Lee. Z Monument
This entry is a polysemous word with three meanings.
Lee. Z Monument, also known as Mr. Li Hanguang Monument, is called Mr. Ziyang Temple Monument in Maoshan in Tang Dynasty. Dali seven years (772) on August 14th, Herry Liu, Zhang writing, Li Yin. This stone tablet was originally in Yuchenguan, Jurong, Jiangsu Province. Ming Shizong Jiajing was destroyed by fire in the third year (1529). It has been handed down for a long time, and the whole paper has not been seen. * * * The word is 835. The number of original stone tablets is unknown.
Chinese name
Xuan Jing Li Hanguang Monument
authorized strength
Liu
write
Zhang
full name
Tangmaoshan Ziyang Temple Xuan Jing Monument
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In fact, Yan Zhenqing's regular script "Li Bei" is never tired of reading, and it is a knot!
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Lee. Z Monument is also called Mr. Li Hanguang Monument. Dali seven years (772) on August 14th, Herry Liu, Zhang writing, Li Yin. This stone tablet was originally in Yuchenguan, Jurong, Jiangsu Province. In the third year of Jiajing in the Ming Dynasty (1529), it was destroyed by fire. It has been handed down for a long time, and the whole paper has not been seen. * * * The word is 835. The number of original stone tablets is unknown.
"Li Bei" records the deeds of Li Hanguang, a Taoist priest in Ziyang, Maoshan in the Tang Dynasty. Li (683-769), whose real name is Hong, changed his surname to Li because he avoided the prince Li Hong. He is a descendant of Tao Hongjing, a Taoist immortal in Qing Dynasty, and was praised by Xuanzong. He was a famous Taoist priest with the largest number of followers in the ruling and opposition parties at that time. Li himself is also proficient in calligraphy. Yan Zhenqing said in "Li Bei" that he was "good at seal script, especially official script". By the Tang Dynasty, most people in Buddhism and Taoism were very proficient in calligraphy, which was necessary for copying scriptures and entertainment. Therefore, Buddhism and Taoism calligraphy is a magnificent sight, and there are many contacts with secular calligraphers. There are also Taoist good books, such as Lu Xuanqing, a Taoist priest in Taiqing Palace, and Quan Deyu's "The Book of Emperor Taizong Bofei Answers the Imperial Decree" said that "the work is an eight-point book of seal script, and it has its own family law." There is fish Xuan, Liang, and Volume 10 of Xuanhe says: "(Taoist fish Xuan) ICBC has Wang Xizhi's brushwork, but he is clear and does not fall into secular habits. He floats in the air and has a saint-like style. You can imagine him. " Five comments on the volume: "(Liang) Taoist priest traveled to Xihan Mo, and when he first came out of the wood, Wang opened the law, which was against the rules for a long time. However, its laws are strict, its spirit is relaxed, and its style is clear ... Looking at its book Tai Shang Lao Jing, it is a good thing to know that it is beyond your reach. " Li, Lu, Yu and Liang, although famous for thousands of years, won the admiration of future generations, but a piece of stone remains in the world, which will eventually become a regret (see Zhu Guantian's Calligraphy History of China, Sui, Tang and Five Dynasties Volume). We can only learn from Liu today. I went to see the splendor in Li Wenzhang.
Although the brushwork of this tablet is from the preface to the holy teachings, it is soft and concise. The so-called clean, short and long, seeking to put pen to paper, in order to get comfortable, appears rigorous and neat, Gu Zhuo vigorous, with the wonderful idea of "painting can be cut as clean as blonde hair and white as jade ruler" ("Qing Da Zhongguang Book Raft"). The body is slightly sparse and tortuous, while Jun Fang is round and soft, neat and beautiful, which is a legacy of Ou Yangxun. The first half of this monument is carefully written, and the second half has been released to make the opening and closing more exciting. Calligraphy in the Tang Dynasty was a period of great reorganization in brushwork, brushwork and physical structure, which redefined the complicated internal factors of calligraphy in the previous dynasty. Judging from the method of writing regular script, Ou Yangxun refined and sorted out the inscriptions from the aspects of font, brushwork and structure. Similarly, Zhang also did the same work on the preface to Wang Shengjiao from the perspective of running script, but it did not achieve special success. However, Yan Zhenqing transformed the running script from the seal method, created a new style, and finally reached another peak of running script in China. This can only be said that different calligraphers' knowledge and methods lead to different results.
The main records of this monument are: The Postscript of Ancient Books Arranged by Ouyang Xiu in Song Dynasty, The Catalogue of Ancient Books Arranged by Ouyang Yong, Huang's Outlook on the East, The Collection of Precious Stone Carvings, Li Guangying's Textual Research on the Stone Carvings Collected in Guanmiaozhai in Qing Dynasty, Yan Guan's Record of Jiangning Stone Carvings, Lv Fang's Correction of Dongzhou Stone Carvings, etc.
This is a copy of Medog, cut and mounted. *** 13 opening, each half opening is 26cm in the longitudinal direction and 17.5cm in the transverse direction. Finish the foot from beginning to end, without any damage, and the words are clear and beautiful. Bao believes that "there is no doubt that there were rubbings before the Yuan Dynasty", and his Records of Rare Books and Notes on Supplementary School Monuments are all famous in the name of Song Tuo. In front of the book are the internal and external signatures of Wang Duo and Bao. In the latter volume, there are two poems by Shen, Bao's postscript, poems by Chen, Zhu Yifan, Wang and Zhao, and other papers and a postscript by Zhu Yi. There are six seals in Zhong Bao's Shou and Mo Yuan. When the old collection of bags was transferred to Zhu.
This rubbing is exquisite felt wax, and the paper and ink are ancient. It was collected by Mr. Zhu of Xiaoshan and donated to the Palace Museum by Mrs. Xianyou in 1953.
***5 sheets