also descendants of Huang Tingjian who borrow old Tuoben to re-enter the stone to honor their ancestors, such as the "Fenning Huang Ti" engraved by Huang Shouying in Guangxujian. Because of their low level of appreciation, or for some personal purpose, in the various series of posts they have compiled and engraved, there are often many forgeries, or scholars are in the book, or the counterfeiter directly writes, which is the third time that the Yellow Book has been forged.
There are roughly two types of Huang Tingjian's forgeries: one is the collection of characters. For example, the "Nanpu Poetry Carving" is made of the inscription stone in the stele of the "Lefengyuan"; the "Five Absolutes of the Huairen" is made of the characters carved in the "Jingfubo Shrine Poem". Neither poem can be examined in the Valley Collection. The other category is purely fake. According to the records of the historical records, the counterfeiter imitates the style of yellow characters and writes inscriptions. For example, "After the Inscription of the Book of Poetry", "Notes on the Poetry of the Outer Collection of the Valley" is included, and the "Annals of Mr. Valley" records that there are authentic handwritings, so the handwriting is pseudo-engraved. Among the forgeries, it is especially important to imitate and forge Huang Tingjian's books in his later years, because the appearance of Huang Tingjian's works in his later years is already familiar and easy to accept. Collectors generally prefer the works of the writers in their later years, believing that they are more valuable.
According to our current incomplete statistics, there are at least sixty or more existing Huang Tingjian forgeries, which can be divided into three categories: inkblots, rubbings (rubbings) and collection characters.
Any cultural relic, true or false, has its own rules, and calligraphy works are no exception. Although the forger has exhausted his mind and tried every means to confuse the truth with falsehood, it is still inevitable that there will be all kinds of flaws and clues. The same is true of the various forgeries of the Yellow Book. The following is examined from three aspects:
From the text to the order
1. Those who are known to be false by the chronology of the inscription and avoiding it. For example, the "Luoyang Yuji Poem" in the "Royal Carving Sanxitang Shiqu Baodi Fa Ti". The inscription of this post is "Daguan Dinghai", that is, in 1107, and Huang Tingjian died in the fourth year of Chongning, that is, in 1105, how can he write a book more than a year after his death? Therefore, this post is unmistakable. For example: the inkblot "Song Taizong Edict Cai Xing", self-signed in "Yuan You Yi Hai May 8", Cha Song ZheZong Yuan Yu Jian No Yi Hai Year, Shao Sheng Second Year is The Year of Yi Hai, where is the literary hero who wrote the chronology wrong? This text is a forgery. For example, in the "Thousand Character Scrolls", the "Prudent" character of "Prudent Final Yi Ling" was changed to the word "Prudent", which was the name of "Shun" to avoid the Southern Song Dynasty's "Xiaozong"; the "纨扇圆jie" "纨扇圆jie" was changed to the "Tuan" character because of the suspected name of "Huan" of Emperor Qinzong. Huang Tingjian died in the fourth year of Chongning (1105), fifty-eight years before the first year of Xiaozong Longxing (1163), and twenty-one years before the first year of Emperor Jingkang of Qinzong (1126), so it is impossible to avoid the secrets of Emperor Xiaozong and Emperor Qinzong in the book, and it is undoubtedly a forgery ink of the Southern Song Dynasty.
2. Those who are known to be false by examining the signature, seal, or official. For example: The Diamond Sutra. Self-signed "Yuanfeng second year of spring and March twenty-four days of the valley old man Huang Tingjian book", examination of the "Valley Mr. Annals", Huang Tingjian is Yuanfeng in October of the third year of the passing through Shuzhou, after visiting the Sanzu Mountain Valley Temple, he called himself a valley Taoist. In the second year of Yuanfeng, Huang Tingjian was in Beijing, and there was no "valley" yet. Such as "Liu Mingzhong Ink Bamboo Endowment". He signed the "Valley Old Man Book" and printed two seals of "Valley Old Man" and "Seal of Tingjian". Looking at the works of Song Dynasty calligraphers and painters, none of them had two seals with a different name and a name at the same time. The habit of these two seals only began in the Ming Dynasty, painting snakes and adding feet, but becoming evidence of falsification. Such as: "Tang Han Boyong Youlan Fu". Self-signed "Huang Tingjian, a member of the bureaucracy WailangChen, was enshrined in the Jixi Hall", examined the "Annals of Mr. Gu", Huang Tingjian never accepted the official position of "Official's Outer Lang", and also took the "Song Hui To Compile Drafts", and the Northern Song Dynasty Inner House only had the "Ji Xi Hall", but there was no "Ji Xi Hall", and the "Feng Shu Jing Shu" could not be established.
