One
The full-shaped Tuo and the full-shaped Tuo into the painting are two proud artistic achievements of the famous Jinshi monk Liuzhou in the Qing Dynasty.
In the sixteenth year of Qing Daoguang (1836), when Cheng Mu'an saw the full-shaped Tuo made by Liuzhou, he was simply impressed, and he actually used the word "hunger and thirst" to describe the mood of eagerness to get to know Liuzhou. Judging from Cheng Mu'an's praiseworthy words, he should have never seen the form of full-shaped Tuo before. At the same time, Cheng Mu'an immediately made a decision to hire Liu Zhou to go to his hometown of Xin'an Shituo's family to collect the golden stone Yi ware. At this point, admiration is really more than just a cliché. Liu Zhou recorded this as follows:
Wu Kangfu Eryin visited, saying Yu Yue: "There is a new Ancheng Mu'an Kongmu (Hong Pu), see the master's hand Tuoding Yi Quantu, said that the creation has never been done, kai Jin Shi family a Qige. Look up at Ciyun, don't soothe hunger and thirst. Because the Mu'an family collected no less than a thousand kinds of three generations of Yi utensils, they wanted to extend the teacher to the other side and personally inherit and taste it. "Cloud cloud. [1]
Although Cheng Mu'an had collected at least a thousand kinds of gold and stone relics in Xin'an's "Copper Drum Zhai", he had never seen a full-shaped Tuo. This suggests that by the 1730s, total topology was still a very rare and mysterious technique among epigraphery participants.
Even ten years after Cheng Mu'an first met the full form of the Six Boats, the epigrapher Xu Han said:
Lu Youren's "Yanbei Magazine" Yun: "The Jingshi family has twenty volumes of the "Shaoxing Ji Ancient Record", covering the three generations of ancient artifacts hidden at that time, each with its own objects, and decorating it with five collections. He also touched (copied) his money and examined it, such as the Bogutu and added details. Yu Every □ his literary fascination, hating not to wear his hands at the same time and see it. In the summer of the first noon, the people on the six boats crossed the pool, showing the full shape of the Yu hand to expand the Yi instrument, the style of all kinds, exquisite and unexpected, such as the intention of the person, all on the original instrument to expand out, not happy Hao (milli) hair, Jue Cai (color) color touch (G) ornament of the map, and not enough to tie Yu Huaiyi. [2]
Xu Han meant that he had originally longed to see the image of the artifacts and the enclosed inscription rubbings in the Shaoxing Ji Gulu, but he was relieved when he saw the full-shaped expansion of the six boats. Many of the Epigraphic works of the Song Dynasty depict bronzes in the form of imitations, and some even paint them, such as the Song Huizong Dynasty's Xuanhe Bogutu, which was originally painted in color[3].
Ma Ziyun believes that although bronze inscriptions and ornaments have long been concerned and transmitted since the Qin and Han dynasties, no one has ever passed on the shape of the bronze ware until the Song Dynasty, and there is no record of the bronze ware in the Ming Dynasty[4]. However, Xu Yahui believes that the full-shaped extension can be traced back to the Southern Song Dynasty, when it had begun to "expand the use of rubbing technology from the recorded text to the overall image of the utensils, including the shape and pattern of the utensils", not only applied to bronzes, but also "the concept of the shape of the rubbings to store objects was also applied to the bibliography and research of stone tablets", such as "Zhong Ding Style Knowledge" and "Li Continuity" [5]. The argument is quite wonderful.
However, this concept of holographic topology in the Song Dynasty is, after all, too far from the real appearance of holographic topology. The popularity of a technique must have the soil of its concept of maturity, after a long period of silence in the Yuan and Ming dynasties, and then after a long period of brewing from Qing Qianjia to Daoxian, epigraphy and related art forms developed to the peak and were accepted by the whole society. Therefore, there may not be a logical and inevitable connection between the concept and practice of the Song Dynasty's holographic extension and the qing dynasty's full-form extension.
Figure 1 Jiao Shanding in the Records of the Golden Stone Sutra (Su Guangming Codex of the Republic of China), in the collection of the Harvard Yenching Library
The Records of the Golden Stone Sutra and Eyes, published in the early years of Qianlong, included Jiao Shanding copied by Chu Jun[6], and had tried to pursue a three-dimensional effect in order to reflect the full picture of the golden stone. Although this image is in a three-dimensional perspective state, it is only an inversion of the sketch, and the outline lines that should have been black are processed here as white, and the part that should be white is black here (Figure 1). Although it looks like a full-shaped extension, it is still a certain distance from the real full-shaped expansion. Moreover, after all, this case belongs to the imitation of the engraved image, and it is only a case, which is not enough evidence to discuss the holographic expansion.
The Records of the Golden Stone Sutra was subsequently added to the Golden Stone Diagram, both of which attempt to use images to comprehensively record and reflect the full picture of the Golden Stone, and the various components of the Stone Que, the forehead and seat of the Stone Tablet, the Pu Prison of the Fan Bell, and even the damage were all expressed, but they were all imitations. The "Golden Stone Map" was published in the Qianlong Decade (1745), and the stele image was copied, engraved and made into a rubbing, and then pasted into the book.[7]
Since the late Qing Dynasty, the views have attributed the founding of Quanzhituo to Ma Qifeng (Fu Yan), and it is agreed that Liuzhou was a student of Ma Qifeng. Xu Kang records:
Wu Men Vertebrae Topkin Stone, Xiang Dong made a full form, Andi Daoguang chu chu Chu He Ma Fu Yan Nengzhi, Liu Zhou got its teaching... Yanghu Li Jinhong is also good at skill, and he is the one who has obtained the six boats, and has been appreciated by the elders of Wu Ziyuan, Liu Yanting, Wu Hewu and Wu Pingzhai. [8]
Rong Geng said:
Yi ware full-angle expansion began in the Jiaqing period Ma Qifeng to expand the Han wash... The present-day Ma Shi Takumoto is not seen except in the "Golden Stone Chips". [9]
Ma Ziyun also suggested that "Jiaxing Ma Qifeng during the Light Years of the Qing Dynasty" was the earliest person to spread the shape of the bronze instrument in the literature, and according to the contents of the "Former Dust Dream Video", "after that, the monk Liuzhou (Mingda) learned the technique of ma QiFeng", "he used to spread the bronze for Ruan Yuan and others", "Later, Li Jinhong was taught by Liu Zhou, and there were many shapes for Wu Shifen and Liu Yanting", and further believed that Liu Zhou "was more than light in color".
