As a representative figure of epigraphy in the Qing Dynasty, Zhang Tingji lived in Jiaxing, where epigraphy was extremely active, and had close contacts with contemporaries and celebrities of jinshi and calligraphy and painting.
On May 18th, the "Jinshi Spring and Autumn - Zhang Tingji and Qianjia Dao Literati Circle" hosted by Jiaxing Museum opened in the Heyun Exhibition Hall on the second floor of Jiaxing Museum.
Exhibition site
The exhibition is divided into three units, through the exhibition of works, literature and materials, etc., focusing on the calligraphy and painting works of Zhang Tingji and his friends, as well as Zhang Tingji's collection of gold and stone rubbings, purple sand, bricks, bricks, etc. Among them, Fei Danxu's "Old Picture Scroll of Colored Orchard Sense", Zhang Tingji's Tibetan Late Ming Dynasty Hui Mengchen Purple Sand Pottery Belt Lid One Drop Pot, Qing Tuojin's "Sun Denggong and Tieqin" Rubbing Axis, and "Qingyi Pavilion Hidden Stone Drum Wen Tuoben Long Scroll" more intuitively present Zhang Tingji's interaction with his in-laws and families, the Jinshi collection circle, and the circle of neighbors and friends. It is reported. The exhibition will run until July 1.
Jiaxing Museum said that the exhibition aims to outline the grand situation of epigraphy in the Qianjia Dao period and the important role played by Zhang Tingji in this glorious period of epigraphy through the display of Zhang Tingji's interaction with his in-laws and family circles, the golden stone collection circle and the circle of rural neighbors and friends.
Zhang Tingji (1768-1848) was a Qing Dynasty epigrapher, calligrapher, and collector. His original name was Ru Lin, the character said Zhou, the more character Shu Wei, the number Shun'an, Zuotian, Haiyue An disciple, the late meishou old man, Zhejiang Jiaxing people, shiju Xinhuangli. Jiaqing three years (1798) Xie Yuan, the next few times the test failed, so the family entertained themselves with books and stones. He has been diligent in his studies all his life, proficient in the study of gold and stone evidence, especially good at appreciating cultural relics, and can distinguish the authenticity of a stele and a tool, and do not distinguish its source. Rich in all kinds of ancient artifacts, from the Shang Zhou To modern times, Fanding Yi, inscriptions, calligraphy, paintings, ceramics, etc. are all collected, and collected in the hometown jiaxing Xinhuang Qingyi Pavilion.
Zhang Tingji's life went through the three dynasties of Qianlong, Jiaqing, and Daoguang, and this period was the peak of the study of evidence, and it was also a period of unprecedented prosperity of jinshi studies. "Since Qianjia, ou zhao zhixue has prevailed at that time, and ruan, bi, weng, and wang have written to each other. Uncle Zhang of my hometown did not understand the yuan du to learn well, good at identification, gold and stone artifacts, search for rich, and build the Qingyi Pavilion to hide it. ...... Shu Wei Xieyuan's love of ancient learning throughout his life can also be passed on to the world. Xun Ke and Yi Zheng Nguyen Clan and Pei Ping Weng Clan books and cherished it for Yi Lin. Zhang Tingji, as a representative figure of epigraphy in the Qing Dynasty, lived in Jiaxing, where epigraphy was extremely active, and had close contacts with contemporaries and celebrities of jinshi and calligraphy and painting. In his dealings with them, Zhang Tingji often debated and discussed, and his academic ideas also influenced each other.
Exhibits
The influence of the family on Zhang Tingji's Jinshi calligraphy and painting
The Xinhuang Zhang family lived in Dongwei, Xinhuang Town, and in the era when Zhang Tingji lived, the Zhang family should be a relatively typical family of cultivators and Jia in Jiangnan. They not only owned a certain amount of land in the local area, but also engaged in commerce, and the strong economic foundation enabled the New Huang Zhang clan to turn from ordinary landlords to gentry through the form of imperial examinations. As a model for a town, Zhang Tingji's father Zhang Zhen "became the middle of Trang Pyeong Affair" since he was 16 years old, and funded the reconstruction of taiping bridge and Nanxing bridge.
