From November 15th to December 5th, the Hantang Rubbings Collection Exhibition, hosted by the School of Literature and Media of Dongguan University of Technology, hosted by March Fang, and co-organized by Dongguan Literary and Art Critics Association and Sheng Tang Ge, was officially exhibited at the March Fang Art Museum. The exhibition exhibits more than 70 famous tablets, including rare treasures such as "Ode to the Stone Gate", "Ode to the Stone Gate", and "Ode to the Western Narrow". On the opening day, more than ten experts and scholars from all over the country discussed and exchanged views on exhibits and rubbing culture.
The classic famous post rubbings reproduce the charm of the giant Cliff stone carvings
Rubbing refers to the shape of cultural relics such as inscriptions and stone carvings, bronzes and other cultural relics and the paper pieces on which the words and patterns on them are expanded, which is an ancient traditional skill in China and one of the important carriers for recording the culture of the Chinese nation, with high historical and cultural value. Many of the inscriptions that have been scattered and destroyed, because there are rubbings passed down, can feel the content and style of the original inscriptions, if there is no rubbing, it will be difficult to see the true appearance of Lushan.
According to Yang Chun, the person in charge of March Fang, the exhibits of the Hantang Rubbings Collection Exhibition are mainly provided by the Lingnan Jinshi Art Center of Dongguan Institute of Technology, and some of them are from the famous post Topography collected by March Fang. The exhibition works are mainly divided into three parts, one is a huge cliff carving, such as the familiar classics "Ode to Shimen", "Shimen Ming", "Zheng Wengong Monument", "Ode to the West Narrow" and so on. Second, the number and category of epitaphs spanning the Han and Tang dynasties (45 pieces), from which the evolution of texts, calligraphy and style can basically be traced from the Han to the Tang, and the rich connotation and aesthetic orientation of the humanistic history of each period can also be tasted from the inscriptions. The third is the Ming and Qing dynasty rubbings collected by March Fang, which are extremely high-definition and precious, and the "Yishan Stone Carvings", "Yan Family Temple Stele", "Many Pagodas" and the scattered films of the Scramble for Seats and the Sacred Order are presented in the mode of books.
"Lingnan Jinshi Art Center" collects and organizes the cultural heritage of Lingnan
Rubbings can perfectly show the style of Han and Tang dynasty monuments, show the beauty of Han and Tang dynasty gold stones, and are also precious physical specimens for the study of calligraphy history, which is of great significance for the study of the origin of calligraphy and the evolution of the style of the times, and can make up for the deficiencies of historical materials or correct their fallacies.
Tian Gensheng, professor of the School of Literature and Media of Dongguan University of Technology and chairman of the Dongguan Literary and Art Critics Association, said that Dongguan has a relatively long accumulation of fine culture, and the academy and the academy were at the height of Song Ming, and poetry creation and the Lingnan School of Painting can become important historical and cultural resources of urban culture. An important part of the "Lingnan Jinshi Art Center" is to collect and sort out the cultural heritage of Dongguan and even Lingnan. At present, there is a lack of a high-grade cultural venue and high-end cultural operators to inherit, develop and integrate relevant resources, and local universities also urgently need a platform to show their image and cultural appeal.
Set of "exhibition, training, culture and leisure" in one, March Fang, guided by the promotion of traditional Chinese culture, was founded with the concept of "literary and artistic life, life and art", with exquisite spatial layout and strong traditional cultural atmosphere.
Since October last year, March Fang has successively planned and held a number of calligraphy and painting exhibitions such as "Double Qing of the Heart - Xiong Xi and Liu Hongzhen Calligraphy and Painting Works", "Origin - Yang Chun, Yu Yonghong, Liao Binhua Calligraphy Works Exhibition", "Temporary Mail - Wang Ke Calligraphy Exhibition", "Chunhua Qiushi - March Fang Nianqing (The First) Calligraphy and Painting Collection Exhibition", which have been widely praised by all walks of life.
