Ancient Chinese inscriptions (stone carvings) can be roughly divided into carved stones, steles, epitaphs, tombs, stone ques, cliffs, statues, tower inscriptions, portraits, floating figures, engravings, boundaries, medical prescriptions, wells, bridge pillars, inscriptions, inscriptions, inscriptions and poems and miscellaneous works, etc., almost all-encompassing, very rich in content, involving a wide range. Since the advent of the art of inscription (stone carving), it has gone through the Qin, Han, Wei, Jin, Northern and Southern Dynasties, Sui, Tang, Five Dynasties, Liao song, Yuan, Ming, Qing and the Republic of China, until the birth of New China. In addition to Chinese, there are Manchu, Mongolian, Uighur, Palindromic, Tubo, Xixia, Jurchen and foreign languages. The styles of inscriptions (stone carvings) include oracle bone, gold script, large and small seal, Lishu, Wei shu, Kaishu, cursive, Xingshu and some creative characters of folk. Most of its contents are dynastic founding, canonical system, record of battle achievements, sealing boundaries, agricultural prosperity, social chaos, temple masters, genealogy, disaster resistance and relief, digging wells and opening roads, establishing boundaries to buy land, writing medical prescriptions, celebrity scriptures, tour titles, etc.
Chinese inscriptions (stone carvings) have important historical and artistic value, so their rubbings have always become the works of art collected by literati and scholars such as gold stones, calligraphy, art, literature, and history, as well as their calligraphy and painting merchants. In the Song Dynasty, Ouyang Xiu collected more than 1,000 volumes of stele (stone carvings) and compiled the "Collection of Ancient Records", pioneering the collection of films to study the precedent of everyone. Zhao Mingcheng and his wife Li Qingzhao had a lifelong passion for gold stone Yi ware, and they were all involved in the remains of the golden stone for two weeks, which were later compiled into the "Golden Stone Record" and passed down. The Ming, Qing and Republic of China were the climax of the rubbings of inscriptions (stone carvings). For example, Dong Qichang, Zhao Kun, Wang Duo, Jin Dongxin, Weng Fanggang, Bao Shichen, Chen Jieqi, Duan Fang, Yang Shoujing, Luo Zhenyu, Kang Youwei, Zhang Boying, Zhu Wenjun, Zhou Zhaoxiang, Lu Xun, Yu Youren, etc. are all representatives of the collectors of rubbings. For example, Zhao Kun, a Guanzhong Qishi in the middle of the Ming Dynasty, has been collecting inscription rubbings in the north and south of China for more than 30 years, and has purchased Song Tuo's "Lushan Temple Stele" and "Portrait Praise Monument" rubbings from a broken official eunuch for platinum hundred and two, and has written "Graphite Engraving Hua" to the world. When Wang Duo, a famous calligrapher at the end of the Ming Dynasty, received a set of "Chunhua Ge Ti", if he obtained a treasure, he bookmarked it with a variety of calligraphy, cursive writing, and xingshu, which was extremely exquisite. Zhu Wenjun, a Qing dynasty man, with more than 30 years of painstaking efforts, collected more than 700 kinds of Han and Tang Dynasty stele Tuoben, and he once sold his family's "Wu Jiang Tu" and Wen Zhengming's "Yunshan Tu" of The Ming Dynasty Shen Zhou in the Ming Dynasty for the collection of Song Tuo's "Liquan Ming" Tuoben, only to collect enough money to buy it for 4,000 pieces of ocean. It is said that it was only seven or eight hundred yuan to buy a courtyard in the capital at that time, and buying this Tuoben was equivalent to buying five courtyards.
With the development of the times and the improvement of people's cultural quality, the importance of collecting rubbings is becoming more and more important, which is an undeniable fact. First, the original stone of the ancient inscription (stone carving) was seriously damaged. In the past, the number of rough stones was becoming smaller and smaller, or due to weak protective measures, or due to some political factors, or due to natural disasters such as fires and earthquakes, or because thieves stole out of the country, etc., and the erosion became more and more serious. For example, Wang Duo's famous Fa-ti "Imitation Mountain Garden" was smashed beyond recognition because of the political movement, and the wind of "being old and vigorous, and winning with all his strength" praised by the world has been swept away. Today, whoever has the old Takumoto is precious can be imagined. Second, the old rubbings are immeasurably lost. From the current point of view, before the Republic of China period, the Tuo should have been considered an old Tuo, first of all, when the "Four Olds" were broken during the "Cultural Revolution", they burned and lost countless times, and even some museums used rack cars to pull the rubbings and carts to the street and put them into the fire. Then there are the remaining folk, due to the low cultural literacy of future generations, some are sold when waste paper is used; some are pasted on the wall, and third, the state has begun to manage the inscription (stone carving) more and more formally. In particular, strict measures have long been taken to protect some famous inscriptions (stone carvings). Except for the research department that needs to pound a small amount with the approval of the relevant state departments, it is not allowed to be pounded at will. Now what I occasionally see in society is only the old rubbings scattered in the folk, and if they can be received, it should be very valuable. Fourth, the high and low of the stele (stone carving) rubbings of the previous few years have gradually begun to become the popular collections today. Its price has also changed from a few tens of yuan and a few hundred yuan a frame in previous years to a price of thousands of yuan or even millions of yuan in recent years. Let's talk about the first and general descriptions
The inscription is a large category of many collections. Stele collection, as far as this concept is concerned, refers to activities such as the collection, preservation, research, circulation and scattering of stele. The study of the inscriptions began in the Northern Song Dynasty, and is now recognized as the great literary scholar Ouyang Xiu, the founder of this discipline. According to historical records, there were Tuoben as early as the Sui Dynasty, but unfortunately, the former Sui Tuoben has not yet been found, and the earliest surviving Tuoben is the Tang Dynasty. It can be said that since the invention of the takumi, there has been a takumoto, and there has been a collection of stele takumoto. Today, the inscription still attracts countless collectors. 1. What is a monument? The explanation of the stele in the Shuowen is that "the vertical stone is also". In ancient times, in front of the palace and temple doors, stones would be erected and called monuments. Its role is to "recognize the shadow of the sun, to introduce yin and yang also." "The first stele was a rectangular stone slab standing. In the middle above the slab, there is also a round hole called the stele piercing. The stele standing next to the tomb is used as a tether to put the coffin into the tomb; the one standing in front of the mansion is used as a horse leash, that is, a horse stake; and what stands in front of the temple ancestral hall is a sacrifice for the sacrifice. At that time, it was called a stele, and there was no inscription on it. Around the beginning of the Western Han Dynasty, there were monuments in the modern sense, that is, stone slabs with written words. Nowadays, people understand that inscriptions actually include temple tablets, tombstones, epitaphs, statues, scriptures, cliff inscriptions, etc. A stele is also divided into stele, stele yang, stele yin, stele side, stele seat, stele seat is also called 趺 or turtle. The stele is the upper end of the stele, also known as the head of the stele, which is engraved with the title, and its font is mostly seal text, and the patterns such as cockroaches and dragons are generally engraved around the text. The stele yang, that is, the front of the stele, the body of the inscription. If the inscription is too long, the main text cannot be engraved, and there are also engraved on the side of the stele and the yin of the stele. The yin of the stele, that is, the back of the stele. Some inscriptions are written on the inscriptions, and some are not inscribed. The content of the inscription on the stele is generally the inscription of the stele, the name of the donor who built the stele, and the number of coins donated. The side of the stele, that is, the left and right sides of the stele. The side of the stele is like a stele yin, with inscriptions and non-inscriptions. The inscription is generally the inscription. The stele is the stone seat where the stele is placed, also called the turtle, which is named because of the shape of the carving like a turtle. The early stele was only a rectangular stone slab, which was generally engraved with suzaku, Xuanwu, green dragon, and white tiger, and only when the Southern and Northern Dynasties appeared did the turtle-shaped stele appear, and only then did it have the theory of the turtle. Turtle, symbolizing longevity. The use of the turtle as the stele expresses a wish of the tree stele that the stele can be preserved for a long time. Regarding the shape of the stele, Wang Qiansun made a detailed discussion in his "Broad Examples of Stele Plates". Not all stone slabs inscribed with words can be named "stele", and some are called jie. The main difference in the shape of the stele and the jie is that the rectangular carved stone is called the stele, and the circular carved stone is called the jie. 2. What is a post? In ancient times, there was no paper, and the book was written in the drapery. In order to survive for a long time, the book is carved on the stone, also called the post. The rubbings printed from the carved stone of the post are still called the post.