In the 29th year of Qianlong, Zhang Zhen, the father of Zhang Tingji, rebuilt the Taiping Bridge Dazhong Bridge built during the Qianlong and Jiaqing periods of the Qing Dynasty, and the north and south first had the "Great Middle Bridge" forehead, the south stone column forehead inscription "Filial Piety And Friendship Mu Yuan Ren Mercy", and the north stone column forehead inscription "Kangle and Pro-Anping", which was handwritten by Zhang Tingji.
Among Zhang Tingji's in-laws, there were jinshi and calligraphy and painting colleagues, including his wife Shen Shenyi and father-in-law Shen Kuanfu; the eldest son Bang Liang and the second son Qingrong; the younger brother Zhang Jiqin, nephew Xu Tongbai, nephew Zhang Xin, congzi Zhang Youchao, Zhang Zhifu, and Zhang Rangmu; daughter Zhang Changxi, son-in-law Zha Shihuan, and relatives Zha Yizhao; sister-in-law Shen Mingyi and his father Shen Kepei and Shen Kepei brother Shen Kejun; and relatives Wang Yuzhai and so on. Under the support of the family's economic strength and the influence of the family's learning atmosphere, Zhang Tingji obtained all kinds of resources he needed through frequent social travels, and at the same time became famous, greatly improving the academic and social status of himself and his family.
Qing Daoguang eleventh year Que Mingke painted Zhang Tingji inscription "Huangli Ten Scenic Pictures Yong Album" six frames Jiaxing Museum collection
"Old Picture of the Sense of The Orchard" is Fei Danxu's late work, the most outstanding masterpiece of his figure paintings. In the twenty-sixth year of Qing Daoguang (1846), Fei Danxu happened to meet his calligraphy teacher Zhang Tingji and Zhang Xin's uncle and nephew when Jiang Guangxu was staying at a short stay, and happened to meet Jiang Guangxu's fifth son Jiang Xuehuan, who returned from school. Several people visited the orchard together, when Jiang Xuehuan was only nine years old, his hair was cute, and they also "asked for words from the tour".
Qing Daoguang Fei Danxu "Colored Orchard Sense Old Picture Scroll" Zhejiang Provincial Museum Collection
Three years later (1849) in the spring, when Fei Danxu came to the Beixiazhai Orchard again, the scene of that year was no longer the same: his teacher and close friend Zhang Tingji died last year (1848), and Zhang Xin, who was in his prime, also died in the same year, losing two close friends in one year. And Jiang Xuehuan also died early, only twelve years old. This year was also Fei Danxu's last trip, he recalled the scene of accompanying Zhang Tingji and others to roam the orchard three years ago, revisited the place, the Si people were not there, very sentimental, so he drew this picture. This is both a portrait and a posthumous picture.
This revisit is a journey of memories and sentimentality, and Fei Danxu seems to feel that time is running out. A year later (1850), Fei Danxu died in Huzhou's former residence.
Zhang Tingji's nephew Zhang Xin and nephew Xu Tongbai can be said to be Zhang Tingji's assistants and inheritors of epigraphy research. Zhang Xin (1811-1848), the character received, fine imitation of Le carved paste, but also good at spreading, Qingyi Pavilion imitation of the fashu inscription more than his hand, unfortunately died young. Xu Tongbai (1775-1854) was originally named DaChun (大椿), the character 籀庄, a haiyan person. Xu Tongbai was nineteen years old and a disciple of the doctor, and after repeated attempts, he learned from his uncle Zhang Tingji to rule the Jinshi script. Xu Shi studied the six books of the seal, and could interpret all the ancient Chinese characters. Because of the special relationship between nephew and uncle, he is also the most diligent one who interacts with Zhang Tingji, and is also the most important descendant of Zhang Tingji in epigraphy. During Zhang Tingji's lifetime, Xu Tongbai was almost inseparable and often lived in The Qingyi Pavilion. The seal used by Zhang Tingji is more than his hand, and the ancient artifacts must be examined with them.
