Today's inscriptions refer to rubbings or prints of stone or wood carvings, which can be used for learning calligraphy.
Cao Zhao of the Ming Dynasty's "Ge Gu Yao Lun·Ancient Ink Marks Theory Part 1": "Use paper to add to the inscriptions on the stele. Use a hairspring pen to circle the calligraphy and painting in the bright place, and fill it with thick ink, which is called ring extension."
Stele and post are two concepts related to stone inscriptions.
The stele is made of vertical stones, the posts are made of horizontal stones, and they can also be carved with wood.
In terms of content, the stele records contemporary people or events to commemorate them.
Tie is generally formed by imitating the ink writings, letters, poems, etc. of ancient celebrities on the stone.
The inscriptions are all engraved on stone. After paper and ink became available, people used the cone rubbing method to rub out the inscriptions, which made them easy to read, easy to preserve, and spread widely.
The inscription in front of Chen Wenzhe refers to the rubbing of the inscription.
The inscriptions of past dynasties are a treasure trove, and their contents involve political economy, religious philosophy, customs and sentiments, literature and art, and can complement each other with historical records.
For example, the 10 stone drums from the pre-Qin era that are now in the Forbidden City are the ancestors of stone inscriptions.
The inscriptions on the stele have left the calligraphy of countless famous writers from ancient times to the present, showing various fonts and calligraphy styles of various schools. They are actually the source of Chinese calligraphy.
The Palace Museum collects tens of thousands of tablets and inscriptions from various eras, a small part of them are from the old collection of the Qing Palace, and most of them were collected in the past fifty years.
I have to say that Li Tianqiang found a very suitable entry point.
It is really Chen Wenzhe's favor. You must know that he did not collect calligraphy and painting works before, entirely because Chen Wenzhe was afraid that these antiquities would not be well preserved.
It's not that Chen Wenzhe doesn't like calligraphy and painting works, but because they are too troublesome.
Now that there is a museum, he does not need to maintain it himself. He naturally wants to collect some paintings and calligraphy works.
However, those calligraphy and painting works are definitely not as good as the inscriptions. Chen Wenzhe likes them.
Li Tianqiang, or rather Li Jinli, really knows Chen Wenzhe's preferences.
Chen Wenzhe naturally likes this kind of thing.
Besides, the two Li Tianqiang brothers are really capable.
The more than one hundred inscriptions found can be said to date from the Wei, Jin, Southern and Northern Dynasties, to the Tang, Song, Yuan, Ming and Qing dynasties.
Unfortunately, the possibility that these inscriptions are genuine is really slim.
However, the possibility that these inscriptions are genuine is much greater.
This is actually easy to understand, and the authentic inscription is probably the only one.
But for the rubbings of inscriptions, it can be said that as long as there are genuine inscriptions, you can have as many rubbings as you want.
In this way, some of them are passed down, isn’t it normal?
Therefore, at this time, Chen Wenzhe was even more concerned about Ouyang Xun's inscription.
Unfortunately, there are many forgeries on Ouyang Xun's inscriptions. You can see the methods of forgery by looking at the actual objects.
Because there are quite a lot of Ouyang Xun’s inscriptions here, there must be all kinds of fakes!
Ancient inscriptions were forged in various ways, and there were endless forgeries when they were re-engraved for profit.
There are many inscriptions signed by Ouyang Xun left in history, some of which were added with Ouyang Xun's name, and some were directly re-engraved in Ouyang Xun's name.
There are several copies here, and Chen Wenzhe can tell at a glance that they are fake.
Of course, a few fake samples were also imitated decently, but they couldn't resist Chen Wenzhe's culture!
For example, this is a rubbing of Ouyang Xun's "Jiucheng Palace Liquan Inscription".
When talking about the appraisal of inscriptions and inscriptions, there will always be a topic involving re-engraving and counterfeit engraving.
Mr. Ma Ziyun defined: "Forging is because the original original stone is rare and precious, so the rubbings are produced after being carved, and then made into the old style to deceive others. Forgery is based on a certain inscription or someone's calligraphy without the original stone rubbings, and then excerpts from it. An ancient article or poem, the two are combined and carved to deceive others."
Reprinting is naturally a fake, but there is nothing wrong with copying it to spread it widely.
