Mao Ziliang dictated, the surging news Lu Linhan sorted out
In 1900 (the twenty-sixth year of Qing Guangxu), Duoyun Xuanxuan Fanzhuang was officially established, and it has now gone through double armor. On the occasion of duoyunxuan's 120th anniversary, the "Surging News art review" (www.thepaper.cn) recently interviewed the predecessors who worked in Duoyunxuan to salvage the long-term past of Duoyunxuan.
Mr. Mao Ziliang joined Duo Yun Xuan in 1962 and was responsible for the reproduction project of "Ten Bamboo Zhai Calligraphy and Painting Notation" in the 1980s. He recounted the entire project from going to Beitu and Liaobo to investigate, selecting versions, to transporting borrowed cultural relics by train, to reproduction, and then to the affirmation of many experts. "When Mr. Qi Gong came to Shanghai to identify calligraphy and paintings, he also looked at Duo Yunxuan's copy of the "Ten Bamboo Zhai Calligraphy and Painting Notation" and said: 'Good! It's so good! At this time, so many experts are sure, and it is still quite happy to think about it. ”
Duo Yunxuan's reproduction of the "Ten Bamboo Zhai Calligraphy and Painting Notation"
"Ten Bamboo Zhai Calligraphy and Painting Notation" is a textbook book printed by "RaoBan", integrating poetry, books, paintings and printing art, and is a huge structure in the history of woodblock watermarking, with the reputation of "the white eyebrow of the painting garden and the red banner of the painting forest". All calligraphy and painting, bamboo, ink, stone, feather, plum, orchid, fruit eight scores, each spectrum two volumes, a total of sixteen volumes, butterfly suit.
The "Ten Bamboo Zhai Calligraphy and Painting Notation" began with the first score of Wan Li Jiwei (1619) "Book of Calligraphy and Painting", and ended with the eighth score of Chongzhen Yanyu (1633) "Fruit Spectrum", and the zi printing time lasted for fifteen years. Each spectrum is ordered, except for the "Bamboo Spectrum" with bamboo tips, the "Lan Spectrum" with a hand style, and the rest of the scores are forty pieces, one picture and one text, with books and paintings, which reflect each other. The "Ten Bamboo Zhai Calligraphy and Painting Notation" "painting and carving is exquisite and strange, the score is clever and deserved", which attracted widespread attention soon after the publication of the notation, and began to be imitated, so that Hu Shi declared that "the original plate is treasured, the su is true, the near-effective is, the fish is afraid of mixed fish, the good price is sold, and the algae is not false." "There have been more than twenty kinds of reprints and engravers over the centuries. The "Mustard Garden Painting Biography" compiled by Li Yu and others in the Qing Dynasty was also inspired by it.
In the 1980s, Duo Yunxuan spent four years, using the National Map (then the Beijing Library), Liaobo and some private collectors as the base, sorting out and reconstructing rare books. Limited edition number, a total of 300 pieces, of which the first twenty fine framed albums are made into eight scores. In 1989, he won the highest prize of the six-year Leipzig International Book Art Fair, the national award higher than the gold award, and won great honors for China's book publishing industry.
Speaking of Duo Yunxuan's reproduction of the "Ten Bamboo Zhai Calligraphy and Painting Notation", we must first talk about the "Luoxuan Ancient Notes" led by Mr. Fang Xing, deputy director of the Shanghai Municipal Bureau of Culture at the time, and Duo Yunxuan's cooperation with the Shanghai Museum to commemorate the centenary of Mr. Lu Xun's birth. After this incident, the editor-in-chief Li Lu told me that there was a deputy director of the Nanjing Cultural Bureau named Zhou Estate, who was a colleague of Fang Xing. Zhou Estate proposed to Fang Xing, "I have here the Ten Bamboo Zhai Calligraphy and Painting Notation, can you consider copying the woodblock watermark of Shanghai Duoyunxuan?" So Deputy Director Fang Xing and Editor-in-Chief Li Lu asked me and my colleague Xue Jinqing to go to Nanjing to have a look.
When we went there, we found that his collection was a hundred copies, not all of them. The version he collected was not our ideal version either. After returning to Shanghai, I went to visit Mr. Huang Bao, an expert in versionology. Mr. Huang Pei said that Mr. Zheng Zhenduo has a fragment of the "Ten Bamboo Zhai Calligraphy and Painting Notation", and you can investigate and study according to this fragment, and use this as the base, select the best to supplement, complete the "Ten Bamboo Zhai Calligraphy and Painting Notation", and recreate the rare book.
