This book selects 38 famous stone carvings in Qin and Han dynasties, which can be contacted with readers, collated the original text, punctuated the sentences and translated to this day. All the anecdotes in the article clarify that they come from ancient books. All the ancient documents before the Han Dynasty, such as the Five Classics, the Four Books, the "First Three History", various schools of thought, word books, etc., are handy and handy. And from time to time in the inscription to create new ideas, all the mistakes are corrected. For example, there are two words "Meng" at the beginning of the fat monument. Previous scholars used "collapse" to describe it. This book is confirmed by sufficient evidence and solves the problem of understanding. Another example is "Monument to School Officials", in which "the first half of the narrative is false, and the second half is narrative", which puzzled Weng Fanggang of A Qing Dynasty. In this regard, no one has been in charge for more than a hundred years. This book has a good reason to change the broken sentence, so this question is solved. Like this, to name a few. The richness of abdominal cramps and profound knowledge are unheard of among young adults today. The publication of this book has benefited many scholars. Anyone who studies major historical events, ideologies, beliefs, lifestyles and customs before the Han Dynasty can get information here. Its influence is not limited to the change of characters and the art of calligraphy.
Zoucheng, the birthplace of primitive Confucianism, is rich in national knowledge. Li Wei, a native of Zou, is an outstanding person. I congratulate Li Jun on his erudition and the publication of this book.
-Excerpted from Wang Xuezhong's Preface to Li Wei. (Wang Xuezhong, professor of Tianjin University, member of UNESCO expert group, consultant of China Book Association and chairman of Tianjin Book Association. He was the second and third vice-chairman of China Calligraphers Association. )
When the manuscript of "Reading the Inscriptions of Seven Fangtang" was put on my desk, I couldn't help worrying: Is it too far away from my major for a calligrapher to write such a book? Nevertheless, I was attracted by the manuscript and read it in one breath. Reading is as infectious as reading historical sketches, as rational and logical as reading theoretical research articles, and it is very pleasant to read.
It is interesting to read this manuscript as a historical sketch, because it involves many historical figures from the Western Han Dynasty to the unification of the Sui Dynasty during the six or seven hundred years. There are not only celebrities who have played an important role in historical development, but also more less famous people. The description of the deeds of these historical figures is not as calm and dull as official biographies, but rather interesting by combining historical biographies, epitaphs and other notes. Especially because the official history is centered on men, and women can be the masters of their own epitaphs while hiding behind men. This book interprets the epitaphs one by one, and sees the other side of history among some unimportant historical figures and some insignificant little women. For example, Jia Nanfeng, the queen of Jinhui Emperor, is a famous historical figure. Her arbitrariness and stupidity led to the "Eight Kings Rebellion" and the decline and demise of the Western Jin Dynasty. Her father, Jia Chong, was a minister of Wei and Jin Dynasties and a historical celebrity, while her mother, Guo Huai, was not a historical celebrity. The story of Jia Chong's wife Guo Huai introduced in this book is an official script with the word 172, accompanied by a simple essay, which only describes Guo Huai's life experience, date of birth and death, burial place, etc. According to Jin Shu's biography, Liu Yiqing's Shi Shuo Xin Yu and Liu Xiao's quotation to Wei Zhi, the author of this book focuses on several short stories about her throwing vinegar. Compared with Jia Nanfeng's mother Guo Huai, Jia Nanfeng's wet nurse Xu Yi is even more insignificant. Xu Yi's epitaph says that she was a runaway woman who was hired as Jia Nanfeng's wet nurse. Jia Nanfeng had feelings for her, so when Jia was hired as a crown princess, she followed her into the palace. This shrewd old lady made a great contribution to the power struggle between Jia Mu and Empress Yang, and was favored by Jia. Become a talented person at the age of 62, become a good person at the age of 70, and worship beautiful women at the age of 72. He was 78 years old, and the funeral was very beautiful after his death. The change of fate is incredible. From here, we also know that talented people, lovers and beauties are all titles of female officials in the palace, and it is not a 70-year-old woman who can become the sexual partner of the emperor. This paper solves an eternal misunderstanding of non-history professionals.
There are also some unknown women in this book, and many famous men are hidden behind them. For example, in the epitaph of Wang Jun's wife Fang Hua, Fang Hua is just an aristocratic woman who has lived for 37 years. She died in the war, which is unknown in history. But her great-grandfather was Hua Xin, the "penholder" who drafted the Zen literature when Cao Wei usurped the Han Dynasty. Her father-in-law, Wang Shen, was also an important figure in Sima Shi's usurpation of Wei. His coup killed Cao Mao, an aristocratic township official of Wei State, and made great contributions to Sima Shi. Fang Hua is her husband ieee fellow's third remarried wife, and ieee fellow's second remarried wife, Wei Shi, was born in Hedong calligraphy family, and was Wei Ji's granddaughter and Wei Guan's niece. This is of great interest to calligraphers. These people mentioned in the epitaph are obviously much heavier than the master Fang.