For example, the Northern Song Dynasty stone drum inscriptions in Tianyi Pavilion were destroyed by war, and Ruan Yuan retook the original copy to preserve the authenticity, which is of great significance;
But the plot of Xiangbi's fictitious engraving is much worse.
This not only deceives collectors, but also affects the study of calligraphy and confuses the history of calligraphy, which is a far-reaching disaster.
Up to now, there are many forged monuments, the most famous of which is the monument to Wang Xianzhi’s nanny.
This treasure came out of Shanyin during the Qingyuan and Jiatai years at the end of the Southern Song Dynasty, and was praised by celebrities for a while.
There is a sentence in the key to the building: "The great order personally wrote the inscription on the nanny, and it was carved by Jin people at that time. Although the bricks are broken, the inscription is complete, and the wonderful painting is far beyond the Orchid Pavilion." This is a documentary record.
The original copy has been lost for a long time, but the rubbings that have been circulated include Jiang Kui's long script in small regular script. According to its seven beauties, it belongs to "the one who could not have done it without the king presenting it".
The calligrapher who has encountered the most forgeries must be Ouyang Xun.
There are many famous ones, such as "Yao Bian's Epitaph", "Yu Gonggong Wen Gong's Epitaph", "Yuanguo Dojo Under the Brick Pagoda", "Woman Su Yuhua's Epitaph", "Guo Yun's Epitaph", "Wolong Temple Huangye Monk's Epitaph" ", and the "Prajnaparamita Heart Sutra" in small regular script.
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Looking through the books one by one, if these were genuine, Chen Wenzhe would dare to eat them in one bite.
These forgeries are all signed by Ouyang Xun without exception.
Of course, they are basically in line with the European style, and most of them have been around for hundreds of years.
There are different methods of forgery, but Chen Wenzhe can tell them all.
For example, the most classic one is to add Ouyang Xun's signature to an old epitaph.
The most typical example of this is "The Epitaph of Yu Gonggong and Wen Gong".
Wen Yanbo died in the eleventh year of Zhenguan. His posthumous title was Gong. He was buried in Zhaoling. The tombstone was written by Cen Wenwen and Ouyang Xunshu Dan. There is no doubt about this.
Wen Yanbo's epitaph was unearthed in the Northern Song Dynasty. "Mochi Bian" and "Collection of Ancient Records" both state that "there is no name of the author, but it is passed down from generation to generation as Ouyang Xun's book".
In the early Tang Dynasty, there was no custom of inscribing the name of the author on epitaphs.
Therefore, we can only roughly speculate based on the calligraphy style that it may be the same as the tombstone, written by Ouyang Xun.
This epitaph has long been lost, and what we see today are forged copies from different eras, as well as repeated copies of the forged copies.
Such forged copies usually have the words "Compiled and written by Ouyang Xun, the doctor of Yinqing Guanglu" in the first line.
Therefore, Chen Wenzhe could easily identify this kind of fake.
Then the next one is a little more difficult to identify.
This one is "Yao Bian's Epitaph", and its situation is a little more complicated.
The version I saw today is called "The Epitaph of Yao Gonggong, the Great General Zuo Guanglu of the Sui Dynasty".
Yu Shiji, the minister of internal history of the Lin Army, wrote the article, Dr. Taichang Ouyang Xun Shudan, and Wan Wenshao inscribed it.
The book was written and engraved by famous artists, so it is particularly eye-catching.
This chronicle was first recorded in "Ji Gu Lu Catalog", and was later mentioned in the "Jin Shi Lu: Epitaph of Luo Hu during the Sui and Zhou Dynasties", both of which were attributed to Ouyang Xun Daye Zhong.
Because in Sui epitaphs, there is no second instance of inscription with the name of the author.
Therefore, Mr. Gu Tiefu of the Palace Museum asserted that what Ouyang Pei and Zhao Mingcheng saw was "a forged copy made by people from the Song Dynasty."
In other words, although the so-called "Yao Bian's Epitaph" written by Ouyang Xun is similar in calligraphy style to typical Sui epitaphs such as "Su Xiaoci" and "Tao Gui", in fact, it was the Northern Song Dynasty inscription merchant who made a completely unmarked "Yao Bian's Epitaph", or added
Engraving the name of the person who wrote the book, or simply re-engraving it in European style, in order to defraud more money.