■Eastern Han Dynasty Xiyue Huashan Temple Stele (Xiaolinglong Mountain Museum)
■ Chunhua Ge Thequan Prefecture Ben (Southern Song Dynasty, Chu Tuo) Volumes 6 to 8 of the Book of Wang Xi
■ Tang Jiucheng Palace Li Quan Ming (Ouyang Inquiry Book) (Song Tuoben)
"Eastern Han Xiyue Huashan Temple Stele" and "Eastern Han Xia Cheng Stele" are important collections
Collection Weekly reporter through the visit to understand, the current collection of Song Tuoben institutions or private, South China is not common, Hong Kong Chinese University Cultural Relics Museum (hereinafter referred to as: cultural relics museum) in this regard, can be regarded as one of the rare institutions, more than ten kinds of Song Tuoben collection is worth writing. Including Song Tuoben's "Eastern Han Dynasty Xiyue Huashan Temple Stele" (Ma's Xiaolinglongshan Pavilion Ben, also known as Shunde Ben), "Eastern Han Xia Chengbei (Huashi True Appreciation Zhai Ben / One of the Ten Treasures of Li's Linchuan)", "Tang Huairen Ji Wang Xi's Sacred Order (Kong's Yue Xue Lou Ben)", "Tang Yan Zhenqing's Big Character Magu Xiantan Record (He Shaoji's Old Collection)" and so on.
■ Collector's Weekly reporter Liang Zhiqin
Song Tuoben's "Eastern Han Dynasty Western Yue Huashan Temple Stele"
Revered as the "First Product of Han Li"
In particular, it is worth mentioning that there is a Song Tuoben "Eastern Han Dynasty Xiyue Huashan Temple Stele" (Ma Shi Xiao Linglong Mountain Pavilion Ben, also known as Shunde Ben), because of the Qing Dynasty scholar Li Wentian's old collection, "Xiyue Huashan Temple Stele" is the Eastern Han Dynasty Huan Emperor erected in the Xiyue Temple in Huayin County, Shaanxi Province, the inscription content is mainly to describe the Zhou to Han, the dynasty's sacrifice to Xiyue Huashan. However, after the wind and rain, the original inscription was vague and difficult to distinguish, and later the Temple was rebuilt by Yuan Feng, the Taishou of Hongnong, in accordance with the ancient system, and erected this monument. During the Tang and Song dynasties, this stele is still well preserved, and the Tang Dynasty li shangyin and others also have inscriptions. Unfortunately, during the Ming Jiajing period, a major earthquake occurred in Shaanxi, and the Huashan Temple and the stele were destroyed to varying degrees, and later scholars double-hooked, copied, and republished the stele several times. The stele in the existing temple was re-engraved in Shaanxi Province in 2007.
Tao Shuhui, a doctor at the university of Chinese in Hong Kong, wrote an article: "The dot paintings on this stele are plump and thick, the knots are tight, and the square is calm and calm, and the changes are medium, especially the waves with different postures, which add to the dynamic momentum of the text, and the overall ancient mao is beautiful and beautiful, and is highly respected by many scholars and scholars." This stele was also called "the first product of Han Li" by Zhu Yizun, a beginner in the Qing Dynasty. The famous painter Jin Nong of the Qing Dynasty even said that "Huashan Tablet Stone is my teacher", and many copies of this stele calligraphy have been handed down to the world. Tao Shuhui believes that what Jinnong copied in that year was exactly this rubbing of the Museum of Cultural Heritage of the University of Chinese in Hong Kong.
Tao Shuhui introduced that the original stele stone is no longer there, and there are four pieces of rubbings that have been passed down to the world, one is the Nagagaki Ben, also known as the Shangqiu Ben, which is now in the Shōdo Museum in Taito District, Tokyo, Japan; 2. Huayin Ben, also known as Guanzhong Ben; 3. 4 Ming Ben; The latter two are in the Palace Museum in Beijing; The fourth is the Shunde Ben, also known as the Xiaolinglong Mountain Pavilion Ben. "(In the four books) Shunde Ben rubbing era is the earliest." Tao Shuhui thinks.
