[Black Tiger Cong Talk] In the verification of inscriptions and calligraphy, sometimes just one word can determine the authenticity, quality, disadvantage, and order of rubbing.六[chì]——Basically means an imperial edict or order from the emperor. We often see this word in inscript

[Black Tiger Cong Talk]

In the verification of inscriptions and calligraphy, sometimes just one word can determine the authenticity, quality, disadvantage, and order of rubbing.

号[chì]——Basically, it means the emperor’s edict and order.

In stele and calligraphy, we will often see this word.

"Written by Feng Ji" indicates that it was written by the emperor's order.

"Shuo Shu" means that he is writing the pill and writing the inscriptions according to the emperor's order.

In the engraving, sometimes the "六" written by the emperor himself will be engraved on it, such as "Seventeen Posts". This character is recorded by Emperor Taizong of Tang Dynasty, Li Shimin.

Due to the different versions of the sequence, the appearance and dots and strokes of the character "王" have changed during the copying and engraving process.

xing Dong (1551-1612), the name of Laiqinguan, the "Seventeen Posts" he engraved is also called "Laiqinguan Version".

Zhang Boying (1871-1949), whose vegetarian name is Xiaolai Bird House. The "Seventeen Posts" he collected are generally called "Zhang Boying's Version".

In addition, there are more than ten existing rubbings, including Feng's Kuaixue Tang version and Yuexue Building version collected by the Chinese University of Hong Kong, and each of them has different characters.

There are many versions of "Seventeen Posts", and the academic community is generally divided into two types:

1. The end of the post is engraved with the word "玉" and "Fu Zhihong Wenguan's minister Jie Wuwei Le Chongguan's version, and the rubbings of the official Chu Suiliang's prose are not lost", and "Sengquan" are collectively called "玉子", which is also the library system.

2, the copywriting system of He Zhizhang, which is not engraved at the end of the post, is called the He Zhizhang copywriting system engraved by Li Yu, the late emperor of the Southern Tang Dynasty.

is actually extremely low-level and has nothing to do with He Zhizhang and Li Yu. In addition to the two systems of

, there are also some scattered posts in "Seventeen Posts" included in other engravings, most of which are clumsy imitation. Although the two "Seventeen Posts" engraving systems,

, have very different appearances, the previous debates mainly focus on the order of versions and the differences in advantages and disadvantages. No one has raised objections or new opinions on the word "王".

Mr. Rong Geng (1894-1983) began to suspect in the last century that the word "吉" was copied from the ink version of Emperor Xuanzong of Tang Dynasty.

Now, it seemed like a new major discovery was coming out, making it much more lively.

Many experts and scholars have re-verified the time of engraving the "Seventeen Posts" system, as well as the title of Chu Suiliang and others at the end of the post and the authenticity of the "Sengquan" essay.

In the 1980s, Mr. Zhou Duwen, who was engaged in the research of classical literature and bibliography, wrote an article in the magazine "Cultural Relics", believing that the seventeenth post of the word "六" was faked by people from the Northern Song Dynasty, "it was named for the Tang Dynasty and was widely circulated."

Some Japanese calligraphy inscriptions and calligraphy scholars have also written articles and expressed their own views on the word "王".

In the article "Preface to the Seventeen Posts", Yujiro Nakada pointed out:

"This 大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大大0 In his "Seventeen Posts", Xilin Zhaoyi pointed out:

" has seen the existing "Song of the Palace Museum in Taipei with his own eyes. Perhaps it was done by later generations, but the word "Song of the Emperor" is indeed a typical style of the Xuanzong era and is far from Taizong's calligraphy. "The "Song of the Emperor" in "

" and "Song of the Emperor" in "Yu Qingzhai Edition" and "Song of the Emperor" in "Song of the Emperor" and "Song of the Emperor" in "Song of the Emperor" in "Yu Qingzhai Edition" and "Samy of the Emperor". In contrast, although the structure is slightly different, it seems to be the same lineage from the appearance. Mr. Rong Geng's statement seems to be reasonable.

In "Commentary on the Status and Important Versions of the Seventeen Posts in Wang Xizhi's Calligraphy", Mr. Wang Yuchi wrote:

" (Seventeen Posts) at that time, there was no word "六" by Emperor Taizong of Tang. Mr. Rong Geng speculated that the word "王" was moved from "王口" by Emperor Xuanzong of Tang Dynasty, which should be correct, otherwise the two would not be similar."

