Collection of Salamander Shadow Footprints
(December 16, 2019 - the day the Xingwen-Chengdu-Guiyang High-speed Railway was opened)
Original title: Jingke regular script "Wang" The exquisite rubbings of "The Inscription on the Brick Pagoda of the Layman"
The shocking and exquisite rubbings of the "Inscription on the Brick Pagoda of the Layman Wang" in Tang regular script
The "Inscription on the Brick Pagoda of the Layman Wang" is also called "The Inscription of the Brick Pagoda of the Prince" by Tang Xianqingsan It was buried on October 26, 658, and was unearthed during the Wanli period of the Ming Dynasty. Written by Shangguan Lingzhi, the official book of Jingke. This stele was known for its elegance and elegance by various calligraphers of the Ming and Qing dynasties, such as Wang Shu and Mao Fengzhi. It was especially highly praised by Ye Changchi's "Yu Shi". There was a comment that "there is nothing more precious in this world than the Brick Pagoda Inscription".
After the inscription on this pagoda was buried under the loess for more than 900 years, it was not unearthed until the Wanli period of the Ming Dynasty. And because the stone is very thin, it will be damaged and cracked soon after it is unearthed. It will first break into two, then into three, then into four, and finally into seven. Therefore, there are very few good rubbings passed down from generation to generation. What's more, the calligraphy at this time is graceful and neat, and is deeply loved by the world. Therefore, the calligraphy is imitated over and over again, and even the masters can almost falsify the original.
Explanation:
The inscription on the brick pagoda of the Tang Dynasty king layman. Shangguan Lingzhi wrote an article and a letter to guests.
The public name of the layman is Xiaokuan, and he is a native of Jinyang, Taiyuan. The Yingzong was majestic, far away and prosperous in the Zhou Dynasty; the maoxu was prosperous, and he was crowned the later Wei Dynasty. Yuefu sings about his virtues, and the world echoes his family's voice. There is no need to worry about the details of the document. Lay people realize their fortune early and leave behind fame and fortune. Browse all the tombs and prepare a charity cave. Looking at Laozhuang is like dregs, looking at the ink is like dust. The talk of giving the garden is the only way to find the other side. After exercising energy for seven sleeps, you can look up to ten places and work diligently; if you eat a hemp every day, you will be happy for six years. Fangqi can eradicate troubles and trances, and forever be free from obstructions; how can we realize that the foundation of good deeds is the birth and death of sorrow. On November 29th of the first year of Xianqing's reign, I finally fell ill in Beijing. That is to say, on October 12th of the third year, the remains were collected and the spiritual pagoda was erected in Zhongnan Mountain in Lizi Valley. The wind sings in the deep stream, and the Baoduo sings harmoniously; the clouds disperse on the dangerous peaks, and the golden plate spits out the sun. The road is long but the luck is short, and the traces are left behind. If you don’t publish Jieshi, who will publish Huiyou? Call him to sigh! It is an inscription that says:
Yiyi layman, Mingzai realizes the truth. Looking at the other side of the secluded land, I can learn about the wonderful way. No matter the hardships, be sincere and diligent. Gu Miao has three existences and has mastered the ten rounds. Russia followed the transformation of Taoism, and suddenly the gods changed. Kui Ran Ling Pagoda, descendant of Chang Qin.
A famous stele in regular script of the Tang Dynasty, with the original text inscribed on it, was inscribed on October 12, the third year of Emperor Xianqing’s reign (658). Seventeen lines, seventeen characters, written by Shangguan Lingzhi and written by the unknown calligrapher Jingke.
Jing Ke, who lived during the reign of Emperor Gaozong of the Tang Dynasty. The title of the book is not obvious, but his books are comparable to those of the Tang Dynasty. His life is unknown, and he was slightly later than Ou, Yu, and Chu (when Jingke wrote this inscription, Ou and Yu had passed away about 20 years ago).
Jingke calligraphy is somewhat similar to that of Ou, Yu, and Chu, especially close to Chu's calligraphy. The structure is not as rigorous and balanced as Chu's, and the change and interest of pen and ink are especially superior to Chu's. In Yan Zhenqing's early works, there are many pagodas and steles, and the shadow of respecting guests can also be seen.
Qian Yong of the Qing Dynasty commented: "There are rules for its elegance and power. It is between Europe and Chu, so many scholars have made it a famous monument. It can be seen that the ancients have rules to use with their pens."
Unearthed in the Wanli period of the Ming Dynasty, 3 bricks had been cracked, and 5 and 7 cracked later, and one stone was lost. Therefore, the complete rubbing is extremely rare. This is the full text of the initial rubbing, which was once collected by Matsushita Qingqi of the Lu family in Wu County. Later, it was transferred to Wu Hufan for his postscript and Chu Deyi's inscription.
The year of Jingke’s birth and death is unknown, and it is unknown where he was a mountain scholar. Neither the Bao Ke Cong Bian nor the Bao Ke Lei Bian has a name, but he lived during the early Tang Dynasty. Calligraphers such as Yu Shinan, Ouyang Xun and Chu Suiliang were in their heyday, so this inscription written by Jingke was inevitably influenced by them.
