My system is not decent

Chapter 1489

The current inscriptions refer to rubbings or printed copies of stone and wood carvings, which can be used for learning calligraphy.

Ming Cao Zhao's "Ge Gu Yao Lun · Ancient Ink Traces": "Use paper to add to the inscriptions. At the Ming Dynasty, use a gossamer pen to circle the calligraphy and painting, and fill it with thick ink, which is called Xiangtuo.".

Steles and posts are two concepts about inscriptions on stones.

The monument is a vertical stone, and the post is a horizontal stone, and there are also wood carvings.

In terms of content, the stele is a record of contemporary people or events to commemorate.

Posts are generally formed by imitating ancient celebrities' ink marks, letters, poems, etc. on stones.

The inscriptions on the inscriptions are all carved in stone. After paper and ink were available, people used the method of rubbing the inscriptions to rub them down, which is easy to read, easy to preserve, and spread widely.

The inscription in front of Chen Wenzhe refers to the rubbings of the inscription.

Past dynasties' inscriptions are a treasure house, and their content involves political economy, religious philosophy, customs, literature and art, which can be mutually supplemented with historical records.

For example, the 10 stone drums from the pre-Qin period in the Forbidden City are the ancestors of stone inscriptions.

The inscriptions on the inscriptions have left the calligraphy of countless famous masters from ancient times to the present, presenting various fonts and calligraphy styles of various schools, which are indeed the abyss of Chinese calligraphy.

The Palace Museum has collected tens of thousands of inscriptions from various eras, a small part of them were collected by the Qing Palace, and most of them were collected in the past fifty years.

It has to be said that Li Tianqiang found a very suitable entry point.

It was really in Chen Wenzhe's favor. You must know that he didn't collect paintings and calligraphy before because Chen Wenzhe was afraid that these ancient relics would not be easy to preserve.

It's not that Chen Wenzhe doesn't like calligraphy and painting, but because it's too troublesome.

Now that there is a museum, he doesn't need to maintain it himself, so he naturally wants to collect some calligraphy and painting works.

However, Chen Wenzhe's favorite works of calligraphy and painting are definitely not as good as stele inscriptions and rubbings.

Li Tianqiang, or Li Jinli, really knew Chen Wenzhe's preferences thoroughly.

Chen Wenzhe naturally liked it very much.

Besides, the two brothers Li Tianqiang are really powerful.

The hundred or so inscriptions I have found range from the Wei, Jin, Southern and Northern Dynasties to the Tang, Song, Yuan, Ming and Qing Dynasties.

Unfortunately, the chances of these inscriptions being authentic are really slim.

However, the possibility of these inscriptions being authentic is much greater.

This is actually easy to understand, and the genuine inscription is probably the only one.

But for the rubbings of the inscriptions, it can be said that as long as there are genuine inscriptions, you can have as many rubbings as you want.

In this way, it is not normal for some of them to be handed down?
Therefore, at this time, Chen Wenzhe paid more attention to Ouyang Xun's inscription.

It's a pity that Ouyang Xun's inscriptions have been forged a lot. Looking at the real objects, we can see the methods of forgery.

Because there are a lot of inscriptions of Ouyang Xun here, it must be full of all kinds of fakes!
There are many ways to forge ancient inscriptions, and there have been endless reprints and forged engravings for profit.

There are many inscriptions signed by Ouyang Xun left in history, some of which were added with Ouyang Xun's name, and some were directly re-engraved in Ouyang Xun's name.

There are a few copies here, and Chen Wenzhe can tell at a glance that they are fakes.

Of course, a few fake samples also imitated them decently, but Chen Wenzhe is educated!

For example, this is a rubbing of Ouyang Xun's "Jiucheng Palace Liquan Ming".

When talking about the identification of inscriptions, there will always be a problem involving re-engraving and forgery.

Mr. Ma Ziyun defined: "The original stone rubbings are rare and precious because of the original stone, so after the re-engraving, rubbings are produced, and then made into old styles to deceive people. Forgery is no original stone rubbings, based on a certain inscription or someone's calligraphy on a post, and then extracts An ancient article or poem, the combination of the two is engraved to deceive people."

Reprints are naturally fakes, but there is nothing wrong with spreading them widely through copying.