The controversy over "Seventeen Posts" caused by the character "六" and the discussion of other issues brought about by the skepticism are the general view of this. This is also the conclusion of Mr. Qi Xiaochun, a scholar who studies Wang Xizhi -

1. The two characters "六" at the end of the character "六" are incorrect.

2. The character "六" is a Tang Dynasty calligraphy engraved by the Northern Song Dynasty, and forged the titles of "六" and Chu Suiliang and the titles of "六" and "六" signed by "六" and "六" signed by "六" in "六"). However, Wang Xizhi's characters are not fictional, but should be a more faithful copy of Wang Xizhi's original post."

Is the verification of the "六" version of "六" really a conclusion?

comes, let’s take a look at this "Ode to the Duck".

"Song of the Dragon" is said to be a work by Emperor Xuanzong of Tang Dynasty, Li Longji, and has always been regarded as his only authentic calligraphy work. It is now in the collection of the Palace Museum in Taipei and included in the book "A Hundred Wonderful National Treasures Mobilization". As a national treasure among national treasures, it is grandly recommended to the outside world.

"Song of the Song of the Dragon" comes with inscriptions by Cai Jing, Cai Bian, Wang Wenzhi and others.

is stamped with many seals such as "Xuanhe", "Zhenghe", "Seal of the Neifu Book", "Jinfu Book", "Shiqu Baoji", "Baoji Sanyi", "Qianlong Appreciation", "Jiaqing Imperial Treasure", and "Xuantong Imperial Treasure".

Zhao Mingcheng's "Jinshi Record" records: "The Song of the Tang Dynasty was written by Emperor Ming. "

Everything seems to be circulated in an orderly manner, and the original works are undoubtedly.

This ink-printed word "My brothers are only five" and "Xinyou in the Autumn Month" provide some clues, causing some research on the writing date of "Song of the Song of the Dragon".

Tang Xuanzong had six brothers. Does the "five brothers" include Tang Xuanzong himself? If not, who will die first? When did he die? During this period, which September of the year will there be Xinyou day?

Xu Bangda believes that the completion of "Ode to the Beard" will not be later than the twenty years of Kaiyuan, and it is a work by Emperor Xuanzong before the age of 42.

Jiang Zhaoshen proposed in the article "The Complete Years of the Years of the Song of Emperor Xuanzong of Tang Dynasty" that the completion time was "the seventh year of Kaiyuan". This statement has a very wide and continuous impact. Lin Baiting, Huang Weizhong, Tan Yiling and others in the Forbidden City in Taipei also followed the saying "the seventh year of Kaiyuan".

He Chuanxin, Fang Zhanli, who were once the vice president of the Forbidden City in Taipei, proposed the theory of "the fifth year of Kaiyuan".

Hou Yili of the Forbidden City in Taipei proposed the "Ninth Year of Kaiyuan" and raised questions about the authenticity of the postscript itself on the tail. He believed that the quality of the postscripts of Cai Jing and Cai Bian were slightly inferior and had many erroneous errors. Therefore, it was not the original but a well-founded copybook. This volume was changed from albums to hand-rolled books during the Xuanhe period.

Mr. Xu Bangda believes that the text of the ink mark is filled with double hooks, and Mr. Jiang Zhaoshen has doubts about this. After seeing through his eye and using high-definition digital devices, Mr. Hou Yili believed that it was not a double hook pattern, but a manuscript.

Mr. Qi Gong believed that the ink diary of "Song of the Yellow Duck" was written by a full-time official who studied the imperial calligraphy style in the Hanlin Academy, and the emperor ordered the calligraphy to be written after the book.

Mr. Qi Gong means that the first text is a ghostwriter, and the latter word "王" is the original work of Emperor Xuanzong of Tang.

Whether it is insisting that "Song of the Song of the Duck" is an original or a double-hook copy or a fake, it is believed that this book inherits Wang Xizhi's calligraphy style, and at the same time has the plump beauty of the prosperous Tang Dynasty and has the characteristics of the calligraphy style of the Tang Dynasty Xuanzong.

What exactly does Emperor Xuanzong of Tang’s calligraphy look like?

In addition to the ink-twisted version, there is also the "Song of the Dragon" by Emperor Xuanzong of Tang, and the first is the rubbing of "Ru Tie" of the Northern Song Dynasty.

First of all, from the text perspective, there are many words in the ink-printed version of "Yu Ding Song" and "Cloud Tang Poems" written in the Qing Dynasty, with the previous preface, while the engraved version of "Ru Tie" is much less, and the text is included in the "Yu Hai" written in the Southern Song Dynasty, without the previous preface.

