By chance, I got two volumes of rubbings of Chen Jieqi 200 Mirrors from Guardian auction, including 182 bronze mirrors, many of which are exquisite mirrors and orphans. I am very satisfied. Many friends urged me to sort it out and publish it, and it was three volumes and one book. It will be published by the Cultural Relics Publishing House in a few days. Today, I will extract a short article from the general introduction of the book and teach it to Fang Jia first. Chen Jieqi's Tibetan mirror is unusual. There are only seven mirrors, which are the most precious among the bronze mirrors, accounting for one tenth of the existing bronze mirrors at that time. There has never been an accurate statement about how many bronze mirrors Chen has collected. He gave it to Wu Da before he was fifty-two? In his letter, he once said that all mirrors are not refined, and * * * expanded to 170 papers, claiming to be 200 mirrors, which failed to make up for it. When Chen was fifty-two years old, that is, four years of Tongzhi, he painstakingly copied the mirror rubbings and published them in A.D. 1865. Zhai Zang Jing, a book with 108 mirrors. According to editor Xuan Zhe, this book is 68 pages less than Chen Jieqi's 170 pages, which is estimated to be the result of eliminating the impure. However, the author compares the Chen Jieqi Tibetan mirror rubbings (hereinafter referred to as Jiadebon) appearing in Guardian auction with "? After careful checking, the book Zhai Zang Jing (hereinafter referred to as Tibetan version) found that what Xuanzhe said was not true. The details are as follows: guardian version 182, Tibetan version 108. The Guardian edition has 74 pages more than the Tibetan edition, and the Tibetan edition has 6 pages that the Guardian does not have. Reliable materials show that the real number of hidden mirrors should be told by Chen to Wu Da. One hundred and seventy mirrors, plus twelve extra mirrors from the Guardian, plus six mirrors belonging to the Tibetan version but not from the Guardian, make a total of * * * 188 mirrors. Recently, the author consulted Liang's "Cave Hidden Mirror" published in the early 1940s. Liang repeatedly claimed that the book recorded 20 mirrors. After carefully checking with Guardian State, he found 1 1 of the 20 faces in Guardian State, 188 faces and this 1 1 face is exactly 199. From this perspective, there will be no fewer than 200 hidden mirrors in Chen Jieqi. As for his evaluation of Wu Da? It was only said one hundred and seventy times, and it has been twenty-five years since his death, which is no longer enough.
From the Guardian Edition of 182 paper, we can see that there are many kinds of mirrors in Chen Jieqi, including bronze mirrors 182, which run through the Western Han Dynasty, the Eastern Han Dynasty, the Three Kingdoms, the Jin Dynasty, the Southern and Northern Dynasties, the Sui and Tang Dynasties, the Jin and Yuan Dynasties, with the emphasis on the Han Dynasty. Among them, there are more than 50 mirrors in the Western Han Dynasty and more than 80 mirrors in the Eastern Han Dynasty. The types of mirrors known in the Western Han Dynasty are almost all-encompassing. Chen Jieqi's collection of mirrors is not only large in quantity, but also high in quality. In 182 bronze mirrors, there are not only many age mirrors, but at least 20 of them are orphans without any description. Here, taking the mirror of the Western Han Dynasty as an example, I would like to make some introduction and explanation.
Among the more than 50 mirrors in the Western Han Dynasty, there are dragon mirror, dragon mirror and four-leaf mirror. Among these three kinds of mirrors, the most striking one is the double-sided four-leaf mind king mirror. This kind of mirror has been recorded in many mirror books, such as Liang's "Cave Hidden Mirror", which is two famous products that retain the legacy of the former Han Dynasty. There are grass mirror, sunlight arc mirror, open arc mirror, bronze arc mirror and Japanese mirror, which create a new look of China mirror. Even the arc mirror, innocent even the arc mirror, even the arc with a mirror. Among these seven new mirrors, the grass-leaf mirror is eye-catching because of its beautiful and soft style; Sunglasses and Zhao's Range Rover are noble, bright, subtle and profound; Copper, innocence, everyday existence? Even the curved mirror, with its dignified and generous, magnificent and favored; The Four Gods Mirror of Bo Bureau is proud of its stable structure and rich decorative patterns. There are a large number of mirrors of four gods and animals, such as bird mirror, animal mirror, bee butterfly mirror, Changle Weiyang mirror, Junyi senior official mirror, Changyi descendants mirror, Fu Gui mirror and so on, all of which are masterpieces with unique styles.
The bronze mirror inscription is a symbol of the epoch-making development of Han mirror. Guardian edition of Mirror of the Western Han Dynasty has rich and colorful inscriptions, many excellent inscriptions and exquisite calligraphers, which shows the changing track of calligraphy combining Han Chuan with Han Li and the beautiful charm of Han Chuan, Han Li and octagonal.