Figure 2 (Qing) Liuzhou Old Collection "嬲" character inscription brick rubbings, Haining Library collection
Curiously, Liu Zhou did not mention his relationship with Ma Shi. On the brick rubbings of the liuzhou old collection of liuzhou inscriptions in the Haining Library, there are two stamps, one is "formerly known as Zongmo, changed to Qifeng" and the other is "Haichang Shida received the Liuzhou Golden Stone Script" (Fig. 2), which is only physical evidence that the two people are related.
Ma Qifeng's full-form extension, reliable images are only found in the "Han Wash" in the "Golden Stone Chips" bibliography, and it is also the editor Bao Changxi's reprint and printing, not Ma Qifeng's original at all.[11] As Mulberry et al. have argued, this example is not strictly universal evidence.[12] Ma Qifeng asked himself: "Han wash." Old Takumoto. June 18. Fu Yan ma qi feng and remember. This shows that the original should be a rubbing, and the concept to be expressed by the full-form extension is basically available. At noon, when it was the third year of Qing Jiaqing (1798), then, it can be said that at the end of the 18th century at the latest, the full form of the expansion has been revealed.
Compared with Ma Qifeng, Liu zhou left a certain number of original full-form extensions and records that he personally made full-shaped extensions. In his self-compiled "Annals", Liu Zhou constantly recorded the fact that he went to various places to expand the whole form of the whole form, as a very important content. There are many examples, and there are different names for "full shape" and "full map". Such as the Ten Years of The Qing Dynasty (1830):
Tuozhou has no full shape. [13]
Fourteenth year of The Qing Dynasty (1834):
It is back to Jiaoshan Mountain, re-expanding Wuzhuan, Taoling Erding full map, one stored in the temple, one with the return to the line. [14]
Both Liuzhou himself and the epigraphic community at that time believed that Liuzhou's full-form expansion technology was a pioneering achievement. Mulberry believes that the development of quanzhituo can be divided into three periods, namely the indiscriminate period, the development period and the peak period, while Ma Qifeng and Liuzhou are in the indiscriminate period, all of which belong to the representative figures of the beginning of the quanzhituo period[15]. This is true.
Figure 3 (Qing) Liuzhou", "Western Han Dynasty Ding Tao Ding", full-form extension, Zhejiang Provincial Museum collection
As far as I can see, the earliest Liuzhou work with a full-shaped tautology with a precise date is a bronze Ashoka Ta Tuoben made by Zhou Xiandejian Xia Chenghou, who is now in the Chonghua Temple of Xiaoshan in the Zhejiang Provincial Museum, when it was made in the sixth year of Daoguang (1826) [16]. The "Ancient Brick Flower Offering" is the earliest typical full-shaped work seen, now in the Zhejiang Provincial Museum, composed in the fifteenth year of Qing Daoguang (1835). The earliest of the three-dimensional stone relics is the "Six Boat Ritual Buddha Map", which is also in the Zhejiang Provincial Museum, and was composed in the sixteenth year of Qing Daoguang (1836). Typical bronze full-shaped extensions, the earlier pieces seen are in the Zhejiang Provincial Museum, such as the "Lantern Removal Map" composed in the seventeenth year of Qing Daoguang (1837) and the "Western Han Ding Tao Ding" (Figure 3) made in the nineteenth year of Qing Daoguang (1839).
Two
Guo Yuhai has a clear understanding of the concepts and techniques of Chuantuo (Vertebrate), Xiangtuo, Yingtuo and Holographic Tuo, which can be summarized as follows[17]: Jinshi Chuantuo, also known as "Vertebral Tuo". There is also Xiangtuo, which is actually "Xiangtuo", which is similar to the meaning of Imitation, that is, Xiangguang uses a pen to copy ink, which is not the "Extension" of the real "Vertebral Extension", which has appeared before the Tang Dynasty. Before the late Qing Dynasty and the Republic of China, epigraphers often used the words "Tuo" and "搨" together without making a strict distinction. There is also Yingtuo, also known as "Yingtuo", one is the "painting" that draws "rubbing" with a brush "white drawing double hook, filling the ink outline"; the other is the "rubbing" that replaces the brush with ink flutter and paints the shape, which is not really "Tuo", but is actually "painting". Both began at the end of the Qing Dynasty and the beginning of the Republic of China, represented by Yao Hua (born in 1876) and Li Yuexi (born in 1881).
Regarding the full-shaped extension, there are three types of production methods of "drawing engraving, external extension", "drawing expansion, paper-cutting mounting" and "drawing method sketching, whole paper transfer expansion", which is an art form between imitation painting and vertebral extension, and often uses basic techniques such as "drawing rubbing", "rubbing" and vertebral expansion, while "drawing engraving, external extension" is closer to engraving printing.
Figure 4 (Qing) Liu Zhou's "Confession of Yun Window", Zhejiang Provincial Museum Collection
So, how does Liuzhou make a full-shaped extension?
