"The Monument of Duke Wen" is also known as "The Monument of Duke Yu Gong" and "The Stele of Wen Yanbo". It is the abbreviation of "The Monument of Duke Yu and Duke Wen of Tang Dynasty". (AD 637), written by Cen Wenwen and written by Ouyang Xun. Ouyang Xun (557-641), a famous calligrapher in the Tang Dynasty, was born in Linxiang, Tanzhou (now Changsha, Hunan). From the official to the crown prince, he led Gengling and became a bachelor of Hongwen Hall, and was granted the title of male from Bohai County. The two kings of calligraphy, combined with the official method, are strong and sharp, and find the danger in the middle of the plain. They are self-contained and are known as "European style" in the world. They have a great influence on later generations. Together with Yan Zhenqing, Liu Gongquan and Zhao Mengfu, they are also known as "regular script". "Four Families". His calligraphy was outstanding at the time. "When people get the writing on rulers and tablets, they think of it as regular script." Regular script developed from official script to the early Tang Dynasty and became a mature calligraphy style, represented by Ouyang Xun's calligraphy skills. . His regular script reflects the demeanor of the great nation in the prosperous Tang Dynasty, and he was the leader and leader in regular script during the 300 years of Li Tang. In addition to the "Yu Gonggong Monument", the handed down inscriptions include "Jiucheng Palace Liquan Inscription", "Huadu Temple Monument", "Huangfu's Birthday Monument", "Fang Yanqian Monument", etc.; ink inscriptions include "Zhang Han Tie", "Buddhist Inscription" "Shang Tie", "Meng Dian Tie", etc. are compiled into 100 volumes of "Yi Wen Lei Ju". The Chinese name of the Wen Gong Monument is also called the "Yu Gong Gong Monument". Cen Wenwen, the 11th seal engraver of Zhenguan in the Tang Dynasty, "Yu Gong Gong Monument" is one of the burial steles in the Zhaoling Mausoleum of Emperor Taizong of the Tang Dynasty in Liquan, Shaanxi Province. According to "Inscriptions and Stones Collection", the stele is one foot, one foot and a half high, four feet and four inches wide, with thirty-six lines and seventy-seven characters in it. The full text is about 2,800 words, and it is the oldest preserved one. This book has more than 800 words. The structure of this stele is rigorous and even, the calligraphy is straight and solemn, the demeanor is graceful, the style is ancient, the rules are strict, the body is square and the strokes are round, which is a typical work in European books. Wang Shizhen of the Ming Dynasty commented: "For example, "Guo Linzong (stele)" has a clear and solemn style but a soft and gentle style." Wang Shimao said: "The Yu Gonggong stele, Jiucheng and Huadu stele, are all ranked first in European books. However, in this world, the Linchi family has many effects. The Monument of Yu Gonggong is based on this book, which is powerful and elegant, and many scholars started to study it. "Yang Bin in the Qing Dynasty commented: "I have seen twenty-seven kinds of European books, most of which originated from Han Dynasty, and Fang Yan was the only one. The wonder of the Qian stele is that this post (author's note: refers to the "Yu Gonggong stele") was written when he was eighty-one years old. It is square in shape and round in shape, deep and elegant. It should be regarded as the main line of the Jin and Tang Dynasties. Its regular script is the best among European books. "It's very precious." Bi Long said: "The letter of Yu Gonggong's stele should be the first. Sure enough, those who know the calligraphy are called good, and those who don't know the calligraphy are also called good." Yang Shoujing said: "Yu Gonggong's stele is the best." "The stele of Wen Yanbo" is the latest work, it is plain and gentle,... but the original spring has been greatly damaged, and there is no full-text rubbing in the country. "This stele is the most standard official script style in the early Tang Dynasty. In terms of the breadth and exquisiteness of the brushwork, it is eight-year-old." With both methods and methods, you can appreciate the exquisiteness of the stipple transition of each character, the denseness of the structural arrangement, and the skills of composition and arrangement. It can be said that it is unexpectedly ingenious. Yue Qing's article said: "The stele of Wen Yugong written by Shu Geng was the first stroke of a real book, and scholars were the first to learn