"The Monument to Repay Virtue" describes a poor woman named Li Zue. Her fate can be said to have fallen from nine days to the grave, which is even more legendary. Her husband is Gao Huan's second son, Gao Yang, who replaced the Eastern Wei Dynasty as emperor and established the Northern Qi Dynasty. Because she is a Han Chinese, ministers think it inappropriate to be the mother of Xianbei people and advocate abolishing her. But her husband, Gao Yang, always loved her and made her the queen. As a woman, she is happy at this time. After Gao Yang's death, her son Yin Gao succeeded to the throne, and she became the empress dowager. Only one year later, the son's throne was taken away by Gao Huan's six sons. Not to mention that she lost her position. A year later, Gao Yan died and the throne fell to Gao Zhan, the ninth son of Gao Huan. Who would have thought that her Jiu Ge somehow took a fancy to Xu Niang's second sister-in-law, and threatened her second son's life to force her to submit? Bored for a long time, I beat her to death and threw her into the water. Miraculously, she woke up in the water and was sent to buddhist nun. She actually endured the demise of the Northern Qi Dynasty and the unification of the Sui Dynasty, and finally returned to her hometown as an ordinary person. Her life is the witness of the whole history of Northern Qi Dynasty. If someone writes a long historical novel, she can be a needle in the needle.
There are many such stories in this book. Almost every epitaph has a story, and many stories are interrelated. Although many historical figures and events are involved, the author can describe them in an orderly and vivid way. Although the epitaph is a single chapter, it has no sense of clutter. Ordinary young readers have read it, which not only increases historical knowledge, but also satisfies curiosity.
When we study the calligraphy of epitaphs, we always want to know as much as possible about the information related to epitaphs, but the information told by epitaphs is limited, which requires us to enrich the information of these epitaphs with the help of some documents. This book just solves this problem.
It is said that this manuscript is as attractive as a literary work because it describes the plot and depicts the characters in exquisite literary language. For example, in the story of Jia Chong's wife, Guo Huai, it is described that Guo Huai's husband, Jia Chong, has a western domain name incense given by the imperial court. In the yamen, he suddenly smelled the special fragrance of his family Han Shou, so he suspected that his family had an affair with Han Shou. He went home quietly and found traces of outsiders climbing over the wall. Finally, I finally found out that Han Shou jumped into the hospital at night and had sex with his little daughter Wu Han. At this time, he made an unexpected decision and gave his daughter to Han Shou. This vividly depicts the image of a wily but flexible and enlightened old bureaucrat. Another example is the epitaph of the Gao Bainian couple. The tomb owner Gao Bainian was the son of the Northern Qi Emperor Xiao Zhao. His ninth uncle, Gao Zhan, succeeded him to the throne and refused to let him leave. He was summoned to the palace and secretly killed. This paper describes Gao Bainian's psychological activities when he was called into the palace, as well as his mourning and pleading when he was chased, and profoundly shows the character of a precocious and weak aristocratic teenager struggling in a sinister political environment. The author writes these places, and his pen is full of sympathy. Not only for the young couple Gao Bainian, but also for all the vulnerable people, such as Gao Ying, the queen of the Northern Wei Dynasty who was unjustly killed, the top ten ladies, the nine young people who were slaughtered in the first year of Putai, and the three generations of Li Xian, the hero of the Eastern Wei Dynasty who was unjustly killed, are very sympathetic, so they can touch the hearts of readers.
As a literary genre, the brushwork of prose is also shown in this book. For example, Cao Wei's Monument to Honor and Zen Table are two linked articles in this book. The author discusses the replacement of Han Dynasty by Cao Wei with an objective historical attitude, which is the gentlest in the history of regime change by coup, with the lowest social cost. This is a historical evaluation. As for some of their practices, such as three concessions made by Emperor Xian of Han Dynasty and two sentences by Cao Pi. Their programs are still made in a funny way. In particular, these written materials were written by A Huaxin, so he also mercilessly lashed out at this shameless scholar. I can't help thinking that in Shi Shuo Xin Yu, Guan Ning saw through Hua Xin when he was young, and "sitting with him" was prescient. Another example is "Zhang Qianbei" and "Alina Zhang Belon", which are undoubtedly treasures of ancient calligraphy. The author of this book does not repeat the praises of previous writers, but points out from another angle that both monuments are praises to the living local officials. "Zhang Qianbei" is still a memorial to an official, while "Zhang Menglong Monument" is only a memorial to the current official. The author of this book points out its embarrassment from the engraving cycle, and the analysis is so thorough that people are unconvinced. Others, such as Liu Bao's fake resume and Zheng Shuzu's deliberate cover-up of the disgraceful posthumous title of the previous generation, were exposed and ridiculed.