The Bronze Gui of the Phoenix Bird Pattern expanded by the Zhejiang Provincial Museum in the Liuzhou "Yun Window Qing Offering" (Figure 4) has the characteristics of both the early and middle Western Zhou dynasty in the upper and lower parts. In terms of ornamentation, there are styles of western zhou mid-period instruments, late Western Zhou to early Spring and Autumn instruments. The inscription is also not standardized, and of the short six characters of "Zhonghou ZhaZun Baogui" (Fig. 5), typos and typos account for half, such as "Zhong", "Zun", and "Bao"[18].
Fig. 5 Part of "Yun Window Clearance Offering" (lid inscription)
"Yun Window Clearance" Department:
Clear the window. Daoguang Ding Wei Mengxia was rewarded by Mr. LuXian, and the six boats were received and painted.
It shows that this figure was made in Daoguang Dingwei, that is, in April of Mengxia in the twenty-seventh year of Qing Daoguang (1847). According to the Annals [19]: In this year, liuzhou returned to Zhejiang from Beijing, and on March 18, "arrived at Yuanjiang, the car dust and horse traces, Lawton is indescribable, and the yu of Tan Tongfang is in the middle of the yuzhong... According to the "Liuzhou Da received and painted" section and the "Liuzhou Hand Tuo Yi Ware" printed, it can be seen that "painting" and "Tuo" are distinct, that is, painting flowers and expanding Yi ware. The key is what technique does "Tuo" refer to?
Fig. 6 Part of "Yun Window Clearance Offering" (instrument body)
Carefully observing the original picture of "Yun Window Qing Offering", it can be found that the shape of the gui should be made of Pu Ziyingtuo, and there is still the texture and texture of the vertebral extension. The upper and lower stripes are drawn with a brush and feature a slight blend of features that give the feeling of no vertebrae. At the junction of the mouth edge and the neck, it is easy to distinguish the traces of the lower edge of the mouth with a brush to make up for the neatness (Fig. 6). The circular plane on which the inscription is located, the diameter and size it presents are inconsistent with the caliber and bottom diameter of the artifacts above, and should also be made of Pu Ziying. From this, it can also be seen that the technique of using Puzi Yingtuo should not have begun in the late Qing Dynasty and the beginning of the Republic of China, and Liuzhou had begun to be applied to the production of full-shaped Tuo at least in the mid-19th century.
In such a journey, the grasp of the bronze shape and ornamentation needs to be a little excuse for liuzhou, which involves the motivation for the production of "Yun Window Qing Confession". The full-form expansion of the gui is only part of the image provided as a social entertainment, and there is no academic purpose of epigraphy, so there is no need to study the academic level of the producer. This work of full-shaped and supplementary painting of flowers will be discussed in more detail later.
In 1998, Duo Yunxuan auctioned a piece of "Jiaoshan Zhou Ding Zhi Zhi" in the autumn. Top Right Six Boats Self-Title:
Jiaoshan Zhou Ding zhi. Daoguang Jia Xiao Chun returned to Nanping and returned to Haixi'an rubbing. Six boats and two questions.
Jia Wu, that is, the fourteenth year of Qing Daoguang (1834). For example, "Xiaochun" does not refer to August or October, but to the sowing season of the small spring crops, then this is consistent with the annals: "In February, Liuzhou wished his teacher Songguang Shangren a happy birthday at the Jingci Temple in Nanping, Hangzhou, that is, returned to Haichang, then to Hangzhou, to Wumen in May, and then to Runzhou, to visit the old man in The Old Man, yujiaoshan and Haixi'an... still back to Jiaoshan, re-expanding the whole map of Wuzhuan and Taoling Erding, one in the temple, one returning to Xingxing" [21]. Jiaoshan Zhouding is no special Ding. Bottom right Nguyen Won Pak:
Jiaoshan Zhou Ding, Yu Sanzhi. This picture is not bad at all, carefully examined, cover the six boat monks to draw the picture wood and printed into a ding shape, and then fold it small on this paper, in order to expand its inscription, and then carefully examine it, and the inscription is also a woodcut. The seal traces are muddy, almost nothing else, really good carvings. Nguyen Won Thieu. The size of this ding map is not pleasant, Yu Zeng held it by hand, and the force could not win it. [22]
It can be seen that this picture is a woodblock engraving, and the six boats are clearly made of "rubbings" in the style.
Figure 7 (Qing) Liuzhou's "Jiaoshan Zhouding Style Knowledge" woodcut overturned, Duo Yunxuan auctioned in the autumn of 1998
In "Jiaoshan Zhou Ding Style Knowledge", Liuzhou used the method of "drawing engraving, external extension" to make a full-shaped extension. Judging from the picture, jiaoshan ding ink texture has almost no change in thickness and is slightly dull, and the edges of the ornamentation are too neat, completely without the flat texture of the vertebrae on the bronze object and the beauty of the lines changing due to thickness and discontinuity (Figure 7).
Xu Han was quoted above:
In the summer of the first noon, the people on the six boats crossed the pool, showing the full shape of the Yu hand to expand the Yi instrument, the style of all kinds, exquisite and unexpected, such as the intention of the people, all on the original instrument to expand out, not happy Hao (milli) hair, Jue Cai (color) color mold (G) the picture, and not enough to tie Yu Huaiyi. [23]
Xu Han personally saw that the six boats demonstrated that the full-form extension was "all in the original device". In the 26th year of Daoguang (1846), when Liuzhou was on his way to Beijing with Su Yue and others, during his stay at Yuan Pu (now part of Huai'an) from May 2 to 30, the Annals recorded that "Tan Tongfang Taishou invited him to the hall" [24]. It is worth noting that closely following the production of the "original instrument", the word "Tuo" is still used here, from which it can be understood that the full-form Tuo production technique of Liuzhou must contain the means of direct vertebral Tuo.
