My system is not decent

Chapter 1862

Rubbings of Shiguwen existed in the Tang Dynasty, but they have not been handed down.

The rubbings of the Shigu Song Dynasty in the collection of Song Anguo were sold by Qin Wenjin in the Republic of China to the Neon Tokyo Kawai Tsuenlu family.

In addition, the early rubbings circulated in the society include "Pioneer", "Zhongquan" and "Steady Strength" in the Northern Song Dynasty.

Among them, the Tianyige Tibetan Northern Song Tuocun 420 two-character version is the most.

However, the original rubbings have been lost, and now we can only see the photos of these three kinds of rubbings that Mr. Guo collected in Neon in the 30s.

Anguo's collection of Song Tuo's "Pioneer" has photocopies in the Old Commercial Press and Cultural Relics Publishing House, and it is collected in the book "Studies on Stone Drum Literature" written by Guo Lao.

There are photocopies of "Zhongquan" in the Dahai Art Garden Zhenshang Society and the Neon Tongtang.

A photocopy of Stamina is included in the "Calligraphy Famous Products Series" published by Zhonghua Book Company and Nihong Erxuanshe.

The third issue of "Calligraphy" issued by Dahai Calligraphy and Painting Publishing House in 1984 also published a photocopy of Song Tuo's Shiguwen.

However, Chen Wenzhe knew that none of the writings on the ten stone drums he saw should come from these rubbings.

Not to mention anything else, let's just talk about the damaged tenth stone drum, the text on it is incomplete in some rubbings.

And what he sees now?It's complete, not just four lines, and it's not a wordless version.

In this way, it is enough to show that these stone drums are either from the rubbings before the Song Dynasty, or from the rubbings of Xiang Chuanshi mentioned earlier.

Of course, if Chen Wenzhe said so, there would definitely be controversy.

Because if his point of view is recognized, these ten stone drums will not stay here to experience the wind and sun.

No matter what it is, as long as it takes a long time, there will be disputes, and these ten stone drums are no exception.

The age of the carving of the stone drum has not been determined. Wei Yingwu and Han Yu's "Song of the Stone Drum" is considered to be the stone carving of King Xuan of Zhou.

Ouyang Xiu's "Stone Drum Postscript" is also considered to be written by Zhou Xuanwang Shi Shizhen.

Luo Zhenyu's "Stone Drum Text Research and Interpretation" is considered to be the time of Qin Wengong.

Another theory is that the Southern and Northern Dynasties in the 6th century AD.

Mr. Guo thought that it was the time of Duke Xiang of Qin, and Tang Lankao determined it to be engraved in the 11th year of Duke Xiang of Qin (374 BC).

Ma Heng, the former director of the Palace Museum, determined in his "Stone Drum Wen Qin Stone Inscriptions" that the stone drum was carved in the pre-Qin period, but the exact date is different.

In addition to the dispute of provenance, there is also the dispute of ordering.

The 10 large stones should be arranged in order, and the 10 long poems carved on the stone drum are naturally in order.

It's a pity that when the stone drum was discovered in the wilderness, no one paid attention to the details, and it was migrated several times afterwards, which made the research even more difficult.

However, scholars in the past dynasties still named it after the first two characters based on the characters on the stone drum.

They are the Qianmian Drum, Chegong Drum, Tianche Drum, Luanche Drum, Lingyu Drum, Zuoyuan Drum, Ershi Drum, Majian Drum, Wushui Drum, and Wuren Drum.

Subsequently, scholars of epigraphy made various versions of them, but none of them convinced the world.

In fact, these are not important. The most important thing is what kind of writing it is, how it is read, and whether it is passed down in one continuous line with the writing we use now.

It is definitely no problem to pass it down in one continuous line, but the interpretation seems to have not been successful until now.

The reason why Shigu Wen is called "Book of Heaven" is that it is very mysterious and difficult to decipher.

On the other hand, there are still many unsolved mysteries so far.

One is where the stone of the stone drum comes from and what is its parent body.

