The representative figure of the Calligraphers of the Qing Dynasty, Wu Dayi, created the ancient and elegant Qingmu Great Seal Calligraphy Style Wu Dayi Seal Book "Filial Piety Classic"

Wu Da Li (formerly known as Da Chun, 1835-1902), also known as Qingqing, Hengxuan and Shu Zhai, was a native of Wu County, Suzhou. After entering the army in the seventh year of Tongzhi (1868), Wu Dayi joined Li Hongzhangmu, and was later appointed as the editor of the Hanlin Academy, the study of politics in Shaanxi and Gansu, and the Daoist of Hebei in Henan, and then went to Jilin twice, Tunbian, training troops, and surveying boundaries, and after 1887, he served as the inspector of Guangdong, the governor of Hedong River, and the inspector of Hunan, and his eunuchs traveled all over the east, west, south, and north. Wu Dayi was also a famous scholar, collector and artist in the late Qing Dynasty, and in his artistic practice, he achieved the highest achievement in calligraphy.

In the recent study of Wu Da Liang's calligraphy, researchers have mostly paid attention to his achievements in seal writing. Mr. Gu Tinglong once summed up the characteristics of Wu Dayi's seal book at different stages: "Writing is first made of jade script, and then learned from Yang Yisun, and then written in gold text." ”

Wu Dayi's seal books have many faces, and sometimes different styles of seal books written in the same period will also appear. This is because the time span of the Shang Zhou Jinwen was about a thousand years, and with the differences in regions, the style of writing of the Shang Zhou bronze inscriptions was originally diverse. Therefore, whether it is a large seal or a small seal, the objects that Wu Da Li can copy and learn from are very extensive. The surviving works of Wu Da Yi seal book also prove this.

Wu Dayi's "Eight Words from Kindness and Huaihuai" Seal Book 169.4×35×2 Collection of the National Palace Museum in Taipei.

▲ Wu Dayi's "From Good to Eight Words"

Interpretation: From good to good as climbing up to the top. There is Huai Ruogu who can be self-reliant. (Seal Book). Wu Da Yi. (Line Book).

Wu Dayi's "Seven Words of the Great Seal Ancient Seal Collection" Seal Book on Paper, 129×30.5cm×2 Jilin Provincial Museum Collection.

▲ Wu Dayi's "Seven Words of the Great Seal Ancient Seal Collection"

Interpretation: The old legend of the ancient Qi is the Great Situ, and the collection of books is rich in small princes. Wu Dayi.

▲ Wu Dayi's "Seal Book of Six Words"

Interpretation: Jie De yan and pei Ya Fan to appease himself

Wu Dayi's "Seal Book knowing the Axis of Knowledge" Seal Book on Paper, 129.3×60.3cm, Beijing Palace Museum Collection. This axis combines calligraphy and large seals, both gold text, jagged points, ancient knots, square and round fusion, rigid and soft combination, quite a state of bell ding ancient, and his round and dignified small seal body is in stark contrast, from which you can also glimpse the diverse changes and profound skills of his seal book.

▲ Wu Dayi's "Seal Book of Knowledge on the Axis"

Commentary:

Treat yourself as seeking from nothing, not alone, but also free from suffering. Treat people as if they had nothing wrong, but they should be thick but have thick, and they should also resolve their grievances. It is better to like to hear about others than to hear of yourself. Happy way is good, how good is happy people. Shuqiao big brother Mao Cai genus. Wu Dayi.

▼ Partial enlargement of the "Seal Book Knowledge Theory Axis"

Wu Dayi's "Linqin Copper Seal Scroll"

Seal on paper 178×85.2cm

Collection of Nanjing Museum

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Wu Da Yi Tibetan Yi ware full-shaped expansion

The depiction of the pattern of the utensils originates from the Bogu in the literati's taste, that is, the taste of ancient and Shanggu, and the appreciation of ancient artifacts appears in the literati Ya collection, which is first reflected in the paintings that reflect the scene of the literati Yaji.

Wang Xizhi of the Jin Dynasty gathered with his new and old friends in Lanting, and performed the gift of the flow of water; Wang Bo of the Tang Dynasty sat in the Pavilion of the King of Teng, which began with "the water is exhausted and the cold pond is clear, the smoke condenses and the mountains are purple", writing the scene of September; the Song Dynasty Wang Xue Xiyuan Yaji, Li Gonglin's "West Garden Yajitu", poetry is written, Ruan Singing and Harmony, meditation and Zen, and qing appreciation of antiques, very quiet, very comfortable.

