August 2020 14 Visited Xibei Academy (now Wenbei Middle School, Puqian Town, Wenchang City, Hainan Province), a national key cultural relic protection unit.
Pan Cunzi (18 18- 1893) stands for "Chinese ink" and "keeping it", and its name is Chu. Wenchang people. At the age of 7, he entered a private school and was a juror after having obtained the provincial examination in the first year of Xianfeng in Qing Dynasty (185 1 year). Soon after, he was appointed Foreign Minister of the Ministry of Housing and Director of Fujian Department. At the age of 66, he resigned and returned to his hometown and moved to Baishayuan Village. In addition to enthusiastic development of local education, he also participated in coastal defense construction. In the 9th year of Guangxu (1883), French colonialists launched a war of aggression and occupied Guangxi, Fujian, Taiwan Province Province, Penghu Islands and Qiongzhou waters for many times. Zhang Shusheng and Zhang Zhidong, governors of Guangdong and Guangxi, successively appointed him as Leizhou and Qiongzhou Yong ying, trained sailors to guard coastal defense and was knighted four times. At that time, he also drafted the Proposal for Building a Province in Qiongzhou, which was submitted to the court through Zhang Zhidong, the first person who put forward the idea of "building a province in Hainan" in history. In the 16th year of Guangxu (1890), he and Zhu Cai, an observer, raised funds to establish Xibei Academy in Wenchang County. The purpose of education is to "worship practical learning, abandon fallacies, get rid of bad habits, stop heresy and correct people's minds". He is the author of the collection of Mr. Pan Ruchu's posthumous works.
The Chronology of Calligraphy published in Japan ranks 32 calligraphers who were influential in Japan in the Qing Dynasty by China, among whom Pan Cun, a Hainan sage, is the representative of Lingnan area. As early as the 13th year of Meiji (1880), Japanese calligrapher Nakamura traveled across the ocean to China for the purpose of learning calligraphy, and learned the brushwork of Han, Wei and Six Dynasties from Pancun. From then on, Japanese calligraphy lovers took studying in China as their main purpose, which initiated a revolutionary change in the history of calligraphy exchange between China and Japan. Mr Li Xiangqun, a calligraphy critic, explained this historical event.
? Pan Cun's life, in addition to initiating the "Reconstruction of Qiongzhou Province" and establishing Xibei Academy to serve Xiangzi's education, his main achievement lies in the field of epigraphy of calligraphy and painting. Tracing the Origin of Kai Fa (published in Guangxu in three or four years) has a total of 14 volumes, one of which is the title and the other is the ancient monument. It is the most complete collection of calligraphy styles in the Qing Dynasty and one of the masterpieces of seal cutting in the Qing Dynasty. This book was edited by Yang Shoujing under the guidance of Pan Cun. This book imitates Zhai's style of Parallel Prose and is arranged according to the radical of Shuo Wen Jie Zi. One volume contains regular script from Han Dynasty to Five Dynasties, with 646 kinds of ancient inscriptions, brick carvings and statues and 82 kinds of invitations. This book, also known as "Today's Li Pian", also uses the wave of Li Shu in the Han and Wei Dynasties and the running script to see the evolution process from Li Shu to regular script. Each word is copied with a double hook according to the size of the original tablet, and it is indicated which tablet and post it is taken from. If there are heavy articles, arrange them in chronological order. Although this book belongs to a reference book of font dictionary, its textual research is detailed, and the title of the book is marked with version, ancient engraving, author, author, date and place of receipt for textual research.
In April, 2009, Yan Wen Publishing House published the Collection of Calligraphy Studies by Professor Fumihiko Sugimura, a famous Japanese historian and book theorist. Among them, there is an article entitled "The Origin of Modern Japanese Calligraphy-Pancun" in the chapter "Study on the History of Modern Japanese Calligraphy Exchange". In his article, he spoke highly of Pancun's calligraphy and thought that the changes in modern Japanese calligraphy were brought about by Pancun.
