9.775 million yuan
The physical object in the picture above is "Qin Shi Huang Zhao Wen Copper Quan", which is a decagonal prismatic copper Qin Quan, with a body height of 5.5 cm, a bottom circle diameter of 4.3 cm, a thin and thick upper, straight and square.
In the 26th year (221 BCE) of the prismatic casting of Qin Shi Huang, the edict unifying the national weights and measures, except for the first 5 characters and the 5th side 3 characters, the remaining 4 characters on each side, a total of 40 characters. The engraved words are deep and steep, and the words are clear and rigorous.
From the shape to the inscription and casting are rigorous and standardized, it should be a finely cast official standard instrument. During the Republic of China period, the gold stone collector Ke Xinnong collected and won 9.775 million yuan at the auction house in May 2011.
Qin Quan's collection, along with the prosperity of epigraphy, was cherished by famous jinshi masters and cultural relics collectors in the late Qing Dynasty. The end square is one of the prominent ones.
End-side
According to Chu Deyi, an aide to Duanfang, he had a total of forty-eight pieces of Various Qin Quan in his lifetime, which was the most precious treasure that he invited and enjoyed with friendship. Among them, the two "Big Macs" obtained from Wu Dayi may be placed on the left and right sides of the photo table.
The photo was taken on October 6, 1901, the 27th year of the Qing Dynasty, at the official residence of Wuchang, where he was the governor of Hubei Province. Sitting on the Taishi chair was Duan Fang, and standing from right to left were his friends and staff Members Li Baoke, Xi Chunchen, Huang Zuochen, and Cheng Bozang, and there were several large and small Qin Quan pieces on the table.
Duan Fang inscription: "This "Evaluation Chart" also." In the winter of Wu Shu (1898), Chen Zhenqin successively obtained the second power of Qin, both weighing fifty-three kilograms, that is, about one hundred pounds of Qin. Regain more than ten pounds to several pounds of power and five parties, the amount of ellipse two, the copper edict version of one, the size of the light and heavy ten instruments, but also enough to acquire land without loving treasures and gathering good things. ”
He also invited the epigrapher Wang Yirong and others to seek and examine the survey as a guest of the curtain, and to extend the hidden Qin Quan to the same good and leave behind.
Qin Quan
Quan, that is, the weights and measures instrument, Shang Chengzuo believes that it is the weight of the balance, but some scholars believe that it is the scale of the rod scale. In order to consolidate centralized rule and develop the economy, Qin Shi Huang reformed and unified the weights and measures system, and he used the highest legal form at that time, the "Edict", to promulgate the weights and measures system of the Qin State to abolish the weights and measures systems of other countries.
The Book of Han and the Vinaya says: "Those who have power, baht, two, jin, jun, and shi ye." "One stone is four jun, one jun is thirty pounds, one pound is sixteen two, and one or two is twenty-four baht." It is estimated that a pound in the Qin Dynasty is about 250 grams today.
The texture of Qin Quan is copper, iron, and pottery, most of which are hemispherical, and a few have prisms, which are generally divided into two parts: the body of power and the nose button of authority. Qin Shi Huangquan was mostly solid, but Qin II Quan was high-body and small buttons, mostly weighing one pound, so the bottom of the body was sunken, and the empty stomach was like a bell, so as to expand the outer wall area.
The inscriptions engraved on the surface of the quan are what we call the Qin Quan inscriptions, the Qin Liang inscriptions, and the Qin Zhao version inscriptions. There are two articles:
First, the twenty-sixth year edict of Qin Shi Huang said: "In the twenty-sixth year, the emperor merged with the princes of the world, and the qianshou Da'an was established as the emperor. "Where the Four Crosses."
Second, later, in the first year of the Qin Dynasty, the edict said: "In the first year, the edicts were made to be made, to remove diseases, to measure the law, and to do all the first emperors, all of which had carved words." The present trumpet, and the engraving is not called the first emperor, and its longevity is also, such as the heir who is the heir, not called the success of the virtue. Engrave this edict, so engrave the left, so that there is no doubt. "Where fifty-eight words.
Quantity, that is, rise, bucket, has a handle, the shape has a square and an oval, and the texture has copper and pottery. The edict, rectangular or square, is between 2-3 mm thick and has side ears with holes in the four corners, which are conveniently mounted on weights and measures.
Some of the inscriptions on the Qin dynasty only have the Shi Huang Edict; some have the Shi Huang Edict and the Second Emperor's Edict at the same time, and the two edicts are consistent and inconsistent; some have edicts, and there are also information such as the place of use and weight; some have no edicts, only inscriptions such as weight and use mechanism.
Judging from the "GaoNu Heshi Copper Quan" in the Shaanxi Provincial Museum, the front Yang text reads: "Three years, lacquer Gongkou, Beggar Manufacturing, Gong Li Chenmu." Heshi, Gao Nu. Gao Nu was in present-day Yanchuan County, Shaanxi, "lacquer", a place name; "worker" or "engineer", was the overseer. The official name of "丞" is the main creator, the "worker subordinate" is the actual caster, and the "subordinate subject" is the status of a prisoner. The three levels of engineer, cheng and worker are the organizational system of handicraft industry in the Official Government of the Qin Dynasty. Mouth, praise, mou are personal names.
On the other side, the twenty-sixth year edict of Qin Shi Huang and the three characters of "Gao Nu Shi" are engraved, and the edict of the first year of Qin II is engraved. It can be inferred that this right was cast from the beginning until the sixth year of Qin II, engraved the inscription three times, and used as a standard instrument for a long time.