There is a passage in the "West Garden Yajitu" that draws a book boy holding a Yi instrument in his hand, and the stone case in front of him is filled with various bronzes and other antiques. This shows that in the Song Dynasty, the appreciation of antiques was already part of the activities of Yaji, and also because of the painting technique of white painting, Lü Dalin compiled the "Archaeological Map", and The Huizong Zhao Tuo wrote the "Xuanhe Bogu Catalogue". Huizong's love for bronze ancients does not stop here, the front place in the "Listening to the Qintu" is a cloud-shaped stone for a small copper ding, a section of oblique flower branches, scattered flowers, it seems that in the same period, bronzes were not only included, edited, and depicted as Bogu books for reference, but also deeply accepted by Huizong, Wang Xue and other aristocratic classes, and as part of the literati's life, all depictions of ancient appreciation paintings, literati collections, purity seems to annihilate the hustle and bustle of the market.

The ming dynasty's custom of collecting and appreciating the ancients has also been continued. In the pen of the painter Qiu Ying, there are many depictions, "Character Story Album No. 2 Bamboo Courtyard Pingu", set color heavy color, ancient artifacts are more clear after coloring, the two gentlemen in the screen, sitting on the Xiangfei Zen chair, viewing the painting in front of the case, the surrounding high tables are low, and even the ground is decorated with a variety of utensils, most of which are bronze, and there are porcelain. Next to the painting, there is a copper yao inserted a red coral branch, rich and noble, but also high and elegant.

Later, li Rihua commented on the antiquities: "Before the Han and Qin Dynasties, Yi Ding Dancui Radiant Eleventh ... The scholar enjoys it, and knows the graded stage. For example, in the middle value of the Hanling Tobacco Pavilion, the Ming Lord has his own insight. If it is only like the customary Jia, with the crisp and thin products of the Xuancheng kiln, it will eventually be Dong Xian as the three gong ears. Although Qin Han DingYi only ranked eleventh, he was already the first in the ranking of artifacts. Li Rihua emphasized that "when a scholar enjoys it, he should know the order" and cannot be in general with "ordinary jia". Although this only represents the words of one family, it also shows that at that time, it was popular for the literati to collect, so there would be such a text to establish rules.

At the end of the Ming Dynasty, Chen Laolian often made sketches, "Flower and Bird Diagram Eight Copper Vase White Chrysanthemum", the copper bottle in the painting, not like an independent item, later looked at Chen Laolian's other character scene works, found that often in the painting room embellished with heavy color cover dyeing bronze utensils, the shape of the utensils is not examinable, that is, imaginary. Therefore, in the literati paintings of the late Ming Dynasty, in order to meet the needs of yaji or related figure paintings, they will invent similar bronze artifacts in the paintings, and even become indispensable supporting roles in the paintings of literati sketches.

In the Qing Dynasty, although there was a cultural high pressure in the middle of the Yongqian Period, there was no shortage of Yangzhou Xiaolinglong Mountain Pavilion that became a haven for literati rioters, and there were also Yaji landing. Even in "Dream of the Red Chamber", there is a poetry club that should be knotted to be vassalized. In the court paintings, Lang Shining composed "Jurui Tu", interpolated and Ti Zhilian smiled for Emperor Bo, and the shaping of the bottle body emphasized the requirements of Western paintings of light and shadow and perspective, but whether there was a chance to see such paintings in jiangsu and Zhejiang regions, or whether people who could use the full-form extension technique such as Shi Liuzhou had contacted it, there is no way to verify, so it is difficult to say that the emergence of the all-shaped expansion at that time was directly affected by Western painting.

Part of the "Six Boats Ceremonial Buddha Map" Collected by the Zhejiang Provincial Museum

In the Qingjia Daojian, after the emergence of the full-form extension technique, the combination of the full-form of the utensils and paintings is an expression of the natural inheritance of the literati Bogu. The subject matter of paintings is also mostly flowers, melons and fruits, calligraphy scrolls and other allegorical images.

In some of Shi Liuzhou's works, there are also such humanistic feelings. Daoguang Jiachen (1844), Guan Tingfen (1797-1880) of the Qing Dynasty, wrote "The people on the six boats used the twenty-four kinds of Yi instruments that they had expanded, and belonged to the celebrities to supplement the miscellaneous flowers in the instrument, and the name was twenty-four qi and hundred flowers, because they were absolutely indispensable", and described the six boats as a hundred flowers. Self-expanding Yi utensils, please make up the miscellaneous flowers, just like the literati collection.