Guo Yuhai first noticed yi's passage involving the full-shaped extension of the inscription, which has the difference between "imitation of the full shape" and "extension of the knowledge" in the production technique, and believes that "'imitation' is a copy of the painting, which is a copy of the shape of the artifact" [25]. Yi wrote in the "Han Jian Zhao Yan Foot Stirrup Full Form Expansion" inscription:
It is the instrument to the Tibetan king Lan Quan Si Kou, who returned to Sun Yuanru's observation, and is now in Xu Su Shan Mao Cai's place, detailing ruan's "Ji Gu Zhai Zhong Ding Yi Instrument Knowledge". On Ding Weichun's day, the Zhejiang monk Liuzhou took yu with him, because he borrowed the full form and expanded dozens of pictures. Ima bong was originally thought to be the king of the Dingdi Xian, Jinshi Meishou. Yi and book. [26]
Taking shapes with lamps is one of the steps of Xiangtuo. Legend has it that Liuzhou used lamps to make full-shaped extensions,[27] but there seems to be no direct documentary basis, and it is impossible to verify from the existing works of Liuzhou, leaving aside.
Figure 8 (Qing) Liuzhou "The Reverse of Qin Liang", full-shaped expansion, Zhejiang Provincial Museum collection
At this point, we can understand the full-form expansion production technique of Liuzhou more completely. There are at least three ways. The first is Yingtuo's supplementary painting, such as "Yun Window Qing Offering". The second is a woodblock engraving, and then the outside of the tool is extended, such as the "Jiaoshan Zhou Ding Style Knowledge". The third kind, as Xu Han saw, directly from the bronze vertebrae to expand the full shape, but this can not solve the perspective problem in any way, the remedy can be "take the method of sketching, the whole paper to expand", can also be partial direct vertebral expansion, other parts that need to reflect the perspective, then the control utensils to imitate the complete shape. For example, the Zhejiang Provincial Museum has a collection of Liuzhou "Qin Liang" and "Qin Liang Negative" full-shaped Tuo (Figure 8), according to the inscription, it can be known that this instrument was obtained from Wu Shifen, a friend of Liu Zhou, in Hangzhou, and the abdomen covered with inscriptions was obviously obtained directly from the bronze vertebrae.
Judging from the visual evidence and documentary evidence listed above, Liuzhou's understanding of the concept of "Tuo" is not limited to directly expanding on the golden stone, but will also require the use of Puzi's Yingtuo, the use of woodcut reproduction techniques - Guo Yuhai's so-called "drawing engraving, external extension" and other techniques are also recognized as "Tuo".
As an epigrapher, Liu Zhou has a clear understanding of "搨" and "拓". In Liu Zhou's handwritten manuscript "Little Green Heavenly Temple", there are 9 poems involved in the title, the only one uses the word "搨", while the other 8 use "拓". This is the only one[28] :
Yu Old Collection Song Taiqing Lou Sun Qiandu 'Book Genealogy", Yuan Yu Bosheng Interpretation, now returned to the Southern Xu Wu clan, composed a long song to record its affairs.
The poem uses the word "搨" in the sentence cloud:
Tingjue ink is as black as lacquer, and Chengxintang paper is light and hazy (Wen Song is originally based on Chengxintang paper and Li Tingjue ink).
In the poem, the word "Tuo" is used:
There are two bells in Baoding Baolin, and the words are different from the green plug (Ye Dong Weng Tuo gave Zhou Zhong two bodies, the text difference and the line has a difference between up and down, the green cover, the kiss contract this, there are true and false ears).
The word "Xiangtuo" is still used at the end of the poem. Song Taiqing Lou Sun Qiandu's "Book Genealogy", for imitation, engraving and the like, that is, the so-called Fa Ti, should indeed use the word "搨". Ye Dongweng directly vertebrated Tuo on the original instrument of Zhou Zhong, and used the word "Tuo". Therefore, the distinction between Tuo and Shu is deliberate. Liuzhou uses the word "Tuo" in the other 8 songs, all of which are also necessary to express the meaning of direct vertebrate Tuo.
However, in the lead print in 1920, the typesetting was expanded and not divided, and most of the "Tuo" was changed to "Tuo", and some directly used "Tuo", or the "Song Tuo Ben" was arranged as "Song Tuo Ben", or "Xiang Tuo" and "Xiang Tuo" were mixed, and it was chaotic. At that time, it was common for "Tuo" and "搨" not to be distinguished, or to use the word "搨" extensively to describe the behavior of Song Shu ben and vertebrate Tuo. This is the case in the edition of Liuzhou's "Annals" of Wu Shifen, and even in the "Annals" published by Liuzhou himself.
Figure 9 "Yi Ware Flower Offering" Wu Tingkang inscription, Haiyan Museum collection
As far as Liuzhou is concerned, such a difference is probably the difference between handwriting and printing. In Liuzhou's circle of contacts, the understanding of G and Shi Tuo is clear, such as the two full-shaped Tuoli collected by the Haiyan Museum, and Wu Tingkang, a friend of Liu Zhou, said very clearly in the inscription, one is "G" (Figure 9):
Yi ware flower offering. Qinglong Tongzhi Jia Shu Midwinter Shanghuan Gong "Ji Jin Tu" in Wushan Zhongqing Temple's Lookout Building, Feng Yan Weng Respected Brother Ya play. Yuansheng Wu Tingkang.
Figure 10 The full-shaped Tuo (partial) on the "Yi Ware Flower Offering", haiyan museum collection
This dull line shows that it was carved into a woodblock (Fig. 10). The other is "Painted":
Great rich and noble Jifu longevity Pepsi auspicious wannian Ruyi Jinjue Lianxitu. In the tenth year of Tongzhi's mid-spring lesson, the granddaughter of the Immortals made the "Jijin Tu", and the granddaughter of Biyun painted a portrait of Sima Qingjian of the Shaoting Dynasty, and paid tribute to it. Yuan's younger brother Wu Tingkang.
