How should the contradiction between "pen edge" and "blade" be resolved? Watch Zheng Peiliang's "Xianyu Huangbei"

The Xianyu HuangBei was published in November of the eighth year (165) of the Eastern Han Dynasty, and its full name was "Han Guyan Gate Taishou Xianyu Junbei". It was excavated in Wuqing County, Tianjin in May 1973 and later moved to Tianjin Museum.

"Fresh in huang stele" is under the tip and below, in the shape of a gui, 242 cm high, more than 80 cm wide, and 12 cm thick. The head of the stele has a stele with a diameter of 15 cm. On the forehead of the stele, a small seal is carved with a small seal that reads "Han GuYan Gate is too guarded by the Junbei". The contents of the stele yang and the stele yin are similar, and the family lineage of Xian Yu Huang is listed in detail at the end of the text. After the founding of the People's Republic of China, there are many Han monuments, but such a magnificent giant production as "Xianyu Huangbei" is very rare.

"Xianyu Huangbei" Takumoto

Since the Later Han Dynasty, monuments have risen. Zhu Jianxin's "Jin Shi Xue Shu Shi" said: "At that time, the protégé was a former official, and he carved a stone song for the lord of his house, which was all over the county, and the atmosphere was extremely strong. "Most of the Han monuments were erected by protégés and former officials, and the "XianYu Huang Stele" was erected by Xian Yu Huang's grandson Xian Yu She and others. According to the inscription, Xian Yuhuan was promoted by the local government to filial piety in his youth, and was later promoted to Langzhong. In the first year of the Eastern Han Dynasty (107), Xian Yu huang was appointed as the Taishou of Yanmen. During the period of government, Xian Yu Huang "folded the festival and cleared the line, and the frugality was bound to repair." For the Xiongnu, they were "internally harmonious and nine relatives, and external neighbors were harmonious", and they attached equal importance to enwei, peace and tranquility at the border, and the people lived and worked in peace and contentment.

Researchers generally believe that "Xianyu Huangbei" is a representative work of Fang Pen Han Li, with clear edges and angles, and cut through the iron. These are the reasons for the knife carving. The stele is better carved, the meaning of the writing is expressed, and the stele yin is stunned. Carefully observing the writing of the partial head, the stele yang and the stele yin should be written by the same person, due to the difference in knife engraving techniques, resulting in a difference in style. In the past, craftsmen mastered a skill, often passed down from generation to generation, this inscription, as if the teacher led the apprentice, the teacher demonstrated positively, the apprentice followed suit, began to carve stiff and clumsy, and then under the guidance of the master, diligently practiced, more and more skilled, the next few words have been carved vividly.

Qing Dynasty scholars began to write a large number of Han tablets, writing out a new face, a new style, and a new atmosphere. In the process of borrowing inscriptions, some writers do not grasp the heat well enough, or imitate the marks of knife carvings, or over-interpret the "golden stone qi". The reason for this is either that the individual aesthetics of the bookmakers are biased, or the limitations of the times, but the overall value of collective exploration cannot be ignored because of the flaws in the pens of some bookmakers.

Mi Fu said that "stone carvings cannot be learned", not all, you can learn, but it depends on how to learn. Mr. Qi Gong said that "looking through the blade of the pen" is a good idea. This sentence emphasizes the authenticity of the pen, and the scholars think that it is very reasonable. But if you want to really do it, it's hard. Is it difficult that our understanding of "pen edge" is so comprehensive, accurate and true? Since the Ming and Qing dynasties, especially since the rise of epigraphy, everyone's views have been different, and even very different, one sentence is not clear, "stirred" for many years, it seems to be more and more unclear.

"Fresh in the Huang Monument"

Takumoto

Now that archaeology is developed, and there are many traces of Han Dynasty Jian Mu pen and ink, what if you turn This sentence of Mr. Qi Gong in reverse, "see the blade through the pen edge"?

I have written "Rare in the Huang Stele" several times, and every time I write it, I am always not satisfied, and I write it again, or so. The beauty in it can only be appreciated, but it is difficult to integrate into the pen. One of the long scrolls shown here is cooked paper, the little wolf, without ink color changes, written out of black paint. The other one was written on chalk, a little astringent, very laborious, through this monument, replaced by two little wolves. There is still not much ink color change, and there is a little bit, which is also the sluggishness caused by rice paper.

Does it have to change?

Some people use too much ink, pour a large piece, and wet the bed. dislike.

Others pressed too much, rubbing back and forth, dotting and painting long hairs and long bumps, like a squirming bug. Don't like it either.

Calligraphy is composed of different forms of strokes, just like people's heads, eyes, ears, noses, tongues, clean, refreshing, people are spiritual. The same goes for calligraphy.

Zheng Peiliang's "XianYu Huang Monument"

(i)

part

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(ii)