Shen Zengzhi, later known as Meisou, was erudite in both ancient and modern times, and learned both Chinese and Western knowledge. He was known as the "Great Chinese Confucian". His calligraphy, stele, and calligraphy were combined into one. The impact is far-reaching.

Zonghe

Shen Zengzhi (1850-1922), whose late name was Meisou, was erudite in both ancient and modern times, and had knowledge of both China and the West. He was known as the "Great Chinese Confucian". Zhang Cao is one furnace, and his academic and artistic attainments have a profound impact on later generations. Modern masters such as Yu Youren, Ma Yifu, Xie Wuliang, , Lu Fengzi, Wang Qiumei, Luo Fukan, Wang Zangchang, etc. were all influenced by Shen Shu.

The Paper has learned that on May 21, "The Book of Common Sense - Shen Zengzhi's Ink Exhibition" opened at Zhejiang Library . The exhibition mainly focuses on Shen Zengzhi's manuscripts, with more than 60 works on display, covering poetry manuscripts, letter manuscripts, epigraphic inscriptions, research notes, etc. There are also some calligraphy manuscripts with rich content and diverse forms. Among them, most of the exhibits are available for the first time.

Shen Zengzhi (1850-1922), named Zipei, nicknamed Yi'an, later nicknamed Meisou, had many other nicknames, more than 160, and was a native of Jiaxing, Zhejiang. In the sixth year of Guangxu (1880), he became a Jinshi and served as Chief Secretary of Anhui Province. In terms of knowledge, he is knowledgeable about the past and the present, has learned both Chinese and Western knowledge, and is proficient in history, Buddhism, and frontier geography. He is the author of "Notes on Unsecret History", "Notes on the Origin of Mongolia", and "Yimao Manuscript". He is famous at home and abroad for his "master's degree in Confucianism" and is known as the "Great Chinese Confucian". In 1901, he served as the supervisor (principal) of Shanghai Nanyang Public School (the predecessor of Shanghai Jiaotong University), reforming the old appearance and achieving outstanding results.

Shen Zengzhi (1850-1922)

Exhibition site in Hangzhou.net

Shen Zengzhi is well-versed in ancient times and modern times, and has learned both Chinese and Western knowledge. He is known as the "Chinese Great Confucian". His calligraphy, stele and post are combined, integrating Han Li, Bei stele and Zhangcao. As a furnace, his academic and artistic attainments had a profound impact on later generations. Wang Guowei Mr. Shen Zengzhi once bitterly defended Shen Zengzhi, saying, "He is a great poet, a great scholar, and even a great philosopher. He shines brightly in his heart. How can it be said that his humble words are the best today? He is a filial son for his family, a pure minister for the country, and a good minister for the world." When I first woke up, I realized that I wanted to cry for the world. "

Shen Zengzhi's grandfather, Shen Weiqi, was a Jinshi. He served as an academician for five years and became the left minister of the Ministry of Industry. He was known as "Mr. Xiaohu". He still had useful knowledge and wrote many school journals throughout his life. He is the author of "Ten Volumes of Supplementary Manuscripts of Shuzhai". Zeng Guofan was his student and worked for him. His father, Shen Zonghan, was a member of the Water Department of the Ministry of Industry. Shen Zengzhi has four brothers and two sisters. He ranks fourth, so he is also called "Mr. Four". When he was two years old, his grandfather died; when he was eight years old, his father died. Since then, his family's fortune has declined, but his ambition to study has never been lost. Since he was a child, he has followed his mother and eldest brother Shen Zengqi in reciting Tang poetry. Despite the difficulties, his mother still invited Sun Chunzhou, Zhou Kesheng, Wang Chuxiang, Yu Youshan, Gao Junsheng, Qin Wanqing, Ruan Jisheng, Zhu Houchuan, Zhou Zhenhou, Wang Xinze, Luo Jisun, etc. to teach him, and then established the "cultivation of one's morality, governance of the country, The ambition of "pacifying the world".

Throughout his life, academics and politics were closely linked. He intended to realize his political ambitions, but failed to achieve his ambition. Instead, he achieved an academic leadership position in the late Qing Dynasty. In addition to the above-mentioned historiography, laws and geography, there are also achievements in Buddhism, classics, textual criticism, Taoism, poetry, calligraphy and other aspects. In terms of poetics, he was promoted as a representative figure of "Tongguang Style". He advocated that the study of poetry should pass the three levels of "Yuanjia, Yuanhe and Yuanyou".

Regarding Shen Zengzhi’s achievements in calligraphy art, his student Jin Rongjing once wrote, “In eight words, the exquisiteness of the north and south steles is overwhelming. From Boying, Ji, Manuoli, and Congzhong Jishi, all of them are included in its secrets. . In the three hundred years of the Qing Dynasty, there was nothing comparable to it. Regardless of Liu Wenqing, even Wanbai and Jisou were writing in the same way, galloping north and south, crossing the art garden. It flows and becomes more majestic. It is scattered on the sea, like a pile of water, and the mountains and rivers are low, so we can know the outline of his calligraphy." In addition, his student Wang Quchang wrote, "The master's calligraphy is majestic and ever-changing, which can be seen from reading. It has come from thousands of volumes. Therefore, I will first discuss the knowledge of the teacher, and then discuss the book, and then learn about the teacher's book.

In "Calligraphy in the Past Three Hundred Years", Sha Menghai listed Shen Zengzhi's calligraphy as a leading figure in "Tie Xue", saying, "He is a scholar. Although he can write, he specializes in the schools of Bao Shichen and Wu Xizai. It's not interesting; later, somehow, like Shizi's enlightenment, he suddenly understood the secrets of calligraphy."