The standing stone is the monument, and the horizontal stone is the post. Thesis, one of the types of carved stones, is to imitate the ink of the predecessors on the stone for people who learn calligraphy to copy. There are also woodcuts, and there are still many Qing Dynasty woodcuts for sale on the market today. The posters are transverse stones, each about 25 to 35 cm high and 70 to 100 cm wide. The carved stones of the thesis are usually stored indoors or set between the walls for people to enjoy the transmission. Most of the content of the posts are poems and letters written by emperors, important ministers, and some cultural celebrities. Posts are divided into single posts and series posts. Posts that are only engraved with a single article are called single posts. Famous single posts include Zhong Xuan's "Declaration Table", "ReturnIng Table", "He Jie Table", Lu Ji's "PingFu Ti", Huang Xiang's "Urgent Chapter", Wang Xizhi's "Huang Ting Jing", "Orchid Pavilion Preface", "Le Yi Theory", Wang Xianzhi's "Mid-Autumn Festival", "Luoshen Endowment Thirteen Elements", Zhiyong's "True Grass Thousand Character Text", Ouyang Qian's "Prajnaparamita Heart Sutra", Yu Shinan's "Commentary on Breaking Evil", Chu Suiliang's "Yin Rune Sutra", "Duren Jing", "Xisheng Jing", "Thousand Character Text", Yan Zhenqing's "XiaoMagu Immortal Altar", "Record of the Immortal Altar of XiaoMagu", The Seat Contest Post, the Sacrifice of Nephew Manuscripts, Liu Gongquan's Sutra of Protecting Life, the Classic of Changqing Jingjing, Sun Guoting's Book Of Genealogy, Zhang Xu's Thousand Character Text, Belly Pain Thesis, Huai Su's Thousand Character Text, Our Lady Thesis, Zhong Shaojing's Wei Mo Jing, Su Shi's Before and After Chibi Fu, Huang Tingjian's SongfengGe Poem, Mi Pei's Duojinglou Poem, Zhao Ziang's Tao Te Ching, and so on. The calligraphy of many people or several kinds of calligraphy of one person is called Cong Ti. From ancient times to the present, there are about 300 kinds of conglomerates in the bibliography in China. A collection of calligraphy engraved by several people, the famous one is "Chunhua Ge Ti", which was engraved in the third year of Song Chunhua. There are also "Daguan Post", "Clarification Hall Post", "Bogu Tang Post", "Baojin Zhai Post", "Fengshu Post", "ShuyunGuan Post", "Xihong Tang Post", "Yuyan Tang Post", "Qiu Bi Tang Post", "Kuaixue Tang Post", "Shi Gu Tang Post", "Sanxi Tang Post" and so on. Famous personal posts include Wang Xizhi's book "Seventeen Theses", Yan Zhenqing's book "Zhongyi Tang Ti", Su Shi's "Guanhai Tang Su Ti", Huang Tingjian's "Huang Wen Jie Gong Fa Book", Mi Pei Shu 'Ying Guang Tang Tie', Zhao Jiong's "Zhi Dao Yu Calligraphy Post", Zhao Ziang's "Song Xue Zhai Fa Shu Ink Carving" Wen Zheng Ming Shu "Truly Traces of Shuyunguan", Dong Qichang's "Shu Seed Tang Tie", Liu Yong's "Liu Wenqing Gong Handwriting", Deng Shiru's "Complete White True Traces" and so on. In real life, people understand the stele, not only refers to the stele and the stele and the rubbings (this) from these two kinds of carved stones, but its coverage is relatively wide, so wide that it can include all the carved stones and their rubbings with words engraved. As a personal collection, it is better to understand it in a broad sense, and the scope of collection can be broader. Any engraved stone rubbing (this) with text should be the scope of your attention. For example, the earliest preserved stone carving in China is "Stone Drum Text". The content of the Shigu text is to praise the hunting situation of the Qin emperor, so it was proposed to rename it "Hunting Jie". Now, the three words we say "stone drum text" actually have two meanings, one refers to the glyph, or font, that is, a script inscribed on ten drum-shaped stones. Another meaning refers to this batch of carved stones. It is said that King Taishi of Zhou Xuan changed the oracle bone script to the Great Seal, also known as the "Zhenwen". Shiguwen is its legacy, it is regarded as the origin of China's calligraphy art, people have a very high evaluation of it. Although there is no complete conclusion on the exact age of this batch of carved stones, one thing is certain, it is the earliest carved stone currently in existence in China, and it is a relic of China's pre-Qin era. These carved stones are now preserved at the Palace Museum in Beijing. Although the stone drum text is neither a stele or a carved stone, it represents the calligraphy art of an era. If you collect inscriptions, you study inscriptions, and you study the art of calligraphy, not only can you not give up the opportunity to collect stone drum rubbings, but you should also take the rubbings (tablets) that you can get it as a fortunate thing in adult life. Although such is not a stele carved stone, its value is very high, and there are many worth collecting, such as "Langyatai Carved Stone". This stone was erected in the 28th year of Qin Shi Huang (219 BC) and is now in the Museum of Chinese History. Yang Shoujing of the Qing Dynasty made this evaluation of this stele in the "Commentary on The Monument", "The traces of Qin Qin, but this is majestic, although the grinding is the most severe, and the ancient thick qi is free, and it is believed to be a supreme god." "3. Why do inscriptions have collecting value?
Inscriptions are carved on stone or wood, standing in a certain place, or embedded in a certain wall, especially those inscriptions, often standing in the wilderness, bringing many inconveniences to the viewing and copying, so the invention of the topology. According to relevant records, Tuoshu was invented in the Eastern Han Dynasty. Cai Yongshan calligraphy, carved scriptures outside the Yong Academy, for everyone to observe and study. Because there are many people who come to observe and study, and there are many inconveniences in going back and forth, the topology has also arisen. In the Book of Sui. The Book of Classics says, "The Later Han Dynasty engraved the Seven Classics on stone tablets (i.e., the Xiping Stone Classics), all of which were written by Cai Yong... The foundation of the common inheritance is still in the secret house. "The invention of Tuoshu must have been after the invention of papermaking, and as to when it was invented, it is still uncertain, but it was certain before the Tang Dynasty. Because the earliest surviving pieces are several Tang Tuoben. Three Tang Dynasty Tuoben "Hot Spring Inscriptions", "Huadu Temple Pagoda Inscriptions" and "Liushu Diamond Sutra" found in the Dunhuang Stone Room, of which on the "Hot Spring Inscriptions" are inscriptions written by The Tang Dynasty "Yonghui 4th Year (653 AD)". Unfortunately, these three national treasures are now hidden in the Library of Paris, France. Two other Tang Tuoben, the Confucius Temple Stele and the Master Meng Stele, are now in the hands of the Japanese. Of course, our national treasures have not only flowed to France and Japan, but since the nineteenth century, the world's great powers, as long as they have left their evil footprints on Chinese soil, have more or less robbed China's cultural relics. Except for a few socialist countries that returned some of the cultural relics that originally belonged to China after the founding of New China, the other looted cultural relics are still in the hands of the robbers. The Book of Sui quoted above. It can be seen from the sentence in the JingShu that as early as the Sui Dynasty, people had fully realized the important value of the stele and hid it in the secret house. What can be hidden in the secret house is not excessive to regard it as "valuable". The ancients cherished the stele so much, and in modern times, people's cherishing of the ancient stele is no less than that of the ancients. Various organizations, celebrities and celebrities competed to buy the collection. In the late Qing Dynasty to the early Republic of China, such as the "Huashan Monument" purchased by DuanFang, the "Sacred Religious Order" purchased by Wang Changshu, and the "Liu Xiong Monument" purchased by Heng Liangsheng, the silver cost was about 10,000 yuan. It is said that duanfang, in order to collect inscriptions, can do whatever it takes. As long as it is a rare inscription that he has a fancy, he must get it. The famous writer Liu Hu of the late Qing Dynasty, also a Jinshi family, received a rare copy of the "Liu Xiong Monument", which is not revealed. After Duan Fang knew that Liu Yan had to have this book, he first sent someone to borrow it, and Liu Yan was afraid that he would not return, and simply did not admit that he had this copy. Duan Fang was willing to give up, so he promised to use the high-ranking official Houlu to ask Liu Hu to resell the "Liu Xiong Monument" to him. Liu Yan was still unmoved in the face of this temptation, and still said that he had not received the "Liu Xiong Monument" extension. This angered Lord Duan, so he forced Liu Hu to rob him of the crime of "tongyang". Later, Duanfang sold this Tuoben to Hengyong for silver yuan. Today, this rubbing is collected by the China History Museum. In the 1995 Guardian Auction Catalogue, the highest-priced old rubbing was "Guo Yunming", priced at 130,000 to 150,000 yuan, followed by Su Shishu's "Xianyoutan Stele", Qingtuo Ben, with a price of 4.5 million to 50,000 yuan. In the autumn of 2000, among