If you want to feel this style and appreciate this beauty up close, then Dongguan citizens may wish to go to the Marchfang Art Museum (No. 17 Jinshu Road, Dongcheng Street) with an elegant environment and quiet atmosphere to see the charm of the famous post rubbings.
Dongguan Daily reported
March Square "Han and Tang Dynasty Rubbings Collection Exhibition" Symposium Minutes
Host Katsushi Tanoe
1
The Han and Tang Dynasty inscription rubbings were carried out in March Fang, first of all, thanks to Yang Chun. As an entrepreneur, it is rare that you are so enthusiastic about culture, especially China's excellent traditional culture, and practice it.
Dongguan Institute of Science and Technology has been collecting gold stone inscription rubbings for many years. In 2012, Mr. Chen Ruiqiu, a famous Hong Kong industrialist and a villager in Dongguan, donated 6 million yuan to Dongguan Institute of Technology, and the school set up the "Lingnan Jinshi Art Center" to remember Mr. Chen's style and morality, and to benefit students. At present, the center has built a 180-square-meter exhibition center, an 80-square-meter constant temperature and humidity storage room, and more than 5,000 kinds of gold and stone inscription rubbings.
The center mainly collects the rubbings of gold and stone inscriptions from ancient times to the present, especially in Lingnan, which is eclectic and strives for a grand view. Its basic function will integrate teaching, scientific research, exhibition, mission and communication. It strives to combine the image of ancient and modern golden stone inscription rubbings, deepen the understanding of cultural history, calligraphy history, epigraphy, etc., so that the formal beauty of golden stone inscription rubbings or ancient golden stone art plays an important role in teaching, and becomes a characteristic course and a high-quality course in colleges and universities. On the basis of the existing epigraphy, philology and calligraphy, we will carry out in-depth research on the rubbings of epigraphy and stone inscriptions, and strive to cultivate new academic growth points and discipline growth points.
Dongguan has a relatively long history of fine cultural accumulation, the academy and academy in the Song Ming dynasty, poetry creation and Lingnan school can become an important historical and cultural resources of urban culture. An important part of the "Lingnan Jinshi Art Center" is to collect and sort out the cultural heritage of Dongguan and even Lingnan. At present, there is a lack of a high-grade cultural venue and high-end cultural operators to inherit, develop and integrate relevant resources, and local universities also urgently need a platform to show their image and cultural appeal. With the continuous improvement of the scale and level of the school, more and more attention will be paid to the dissemination of its own cultural image. Local communities also need universities to respond and take concrete actions to showcase and inherit the culture of Dongguan and even Lingnan. In short, the accumulation of culture and the construction of culture require generations of people to have the courage to overcome difficulties, so that culture will continue to grow and pass on to the future.
This exhibition is part of the cliff carving rubbings collected by the "Lingnan (Manzhen) Golden Stone Art Center", many of which are old, imposing, changeable fonts, dignified and pious, simple and elegant, with superb calligraphy art and precious appreciation value.
Tian Gensheng is a professor and dean of the School of Literature and Media of Dongguan University of Technology, and the chairman of Dongguan Literary and Art Critics Association.
Introduction to Yang Chun Exhibition
2
Dongguan Institute of Technology's rich collection and Tianyuan's trust in March Square contributed to the exhibition.
The works in the exhibition are mainly divided into three parts. A huge cliff carving, such as the familiar classics "Shimen Collar", "Shimen Ming", "Zheng Wen Gong Monument", "Xi Narrow Song", etc., a solid image cut from the word post, presented to us with a full-scale and complete appearance, extremely shocking. First, the number and category of tomb inscriptions (45 pieces) that span the Han and Tang dynasties can basically trace the evolution of the text, calligraphy and style from the Han to the Tang, and can also taste the rich connotation and aesthetic orientation of the humanistic history of each period from the inscriptions. There is also a category of Ming and Qingtuo collected by March Fang, which is extremely high-definition and precious, and the fragments of "Yishan Stone Carvings", "Yan Family Temple Stele", "Duo Pagoda", and "Scramble for Seats" and "Holy Order" are presented in the mode of books, which makes the bookers who are accustomed to copying and printing posters shout and hate each other.