Three
Ma Ziyun believes that "the expansion of Chen's bronze ware is mainly from fellow villager Chen Peigangtuo, and Chen Jieqi is also involved in design and other things"; "He expands the various parts of a piece of paper, and then glues it to a large piece of paper to form a full shape." The takumoto is all Ujintuo, the tauter has a reasonable structure, the thickness is appropriate, and there is a great improvement in technique;
According to the staging of Quanzhituo, Liuzhou belongs to the early representative figures, while Chen Jieqi belongs to the middle representative figures. Ma Ziyun's point of view actually implies that the all-shaped expansion techniques of Chen Jieqi, Chen Peigang and others are more mature than those of Liuzhou. Specifically, Ma Ziyun believes that the progress of Chen's technique lies in the more reasonable structure of paper-dividing, Ujintuo and instrument-shaped structure.
On the surface, paper splitting appears to be the result of technological advances, but in reality, if you change the angle of comparison, you will get a different opinion. As far as the technique is concerned, the six boats are made of a piece of paper, and there are indeed defects that need to be repaid locally, otherwise it will cause deformation and distortion. Chen Peigang and Chen Jieqi's paper extension is also not perfect, as Ma Ziyun said, "Because of the expansion of paper division, it is easy to lose" [30].
In fact, in order to achieve a perspective effect, it is impossible to be completely faithful to the original, and it is inevitable to sacrifice a part of the real information. Guo Yuhai suggests that paper segmentation is more difficult than whole paper expansion,[31] precisely the result of basing the technique on the perspective of perspective focus. From another point of view, it can also be said that the whole paper is transferred, which requires the producer to have a higher overall grasp ability, and the paper extension reduces this difficulty.
Production difficulty and visual effects, the two are not the same thing. In view of the variety of techniques of holototo, it is not possible to simply choose and confuse the use of phenomena when observing the phenomenon.
Regarding Ujintuo, Ma Ziyun believes that Liuzhou "has more ink color than light", while Chen Peigang's Ujintuo is "thick and appropriate", which may only be a personal opinion, the different feelings of different people. Liu Shiheng said in the "Golden Stone Illustration":
Yu Old got the monk Liu Zhou hand Tuoben, and the hook gallery is not very similar to Chu Tu. In 1893, you Jiao Yan spent several days in the summer, looking at the collection of books and inscriptions of ancient artifacts, this ding and the bronze drum are juxtaposed in the Haiyun Hall, and the praises are made in the table, and then the essence of the Six Boats can be seen in the table, and the true face of the antiquities can be seen. [32]
Liu has hinted at the purpose and value of Liuzhou Full Form.
As for the more reasonable structure of the paper-splitting extension, it is also a fact, and there is no doubt about the technique. However, Sang Yu believes that the full form of the extension was developed by Chen Jieqi and others, and that "after the Republic of China, Zhou Xiding, Ma Ziyun and others pushed this technology to the peak and made a great contribution on the basis of absorbing Western painting techniques"[33], which may have also considered more technical factors. As far as technology is concerned, with the passage of time, the full-form extension technique that later added Western painting factors has indeed become more and more mature, or more in line with "science", which is also an indisputable fact, but in terms of artistry, the works since Chen Jieqi have gradually lost their ancient charm.
However, the all-shaped expansion is not an art in the first place. There is evidence that the holographic extension was intended to faithfully record the objects of study of epigraphy, including not only bronzes and their inscriptions, but also began to pay attention to the shape and ornamentation of the vessel.
When someone questioned the full-form extension of Liuzhou, thinking that it was nothing more than a thing that "whitewashed the strong man and sang the drum sound", Xu Han retorted excitedly:
not! not! Otherwise, it is a special offering of idle fasting, and the play of the ear. The world's great treasure heavy weapons will not be able to return to me, that is, they will not be able to move with me. Qiao Si Xiao Pi form, in one room, thousands of miles away, when the exhibition is right, it is equivalent to the miscellaneous list of utensils listed in the front, encounter two or three comrades, phase and appreciate the strange text, analyze the meaning of doubt. After his writings were passed down, such as "Bogu" and "Archaeology". Solemn and solemn, when there is more righteous example, the good old of the six boats is like fate or not. [34]
Xu Han compared the full form of Liuzhou with the BoguTu and the Archaeological Map, both of which were the most important achievements of the Northern Song Dynasty epigraphy. At the same time, it is also clear that the full-form expansion of the six boats was made to facilitate the study of epigraphy. It seems that the full form of the six boats is extended to a part of epigraphy. In the era of Liuzhou, a series of gold and stone activities such as visiting monuments, expanding monuments, recording, appreciating, exchanging gifts, and printing were a kind of consciousness and fashion, and there were many examples of them. Before the introduction of photography, many of the participants in Jinshi were trying to record Jinshi faithfully, accurately, and distinctively, such as Feng Yunpeng's Jinshi Suo[35] and Liu Xihai's Jinshiyuan.[36]
Similarly, Chen Jieqi also recorded the golden stone faithfully and distinctively, but the actual result was that he still could not fully do it. No matter how advanced the technology, the full-form topology cannot be completely faithfully "expanded" out of the original.
Chen Jieqi (1813-1884) met Liuzhou (1791-1858), who was more than twenty years old. Chen Jieqi hired Chen Peigang and others to change the design and technique of the full-shaped extension on the basis of liuzhou. Ma Ziyun's view of Chen Jieqi's "excellence" in full-form extension, which Ma Ziyun believes and emphasizes— that Ma Ziyun himself is a full-form extensionist and will pay more attention to technique—does not actually have much academic and artistic value.
Before the advent of photography, Liuzhou's full-form topology had achieved the academic purpose of serving epigraphy, and any technical improvement in the microscopic sense could not help the overall situation. After the introduction of photography to China and its gradual popularization, similar technical improvements became more meaningless and more like a contest between novel visual and artistic tastes.
Unlike Chen Jieqi, the full-form expansion of Liuzhou is combined with painting to complement scenes in addition to the purpose of epigraphy. In other words, Liu Zhou's creativity of expanding the whole form into painting is also related to the art of painting.