the inscriptions auctioned by Shanghai Boguzhai, the highest price was the Qingtuo film "Tianfa Divine Monument", which was 15,000 to 20,000 yuan. This auction, mostly in the Republic of China, its price is generally about 3,000 yuan. Although the price of Tuoben before the Qing Dynasty fell slightly compared with five years ago, it can be clearly felt that the price of Tuoben between the Republic of China is rising. Therefore, in the case that the old takuben before the Qing Dynasty is not easy to obtain and the price is too high, we should pay more attention to the tautographic collection after the Republic of China. This kind of expansion has a large room for growth. In recent years, after the inscription rubbings (ben) entered the auction market, it has attracted people's general attention, and the collection of stele rubbings (ben) has gradually become "hot". However, this collection is completely different from bronze objects, different from gold and silver jade, and different from porcelain, and it is similar to the collection of ancient books, but it is not the same. The collection and identification of inscriptions is very large, and because of this, the ancients called the inscriptions and their rubbings "black tigers". Here it is necessary to explain the difference between rubbing and rubbing. The rubbings were printed directly from the tablet and were not cut. Rubbings can reflect the shape of the original stele version. Expanding the book, for the convenience of reading and saving, the rubbing is cut, and then in the order of reading, according to the size of the sticker, according to the unified number of words per line (except for cursive, because the size of cursive characters is different, it is difficult to unify) and bound into a book. Therefore, the value of the rubbing is higher than that of the rubbing. The value of Shi Takumoto is higher than that of Mu Takumoto. The Ming dynasty Gu Congyi copied the "Chunhua Ge Ti", and on its initial expansion, there is a saying cloud, "YuhongGuan re-copied the "Chunhua Ge Ti", and half of its stone is still in the Beijing Division, which is rare. Recently, the people of Wuzhong City have re-engraved two kinds of this book on the wooden board, carving both scrawled and indiscriminate, and Tuo also heavy paper to take advantage. The wood is easy to turn, and its work can be expanded one or two times a day; the stone is four or five days to expand one, and if it rains, it cannot be expanded. Its price is fixed in different ways, the four parties have their own true rewards, I am afraid that those who do not know why the value is too suspenseful, it is difficult to distinguish between true and false. This passage illustrates several problems, Shi Tuoben takes more time than Mutuoben, and also chooses the weather, so the price is higher than Thatumoto. The engraving is not as good as the original. Of course, if they are all reproductions, their value is different. These are all factors that should be considered in determining the value of a particular inscription. The inscription can make it interested and loved by many people, including collectors, writers, artists, historians, archaeologists, and calligraphers. Mr. Lu Xun, the most prominent representative of the Oriental culture of the 20th century, who is recognized by China and recognized by foreigners such as Nobel Laureate Kenzaburo Oe, has collected a large number of precious inscriptions (tablets) during his lifetime. The reason why the inscription attracts many people is its unique value. In the long-term collection of inscriptions, people have summed up its value, which is mainly reflected in the historical, linguistic, and literary data value of the content of the text; the material and reference value of the philology, calligraphy history, and calligraphy art in the aspects of writing and calligraphy; the material and reference value of the arts and crafts in the aspects of stone stele modeling, carving, and inscription; academic research according to the inscription; and the content of the stele to prove history, supplement history, testimony, and supplementary text. I believe that in the future collection of inscriptions, people will continue to discover its value, and the inscription will attract more people to collect and study it. 2. Collect knowledge 1. What kind of collection concept and principles should be established? No matter what kind of collection you are engaged in, as a collector, you must establish a correct view of collection. Some collectors of the older generation, in the long-term practice of collection, have deeply realized that the relationship between a collection and the owner is based on a kind of fate. The correct view of the collector comes from his own education, moral integrity and his correct understanding of the collection. "Nothing can be gathered together for good." A piece of the collection got into your hands, surely because you liked it. However, it is not enough to just like it, because in the vast world, there are not only tens of millions of people who like it, why only if you like it can you get it, other people can't get it? Therefore, each collection has its own unique destiny. Zhang Ying, a Qing dynasty, said, "Cover the classics, and the gods and things under the heavens are also." If it is not its people, but its land, then the gods cannot be gathered for a long time. Zhang Ying regards the classics as a sacred object, and the author believes that all precious cultural relics are like divine objects. Its migration and flow are chosen by its people, its place, and its time. Therefore, when a precious inscription reaches your hands, the first thing you should think of is that it can survive all kinds of disasters and still exist in heaven and earth, and it does not know how many individuals or organizations that have carefully cared for it; among all sentient beings, it is partial to you and has come to you. What should you do, only take care of it like before. When you are powerless to protect it, you must also find a safe place for it.
The ancients had many statements about the difficulty of collecting books, from different angles. However, as far as the fate of the ancient version itself is concerned, only five major misfortunes are summarized. The fate of the inscription is even worse than the fate of the ancient book version, but there are seven kinds of doom. First of all, of course, we must start from the location of the stele. Because stele stones generally stand in the mountains, the first problem faced is natural disasters. Han Yue has a poetry cloud, "Rain and sun scorching wildfire". He also said, "The shepherd boy knocks on the horns of the fire cow." The cow has the habit of grinding horns, and the sharp horn of the bull pounds a few times on the stele that has been eroded by wind and rain, and the damage to the stele is conceivable. There are also water traps, lightning, earthquakes and so on. The famous "Langyatai Stone Carving" was destroyed by lightning during the Republic of China. The "Hanhua Mountain Stele" and the "Tang ShunLing Stele" were both cracked by the earthquake. The second is to use the stele to build houses, repair bridges and roads, etc. The third is. On the basis of the inscription of the predecessors, the posterity inscribed on it, some of the predecessors all the inscriptions, some of the grinding, and then engraved their own inscriptions. In this way, the Song people are inscribed on the Tang people, and the Ming people are inscribed on the Song people, which is like setting up a bed on the bed. Fourth, some people without culture changed the name on the old stele to their own name, or suffered from the inconvenience of taking materials, grinding away the words on the old stele and engraving it separately. The Golden Bull Head Ancestral Book Tang Xiang Wei Wenzhen Temple Record is to grind off the Tang Stele and re-engrave it, and there is still a "Tang" character on the stele. The Tang Dynasty Shenzhou Lashi Epitaph Inscription Cover was carved by the Ming Dynasty as a Golden Bull Zen Pagoda Stele. Fifth, most of the monuments erected by those who oppose the vassals and usurpers are destroyed. For example, all the stele signed by Shi Siming next year was changed to Tang number after Shi Siming's failure. Also, because of the change of dynasties, it is difficult to avoid the destruction of the former dynasty monument. Ye Changchi said, "After the southern crossing, Shenzhou Jiangsuo fell into Jinyuan. North of the Changhuai River, there are no Zhao family pieces of stone. "The inscriptions of the Song people were mostly destroyed by the Jin people. Judging from the surviving epitaphs, the Song Dynasty epitaphs are about one-tenth of the Tang Dynasty, and this is the reason. Sixth, if one party has a famous inscription inscribed with stone, there must be many parties who come to visit and ask for it, especially the official, and a letter of convenience can bring huge losses to the local officials and residents. Therefore, there were small officials in the local area, who regarded the inscription as a burden and destroyed it. Seventh, many literati and scholars had an interest in collecting inscriptions, which led to the migration of inscriptions, or their loss, or destruction. Bi Qiufan bought back the