In the second year of Tongzhi, Pan Jujing met Yang Shoujing, a famous calligrapher and epigraphist, and instructed him to study epigraphy. Pan Cun and Yang Shoujing are also teachers and friends, studying calligraphy and epigraphy. Pan Cunji and Yang Shoujing's The Origin of Kai Fa is an important calligraphy work in modern times. During Guangxu period, Yang Shoujing was ordered by the imperial court to send envoys to Japan, bringing China's inscriptions and Pancun's calligraphy works to Japan to spread the traditional culture and art of China. Therefore, Pan Cun's calligraphy art was spread by Japanese calligraphers, deeply loved and regarded as a high pot, and the rest of the children followed suit and influenced it to this day.
? Although Pan Cun is an engraver of calligraphy and painting, he has never made the idea of being handed down from generation to generation, and his title is still widely circulated in Japan. Pan Shi's reputation in Japan was highly praised by his disciples Yang Shoujing, Yu Xie, Zhong and others. The Chronology of Calligraphy published by the Japanese Xiuwen Museum lists 300 calligraphers in the Qing Dynasty, such as Jin Nong, Liu Yong, Liang, Weng Fanggang, Deng, Yi Bingshou, Ruan Yuan, Bao, He, Zhao Qianzhi, Wu Dacheng, Yang Shoujing and Kang Youwei. Pancun village is one of them. In the third year of Guangxu (1877), He was appointed as the Minister to Japan, and Yu Mei, an attache, taught Wu Zhu calligraphy and wrote an inscription for the product: "The Japanese font will be based on Mr. Wu Zhu. I thank you for taking the monument, so I have to face it one step at a time, spread it widely and be proud of it. In the seventh year of Guangxu in Qing Dynasty, Xinsi (188 1 year, the fourteenth year of Meiji) was in September, Yu Yi. " In October of the following year, Yu crossed the sea with Wuzhu and returned to Beijing via Shanghai and Tianjin to introduce Pan Village. Zhong Shi learned calligraphy from Pan Cun and his brushwork. He finished his studies in April of the 10th year of Guangxu (1884), inscribed by Pan Shiyi, and returned to Japan. He eventually became a master, with 200 visitors, and was named as the "Book Sage of Ginza", and was also called the Three Masters of Meiji with Iwatani Liu Yi and Yayoi Kusama He Ming. Professor Fumihiko Sugimura, a professor at Kyoto University of Education in Japan and the president of the Japanese Calligraphy Exchange History Research Association, said in the preface of Chen Zhenlian's book A Comparison of Chinese and Japanese Calligraphy Art: "In the thirteenth year of Meiji (1880), calligrapher Nakayama Takeshi traveled across the ocean to China with cloth to learn the brushwork of the Han, Wei and Six Dynasties from Yang Shoujing's teacher Pancun. Since then, Akiyama Shirakawa, Xichuan Chundong and others have been learning.
? Before Meiji era, the calligraphy style of Wang Xizhi was popular in Japan. After Lin Zhong Wuzhu learned calligraphy from Pan Cun, especially from the sixth year (1880) to the tenth year (1884) of Yang Shoujing Guangxu, a disciple of Pan Cun, he was sent to the attache of Japanese envoy Li Shuchang to collect widely the books lost in China and bring them to the Han, Wei and Six Dynasties. He made a special contribution to the cultural exchange between China and Japan. Because Japanese students highly value teachers' character and calligraphy, Pan Cun's calligraphy works are highly sought after by Japanese book circles. Pan Shi's calligraphy is rare from generation to generation, and most of them are temporary works. It is reported that thirty years ago, during the Taisho period (19 12- 1926), Kanda Bookstore published Pan Cunlin's Zheng Wengong Monument, which is extremely rare. Because Yang Shoujing once replied to a Japanese friend: "I want to buy the Zheng Wengong Monument presented by Mr. Pan Ruchu, which is still at home in Sun Yicheng. However, although Shoujing and Teacher Pan are friends, they are actually Shoujing's teachers. Although Mr. Wang is not self-sufficient, every book is repetitive, and the paper is exhausted, and the words are hidden with the manuscript fee. Mr. Shoujing doesn't talk much ... "From this point of view, Pan Cun doesn't seem to want to spread himself.