It is understood that the "Shunde Ben" was successively collected by Jin Nong and Ma Yuelu (Xiao Linglong Mountain Pavilion) in the Qing Dynasty. Among them, during the collection period, Li Wentian invited Zhao Zhiqian to double-check the missing pages and frame them together in the album. "Li Shi also borrowed the three books of Changyuan, Huayin, and Siming to proofread this book in succession, and pointed out the similarities and differences of each book in small letters on the blank spaces on the four sides of each page of this book."
This book and Li Wentian's grandson Li Tang "lasted for three generations". In 1970, Mr. Lee Wing Sen received this book and donated it to the Heritage Museum of the University of Chinese, Hong Kong, and in 1973 it officially became the earliest stele in the museum.
True appreciation of the Style of Saimoto Knots is strangely ancient
Cherished by collectors throughout the ages
Song Tuoben's "Eastern Han Dynasty Xia Chengbei (Huashi True Appreciation Zhai Ben / One of the Ten Treasures of Li's Linchuan)" is the old collection of the Ming Dynasty Jiangsu Wuxi Huaxia True Appreciation Zhai, and in the Qing Dynasty, it was collected by Li Zonghan, a collector of Jiangxi Linchuan Steles, according to the data, "Xia Chengbei" was written by the famous Han Dynasty scholar Cai Yong. However, the original stele was destroyed in the middle of the Ming Dynasty.
Xia Cheng was a living official, according to the Northern Song Dynasty Zhao Mingcheng's "Golden Stone Hammer", this stele was excavated at the time of excavation, and by the fifteenth year of Ming Chenghua, the guangping prefect Qin Minyue built a monument pavilion for protection. During the Jiajing period, the city was destroyed, and later in Jiajing's twenty-four years ago, the prefect Tang Yao took the Chenghua Tuoben and re-engraved it at the Zhangchuan Academy, and added the seal of "Chun Yu Changxia Chengbei" at the end of the inscription.
Among the "Xia Chengbei" expanded texts that have been circulated in the world, the Zhenxiang Zhai ben "Xia Chengbei" is the earliest. The content of the stele is mainly to "spread the Confucian idea of emphasizing moral conduct and still being educated." ”
In the Qing Dynasty, many scholars specially borrowed it, which was more likely to be selected as a model for inscriptions in the early days of epigraphic calligraphy. In the middle of the Qing Dynasty, the True Appreciation Zhai ben "Xia Chengbei" was collected by Lu Gong, and was once written by Weng Fanggang, and the missing part was copied by Weng Fanggang, and another piece was passed down by Weng Fanggang's double hook "Xia Chengbei". It can be said that the "Xia Chengbei" is one of the important items for scholars in the Qing Dynasty to study and communicate with each other.
This Piece of Song Tuo's "Xia Chengbei" was later collected by Zheng Xiaoxu, and there is a view of Yu Ren. Later, it was taken to Taiwan by Ding Nianxian, and in 1981, it was purchased by Mr. Li Rongsen, the director of Beishan Hall, and transferred to the Museum of Cultural Relics, which became one of the most important inscriptions of the museum.
Ho Bi-chi, associate researcher at the Museum of Cultural Heritage of the University of Chinese, Hong Kong, believes that "the True Appreciation Book has been cherished by collectors throughout the ages, and its knot style is strange and the calligraphy and painting are clear. Weng Fanggang once said that this style has cai yong's "lishi" so-called "different body and same posture, strange posture, and constant system".
"Ji Wang Sheng's Order"
It is even more fashionable to make the book into the stele
"Tang Huairen Collection of Wang Xi's Holy Teaching Order (Kong's Yue Xue Lou Ben)" is one of the most important inscriptions to preserve the calligraphy of Wang Xi's trip, and the collection of cultural relics is the famous Guangdong collector Kong Guangtao Yue Xue Lou old collection song Tuoben of the Qing Dynasty.
The "Holy Order" is called the "Great Tang Sanzang Holy Order", and there are many kinds of traditions. The "Jiwang Shengjiao Order" is the "Emperor Taizong Wen System", that is, the Imperial Preamble of Emperor Taizong of Tang, and refers specifically to the inscription of "The Book of Wang Xi of the Right General of the Jin Dynasty of Shamen Huairen of Hongfu Temple". This stele was once located in Hongfu Temple, Xiudefang, Chang'an, and was moved into the Temple of Literature at the beginning of the Northern Song Dynasty, and is now in the Forest of Steles Museum in Xi'an, Shaanxi.