Shen Zengzhi's calligraphy art influenced and cultivated a generation of calligraphers, and made important contributions to the revival and development of calligraphy art. Contributions. Masters such as Yu Youren, Ma Yifu, Xie Wuliang, Lu Fengzi, Wang Qiumei, Luo Fukan, Wang Zangchang, etc. were all influenced by Shen Shu. The art of calligraphy is the calligrapher's own cultivation, literary skills, knowledge accumulation, and intellectual personality. A manifestation of talent, temperament, etc.

Shen Zengzhi’s four-screen cursive script

Shen Zengzhi’s inscriptions and postscripts (front and back) clear manuscript

Before he passed the imperial examination, he mainly studied calligraphy in small regular script in the Jin and Tang Dynasties because of the writing style in Jiangsu and Zhejiang at that time. In its heyday, most scholars practiced the so-called "Guange style" in order to pass the examination. In his later years, Shen Zengzhi defended the "Guange style" and said: "There were classics students in the Tang Dynasty, Yuan style in the Song Dynasty, and Yuan style in the Ming Dynasty." Since the Ming Dynasty, there have been official and imperial edicts in the cabinet, and they are known for their neatness. Famous scholars have compared them to the imperial edicts of the prime minister. In fact, the books of famous masters are not only horizontal and vertical. The Tang stele that was pushed up, and the Han Li that was pushed up, are both uneven. Even though there are steles from the Six Dynasties, and even though various families have written cursive posts, how can they not be horizontal or vertical? The operator refers to its flat ears without potential. Once you know how to write, there is no doubt about it. The Eight Methods of Yongzi were spoken by the calligrapher Lu Yan of the Tang Dynasty. Writing cannot go beyond this scope, so how can it be exhausted? "After

passed the examination, he began to learn from Bao Shichen, and followed the path of Deng Shiru and Wu Rangzhi. There was a poem that said: "A hundred years ago, if I want to live in peace with Mr. Wu, the Eight Dharma will be re-added and read next." It is also said that "Bao Zhang spreads the Dharma to peace. "At that time, I met Wu Sheng's teacher late at night", which revealed exactly this stage of his learning process. He also said, "I want to imitate the valley, so my heart and hands are disobedient, and I often fight violently and cannot gain power." "Afterwards, he accepted Bao Shichen's concept that "preparing for the Wei" could "take the Jin", and adopted the method Beibei , especially Zhang Yuzhao's calligraphy. This is related to the fact that he became a Jinshi in the sixth year of Guangxu and went north to serve as an official. On the one hand, he got in touch with Beitu calligraphers, and on the other hand, he began to collect rubbings of inscriptions and study calligraphy. His attitude towards inscriptions had an artistic vision and the purpose of researching geography and historical facts, but it also had a certain influence on the formation of future calligraphy styles. Positive influence. He has always advocated that even if he cannot become a "calligrapher", he can still be a "learner of calligraphy", which is consistent with his view of "studying people and poets into one" in his later years. , in terms of writing notes, the influence of Bao Shichen is still great, but the influence of Zhang Yuzhao and Wu Rangzhi is not very obvious.

Mandala Tuanci

Ji Xiantai's handwritten daily account book

Shen Zengzhi. With high talent, rich ideals, introverted personality and firm perseverance, Shen lived in seclusion in Shanghai in his later years. After being frustrated in his official career and feeling depressed, he officially retired in 1921. In Shanghai, writing books was enough to relieve the difficulties of livelihood. "There is a limit on the number of people at home and abroad who want to ask for books." Currently, most of the works circulating in the society were written in the last few years, but they are rarely similar in style. It shows that he does not stick to one family and has a mentality of gaining a lot. When writing poems, he advocates the need to pass the "three passes", and the last pass is the "Yuanjia pass". He wrote in "Discussing Poems with Jin Qianlu Prefect". "" mentioned: "But I will read Youjun's "Lanting Poems" and Kang's landscape poems together. "It can be seen that his realm is in the "Living Six Dynasties", "the common people have fallen off the branches of Tao and withered, and the mouth is elegant and exciting." "This idea is also present in his calligraphy, but unfortunately he has not been able to point it out. Or maybe he thinks he has not reached this level and just does not put it forward. It is unknown.

It is reported that this exhibition is divided into four parts. The first part He wrote the unpublished manuscript of "Mandala Tuan Ci" for Shen Zengzhi; the second part is the manuscripts of Hairilou, many of which were published in the "Collected Works of Hairilou" edited by Mr. Qian Zhonglian. The whole book is Shen Zengzhi's academic article. It is compiled according to style and is divided into four volumes. Its content covers the main contents of Shen's political and academic thoughts, academic methods, as well as his research on philosophy, history, geography, literature, art and other aspects.

Shen Zengzhi wrote "The Method of Recording Maps", "The Waterways of the Western Regions and Postscripts", and "The Book of Qin Border Chronicles" are three kinds of manuscripts

Shen Zengzhi wrote the clear manuscript of "Mr. Ruian's Sixty-year-old Yan Xu".

The third part is " The original manuscript of "Meisou's inscription and postscript". "Mei Sou's Inscriptions and Postscripts" are simple inscriptions written by Shen Zengzhi during his daily life when he was reading calligraphy, steles, and books. The subtle words and great meanings are all words that he gained from further study and had outstanding insights, which are enough to enlighten future generations. It is a study on the origin and evolution of Shen's calligraphy. It is also an important document for studying Shen's academic thoughts.

Daguan postscript

Shen Zengzhi Runli

Puyi wrote "The Imperial Sacrifice to Shen Zengzhi"

The fourth part includes Shen Zengzhi's life history, Runli, Ai Qi, Puyi's Imperial Sacrifice and other documents.

Looking at these manuscripts by Shen Zengzhi, they are handwritten and full of secrets. Compared with the social writings, it shows his temperament. It also shows that Shen Zengzhi, as a great scholar, has an eclectic approach to calligraphy and his ability to understand the inscriptions and inscriptions.