The "Shang Martingale Copper Fangsheng" in the Shanghai Museum is a standard measuring instrument issued by Shang Martingale when he was in charge of "Daliangzao", and inscriptions are engraved on three sides and at the bottom of the wall, which is the engraving of the First Emperor's Edict. The Chinese History Museum holds the "Two Edicts of Copper Oval Quantity", and on one side of the outer wall is engraved 5 lines of the Edict of the First Emperor, and on the other side is engraved 7 lines of the Edict of the Second Emperor.
Therefore, the researchers concluded that the method of unified weights and measures is to make weights and measures standards and issue standard weights and measures, and some must engrave the edicts of Qin Shi Huang and Qin II on the plates of the edicts of power, as a proof of verification and correction, and then use them. In addition to the edict, the place of use and the institution are inscribed, and the weight is also engraved.
And these inscriptions are mainly cast and engraved to complete. Casting is to first design and write on the model, then engrave and process the text, and finally recast or mold. If engraved, there is a facsimile engraving, that is, first write with a pen and then chisel with a knife, or use a knife to write directly, this kind of engraving is commonly found on the amount of ceramic tiles.
Qin Quan calligraphy
In Qin Quan, there are round, square, neat and uniform inscriptions, but most of them are vertical and linear, horizontal, and the font size is different, staggered, vivid and natural. More straightforward, or lack of brush strokes and less painting, or arbitrary simplification, naïve and clumsy.
Ma Zonghuo's "Shulin Zaojian" volume three Qin Dynasty parts "the gold carved thin and hard and carved stone body is gentle, doubting that the original two bodies of the Seal of Si Xiang, so the later generations of each ancestor described." According to legend, these edicts of power were written for Li Si like the Qin carved stones, but it is conceivable that the countless quantities of power, and the physical objects with different styles from the inscriptions seen today, obviously cannot have come from the hands of Li Si alone.
These two edicts, especially the edicts of Qin Shi Huang, became the content approved at that time, and became the normative and unified text content created by the lower-level people involved in the production, which made another small seal calligraphy system of the Qin Dynasty, which was an official and practical custom.
The biggest feature of these inscriptions is that they are exposed, the pen speed is fast, there is a bias on the basis of the round pen center, the gesture is obviously square, there are many broken pens, and even the short lines are reduced to points, which enriches the movement rhythm of the line and the stroke relationship.
The strokes are clear and thin, the single knife is close to the oracle bone, and the double knife has the line of the large seal inscription, and the thickness between the strokes and the strokes, the relationship between the length, the curve, the oblique, the retraction and so on, is rich and changeable, and unified and coordinated.
In terms of chapters, the composition pattern is more spontaneous and natural, the words and words, lines and lines and the entire length have a strong contrast relationship, very simple and straightforward, condensed and vivid artistic aesthetic value, showing a variety of styles such as upright, strange, loose, tight, strong and steep, and is very different from the Qin carved stone horizontal and vertical, the strokes are even, the knots are balanced, the posture is slender, and the posture is solemn and beautiful.
Therefore, most of these inscriptions are very sloppy, the size of the glyphs and knots is different, the strokes are uncertain and the square folds are more, the layout is arbitrary, and there is no rank on the whole, which is the "grass seal", which is the same as the writing characteristics of the Qinjian script, the Qinyin script, and the Qin weapon script, and has a similar and unified artistic style.
"Grass seal" is the simplification phenomenon of seal writing, the main simplification method is "simplification" (some components or strokes in the structure of simplified characters), "square folding" (changing the stroke of the circle of the seal book to square fold), in the way of "square folding" as "grass" (simplification), which also constitutes the internal cause of the development of Qin character writing.
Collecting and creation
Time flies, the years have eroded, and the official standardized small seal calligraphy of the Qin Dynasty has few Qin carved stones. With the discovery of Qin Quanquan, at the end of the Qing Dynasty, scholars, Jin Shijia Ruan Yuan, Duan Fang, Chen Jieqi, Wu Dayi, Liu Xinyuan, Luo Zhenyu, Rong Geng, etc. entered the vision of Qin Quanquan's edicts or appreciation collections, or research bibliographies.
In addition, with Qin Quanliang as a copy, Huang Shiling, Wu Dayu, Wu Changshuo, Zeng Xi, Qi Baishi, Luo Zhenyu, Luo Fukan, Liang Qichao, Wang Shizi, Shou Shigong, Tong Danian, Ding Foyan, Hu Xiaoshi, Wu Hufan, Ma Gongyu, Zhu Fujie, etc. are all involved.
Wu Changshuo said: "Qin Zhao's power is quantitative, his pen is dangerous, his qi is overflowing, and the Han people's cut jade seal is born in Si." Qi Baishi carved in the seal: "In the end, Qin Quan was happy, vertical and horizontal, one natural, and another great change." ”
➤ Wu Da Liang's works
➤ Zhu Fujie's works
➤ Dunya's works
➤ Tai Jingnong works
➤ Ma Gongyu's works
Some scholars say that the Qin carved stones are from Li Sishang's tendency to decorate the text, so the artistic characteristics of these Qin Quanliang edict inscriptions from the hands of the low-level people are the best footnotes to the "rationalization and worldization" of Qin cultural thought.
"The Chu and Han dynasties have frequent disputes, but fortunately this jin has not been indelible", that is, fortunately, the many Qin Quan edicts left behind have enabled people to still be able to see the style of qin books today, and then create new forms and styles in calligraphy and seal carving.
Note: The pictures and texts are compiled from the Internet, if there is infringement, the notice will be deleted!