Sifang Tang Monument from Guanzhong and placed it in the "Lingya Mountain Pavilion", which was destroyed by fire. In addition, during the Tang Dynasty, due to the emperor's dislike of monks and nuns, except for a small part of the temple, the rest were destroyed, destroying more than 4,600 districts of the temple, and the inscriptions in the temple were destroyed. For another example, during the Cultural Revolution, the ancient stele was regarded as an important aspect of feudal culture, and countless people were destroyed. Therefore, it is very difficult for you to get it, and there is no reason why you should not cherish it well. The collection of inscription rubbings (this one) has economic significance in itself. As the saying goes, "The gold of the chaotic world, the cultural relics of the Taiping". The old stele itself is a cultural relic. The valuable collections received in the chaotic world are preserved in the Taiping Period, or the collections received during the Taiping Period, after a period of collection, as long as the world is still peaceful, your collection will definitely continue to appreciate. However, after appreciation, the collection can also be sold so that you can get a high profit from it. However, most collectors in our country have chosen to donate all the collections they have worked hard to obtain in their lives to the state. Collecting inscriptions, like collecting ancient book editions and calligraphy and paintings, is due to personal hobbies. Collecting is only a part of life, a process of life. When a collector gets a collection he particularly wants, he also gets joy. After that, he will continue to appreciate, play, taste, and seek new pleasures from it. However, a collector, in his collection, the precious collection is by no means one piece or two pieces, there should be a certain number of treasures. In this sense, his joy comes from a certain number of treasures, and a collector's life will have many happy times, but his joy is closely related to his collection. If his collection were turned into money, and he was returned to a life of only money and no collections, he would never want to. As long as he can make ends meet, he will not sell his collection, he will donate it to the country or pass it on to his descendants. In modern times, a large number of patriotic collectors have emerged, and their deeds have been praised by the world. For example, among bibliophiles, what moved me the most was the feat of Mr. Pan Shizi, the son of the great bibliophile Pan Zongzhou. Pan Zong received 105 Song books and 6 Yuan edition books, a total of 111 books and 1088 books. This batch of books came from the Huang Hundred Song Yichen, Wang's Yiyun Jingshe, Yang's Haiyuan Pavilion, Yu's Yijiaxuan, Han's Reading useful books, and Yuan Hanyun, the son of Yuan Shikai, and other great bibliophiles, many of whom were orphans in the world. At current auction prices, the total price could be in the billions. After Pan Zongzhou's death in 1939, his son Pan Shizi, in 1941, in order to prevent this national treasure from being plundered by the Japanese, asked the British cultural institutions in Shanghai to transport it to a safe place. The British were requested to send a warship to escort the national treasures to Hong Kong. After arriving in Hong Kong, a special car was sent to HSBC's vault for storage. Since then, cultural merchants in Japan, the United States and other countries have always wanted to obtain this collection, but Mr. Pan was not moved by money until after liberation, and took the initiative to donate it to the country. These books are now in the Beijing Library. The reason why I say here that the view of collecting seems irrelevant to the main thrust of this article is because it seems to me that only when a person establishes a correct view of collection can he acquire and treat various collections with the mentality that a collector should have. He will not resort to unscrupulous means to get some kind of collection, he will not see profit and forget righteousness, he will not take advantage of it, and he will not make some crooked thoughts on the collection he has already obtained. The crooked mind mentioned here is to put it bluntly as a forgery. In this year's society where fakes flood the market, in the level of science and technology is relatively developed, there are high-tech for counterfeiting to bring many favorable conditions to today, those fakes, is indeed a headache for real collectors. Nowadays, some of the true and false are not distinguished, especially in the calligraphy and painting market, and some authors themselves cannot identify the authenticity of their works, so that the world's famous auction houses publicly claim that they will no longer auction Chinese paintings. Therefore, as a collector of inscriptions, it is especially important to establish a correct view of collecting. Collecting inscriptions is not collecting rags, good or bad, and receiving everything. As a beginner, the standard should not be set too high, as long as you see that it is a stele or rubbing, the price is not high, you may wish to charge more. Now on the market, the price of the new rubbing or rubbing will not exceed 100 yuan, the general one is 20 to 30 yuan, and the cheapest one is about 10 yuan. If you buy it incorrectly, people will sell you the lithograph as a topograph, and you won't be able to eat a big loss. The cheapest of the most expensive, its price is about 1,000 yuan. Of course, if you spend 1,000 yuan to buy a real Republic of China goods, it is worth it, if you buy a new product that has been made by others, it is a big loss. Those who collect inscriptions are doomed to suffer losses, otherwise how can someone fake it, and what do those specially fake inscription merchants live on? So, I advocate beginners, no matter how much money you have in your pocket, when you start, don't easily buy old rubbings or rubbings. The price of the old rubbing or rubbing is very complicated, its rubbing time is different, the rubbing time is the same, but due to the different rubbing methods, the same rubbing method is different in storage conditions and the appearance of different products, the rubbing paper and mounting are different, the amount of rubbing or rubbing is different, there are no inscriptions and inscriptions, the famous stele and ordinary stele and other factors, determine the different prices of the old rubbing and rubbing, and the gap can be described as between the world. Some of the old Tuoben belong to the "National Treasure" level cultural relics, and some are also related to the new Tuoben, which is more refined. For the collection of inscriptions, I would like to advocate the principle of "grasping both ends and taking the middle". The number of monuments in the world is difficult to count. The old inscriptions have been obliterated, and the new inscriptions have been erected, and you will never want to collect them. According to preliminary estimates, there are about 200,000 kinds of inscriptions of certain value in China. As a collector, his energy and financial resources are limited, even if you put all your efforts into it, how much can you collect? Therefore, as a collector, the most taboo is to seek perfection. When you have the corresponding identification knowledge and experience, you can no longer be like a beginner, as long as it is cheap, as long as it is an inscription, you can buy whatever you see. That way, you'll never have achievements, and you'll never make progress in collecting and appraising. As a collector, the basic mentality is that it takes more or a lot of money to buy a good one, at least not to be deceived. In this way, collectors are required to continue to learn, enrich their practical experience, constantly challenge themselves, and constantly challenge the stele dealers, so that they can find the value that the stele dealers and the general stele collectors cannot find from some specific extensions (pieces). The so-called "grasping two ends", the first is to concentrate on receiving the takumoto (film) of the famous inscription. Of course, the older the tather, the better. However, in the absence of opportunity or strength to receive the old extension of the famous stele, it is also possible to receive a new copy. The second is to collect newly discovered rubbings of old stele stones. After liberation, china has newly unearthed more than 2,000 kinds of ancient inscriptions. These inscriptions are all unseen, and some of them are very valuable. The value of the extension of some of them is by no means lower than the value of the old engraving of the inscription. However, their value lies in the fact that people discover them through continuous and in-depth research. But now, few people, especially those who can be called experts in the tablets, pay attention to them. For this reason, such inscriptions should have been among the must-receive. The so-called "belt middle" means that in addition to the famous stele and the newly unearthed stele, without affecting the focus, you can also collect a little fine engraving between the two to enrich your own treasury. "Grasping both ends" is an important goal and direction of collection, and "taking the middle" is a secondary goal and direction. 2. How to make rubbing?