Through these manuscripts, we can see the breadth and depth of Shen's knowledge. Although it cannot fully reflect Shen's knowledge, it is enough to give us a glimpse of the leopard, allowing us to see the words as if they were face to face, and feel the majestic demeanor of a great scholar. It is also an excellent material for studying Shen's life. On the day when

was launched, the organizer simultaneously held the "Studying Books and Daily Writing - Shen Zengzhi's Calligraphy Art Seminar", inviting more than ten experts and scholars to discuss Shen Zengzhi's life, academics, politics and calligraphy, and share his research on Shen Zengzhi in recent years. New results. The

exhibition will be on view until May 28th.

(This article is compiled from Zhejiang Library, Hangzhou website and related public accounts)

————————

Extended reading: Master Shen Meisou’s calligraphy theory summary

Author: Wang Quchang

Master Shen Meisou, taboo Zeng Zhi was given the courtesy name Zipei, nicknamed Yiju, and later nicknamed Meisou. Born in Jiaxing, Zhejiang Province (1850-1922). In the second year of Tongzhi in the Qing Dynasty, he passed the Shuntian Township Examination and became a Jinshi in the sixth year of Guangxu. He was divided into the Criminal Department according to his chief duties and promoted to outsiders and doctors. Anyone who had been in prison for eighteen years would be pardoned. Looking for Zhang Jing, the yamen responsible for the affairs of various countries, who also serves as prime minister. At that time, Russia was peeking into our northeast, and Japan was also trying to push forward the eastern frontier, competing with Russia. Our ancestors asked us to borrow money from the British to build the railway in the three eastern provinces, but it didn't work. He also vigorously refutes Russia's Heilongjiang fishery and shipping operations, and Russia is frustrated. The mother returned home worried, and the governor Zhang Zhidong hired the master Lianghu Academy . When fist fights broke out and foreign aggression was imminent, our ancestors, together with Sheng Xuanhuai and others, secretly planned strategies to protect each other's Yangtze River, and rushed among the powerful ministers. Li Hongzhang actually took charge of the plan, which was called a treaty to protect the southeast. Serve and transfer to the Ministry of Foreign Affairs. He was awarded the title of Magistrate of Guangxin Prefecture in Jiangxi Province, and successively served as Magistrate of Nanchang Prefecture, Supervisor of Grain Road, and Salt Law Road. He was promoted as an academic envoy from Anhui Province and went to Japan to test the academic system. Following the teachings of Dr. Guo Suiji, he began to intend to unite the old and the new in one place. In the 22nd year, he was appointed as a political envoy to protect the governor. The former master governed Anhui for five years. He governed with etiquette and carried out government affairs regardless of the size or detail. He always put himself first, and his wealth was not damaged. After disobeying the powerful, Haoran has the ambition to return home. A book written by another person said: "Pride and pride lead to extravagance, while poverty leads to extravagance. When a cow drinks and leaks from a boat, who knows where it will end? Someone wants to go but can't, and the disease increases day by day. The stallion is cramped, and strange birds wander around. It's very difficult to escape. It's very difficult. In the second year of Xuantong's reign, I begged to retreat. DingAfter the Revolution of 1911, there was an endless stream of appointments, and the former teachers were not accepted. Renxu died in Shanghai in the winter at the age of seventy-three. At that time, the small court of the Luo family in Aixinjue still gave him the posthumous title Wenchengyun. There is a biography in "Manuscript of Qing History", but not much discussion. More than fifty years ago. I once wrote "A Brief Introduction to Learning Cases" for my late teacher, but I cannot describe it in full text, so I would like to quote some of his descendants' words on learning, but I will also copy them here.

(1) Taicang Tang Wenzhi was the earliest teacher of Wenzhi. He wrote: "Mr. is master of everything in his studies. He has collected the six classics. He has been in and out of hundreds of schools of thought. He has penetrated the mysteries of heaven and man, and has mastered the knowledge of China and the West. Tasting words is the way of learning, which is more important than understanding the class, opening things up and accomplishing things. If it is limited to a corner, what is it? The works of the masters that have been passed down today are like scales and claws, and most of the commentators use Qian and praise them. Mr. Lao Xiang is a very shallow person. "

(2) Haining Wang Jing'an Guowei said on his academic order and methods: "The teacher has already passed the early years of the country (the case is called the early Qing Dynasty) and Qian Dynasty. The theory of Jia Zhujia was the history of Liao, Jin and Yuan Dynasties in the middle age, and the geography of the four descendants. It was also the study of all the families from Dao to Xian.The corruption of the world in people's minds and the benefits and ills of politics must be traced back to their origins, just like the elders in the early days of the country. They regarded classics and history as an independent study, and continued to explore its mysteries, expand its boundaries, and not allow it to be interfered with. Mr. Jia Zhu, as for comprehensively recruiting hundreds of schools, including two families, and governing them with the method of governing classics and history, this is beyond the reach of traditional scholars. If you think about the past, you are optimistic about the changes of the times, you have the wisdom of the prophet, you have the incomprehensible feelings, you know the heaven but don't accept it, you leave the world but don't forget the world, just like what the ancient sages felt, only one or two of them can be seen in poetry. It is just a method of learning that is spoken and cannot be described in detail. What is gained in the world can only be glimpsed. The types of knowledge are different, but their methods are the same. In the early days of the Kingdom, the elders used it to govern the study of classics and history. But the purpose is to make an agreement, and the knowledge is high and the peace is negotiated. When a scholar obtains a fragment of his words and integrates them into a whole, it is enough to name a family and establish a theory. The reason for inheriting the previous philosophers is this, and the reason for the creation of future scholars is also the same. To make the subsequent academic changes without losing its originality, it must be based on That's the way of a gentleman. "