In addition to "Ru Tie", the printed version of "Song of the Song of the Dragon" also includes one included in "Lanting Xu Tie", which will not be posted here.Among the two "engraved books", the word "brothers □ people" is all damaged, and it is impossible to judge how many brothers are written.

"Ru Tie" and "Lanting Preface" engraved text are similar and have been added, while "Mojibian" has many added texts, and the order of the front and back is also very different.

" Zuo Qing Dao led the chief secretary Wei Guangcheng, who was talented and white phoenix, and was a magnificent and knowledgeable person. He summoned him to Xuanwang to observe his affairs in advance to offer his praise. He praised his virtue and career, praised his success, and was ignorant, and was indeed unfaithful. He was beautified and praised his moral character and praised him for his pride." - The ink book

"The ink book

" Zuo Qing Dao led the chief secretary Wei Guangcheng, who wrote a verse to praise his virtue and career, praised his virtue and career, and was benevolent and praised his virtue and career, and he was benevolent and praised his moral character and was bemoaning his pride." - The ink book

If we look at the text itself, let's talk about a simple view, the ink book appears to be more concise and the lyrics are more ancient, while the ink book is a bit worse, and the ink book seems to be slow, and the usage of the ink book is closer in the age.

Let’s start from the calligraphy itself, select some characters to compare and analyze, and see the pros and cons clearly. The others are all circumstantial evidence.

"Wei Guangcheng wrote the four words ", let's talk about the most intuitive and easy-to-see places -

ink-printed version, "Wei" in the lower left and "female" section is too sharp and the thickness of the engraved version is combined.

"Light" - the tail of the "Yu" in the lower left part of the post is damaged, while the ink mark is stiff and ugly. The Ge hook on the right, the ink mark is light and the engraved version of the Letter is solid.

"multiple" - the top short "丿", the ink mark is obviously too small and thin, and the point on the lower right is weak.

" is used as "——The ink mark originally has obviously ugly structure, and the vertical stroke on the right is too thick.

Look carefully again. When you look at the beginning of many strokes in the ink-twisted version, you always like to turn around the corner first, such as the first horizontal stroke on the left of "Wei" and the vertical stroke on the "light" on the vertical stroke, while the Ru Post engraved version has clean and neat lines.

posted some more here, without detailed analysis, which one is better or worse, you can tell at a glance that the ink marks are really terrible.

"Song of the Song of the Dragon" is a joke whether it is in the structure or the strength of the dots and strokes. There is no need to talk about the ancients, but today's calligraphers. You can surpass it by writing a few times.

treats the bloated in the ink-twisted book as plump, roughness as chic, and stiffness as solidity, which makes people speechless.

If you can’t even meet the basic aesthetic level, you will inevitably regard garbage as a national treasure. In terms of the method of using the pen,

ink-drawn version and the "Ru Tie" engraved version are two completely different methods.

ink marks are used to lift the center, so when you start the pen, it will be rounded out, and the lines will be much thinner when you lift the pen.

The engraved version of "Ru Tie" is a pen with the side tip, without lifting and pressing, the pen tip is twisted and turned, and it is automatically closed, with solid lines and round and strong.

The pen-using method of engraving "Ru Tie" is consistent with the pen-using methods of Emperor Taizong of Tang and Emperor Gaozong of Tang, and there are differences in proficiency.

These emperors and ministers who mastered brushwork such as Yu Shinan, Ouyang Xun, Chu Suiliang, etc., have learned a lot. Emperor Gaozong of Tang and Emperor Xuanzong of Tang have become quite mature in the side-throw brushwork.

"Ru Tie" engraved version is closer to the original appearance of Emperor Xuanzong of Tang Dynasty's calligraphy.

The engraved version of "Yu Duck Song" collected in "Lanting Preface" was copied by the Song people, and its level is not as good as that of "Ru Tie".

The text of the engraved version of "Ru Tie" is also the earliest version of "Yu Ding Song" that has been seen so far. Its terms are concise and have a lot of ancient meaning.

How did this thing come from? How did

change from garbage to national treasure?

will not do detailed analysis here, let’s briefly introduce it.

Dong Xuanzong's "Song of the Song of the Duck" was added and deleted during the process of copying and circulating. By the time of "Lanting Xu Tie", the lyrics had undergone major changes.

In the Qing Dynasty, the original text became a different look.

"The Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of From the perspective of writing level and paper, the time of forgery was in the late Qing Dynasty.

cannot see the pure and round style of Emperor Xuanzong of Tang from the ink book of "Song of the Song of the Bo and the Bo, but it is not as good as the weak and famine.

A friend said that there are not many seals of emperors of the Qing Dynasty?