In order to avoid the damage caused by natural disasters, since the Song Dynasty, a centralized protection method has been adopted. In the second year of the Song Dynasty (1087), in order to preserve the "Kaicheng Stone Classic", the Xi'an Forest of Steles was established, for more than 900 years, the Forest of Steles has been continuously expanded, the collection has been enriched, and today, it has about 3,000 stele stones, with a total of six stele corridors, seven stele rooms, eight stele pavilions, and 1087 stele stones on display. The Forest of Steles in Xi'an is the place with the largest collection of inscriptions in China, in addition, there are Qufu Stele Forest, Zhaoling Stele Forest, Dai Temple Stele Forest and so on. All the inscriptions and inscriptions that have been put into Tibet are protected as national cultural relics. Some famous monuments, in order to avoid further weathering and damage, in addition to the protective cover, are also covered with gold paper on the inscription. Unless it is special and with special approval, no one is allowed to use these inscriptions to make rubbings. Therefore, in this sense, the technique of making rubbings seems to be of little use to collectors of inscriptions. However, compared to the huge figure of 200,000, the number of deposits is quite small. Therefore, the mastery of the topology is not only useful for collectors, but also very necessary. Even if your knowledge of rubbing is not useful in making rubbings, it will be helpful in the identification of inscriptions. It can also be said that the knowledge of making rubbings is indispensable for the appraisers of inscription rubbings. Based on this, the following is a brief introduction to the production technology of rubbing. The main tools for the preparation of tool materials to make rubbings are: brown brushes, which are used to brush paper and paper; brushing, which is used to evenly beat the paper into the depression after the paper is put on paper, so that there is no gap between the paper surface and the utensils; the wooden hammer, which is mainly used to beat the stubble of the rice paper so that it can be firmly connected; the flutter, also known as the rubbing, the ink bag, is used for ink on the rubbing. In addition, bowls, ink plates, rags, brushes, towels, small sprayers, etc., are all necessary tools for making rubbings. Some tools are available in stores, while others need to be made yourself. Once you have the tools, you also need to prepare some materials. The first is paper. The requirements for paper are white and delicate, soft and tensile, thin and tough. Most of them are made of rice paper and leather paper, but some are made of Koryo paper or Lianshi paper. This is followed by ink. Ink is preferably purple. When the amount of ink used is small, it can be used to grind ink with ink ingots; if the amount is large, it can be used "Yide Ge" or "Cao Sugong" ink. If the ink is mixed with the right amount of water, and then ground, the effect is more ideal; then there is the white mustard water or dilution glue, the role of which is to make the paper attached to the stele. The operation procedure is even simpler to describe, mainly three, washing the stele stone, paper and ink. Washing the stele is to wash away the dirt and moss on the stele. Using tools, such as brushes and bamboo sticks, the principle is not to hurt the stele and to remove dirt. Paper, dry on and wet on. Drying the paper is to put the top paper directly on the stele brushed with white mustard water or clear water. Wet paper, that is, the top paper is folded into clear water, and then the wet paper is placed on the stele. Inking, that is, using a flutter to dip the ink, using the method of fluttering or rubbing, the ink is attached to the toppa of the stele. The above-mentioned tool materials and operating procedures are only a rough idea, and in actual operation, they are very complicated. Now, there are some special books in bookstores that make rubbings, which can be purchased and referenced. To develop a good rubbing, theory, tool materials and operating procedures are only one aspect of the problem, and more importantly, the experience of the topographer. The same stele, two topographers at the same time, excellent topographers made of rubbings, high quality, high price. Some rubbings also bear the name of the topographer. There are also collectors of inscriptions who only accept rubbings from a certain excellent pioneer. 3. How to identify the stele? Since the Song Dynasty in China, it is difficult to count the books that study inscriptions, but there are about 400 kinds of reference value. The inscriptions belong to the golden stone category. Here the word gold and stone, gold refers to the words cast on metal utensils, and stone refers to the words engraved on the stone. In the four-part category of the old catalog, most of the books on inscriptions belong to the category of the history department, and some of them are included in the art category of the sub-department. Readers who want to consult such books can be found in these sub-categories. To accurately identify the inscriptions, it is necessary to have solid knowledge of the inscriptions and rich practical experience. Experience is accumulated through continuous exploration in practice, and solid knowledge cannot be solved by reading popular books and magazines. You must read a certain number of books dedicated to the inscription, and you must also have some reference books for consultation. A person who is engaged in the collection of inscriptions always has to pay some tuition. This does not only mean that a person goes from not being able to attend, to being more proficient and having a continuous process of learning and practicing. There is also a more important problem that the Chinese national culture has a long history, and there are written records of more than 5,000 years of history, while a person's common sense, wisdom and energy are quite limited, and who wants to compete with the long history with his own personality is absolutely impossible. That is to say, it is impossible for a person not to make mistakes, and even if one day you become a well-known inscription expert, there is absolutely no guarantee that there will be no time to look away. The main difference between experts and collectors in general is that there are more or fewer mistakes made, and whether the mistakes made are high or low. Therefore, the purpose of our more study and practice is to pay less tuition and make fewer mistakes, especially to avoid making some low-level mistakes. For example, if you encounter a Xingshu stele Tuoben, you can't set the time of the original stele before the Han and Wei Dynasties. Because, in china, before the Sui Dynasty, there were no inscriptions. Write a stele with a line, and begin with the inscription of the Tang Taizong Jin Ancestral Hall. Since then, there have been Tang Gaozong's Ten Thousand Years Palace Inscription, Ji Gong Song, and the British Gong Li Monument, all of which are written in writing. Since Tang Kaiyuan, there have been Li Beihai, Su Lingzhi and others who have written books and stele. It's also a common-sense question that a collector of inscriptions must know. The so-called low-level errors are common sense errors. To identify the inscription is to comprehensively determine its value, which includes history, literature, art, language, writing, etc., and even the paper used for the inscription is an aspect that cannot be ignored. For example, in the rice paper of the Qing Dynasty, the value of civilized paper is definitely higher than that of other rice paper. If you encounter factors such as side paper, when it was expanded, whether it is a real monument or a fake monument, etc., you don't need to think about it, just buy it. Because this kind of paper itself is extremely valuable. However, knowledge is gradually accumulated gradually, and many categories of knowledge cannot be solved overnight. It is also unrealistic to grasp this much knowledge and then to identify the inscription. You should choose a breakthrough, find some essential books, and practice while learning. To this end, the author recommends some books to beginners, both strong theory and easy to understand, there are also strong theories and beginners are not easy to read, as well as tools only for usual reference, counted as a doorway to reading. The Thirty Volumes of the Golden Stone Record was written by Zhao Mingren of the Song Dynasty. This book also condenses the blood of a generation of female lyricist Li Qingzhao. There are Tanshengtang Yuyuan Ben, Shunzhi Gengyin Xie Shiji Engraving, Yayutang Engraving, etc., after the founding of the People's Republic of China, a variety of single editions were published. Four volumes of Epitaph Examples, written by Ming Ren Wang Xing, and a print of Zhu Mo in Daoguangjian. Epitaphs are a large category of inscriptions, and there are not many texts in this book, but a more comprehensive analysis and examination of tombstones of different eras has been made. The Twenty Volumes of Jin Xue Linlang was written by ming dynasty people, including ming zhengdejian periodicals, Qianlong forty-three hangzhou song periodicals, siku quanshu editions, and photocopied siku quanshu editions in the 1980s. "One Hundred and Sixty Volumes of Jin Shi Extract" was written by Qing Ren Wang Chang and published in Jiaqing Decade. The Twelve Volumes of huanyu visiting inscriptions were written by Sun Xingyan and Xing Shu of the Qing Dynasty, and the Jiaqing Seven-Year Sun Family Self-published Pingjinguan Series of Books C and the Republic of China Lead Edition. "The Golden Stone Record of the Two Han Dynasties" was written by Weng Fanggang of the Qing Dynasty and published by Qianlong in the fifty-fourth year. "Three Volumes of laizhai jinshi examination" written by Qing Ren Lin Tong, Daoguang Xin ugly Shanghai Xu Weiren engraving. Ten Volumes of Yushi Ten Volumes of Comments on the Similarities and Differences of Yushi, written by Qing Ren Ye Chang and commented by Ke Changhuan, published by Zhonghua Book Company in 1994. This is a collection of works, Ye Shi's book "Yu Shi" after the publication, in the society has a huge impact, known as the modern study of China's ancient stone carvings the most academic level of the work. In 1953, the Institute of Archaeology of the Chinese Academy of Social Sciences purchased the original manuscript "The Similarities and Differences of Language and Stone" written by Ke Changsi in ten volumes. Ke Shi supplemented the content of the book "Language Stone", and also discussed its gains and losses. "Essay on School Monument" written