The Chinese nation, which has thousands of years of cultural history, the rise of epigraphy is a historical inevitability, and the inscriptions of the ancients have left a rich legacy for us to study history and track the process of writing and calligraphy. Recently, there have been excavations of tomb inscriptions written by Yan Zhenqing, and how much treasure there is still underground is unknown, the study and study of epigraphy is still a continuous topic, and rubbings have played an important role as a way of disseminating inscriptions.
I would like to thank the Polytechnic Institute for giving us such a head-on learning opportunity, and it is a great honor to be able to listen to the views of the guests on this exhibition and the monument. If conditions permit, the relevant exhibitions and events in March will explore a more professional way to organize.
Yang Chun, in 2013, studied at the Advanced Calligraphy Workshop of Chen Zhongkang tutor of Peking University.
Hu Lei's speech
3
The "March Square" Hantang Rubbings Exhibition brought me a new understanding and feeling. The epitaphs, cliffs, steles, statues, etc. that remain today have traveled through history and been passed down through history, and have been regarded as the standard by scholars. Those cliff carvings that have been immortal for thousands of years, although they have been eroded by wind and rain and changed by wind and wind, the handwriting is still clear and legible, and the aesthetic value of historiography is high. In particular, those mysterious cliff carvings scattered in the mountains and fields, with heaven and earth as the room, mountains as materials, splitting mountains and cliffs, waving the sky, blending objects and scenery, as if there is no human realm, is the aesthetic unity of humanities and art and the natural environment, natural harmony, natural and earth-shaking. And the stone carvings on those epitaphs are mainly round with pens, heavy and smooth in the floating, and the thickness of the lines is uniform, subtle and not lacking in movement; the bones and bones are contained, with ancient meanings, and the knots are concise and tense. The size, length, and width are staggered, which is both naturally interesting and powerful.
This exhibition, whether it is an epitaph statue or a cliff inscription, the dot painting, knot body, and style are all new changes in ancient meaning, long-term vision is deep, the realm is humorous, and the wonderful sudden life in it is difficult to comment. As a folk art museum in Dongguan, "March Fang" has high-end, professional and refined curation, integrating the functions of collection, exhibition, research, training and exchange, which to a large extent makes up for the public welfare functions, acts and responsibilities of the state-owned art museum.
Hu Lei is a member of the China Writers Association, a director of the Guangdong Writers Association, the director of the Literary and Art Creation Department of the Dongguan Literary and Art Association, the secretary of the Party Branch and executive vice chairman of the Dongguan Writers Association, and a distinguished professor of the School of Literature and Media of Dongguan University of Technology.
Xiong Xi's speech
4
I would like to make a topic about two different categories of calligraphy, stele and thesis. "Stele", in a narrow sense, refers specifically to the Northern Dynasty inscription; in a broad sense, it refers to the existence of calligraphy with hard substances such as rocks, bricks and even cliffs and inscription bronzes as the carrier of all inscribed chronicles. The study of the calligraphy of these material carriers is called "epigraphy".
"Thesis", in a narrow sense, refers to the "Two Kings" one vein of Han mo and the "Two Kings" one vein of Han Mo copied or engraved copies; in a broad sense, it refers to all calligraphy that appears in the form of ink and uses paper, cloth, silk, bamboo, wood and other substances as the carrier. The study of these dharmas is called "theology." Calligraphy such as the post is carved on stone or pasted, and it is carved and pasted rather than a stele.
The stele and the post do not exist mature, high and low, the stele is relatively regular, serious and thick, and the post is relatively flexible, handsome and free. The study of calligraphy can be divided into epigraphy and sticking, but when learning calligraphy, I have never advocated the division of stele stickers. The right army is like a dragon, the North Sea is like an elephant, Wang Xizhi and Li Yong are actually masters of stele compatibility, Li Yong has followed Li Shimin, and has become a calligrapher who writes tablets, Huang Tingjian has always believed that "Fistula Crane Ming" is Wang Xizhi's book, and the depth of their stele learning skills can be seen from this. The calligraphy of Yan Zhenqing and Huang Tingjian was also deeply influenced by epigraphy.