it." (Wang Keyu's "Coral Net·Shu Lu") During the Song Dynasty, the lower half of the stele was broken, and there was a shepherd boy. For fun, the lower section is filled with water, and there are many steles like this in Zhaoling. Therefore, although this stele has a great reputation, its practitioners are few. In the Song Dynasty, only the upper half of the Song Dynasty with more than 800 characters remained. Later, Weng Fanggang cleaned up the stone and expounded the text. Luo Zhenyu also did the same thing and released the damaged characters. This not only filled up the gaps in the history of the Tang Dynasty, but also provided reference for reference. Unfortunately, the exegesis was not available. View. The rubbings passed down from generation to generation include: 1. The rubbings from the Northern Song Dynasty in Lu Jinting’s old collection include Wang Wenzhi and Lu Jinting’s postscripts. The first line of the Chinese character "Stele" does not protrude from the vertical painting. The wooden part of the character "Li" in the nine lines of "Prince washes his horse Li Gang" is only slightly damaged in the middle vertical position. The two points on the left and right are not connected. The "Heaven and Earth collapse horizontally". "The word is discernible. This edition may be the best rubbing except for the edition collected by Wang Huade. Unfortunately, it has been lost now. It is only found in Wang Zhuanghong's Records 2 and the edition collected by Chen Yong (three lines and six characters). This edition is made of fine rubbings in black ink, with the damaged characters cut off, and inlaid with white paper. Border, butterfly decoration, 23 pages, each page is 18.3cm long and 9.2cm wide. In front of it, there are 8 seals inscribed by Wang Fu and Wang Hanyun: "Remnants of Song Tuo Yu Gong Gong's Monument" and "Gong Yan Zhen Mi", "Juan Yuan" and "Tian's Secret Play". Later, there were inscriptions and postscripts by Chen Yong, Luo Zhenyu and others. This version is rarely published. It is a copy of the Song Dynasty inscriptions with the characters "Gao" and "Shi" intact (it is one of the two copies currently in the collection of the Forbidden City). The remaining characters have been deleted and There are many missing words, making it impossible to read through. However, the rubbing work is quite sophisticated and the strokes are full and worthy of reference. Selected from the Cultural Relics Publishing House's "Selection of Stele Calligraphy and Calligraphy of the Past Dynasties" series, enlarged and photocopied, suitable for beginners to practice. 3. Song rubbings (four lines and eight characters) old collection of Jiaqing Neifu were collected by Wang Wenyuan in the early Qing Dynasty, and later returned to Biyuan Lingyan Mountain Museum. Bi was convicted and imprisoned in the Imperial Palace. In 1958, Wang Zhuanghong acquired it in Shanghai. It was first returned to the Shanghai Museum and then to the Shanghai Library. The volume is 25 pages in size, 36 cm high and 22.3 cm wide.
The inscription is in 16 karat and the core is 24.8 cm high and 11.9 cm wide. The word "stele" in the first line stretches out from the straight painting, and the word "break" in the thirteenth line "Heaven and Earth collapse" can be discerned. Although the vertical part of the character "李" in "Li Gang" has been connected to the left and right points, it has not been lost. It is also a fine extension of the Northern Song Dynasty, second only to Wang Huade's version and Lu Jinting's version. There is an inscription on the front of the post: "Song Dynasty Tuo Yu Gonggong Monument", but there is no inscription inside the post with "Sanxitang Jingjian Seal", "Yi Zisun", "Jiaqing Appreciation", "Jiaqing Royal View Treasure", "Shiqu Baoji", The seals include "Baoji Sanbian", "Su Zhai Approval", "Qin Xi", "Books and Paintings Collection of Dongwu Wang Lianying", etc., and later had inscriptions and postscripts by Wang Shu, Weng Fanggang and Wang Wenzhi. The photos of Tianjin Yanguang Room are slightly zoomed out. Printed by Colo Edition of Youzheng Book Company in Shanghai. Those included in Nigensha's "Collection of Famous Calligraphy and Calligraphy" and Japan's "Shu Yuan" were reprinted from Enkosu's photos; Nigensha's "Selected Chinese Dharma Books" of Japan were included in it; Shanghai Ancient Books Publishing House's "Treasures of Calligraphy and Ink" series included it, and it is extremely plate-making and printing. Refined. 