by Fang Ruo of the Republic of China, there are lead editions between the Republic of China and photocopied by the 1997 Jiangsu Guangling Ancient Books Engraving and Printing Society. It is said that this book was co-written by Wang Guowei and Luo Zhenyu, and later compiled by Fang Ruo. The peculiarity of this book is that it collects some inscriptions and stone carvings excavated in the late Qing Dynasty. It will be of great help to the reader in studying the age of the stele. Catalogue of Epitaphs Unearthed in 1949-1989, edited by Rong Lihua and edited by Wang Shimin, published by Zhonghua Bookstore in 1993. This book not only includes the epitaphs from 1949 to 1989, but also individual epitaphs excavated before 1949, and the whole book contains a total of 1464 epitaphs. "On the Art of Chinese Tablets" by Jiang Wenguang and Zhang Juying, published by the China Workers Publishing House in 1995, this book gives a comprehensive and systematic introduction to the knowledge of inscriptions, the text is easy to understand, and the end of the book is also accompanied by the biographies of influential calligraphers and engravers of past dynasties and pictures of inscriptions, which is convenient for readers to consult and compare. "Tang Dynasty Epitaph" edited by Zhou Shaoliang, published by Shanghai Ancient Books Publishing House in November 1992. The whole book is more than 3.7 million words, which is the most complete book for collecting Tang tombstones. "Biography of The Monuments of the People's Republic of China", collecting 473 well-known people from all walks of life who died in the Republic of China (1912-1949), published by Sichuan People's Publishing House in March 1997. There is also Qian Yiji's "One Hundred and Sixty-Four Volumes of Stele Transmission Collection", which collected the Mandate of Heaven to Jiaqing Seven Dynasties 2026 people; Miao Quansun wrote "Eighty-six Volumes of Continuation Stele Biography Collection", which received Daoguang to Guangxu Four Dynasties 1092, which is also a reference book. In addition, to study the inscriptions of a region and a province, you must first understand the writings of previous and present generations on the golden stones of that region and that province. Many provinces have their own Golden Stone Chronicles. If you want to study the inscriptions in Sichuan Province, you should read the Jinshi compilation in the "Sichuan Tongzhi" (there is a Jiaqing Twenty-Year Edition, 1984 photocopy), and you should also read the special Sichuan inscriptions, such as Wang Xiangzhi's "Shu Stele Record", Li Tiaoyuan's "Shu Stele Supplement", and Liu Xihai's "Sanba Jinshiyuan" and other books. Books such as "Yibu Hanli Collection" (Sichuan University Double Hook Line Depiction Li printed in July 1949) edited by deng Shaoqin are also among those that should be read. Only in this way can you have an accurate positioning of a specific inscription in Sichuan. After we have read some special books and have some necessary reference books, we must also have a general understanding of the characteristics of calligraphy art in different eras. Calligraphy is a traditional art unique to our country, is our national essence, and has a long history. The art of calligraphy, like other arts, is constantly evolving and changing. Zhao Ziang said, "Because of the transmission of the body, it is not easy to use a pen for eternity. "In the history of the development of calligraphy art for thousands of years, the body of calligraphy is constantly changing, and in different historical periods, different artistic characteristics have been formed. In terms of writing style, it can be divided into eight types, namely oracle bone, large seal, small seal, Lishu, eight-point book, cursive script, kaishu (also called real book), and xingshu. Oracle bone is a kind of writing written on turtle plates and animal bones in ancient times. The Great Seal, historically known as the Zhou Xuan King Tai Shi Li was first created, also known as "Zhen Wen", and the "Shi Gu Wen" we see today is its legacy. Xiao Seal, according to the record, Qin Shi Huang's minister Li Si changed the large seal into a small seal, and the surviving "Langyatai Carved Stone" is said to be Li Si's book, and its body is Xiao Seal. Lishu is rumored to have been created by the Qin dynasty Cheng Mi. Cheng was the county commander of Qin Shi, who was imprisoned in Yunyang Prison for his sins, explored the change of glyphs, and finally changed the seal to three thousand characters, and played the Shi Huang Emperor, which was appreciated by the Shi Huang Emperor and appointed him to the post of imperial history. Eight-point book, Weng Fanggang in his "Two Han Jinshi Records", the definition of this font, he said, "The Shangzun Number Monument, the Zen Table Monument, is the Zhong Yuan Changshu, this kind of book body is called the Golden Needle Eight-Point Book." Cover pure to take the square, open the Tang Dynasty gradually. Cursive, the earliest surviving cursive script is the "Anxious Zhang ti", which is often called "zhang cao", which is the book of the Han Dynasty Huangmen Ling Shi You. Therefore, it is believed that Shi You was the founder of cursive writing. Xingshu, whose founder is Liu Desheng, the later Han Yingchuan. Italics are also called "true books" and "main books", and some people call them "positive letters". Legend has it that this font was created by Wang Zhongci. It is said that he changed the letter from the letter to the letter, and changed the letter from the letter to the octet. Whether it is the italics and eight-point book created by Wang Cizhong or not, and what era he is, it is still uncertain. Even if there really was Wang Cizhong, he really created the script, and I think that the letter he created is not the same as the letter we are referring to now. The earliest surviving inscriptions are Wei Zhongxuan's "Declaration Table", "Recommended Season True Table", "Force Life Table" and other posts. This shows that the appearance of the script should be in the Han Dynasty. After a brief introduction to the various fonts, a general outline of the characteristics of the calligraphic art of each era should have been outlined. However, due to the length of the article, this work is done by the attentive readers themselves. The general requirement is that several important historical periods must be grasped. Such as the artistic characteristics of calligraphy during the Southern and Northern Dynasties. The Southern and Northern Dynasties were one of the most turbulent periods in China's history, but its calligraphy had its own unique features, and it was only in the late Qing Dynasty that it was taken seriously and called a miracle in the history of Chinese calligraphy. It was developed on the basis of inheriting the Han Dynasty. The knot is natural and varied, and it is inherited as a kai, and under the condition of heavy balance, it is vertical and horizontal. It is a calligraphy in the transitional stage of the transformation of the body of the book, with a simple, thick, steep and lively beauty. After having some basic knowledge, it is time to talk about identifying the inscription. Identifying the inscription, to put it bluntly, is to determine the authenticity of the stele and the time of rubbing. For specific monuments, there are two situations, the first is whether a stele is real or virtual. For example, there is a stele, judging from the text content on the stele, it is the epitaph of Wang Lin during the Tang Kaiyuan period, and the time of his epitaph is also written very clearly, it is tang people who stood in the Tang Dynasty. In fact, this Wang Lin is a virtual person of the Ming or Qing people, and the tomb owner is Wang Lin's epitaph, which was forged by the Ming or Qing people. In a word, it is a forgery of ancient monuments. The second is that a certain stele is the original inscription, or is it engraved by posterity according to the original stele or rubbing. Both of these issues are very complex. Forged ancient monuments, ancient and modern, have only one purpose, that is, to make profits. Of course, it is not excluded that there are individual good people who are looking for excitement, attracting people's attention to him, and creating some news. The Palace Museum has five kinds of orphan books of Huang Xiaosong's old han and Wei dynasties, and there are hong liangji, Sun Xingyan, Huang Xiaosong, Qian Yong, Ruan Yuan, Weng Fanggang, Feng Minchang, Yang Shoujing and other celebrities with authentic inscriptions and seals, and it is unanimously believed that these five kinds of engravings are song tuo's orphan books. However, in fact, according to the examination of the present people, three of these five kinds of stele were forged by the Ming people. This also shows that even the authentic inscriptions of the great masters are not necessarily completely credible. A generation of stele masters, Fang Ruo, also mistakenly regarded the pseudo-stele "Zhu Bo Remnant Stele" as a Han stele, entered it into his "Essay on School Stele", and wrote, "Examining calligraphy, from the seal into the vein of subordination." Beiyun: Only the Han River is the Western Han River. Some people suspected that the cover did not see the stone ear. From the third line to the sixth line, the text is obliquely written. "The purpose of flipping the inscriptions is different, some are for the purpose of wide circulation, and some are for profit. Whether an engraving or a takumi is the original engraving or a reproduction is a very headache for the appraiser. If there is a comparison of the original engraving, it is easier, in the absence of the original engraving to compare, it is natural to regard the engraving as the original engraving. For example, the "Huadu Temple Yong Zen Master Ta Ming", in the Tang Dynasty, there are two kinds of engravings, and there are its extensions passed down to the world, one originally from the Xi'an Academy of Tibet, and the other as Weng Fanggang. The Xi'an Academy Collection and weng Fanggang Collection were both regarded as the original Song Tuoben at that time, and many celebrities made appraisals and wrote inscriptions. Weng regarded his collection of takumi as the most precious treasure and copied it for life. However, after discovering the Tang Tuoben from the Dunhuang Stone Chamber, once compared, it was learned that the Xi'an Xuefu Collection and the Weng Fanggang Collection were both reproductions. The difference between the inscription and the original inscription lies mainly in the charm of the characters. This requires the appraiser to have a more comprehensive understanding of the artistic characteristics of calligraphers