He Biqi believes that the "Jiwang Shengjiao Order" from the collection, Le Shi to the selection of materials are all exquisite, with a line of style, as coherent as possible between the characters and words, each word stroke is frustrated, etc., the pen meaning is obvious, the fine extension of this stele is an excellent model for learning Wang Xizhi's calligraphy, which has a great influence on the development of Tang and Song calligraphy. "The "Order of the Holy Teachings of the King of Ji" made it more fashionable to enter the stele, and later Li Yong's "Li Sixun Monument" was more in line with it."
He Biqi researched and said, "This stele can be said to be the precursor of the Ancestor of the Fa Ti, the Chunhua Ge Ti. ”
"Jiwang Shengjiao Order" through the generation of pounding, the calligraphy and painting gradually shallow, and the stele is broken between the Southern Song Dynasty and the Yuan, the taurus before the stele is particularly precious, the earliest surviving version is the Taurus in the Northern Song Dynasty, the cultural relics collection is kong Guangtao's old Collection of the Southern Song or Jin Period Takuben, and for the pre-Discontinuation, the Mid-Ming to modern, the Takumoto from Jiangsu, Zhejiang to Guangdong, the Republic of China had Shen Yinmo inscription, until 1985, purchased by Li Rongsen and donated to the cultural relics museum.
"The Tale of the Immortal Altar of Magu"
As the "Crown of the Yanshu Monuments"
The "Records of the Immortal Altar of Magu" was written by Yan Zhenqing in fuzhou, Jiangxi Province, in the sixth year of the Gregorian calendar, after he visited the Magu Immortal Altar in Nancheng County, he wrote a record of the matter of Zhi Magu's attainment of the Tao, when Yan Zhenqing was sixty-three years old, and the stele of the "Magu Immortal Altar" was originally erected on the Magu Mountain, twenty-three miles southwest of Nancheng, Jiangxi Province. Unfortunately, the original stone is said to have been broken by thunder and fire, so the size, order, shape and other aspects of the original stele are now unknown. "Magu Immortal Altar" has been circulated in three kinds of large, medium and small characters, He Biqi believes that the large character book is the most beautiful and qing rhyme, and the collection of cultural relics is the large character book. The Song "Xuanhe Book Genealogy" and Zhu Changwen called the large character style Xiuying, and the Qing Dynasty He Shaoji commented that "the divine light is shining, pu yi is thick and far-reaching, and it is actually the crown of the yanshu stele." ”
It is understood that the "Tang Yan Zhenqing Dazi Magu Xian Tan Ji (He Shaoji's Old Collection)" belongs to the Song Dynasty horizontal woodcut large characters, white linen paper extensions, and is printed on the same page as the old collection of Shen Shuyong in the Shanghai Library, the Dai Xi Bao book in the Shanghai Museum, and the printed copy of the "Series of Famous Calligraphy" (Takashima Huai Anju Collection). According to the data, Liang Boda of the Yuan Dynasty rebuilt this stele, and there are copies of the Ming and Qing dynasties, and the Yuan inscriptions have been rare in the Qing Dynasty.
It is understood that He Shaoji obtained this book in Wumen Poci in the Qing Dynasty, "Yu Xi got this Song Tuoben in Gusu", He Shaoji also let Yan Yuntang double hook and post-engraved stone according to this book, about the Daoguang years, and later He Shaoji used this to hook huang Yusheng's father and son to hook the stone.
He Biqi introduced that He Shaoji had hidden large and small characters, and had an objective analysis of the differences between the two, he believed that the large characters were "structured gods, and they were far better than small fonts", and agreed with Huang Ting's insistence that small fonts were written by a monk in the early Song Dynasty. She believes that the collection of cultural relics is printed in light ink, which is clearer than other versions of the thick ink rubbing, and "the least damaged and the words are clear, no wonder He Shaoji is highly regarded for this book." ”
This book was purchased by Kitayamado Lee Wing Sen in the 1990s and donated to the Museum in 1994.