"Shadow rubbing" has now been achieved. The full shape of the hand-touched object using this technique is accurate and the same as the real thing. The decoration is clear and precise, the inscriptions are standardized, the strokes are orderly, the effect is realistic and pleasing to the eye, and it is a perfect recast of the full shape. Tuo's past glory has been injected with a strong stroke.
It is not just information, the excellent rubbings have also become a beautiful work of art in themselves.
However, this craft technique, which is extremely important for the study of Chinese epigraphy, was once lost.
The National Library, China Institute of Cultural Relics, National Museum, and the Palace Museum all have a large collection of rubbings from collections. Many of these rubbings come from great scholars in the late Qing Dynasty and the Republic of China, such as Chen Jieqi’s Fu Zhai edition. , Liu Tizhi's Shanzhai version, Duanfang's Tao Zhai version, Sun Zhuang's Xueyuan version, Chen Baochen's Chengqiu Guan version, Wang Chen's Tie'an version, etc.
Here is also the Xuetang copy of Zhou Zhi’s half-grandmaster, Luo Zhenyu of the Oracle and Bone Hall.
Since last year, various intangible heritage industries have gradually begun to receive national attention. Among the art categories of calligraphy and painting, double-hook copying, overprinting and engraving, and shadow rubbing have been listed as three key skills for restoration.
With information and a large number of Intuos treasures in the warehouse, it will not be difficult for teachers from the National Museum and the Forbidden City to restore them.
The double-hook reproduction method is mainly used to reproduce high-end calligraphy and painting reproductions, and the engraving overprinting is used to restore ink paintings to the greatest extent. These two are now Rongbaozhai's strengths.
As for the inkblot method, of course it was restored in the National Museum, which has the largest collection of bronzes.
The teachers at the Yingtuo Research Laboratory liked Mai Xiaomiao, a cheerful and beautiful girl, and gave her a hanging scroll of Shiyougui's Yingtuo, which made Zhou Zhi jealous.
The Shiyou Gui is 22.5 cm high, 19.1 cm in diameter, and 20 cm in full diameter. Judging from the shape, decoration, and inscriptions, it all belongs to the typical style of the middle and late Western Zhou Dynasty. This thing is a set of four pieces, basically the same size, and they are rubbings. This is the one numbered A.
Shi Yougui on the ink rubbing is divided into three pieces. The lower one is a three-dimensional rubbing. The size of the artifact is exactly the same as the original. There are a pair of half-ringed ears with animal heads on both sides of the mouth. The animal horns on the ears are spiral-shaped, and there are animal body-like patterns on the earrings. The lid rim and mouth rim are decorated with alternating large and small heavy ring patterns, the foot of the ring is decorated with a single heavy ring pattern, and the cover and abdomen are decorated with tile ribs. All the details are printed one by one, which shows its exquisiteness.
The two pictures above are the inner cover and inner belly of Shiyougui. The inscriptions on the cover and the inner bottom of Shiyougui are divided into 11 columns, with 9 to 11 characters in each column, a total of 107 The word, the inscription records an event of imperial ceremony. It was roughly the first month of the first year of the Zhou Dynasty. The king was in Wu. He arrived at the Ancestral Temple of Wu and presided over the ordination ceremony of Shiyou.
Shiyougui is particularly unique because it retains many special phenomena of the transitional period of bronze inscriptions. Characters such as "Nian", "Li", "Ce", "Qin", "I" and "Bao" still retain the remnants of the fat pen in early bronze inscriptions in some parts, but they have been reduced to dots drawn with double pen; in addition, The glyph of "文" follows the typical early Western Zhou style.
Judging from the structure of the calligraphy, the handwriting is even and the writing style is skillful, which are typical representatives of bronze inscriptions in the middle and late Western Zhou Dynasty. In terms of the layout of the text, while maintaining the natural vertical arrangement of the inscriptions, the inscription did not forcefully pursue the uniformity of the horizontal characters to avoid falling into a rigid routine; in terms of fonts and fonts, the inscriptions are arranged in both square and round directions, and are well-proportioned, such as "Tai", "Miao" and "Gong". The words "ethnic" and "ethnic" are deliberately contrasted and contrasted with each other. This is an important method in calligraphy. The pursuit of change allows the inscription to retain its graceful, smooth, jumping and smart interest. It also shows that calligraphy at that time already had an aesthetic pursuit of interest, and this pursuit It also guided the progress of Chinese people in calligraphy for thousands of years.