The author not only jokes about people and things that he thinks are negative, but also writes jokes about people and things that he appreciates, such as the story of Wen Qiao coaxing menstruation to marry his little cousin. Because of its strong literariness, readers can't help loving what they love, hating what they hate, appreciating what they appreciate and despising what they despise.
It is reasonable to say that this manuscript is a theoretical research work, that is to say, it has attracted a lot of wealth, conducted thorough reasoning, and expressed pertinent opinions on many doubtful issues in the history of calligraphy and stone carving. Here's an example: The West Table of Hui 'an is not the title of The West Chamber, which has solved the suspense of the title identification of The West Chamber for many years. The author of this book is well educated. Lai Zihou's carved stone is the stone of Wang Mang's period, with only 35 words. In order to illustrate the use of stone carvings, nearly ten quotations from five ancient books, such as Shuowen, Zhou Li, Da Dai Li, Book of Rites and Yi, are cited, and the ancient meaning of the word "feng" is listed. In order to demonstrate the unearthed location of stone carvings, books such as Continued Scholars and Continued Zouxian County were cited. And within the scope defined by ancient books, the general orientation is determined by village-by-village filtering. The author's intention in doing so is that the former quotes to deny a rash conclusion of the ancients, while the latter denies a wrong statement now. Both of them are so far, and they have no names, which shows the kindness of the author.
After reading all the manuscripts, I think the above are only the three main features of this book, and the overall spirit and attributes of this book have not been summarized. Generally speaking, this book should also be said to be a calligraphy monograph. This not only means that every article summarizes the characteristics of his calligraphy art, but more importantly, through this book, it reflects Li Mingjun's ways and methods of learning calligraphy.
When we study calligraphy, mechanical copying is not enough. We should also carefully ponder the creative background of the works, the ideology, political situation and cultural environment of the ancients, so as to deepen our understanding of the works in front of us. What this book provides us is exactly what many people who study calligraphy lack.
Lu You wrote a poem while teaching his son the experience of writing poetry, saying that "the power of learning poetry lies outside poetry". He warned his son that a poet should not comment on poetry, but also have relevant cultural and social knowledge. The quality of written works is determined by the author's experience, knowledge, understanding, intelligence, education, sentiment and many other factors. All kinds of arts are not isolated. In this sense, there should be "extra time" not only for poetry but also for writing and painting. Even if you play the piano and dance ballet, you should have extra time. Li's "extra-word kung fu" is enough. There are countless treasures of ancient stone carvings, and their calligraphy art is different. A person's time and energy are limited, and he doesn't need to write several kinds of energy all his life. Moreover, it is not a good learning method to change and change, and it is impossible to read and ponder as much as possible. Like Li Haojun, he spent twenty or thirty years looking at ancient stone carvings, and he looked so hard. This combination with history and social culture can exert a subtle influence on the progress of calligraphy art. No wonder his calligraphy is so quaint and different from the times! It shows that his learning method is effective.
Before the Republic of China, calligraphers were mostly knowledgeable people. Nowadays, many people learn well, but they don't, which makes us feel very sorry. There are also many people who write well, but their knowledge is not good, which will undoubtedly restrict the development of calligraphers. Calligraphers who write well and learn well are rare in the whole country. Li should be regarded as a member, which is commendable!
—— Excerpted from Ceng Laide's preface to Li Wei 1. (Ceng Laide, Vice President of China National Painting Academy, Executive Dean of Calligraphy and Seal Carving Academy, Member of Academy Art Committee, Director of China Calligraphers Association and Director of Education Committee. )
After the publication of Selected Translation of Stone Carvings in Qin and Han Dynasties by Mr. Li Wei, it was only over two years before his second manuscript, Reading the Stone Inscriptions of Qifangtang, was completed. Moreover, compared with the first book, this manuscript has a wider scope, wider knowledge and better readability. After reading the manuscript, I really should be impressed by this young scholar calligrapher.
