Poetry
45. The ink copy of Sun Guoting's "Book Book"
The handwritten copy of the book book is still there, and there are hundreds of doubts about the uneven copying.
What can I do if the acupuncture and ointment are useless? I once cleared the floating clouds and saw the bright moon.
Annotation of one person on the poem: Qi Lao believes that the ink copy of "Book Book" is authentic. People in the world have seen too many engravings, but they don't believe in the existence of ink-printing editions.
Qigong's own annotation
The ink copy of Sun Guoting's "Book Book" may be suspected by predecessors to be unreal, but I have written an article to examine it.
In the past, people rarely saw ink inscriptions on Dharma books, but they were also used to writing in editions, journals, pavilions, and stone inscriptions. Observing that his stipples are all white and his brushwork has no shade, there are various speculations such as the fullness of the edges and the solidity of the middle painting. "Shupu" also reports that people in the Ming Dynasty reprinted the Taiqing manuscripts, and the hair was completely bald, and every word was straight. Accumulation is not enough, so it became the standard of Wujun's calligraphy style. When the ink comes back, the traces of the pen and the ink sink, and the importance can be seen, and a lot of doubts arise, and they can't decide what is right.
A brief introduction
In this part, Qi Lao identified the ink copy of Sun Guoting's "Book Book" as authentic.
Sun Guoting's "Book Book": Book book volume, paper, length 26.5 cm, width 900.8 cm, now in the National Palace Museum, Taipei.
The title of the first volume of this volume: "Part 1 of the book genealogy. Written by Sun Guoting of Wujun."
Sun Guoting (648-September 703), whose courtesy name was Qianli, claimed to be from Wujun. .
Sun Guoting was good at calligraphy, regular script, running script and cursive script, especially his cursive script, which he studied from Wang Xizhi. offer".
Qi Gong’s own annotation
The doubters think that people from the Song and Yuan Dynasties came to it, and that people from the Ming and Qing Dynasties copied it from Tingyun Hall. There is no other reason for this, and pointillism does not match it. The cursive script on the jujube board resembles an ear. The most surprising thing is that the remains of the original Taiqinglou inscription have been found. Viewers firmly believe that it is authentic. Every word has been corrected and matches the ink mark perfectly. However, those who doubt the ink mark remain the same. At the beginning, I was still surprised by the sparseness of the proofreading, and then I realized that the shading in the pointillism was not in the engraving, but there was the ink mark, so the doubters were not relieved. Alas! The insight into the internal organs is already in the common family, and the jujube and gypsum are just like the jade rules. They have become imprisoned by accumulated habits, so don't be afraid!
A brief introduction
In this part, Qi Lao believes that the ink copy of "Book Book" is authentic, and he doesn't understand why many people have doubts.
Taiqing Manuscript: A fragmentary Song engraving of the Tang Dynasty's "Sun Guoting Shupu Volume 1" engraved by the Imperial Household of the Northern Song Dynasty in China. Cut and bound in square format, 14 pages remain, with 111 lines from "In the Chest" to "Retelling the Old Chapter", 8 lines per page, 31 cm long and 22.5 cm wide. Because it is placed under the Taiqing Tower together with "Wang Xi's Seventeen Tie", "Daguan Tie" and "Secret Pavilion Tie", it is collectively called "Taiqing Lou Tie". The fragmentary copy is now stored in the Palace Museum in Beijing.
Post from Tingyun Museum: This post is from the selected works of Wen Zhengming, subtitled by Wen Peng and Wen Jia Mole.
Although there have been many printed versions of "Shupu" throughout the ages, since the appearance of the ink-printed version, we still mostly use the ink-printed version as a model.
One person has his own opinion
Everyone has a conservative side, or a side that insists on opinions.
Some of Qi Lao's thoughts on calligraphy are very "flexible", or transparent, and are not limited to form. It can be seen from the previous "One Hundred Quatrains on Books" that his attitude towards Wu Zetian was very conservative.
Of course, calligraphy cannot always be conservative. What needs to be adapted and what needs to be persisted can only be grasped by studying a lot.