Xiong Xi is the vice president of Dongguan Academy of Literature and Art, the executive editor of Dongguan Calligraphy and Painting, a special researcher of the Research Institute of Guangzhou Academy of Fine Arts, a special painter of Lingnan Academy of Painting, and a member of The Chinese Calligraphers Association.
Liu Hongzhen Speech
5
First of all, thanks to the leaders of the Polytechnic Institute for giving us the opportunity to observe such an exhibition up close, most of us learn calligraphy from Tang Kai, and most of the Tang Kai are stele, so to some extent, stele and our calligraphy enlightenment are closely related.
When we talk about calligraphy now, we tend to only talk about the Jin Dynasty, up to the Three Kingdoms, and ignore the calligraphy before the Han Dynasty, especially the Three Dynasties, because what was left behind before the Han Dynasty was all inscriptions. Of course, this is related to the development of our writing, so some people think that the history of calligraphy before the Wei and Jin Dynasties is a process of development and maturity of Chinese characters. On the surface, it seems to have some truth, but from the perspective of calligraphy, such a simple sentence is easy to mislead us, according to the system of the three generations of Qin and Han, wu shi bu zhu and other highly professional officials and hundred workers are family lineage unswerving, including zhanren, that is, the oracle bone engravers, "self-non-knowledge inspiration, can not talk to Si", in their view, non-elaborate beautification is not enough to express their pious religious feelings.
The calligraphy of the Zhou Dynasty period is actually related to the rule, in the order of the liturgical culture, all ordinary, seemingly insignificant things, can smoothly enter the order of the universe, the Zhou people pay attention to the heavenly way, humanity, art, Mr. Liu Yanhu in this regard has done a lot of research, and made some interpretations. Therefore, when we study oracle bone and gold calligraphy, we must understand the sense of order behind the structure of the text and the pious mentality of calligraphy, otherwise it will be the theory of skin after all.
Han Dynasty calligraphy is related to Li Jie, including the Han Ling Emperor during the establishment of Hongdu Menxue, because the Han Dynasty and before the writing of the inscription has not yet signed the style, so most of them do not know the calligraphers, so they must not be generally referred to as folk calligraphy, although because the Hongdu Gate Study is promoted by the eunuch group, and later attacked by many scholars, I think that is their business, we must have self-knowledge, we must not be the same as the clouds, "Xiyue Huashan Stele", "Xi Narrow Song", "Shimen Song" and many other famous monuments are written by these scriveners, There are also many like the "Zhang QianBei" and "Yi Ying Stele", many of which have not left a written name, which is one of them. The second is that when we study the stele, we must read out the solemn, serious and positive atmosphere behind it, the way the ancients take the pen is different from us now, which is determined by the writing conditions, and the writing of the stele, especially the Moya stone carving, is different from the usual writing method, many of us now like the Moya stone carving, this aspect is due to the large character, the momentum is magnificent, there is also an aspect that the Moya stone carving is written directly on the ground, often indulgent, and we now put the paper on the ground to write a little similar. In fact, we can imagine that the ancients must have been very serious when writing monuments, because they came with tasks, and they will pay attention to every word, every point of painting, so that although the writing is almost poor, but all the words such as piety, meticulousness, solemnity, and rigor can be used, and many excellent inscriptions not only have the above advantages but also capture the soul, and suddenly pay respect, which is where the ancients are powerful. The third is that the stele is also historical, and the characters and events on the stele are basically reliable, which has a major auxiliary role for us to study the humanistic and historical events at that time. Thank you, I'll stop here today
Liu Hongzhen is a member of the China Book Association, a special researcher of the Guangzhou Academy of Fine Arts, a tutor of the advanced research class of the Guangzhou Academy of Fine Arts, the vice president of the Guangdong Academy of Calligraphy and Painting of the China Democratic Construction Association, the vice chairman of the Guangdong Youth Book Association, the deputy director of the Lingnan Calligraphy Research Institute, and a full-time calligrapher of the Lingnan Painting Academy.
