Pinyin: bē itiè
Basic explanation
[Inscription rubbings] Stone rubbings.
detailed description
Rubbings or prints of stone carvings and woodcut figures can be used to learn calligraphy.
In Ming Dynasty, Cao Zhao wrote "On Ge Gu Yao Lun and Gu Mo": "Add paper to the tablet. Xiang Ming circled the calligraphy and painting with a hairspring pen and filled it with thick ink, which is the sound. " Qian Yong's "Lu Yuan Cong Hua Yi Neng Shu" in the Qing Dynasty: "A first-class writer with outstanding talents can be compared with Song Xue and Huating, so that he can read the history of classics, learn inscriptions, visit famous mountains and rivers, see the ancient ink, and pass it on from generation to generation." The first scene of Cao Yu's Peking Man: "Every night when he comes back from his study, he will recite some articles such as Zhaoming Wenxuan and Longwen Whip Shadow in his grandfather's room, and occasionally copy the clipboard for some dry and clever couples."
[Edit this paragraph] Stone rubbings
Stone tablet, commonly known as "Hei Hu" in the past, is not only a work of art with cultural and historical connotation, but also a combination of artistic taste and technological processing.
In order to record the important events and grand celebrations of the former dynasty, our predecessors carved literary forms and calligraphers' handwriting on cliffs and stone tablets by famous craftsmen, so the stone tablets had multiple artistic contents and were inlaid into axes or books, which became stone tablets. Monument is a combination of monument and monument. In fact, "monument" refers to the rubbings of stone carvings, and "monument" refers to the ancient famous ink collected on wooden boards and stones. In the early days of printing development, inscriptions were all important means to spread culture. In the future, people will learn these written materials in order to learn calligraphy or make historical materials. To this end, these "inscriptions" are authentic, timely, technological and artistic. Because cultural goods can circulate in the market and also have economic value, appreciation has become an important means.
To know all kinds of rubbings left in ancient times, it is very important to identify the original stone. Because the original monument was destroyed, the only remaining original or orphan rubbings will be priceless. According to historical records, Huang Tingjian in Ning Dynasty once had a "Zhenguan engraving" of Confucius Temple Monument, which was bought with twenty-two thousand gold. This shows the value of Yu Shinan's Confucius Temple Monument. However, the later editions of Cheng Wu Ben and Xi An Ben are not as good as the rubbings. 1920, the great collector Luo Zhenyu publicly sold the tablet of Anming Tuoben Temple appraised by him, with the value of 140 yuan, and the value of the tablet of Chengwu Ben Temple collected by Zhang Shumou 120 yuan.
Due to the role of the law of value, it has become the interest of many collectors to really learn to appreciate the inscriptions. From the overall understanding of the inscription, appreciation is also from the outside to the inside, with different aspects. The first thing I saw was the decoration of rubbings. All kinds of old rubbings, especially ancient rubbings, have different styles in different periods. Therefore, "fold", "butterfly" and "line" all reflect the characteristics of materials and mounting times, and then the specific ink color and effect of rubbing paper and rubbing are objective analysis of materials and techniques.
After the Southern Song Dynasty, stone engravers became more and more proficient in rubbings and stone carving. Therefore, it is necessary to further identify the styles of calligraphy and pens. , has become the main basis for appreciation. Then there is the auxiliary basis for identifying inscriptions, that is, inscriptions, seals and inscriptions, which can help us identify authenticity.
[Edit this paragraph] The difference between tablet and post bar
The appellation of stele originated from the Han Dynasty. According to the textual research of Wang Yun, a scholar of Shuowen in Qing Dynasty, the earliest tablet has three functions: the tablet in the palace stands in front of the palace to measure the sun's shadow; The tablet of the ancestral hall stands in the ancestral hall to tie livestock; A monument to the grave, used by emperors, princes and doctors to drag coffins into the grave when burying them. For these practical purposes, the first three tablets have no characters and patterns.
Post refers to the original ink written on silk or paper. Later, excellent ink was difficult to circulate, so it was carved on wood and stone, which could be expanded many times. In this way, these original ink works and rubbings carved on wood and stone are collectively called posts.
To sum up carefully, there are the following differences in inscriptions:
1. The original tablet had no words. Later, in order to make it immortal, words were added to the tablet. The main purpose was to trace the lineage, describe the life and praise the achievements, rather than spread calligraphy, so calligraphers may or may not be famous. Before the Tang Dynasty, there were many stone tablets without calligraphers' names, which showed that stone tablets paid more attention to content than writing. The purpose of seal cutting is to spread calligraphy and provide calligraphy learners with copies of famous calligraphers of past dynasties, so the quality of calligraphy is its selection criterion. As long as it is a masterpiece, even if there are only a few notes, it will still be included, and the content is rarely taken into account.
