Chapter 1860: Chasing the big seal script, learning the small seal script, everything is perfect
After the victory of the Anti-Japanese War, these stone drums were transported back to Nanjing from Chongqing.
Danger was everywhere during the transportation. The car carrying the stone drums experienced two rollover accidents, and 10 stone drums almost suffered another disaster.
After the full-scale liberation war broke out, Chang Shenkai saw that the situation was over and hurriedly prepared to retreat, transferring a large number of national treasures and cultural relics to Wanwan.
At this time, the Chencang stone drums, which had been returned to the Forbidden City for safekeeping, were hurriedly transported to the airport.
But before takeoff, the pilot reported that the plane was seriously overloaded and the safety of the flight could not be guaranteed.
After repeated discussions among the group, the 10 stone drums had no choice but to stay and were finally preserved.
Therefore, what Chen Wenzhe saw was definitely not genuine, but even if they were imitations, they were definitely very precious because of the inscriptions on them.
There are ten stone drums in total, and four-character poems in groups of ten are engraved in Zhenwen. Many of the characters have been erased, and none of the characters on the ninth drum have survived.
Although the words on the 10 stone drums are chapters of their own, they are connected to a certain extent.
It is a long poem describing the hunting of the Qin aristocratic class, and the verses of the two stone drums ("Qian Migu" and "Lathe Drum") are relatively complete.
The rest of the stone drum inscriptions are not well preserved and only a few fragments remain, but the general meaning can still be understood.
"Qian Miangu" describes the beautiful scenery of Qianhe River.
The original text roughly means: "In the shadow of the graceful willows, the gurgling water of the Qianhe River is clear and transparent. Catfish and carp are in groups in the water. The gentleman is fishing. There are many small fish swimming slowly, and the white fish are grabbing food.
The shadows of aquatic plants and yellow and white fish are clearly visible on the rocks at the bottom of the river."
This is such a beautiful artistic conception, which makes people sigh and intoxicate.
"The Lathe Drum" describes the scene of Qin Gong going hunting.
He talks about the numerous car movements, the beauty of horned bows, and the scenes of his followers shooting bows and chasing prey.
"Tian Che Drum": describes the grand occasion of Qin Gong and his entourage going to the plains for hunting.
"Luan Chariot and Drum": It describes that Duke Qin passed through Guocheng on a hunting trip. The Luan chariot was hung with red bows and red arrows, and people gathered to offer prey. At this time, the crowd was like a barrier and it was very lively.
"Lingyu Drum": describes the scene seen from a low place when Qin Gong and his entourage were crossing the Mi River.
"Making the Original Drum": describes the scene of renovating the original site on the mountain.
"Wu Rengu": It describes the people of Yu who were busy offering sacrifices to Duke Qin.
"My Water Drum": describes the beautiful rivers and mountains of the Qin State with clear waters and flat roads.
"Eshigu": a narrative poem describing the Duke of Qin.
"Ma Jiangu": describes the scene encountered on the road when returning from hunting.
The reason why stone carvings are precious is that, apart from their artistry, the most precious thing should be the stone inscriptions on them.
These stone drums are just Yuan Dunzi, and there is no art at all.
If there was still gold cast on it, then each of the ten stone drums would be shining with gold, which would be very eye-catching to look at.
But now that the gold on them has been stripped away, and each one has been weathered, they naturally have no artistic value.
Therefore, what is valuable is the engravings on it.
It was because of the words on the stone drum that the stone drum doubled in value and was highly praised by the literati of the time.
In fact, after Duke Qin, the ten-sided drum never appeared in the world again. It was not until the Tang Dynasty that when it appeared in front of everyone again, it amazed the world with its leisurely and simple posture.
There are large seal characters on the stone drum, and there were people in the Tang Dynasty who were good at calligraphy and poetry. Due to this historical condition, some "big names" in the Tang Dynasty were also impressed by the artistic value of the stone drum. Among them There are Ouyang Xiu, Chu Suiliang, Yu Shinan, etc.
Zhang Huaiguan's "Shuguan" says: "The opening and closing of the ancient text in Shigu Wen is smooth and sharp, but the bending and straightening are quick and fast, like an iron needle, and it is graceful and graceful."