Zang Changjin's case, Mr. Zang actually inherited the teachings of his eldest father, Xiaohu Shilang Weijiao, who was assigned to the fifth son of the Song Dynasty (see the epitaph written by his disciple Zeng Guofan), so he studied. At first, he supplemented theory with theory, that is, from Practicality returns to nature. There are three changes in Gaili, and each change makes progress: in the prime of life, one changes from Neo-Confucianism to studying textual research; in one's old age, one changes from studying textual research to seeking to live in troubled times; in one's old age, one changes again Concentrating on the study of Confucianism, Taoism, Taoism and Buddhism, this is another change. The rest of the things in Qihuang, calendar, music, catalogue, epigraphy, calligraphy, etc. are all about the utmost principles, except that they do not talk about Yin and Yang and the Five Elements. . His calligraphy skills became famous in his later years. Jindian Chengrong Jingchang, a disciple of his predecessor, said: "Mr. Shu Xia was a master of calligraphy. He got his pen from Bao Anwu and Zhang Lianqing . He wanted to write in order to understand the origin of his calligraphy. Positive change, and the reason for success. Later, from the posts to the stele, the calligraphy flow from the north to the south was integrated into one, and the intricate changes were made to express the wonder in his mind. He almost forgot about paper and pen, and just moved his mind. Commentators say that in the past three hundred years, it has been difficult to live with the same generation. "It is said that the master's calligraphy skills were learned from oracle bones, bells and tripods, bamboo slips, pottery, etc. Anyone who has writing can be learned without hesitation. I have seen that the calligraphy paper accumulated in his studio is yuan high enough to be invisible. It is all like this. (However, there are only a few steles such as "Chunhua Secret Pavilion", "Jijiu Zhang", "Xiaoguan", "Zheng Xi", " Zhang Menglong " and "Jingxian?"). This is the way of learning that Tang Weishi taught, "Knowing the class comprehensively, opening things up to achieve things, and being stuck in a corner." It is also what Wang Jing'an said: "Interesting in broad matters and making agreements, knowing high and making peace." "That's what I mean. I can't understand the big part, I can only recognize the small part, so I wrote this article. In the past, Zhao Zhibin's "Calligraphy Theory" and Yu Jishi said it, and it was called "Calligraphy Theory Summary". It was added to the title of the stele. Note, for young people.

Study on a stele and postscript

Beginner A

"Song Tuoge Postscript" says, "On the birthday of the guardian, I will give it to you." The regular calligraphy masters started from the Tang stele and the cursive masters from the Jin Dynasty. This is the rule. Then we can have a glimpse of the Qin and Han dynasties, and then the modern times next week. "

"Postscript to the Mingqian Rubbings of the "Holy Teaching Preface" says: "I have said that this stele is purely Tang style and has nothing to do with Jin style." However, no matter where you study Tang Xian's calligraphy, you have to learn from this person, just like cursive calligraphy has an eternal master. "(The case is called Shi Huaisu's Thousand-Character Essay. There are many thousand-character essays in Huaisu's books, and the Zhenyuan version in small characters is the best among the extant ones.) "Old Tuo's "Holy Teaching Preface" and Postscript says ""Holy Teaching" 》Purely Tang method, almost insulated from Youjun. The second is that the books written by people of the Tang Dynasty that exist today are mostly in regular script and few in regular script. Scholars moved from the classic to the Jin Dynasty. It is better to seek them from now on, because the era is relatively recent. "

"Postscript to Song Tuo's "Secret Pavilion Renewal"" says: "Can future generations learn from the past and find out the way through this?"

Yi Boqi

"Junge Pavilion Trivial Talk" says: "The Han Dynasty was in a hurry, and there was only one way. There are more than 20 characters, which are still in ancient official style. "

"Suotan" also says: "Wang Xun"Bo Yuan Tie" ink and official script are very emotional, and the drama can be corroborated with the quicksand slips. During the reign of Emperor Guangxu, the British man Stein visited ancient times in the western border of our country and excavated the ancient city of Lop Nur. He obtained Han and Jin bamboo slips and recorded them in London. Weiheli's textual research has evolved into three categories: primary school, Shushu, Fangjishu, Tunxu Congcan, and Jiandu's posthumous texts.Photocopies were circulated throughout the world, titled "Slips Falling in the Quicksand". )

"The Ritual Vessels Stele Postscript" says: ""The Ritual Vessels " is fine and strong, and it has its own style among the Han steles. The words "beginning of the founding of the country", "Zheshangbo" and "Jijiupian" in the quicksand wooden slips are all the same "Yu Xie Fuyuan Shu" says: "The slips fell from the quicksand, try to enlarge the book with a cantilever, and take the meaning without restricting the shape, which may be consistent."

