My system is not decent

Chapter 1867 Zhang Hei Nu, No Comparable One

Among the supporters, the only one recorded in historical records is "The Doctor of Zhongguo Don't Drive Zheng Guogong Wei Ying".

"Old Tang Book Wei Zheng Chuan" says: "At the beginning of Shenlong, his uncle Yuzi was appointed Zheng Guogong."

Wei Zheng was granted the title of Zheng Guogong during the reign of Emperor Taizong.

His son Wei Shuyu and his grandson Wei Ying were named Zheng Guogong.

Based on this, it can be inferred that this building was built during the Shenlong period (705-707) or later.

Or think that the emperor and empress in the picture are Tang Zhongzong Li Xian and Empress Wei.

The seat of this building is relatively large, and its body should also be tall and majestic. The engraved scriptures should be "Buddha Supreme Victory Dharani Sutra".

According to the usual practice, in addition to engraving scriptures on the body of the building, there should be detailed inscriptions.

Record the reason, name, year, month, etc. of the building.

It is a pity that it is missing, leaving an unsolved mystery, waiting for the discovery of new materials and in-depth research.

However, Chen Wenzhe didn't care about this, because such a complicated stone carving had already been copied and placed in front of his eyes.

Looking at these exquisite moments, Chen Wenzhe feels that as long as he buys them back, he can immediately form an exhibition hall of exquisite moments.

Looking at other stone carvings around, there are many types, such as Shixi town in Han Dynasty, Shixiangxun in Tang Dynasty, stone tortoise inkstone in Yuan Dynasty, stone drum in Qing Dynasty, etc. They are also exquisitely carved, full of interest, and have high ornamental value.

So many exquisite stone carvings, why haven't they been sold?
These are absolutely impossible to be mass-produced products. Could it be that the price is too expensive?
Or are these not for sale because they are the work of the boss?
Looking at the slightly deserted factory, Chen Wenzhe looked thoughtful.

This is not like a factory, but a bit like an open-air museum.

"Huh? Even the epitaph here is imitated?"

Chen Wenzhe saw a piece of Luo Chong's epitaph, which was from the third year of Tang Xianqing.

In recent years, many people have begun to pay attention to the collection of inscriptions, and it is obvious that many epitaphs have been imitated here.

The epitaph has the value of historical documents, and at the same time has the value of calligraphy art, which is increasingly valued by people.

Such as "Northern Zhou Yuwenxian Epitaph", "Sui Du Can Epitaph", "Tang Luochong Epitaph" and so on.

There are quite a few epitaphs from the Tang Dynasty, such as the epitaph of Yao Teng, which dates from the second year of Kaiyuan in Tang Dynasty.

If it is the best one, among the epitaphs here, "Tang Yaoyan's Epitaph" should be the most valuable.

This inscription is relatively large, with a height and a width of more than 0.9 meters, and a total of more than 2000 characters.

It records Yao Ting's family, hereditary lineage, calendar officials, and life stories in detail.

Yao Teng, a native of Jingzhao Wannian, whose ancestor Yao Silian was a famous historian in the early Tang Dynasty, co-authored "Book of Liang" with Wei Zheng.

Yao Teng studied hard since he was a child, and he cited Ming Jing. In Wu Zhou, he was the governor of Dingzhou and other five states, and he was famous for his good governance.

During Zhongzong's time, he was awarded the Duke of Xuancheng County, Zhan Shi, Prince Li of the Harem, Secretary Supervisor, and Minister of the Household Department.

He died in the second year of Kaiyuan (714) at the age of 74.

There are forty volumes of "Han Shu Shao Xun", twenty volumes of anthology, and biography of old and new "Tang Shu".

Liu Zhirou, the author of the epitaph, was the brother of Liu Zhiji, a famous historian in the Tang Dynasty, and also a high-ranking official and celebrity.

The calligraphy layout of this Zhi is rigorous, and the font is beautiful, close to lower case, and still retains the style of regular script in the early Tang Dynasty.

The four sides of the Zhishi and the Zhi cover are engraved with various patterns. Between the continuous vine patterns, there are various winged beasts and birds.

Another thing worth cherishing is "The Sixth Daughter of Tang Fengji Wang Shen Guishun County Lordship", the content is to make the sixth daughter of Tang Taizong Li Shimin's tenth son Ji Wang Li Shen the sixth daughter of Guishun County Lord.