The book Reading the Inscriptions of Qifangtang is compiled by the author according to some notes he learned from ancient inscriptions in the past twenty or thirty years. Of course, the content is mainly calligraphy, but it is not limited to calligraphy. According to the content and characteristics of the inscriptions I have read, I sometimes express some feelings in a few words, or describe relevant historical events, or analyze interesting anecdotes, or correct the fallacies I follow. For example, we don't think it's fake, and our epitaph is not true. We think that "Hui 'an Table" is the title rather than The Journey to the West's narrow title. We think that the inscription on Yunfeng Mountain reveals posthumous title, who was relegated by three generations of Zheng. We think that "Yi" is a social organization and a "pillar of benevolence in a foreign land", which is found everywhere, blooming everywhere, colorful and eclectic, and interesting to read.
After reading this manuscript, I deeply feel that it has the following rare advantages.
First of all, the manuscript involves a wide range of knowledge, not limited to general knowledge of literature and history. For example, we should have a certain understanding of the interpretation of ancient Chinese characters, the division and evolution of administrative regions in past dynasties, and the changes of official system and legal system. It seems that the author's knowledge reserve can solve this kind of problem. For example, the author first fully demonstrates that the word "Hui 'an Xi" has nothing to do with place names from the geographical location and establishment year of Hui 'an and Anxi. Secondly, starting from the idiom "soaring into the sky", and citing the Book of History and the Buddhist classic "Xin Ming Xin", this paper discusses a meaning of "table" that is not commonly used now, that is, the meaning of "outside". This proves that these four words mean "give love to the western frontier (west table) and make it safe", which shows that this is a title, not a narrow title of The West Chamber. It takes some skill. Another example is the interpretation of "righteousness" in the column of wisdom in a foreign land.
A large number of historical figures in the book are compared with the official history. Inscriptions and historical biographies have the effect of mutual confirmation. Differences play the role of correcting history with monuments or correcting monuments with history. There are also those who can't find the exact proof to confirm who is right and who is wrong, and adopt the attitude of two deposits and one. This requires reading a lot of history books, and the workload is quite large. Although the historical events reflected are fragmented and fragmented, all the articles together can still outline a general outline for a certain historical era. For example, the Hu Ling Rebellion in the Northern Wei Dynasty led to "the difficulty of the river shade" and the division of the Eastern and Western Wei Dynasties. Another example is the debauchery, incest and slaughter of the high regime in Northern Qi Dynasty.
What is particularly commendable is a large number of Buddhist statues. In the past, all the materials were just empty talk about the art of calligraphy, and rarely involved in the content. This book dares to face up to its contents and touches a lot of Buddhist knowledge. Not only touched on the Buddhist common sense of impermanence, retribution, the six divisions of karma, III Buddha and his guards, and Jie Dinghui's "three studies" on treating greed and stupidity, but also went deep into the classics and discussed profound Buddhist philosophy. For example, from the perspective of epistemology, the theoretical characteristics of Buddhist Prajnaparamita (empty Sect) and Knowledge-only Sect (Youzong) are discussed and compared. It shows that the author's understanding of Buddhism is not general, but he has a deep theoretical basis for Buddhism. This is very rare in the young calligraphy world.
Secondly, the manuscript embodies the author's profound humanistic feelings. There are only two points in this question. The first is to pay special attention to information about ancient economic history and information reflecting the living conditions of ancient people. For example, Yang Liang bought mountains, Lai Zihou carved stones, da ji bought mountains, the old stone man bought fields and stone coupons, Zhang Jingzao's earth cow tablet, xipu's calligraphy tablet, etc., all of which reflected the changes of land ownership at that time, or reflected the economic situation and tax burden of farmers. Another example is to reflect the traffic situation, from "Kaizan ramp" to "Shimenming". For these stone carvings, the author often describes the economic situation, rather than their calligraphy and stone carving artistic value. Second, we have given deep care and sympathy to the disadvantaged groups. For example, in the first year of Putai, nine people were killed by Yang, three generations were wronged by Li, and the ten wives were the poor women who were enslaved all their lives. The seemingly objective account in the book, in fact, the author's sympathy is beyond words, especially the epitaph of Gao Bainian's couple accusing innocent couples of being slaughtered. All these reflect the author's sense of justice and sympathy for the weak.