2. Different inscriptions in calligraphy have a long history. Before the Sui Dynasty, the calligraphy used was seal script, official script and regular script. It was not until Emperor Taizong wrote the script that the running script was engraved on the tablet. There are few cursive scripts except the tablet of the Prince Ascending to Heaven. The inscriptions began in Zhao and Song Dynasties, mostly poems, so they were mostly lines, cursive scripts and small letters.
Monuments of different shapes are stone carvings erected on the ground, mostly rectangular, with domes and spires. Although there is a word on one side, there are two sides, even four sides. The monument is huge and imposing. Because posts are mostly bamboo slips, letters and hand scrolls, the height is generally about one foot, and the length ranges from one foot to three or four feet. They are horizontal, mostly slate-shaped, and they are only engraved on the front. In addition, there are wood carvings on the pillars, but there are few inscriptions.
4. Different production methods. Before Nanliang, monuments were generally carved on stones, that is, writers directly carved words on polished monuments with a brush, and then carved words. Because of the convenience of knife cutting, seal carvers can often change the style of character strokes, that is, they are slightly different from the original calligraphy, and some inscriptions even play with knives directly without calligraphy. Its words are integrated into the artist's artistic taste and have a strong stone flavor, which can not be reflected by the brush. In fact, it is a joint creation of screenwriters and sculptors. Seal cutting is copying stones, that is, copying words on ink with transparent paper first, and then sketching them out from the back with cinnabar; Then rubbings, and finally lettering, two more processes than inscriptions. Although the procedure is complicated, engraving requires loyalty to the original work, trying to complete the work as best as possible, and each process can't be doped with its own intentions, so the fine print could have reached the level of authenticity.
[Edit this paragraph] Method of identifying false inscriptions
There are several methods to forge ancient Chinese characters, such as re-engraving, pseudo-engraving, wax embedding, dyeing and filling, inscription forgery, photocopying and zinc printing, scraping, filling, inking, matching, stamping, inking and mounting forgery.
Re-engraving means that the original has been destroyed or has long been lost, so re-engraving is called re-engraving. Because the original stone does not exist, rubbings are extremely rare, or orphaned, or not handed down at all, the value of reprinting cannot be underestimated. However, there are often more than one kind of reprinting, and there are also orders and advantages and disadvantages. For example, the "Yishan Monument" in the Qin Dynasty is said to have been overthrown by Wei Wu, but the people in the city burned it and it didn't spread. Du Fu once said: "The monument of Mount Yi was burned by wild fire, and the carved dates were distorted." It can be seen that there was a copy in the Tang Dynasty, but it is not passed down today. Today, there is only one copy of Xu Xuan, Baonan, Zheng Wen in August of Song Chunhua, which is reprinted in Chang 'an. Later, Chang 'an Ben was carved in Shaoxing, Pujiang, Jiangning, Qingqiu, Zhongshu, Zouxian and other places.
Another reason is that there are people in the world. Because the distance is far from convenient to carry out, or because the handwriting is vague and flawed for a long time, the stone engraver still engraves words on the original stone, calling it a copy. Most of the reprints are hastily carved, and most of the sculptors are illiterate. There are many mistakes in calligraphy and painting, and the original tablet is still there, which is of little value. After Qianlong and Jiaqing, there are many kinds of this kind of engraving, including stone carving, wood carving, gray paint, mud wall carving and so on. Among them, tile ash mixed with raw lacquer or clay plate making is the most popular, because it is easier to engrave because of light cost and heavy profit, which is worse than wood and stone carving and is also the most popular in circulation. The names of the second edition range from Qin and Han Dynasties to Four Mountains and Cliffs. Sculpture often extends only forty or fifty copies at a time, and some extend more than a dozen copies. Version is corrupted. So the initial extension was quite realistic, and I didn't recognize it later.
Pseudo-engraving is a kind of words fabricated by forgers according to the information in books, which is called pseudo-engraving. Fake lettering is worthless, because it is groundless fabrication. In order to cheat people's trust, fake carvings often lie that they were unearthed somewhere in a certain month. Some cheat people with rubbings, and some simply sell stone carvings together. Such as the stele, the inscription of Zhang, and the epitaph of Tao Hongjing. , is such a fake. There are many fakes of Han steles in Ming Dynasty, and the calligraphy looks very similar. It is easy for people without certain experience to believe that these fakes are true.
Textual research has been very popular since the middle of Qing Dynasty. Later, Ding Haifang wrote a book "Essays on School Monuments", which specifically recorded the lost years of calligraphy and painting of famous monuments, such as "Fang Heng Monument of Lujiang Prefecture" in the Han Dynasty, in which the word "Jiang" was intact and extended in the late Ming and early Qing Dynasties. A?vagho?a Temple Monument in Northern Wei Dynasty has not been broken so far, and it is a rubbings before Daoguang. Forgers keep their word, and the damaged words or parts of the original tablet are filled with wax. Therefore, all the old rubbings that appear weak and suspicious in textual research, or the paper and ink are not old enough, must be paid attention to, and we must never judge them casually unless we study them carefully.
Copying inscriptions is the same as practicing copybooks, both for learning calligraphy well.