Pijiajia's speech
6
Gold stone is an ancient artifact, gold mainly refers to the inscription of bronze ware in the Shang and Zhou dynasties, and stone refers to stone carvings after the Qin and Han dynasties. Successive generations have paid more attention to the study and collection of gold stones. As a specialized technique, it first appeared in the Southern and Northern Dynasties, and the Tang Dynasty was more popular, while the Song Dynasty was the peak of goldstone research and rubbing collection. In the Song Dynasty, a number of monographs on the study of jinshi appeared, the earliest of which was Liu Chang's "Map of Ancient Artifacts of the Pre-Qin Dynasty", and Ouyang Xiu's "Collection of Ancient Records" was the first work of the real jinshi research, "At the beginning, Liu Yuanwen read the gong to advocate it, and it was formed by Ouyang Wenzhonggong. In addition, there are Zhao Mingcheng, Li Qingzhao and his wife's "Golden Stone Record", Li Gonglin's "Archaeological Map" and so on.
There are several reasons for the prosperity of the Song people's golden stone wind: First, it traces the sage's subtle righteousness. Most of the surviving texts from the Shang and Zhou Dynasties are preserved on bronzes and other objects, and later generations believe that the writing engraved on these ceremonial vessels must contain the passage of heaven and humanity, and have the merit of carrying the Tao. For example, Li Gonglin said, "The saints make instruments and still like images, carry the precepts of the Tao, and the magic of impermanence is between the use of the instruments, so that the descendants will be left behind, so that the people of great knowledge will seek the image, that is, the image will seek the intention, and the mind will to witness the fate of the object." "The second is the needs of the rulers at that time. After the five generations of chaos, the emperor must re-cultivate liturgical music, but also with the help of ancient artifacts and their rubbings to study. The third is to revise historical events and study history through these ancient texts. The fourth is aesthetic pursuit. On this point, the literati doctor more integrated this artistic appreciation into the playfulness of life. For example, Ouyang Xiu called himself a June 1st resident, "a collection of 1,000 ancient records, 10,000 volumes of books, a piano, a chess game, often placed a pot of wine, I am old in the middle, it is for June 1st." In his heart, the first place was this thousand-volume golden stone rubbing. Perhaps, this kind of carrier with both time traces and textual contexts can actually be in line with the tastes of the literati. The ancient ideas and spirits contained in the text have participated in shaping the basic spiritual pattern of the literati. Scholars take the golden stone as an aesthetic object, in fact, the time condensed on it as an aesthetic object, this time contains the past years, they trace the ancients at the same time, but also to cover the eternal spirit, playing with it is also firmly believed in the eternity of time, then the brevity of this life is not enough to become a reason for sorrow, this life because of the spiritual inheritance in the sense of time perpetual existence.
Pi Jiajia, Ph.D. in Aesthetics, Peking University.
Wang Feihu's speech
7
First of all, I would like to thank Professor Tian of the Polytechnic Institute and Mr. Yang Chun of March Fang for jointly planning and holding this Han Tang rubbing exhibition, which provides us with an opportunity to observe and appreciate the Hanbei rubbings up close.
Most of the people who come today are friends who learn calligraphy, rubbing is the most familiar for practicing calligraphy, and it is also the object of our day and night Linchi, calligraphy has the distinction between epigraphy and theology, epigraphy pursues the atmosphere of gold and stone, and theology shows the atmosphere of books. Beituo has a sense of historical vicissitudes, which provides us with unlimited imagination space. The rubbing contains the beauty of the shape of the text, the beauty of the knife used by the engraver, the beauty of the texture of the ink color, and the beauty of the form of the rubbing. In particular, the text of some epitaph statues, it has a lot of strange characters, avoidance characters and local conventions, giving us a sense of mysterious novelty and broadening the shape changes of Chinese characters. Some subtle knife methods of engraving, in the treatment of lines, there are many and give us a lot of enlightenment, such as horizontal and vertical intersection, the processing is very interesting, sometimes horizontal painting to keep the vertical painting intact, sometimes vice versa. The beauty of the texture I think is also very important, because the method of expansion is different, the stone is different, and the reason for weathering, the effect of the expansion is also different, some are simple and simple, some are fresh and fresh, and different flavors are produced in the breath. There is also the beauty of the form of quantuo is also very shocking, usually the study is all clips, and watching quantuo, the momentum is overwhelming, that kind of aura, breath, infectious power is very strong. Immediately in awe, let me really feel what is the Han and Tang Dynasty weather.