Zhang Tingji Tibetan late Ming Dynasty Hui Mengchen purple sand pottery with lid a drop pot Jiaxing Museum collection
In the exhibition, the Hui Mengchen purple sand pottery that was once collected by Zhang Tingji can be seen in the relationship between Zhang Tingji's nephew Zhang Xin and nephew Xu Tongbai. This pot made by Hui Mengchen at the end of the Ming Dynasty was originally collected by Haiyan Qianzhuxi. In the seventeenth year of Daoguang (1837), after Zhang Tingji, who had long admired Hui Mengchen, received this pot by Zhang Xinzuoyuan, he specially prepared a round mahogany pot holder, a square pear wood lid box, and personally wrote the bottom paragraph and inscription of the book, together with his nephew Xu Tongbai and His son Zhang Xin to examine and engrave.
Exhibit works
Guests in the Qingyi Pavilion and the Collection of Golden Stones
During the Qianjia Dao period, Zhang Tingji was known for his rich collection and exquisite knowledge, and compared with the all-encompassing collection of his predecessor Xiang Yuan, Zhang Tingji's collection was concentrated in the field of gold and stone, and the variety of his collection was beyond imagination. Zhang Tingji inherited Zhu Yizun, the great patriarch of Jiaxing Jinshi, and had frequent contacts with Haiyan Zhang Yanchang, Renhe Zhao Wei, and Haining Monk Liuzhou in the Jinshi Collection; he and Ruan Yuan were ordered to be jinshi when he was supervising Zhejiang, and took the opportunity of successive northward scientific expeditions to get acquainted with the scholar and official Weng Fanggang and The Jinshi tonghao Song Baochun. Zhang Tingji's influence on the appreciation of gold and stone radiates from the north to the capital and south to Guangzhou, and his communication with his peers is not only in the transaction of the collection, but also in the discussion and interpretation of the collection between each other. In the process of increasing the collection, Zhang Tingji's own appreciation ability has also improved with the japanese, and has gained fame in the golden stone circle, intentionally or unintentionally forming a gold stone appreciation circle with it as the core.
Qing Daoguang twenty-seven years Zhang Tingji Xingshu He Shen Wei Shou Zi Zhongtang Jiaxing Museum collection
The person who had the most profound influence on Zhang Tingji was Tui Nguyen Yuan. When Ruan Yuan was in charge of zhejiang, he compiled the "Jigu Zhai Zhong Ding Yi Instrument Knowledge", which is of great significance in epigraphy, of which Zhang Tingji was an important participant, and the book made extensive use of the gold and stone artifacts hidden in the Qingyi Pavilion. In terms of the relationship between teachers and successors, Zhang Tingji respects Ruan Yuan as a teacher, while in daily life, Ruan Yuan calls Zhang Tingji "Golden Stone Friend", which shows that the two are also teachers and friends. In 1843, the seventy-six-year-old Zhang Tingji also went to Yangzhou to meet with the eighty-year-old Ruan Yuan, and wrote "Mei Shou Tu" to record, which was passed down as a good story of Yilin.
Zhang Tingji's collection of gold stone takumoto
The "Mei Shou Tu" was given to Chen Jieqi (Shou Qing) by Zhang Tingji. Chen Jieqi (1813-1884) was forty-five years younger than Zhang Tingji, and the two were friends. The first part of the Tuoben is the three characters of "Mei Shou Tu" of Ruan Yuan's title; the second part is the "Mei Shou Tu" and Ruan Yuan's Trek painted by the Yangzhou painter Ji Shu; the third part is Zhang Tingji's eldest son Zhang Bangliang Hand Tuo "Qi Hou Tu Tablet", Zhang Tingji copied the Qi Hou Jin inscription and has an interpretation; the fourth part is Ruan Yuan's long poem "Qi Hou Jiao Ge" and The fifth part is the "Qianshi Gonghou Shougui" six-character Han brick rubbing, and Ruan Yuan has evidence.
