My system is not decent

Chapter 1497 Four Versions
Chen Wenzhe didn't want to talk anymore. If the rubbings of the temple steles here are genuine, they are very rare.

He looked at the rubbings, of course, he just took a few glances before moving to the stone tablet.

The easiest way to identify rubbings is to identify the original stone.

To understand the various rubbings left in ancient times, it is important to identify the original stone.

It's just that many original steles have been destroyed now, so the only remaining original rubbings or orphaned copies will be invaluable.

According to historical records, Huang Tingjian in the Ming Dynasty once had the "Zhenguan Carving" inscribed on the Confucian Temple Stele, which was purchased with a thousand taels of gold.

This illustrates the value of Yu Shinan's "Confucius Temple Stele".

However, the quality of the "Chengwu version" and "Chang'an version" that were reprinted later was not as good as the original rubbings.

In 1920, Luo Zhenyu, a great collector, publicly sold the Ming rubbings "Chang'an Temple Stele" identified by him, worth 140 yuan

There is also the "Chengwu Temple Monument" collected by Zhang Shumo, which is worth 120 yuan.

Due to the role of the law of value, it has become the hobby of many collectors to really learn to appreciate rubbings.

From the overall understanding of inscriptions, appreciation is also from the outside to the inside, with different aspects.

The first thing that catches the eye is the decoration of the rubbings. All kinds of old rubbings, especially ancient rubbings, have styles from different periods.

Therefore, "folded packaging", "butterfly packaging", "thread binding" and so on all reflect the characteristics of materials and mounting times.

Then, the rubbing paper and the specific ink color and effect of the rubbing, this is an objective analysis of the materials and techniques.

After the Southern Song Dynasty, master counterfeiters of inscriptions began to work more and more on rubbing techniques and stone carvings.

Therefore, to further identify the style of calligraphy, the use of brushes, etc., this has become the main basis for appreciation.

In addition, there are auxiliary evidences for identifying inscriptions, that is, inscriptions, seals, inscriptions and postscripts, etc., which can help identify authenticity.

While looking at the stele, Chen Wenzhe looked at the rubbings in his hand.

The production of these rubbings must be inseparable from the stele.

How is that made?In fact, it is not difficult.

The technology of using ink to rub the characters and patterns on stone carvings and ancient artifacts on paper has been around for a long time.

This is an important method to preserve cultural relics and provide a model for temporary writing.

Chuantuo technology has a history of more than 1000 years in my country.

Many inscriptions that have been lost and destroyed can only see the content and style of the original inscriptions because of the rubbings handed down from generation to generation.

For example, the Huashan Temple Stele in Xiyue Mountain of the Han Dynasty was destroyed by the earthquake in the 34th year of Jiajing in the Ming Dynasty, and the rubbings handed down from generation to generation are treasures;
Tang Liu Gongquan Shu Song Tuo Shence Military Stele, because the original stele has been lost, only one rubbing copy has been handed down, so it has become an orphan.

Chuantuo can clearly extract stone carvings, inscriptions on ancient artifacts and subtle patterns to make up for the lack of photographic technology.

There are mainly two types of rubbing rubbing and rubbing rubbings, as well as wax-ink rubbing, inlaid rubbing, and ring rubbing.

And what is in front of you is the inscription rubbing rubbings printed using the rubbing method.

In this method of rubbing, the main tool is a wipe made of fine felt.

The wiper should be tightly rolled and sewn tightly, and it is advisable to hold it with your hand.

After that, the lower end of the felt roll was cut and ironed flat, and the wet paper was spread on the stele.

Then use a brown brush to flatten and brush vigorously to make the paper tightly cover the recess, and then use a bristle brush to smash it in order.

If the stone carving is solid, felt should be padded on the paper, and it should be painted and knocked with a wooden hammer to make the subtleties of the strokes clear, and it must not be hit hard with a wooden hammer.

After the paper is dry, use a pen to dip the ink on the extension board, knead the ink evenly with a wiper, and wipe the ink on the paper.

At this time, attention should be paid not to soak the ink on the back of the paper, so that the black and white inscriptions can be clearly distinguished, and the ink should be rubbed three times.

