Tie science refers to the study of the origin and quality of the rubbings, the quality of the rubbings, the authenticity of the calligraphy and the text content. From the perspective of calligraphy art, Tie Xue refers to the calligraphy school that admires the calligraphy of all dynasties since Jin Wang Xizhi and Wang Xianzhi, to distinguish it from "Steleology".
To sum up, its concepts can be briefly summarized into three types:
1. Learning from Jin (people’s posts). The first sentence of Kang Youwei's "Guang Yi Zhou Shuang Ji·Zun Stele" says: "The books written by Jin people were circulated as Tie, and their authentic works still exist in the Ming Dynasty. Therefore, it is appropriate for people in the Song, Yuan and Ming Dynasty to call Tie Xue." "It seems that "Tie Xue" is the Tie Xue of Jin people, so it is said later: "Therefore, all the Tie Xue handed down today, no matter what family or what Tie Xue, are probably the originals of Song and Ming Dynasties that have been reprinted many times, even though they are named Xi. , presented, changed beyond recognition, and the spirit is still undisputed...The failure is so great that the master will never see his work." (Kang Youwei: "Guang Yi Zhou Shuang Ji", "Selected Papers on Calligraphy of the Past Dynasties", Shanghai Calligraphy and Painting Publishing House, 1979. October 1st edition, pages 754-755)
2. Writing in cursive and regular script since the Jin and Tang Dynasties. The subtitle of the "Tie Xue" section of Sha Menghai's "Calligraphy in the Past Three Hundred Years" states "mainly in Jin and Tang Dynasty cursive small regular script" is actually used in this sense. Sha Lao further divided it into two types: within the scope of the two kings (actually including Tang, Song, Yuan, and Ming Dynasty, so Zhang Zhao, a school director, was also included); those that found a new way outside the two kings. . But this does not include calligraphers such as Kang Youwei and Zhao Zhiqian who adapted cursive writing from Bei Stele. In addition, it is worth noting that Sha Lao listed the study of Yan as a separate branch, so the "Jin and Tang" here are the "Jin and Tang" without Yan Zhenqing. (Sha Menghai: "Calligraphy in the Past Three Hundred Years", "Sha Menghai's Collected Works on Calligraphy", Shanghai Painting and Calligraphy Publishing House, June 1997, pp. 44-52, 67) Kang Youwei's theory of "Being Tang" , in various discussions, he often criticized the Song, Yuan and Ming dynasties together. When he said in "System Thirteen" that "in modern times, people respect the books of the Tang, Song, Yuan and Ming dynasties, and even the teachings of their fathers and brothers. As my friend said, copying and quoting are all based on this. Therefore, he will circle around all his life and cannot get out of the hands of people of the Tang and Song Dynasties." (Kang Youwei: "Guang Yi Zhou Shuang Ji", "Selected Essays on Calligraphy of the Past Dynasties", Shanghai Calligraphy and Painting Publishing House, 1979 October 1st edition, page 822) When people say this, people can't help but connect it with his "The study of stele and the subtleties of the study of texts have entered the great system of Zan", so in the eyes of ordinary people, Kang's " The concept of "Tie Xue" is sometimes equated with "Jin and Tang Xing Cao". Just like the function of the concept of "stele science", Kang's concept of "tie science" is not so rigorous.
3. Studying the Ge post even mainly refers to studying Zhao and Dong. Ma Zonghuo said: "From the Song Dynasty to the Ming Dynasty, all Tie studies were taught by the same sect." The following article also pointed out the historical fact that the Qing emperor paid great attention to the imperial examination. He also said: "Zong Zhao and Zongdong have their own differences, but they are the same as Tie studies." . . . If Tie Xue is not limited to Zhao and Dong, but can see Zhong and Wang above, and cover Su and Mi below... This is the so-called heroic person who will stick to the customs but not change them. There are also people. , it should be treated separately." (Ma Zonghuo: "Shu Lin Zao Jian", Cultural Relics Publishing House, new edition in May 1984, pp. 192-193)