of different eras and different eras. The Ming dynasty changed the old stele of the Song and Yuan dynasties written by unknown or less famous people to the stele written by famous people of the Tang Dynasty. For example, if the body of the book is similar to the stele of the European body, the author directly changes it to Ouyang Inquiry, and the old stele whose body is close to the body of the book is changed to the Book of Liu Gongquan. Others take the stele written by celebrities, expand the authors, and replace the anonymous or well-known authors to impersonate the stele written by celebrities. For this kind of forgery, as long as we can grasp the calligraphy characteristics of celebrities, we can identify their authenticity. Some stele extensions are said to be the same as the original stele, but their characters are fat and thin, so that they cannot help but doubt their authenticity. This requires the appraiser to carefully screen the handwriting and mouth of the text on the Tuoben. If their handwriting and the mouth are basically the same, they can be regarded as being expanded from the same rough, but the rubbing time is different, the word fat is expanded before the washing of the stele, and the thin word is expanded after the washing of the stele. Some photocopied tablets have been sold by passing off as takumotos, and at present, there are still many cases in the old stores. The reason for this is that a large number of photocopies of inscriptions were published between the Republic of China, and once in the mid-1990s, the number of photocopied inscriptions was relatively large; and because rubbing was worth more than photocopying. It is easier to identify the photocopied rubbings, but it is more difficult to cut the photocopied rubbings one by one and collage them into an extension. Under normal circumstances, if you touch it with your hand and feel that the paper surface is smooth, it must be photocopied. But sometimes you can't touch it with your hands. The cunning forger, tirelessly, painted the words with ink and made a mouth with bamboo sticks. In this case, you must take it seriously, mainly from the literal ink color difference to identify. Because the ink color of Takumoto is basically the same. After distinguishing between the true and false inscriptions and the true and false extensions, the next step is to identify the specific time of the extension, that is, when did the rubbing in your hand be expanded. We can first start with the appearance of the decoration, topography and materials. The rubbing methods and decoration methods of different eras are not the same. In the Tang Dynasty, from the only remaining "Hot Spring Inscription", "Huadu Temple Pagoda Inscription", "Liushu "Diamond Sutra" and "Divine Strategy Military Monument" (only the upper volume is preserved, hidden in the National Library) and other rubbings, all of them are thick ink rubbing, and their ink color is black, and the black and white contrast of the Tuoben is strong, that is, the so-called "Ujintuo". From this period to the Yuan Dynasty, Ujintuo, ink color is less light. This is because the ink used before the Yuan, the smoke is heavy and the glue is light. After the Ming Dynasty, the glue was heavy and light, so that the ink appeared purple, like the tail of a swallow, so it was also called swallowtail color. In particular, the imperial ink made during the Qianlong period was well-made, and the imperial stele with this ink was as bright as a mirror. Nowadays, when people interpret the term "Ujinto", most people think that the ink color of its Tuoben is as black and translucent as Ugin, which is incomplete. The Song Dynasty Tuoben was divided into two categories, in addition to Ujintuo, there were also cicada wing Tuo. The so-called cicada wing expansion is that its ink is light and uniform, as fine and elegant as the cicada wing, and the delicate is perfect. The vast majority of the inscriptions of the Song and Yuan dynasties are thick ink rubbing, and a few are light ink fluttering. It is generally believed that the early Tuoben, its Tuotuo, its Tuotuo, and the Rubbing began in the Song Dynasty. Due to the development of ink making technology, it has also caused changes in the topology, which is a problem that must be paid attention to when identifying inscriptions. The main tool of rubbing the stele before the Yuan Dynasty was to roll a round roll with fine felt, flatten the bottom with fire, dip the ink to rub the top, rub the rubbing three times, if you feel uneven, then make up the rubbing until it is uniform, and then use a wax plate to smear a layer of Sichuan wax, the purpose of which is to prevent deinking and injury. Therefore, in the Song and Yuan dynasties, white traces are often seen, which are traces left after the use of wax. After the Ming Dynasty, because the ink used is heavy and heavy smoke, there is no need to worry about deinking, and the process of plastering wax is naturally abolished. This method of waxing is also known as wax rubbing. Wax rubbing method from the process, is also divided into two kinds, in addition to the above introduction of one, there is another is, with tobacco wax into a cake, and so on the stele after the paper is dried, with wax cake rubbing. This kind of extension method, easy to operate, is still used in remote mountainous areas, some wild places that are not convenient for construction, such as Tuomo Cliff stone carvings, the effect of Tuomo is also good, ink black and shiny, more beautiful. However, because it has the disadvantage of easily hurting the mouth, this method is not used much. The paper used by Song Tuo, the stele mainly uses hemp paper, the topography mainly uses cotton paper and hemp paper, and there is also a small amount of kudzu paper. Kudzu paper is from North Korea and is named after the traces of kudzu on the paper. Although the paper is produced in North Korea, the paper used in the North Korean takumoto is mainly its own silkworm cocoon paper. Most of the North Korean takumotos are lightly expanded with ink, and only the inscriptions on the stele are expanded, and the places without words are not expanded. The Ming Dynasty invented Caituo. Caituo is named after its color, such as Zhutuo, which refers to the printing with cinnabar rubbing. But Zhu Tuo did not use cinnabar entirely. It is made with chicken inner seeds to remove yellow and green into the cinnabar. The ratio is one or two cinnabars combined with seven chicken seeds. After mixing the two well, rub them with a soft felt roll. The rubbing must be gently rubbed sequentially. After rubbing the first time, you must wait for the color to dry before you can expand the second time, otherwise the words are blurred. Colored topography, there are monochromatic, as well as particularly complex, with five colors of topography, is called five-color topography or five color topography. Ming Yi Wang Xi also invented the inlay. This method of extension uses Li Tinggui ink and jin bo paper. At that time, Jinbo paper was a kind of paper with a fine and pure texture and a light yellow color. The method of inlaying is to first draw the extension on the paper, then use light ink to expand the place, and then use the Ugin ink to expand the ground. Developed in this way, the ink color is clear and clear, the contrast is strong, and it is very beautiful. In the late Qing Dynasty, he also invented Gtuo, also known as Pentuo. The initiator of this extension method is Huang Shiling. The method is to use a pen to imitate the appearance of Tuo, so that others look like Tuo. In the Light of the Qing Dynasty, the monk Liu zhou of Jiaoshan Temple also invented the Golden Stone Yi Instrument Quantuo Method. Of all the topologies, this one is the most difficult. The method is to first take pictures with lamps, measure the size of the utensils to be expanded and draw a silhouette, and then use thick paper to make a leak. Before putting on paper, you should first use a brush to dip the white mustard brush utensils, wipe it with wet cotton, and then put on the paper. The use of paper is also very exquisite, the best is the thin six-gi-cotton paper. Wrap cotton in silk cloth to make a flutter, and after the paper is dry, the ink will be expanded. In the Song and Ming Dynasties, most of the inscriptions were heaven and earth, edge settings, distractions and wideness, single paper digging and inlaying, and opening the plate frame. Its surface is generally paper, but there are also a few with silk. The forms of mounting include Xuanhe clothing, gold and jade, serial clothing, butterfly dress, etc. After the Qing Dynasty, there were some new changes in the decoration of the Zhen, including five-inlaid scriptures, four editions with large ears (that is, a mounting method of mounting into two open and half-open white paper first), soft support and hard digging of whole paper and soft digging of whole paper, etc., and their heaven and earth, edge setting and distraction were gradually reduced. Secondly, the degree of grinding of the original stele is seen from the rubbing, which mainly refers to the defect of the character stroke and the fracture of the stele. The longer a stele has been alive, the greater the degree of grinding it must have, and the more words have been damaged. For example, in Yan Zhenqing's "Battle for seats", Yang Shoujing wrote that those who are not bad in the word "out" of "entering and leaving the king's life" are Song Tuo, and those who do not damage the left point of the "crown" word of "cracking the crown and destroying the sac" are old things from 200 years ago. Yang Wen tells us the bad situation of the characters "out" and "crown", which is the fundamental basis for determining the time of rubbing this post. In addition, in order to identify the extension of this post, it is also necessary to understand the engraving of this post. According to reports, there are seven kinds of engravings in this post, namely the Jingzhao'an Shiwen Engraving, the Wuzhongfu Re-engraving, the Mi Xiangyang Linben, the Beijing Inscribed Ben, the Xihongtang Ben, the Jiashan Tang Wei Shi Ben, and the Gezhong Ben. Among them, the most refined engraving is the Beijing ben. In this book, from the late Song Dynasty to the beginning of the Ming Dynasty, due to the lack of two stones, the front is missing six lines, and the latter is missing eight lines. In the eleventh year of Ming Yongle, the people's family got two stones on the ground, and it was the end of the thing. Therefore, in identifying Kyomoto, we must also remember this historical material. Another example is the "Emperor FuFu Junbei", Song Tuoben, from the beginning of the word "stele", there is a