3. The content of the book is false, and the person who knows it is a forgery. For example: "Dragon Text". It is recorded that when Huang Tingjian went to Taihe County in the fourth year of YuanFeng (1081), Ouyang Xiu ordered him to be a text. In fact, Ouyang Xiu died in the fifth year of Xi Ning (1072), and it is reasonable to ask others to write articles nine years after his death. The original story is contained in the Qing Kangxi Dynasty Song Jie's "ZhenLang Puppet Pen", which is obviously a Qing dynasty forgery, and Jiaqingjian counterfeiters compiled and engraved it into the "Eight Great Laws of the Tang and Song Dynasties" according to this content.
Examine from the handwriting of the work
Examining the work itself is one of the most fundamental ways to identify the authenticity of the work. The works of any book writer must have their own unique artistic style and the atmosphere of the times. Like human faces, each is different. Among these dozens of forgeries, in addition to being identified by the above various examinations, there is also a common point, although its pen shape strives to imitate the Yellow Book, it is far from the traditional style of Huang Tingjian' books, which can be described as a world of difference. For example, the inkblot "Zishu Poetry Volume", the Tuoben "Five Junyong", "Spring Travel Words", etc., are all deliberately pretentiously fabricated as huangshu side, horizontal painting tilt side large, vertical painting crooked pen, and the so-called "spoke-thanks" structural characteristics of the middle palace knot and long pen four exhibitions, and there are more. It is full of "East Shi Gong", and cannot get the Charm of the Huang Clan. For example: "Thin Wine Ugly Woman Song Monument". There are two pieces of this stele, one of which is found in Song Tuo's "Fengshu Ti", which is a large book with authentic yellow characters, and the Houzhu script is the same as that recorded in the "Annals of Mr. Valley". The other rubbings are a total of two pieces, which are small lines, and only one of them is included in the Ming-engraved "BaoxianTang Collection of Ancient Fa Ti", the first one is followed by the words "Jiangnan Huangting Jianzuo", and the second painting is followed by the words "Jiangnan Huangting Jianshu Huai", without the text. The two works are contrasted, and the style of the book is divided into Jing and Wei, and the latter is pseudo-indistinguishable.
Examine from the source of the handwriting
Qing Qianyong's "Luyuan Cong" said: "In the early years of Jiaqing, there was a Jingde Yao Dongqiao person, who was illiterate, and opened a Qinghua Zhai Fa Ti shop. The names of the eight volumes of the "Inyitang Fa Ti", the eight volumes of the Tang and Song Dynasty Eight Great Posters, the ten volumes of the "Tuberose Hall", and the ten volumes of the "Baiyun Jumi Thesis" are all forged names, dismantled and demolished to fill the old Fa Ti, all of which are all known as the eight volumes of the Inyitang Fa Ti, and there are those who practice Japan and Ryukyu, especially can be scorned. "The Eight Great Posts of the Tang and Song Dynasties themselves are pseudo-posts, and the yellow characters recorded in their posts, such as "Crane Ming and Bao", "Guan Liu Shu", "Tan Long Wen", "Bao Lin and Jing Poems", etc., are undoubtedly all forgeries.
In fact, the various pseudo-traces of Huang Tingjian circulating in society are far more than these, such as: "Huang Tingjian's "Painting Horse Poems" in "Su Huang Mo Bao" hidden by the qing and stubborn old man (Li Zhongjue), the woodcut "Jingzhuo Huang Valley Shu Zhenshu Authentic Handwriting" album, the Wuhan Yellow Crane Tower's couplet "Yan into the flock of flowers flying down, butterflies looking for herbs to play", the couplet in the valley shrine in the Xiushui Huang Tingjian Memorial Hall "Fangcao has a love to play butterflies, flying flowers without owners to send trouble", Xiushui Shuangjing Huang Tingjian's tomb before the self-signed Yuanyu fourteen-year couplet "See the Yellow Garden is delicious, laughing white hair is not idle" The carved stones of "Antarctic Old Man, Infinite Life Buddha" on the cliff wall of Liubeichi in Yibin, Sichuan, as well as the "Dead Wood Painting of Pai Su Shi" in Japan, the "Hand RecordEd Miscellaneous Things" (Valley Zhilin) album in the United States, etc., are all obvious forgeries.
Examining the authenticity of a work is a complex and serious task, and comprehensive analysis and examination must be carried out from all aspects. As mentioned above, some of the handwritings themselves are obviously problematic and easy to identify, but there are also some works that are difficult to identify, and so far there are different opinions, and further research and demonstration are needed. Today, I will make a preliminary discussion of what I have seen and what I have seen, and I still pray for the fang family and the reader to point out the fallacy.