The third advantage of this manuscript is that the language used is an elegant and fair vernacular. There is no sculptor, but it is very expressive. Sometimes, in the plain narrative, it shows the "Spring and Autumn brushwork" of "praising and derogating, without good and evil". Sometimes it reveals a humorous and teasing brushwork. Limited to space, there are not many examples here. All this shows that the author has a strong ability to master the language and won the essence of ancient note writing. Many chapters end with exclamation marks in classical Chinese. For example, "it's academic nonsense, not only for people today"! "If you discuss it in detail, you will be mistaken by people who are good at changing!" ! Scholars are still flocking, why? Enough is enough, revealing some emotions, not only will not give people a sense of disharmony mixed with literature and white, but will make the article more elegant and swaying. In addition, the frontispiece "Qi Fang Tang Ji" is very similar to the style of classical Chinese in the late Ming Dynasty, and the author has made great efforts to write classical Chinese.
At the beginning of this preface, I positioned the author of this book as a "scholar calligrapher". According to common sense, this statement is somewhat redundant. Because all calligraphers should be scholars, writers who are not scholars can only be regarded as writers. But in fact, due to the emergence of modern cultural fault, there are few calligraphers and scholars. Mr. Li Wei is diligent and studious, and the path is undoubtedly correct. I hope he will go this way. He is in the prime of life and will have more brilliant academic achievements in the future.
-Excerpted from Wang Luxiang's preface to Li Wei (Wang Luxiang, a famous scholar, professor and doctoral supervisor of Tsinghua University Academy of Fine Arts. He has been the chief planner of China, the host of the Century Lecture Hall, and the chief planner and host of the Cultural Grand View Garden. )
Goode's tablet is very popular among people, but there is no trace between them. Gezi traced back to this book, and the historical phase is one; So time and space are unique, self-sufficient and leisurely. Putting pen to paper is a sign, and thinking about clouds is also outside. Therefore, after a hundred years, each has its own merits; Set an example for today and keep pace with the times.
The corpse seems to be the best in the world, who wants to be elegant and hungry like a piano. Alas, the ink is fragrant, but the heart is hidden. Whether it's for profit or reputation. A night off, a little patrol; Thousands of miles away, the inkstone is shallow and fishy. The poor are strong and die, while the powerful are slow and holy; I don't feel embarrassed, and I am a city.
what can I do? I didn't know there were Han Chinese, let alone Wei and Jin Dynasties. Inheriting providence is informal, and it is difficult to master the whole system. When the world is clear, it is easy to find; It is difficult to cultivate talents by laying a solid foundation. Yongle Gongyun: "Calligraphers have mental skills." How can you be clear without practicing your own knowledge? Unless we know the cause of stagnation, how can we get rid of it?
Three years ago, I was a poor monk. Looking up at the four mountains, there are literati everywhere, so quiet and elegant that people can't help but applaud! Alas, the spring breeze begins in Qifangtang.
Li Wei, the monarch of the hall, and Zoucheng, the talent of the old county. Elegant in nature, rich in mind, good at cultivating noble spirit, negative for the foundation of heroes. Pitch the world and mark the literary world; Spitting lotus flowers is a wonderful flower in Yishan.
Making the monarch good at books, especially in officialdom, is neutral and honest, unintentional and violent, and different from others. Gezi's devotion to learning won Mencius' theory of "conscience" and the purpose of "being close to the people" in The University, and he did not hesitate. Is he complacent?
Look at his accumulated work "Reading the Inscriptions of Qifangtang", which is profound, clear and accurate. All the stone carvings in Han, Wei, Jin, Southern and Northern Dynasties, including inscriptions, epitaphs and statues, were involved on a large scale. Especially in writing, characters, laws and regulations, systems, folk customs, ethics and so on. , random analysis, Shu Ren also; Or take stone as the official history, or take history as the official history.
The so-called "Buddha is predestined." Even if you are proficient in Confucianism and do your best, not everyone will agree; However, if you like the public, you will be remembered by people who know you. Guy, your majesty wrote a book, unknown, about the nature of scholars.
If you are as beautiful as Qizi and Fang Lan, you will enjoy the wonderful fragrance of the world. You really have nothing to ask for. Well, it is difficult to arrange the rules of bad spaces without ancient pens; Make your majesty elegant and keep Yuan Henry's chastity forever.
I'm glad to learn that "reading the inscription of Qifangtang" will be engraved in a few days, spread to all directions and last forever. Pray for those who are willing, but guide their hearts and connect with their hearts. Then, if you learn from the monarch, you will never die, and the joy of later benevolence will come.
-Excerpted from Wu Deng's Preface to Li Yu 3. Master Wu Deng, formerly known as Zhang Peiyuan, is the founder of China Sinology Association, the third president of Hong Kong Calligraphy Publishing House, the president of Hong Kong Calligraphy Institute and the chairman of China Calligraphy Research Association. )