Four
If the original intention of the full-form extension is not art, then the full-shaped expansion into the painting is undoubtedly a new art form. The Zhejiang Provincial Museum's collection of Liuzhou's "Zhou Bo Shan Bean Tuoben and Supplementary Flowers" is a typical full-form tuotous painting (Figure 11):
Zhou Bo shan bean. It is the Jizo Shin-an Cheng clan. The cross of the inversion of the style word is "BoShan Father's Use of the Zun Bean Ten Thousand Years Treasure", which is the only one seen in the instrument. Daoguang Ding Wei Qingming Festival, Kedumen Longxue Temple. Haichang monk Liu Zhou Da received and painted.
Mr. Gu Yu rewarded. Liu Zhou also met Yuan Jiangshan An Ting.
Figure 11 (Qing) Liuzhou,"Zhou Boshan Bean Expanding and Supplementing Flowers", Zhejiang Provincial Museum
The picture is a full-shaped bronze figure, supplemented by painted flower arrangements. In ancient China, fine art works depicting ancient objects such as bells and dings were called "Bogu" or "Bogu paintings". Bogu paintings with ink and painted depictions of bronzes, porcelain, etc., supplemented with flowers, miscellaneous pieces or books, have long existed, but the earliest bronzes in such pictures are found in the works of Liuzhou.
Since the Song Dynasty, the periodicals that have been handed down to record bronze images have been presented in the form of white line engravings. Bai Ling'an cites a woodcut print from the Qianlong period, depicting bronzes with objects inserted in them and a paper-pressed pattern in the upper right, so she believes that this can be used as evidence that the Eight Broken Paintings originated from Bogu paintings. Liu Zhou expanded the full form into the painting, obviously changing the inherent form of expression of bogu painting.
In addition to using bronze to make up for the scenery, Liuzhou also chose to use the ancient brick full-shaped to supplement the flowers as a picture of the offering.
The Annals of the Eleventh Year of Daoguang (1831) record:
Xiang You Lin'an, at the site of the Qian's Forbidden City, got a brick, and the text "Baozheng 4th Year in July Qian's Work" Cross Yin Text... When the time is too late, handmade as a stone. [39]
The cross should be a nine-character error. Liuzhou later took it as one of the contents in the form of a full-shaped extension and made it into an "Ancient Brick Flower Offering" (Figure 12), which is now in the Zhejiang Provincial Museum. Baozheng is the era name of the Five Dynasties Wu YueGuo period. In the appendix to the "Da Li Ben Huai Su Da Zi Thousand Character Text" collected by Liu Zhou, there is also a "Yuan and Han Chong's Examination Treasure Zheng Brick Book", which was in the "Twenty-fourth Day of the Month of Daoguang Pengshu", that is, the eighteenth year of Qing Daoguang (1838)[40]. Han Chongnai was Wu Dayi's maternal grandfather.
Figure 12 (Qing) Liuzhou", "Ancient Brick Flower Offering", Zhejiang Provincial Museum
Since it needs to be printed, it is necessary to engrave the rubbing. Bao Changxi, the author of "Golden Stone Chips", directly signed "Jiaxing Bao Changxi". The "Baozheng 4th Year July Qian's Work" inscription brick in Liuzhou's collection is also included, and the book also contains a depiction of this brick Diamond Grid Filled Swastika Brick Rubbing[41], which can glimpse the original appearance of this brick. Fortunately, the brick platform made of this brick has survived to this day (Fig. 13) and is now in the Tianjin Museum.
Figure 13 Liuzhou system "Baozheng 4th July Qian's work" inscription bricks, Tianjin Museum collection
The Zhejiang Provincial Museum collects Liuzhou's "Ancient Brick Flower Offering", the whole picture, from right to left, there are 12 bricks, and the 7th brick is in the center of the picture. Interestingly, from the view of the viewer, the perspective of these 12 bricks is not static, but has three standing positions. The first position of the viewer is in front of the 6th and 7th bricks, so these two bricks have a positive viewing angle. The first 5 bricks, the perspective state that is presented, is to turn the line of sight to the right at this position. The 8th brick, the "Baozheng 4th July Qian's Work" inscription brick (Fig. 14), is located in the center left of the whole picture, and the perspective angle presented by the viewer needs to move to the middle of the 8th and 1st bricks to look to the right, while the 9th, 10th and 11th bricks are looking to the left. The perspective presented by the 12th brick requires the viewer to move his steps, stand at the end of the picture, and then look to the right.
Fig. 14 Part of "Ancient Brick Flower Offering" ("Baozheng 4th Year July Qian's Work" Inscription Brick)
This "Ancient Brick Flower Offering" belongs to the typical full-shaped extension. The 12 bricks in the painting have inscriptions. Except for the side with the inscription, which should be vertebratized, the other sides of each brick are drawn rather than expanded, and the perspective effect is more reasonable. The last brick of the painter Songxi, the master of the Liuzhou White Horse Temple, is inscribed as "Daoguang Yiwei", that is, this painting was made in the fifteenth year of Qing Daoguang (1835). The Qian inscription brick was made into bricks as early as the eleventh year of Qing Daoguang (1831), and In the eighteenth year of Qing Daoguang (1838), Han Chong also used this brick to write the inscription of the Great Calendar Huaisu Thousand Character Text. Therefore, when the "Ancient Brick Flower Offering" was drawn in 1835, the Qian's inscription brick could no longer be the shape of the flowerpot presented in the picture, which can also prove that this full-shaped extension is a combination of vertebral expansion and imitation painting.