Finally, I hope that March Fang and the School of Literature of Dongguan University of Technology can often take out some fine rubbings on a regular or irregular basis to do such activities and give the majority of calligraphy lovers a feast for their eyes.
Wang Feihu is a member of the Chinese Calligraphers Association, the chairman of the Dongguan Youth Book Association, the deputy secretary-general of the Dongguan Calligraphers Association, the deputy director of the Cursive Committee of the Dongguan Calligraphers Association, the vice president of the Dongcheng Branch of the Dongguan Calligraphers Association, and the member of the May Book Club.
Yang Jilong's speech
8
First, just now there was a speech discussing the comparison between Li Si's Xiao Seal and Xiping Stone Classic's Lishu and other stone carving masterpieces. I think that there are also two lines of official and customary inscriptions, and it is not appropriate to compare them on the same line. Li Si and Cai Yong stand on the side of the lawsuit, pursuing the standardization of texts for the function of indoctrination, and the artistry is based on attributes. Folk writers, on the other hand, can play relatively freely. Officially, writing is far more important than calligraphy. From a historical point of view, there is no need to exalt the status of calligraphers. Chinese emphasize the power of words, not the power of calligraphy. The calligraphic significance of the oracle bone has been discovered by later generations.
Second, this exhibition has a rubbing of the "Shen Quanjiao Epitaph" excavated in recent years, and the books, engravings and extensions are all good. Enter the stele with a book, but regret that the name of the person who did not sign the book. Since the beginning of Tang Taizong's "Hot Spring Inscription", there have been a considerable number of Xingshu stele after Li Yong and Zhang Shaoti, especially Li Yong's famous works. These xingshu stele all appeared after the publication of the Huairen Ji Wang Shu Sacred Order. It can be seen that the influence of the "Holy Order of the Book of Kings" is great.
Third, in recent years, many Wei and Tang epitaphs have been unearthed. Appreciation and learning require a selection process. It is not necessary for those who come not to refuse blind worship.
Yang Jilong is a calligraphy teacher at Dongguan University of Technology, a master's degree from Sichuan University, and a doctoral candidate at Taipei University of Science and Technology.
Deng Mushui's speech
9
Hello everyone. First of all, I would like to thank The Dean of March Fang and the Polytechnic Institute for providing us with a cultural feast of Han and Tang Dynasty inscription rubbings, so that we can get close to the rubbings. These rubbings are more clearly presented in front of us, and every detail of the rubbings allows us to see clearly. Even in the museum you can't see the rubbings in that high definition.
There are many kinds of rubbings on display, including The Han Dynasty's Shimen Song, Xi Narrow Song and Shi Men Ming. Usually, we can only see these famous monuments from the posters, and they often feel bland. However, today we see these original tablets and are deeply shocked. As more tablets are unearthed, we have the opportunity to see more different styles of writing, both official and folk. These different styles of writing are the best materials for us to learn calligraphy and help us understand the historical background of the time. At the same time, the rubbing has the beauty of form, and the mottled and mutilated stele gives us the enjoyment of beauty. The size of the inscriptions is sparse, and the texture of the lines also provides us with unlimited space and diverse calligraphic forms for our writing.
Deng Mushui graduated from the Guangzhou Academy of Fine Arts and is a member of the Chinese Calligraphers Association.
Huang Qiang's speech
10
This exhibition has been very much expected since Chun Ge revealed it, and today's atmosphere is quite extraordinary. For those of us who study books, it is very happy to have good rubbings and rubbings to learn, when I was a child, I did not have good printing products when I learned calligraphy, only the so-called teaching-type posters of the single word and stroke technique, which is really bad. Now the printing technology is good, but it is also necessary to have a golden eye to choose a good model, and the quality of various merchants is far from the same.