? In the early 1990s, Japanese painting and calligraphy connoisseurs and their party made a special trip to Wenchang, Hainan, Pan Shiyi's hometown, to find their successors, and paid a high price for Pan Shiyi's Mo Bao. However, Pan Shi's descendants were unmoved and refused to sell no matter how high the Japanese bid, which made them disappointed. The Japanese attach great importance to Pancun's calligraphy art, which can be proved.
? Pan Cun studied calligraphy, and he should be able to pass the imperial examination. He started with Ou Yangxun's Inscription of Liquan in Jiucheng Palace, which laid the foundation of his calligraphy. Pan Shi, who entered middle age, gradually realized that European books were too formal and easy to stagnate. He empathizes with Yan, Su Dongpo, Min Nangong and others' cursive calligraphy posts, especially Yan's "Competing for a Seat" which is similar to his own temperament. Later, because he devoted himself to epigraphy, he collected a large number of inscriptions in the Han, Wei and Six Dynasties in Beijing and all over the country for sorting out and studying. On Zheng Xia Monument, Gao Zhen Monument and Zhang Menglong Monument, he worked hard and studied repeatedly, which can be described as nearly 10 million pieces of waste paper. The monument next to it is a monument erected by Zheng for his father, aiming at praising his father's merits. His attitude is naturally respectful, so it is more formal, with fine strokes, even spacing and regular shape. Although graceful, there is an antique charm, but always feel the lack of change. On the basis of respecting the original tablet, Pan took his brushwork as an example. His brushstrokes are different in degrees, and he can see the smart form in the regularity, and the spacing is patchy, which is quite elegant and smart. This is Pan Shi's profound understanding of the theology of stele, which is quite different from those who deliberately pursue mottled knife carving. The Complete Works of Japanese Calligraphy and Taoism (Volume 22) includes Zheng Wengong Monument by Pan Shi, Qing Shu by China published by Yitong Society, and inscriptions such as Zheng Wengong Monument, Gao Zhen Monument and Zhengzuo Monument. None of the above works have been published, and they should belong to Pan Shi's manuscript. Ma Zonghuo's Book of Forest Algae (volume 12) said: "It can also be a healthy move to write Zheng Wengong in Europe and French."
? In his later years, Pan Cun founded Xibei Academy (1893) and asked disciple Yang Shoujing to write the name of the Academy. He wrote a wooden tablet of "lecture hall" in regular script for guiding students' hall, and wrote two wooden tablets of "Zheng Jinglou" in the main building. This is his last masterpiece, which makes his pen vigorous, magnificent and magnificent. Among them, when Pan Shi created the plaque of Lecture Hall, he carved the word "Lecture Hall" and lacked a vertical line. This practice is often called incomplete characters in calligraphy. Pan Shiyi has a good intention and profound meaning. There is no end to learning. Both teachers and students should keep on studying and persevere. This is Pan Shi's dying cry. Pan Cunshan is good at writing, writing and cursive. If we carefully examine Pan Cun's calligraphy art from the perspective of calligraphy history, running script is his representative style. Huaixuantang has a vertical axis and its running script "Excerpts from the Stone Story of Taihu Lake by Bai Juyi", which is 1, 2 1.6 cm long and 37.8 cm wide. The title is "On July 7th, Pancun recorded the stone story of Taihu Lake". Pan Shi seldom studies it. People think that it was written by Pan Shi at the age of 58. This axis represents Pan Shi's running script works, embodies the typical style vein of his running script, and contains a strong literati spirit.
Pan Cun is an important figure of modern stele school, and his contribution to calligraphy and epigraphy is not just a monograph and calligraphy works handed down from generation to generation. His calligraphy creation and research foreshadowed the development direction of modern calligraphy in China. It also enriches the aesthetic taste and methods of Japanese calligraphy and promotes the cultural exchange between China and Japan.