Kang Youwei's "Guang Yi Zhou Shuang Ji" said: "'Stone Drum' is like a golden diamond placed on the ground, and the clouds of grass and grass are not bothered to be trimmed, and have their own unique charm."
Calligraphers at that time, such as Yu Shinan, Chu Suiliang, Ouyang Xun, etc., all highly praised Shigu and copied it themselves.
Among the rare ink rubbings handed down from generation to generation, there is a copy collected by Zhao Mengfu of the Yuan Dynasty.
Many writers at that time, such as Du Fu, Su Shi, Han Yu, etc., wrote poems for Shigu.
"Zhang Sheng, holding a stone drum in his hand, persuaded me to try to compose a stone drum song" - Han Yu These words record the history before the unification of Qin.
The Stone Drum Inscriptions, also known as "Hunting Jie" or "Yongyi Carved Stones", are the earliest existing stone-engraved inscriptions in my country.
There is no specific date, but "Song of Stone Drums" written by Wei Yingwu and Han Yu of the Tang Dynasty are both considered to be stone carvings from the period of King Xuan of Zhou Dynasty.
Although Ouyang Xiu of the Song Dynasty's "Shigu Postscript" has raised three doubts, it is still believed to be written by Shi Zhou during the reign of King Xuan of Zhou Dynasty.
Zheng Qiao of the Song Dynasty, in his "Tongzhilue", believed that "Stone Drum" was a pre-Qin artifact, written after King Huiwen and before the First Emperor.
Recent scholars Luo Zhenyu's "Textual Commentary on Shiguwen" and Ma Xulun's "Shiguwen Shuji" both believe that it is from the time of Qin Wengong.
This is not very different from what Wei and Han said, and the difference is only seventeen years.
According to Master Guo's research, "Stone Drum" was written in the eighth year of Qin Xianggong, closer to King Xuan.
The difference is simply due to the writing of Shi Zhen during the reign of King Xuan or the writing of Qin Chen.
No matter what, the words on these ten stone drums are very precious, and the writing is grand and exquisite.
Looking at the ten stone drums in front of him, they can attract Chen Wenzhe's attention. Naturally, the handwriting on them must be good. Otherwise, how could he get a second look?
Looking carefully at these inscriptions, Chen Wenzhe was a little surprised. The engravings were really good!
What does the Chencang Stone Drum look like? CCTV's "National Treasure" has previously presented its specific appearance.
These ten-sided drums have gone through the vicissitudes of time, and their appearance in front of the world is just like their appearance, simple and elegant.
Among them, there are two stone drums "Qian Migu" and "Laigong Drum" with relatively complete poems.
The rest of the stone drum inscriptions are not well preserved and only a few fragments remain.
The book is said to be written by Shi Zhen, which is really not a boast.
I can see that every word on it has a majestic and generous posture, a lively and unrestrained temperament, a balance of hardness and softness, and is ancient, majestic, simple and elegant.
All text is horizontal and vertical, rigorous and neat, with good use of the center, and the thickness of the strokes is basically the same.
Some structures are symmetrical and straight, while some characters are uneven and scattered, close to the small seal script but without the restraint of the small seal script.
In terms of composition layout, although each word is independent, the relationship between up, down, left, right and back is also noticed. The strength of its writing is extremely prominent in stone carvings. In ancient calligraphy, it can be called unique and unique.
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Kang Youwei said: "It is like a piece of gold covering the earth, or a cloud of grass or grass. Don't worry about it, it has its own unique charm."
The calligraphy style is the transitional period from large seal to small seal. If you study "Shigu Wen", you can catch up with the large seal and learn the small seal with no mistakes.
Those who learned seal script in later generations all regarded it as the authentic tradition and all practiced it.
Yang Yisun, Wu Dacheng, Wu Changshuo, Wang Fu'an, etc. all benefited from this.
Chen Wenzhe looked carefully and found that the imitations of these stone drums should not be older than the Qing Dynasty. At most, they should be considered to be made during the late Qing Dynasty and the Republic of China.
However, there are a lot of words on it, and the imitations are very vivid.
Also, these words should be imitated from some rubbings handed down from ancient times, otherwise they would not be so complete.