But with a good rubbing, it is equivalent to having a more accurate answer for us to compare, and the march workshop exhibition is to provide a good answer model for our students. Among these exhibition works, I was amazed by "Shimen Ming", "Duo Pagoda", "Yishan Stone Inscription", "Ode to the West Narrow", "Scramble for Seats", why did these impress me? Because I rarely see such a good thing, the details and breath of these stele are very good to show the charm of this stele, some of them look at me very impulsively, some of them want to carve two seals, and some of them can make you stop and taste.
The weather is huge, exquisite, and the thickness of the golden stone is my overall feeling about this batch of treasures, and everyone has time to come to March Square to quietly appreciate it.
Huang Qiang, art teacher of Sunshine Sixth Primary School in Nancheng District, Dongguan, assistant teacher of Xiong Xi Calligraphy Advanced Research Class, deputy secretary general of Nancheng Branch of Dongguan Book Association.
Wu Jinming's speech
11
I had the honor to visit the "Han and Tang Dynasty Rubbings Collection Exhibition" in March Fang, which involved Han, Wei, Sui and Tang Dynasties; the types included Moya, Epitaphs, and Tang Dynasty Famous Stele Inscriptions. And most of them are Ming and Qing dynasty old extensions. In Dongguan, it is rare to have the opportunity to see so many precious rubbings of high quality, which is very shocking.
This exhibition is of great significance. The famous stele rubbings on display include "Ode to the Stone Gate", "Shimen Ming", "Ode to the West Narrow", "Yanjia Temple Stele", "Seat Scramble", "Yishan Stone Inscription", and there are dozens of precious epitaph rubbings from Wei to Tang, many of which are well-written, exquisitely knife-crafted, and well-faceted rubbings, which can be played and observed at close range. Whether from the perspective of calligraphy, history, literature, scholarship, and word evolution, it is a very rare learning opportunity.
Wu Jinming, Chen Zhongkang tutor calligraphy elite class student, Liu Hongzhen teacher calligraphy advanced study class student.
Zhou Maohua's speech
12
In the world, there is only one Chinese family that takes writing as art, and Chinese characters have aesthetic functions in addition to recording narratives and inheriting culture. The world's four major ancient civilizations are only the Chinese civilization is still continuing, some scholars believe that the use of Chinese characters, the role is huge, Chinese characters are symbols of wisdom. Master Yin Guang said that the merit of words cannot be exhausted, advocating respect for the word paper, and the ancients had a pavilion for cherishing the words, which shows the ancients' reverence for the words.
Calligraphy is the study of the mind, and like painting, it carries the social function of "enlightenment and helping others". In order to pass on to future generations and overcome the fact that bamboo and wood paper are easy to decay and difficult to preserve, the choice of gold and stone casting is chosen, which is the mind and wisdom of the thousand autumns. Steles, cliffs, and tombs have become important materials for calligraphy, and visiting monuments has become an elegant pleasure for good bookmakers. In the history of calligraphy, there are anecdotes such as "Ouyang inquired about the three days of suojing carved stones" and "Cai Yong visited the monument at night to read it with his hand".
The invention of rubbing greatly promoted the circulation of calligraphy works, facilitated the copying and appreciation of scholars, and showed the visual effects of clearer and richer qi and abundance, chapters and other visual effects. The "Ode to Shimen", "Ode to the West Narrow", "Shimen Ming", and "Zheng Wengong Monument" exhibited this time have a breathtaking weather that is incomparable to the shearing and printing of the posters, and the majestic and positive atmosphere of the Han and Wei calligraphy styles can be fully displayed. The appreciation and interpretation of different styles of works in different eras of the Han, Wei, Sui, and Tang dynasties is also a more systematic intuitive feeling of the image data of the history of calligraphy.
This exhibition is a rare visual feast.