"Studying Pictures and Annotating Seal Scripts" says "Wan Bai (case). Complete white is Deng Shiru's name.) The seal script is not prepared, but the tiles on the forehead of the stele are used to complete the writing style. This is the technique of Xiangguang, Tianping, and Shi'an, which can be used as the writing method to seal seal. Why not use it? Sun Yuanru has thirty volumes of "Guangxiu Bian", (in the case of Song Dynasty Zhang You has two volumes of "Guangxiu Bian", using four tones of official characters, based on " Shuowen" to argue for the corruption of vulgar style . Yuan Cao originally had four volumes of "Xuxu Bian", Sun Xingyan and Guangzhi.) "Huu Bian" does not have to be wide, this must be a seal script. (Note: Qian Shilan has a "Zhuan Record". ".") Qian Xingwu admonished Xu Xintian's Li Si seal script for children, and this meaning should also be known to those who learn seal script. It can be divided into three parts: writing as one body, stone tablets as one body, and bamboo slips as one body. "Le Yi", "Huang Ting", "Luo Shen", "Cao E" and "Inner Scenery" are all written in calligraphy style; (case). "Le Yi Lun" is said to have been written by Wang Xizhi on the stone. The stone was buried with Emperor Taizong of the Tang Dynasty in Zhaoling. Later, Wen Tao obtained the stone, but it was broken by the high gentry in the Song Dynasty. , tied with iron, only the word "Hai" is left at the end, and its rubbing is called "Hai Zi Ben". It is not known whether it is alive or not. It is said that it is copied from "Huang Ting Jing ", which is also passed down by Xizhi. Book, engraved by Yonghe Zhong of Jin Dynasty. Sui Dynasty Shi Zhiyong, Tang Yu Shinan, Ouyang Xun, Chu Suiliang, etc. all have copies handed down to the world. "Cao E's Stele" Cao E, a woman from Shangyu in the Eastern Han Dynasty, also died after her father drowned. On the fifth day after his death, he came out with only his father's body. Du Shang asked his disciple Handan Chun to write an inscription and set up a stone. Cai Yong read the title "Young woman in yellow silk, grandson Kunjiu", which means "excellent and good". The four characters "Ci" are also cryptic. However, the "Cao E Stele" is said to be written by Wang Xizhi ("Luo Shen" and "Inside View"). The ink written by Chen Zhengzhuo is indeed reliable. The "Book of Rituals" written by him is definitely similar in style to "Nei Jing". It was the first to be written by the Tang Dynasty people, but Shen Jun was not matched by the Tang Dynasty people. The book was engraved in the second year of Renshou and has been preserved in stone at Qifa Temple in Xiangyang, Hubei Province. The rubbings are also very rare. Based on this, it is inferred that "Zhen Gao Lun", "Yang Xu Shu Jing Yu" and "Seclusion and Liang" are the most recent. "Wulun Shuyu" (the case is Tao Hongjing and Emperor Wu of Liang Lun Shuyu.) is quite consistent with the steles of Jie Nan and Bei Datong, which are more consistent with the official script of in regular script. It is the sect of running cursive, but the use of running cursive for writing books and the use for slips and slips are also two entities of their own. "Jijiu" is written in calligraphy style, with neat execution, and Yong Shi's "Qianwen" is the ancestor's style. The rate was a little more indulgent, (Ouyang asked the official for a rate change.) When he got to the top, the situation changed drastically. (case Zhang Xu Huai Su.) Li Huailin's "Book of Broken Diplomacy", (case Huailin was from Luoyang. Ji Kang "Book of Broken Diplomacy" is said to be an imitation of Huailin's book.) Sun Qianli's "Book Book" ( The book written by Sun Qianli is called Guoting. It is divided into six volumes and is divided into two volumes. Only one chapter of the general preface was originally collected in the Imperial Palace of the Qing Dynasty and is now in the collection of the National Palace Museum in Taiwan. . There are many variations of the stone carvings. It was originally from "Screen Notes", (the case notes are written by Emperor Taizong of the Tang Dynasty. In the fourth year of Jiatai in the Song Dynasty, Wang Yunchu carved a stone in Yuhang. In the third year of Yanyou of the Yuan Dynasty, Yuhang County today's Yin Yuchang moved to the county hall. There are Reprinted version.) The book "Screen" cannot be integrated with the scroll. It is also said that Tao Yinju's "Reply to Emperor Wu's Qi" and Shu Ye's "Severing Friendships" and "Wei Chaan" are in the style of classics. "Hu De Ping Zhai She Bi" says: "The Later Han Dynasty says: Lingdi is good at calligraphy, painting, poetry, and those who are rulers and seals, are recommended, and are waiting for the Zhihong Department, or they may be appointed as governors, or as ministers. . ' Case: Calligraphers used bamboo slips and stele tablets as two parts. The stele tablets probably became more popular after Yongping , but not much earlier than the ruler tablets."

"Postscript to Gao Zhan's Epitaph" says: "Most calligraphy in the Northern Dynasties also changed due to time. Before Zhengguang it was one kind. (The case Zhengguang is the reign name of Emperor Xiaoming of the Northern Wei Dynasty. Before Zhengguang, including Kou Qianzhi in the second year of Tai'an) The book "Zhongyue Songgao Ling Temple Stele", Zhu Yi's Zhangshu "Shi Ping Gong's Statue" in the 12th year of Taihe and other items of the 20th Longmen, the Taiyuan Dianxu Wang Yuan's "Taiyang Zhikai Fu Shimen Inscription" in the 2nd year of Yongping, the 4th year of Yongping Zheng Daozhao book "Zheng Wengong Monument", Yanchang 4th year "Epitaph of Sima Jing and his wife Meng Jingxun", "Epitaph of Diao Zun" in the first year of Xiping, "Yanzhou Jia Shijun Monument" in the second year of Shengui, In the third year of Zhengguang's reign, "Zhang Menglong's Qingsong Monument" and "Zheng Daozhong's Epitaph" were produced; in the fourth year of Zhengguang's reign, "The Stele of Master Gen of Maming Temple", "The Stele of Gaozhen" and "The Epitaph of Ju Yanyun"; in the fifth year of Zhengguang's reign, "Li Chao's Epitaph" was published in Putai "Zhang Xuan's Epitaph" in the first year) is the most ancient. There is one type below Tianping, (the case of Tianping is the 4th year of Emperor Xiaojing of the Eastern Wei Dynasty). Below Tianping, it includes "Zhang Fashou's Image" and "Sima Sheng's Epitaph" in the second year of Tianping, "Faxian's Image" and "Fa Jian" in the third year of Tianping "The Monument of Monk Fa Rong Er", "Li Xian's Epitaph" in the first year of Yuan Xiang, "Gao Zhan's Epitaph" in the second year of Yuan Xiang, and "The Monument of Respecting the Envoy in front of Chanjing Temple" in the second year of Chu Yuan, and "The Epitaph of Li Xian" in the second year of Xinghe. "Li Zhongxuan repaired the Confucius Temple Stele", the "Zhang She Stele" and "Wang Sheng Stele" in the third year of Xinghe, the "Wang Yan Epitaph" in the first year of Wuding, the "Jizhou Governor Guan Sheng Songde Stele" in the eighth year of Wuding, etc.). . It is one type in the late Qi Dynasty, (the cases include "Junsuluo Stele" in the first year of Huangjian's reign, "Zheng Shuzu Tianzhu Mountain Inscription" and "Fang Zhoufan's Epitaph" in the first year of Tiantong, "Hundred People's Immortals" in the fifth year of Tiantong, Wuping "Yingfo Rock Cliff", "Daolue Five Hundred Statues", "Epitaph of Gongcao Li Cong" in the first year of Chengguang, "Huayan Sutra Bodhisattva Mingnan" etc. (The case Yonghui is the reign name of Emperor Gaozong of the Tang Dynasty.) The method passed down by ancient officials no longer survives. Guanzhong has a unique and simple style. It cherishes the generation of Yuwen and has no many ears to pass down. (The case Northern Zhou passed down the "Stele of King Wen of Qiangdu Leshu" in the first year of Shi Yang's reign, the "Epitaph of He Tunzhi" in the fourth year of Baoding, the "Stele of Huashan Temple in Xiyue" written by Zhao Wenyuan in the second year of Tianhe, and the "Stele of Cao Cao" in the fifth year of Tianhe. Ke Stele", "Shizhen's Epitaph" in the first year of Xuanzheng, "Inscription on the Stele of Yuwen Gong, the Governor of Guangzhou", etc. )"

