In Magu Xiantan Ji, which part of the regular script is denser: the lower right.
The Chronicles of the Immortal Altar of Magu:
The full name of "The Chronicles of the Immortal Altar of Magu, Nancheng County, Fuzhou, Tang Dynasty" is the representative work of Yan Zhenqing's regular script.
The stele was erected in the sixth year of Dali of the Tang Dynasty (AD 771). It was later destroyed by lightning and lost. A photocopy of the original rubbing is available. The inscription is vigorous and simple, with straight bones and straight lines. The changes in line thickness tend to be gentle. The strokes have few twists and turns. When using the pen, it has a "silkworm head and swallow tail", and many of them have the meaning of seal script. Due to the thick lines, its structure had to be expanded to all sides in order to leave a margin in the middle of the character to avoid congestion, and the writing method of external expansion was pushed to the extreme.
The monument was originally located in Linchuan, Jiangxi Province, but was destroyed by fire in the Ming Dynasty. It is in regular script. According to legend, the cut and mounted version totals 901 words.
This stele, in regular script, is majestic and majestic, and has always been valued by people. At this time, Yan Zhenqing's regular script style has been basically perfected. Not only is the structure tight and the openings natural, but the strokes have also moved from bright and regular to the meaning of "house leakage marks". Ouyang Xiu's "Collection of Ancient Records" said: "This stele is steep and tight, especially powerful, and the strokes are all large and small."
Evaluation:
The modern man Zhang Yansheng's "Rare Book Stele Notes" " said: The rubbings used are horizontal inscriptions, and there are original ink woodcuts from the Song Dynasty. The inscription was originally located on the top of the mountain twenty-two miles southwest of Nancheng County, Jianchang Prefecture, Jiangxi Province. Today, no original tablet rubbings have been handed down. It is said that there are three versions of this calligraphy: large, medium and small. Since the original stones are all lost, it is difficult to find a good version.
According to records, there are several types of engraved calligraphy manuscripts in the Song Dynasty, including those collected by Zhang Zhidong, He Zizhen, Duan Fang, and Luo Zhenyu, as well as postscripts by Dai Xi and Zhao Ziqian. This shows the complexity of the handwriting situation at this time. The modern scholar Ma Ziyun's "Stele and Calligraphy Appraisal" states: I heard that He Shaoji (Zizhen) collected the Song rubbings, and later Yan Yunbo collected them. Now I don't know who kept them. It is also said that the original stone was destroyed by thunder and fire, and was rebuilt by Liang Boda, the prefect of Jianchang in the Yuan Dynasty.
However, Yuan engraved copies are rare today. Later, there were Tang Yan Yun's edition, Zhongyi Tang's He's edition, and Huang's edition. However, the Tang's edition was the best and the He's edition was the worst. "Essays on the School Stele" says: The Shanghai original stone lithograph was collected by Luo Zhenyu, and contains Zhang Tingji's postscript. It is unknown where it is now.
Contents:
Large print, rubbings. The word diameter is about 5 centimeters. There are two rare copies in existence: one is a re-engraved version of the Ming Dynasty Yiwang Zhu Hubin with strict calligraphy (hidden in the Palace Museum, Beijing); the other is a photocopy of Dai Xi's postscript of the Qing Dynasty (hidden in the Shanghai Museum). The stippling is clear and rarely diffuse.
Chinese subtitles, rubbings. The word diameter is nearly 2 cm. First seen in the Southern Song Dynasty, Liu Yuangang's "Zhongyi Hall Tie" is now in the Zhejiang Provincial Museum. Historically, epigraphists' records have been written in large and small-character versions, but not in Chinese-character versions. During the Yuan and Ming dynasties, no attention was paid to it. In the Qing Dynasty, there were many versions of Chinese calligraphy that were inscribed in the world, but it is no longer enough to be seen.