For example, the stone drum inscriptions of the Tianyi Pavilion in the Northern Song Dynasty were destroyed by Bingxuan, and Ruan Yuan's heavy-duty copy has been photographed and preserved, which is of great significance;
But the plot of Xiang Bi's fictional imitation is much worse.

This not only deceives collectors, but also affects the learning of calligraphy and confuses the history of calligraphy, causing far-reaching disasters.

Up to now, there are quite a few forged epitaphs, and the most famous one is Wang Xianzhi's nanny brick inscription.

This treasure came out of Shanyin during the Qingyuan and Jiatai years at the end of the Southern Song Dynasty, and it was sung by celebrities for a while.

There is a saying in Lou Yao, "The inscription of the mother-in-law was written by the great order. What's more, it was carved by Jin people at that time. Although the bricks were broken, there are many inscriptions, and the wonderful paintings are far better than the Lanting engravings." It is also a documentary.

The original was lost long ago, and the rubbings handed down still have Jiang Kui's Xiaokai long postscript, which has seven beauties and belongs to "what can't be done without Wang Xian".

The calligrapher who encountered the most fake works must be the first to recommend Ouyang Xun.

There are many famous ones, such as "Epitaph of Yao Bian", "Epitaph of Duke Yugong Wen", "Relics under the Brick Pagoda of Yuanguo Daochang", "Epitaph of Woman Su Yuhua", "Epitaph of Guo Yun", "Epitaph of Monk Huangye of Wolong Temple" , and the "Prajna Paramita Heart Sutra" in small regular script.

Looking through them one by one, if these were authentic, Chen Wenzhe would dare to eat them in one bite.

Without exception, these counterfeit works were signed by Ouyang Xun.

Of course, it basically conforms to the European style, and most of them have been circulated for hundreds of years.

There are different methods of forgery, but Chen Wenzhe can tell the difference.

For example, the most classic one is to engrave Ouyang Xun's inscription on the old epitaph.

This is most typical in "The Epitaph of Duke Yu Gong and Duke Wen".

Wen Yanbo died in the eleventh year of Zhenguan, his posthumous title was Gong, and he was buried with Zhaoling. The tombstone was written by Cen Wenwen and written by Ouyang Xun, there is no doubt about it.

Wen Yanbo's epitaph was unearthed in the Northern Song Dynasty. "Mochi Bian" and "Jigu Lumu" all say that "there is no author's name, but Ouyang Xun's book is handed down from generation to generation".

In the epitaphs of the early Tang Dynasty, there was no habit of inscribing the author's name.

Therefore, we can only speculate roughly from the calligraphy style that it may be the same as the tombstone, and it was written by Ouyang Xun.

This epitaph has long been lost, and what we see today are forged copies of different ages, as well as reprinted copies of the forged version.

Such a forged version usually has the words "written and written by Ouyang Xun, a doctor of Yinqing Guanglu", in the first line.

Therefore, Chen Wenzhe could easily complete the identification of this kind of counterfeit.

Then the next book is a little more difficult to identify.

This one is "Yao Bian's Epitaph", and its situation is a little more complicated.

The full name of the copy I have seen today is "Epitaph of Duke Yao Gong, Zuo Guanglu, General Zuo Tunwei of the Sui Dynasty".

The article was written by Yu Shiji, the servant of the internal history of the Lin army, Ouyang Xun, a doctor of Taichang, wrote the book, and Wan Wenshao engraved it.

The writers and engravers are all famous masters, so they are particularly eye-catching.

This chronicle was first recorded in "Jigu Lumu", and later "Jinshilu Sui and Zhou Luohu Epitaphs" also mentioned it, and they are all called Ouyang Xun Dayezhong's book.

Because in the epitaph of the Sui Dynasty, the name of the author of the second inscription cannot be found.

Therefore, Mr. Gu Tiefu of the Palace Museum asserted that what Ouyang Fen and Zhao Mingcheng saw was already "a forged copy of people in the Song Dynasty".

In other words, the so-called Epitaph of Yao Bian written by Ouyang Xun, although the calligraphy style is similar to typical Sui epitaphs such as "Su Xiaoci" and "Tao Gui", is in fact the "Yao Bian Epitaph" written by merchants of inscriptions in the Northern Song Dynasty. Engraving the name of the author, or simply re-engraving it in European style, in order to defraud more money.

(End of this chapter)