For Zhou Zhi, who studies the origins of Chinese characters as a major and also likes calligraphy, this kind of exquisite rubbings that are "first-class authentic" is too tempting. "If you like it, take it." Mai Xiaomiao felt that holding such a large scroll was a bit cumbersome for her: "I don't understand it anyway."
"I just took the scroll. I gave you a piece of calligraphy, and I took the Taoyao painting that Mr. Yuan gave you. How embarrassing is this..." Zhou Zhi finally refused the temptation: "It's better that you keep it first until you get back. Lianhe Township, give it to me again!”
“Yeah!”
In the evening, it was time for Zhou Zhi to practice painting and take classes. Although Mai Xiaomiao didn’t understand much, she saw Zhou Zhi giving A group of people who were more than ten years older than him were imparting various knowledge and skills, which made Mai Xiaomiao feel very honored. He held his chin with both hands and looked at Zhou Zhi, with little stars in his eyes.
"From Hongwu to Hongzhi, Ming Dynasty court painting and the Zhejiang School prevailed in the painting world, forming a trend of the times that mainly inherited and carried forward the Southern Song Dynasty's courtyard painting style."
"The Ming Dynasty court painting inherited the Song system, but there was no Specialized painting academy. Many painters recruited by the imperial court were under the management of the inner government. Different from those who were appointed to the Hanlin in the Tang and Song Dynasties, they were mostly awarded the title of Jin Yiwei. Military position. The history of painting calls them Academy painters, but they are actually court painters. "
"The Hongwu and Yongle dynasties were in their early stages, and their institutions were not yet complete, and their styles mostly followed the old style of the Yuan Dynasty. During the Hongzhi period, painters from Zhejiang and Fujian who inherited the Southern Song Dynasty style of painting were successively called to the palace. As a result, the Ming Dynasty painting temporarily presented a style based on the Southern Song style. The appearance of court painting reached its peak. It was not until the rise of the Wumen School after Zhengde that the folk level gradually replaced the court painting and reached a new peak."
"Ming Dynasty court painting. Landscape, flower and bird paintings are the most popular, while figure paintings are relatively narrow in subject matter, depicting portraits of emperors and empresses, their recreational life, and the culture of the royal family. They mainly focus on martial arts and the king's virtuous corporals, such as Shang Xi's "Ming Xuanzong's Happy Tour", Xie Huan's "Xingyuan Gathering Picture", Ni Duan's "Hiring Pang Picture", Liu Jun's "Visiting Putu on a Snowy Night", etc. For example. "
"In terms of painting, the palace paintings of the Ming Dynasty did not surpass those of the Song Dynasty, but in terms of framing, they achieved great success."
"Before the Ming Dynasty, the form of hand scrolls had already appeared. Because the calligraphy and painting works were long, in order to facilitate reading, the ancients held the calligraphy and painting works in their hands and unfolded them in order, which derived the form of scrolls. For example, "A Thousand Miles of Rivers and Mountains" by Wang Ximeng of the Song Dynasty, It is completed in one full roll, with a banner length of 1191.5 cm. Because the entire painting is long, it needs to be rolled up and cannot be viewed at a glance. To view the whole picture, you must start from one end and gradually appreciate it. When browsing the inscriptions and inscriptions on different mounting parts, it is convenient to compare the front and rear. The viewer's impression will gradually deepen, and the aesthetic appreciation mood will gradually increase. When reading the inscriptions and postscripts at the end. It can give people a sense of unfinished meaning, forming the unique charm of Chinese framing art, and even affects the aesthetics and the way the painter creates scenes. Style."
"Zhao Xihu's book "Dongtian Qinglu Collection" of the Song Dynasty and Mi Fu's book "History of Painting" both conducted in-depth analysis of the horizontal scroll form and its evolution, and also discussed the development of mounting techniques. The development has had a profound impact."
6◇9◇书◇Bar
"In the Ming Dynasty, large scroll paintings began to be common in hand-scroll works, because the paintings were longer. , is called 'long scroll', and because it is a banner, it is also called 'horizontal scroll'. For example, the famous "Lanting Preface" by Wang Xizhi during the Eastern Jin Dynasty was framed by later generations. "
"In addition, the mounting form of hand scrolls in the Ming Dynasty also underwent new developments. A section of blank paper was added behind the head of the sky and in front of the center of the painting across the water, which is called the 'leading head'."
"Such a mounting style did not exist before the Ming Dynasty, and it is also an important symbol to distinguish the era of mounting." (End of Chapter)