Not only are the seals of "Xuanhe" and "Zhenghe" forged, but also the seals before the late Qing Dynasty were also forged." Later, the inscriptions of Cai Jing, Cai Bian and Wang Wenzhi were also forged.

Such "Shiqu Baoji Collection" will be seen from time to time at today's auction, and the corresponding recording situation can be found, just to see if anyone dares to recognize and buy them.

Mr. Hou Yili saw that the inscriptions of Er Cai were forged, and the authenticity of the text itself is not known how he viewed it.

What did Tang Xuanzong write about in "Song of the Bokong" in "Song of the Bokong"?

What time was the writing time of "Song of the Bokong"? Year?

Let experts go and verify it again.

. After such a big turn, it just shows that the ink text of the "Song of the Song of the Song of the Palace Museum in Taipei is fake and has a very poor level.

Return to the previous question in "Seventeen Posts".

Since the ink text of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Song of the Child is a chicken!

Many experts confused who is the chicken and who is the egg.

So did the "六" library system of the "六" character "六" in the Song Dynasty fake the name "六" and entitled the Tang Dynasty's calligraphy, and forged the titles of "六" and "六" and "六"?

obviously not!

However, the "六" of Xu Sengquan, a calligrapher and calligrapher in the Southern Dynasty, was the wrong position at the end of the post, but behind the emperor of the Tang Dynasty. How to explain this?

"六" is the original book of "六" in the "六" in the "六" original book, and it is right after the end of the post. It is difficult to guess the specific position?

"六" is the official book of "六" in the "六" in the "六" original book, and it is right after the end of the post. It is difficult to guess the specific position. Test.

But the word "向" by Emperor Taizong of Tang Li Shimin was not written on the original work of "向" with the framed "向" .

What does it mean if you write a lonely "向" on the original work? Is

a solitary "向" by the emperor? It cannot accurately represent any meaning.

Look back at the ink book of "向络向" again. The lonely "向" at the back seems so stupid.

The word "向" was written by Emperor Taizong of Tang, and when he engraved the post, he copied the red and engraved it. Under the character "向" , he engraved the "向" . The official Chu Suiliang's essay is not wrong" can show a complete meaning. According to the emperor's order, who did what important things have been done in it?

The position of the "Seng Quan" in the original work, and where should it be placed in the post when engraving the post? It does not necessarily have to be as meticulous as the ink writing of Wang Xizhi in the previous "Seng Xizhi" in the first place.

Personal opinion, the main purpose of putting the "Seng Quan" in the lower left side of the character "Yue", is to demonstrate the supreme imperial power of the Emperor of the Tang Dynasty.

What if the "Seng Quan" in the original work is slightly far behind the original work? How to engrave the post What about engraving? Do you have to empty a large paragraph before engraving?

"Seventeen Posts" "Seventeen Posts" is the library system. There are more than ten versions in the world. Which one is the original engraving of "Seventeen Posts"? Which one is not? Or none of them? Why? How to thoroughly understand these issues is the primary step in studying "Seventeen Posts".

The remaining issues are big, but they are just trivial matters.

When Nakada Yujiro talked about the character "Seventeen Posts", he talked about the character "Seventeen Posts" and the character "Seventeen Posts" in "Song of Songs". "The brushwork is almost the same."

Compare the "合" in Zhang Boying's version with the "合" in the ink book "合合" version. Regardless of the appearance structure or the strength of the dots and strokes, the ink-printed version cannot be compared with the rubbing version.

is the copy image, is it "almost the same brushwork"?

After copying Wang Xizhi's calligraphy, can you get Wang Xizhi's brushwork?

This is a typical wrong calligraphy philosophy today that is similar to the law and seeks the law by virtue of the form.

Does Japanese people understand brushwork? Has the brushwork been passed on to Japan?

From 630 to 894 AD, during the Sui and Tang dynasties, Japan's envoys sent Sui and Tang dynasties had never really been exposed to the brushwork. They just participated in similar Chinese character writing training classes and only mastered the general method of holding the pen.

Japanese people have never really contacted or dated people who really mastered the brushwork, such as Zhiyong, Yu Shinan, Ouyang Xun, Chu Suiliang, Lu Jianzhi, Lu Yanyuan, Zhang Xu, Li Yong, Yan Zhenqing, Huaisu, Liu Gongquan.

The Japanese have no chance to "listen to the Dharma", let alone get their "oral teaching".

For more than 1,300 years, Japanese calligraphy has always been hovering "outside the law". The

brushstroke will never be passed on to Japan in the future.

———May 31, 2016 at Shenzhen Zhanqi Room