Feeling that this book didn't look like a random copy of a fake, Chen Wenzhe felt happy.

This book, as long as it is not forged by modern people, is absolutely valuable.

Even rubbings made during the Qing Dynasty and the Republic of China are still very valuable.

Since Li Tianqiang said that the stack here may be genuine, let's take a good look.

Chen Wenzhe flipped to the next one, and this one was actually not made by the above method, but by the pomo-tuo method.

The flutter used in this method is made of white cloth or satin wrapped with cotton and oiled paper.

There are two layers of lining cloth, and one end is tied into a garlic shape.

According to the needs of the rubbed inscriptions and utensils, they can be bundled into three types of pods: large, medium and small.

Spray the puff bag with water to moisten it, brush it on the extension board with a pen dipped in ink, and knead it evenly with a puff.

If you use double pokers, you can first dip the lower pokers with ink, then beat the two pokers together to knead the ink evenly, and then splash the ink on the semi-dry paper.

The ink must be uniform in the first pass, and the ink should be black and shiny after three or four passes.

Chuantuo cliff stone carvings, etc., because the cliff surface is rough, white cloth can be used to wrap chaff, hair, sand powder, sawdust, etc. to make puffs.

After dipping the double puffs in ink and kneading them evenly, the uneven cliff lettering is then carved.

The workers of Shanxi High-ranking Officials' Forest of Steles used horsetail mane to make the bottom, and then lined it with felt and old wool to make the bottom.

They only use a single Luodi puck and a rubbing board, and the effect of rubbings for inscriptions is also very good.

Based on historical data, Chen Wenzhe could tell that the calligraphy and postcards on Yu Shinan's temple stele he saw in front of him were not written by Yu Shinan himself, but were reprinted from the stele in Wu Zetian's era.

At present, there are four versions that can be seen in the world, the Shaanxi version, that is, the Ximiaotang version;

Neon Mitsui's edition, which was collected by Kang Lixuan from the Yuan Dynasty official to the Ministry of Rites;

Chengwu version, that is, Dongmiao Tang version;
Seven copies of the Neon Tokugawa family collection.

Most of the rubbings currently on the market come from the stone carvings of craftsmen in the Qing Dynasty or the Republic of China.

Currently the most popular is Mitsui Ben.

The word "Confucius" at the beginning of the Mitsui and Tokugawa editions is there, but not in the Ximiaodang and Dongmiaodang editions.

Both the Mitsui version and the Tokugawa version have words that have been transferred from other versions.

It cannot be said that Mitsui Ben and Tokugawa Ben are 100% from the Wu Zetian era.

Due to the high value of Yu Kai, if the temple stele is lost due to war and other reasons, it is inevitable that enthusiastic people will carve and erect it again.

Therefore, there is also the possibility that it came from the late Tang Dynasty or the Five Dynasties and Ten Kingdoms.

There are four versions, with several characters different.

As for "twenty" and "twenty", it remains to be verified.

As for the rough words of "Liyin Juejiao", it is very inconsistent with the author's intention;

There are also temple inscriptions such as "The arrow returns to the east, and the white ring enters the west". Yu Shinan is saying that the Koreans and Tubo people have put down their weapons and will not invade.

Therefore, most people would think that Yu Shinan would not use such a serious word as "Liyin Juejiao" to refer to Xieli, the subjugated king of Eastern Turks who had just been wiped out by the Tang Empire.

Chen Wenzhe flipped through the rubbings in his hand, there were four in total, they were Dongmiaotang Dingwu version, Ximiaotang Shan version, Neon Mitsui Yasuli version, and Neon Qijo version.

This is quite complete, yet another series.

It can be said that whether it is a stele or a post, everything is collected here.

But here, we must talk about the difference between steles and posts.

The name of the stele first began in the Han Dynasty.

According to the textual research of Wang Yun, a scholar of "Shuowen" in the Qing Dynasty, the earliest steles had three uses.

That is, the stele in the palace, erected in front of the palace to measure the shadow of the sun;
The stele of the ancestral temple is erected in the ancestral temple to tie the livestock;

The stele of the tomb is used to pull the coffin into the tomb when the emperor, princes and doctors are buried.

(End of this chapter)