"Ming Xu Lingchang's "Qingtingtang Tie" Engraved by Ming Dynasty" Postscript says "Xu Lingchang's "Chengtingtang Tie" was carved by Ming Dynasty. Liang Wenshan highly praised it and believed that it could convey the writing style of the ancients. However, the original Song engraving is not as clear and authentic as Wu Zhousheng's original. What I have obtained are two initial rubbings and one subsequent rubbing. After studying the "Qingming", it was found that it was carved by Shi Wuzi, (in the case of Wuzi's famous residence). According to the Xing family version (the case Xing family said "Qingtingtang Tie") is placed next to the Shiben, with lin toes and phoenix feathers, which fully reflect the affection of the two generations and the unique style of the carving. Following this, the last one is "Haishan Xianguan" carved by Pan. (The "Haishan Xianguan Fa Tie" and "Qingting Tang Tie" engraved by Daoguang Zhong of the Qing Dynasty and Pan Shicheng of Nanhai are among the first type of imitation ancient inscriptions.) Although it is public. Qing, Qing is ashamed to be elder, but living together for five generations is indeed a grand event for the family. "

Shen Zengzhi's "Two Poems in Running Script Bao Shichen's Commentary on Calligraphy", running script on paper, 127.8×66.2cm, collected by Liaoning Provincial Museum

Ding Comparison

"Han School Official Stele Postscript" says, "Yu likes the calligraphy of this stele the most, and Gu Hen rubbed the calligraphy Man Fou, try to collect the different shades of wetness and combine them in several volumes to explore each other's interests. Although this copy is old, it has not been extended, so it is preserved as a piece of Su Qi. "

"Postscript to the Song Dynasty's Secret Pavilion Edition "Lanting" says: "Guangxu Renyin saw that the Song Dynasty rubbings were still hidden in the factory. The self-inscription on the bamboo wall was engraved by the Imperial Palace of the Southern Song Dynasty. The rest of the secret pavilion and the main school are the same. At the same time, there is the Xuancheng version originally installed by Zhao Menglin in the collection of Prime Minister You (the name of the case is similar to that of Prime Minister Luo). They have viewed it together. Xuancheng is better for its ancient wood, while the bamboo version is better for its richness. Yin and Xing are at the same time, and both of them have no shame. Later, when I saw that Liang Zalin's family copy of "Lanting" by Zhao Zigu had fallen into the water, it turned out that this stone was not cracked. Then I realized how valuable the red book was, and because of the old treasures, I treasured the old broomstick and gained a lot of value. "

五 Exploring the source

"Junge Suotan" says: "There is reality in the seal paintings, and there is emptiness in the paintings. Zhongshi Mo Chong Yu Zhou Xuan (the case is called "Shigu Wen"), Shigu was first discovered in the south of Tianxing County, Shaanxi Province. After Tang Wei Yingwu and Han Yu successively praised it, it began to appear in the world.The place was originally Zhou, and the text was Zhou, so they are all written by Shi Zhou during the reign of King Xuan of Zhou Dynasty, recording hunting events. In the Song Dynasty, it was designated as a Qin object by Zheng Hao. There are no different words in modern textual research, but they may think it is the time of Qin Wengong , or the time of Mu Gong, or the time of Xianggong, but they can't agree on one. However, my friend Tang Wen'an Lan determined that it was written in the 19th year of Xiangong's reign, which seems to be the most accurate. My predecessor still used the old theory. There are ten drums and many characters, which are now preserved in the Palace Museum. ) and this phase disappears and flows like a comb needle. Zhongxu's creation originated from Shi Zhang (the case is called Shi You's "Ji Jiu Zhang", as mentioned above.) And Zhong Lang was extremely responsible for Bo Fa. The right army is close to reality, and the big order is close to virtuality. "