Now let's talk about Jia Deben's Eastern Han Mirror. The decorative patterns and inscriptions of bronze mirrors in the Eastern Han Dynasty developed along the lines of the Western Han Dynasty mirrors. The bronze mirror art in the Eastern Han Dynasty continued to advance on the basis of the bronze edge decoration art in the Western Han Dynasty, and also made many breakthroughs. In ornamentation, such as portrait mirror and special-shaped four-leaf mirror; Inscriptions, such as the mirror of surname inscription, can be said to be brand-new, which can be clearly seen from more than 80 bronze mirrors of the Eastern Han Dynasty in Jiadeben, but generally speaking, the bronze mirrors of the Eastern Han Dynasty have not changed as much as those of the Western Han Dynasty and the Warring States Period. The progress of bronze mirrors in the Eastern Han Dynasty is manifested in the ornamentation, which is mainly manifested in the great development of Boju mirrors, enriching the contents of Boju mirrors, improving some production techniques of Boju mirrors, and finally gradually simplifying them until they are eliminated.
The progress of mirrors in the Eastern Han Dynasty was manifested in inscriptions, mainly in the appearance of a large number of surnames. For example, Li's works had their own discipline, and the works of five schools had four clothes. There are no fewer than 20 surnames inscribed on more than 80 bronze mirrors of the Eastern Han Dynasty by Jia Deben. From so many inscriptions on surnames alone, we can see how the production of bronze mirrors flourished in the Han Dynasty.
The bronze mirrors of the Han Dynasty, with various patterns and rich inscriptions, can set an example for vigorous calligraphy in later generations, form a rainbow, cut through the Wan Li sky, shine in the art world of China, and add a brilliant page to the history of China art. This can be seen clearly from the Guardian.
During the long historical period of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties, China's bronze mirrors continued the tradition and influence of Han mirrors, and never stopped. Generally speaking, the popularity of making bronze mirrors is not as good as before, but it can't be said that bronze mirrors in this period have not developed at all. At least since the Three Kingdoms period, chronological mirrors have increased. Chronological mirrors are of great value in archaeology and can be used as a yardstick to judge the age of some bronze mirrors and some tombs. In addition to the Bo Giant Mirror, the original kinds of mirrors in the Han Dynasty, such as the deformed four-leaf mirror, the beast mirror, the god-man-beast mirror and the inscription mirror, were generally maintained, and the pattern of semi-circles and squares interwoven into strips developed. The focus of Chen Jieqi's mirror collection is the Han mirror, but the bronze mirrors of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties are not his main objects of concern. However, because the bronze mirrors of this period were basically not beyond the scope of Han mirrors, he still collected a lot. Guardian has twenty or thirty faces, including the calendar mentioned above.
Collection museum
Famous painter, tablet engraver and bibliophile in Qing Dynasty. Shouqing was born in Futao, Qi Dong. Wei county, Shandong. In the twenty-fifth year of Daoguang (1845), he was a scholar, edited by the Hanlin Academy, and studied with a bachelor's degree. Xianfeng four years (1854), resigned and returned to Li. I've only devoted my life to thesis writing and exams, and I'm rich and refined. First of all, I collected Mao Dinggong and a large number of Shang and Zhou bronzes and ancient seals of Qin and Han dynasties, which were spread all over the world. Mao has 497 Chinese characters, the highest in the world. 1948 shipped to Taiwan Province province, now in the National Palace Museum in Taipei. There are more than 7,000 seals in the Zhou, Qin and Han Dynasties, 235 bells, ding, statues and instruments, and more than 80 utensils. In the thirty years of Daoguang (1850), the "Wanyin Building" was built. Now it is a provincial key cultural relics protection unit, with a collection of more than 10,000 pieces of ancient books, paintings and calligraphy, such as Jin Shilu, a Song edition. Pan Zuyin, a scholar from Jiangsu Province, is called "Pan Nan Bei Chen". After extensive search, dozens of original paintings and calligraphy of Shandong celebrities since the Song and Ming Dynasties have been collected, which is called "Mulberry Legacy". He is the author of Textual Research on the Legacy of Sangzi, Notes on the Legacy of Sangzi, Miscellaneous Notes on Stone Writing, Biography of Ancient People, Ji Jin in Shanzhai, Ten-room Seal of Zhongshan, Ancient Records of Shanzhai, Seal of Ancient Jade in Shanzhai, and Seal of Shanzhai, etc. There is a collection of Yi rubbings in the neighborhood, with 8 volumes of Records of Zhai Zhai Zhai Ji Jin. After his death, his descendants rarely sold their ancient books, calligraphy and picture books.