In the Tang system, the emperor's daughter was named princess, the prince's daughter was named princess, and the prince's daughter was named county head, with "shishifeng" as its source of income.

In the Tang Dynasty, the system of three provinces was implemented. The edict system was drafted by Zhongshu Province, reviewed by Menxia Province, and implemented by Shangshu Province.

This stone engraved imperial edict completely reproduces the official document form of the imperial edict system of the Tang Dynasty, and contains the official titles and names of the responsible officials of the three provinces.

The imperial edicts of the Tang Dynasty were generally written on hemp paper, proclaimed and archived, and rarely preserved.

In order to commemorate and show his identity, the Lord of Guishun copied the engraved stone and buried it in the tomb. It is a precious material for studying the Tang Dynasty imperial system.

Some other famous ones are the statue of Zhang Hei Nu, which seems to be from the Sui Dynasty.

This is not easy, especially Zhang Hei Nv's epitaph, the text on it is known as the best Wei stele, exquisite and ancient, majestic and simple.

In "Zhang Hei Nu Epitaph", "Hei Nu" is pronounced hè/rǔ.

The original name is "Nanyang Taishou Zhang Xuan's Epitaph", also known as "Zhang Xuan's Epitaph".

Zhang Xuan's character is Hei Nv, because he avoided the name taboo of Emperor Kangxi of Qing Dynasty Aixinjueluo Xuanye, so the Qing people commonly called it "Zhang Hei Nv Epitaph".

This stele was inscribed in the first year of Putai in the Northern Wei Dynasty ([-] A.D.). There is no trace of its origin. The original stone of this inscription has been lost, and now only the cut and mounted copy in He Shaoji's collection in Qing Dynasty remains.

There are 360 lines of regular script, [-] characters in each line, a total of [-] seven characters.

Zhiwen's calligraphy is exquisite and ancient, majestic and simple, with a flat, square and sparse structure.

Although this epitaph belongs to the official script, the style of writing is eclectic, the style of the calligraphy is vigorous and sparse, the style is reserved, natural and elegant.

Both the center and the side are used in the brushwork, and both the square and the circle are used to achieve a vivid and elegant style with the combination of rigidity and softness.

Square brushes are the main ones, but also circles, horizontal strokes, or circles and squares, or squares and circles.

The knot is slightly flat, and the body contains momentum.

It not only inherits the charm of the Northern Wei Dynasty, but also develops the rules of Tang Kai;

It not only has the handsome spirit of the northern stele, but also contains the gentleness and elegance of the southern calligraphy, which can be called the best calligraphy of the Northern Wei Dynasty.

He Zizhen, a calligrapher of the Qing Dynasty, commented: "The seal script is divided into regular script, so there is nothing wrong with it, and there is nothing wrong with it. However, it is thick, refined and ancient, and there is no one comparable to it."

The "People's Bank of China" on the fourth set of RMB that we are familiar with now belongs to the "Zhang Hei female body".

The Wei stele, inheriting the Han and Jin Dynasties from the top, and the Tang and Song Dynasties from the bottom, has a special status in the history of Chinese calligraphy.

Its brushwork is vigorous, the stippling is thick, the mood is strange, and the bones are profound.

Qingkang Youwei once praised the stele of Wei: flesh and blood, natural structure.

The number of epitaphs, statues, steles, tower inscriptions, carved scriptures, etc. may number in the tens of millions.

Its strange structure, strong momentum, and great changes are unmatched by other calligraphy styles.

And when we walk among countless inscriptions, we often feel the vicissitudes of history and the weight of culture.

Appreciating pieces of carved artworks, it seems that time has frozen, bringing us into that era.

Chen Wenzhe likes inscriptions and stone inscriptions, and has a natural reverence and intimacy for stone inscriptions.

He never thought that there could be so many ancient stone carvings and carvings in China.

It turned out that he had visited Chang'an Forest of Steles, and there were already many steles there.

He also knew that there were many inscriptions in the Pei family's ancestral tomb in Xishan, and there were many stone inscriptions and inscriptions on Mount Tai, the only one of the five mountains.

However, no matter how many inscriptions there are in these places, it is very miserable and they are not gathered together.

And what about in front of you?With so many inscriptions and inscriptions from so many dynasties gathered together, it is really spectacular.

The most important thing is, with so many inscriptions, if you haven't seen the real ones, how did the boss here copy them?
Also, there are still some antiques here!
(End of this chapter)