"Quanzhuo'an Wen Gu Lu" says: "The changes in cursive script are characterized by curling up, spreading out and letting loose, making changes to the style, and being proud and proud. The real master gave the order and changed it again. Xu and Su Qijiao all came from this time, and Yang Jingdu was his direct descendant. "The Living Method of Immortals" is also the hanging wrist book of "Qianwen". The new "Bu Fu Ci" also follows the same steps. However, the strength of the fingers is more than the strength of the elbow, so one book is written on the wall and the other is written on the paper. Although Xiangguang kept in mind the scenery, he still didn't understand it at the beginning of the exhibition. He picked it up after An Wu, but he didn't trace the source and update it, so the original traces are still not integrated. Occasionally, I came to Ou Tie of the Secret Pavilion and used the "Qian Wen" to prove it, and I suddenly became enlightened. Dajincao succeeded Boying, and led his descendants to conquer the West? He also said: The old biography of Yibu Qi, although he has two lines of ears, he started to lead the new generation, and then established a different sect. The Tsinghua University of the Six Dynasties followed Daling; the Qijun of the Three Tang Dynasties was born in Ouyang. For example, there are two schools of Buddhism, and there are two schools of Zen Buddhism, Neng and Xiu. It is said by Youjun that his department analyzed Zhang Gong's grass, and that Hexian was eclectic, which is a shame for his proficiency. The two words of analysis are very interesting. "

"Shigutang Fa Tie Postscript" says: "The engraving of Fa Tie is the same as the imitation of old books from the Song and Yuan Dynasties. When the origin of the calligraphy and the inscriptions and inscriptions are kept true one by one, the appearance of the ancient calligraphy will not be lost, and later scholars can also trace the origin of the gods based on their traces. For example, although the gods cannot be passed down by skilled hands, the transmission of traces cannot be supplemented. Confirmation cannot strengthen the faith of future generations. The two continuations of "Yuanyou" and "Chunxi" are both engraved with illustrations, which are the old method of collecting the posters, so this is the case. The ink carvings in Mochi were the most rigorous. "Ting Yun" detailed the ink marks but omitted the stone carvings, which later led to the shame of being careless. After "Xihong", there is no need to comment. Most of the calligraphy in this collection are stone carvings, without a single word, which makes people wonder why they were originally written. This is the most incomprehensible. Yu's postscript "Huang Ting" has never been recorded, but it is only now available. The meaning of this scroll in this postscript may be ink marks, but the influence is vague and cannot be ascertained. Later, between Jia and Dao, Yu Tao's postscripts were passed down here. Zhang Shuwei and others were unable to find the source. I was quite suspicious of Li Qiu's illusion, and the origin was discovered here. However, I couldn't rely on it, and I hated Bian's. It is meaningless to hide the form and be surprised. "(This text only discusses calligraphy and does not talk about textual research, and does not mention it briefly. One is to see the evidence of the previous teachers' textual research, and the other is to explore the source of learning.)

Shen Zengzhi's "Excerpts from Shishuo Xinyu" paper This chapter grass 76.8×34.7cm Collection of Jiaxing Museum

has been mutually confirmed

"Zhang Menglong Stele Postscript" says, "In the past, it was said that the Southern Dynasties stele was brown and rare, and it was drawn up from the northern stele. Then "Long Zang" is close to the Youjun, and "Qing Song" 》Nearly Dali. One of them is Chunhe Xiao Yuan, who was a master of training, but all his traces have been lost. His character is between "Huang Ting" and "Le Yi"; . The construction method is the same as that of "Luo Shen". I have been repeating this poem recently, and I feel that "Le Yi" is not a different school. The zodiac sign can be known. "

"The postscript of the stele in front of the Zenjing Temple to honor the envoy" says: "The "Diao Hui Gongzhi" is close to the king, and the "Zhang Menglong stele" is close to the little king. This inscription is made from the inside to the outside, and the hidden edge is used for both drawing and brilliance. . Among them, some can prove Dingwu's "Lanting", some can prove Mige's "Huangting", some can prove the calligraphy of Shantao and Gengliang engraved in "Chunhua", some can prove the Kaiou method, and some can prove the Chu method. By. The difference between the north and the south is connected, and it is made in regular script. It has changed from ancient to modern times, and this is where it comes from. The cliff on the forehead is so steep that there is no way to reach it, but Wu Zhengkai can be used to make it look like its waves. Don't dare to be caught off guard when the ceremony comes down. Every time you show this post, you will often ponder it for several days. "

"Xingfenglou Ancestor Edition "Huangting Jing" Postscript (the case was engraved by Cao Yan in the Song Dynasty during the Shang Kang Army and made by his son Tu Mian. It was rarely circulated in the Ming Dynasty, and it is even rarer today.) says: " This is the ancestral version of "Xingfeng". The perfection in the painting cannot be matched by the Song Dynasty carvings. In terms of brushwork, it is still based on Shi's work in Yuezhong.I really hope that scholars can read this together with " Zen Jing Temple ". Therefore, tracing back to "Buffalo Mountain", (the case is called "Buffalo Mountain Manjusri Prajna Sutra Stele" is located in Ningyang County, Shandong Province. In the center of the upper section, there is an inscription "Manjusri Prajna Sutra", with the inscription "Manjusri Prajna Sutra" on both sides, in four large characters, all in regular script. There is no monument built. The year and month may be called the end of the Northern Qi Dynasty, or the Western Jin Dynasty, or the day may be at any time). Not only do the north and the south merge, but the large and small are also consistent. "

"The Thirteen Lines Postscript of Yuan Yan's Engraved Edition" says: "The paintings in Yuan Yan's Engraved Edition are the richest; if you imitate its imagery, even though Manjushri Prajna is imitated, it cannot be surpassed. This is where Guan Yiqiu's business ingenuity lies in vomiting blood. At this moment, we only focus on the wave hair, which is inevitably the same as "Quick Snow". (The case "Kuaixue" is called "Kuaixuetang Tie". It was engraved by Feng Quan of Zhuozhou in the early Qing Dynasty. It is famous for being engraved by Liu Yiruo's hand and is highly regarded by the world. After descendants of the imperial family, Emperor Qianlong built Kuaixuetang to store it. It is preserved today. The Palace Museum.)"