broken diagonal pattern, which is broken between the Ming Dynasty and the Wanli Calendar. Therefore, where the Song Tuoben, the stele is not broken, and the calligraphy and painting are fat, and the Ming Dynasty Tuoben characters and paintings are gradually thinner, and the stele is broken between Wanli and Wanli. By the beginning of the Qing Dynasty, the calligraphy and paintings were gradually fattening, and the word "supervisor" was defective. Above, it is an example of the identification of the time of the rubbing of the word by the defect of the word, and it can be said that a considerable proportion of the inscription is mainly used in this method to determine the time of its rubbing. However, this is by no means the most reliable basis. As the saying goes, "The road is one foot high, and the devil is one foot high." Since you determine the degree of newness and oldness of the takumoto by examining the grinding situation of a certain word, then I will make an article on that word. In the Qing Dynasty, it was very popular to make up for it. Some use ash and glue to patch up the rough stones of the inscription, and then engrave them according to the old rubbings, then use old ink and old paper to rub and print, and finally use old-fashioned mounting. In this case, it is the most difficult to identify. The main method of identification is to look at the words of the old extension documents to see whether they are consistent with the fat and thin form of the whole stele, if they are not consistent, there must be a problem. Others engrave the missing old Tuokao character on another stone, and when they are framed, they expand the old Tuokao script and make up for the defects in the Tuoben. Others are directly from the original stele to expand the examination text. Because on a stele, a word may appear several times, such as the second line on a stele, the "tian" word has a defect in the last pen, but the "tian" word in other places is not defective, so the word "tian" elsewhere is expanded to replace the missing "tian" word. In this case, only from the paper color and ink color of the extension to identify, mainly to see whether it is coordinated. In the Ming and Qing dynasties, some people also framed the Ming and Qing rubbings or rubbings on the borders or paper of the Song dynasty rubbings or rubbings, impersonating the Song Tuoben. Now in the painting and calligraphy market, this method of counterfeiting is called "loading coffins". Some are to take the inscriptions of celebrities on the old stele to the new tautology and impersonate the old takumoto. Others stamp the seals of the ancient inscriptions on the new rubbings to fill the old ones. Although some chapters are true, they are stamped on the back, and some even the chapters are forged. In this case, it is mainly by examining the degree of grinding of the text on the rubbing to determine the timeliness of the rubbing, as well as the authenticity of the seal and the degree of antiquity of the printed color. Third, preservation and maintenance first, dust removal. After getting the top book, the first work that should be done is dust removal. Dust removal will also play a certain role in insecticide. When removing dust, it is generally used with a brush or fine brush to gently brush off the dust attached to the paper. If the sticking is tight, you can also use a vacuum cleaner to remove dust. Use milk light to remove the dirt on the surface of the bag, and the effect is also very good. Second, deworming. There are many insects that harm paper substances, such as book lice, termites, sweater worms, short-nosed wood elephants, cockroaches, naked plant beetles, Chinese round skin sacs, grain mealworms, oriental cockroaches and so on. Some of them only eat starch and gum substances in the mounting material, and some eat almost everything, and lay eggs on it, and the hatched insects eat paper substances, and the small insects pupate into adult worms. At the same time, they also discharge colored liquids, contaminating the topography. There are three main methods of pest control. One is to use carbon tetraoxide, phosphine, ethylene chloride and carbon dioxide, methyl formate and carbon dioxide, ethylene dichloroethylene and carbon dioxide as a lavender distillation, the top book is placed in a closed container, under the condition of temperature 30 ° C, fumigation for one to two days, you can achieve the purpose of insect removal. One is the use of vacuum insect control. Place the rubbing in a vacuum for one to two days to remove insects. Another is that in the cabinet or box where the top book is stored, mothballs, sandalwood, Tibetan incense, etc., can also play a role in repelling insects. However, this method is not particularly reliable, and it must be checked frequently, problems are found, and dealt with in a timely manner. For the inscription of dust and insects, you can make some box sets and put them into box covers. This approach can reduce the damage of dust, light and air pollution, as well as the mechanical damage of the stele during the moving process. Some people only try to be simple, take the old takumoto they bought back to the hospital, and use ultraviolet rays to shine overnight, and everything will be fine. It is believed that this method can be both disinfected and insecticidal. As everyone knows, although this method can play a role in insecticidal sterilization, it has also caused great damage to Takumoto itself and shortened its lifespan. The ancients used the method of sun exposure to solve the problem of mold and insect removal. Zhu Yizun, a scholar and bibliophile, has the name of "Violent Book Pavilion". Although this method has a certain effect on solving mold and pest control, the consequence it brings is that it accelerates the aging of the paper and makes the paper yellow and brittle. Because of the sun's exposure, there is not only ultraviolet damage to Takumoto, but also damage caused by high temperatures. Aging experiments have proved that baking paper at 100 ° C for three days is equivalent to storing it in a storage room for 25 years at room temperature. Third, pay attention to the storage conditions of the takumoto. Topography should be placed in a dry, ventilated place to avoid damp mold and avoid direct irradiation of light, especially ultraviolet radiation. If possible, it should be placed in an environment with a humidity of 50 to 60% and a temperature below 14 to 18 ° C. But the temperature should not be too low, too low temperature will make the paper brittle. Controlling the environment in which the top book is stored and maintaining the corresponding humidity and temperature is an effective measure to prevent mold and bacteria from breeding and multiplying. In addition to insect pests, there are also microorganisms that harm Takumoto, which are fungi (i.e. mold) and bacteria. The pigment secreted by mold is very stable, mostly insoluble in water, so it makes the color and spots (usually yellow, brown and black spots) produced on the topography difficult to remove. Experiments have proved that the growth of mold can reduce the strength of paper by half within five days. It can be seen that it is very important to create a good preservation environment for Takumoto and prevent the growth of mold. A few years ago, the Central Archives and other units developed a kind of anti-mold agent called leaf alcohol Xufang, as well as the Shanghai Museum and other units developed a vapor phase anti-mildew agent, which can play a better effect on mold prevention. As a collector of inscriptions, beginners must also know some common sense knowledge. Sometimes, the effect of falsification and ignorance is consistent. Such as the problem of filling ink. After the takumoto is in your hands, you must not take it for granted that for the sake of the beauty of the takumoto, add ink in places where the ink is light, or where there should be ink and no ink. The result of this is that the true appearance of the original stele stone grinding is covered up, and it is easy to cause the appraiser to mistakenly judge the Takumoto. Fourth, damaged remediation skills 1, the damaged topography repair and mounting seems to be simple, in fact, the gap between a good mounter and an ordinary mounter is very large, which is mainly reflected in the difficulty of mounting and repairing the framer. If there is a particularly precious takumoto that needs to be repaired and framed, it must be framed by a clever framer, and it must not be done by yourself or by someone with average skills in order to save money. If you are in financial difficulties and really can't afford to hire a famous teacher, you can put it aside, and then ask for it when you have the conditions later. In my opinion, the restoration and mounting of precious extensions by technical framers is, in essence, the destruction of cultural relics. Through the repair and mounting of famous teachers, it can not only play a protective role in the expansion, but also be beautiful and generous, so that your topography has a large appreciation space. Of course, if the repair of Takumoto is not difficult, you have the ability to complete it independently, you may as well do it yourself. Beware of the paste, though. According to the traditional method, Sichuan pepper, alum, pyrethrum and so on are generally added to the paste, so that it can play a role in preventing insects. CMC adhesives can also be used when mounting takumoto. This adhesive does not ferment, does not mold, does not eat insects, does not bite rats, and has good thermal stability and salt resistance. 2, dirt removal method where water spots and mud spots, can be cleaned with water. When cleaning, the paper is first placed in a water dish at 60 to 70 ° C, gently rinsed for 20 to 30 minutes, after removal, then use absorbent paper to absorb the moisture on the paper surface, and dry it. The method of dealing with oil spots can be removed with organic solvents. There are mainly ether, acetone, toluene and carbon tetrachloride. The removal of mold spots, insect spots and ink spots is more difficult, and generally uses oxidation methods such as hydrogen peroxide, chloramine T, sodium hypochlorite and so on. Rust spots can be cleaned with 5% oxalic acid solution, or a dilute solution of ascorbic acid (that is, vitamin C), which can achieve a better removal effect. It is worth noting that in the process of removing dirt, all that is cleaned with chemicals should be washed immediately with clean water to prevent leaving new stains and increasing the pH of the top paper, but it is best not to use it without chemical cleaning.
(Note: The pictures and content are from the Internet)