4. Linchuan Li's Ten Treasures Edition (four lines and eight characters), black paper border, cut and mounted, folded and bound. During the mounting of this edition, the damaged text was cut off, leaving only 640 characters. Unfortunately, there is no ink. Later, it passed into the hands of Zhu Wenjun of Xiaoshan. In the 1950s, Zhu's descendants donated this copy to the Palace Museum. Now in the Palace Museum. On the front, there is an inscription by Li Chunsun: "Song Tuo Yu Gonggong Monument". Weng Fanggang filled in the vacancy of the title. Inside the inscription are "Chunsun Calligraphy and Painting", "Shuangguizhai Collection Seal", "Zong Han", "Yihuang Sishou", "Li Yixun Seal" and "Mingchuang Xi". "Wan", "Dongqing Guoyan", "Xiaohe", "Tang's Treasure", "Zhichao", "Lianxiu Sishou", "Descendant of Zifang, the direct minister of the Song Dynasty", "Ananda", "Xuzhousheng Wang Shu, whose courtesy name is Ruolin, today's pseudonym is Kunlin", etc. Seal, followed by postscripts by Weng Fanggang and others. During the Guangxu period, Li Yihuang had a stone-printed version, which was included in the ten famous steles. The printing is quite exquisite. The five and four European hall versions (four lines and eight characters) have 18 pages. The height is 32.9 cm and the width is 20 cm. , the inscription is 12 karat, the core is 24.1 cm high and 14.4 cm wide. This edition was collected by Miao Wuzi, Lu Jinting, Fei Kaishou, Pan Zuyin, and Wu Hufan, and is now in the Shanghai Library. The word "Stele" in the first line of this book has been cut into a white piece, and the word "Shi" in the last line of "Quanshi Linge" is not damaged. Although there are many words, many of them are painted and filled with ink. It is actually a rubbing from the late Southern Song Dynasty. . On the front are Wu Hufan's inscription "Song Tuo Yu Gonggong Monument", Wang Xuyuan's inscription "Song Tuo Yu Gonggong Wen Yanbo's Stele", and Li Hongyi inscribed "Song Tuo Wen Yu Gong Yanbo's Stele". At the front of the volume are Wu Hufan's hand-painted "Siou Hall Reading Tablet" and Zhu Zang's signature "Song Dynasty Monument". Tuoyu Gonggong Monument", the seals in the post include "Wu Zi", "Matsushita Qingzhai", "Lu Gong Qingshang", "Wu Pan Zu Yin Zhang", "Treasure", "Hejiang Appreciation", "Siou Hall Collection Stele Seal", "Luo Shuyan", "Wu Pan Jingshu" " Seals such as "Chen Tai Deng Seal", "Hu Fan Treasures Are More Than Pearls and Horses", "Wu Hu Fan", "Chun Yu Zhai Tu Secretary", "Song Version Approved by Taoist Wo Sui Wu Jing", etc. were later published with inscriptions and postscripts by Lu Jinting, Weng Fanggang, Jiang Fengyi, Zhu Changyi, Wu Hufan, Pan Jingshu, etc. There are Gu Shun, Liang Tongshu, Li Hongyi, Luo Zhenyu, Chu Deyi, Gao Shixian, Deng Bangshu, Feng Chaoran, Wu Mei, Zhang Maojiong, Cai Jinyong, Wu Zengyuan, Chen Chengxiu, Fang Huan, Chen Zengshou, Ye Gongchuo, Li Haosheng, Zhu Yuqing, Shen Maishi, Shen Yin's moguan inscription has a collotype version printed by Shanghai Changyi Society, which is very finely printed. 6. Sichuan Wang Huade Collection Edition (four lines and seven characters) This is an early Northern Song Dynasty rubbing (most of the text is clearer than Lu Jinting's edition). It is a collection edition of Mr. Wang Huade, the master of Guqin in Sichuan. It has more than 820 characters. It is the best rubbing known so far. The rubbings are very exquisite, but the inscription and postscript were lost during the Cultural Revolution. The word "stele" in the first line and the "Li" in "Prince Xima Li Gang" are completely clear. There are more than ten seals of Wang Shu, Mi Bingkui, Wang Huade and others. It is a pity that Mr. Wang has disappeared since his death. 7. The Nanpi Zhang Zhiwanjiu has thick ink rubbings and postscripts of Wang Shimao from the Ming Dynasty, but it is a pity that there is no ink. This copy is now in the National Library of China. 8. The collection of the Liu family in Guichi. The first line of this edition is incomplete and the workmanship is exquisite. Only about 400 characters can be seen. Later, there are long postscripts by Wu Pingzhai and Yang Shoujing. Liu Shiheng was from Guichi, Anhui. After the Revolution of 1911, he moved to Shanghai and regarded himself as a remnant of the Qing Dynasty. After his death in 1926, his son Liu Gonglu sold a large number of ancient books. Today, the National Museum of China has the Cola version of Zhengshuju and Yiyuan Zhenshangshe.