Qing Wang Shu's "Xuzhou Inscriptions and Postscripts" "The name of Jingke is not obvious at that time, but his calligraphy is particularly thin and vigorous, which is similar to Chu Gong. It is known that there were many people who could calligraphy in the Tang Dynasty, and it was inevitable that they would be covered up by the great master. "Ear." Qian Yong said: "If you get a scrap of paper but keep it as a treasure, it is because of its beauty and method. Between Europe and Chu, scholars have made it a famous monument. It can be seen that the ancients all had methods to use their pens." "Looking for it."
Appreciation of works: Inscription on Brick Pagoda of Wang Gong
"Inscription on Brick Pagoda of Wang Jushi" is also called "Inscription of Wang Xiaokuan", and its full name is "Inscription on Brick Pagoda of King Jushi of the Tang Dynasty". , written by Tang Shangguan Ganoderma lucidum, a letter to guests. It was unearthed on October 26th in the third year of Xianqing of the Tang Dynasty (658), and was unearthed from the Baita Temple in the south of Xi'an during the Wanli period of the Ming Dynasty. ***There are 17 lines of regular script, each with 17 characters, carved on square bricks. When unearthed, it had been broken into three pieces, then broken into five pieces, seven pieces, and another piece was lost. Due to too many vertebral rubbings and poor protection, the original bricks were broken into pieces soon after they were unearthed, and the surviving full rubbings have been handed down to the world.
This pagoda inscription has some similarities with Chu Suiliang's calligraphy, but there is no lack of conciseness. The structure is dignified and square, but also rich and graceful. The brushwork is appropriately light and heavy, and can be freely extended and retracted. It can be said that it blends the strengths of all others and creates new ideas. There were many comments by various writers in the Ming and Qing Dynasties, such as Wang Shu and Mao Fengzhi, and Ye Changchi's "Yu Shi" was particularly highly praised. There is a comment that "there is nothing more precious in this world than "The Brick Pagoda Inscription"." Wang Shu of the Qing Dynasty wrote in his "Xuzhou Inscription and Postscript" "The name Jingke was not apparent at that time, but his calligraphy was particularly thin and vigorous, which is similar to that of Chu Gong. It is known that there were many people who could calligraphy in the Tang Dynasty, and it was inevitable that they would cover their ears for the great Duke." Qian Yong said: "If you get a piece of paper with just a word, you still treasure it but don't put it away. Because of its elegance and method, it is famous among European and Chu scholars, so many scholars have made it a famous monument. It can be seen that the ancients have methods to use with their pens."
The calligraphy structure of this brick inscription is dignified and square, with appropriate strokes and heavy strokes. It is similar to Chu Suiliang's calligraphy style, and has a lot of legacy from the Six Dynasties. In particular, Na's calligraphy still has the official method to varying degrees, so it appears to be ancient and profound. It is a model for the practice of regular script in all dynasties. Weng Fanggang of the Qing Dynasty said: "Chu's calligraphy at this time is all the best in Tang Kaili. The beauty of Chu's calligraphy is that it connects to ancient times and proves Ou and Yu. Later writers have lost the sense of harmony. At this time, it is graceful and graceful. Although it has opened the door for future generations, it has not lost the Henan rules. "Kang Youwei said in his "Guangyi Zhou Shuangji": "The modern method of Zhao (Meng Fu) is based on its roundness and beauty, but it is not square. Therefore, Duoyi's "Brick Pagoda Inscription" after Xian (Xianfeng) Tong (Tongzhi) was easy to write because of its lightness, smoothness and sharpness." "Chengjin Zhaiji Wenlu" written by Liang Xian of the Qing Dynasty commented on the "Brick Pagoda Inscription": "It is thin, hard and elegant, far better than Wang Zhijing's "Wei Jingwu Gong Monument"." This shows that later generations loved and respected Jingke calligraphy very much.
Qian Yong's "Postscript to the Brick Pagoda Inscription of the King's Layman" says: "The recent "Brick Pagoda Inscription of the King's Layman" has been passed down either from the fragmented version or from the reprinted version, which is as fresh as the refined and perfect version. I have said that the calligraphers in the early Tang Dynasty had different characteristics, but the calligraphy skills of both Shu Geng (Ouyang Xun) and Zhongling (Chu Suiliang) were unique, and this is why they are so wonderful. "Looking at this inscription now, the regular script is exquisite. With a handsome body and a graceful wind spirit, he was well versed in the ideas of Ou and Chu and was able to come up with his own ideas. He was undoubtedly the best among Tang Kaili. Those who practice regular script should be regarded as a model." After the inscription on this pagoda, it was buried under the loess for more than 900 years and was not unearthed until the Wanli period of the Ming Dynasty. Moreover, because the stone is very thin, it will be damaged and cracked shortly after being unearthed. It will be broken into two at first, then into three, then into four, and finally into seven. Therefore, there are very few good rubbings handed down from ancient times.
The shadow of the salamander was traced in the ancient Song Dynasty