"Yu Xie Fuyuan Shu" says: "When writing "Zheng Wengong", you should also refer to "He Ming" and "Pavilion Notes" for the Da Ling Cao method, and also use one nostril to exhale. The shape and quality are the symbols of temperament. If the Qi of the Wen family is strong, it will be suitable for both long and short, high and low. He also said: Yuntai Mountain is full of Taoist scriptures, but the monument is rigorous (the case is called "Zheng Wengong Monument") and the cliff is vertical. As for the rhyme and pattern, it is probably in "He Ming". "

A theory of copying

"Yu Xie Fuyuan Shu" says: "I always thought that your good learning from the ancients was beyond your reach, but now I suddenly said: "I think it is a serious illness to follow the ancients. How can I say this?" When I came to the screen, there was no stippling. Even if it is changed, it will be thin and tasteless. In this way, you are asking for self-destruction. How! Mi Yuanzhang never left copying throughout his life, as did Chu Gong, and Geng Liang and Xie Anshi also imitated the method. (The case "Hu De Ping Zhai She Bi" says: "Wen Jiari: Zi'ang, who was the best in ancient calligraphy, all imitated it. For example, the "Wei Ding Ding Stele" written by Shen Fu, a frequent servant of the Yuan and Wei Dynasties, also imitated it, saying De Lifa is cute. ') When I look at the paper, I feel uneasy when I don't know the origin of any word. "

Zangchang case, "Hude Pingzhaishe's Records of Hude Pingzhaishe" written by Liang Shanzhou in his early years says: "The posts teach people to read, not to copy. Today, people use this to carve boats and seek swords, and get the ancient books, such as those written by children. Just look at how many calligraphers since the Jin and Tang dynasties are like me. So Li Beihai said: "Those who imitate me are stupid, and those who imitate me are fake", so he asked the puppets for his relics. The next needle is pointed. 'It is also said that if you copy ancient calligraphy, why should you be wrong? You must know that when copying, your hands are on the paper and your mind is on the paper. How can you get the best result? It’s like a person who has ears and eyes and a vitality. As for copying for a long time and having prejudices in mind, he wants to express himself, but he can’t control himself.” However, the teacher didn’t say a word, so he speculated that it might be related to what he said in his later years. There is no contradiction in the book. Shanzhou usually wrote books, and some of them copied the ancients, so what he said was also the theory of passing emotions.

B on the use of pen and ink

"Miscellaneous Notes" says: "In the Tang Dynasty, there were classics, in the Song Dynasty, there was the courtyard style, in the Ming Dynasty, there was the cabinet imperial edict style, and since the Ming Dynasty, there has been the pavilion style. And with neatness and expertise, famous scholars can calculate it. Zi's ​​comment. In fact, the books of famous scholars are not as straight as those of the Tang Dynasty and Han dynasties. How can it be that the horizontal strokes are horizontal and the vertical strokes are vertical? The operator refers to the flat strokes. If one knows the writing technique, there is no doubt that the calligrapher Lu Yan of the Tang Dynasty could not write in this range. "It can be done."

"Juge Pavilion Suotan" says: "Writing scriptures is like a book of regulations. When imitating a stone tablet, it is like a book on a stone. If the regulations are precise, it is better to use a finger." When using Hong Guo, it is better to use the wrist. Because the writing style is different, the writing style is different, and the wrist style is different. According to later generations, the writing style is due to the use of the wrist. From the beginning of ancient times, the use of fingers and wrists was born from the gestures of writing. "

"Quanzhuo'an Wen Gulu" says, "Liu Zihouzhi learned from his father and brother Zhizhi: he was good at handling the goblet, and he learned how to prepare it. "It's so steep and beautiful that those who know it are skilled in calligraphy and ink."

"Junge Suotan" says: "Liquan Biography" uses weak brushwork and thickened ink to take advantage of it. The good calligraphers of Zhao have many hard brushes and thick ink, which is still the case in Jialong of the Ming Dynasty. Southern Song Dynasty's thick ink is used vividly.The ink of Yuan people was thinner than that of Song Dynasty, between thick and light. Xiangguang began to develop a school of light ink, and some famous artists in this dynasty used dry ink. That's roughly it. It has something in common with painting. Since before the Song Dynasty, painters have adopted brushwork from calligraphy. Since the Yuan Dynasty, calligraphers have adopted ink techniques for painting. In recent times, people have begun to talk about art, which is also the integration of art concepts. "

"Miscellaneous Words" says: "Japanese calligraphy began to flourish in the Tianping era, and there are those who have excellent writing techniques for writing scriptures. For example, Mishima Prefecture's Gangmoro, Baekje's Pyojeonggang, Zuodatsuke Yejumoro, etc., have good fortune for the palace people. It still exists today. There are also the grass and fan scripts of Wang Xizhi, the right general of the Jin Dynasty at that time. Those who fan the calligraphy can express their thoughts quickly in the cursive lines. Shi Konghai studied in the Tang Dynasty and learned calligraphy from Han Fangming. It was ordered by Feng Xianzong to add the characters on the walls of the Tang Palace. The teaching method of holding the pen is as follows: pillowing the wrist, (self-note: place the left hand under the right hand.) Use this for small characters. 2. Raise the wrist, used in Chinese characters. 3. Suspended wrist, used for large characters. Ju Yishi passed down his writing skills to Liu Zongyuan, and people in the Tang Dynasty called him Ju Xiucai. (According to the Japanese "Book of Calligraphy", it says: "At the end of Yanli, Ju Yi was in power. He studied with Kukai in the Tang Dynasty. People in the Tang Dynasty called him Ju Xiucai. He learned calligraphy from Liu Zongyuan and tasted official calligraphy. He returned to China and lived in seclusion due to illness. Chenghe In the ninth year, he was offended and built in Yuanjiang. In the third year of Jiayang, he was pardoned and returned. "Zhang Shizhao's "Liu Wen Zhi Shuo" was surprised by his diligence)"

Editor in charge: Lu Linhan