The Research On The Preface And Postscript Of The Orchard Pavilion Preface In The Qing Dynasty

The research about prefaces and postscripts of Preface to the Orchid Pavilion in Qing dynasty will start from differentiation.After that,Combing the prefaces and postscripts of Preface to the Orchid Pavilion in Qing dynasty,the origin of collection,calligraphy works,literature text will highlight the connection between calligraphic art and prefaces and postscripts.Finally,we will realize the interpretation of the prefaces and postscripts of Preface to the Orchid Pavilion in Qing dynasty.The version theory of the preface and postscript of Orchard Pavilion Preface in the Qing Dynasty starts from the naming of Orchard Pavilion Preface and focuses on the classification of Orchard Pavilion Preface versions to discuss the "dichotomy" and "Trisection" of the rough classification of Orchard Pavilion Preface versions.In addition,it also combs the three versions of other factions and the Shengjiao Preface system in the Orchard Pavilion Preface version.The "dichotomy" is often divided into ink copies and engraved copies.Tang Dynasty copy system version,Dingwu Ou copy and other factions "three points" are represented by Wang Shu.According to the "three division method",the Tang Dynasty copy system version is divided into nine types,Dingwu Europe copy is divided into eight types,Other factions are subdivided into three types.The collection and appreciation theory of the preface and postscript of the Orchard Pavilion Preface in the Qing Dynasty is divided into official collection and private collection from the collection and appreciation of the Orchard Pavilion Preface.The official collection focuses on the collection of Orchard Pavilion Preface in Shiqu Baoji(Part III),Lanting Eight Pillars and Sanxi Tang Calligraphy.The official appreciation mainly investigates the preface and postscript of the emperors represented by Kangxi and Qianlong,as well as the inscriptions and appreciation of the authors entrusted by the official to compile Orchard Pavilion Preface.Private collections can be roughly divided into official collectors and merchant collectors.The representative figures of official collectors include Liang Zhangju,Sun Chengze and Wu Rongguang.The representative figures of private collector are An Qi,Wu Qizhen and Wu Sheng.They are collectors and connoisseurs.Appreciation is based on collection,which is obtained from circulation.The circulation of Orchard Pavilion Preface is also an important part of Orchard Pavilion Preface collection.The preface and postscript of Orchard Pavilion Preface in the Qing dynasty recorded the circulation and mode of Orchard Pavilion Preface..The calligraphy theory of the preface and postscript of the Orchard Pavilion Preface in the Qing Dynasty discusses the techniques,copying and creation and aesthetics of the Orchard Pavilion Preface in the preface and postscript from the starting point of how the Qing people examine the calligraphy artistic value of the Orchard Pavilion Preface and how the calligraphers draw useful nutrients from the Orchard Pavilion Preface.As far as techniques are concerned,it includes pen method and copy method,especially copy method,which involves double hook method,reference method,back copy method,reduced copy method,shadow copy method,etc.In terms of copying and creation,it can be divided into three categories: one advocates referring to ancient times as disciples,the other advocates relying on ancient innovation,and the other is more paranoid,which can be described as exceeding but inappropriate.Those who take ancient times as disciples,represented by Wang Shu and Weng Fanggang,those who innovate with the help of ancient times,represented by Fu Shan and Wang Duo.Those who surpassed were Zheng Banqiao,called the eight monsters of Yangzhou,and those who were inferior were Kangxi and Qianlong.In terms of aesthetics,there are admirers represented by Wang Wenzhi and Weng Fanggang,and skeptics represented by Ruan Yuan and Kang Youwei.Although the Qing people had disputes over the calligraphy aesthetics of Orchid Pavilion preface,the number of copies was unprecedented.The text theory of the preface and postscript of Orchard Pavilion Preface in the Qing Dynasty pays attention to the writing content of Orchard Pavilion Preface,which is discussed from two aspects: one is the confirmation and collation of the writing content of Orchard Pavilion Preface.The second is the language art and literary appreciation of the written content of Orchard Pavilion Preface.Since the Orchard Pavilion Preface written by Wang Xizhi is a draft with traces of modification,it is particularly important to read and confirm the text content of Orchard Pavilion Preface.Since there are errors in character recognition in the copying process of Orchard Pavilion Preface,it is also important to identify and compare the text content of different versions of Orchard Pavilion Preface.Words need to be collated and sentences need to be traced back.The Orchard Pavilion Preface as an image is intrinsically related to documents such as Linhe Preface,Jingu Preface and March Sanqushui Preface.Words generate language,and language is artistic.As a literary aspect,Orchard Pavilion Preface was also concerned by the people of the Qing Dynasty.Orchard Pavilion Preface has an inheritance relationship with the language styles of Ban Guxu Biography,Nanhua Sutra and Yan Sutra.As a literary art,Orchard Pavilion Preface reflects the concept of the integration of heaven and people,words like people,and being outside the secular world.The poetic graph theory of the preface and postscript of the Orchard Pavilion Preface in the Qing Dynasty is an extended research part of the preface and postscript of the Orchard Pavilion Preface.The Orchard Pavilion Preface itself is attached with many "Orchid Pavilion" poems.Some of the preface and postscript of Orchard Pavilion Preface of later generations are presented in the form of poetry.The Qing people once again wrote the preface and postscript of the past "Orchid Pavilion" and generated many poems of "Orchid Pavilion" at the same time.Since Orchard Pavilion Preface has been deeply rooted in the hearts of scholars,some scholars have transformed it into "Orchard Pavilion" drawing according to the character stories and character scenes of Orchard Pavilion Preface.In the preface and postscript of the Qing Dynasty,the Orchard Pavilion Preface was compared with the "Orchard Pavilion" drawing,and the location,form,collection source and appreciation standard of the "Orchard Pavilion" were explored by recording history with maps,discussing maps with history and divergent thinking,which expanded the scope of the research on the Orchard Pavilion Preface,enriched the contents of the preface and postscript of the Orchard Pavilion Preface of the Qing Dynasty,and enhanced the connotation of "Orchard Pavilion" culture.The classification and in-depth research of the preface and postscript of the Orchard Pavilion Preface in the Qing Dynasty will help the world understand the value of the Orchard Pavilion Preface in the hearts of the Qing people and clarify the focus of the calligraphy preface and postscript in the Qing Dynasty.It is more helpful to grasp the connotation and extension of the preface and postscript of the Orchard Pavilion Preface in the Qing Dynasty,and connect the relationship and logic between the discussion of the Orchard Pavilion Preface in the Tang,Song,Yuan and Ming Dynasties and the research of the Republic of China and even contemporary Orchard Pavilion Preface.At the same time,it expands the content and vision of calligraphy theory research in the Qing Dynasty,and helps to show the richness and uniqueness of historical documents in the Qing Dynasty.