"Qing Tuojin "Sun Denggong and Tieqin" Rubbing Axis" Collection of Jiaxing Museum
In addition, the Jiaxing Museum's collection of "Qing Tuojin "Sun Denggong and Tieqin" Rubbing Axis" can also see the interaction between Zhang Tingji and Ruan Yuan. Jinsun Denggong and Tieqin, because the bottom of the piano is engraved with "Sun Deng", "Gonghe" and "Tianlai", it was named "Jinsun Denggong and Tieqin", or "Tianlai" Qin. This Qin Ming Dynasty was the old collection of Xiang Yuanbian (Zijing), and Xiang's Qin was changed to "Tianlai Pavilion". In Chen Qirong's "Inscription on the Golden Stone of Qingyi Pavilion", there is a record of JinSun Denggong and Tieqin, describing the relationship between this iron qin and Xiang Yuanbian, as well as the Qing Dynasty Sun Yuan'an and Wu Xuan (菘圃) who had obtained it.
Ruan Yuan, Zhang Tingji and others left inscriptions on this piano. Zhang Tingji recorded the size, weight and circulation of the iron harp and composed a poem of seven words. On both sides of the rubbings are written by Zhu Qi (Lian Qing) and Yao Qing'en (Chun Qi).
Zhang Tingji's collection of heavy objects - Jia Xiangdao's original stone "Declaration Table" Collection of the Capital Museum
It is worth mentioning that the seal is also one of the important collection categories of Zhang Tingji. Zhang Tingji "accumulated forty years of mental effort, obtained more than 400 buttons from the zhou qin and han wei officials, built a room to store it", and inscribed himself on june 15, 1828, the eighth year of Qing Daoguang (1828).
In 1916, Wu Yin (1867-1922), who also liked to collect ancient seals, spent a lot of money to buy the original calligraphy manuscript of the "Golden Seal Zhai" and asked the seventy-three-year-old Wu Changshuo to write the book. Wu Changshuo commented on Zhang Tingji's seal collection in the houyi: "Qiu Li Zhang Qingyi, ancient fetish by books. Tibetan seal four hundred squares, cast chisel peeping Xuanlin. The golden seal Yan Qizhai, Cui Mo has been passed down to this day. ”
Qing Daoguang 27 Zhang Tingji Lishu Scroll Jiaxing Museum Collection
Zhang Tingji's calligraphy
As a collector and epigrapher, Zhang Tingji's calligraphy is also influenced by the collection of gold stones and has the ancient meaning of gold stones, and he is good at seals, li, xing, and kai, and the most distinctive is the calligraphy and lishu. Because of Zhang Tingji's achievements in calligraphy and meritorious names, there was an endless stream of people who asked him for words, and friends in the countryside and even local calligraphy and painting masters were proud to be able to get Zhang Tingji's words. Zhang Tingji's contacts with his neighbors and friends are mainly reflected in three aspects. The first is the calligraphy made by Zhang Tingji for a friend, or the plaque that the friend asked Zhang Tingji to write. Secondly, due to Zhang Tingji's fame in calligraphy, many painters in Jiaxing and surrounding areas have been introduced or come to ask Zhang Tingji to write inscriptions for his paintings. In addition, when some collectors get their favorite calligraphy and painting works, they ask Zhang Tingji to interpret and write poems for calligraphy and paintings, so many of the calligraphy and paintings that have been handed down to this day have Zhang Tingji's calligraphy and paintings behind them.
(Pictures and texts are provided by Jiaxing Museum)