"Ten Bamboo Paintings and Calligraphy"
After discussing with Mr. Li Lu, we went to the Beijing Library. With the help of Mr. Li Zhizhong, Director of the Beijing Library Business Division, we used pencils to make records in the library, and recorded all the texts, imprints, inscriptions, etc. We went twice in total, analyzing the different versions of the transcription and selecting the best and the worst. In our spare time to transcribe in the Beijing Library, we visited the bookstore and the Liuli Factory and bought the monochromatic "Ten Bamboo Zhai Calligraphy and Painting Notation" printed by the Chinese bookstore. This is of great benefit to us, we can number the pictures on the monochrome version, and then write the previous records on the monochrome version of the pictures, and then distribute them to the sketching team for reference. After that, we went to the Liaoning Provincial Museum to find a good version. Yang Renkai, director of the Liaoning Provincial Museum, was also very enthusiastic and showed us the version of the collection. Yang Renkai said that there is a retired cadre in Liaobo named Li Wenxin, and he also collects the version, so you can go and see it.
We finally chose the fragments of the "Ten Bamboo Zhai Calligraphy and Painting Notation" collected by Zheng Zhenduo, Wang Xiaoci, Gu Zigang (North Map Collection), Li Wenxin's collection, plus a painting collected by Zhou Estate, with a total of 356 calligraphy and painting prefaces. From finding versions and records, this process took a total of two years. When we got back, we reported to Mr. LiLu, who said, "Now that you've got all the good versions, we've decided to officially start construction." "In 1983, when I was vice president, Mr. Li Lu and the president asked me to hold a mobilization meeting. I remember preaching at the meeting: First, the most important thing is safety, because these books are all national first-class cultural relics; second, this reproduction of the "Ten Bamboo Zhai Calligraphy and Painting Notation" hopes that everyone will work together to win a national award.
After the mobilization meeting, we contacted the Beijing Library and the Liaoning Provincial Museum, and wrote down the IOUs, terms, compensation matters that were supposed to be problematic, and plans to frame them. I remember that we first went to the Liaoning Provincial Museum to borrow the fragments, and then went to Beijing, from north to south. I, Xue Jinqing and Lü Qinghua went together. Lü Qinghua is the leader of the sketching team, and he needs to be asked to judge the difficulty of the sketching and the feasibility of copying. He said, "The version is clear, the difficulty is not high, it is a large amount, and it is necessary to copy the original taste." ”
After the three of us left Liaobo, we bought a soft sleeper room for 4 people on the train to go to Beijing. On the train, we locked our doors and took turns sleeping to guard the borrowed artifacts. When I was editing Duoyun magazine, I met Mr. Shen Peng, deputy editor-in-chief of Renmei Publishing House (later the chairman of the Chinese Calligraphers Association). I asked him for help, and when we arrived in Beijing and got off the train, we were picked up and taken directly to Renmei Publishing House, where we put the borrowed cultural relics in the prepared safe. A day or two later, we went to the Beijing Library to borrow another fragment of the Ten Bamboo Zhai Calligraphy and Painting Notation. Subsequently, we went to Renmei Publishing House to take out the stored Liaobo cultural relics, and Renmei took a taxi to take us to the train station. After arriving in Shanghai, the car of the unit came to pick us up and returned to the unit, and put the cultural relics of the two borrowed units into the safe of the sketching group.
From the mobilization meeting in 1983 to the eve of the National Day in 1985, after we bound the copied "Ten Bamboo Zhai Calligraphy and Painting Notation", the publication and distribution ceremony of the "Ten Bamboo Zhai Calligraphy and Painting Notation" was held in the Literary and Art Hall. At that time, Mr. Gu Tinglong and Mr. Gong Shuying of the Beijing Library participated in the launch ceremony. Later, when Mr. Qi Gong came to Shanghai to identify calligraphy and paintings, he also looked at Duo Yunxuan's copy of the "Ten Bamboo Zhai Calligraphy and Painting Notation" and said: "Good! It's so good! "At this time, there are so many experts who affirm, and it is still quite happy to think about it."
The first ceremony for the publication and distribution of the "Ten Bamboo Zhai Calligraphy and Painting Notation" was held in the Literary and Art Hall
The key was later tested. In October 1987, the Taiwan region published an offset print with a "Preface" in the collection of the "Taipei Library", and in the June 1990 issue of the "National Palace Cultural Relics Monthly" there were expert papers saying: The book is the Ming version, and Duo Yunxuan is the early Qing Dynasty edition. After comparing and concluding completely opposite, the special "Base and Comparison of the Ten Bamboo Zhai Calligraphy and Painting Spectrum > Published on Both Sides of the Taiwan Straits <" was published on February 22, 1991 in the Hong Kong "Ta Kung Pao" to clarify it, pointing out: The "White Lotus" painted by the editor Hu Zhengyan became a red lotus, Tang Bohu "Tang Yin" mistakenly became Tang Dian, avoided Kangxi Xuan ye and changed "Xuan" to "Yuan", many calligraphers and painters had their names imprinted Zhang Guan li dai, and also misused the imprints of Wang Chen, Wang Ying, "Mustard Garden" and other marks by the authors of "Mustard Garden". With strong arguments, Duo Yunxuan and its award-winning reputation have been safeguarded.
Editor-in-Charge: Lu Linhan
Proofreader: Luan Meng