The Acceptance Study Of The Song Dynasty’s Engraving In The Ming And Qing Dynasties

As the carrier of calligraphy art,engraving,especially the series of engravings in the Song Dynasty,has preserved a large number of predecessors’ handwriting and popularized precious authentic calligraphy.It also laid foundation for the development of calligraphy in later generations while providing the authoritative transcription standards for future scholars.Thus it is called the all-time promotion of calligraphy art in the history of Chinese calligraphy.The Ming Dynasty has witnessed the development of engravings while it has been prosperous in the Qing Dynasty.However,its ancestors’ engraving branches and pedigrees became increasingly complex because of the increase in the number of moles when engravings of the Song Dynasty spread to the Ming and Qing Dynasties.In addition,the outstanding problem of pseudo text,postbook collation and classification have motivated scholars in the Ming and Qing Dynasties to conduct a more systematic study of each version of the series.Their views were put into the collection of postscripts,essays,sales records,or diaries.At the same time,the inscription transactions in the Ming and Qing Dynasties also had a positive impact on the distribution and preservation of carved seals in the Song Dynasty,which has become the main analysis object of this paper to sort out the accepted forms of the Song Dynasty carvings in the Ming and Qing Dynasties This article will use the seal engravings of the Song Dynasty in the Ming and Qing Dynasties as the starting point to explore how the Song engravings were transmitted and accepted in the Ming and Qing Dynasties.This thesis aims to broaden the thinking of the development of Chinese calligraphy while providing a new understanding of the living environment of Zhao Song’s engravings in the Ming and Qing Dynasties by summarizing the social acceptance and personal acceptance of the Song engravings in the Ming and Qing Dynasties.The first chapter gives a brief overview of the background of the engraving and the main method of engraving in the Song Dynasties.Through the predecessors’ verification of the Chengqingtang,the original status of Song Ta ’s Chunhua Pavilion is affirmed.The second chapter introduces the acceptance form of Zhao Song engraving in Ming Dynasty.The first part starts from the surviving versions of the Song engravings in the Ming Dynasty and the collection of famous masters.It sorts out the changes in the ancestral system of Song Ta’s "Ge Tie" by the Ming Dynasty princes and private engravings,and summarizes the Ming Dynasty’s self-engraving.The other versions of the Song engravings are used to analyze the main existence form and dissemination methods of the Song engravings in the Ming Dynasty.The second part analyzes the study of the Song engravings by the representative writers of the Ming Dynasty.In the postscript,the author summarizes the writer’s cognition of the engraved post in the Song Dynasty,and explores the influence of the engraved post in the Song Dynasty on the personal style of the writer and even the entire Ming Dynasty.The third chapter is divided into two parts,the Qing Dynasty’s Neifu Tibetan Collection and the folk private collection Song Dynasty’s engravings.Firstly,the two main seal engravings of Song Tuo are sorted according to the period,and the authenticity of the originals is verified.In addition,the writers of the Qing Dynasty engraved the engraving system of the Ming Dynasty and the engraved engraving system of the Song Dynasty into the scope of the study,focusing on the clear description of the context of the Song engraving in the Ming and Qing Dynasties.Secondly,it discusses the differences between the scholars of Beixue and Tiexue in their acceptance of the inscriptions in the Song Dynasty,and analyzes the similarities and differences in the techniques and aesthetic orientation of the Beibei and Tiexue in the Qing Dynasty from their works and theories of the post.In addition,the special group of officials and scholars of the Qing Dynasty chose the appreciation and collection activities around Song Ta’s editions,so as to explore the positive significance of the French post’s acceptance of the Song engravings in the art market.The fourth chapter discusses the impact of printing technology on traditional extension technology,and describes the new form of contemporary scholars’ acceptance of carved seals in the Song Dynasty.From the perspective of historical relics,it points out the necessity of the acceptance study of the carved seals in the Song Dynasty,and describes the acceptance form of the carved seals in the Song Dynasty in the Ming and Qing Dynasties,which has important reference significance for the current academic research and the grading of topography.Finally,by analyzing factors in the evolution of the acceptance status of the Song Dynasty engravings in the Ming and Qing Dynasties,this paper expounds the prospects for the protection and inheritance of the present Song Taben.