Zhou Maohua is an art teacher at Nancheng District Central Primary School in Dongguan and a student of Xiong Xi's Landscape Painting Advanced Study Class.
He Hanfeng's observation note
13
I was very fortunate to hear the high opinions of the teachers and seniors at the scene, and listening to the teachers discussing the different perspectives on the study of epigraphy, I suddenly thought of a Chinese and Western philosophy class I had studied, which was about the poetics of words.
Philosophy, that is, faith, is about the question of the need for a spiritual home in the world, about knowing where you come from, why you do it every day, and so on. Throughout Eastern and Western philosophy, there are metaphysics, existentialism, and so on. Metaphysics has two main manifestations in China, one is liyan and the other is liyi, which refers to Chinese characters (Confucian classics) and metaphysical gods (Buddhism or Taoist philosophy). Ordinary people's life needs a code of conduct, Westerners follow God's will, China does not have God, but China has Confucian scriptures as the norms for dealing with the world (starting from the six classics: poems, books, rituals, Yi, Music and Spring and Autumn), and because Confucianism is actively entering the world, our scriptures are equivalent to the Western Bible and God, in other words, Chinese characters are the God who guides us in dealing with people, giving birth to our traditional culture, and Chinese characters are our roots. At present, only Chinese characters that can express meaning from glyphs are still used in the world, such as "tip", which is called "tip" in the big top and small, while the Western language system is spelling recognition, and simple letters do not express meaning, so Chinese characters are remarkable. The first is that the ancient Chinese created Chinese characters, from the Stone Age to depict the figurative shapes of things to abstract generalizations, and then constantly simplified and beautified, and even calligraphy eventually became an aesthetic interest. The second is the inheritance and evolution of writing, which has been used to this day. So how does the text circulate? Archaeological evidence: animal bones, stones, bamboo, drapery, paper... In the early days, the role of stone inscriptions was to spread the written word and make the common people literate. At that time, Chinese characters were more practical than aesthetic functions, and ancient Chinese characters have been handed down to this day, and aesthetic functions are greater than practical functions. The surface of Chinese characters is simple horizontal and vertical and other symbols, but what it carries is our wisdom, thought and spirit, that is, the practical function of ancient times is unified with the aesthetic function of later generations: calligraphy is practical, it is related to the philosophy of life, it is also aesthetic, it is related to character cultivation, and the various styles of writing in previous dynasties are the direct embodiment of the spirit of each dynasty.
Learning calligraphy and learning tablets and posts can help us move closer to the ancients, or to the ancient Chinese gentleman's temperament. This monument exhibition is my first close contact, personally witnessed, the breath is solemn and majestic, the blade is awe-inspiring and righteous, and the three-dimensional mottled texture is like seeing the real stone... The inscriptions and inscriptions are precipitated and sublimated in the long river of years through the form of Chinese characters, which is a precious spiritual enlightenment left by the ancients to future generations.
He Hanfeng is a student of Xiong Xi's Landscape Painting Advanced Study Class.
Xiao Pan Viewing Notes
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Before the exhibition, some understanding of the history of the monument was made. In the past, the stele did not use "stone", but "wood". Until the Han Dynasty inscription art was widely used in iron and the Han and Tang Dynasty thick burial customs, the art of inscription suddenly prevailed. During the Southern and Northern Dynasties, under the influence of the two major scholars of Wang Xie, epitaphs began to be widely popularized, becoming an opportunity to combine calligraphy and stone carving art.
During the exhibition, when I saw "Many Pagodas", I carefully compared the differences between Linti and Takumoto, and felt that the strokes and lines on the stele had the dappled beauty of the years. The breath between words exudes a more unique beauty than the daily writing use of the post. After seeing the epitaphs of various eras, according to the point of "looking at the pen through the blade", I felt the overall atmosphere and writing of the article, and I also had a preliminary understanding of the inscription style of different periods, which broadened my horizons.
In silence, the stele clearly shows the changes of the entire Chinese character, records the most classic literature, and is also the best direction for us to learn and study calligraphy.
Xiao Pan, a student of Xiong Xi's calligraphy advanced study class.
The exhibition site