In 1840, Shi Liuzhou wrote of himself that "Wu Hewu Zhongzhong came to caress Wu Suo Jinshi Tuoben, and the best one was Yu Suo's hand Tuoben, which was included in the "Jinshi Record of the Qing Dynasty Pavilion" and the Yu inscription "Bai Su Tu" and "Twenty-four Hundred Flower Scrolls", and "Chitose Tu". The creation of the "Hundred Flowers Diagram" should be earlier than 1840, and should be similar to the axis of the "Yun Window Qing Offering", this picture was made by Shi Liuzhou when he was 57 years old, and the hand-extended Yi instrument supplemented the painting of folded branches and chrysanthemums, the coloring was light, the pen was relaxed, the two chrysanthemums were still and moving, and the painter penetrated the heart of the chrysanthemum. Shi Liuzhou wrote in the preface to the "Chronicle of Jinshi Calligraphy and Painting": "A little imitation of the painting, keeping the Qingteng Baiyang as the law, Xinglai Ink Flying Wildly, quite comfortable." In the same good, there are those who use the gold stone stele as the run, so the gold-loving stone of Yu also begins in calligraphy and painting. "Looking at its falling ink dot dyeing, it does have the meaning of green vine and white sun." In addition, he also said that his lifelong love of gold stones was based on calligraphy and painting, and even sometimes used bricks and tiles as "utensils" to supplement flowers. General Tang Yusheng said for the painting: "Grinding bricks is not a mirror, and it is spring to the end." ”

Daoguang Eighteenth Year (1838) "It is winter, Yu with the brick tile horns hidden, those with handwritten year numbers, expanded into bottles and pots and other pieces for long scrolls, all friends who can sketch, each randomly supplemented with miscellaneous flowers, that is, the name 'ancient brick flower offering'". Unfortunately, I have never seen the "Ancient Brick Flower Offering", but Xianfeng Ding Wei (1857) interpreted Liuzhou to expand the bricks, supplemented the four seasons of flowers as "The Year of the Dynasty Qing Offering", which is also "brick tile corner, there is a handwritten year number", expanded into a bottle of pots, and inscribed a poem "Two Han, Three Wu, Two Jin Bricks... Flowers are fresh in all seasons when they are planted".

As a result, the appearance of the Qing Dynasty Bogutu with the traditional calligraphy and painting floral sketches is not accidental, in which the full-shaped rubbing of the utensils becomes part of the complete picture, rather than just a technique. At the same time, this lineage has also been continued, and the late Qing Dynasty Duan Fang Zaozhai cooperated with Lu Hui and Ms. Mo Xiang to bogu, and Wu Changshuo, a member of the Hai Sect, also had a Qinglian gourd qing offering.

Extended to the Republic of China, it produced an elegant collection with the name of Jinshi. In 1921, in the backyard of GuguangGe, which was operated by Zhou Xiding of Liulichang, some scholars living in Beijing who studied jinshi script and enthusiasts of ancient cultural relics initiated an academic research group, the Ice Society, the president Yi Dachang, the vice presidents Zhou Kangyuan and Qi Zongkang, and the members of the society were Luo Zhenyu, Chen Baozhen, Sun Zhuang, Pulun, Ke Changsi, etc. "The society regulation stipulates that every Saturday or Sunday is the period for gatherings. Those who participated in the assembly each brought their collected or newly acquired golden stone relics to the meeting, examined the texts, identified the chronology, so as to collect the effects of deliberation and contemplation, and exchanged information, donated expanded books, books and newspapers, and carried out academic exchanges." It ceased to operate completely by 1941.

Part of "LightIng Map" Collected by Zhejiang Provincial Museum

In the early days of its emergence, Quanzhituo received the attention of the elite of feudal society, such as the Qing Dynasty imperial family's relative Rui Junwang, the cultural gentry Ruan Yuan, Wu Rongguang and so on. In terms of function, the full-form expansion provides a carrier for the study of epigraphy, and becomes a mutual exchange between friends in the field of epigraphy. And between the exchanges and discussions of literati and scholars, the technology has been continuously improved, such as Zhang Tingji and Chen Jieqi. Because of the literati's Shanggu complex, he derived works that combined full-form rubbings with paintings. In short, quanzhituo is no longer just a technique of transmission, but a microcosm of the social and academic atmosphere in the Qingqianjia period, and the result of the continued fermentation of literati interests.