What can be confirmed now is that the font of Shiguwen is derived from the bronze inscriptions of the Western Zhou Dynasty and the small seal script of the Qin Dynasty.

From the perspective of calligraphy, the stone drum inscriptions inherit the bronze ware of the middle Spring and Autumn Period, such as "Qin Gong Gui".

The inscription covers ten lines, and the vessel has five lines, with a total of 121 characters.

His book is the forerunner of Shigu and Qin Zhuan, and his characters are square and generous.

Where the pen is folded horizontally and vertically, the square is contained in the circle, and the vertical painting is retracted at the turning point and gradually stretched downward when going downward.

Its momentum is rugged and elegant, and it does have the powerful overlord momentum of the Qin Dynasty.

However, it tends to be more square and rich, with the beginning and end of the brush being Tibetan front, round and vigorous, the body promotes length and elongation, and is well-proportioned and moderate.

It can be said that it is ancient and majestic, and it is the best in ancient and modern times.

Shigu Wen is a collection of large seal characters and the first of small seal characters, which plays a role in linking the past and the future in the history of calligraphy.

It is a transitional font that evolved from large seal script to small seal script and has not yet been finalized.

Shigu Wen has been regarded as an important model for learning seal script by calligraphers of all dynasties, so it is known as "the first rule of calligraphers".

The impact of Shiguwen on the calligraphy world was the most prosperous in the Qing Dynasty. For example, the famous seal script writers Yang Yisun and Wu Changshuo formed their own styles mainly due to Shiguwen.

The most famous rubbings of Shigu Wen are the Northern Song rubbings such as "Pioneer", "Zhongquan" and "Steady Strength" collected by Anguo in the Ming Dynasty.

As for the stone drums in front of Chen Wenzhe, the writing on them must have been written by Xiang Chuanshi, which is the rubbings of the Northern Song Dynasty.

These texts come from the rubbings of Taishi Shiguwen, which was originally related to Shigu.

This rubbing, even in the Song Dynasty, is relatively complete.

Because when Xiang Chuanshi was comparing other stone drum rubbings in his hands at that time, he accidentally discovered that this rubbing actually retained the words "Zuoyuan Stone Drum".

In the stone drum he found later, especially the lost one, only the remaining half of the 4-line text remained.

Later, Xiang Chuanshi received many awards from the imperial court for his meritorious service in finding the stone drum, and obtained a complete set of stone drum rubbings.

However, at that time, all ten stone drums were damaged and were incomplete.

Therefore, the rubbings that have been handed down the most are the Taishi stone drum rubbings.

As long as it is a complete copy, no matter when the rubbings are copied, they will be very precious.

It was also because of this that Chen Wenzhe couldn't walk when he saw the ten stone drums.

You must know that these "Stone Drum Inscriptions" are the earliest existing stone inscriptions in my country.

They are also the most respected "round pen script" scriptures by ancient and modern calligraphers.

How lucky is such a treasure to be able to see the scene of the era of complete victory?

You must know that even now, the writing on the ten stone drums has not been repaired much.

In 2009, Xiong Guoying, a scholar of ancient characters and a calligrapher, meticulously repaired the incomplete characters on "Shiguwen" (ancient post) with his broad vision, profound artistic accomplishment and precise modeling ability.

He repaired more than 100 incomplete characters, filled in 113 missing empty characters, and increased the complete number of characters in the ancient rubbings from 272 to nearly 500 characters.

And use the original "ink color book" technique to fill in gold word by word, finally reappearing the long-lost royal atmosphere of Shiguwen, so that we can finally see the glory of "Shiguwen" in Song Dynasty.

This restoration has far-reaching historical significance far beyond the scope of calligraphy art!
However, even if it is restored to this extent, it is absolutely impossible to completely restore the full appearance of the stone drum in Song Dynasty.

And what about the stone drums that Chen Wenzhe saw in front of him?Except for the splendor made by gold, the handwriting on it is round and lovely, and it looks like a holy calligraphy.

(End of this chapter)