| At the beginning of the Qing Dynasty,the revival of gemology opened the prelude of inscription and calligraphy in the Qing Dynasty.Promoted by a group of scholars such as Gu Yanwu,Yan Ruoqu,Zhu Yizun,many scholars and calligraphers in this period joined the ranks of visiting monuments,exploring,examining and studying collections,which became a trend at a time,and many outstanding representatives emerged.Chongen was one of them.Chongen’s artistic style was influenced by his family culture and the trend of The Times.He is quite accomplished in the identification of stone tablets and poetry,its inscriptions and postscripts are commonly seen in all kinds of stone tablets on the good books,the most representative is Song Tuo "ink imperial book" "Huai Ren set Wang Xizhi holy teaching preface",Song Tuo "Tai Qing building grand view post",Song Tuo "Orchid Pavilion continued post" and Guo waited for the Diary "manuscript,etc.,through the inscriptions and postscripts can be learned the advantages and conditions of the rubbings and the spread of the process,etc.It is a very important part of calligraphy and painting appreciation and collection activities.Although Chongen was a Manchu calligrapher,he was also a bureaucrat and collector,and made friends with many Han officials.He made good friends with He Shaoji,Yin Shoupeng,Yang Yizeng and his son at the same time.Through these contacts,Chongen also got in touch with more rubbings of epigraphy,which laid the foundation for his work Xiangnan Jingshe Jinqi.Chongen’s inscriptions and postscripts are different from those of ordinary literati collectors.Through studying the inscriptions and postscripts on Chongen’s tablets,we can know that Chongen’s inscriptions and postscripts have the characteristics of large length and detailed content.To understand the purview of the official collectionary and collectionary and his thoughts on calligraphy is of certain reference significance to the later scholars of calligraphy. |
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