Liu Zhou has made more than one painting of "Ancient Brick Flower Offering". The Annals record that in the eighteenth year of Daoguang (1838):
It is winter, Yu to the brick tile corner of the hidden written era number, expanded into a bottle of pots and other pieces for a long scroll, all friends who can sketch, each randomly supplemented with miscellaneous flowers, that is, the name "Ancient Brick Flower Offering". After General Tang Yusheng saw it, he bent the end of the cross for the book "Grinding bricks instead of making mirrors, and starting to become a spring". [43]
Guan Tingfen records that the sixteenth day of the first month of the twenty-fourth year of Qing Daoguang (1844):
It is the twenty-four kinds of Zhou Qin Yi instruments that are expanded by the Six Boats of the Day, belonging to the celebrities to supplement the painting of miscellaneous flowers in the instrument, known as the "Twenty-four Qi Hundred Flower Scrolls", packed into long scrolls, after the poem title, because of the absolute: "Ji Jin Gems are a few Mo Zi, and the thousand years of YingGuang are always not polished." Win the heavens a smile, scatter flowers to fight the old man. ”[44]
[45] Xianfeng Ding Wei (1857), near the last moments of his life, also made a vertical axis of ancient bricks with a full-shaped extension of the scenery. In Liu Zhou's handwritten manuscript "Little Green Heavenly Nunnery Yincao", the title of the poem alone involves many such works, such as "Painting a Brick Basin for Wu Kangfu for a Stone Fan", "Painting a Brick Basin for Mu Weng for a Stone Fan that is the Second Rhyme", "Painting a Brick Basin Fan For Wu Kangfu", "Taihe Flower Illustration", and "Painting and Growing Songs for Wu Junkang's Father Tuogu Brick Flower".
The "Ancient Brick Flower Offering" in the Zhejiang Provincial Museum is a gift from Liuzhou to Chen Luan (Zhilin), who "shikai jiangsu"[47]:
Lord Zhilin ordered Tuogu brick flowers to provide pictures, because the two colors of autumn were combined into a must-present: the relics of the People of the Wu people lasted for a thousand years, and the Vines of The TaoXi were to be painted zen, and he scattered flowers day and night, and the two autumn colors were contended for the first. Six boats are accepted.
This passage clearly carries an auspicious meaning.
In the ancient brick flower offerings, there are at least two meanings that Liu Zhou wants to express.
First, sigh the golden stone eternal year, such as "Taihe Brick Flower Illustration":
Daoguang's Prophecy, but it was late spring. If you want to go to Yishan Road, borrow the West Lake Shore. Get this promotion, and become a flower Zhen. In the early taihe era, the dragon set was in Bingyin. Tai Tai Gu Tong, Ya Yi this pottery person. There are six years of words under it, and the simple text is the truth. For more than 1,600 years, there are ghosts and gods in the care. Ancient incense accompanied by ink incense, and Yan jiefang neighbor. Strange things are made as a confession, and they are always cherished on the table. [48]
Second, the deepest affection for the ancient inscriptions of masonry and stone made Liuzhou try to give new life to the ancient brick flower offering works, such as the ancient brick full-shaped vertical axis of the ancient brick made in Xianfeng Ding mi (1857) [49], which is written:
Two Han and three Wu and Jin bricks, Zhejiang central sunrise into a thousand, accidental game into poppy, when the flowers are fresh in all seasons. Mr. Rong Pu Zhengzhi. Nanping retired monk Liu Zhou Da received the title.
In the "Ruijun Wang Ordered Tuogu Yi Ware and Supplementary Time Hui", Liu Zhou also used the term "Poppy Ang" (Fig. 15), poppy Ang is the wine container, and here refers to the flower vessel made of full shape. In this poem, Liu zhou also clearly expresses a message that in addition to ancient bricks, like the bronze statue in "Zhou Bo Shan Bean Tuoben and Supplementary Flowers", bronze bronze is also an important subject of Qing offering:
In order to betrothed to The God of Jin Shijian (because he had not met, so the clouds), one brick and one iron for six thousand years. By chance, the game becomes Poppy Ang, mei ju and samson dragon illusion Zen (wang also known as dragon illusion zen). [50]
Figure 15 Liu Zhou's handwritten manuscript "Little Green Heavenly Nunnery Yincao" Volume 2 Book Shadow, Zhejiang Provincial Museum Collection
In the eyes of Liuzhou, not only can ancient bricks and bronzes be passed on for thousands of years, but also all ancient objects with writing, such as pagodas, stone tablets, seals, etc., can also be long lived, so that it is worth constantly praising. The Song Sangha Zhige says:
The supplementary record of the golden stone has been read for a long time, and there is no boundary for thousands of years. [51]
Expanding the full form, supplementing with flowers, playing offerings, and the six boats gave the "dead" broken bricks and tiles and other golden stones a new life, and repeatedly praised them. A group of painters who came after Liuzhou were obviously infected by such works of art and imitated them. Now in the Tianjin Museum, Ren Yi composed the 1885 Jijin QingFutu [52], which arranges three bronze full-shaped rubbings and inscription rubbings of ding, pot and plate, and then paints flowers with boneless methods, which is a typical work of the type of imitation of the full-shaped expansion of the six boats.
According to the inscription "Facing the South Of the Sea and living in the room", it is stated that the full-shaped Tuo in this painting was copied by Ren Yi in his home in Shanghai. Wu Changshuo also made "Dingsheng Tu" (Figure 16) in 1902, which is now in the Zhejiang Provincial Museum, and the picture is centered on two bronze Ding full-shaped Tuo, one of which is Jiao Shan Ding, which Liu Zhou has hand-extended many times, and then painted boneless flowers as flower arrangements for "Poppy Ang".
Figure 16 Wu Changshuo's "Dingsheng Tu", Zhejiang Provincial Museum Collection
In short, from the late 19th century to the first half of the 20th century, the full form of painting has become a very popular way of painting, literati, painters are not limited, its auspicious meaning is also widely accepted by all levels of society, and Liuzhou's contribution to the art of Jinshi calligraphy and painting is also obvious.
exegesis:
[1] (Qing) Liuzhou: "Baosu Room Jinshi Calligraphy and Painting Chronicle", volume II, Beijing Library Rare Books Series, vol. 144, Beijing Library Press, 1999, p. 411. Hereinafter referred to as the "Annals".
[2] [23] [34] (Qing) Xu Han: Pangu Xiaolu Miscellaneous Works, vol. 12, "The Complete Map of the Liuzhou Hand Tuoyi Artifacts", Volume 1160 of the Continuation of the Siku Quanshu, Shanghai Ancient Books Publishing House, 1996, p. 805.
[3] Han Wei, "The Problem of "Samples" of Antique Production in the Song Dynasty, Song Yun: A Collection of Cultural Relics from the Sichuan Cellar, China Social Science Press, 2006.
[4] [10] Ma Ziyun: The Technique of Passing on the Golden Stone, People's Fine Arts Publishing House, 1988, p. 3.
[5] Hsu Ya-hhui, "The Southern Song Dynasty Golden Stone Collection and the ZTE Complex", Collected Works of Art History, Vol. 31, Institute of Art History, National Taiwan University, 2011, pp. 25-28.
[6] (Qing) Chu Jun's Drawings, Niu Yunzhen's Supplementary Commentary on the Golden Stone Sutra and Eye Records, Ye 21, Republic of China Su Guangming Manuscript, Harvard Yanjing Library Collection.
[7] (Qing) Chu Junge and Niu Yunzhen said "Golden Stone Diagram", published in the Qianlong Decade (1745), Hanhe Library of Harvard University.
[8] (Qing) Xu Kang: "Former Dust Dream Video", vol. 1186, Shanghai Ancient Books Publishing House, 1996, p. 750. There is a similar record in Xu Ke's compilation of the "Qing Barnyard Banknotes" in the ninth volume of the "Appreciation Class" of the "Xie MeiShi On the Expansion of Steles" (Zhonghua Bookstore, 1986, p. 4422), but the text is slightly different.
[9] Rong Geng: A General Theory of Yin Zhou Bronzes, Science Press, 1958, p. 131.
[11] (Qing) Bao Changxi: Golden Stone Chips, Vol. 1, New Edition of Stone Carving Historical Materials, Vol. 6, New Wenfeng Publishing Company, 1979, p. 4612.
[12] [15] [20] [27] [33] Mulberry, "A Phased Study on the Development of Bronze Full-Form Topology Technology", Oriental Museum, No. 12, Zhejiang University Press, 2004.
[13] Same as [1], p. 376.
[14] With [1], p. 400.
[16] With [1], p. 345.
[17] [25] Guo Yuhai, "The Similarities and Differences between Xiangtuo, Yingtuo, All-Shaped Tuo and Jinshi Chuantuo", Journal of the Palace Museum, No. 1, 2014.
[18] Yu Shanying, "Liu Zhou and the QingFu Of Yun Window", Collection of Ancient Art, No. 264, September 2014.
[19] same[1], p. 486.
[21] With [1], pp. 398 - 400.
[22] Both Sang Yu and Guo Yuhai are very wonderful, but Ruan Yuan's inscription, Sang Yu's interpretation, and Guo Yuhai's quotation are all minor errors, which are corrected here.
[24] With [1], pp. 477-478.
[26] Beijing Library: A Collection of Bronze Ware Full-Shaped Rubbings in the Beijing Library Collection, vol. 4, Beijing Library Press, 1997, p. 102.
[28] [46] [50] [51] Liu Zhou: Little Green Heavenly Temple, Volume II, Autographed Manuscript, Zhejiang Provincial Museum.
[29] With [4], pp. 3-4.
[30] Same[4], p. 4.
[31] Ibid.[17], p. 151, note 4.
[32] (Qing) Niu Yun Zhen Ji Shu, Chu Jun, and Liu Shiheng, ed., "The Tale of the Golden Stone Tushu", vol. 2, "Jiaoshan Wuding", published in guangxu 22 (1896), New Edition of Stone Carved Historical Materials, vol. 2, New Wenfeng Publishing Company, 1979, pp. 885-888.
[35] [36] The Complete Book of the Four Libraries, Vol. 894, Shanghai Ancient Books Publishing House, 1996.
[37] Ibid.[1], p. 480.
[38] Nancy Berliner and Wang Yifeng, Eight Broken: Chinese Optical Illusion Paintings, Oriental Museum, Vol. 10, Zhejiang University Press, 2003. For color images, see Huang Yongchuan, "Research on the History of Chinese Flower Arrangement", Xiling Printing Press, 2012, p. 251, Figure 171.
[39] With [1], p. 384.
[40] Shuyuan Vol. 1, No. 7, issued by Mitsushodo (Japan),
In 1937, the Colo edition of "Huai su (Sanjiu)".
[41] (Qing) Bao Changxi: Golden Stone Chips, vol. 3, New Edition of Stone Carving Historical Materials, Vol. 6, New Wenfeng Publishing Company, 1979, p. 4726.
[42] Cai Hongru, 100 Lectures on Ancient Chinese Yan, Hundred Flowers Literature and Art Publishing House, 2007, pp. 268-271.
[43] Same as [1], p. 434.
[44] Guan Tingfen: The Diary of Guan Tingfen, Zhonghua Bookstore, 2013, p. 1148.
[45] [49] Ge Jingen, "Six Strange Monks and Six Boats", Oriental Museum, Vol. 27, Zhejiang University Press, 2008.
[47] Ibid.[1], p. 399.
[48] Liu Zhou: Little Green Heavenly Nunnery Yincao, vol. 3, autographed manuscript, zhejiang provincial museum collection.
[52] Wan Qingli, "A Century of Not Decline", Lion Books Co., Ltd., 2005, p. 224.
Originally published in: Journal of the National Museum of China, No. 3, 2015