Song Tuo Quanzhou Ben Chunhua Pavilion Post

[Song Tuo Quanzhou Ben Chunhua Ge Tie]

Quanzhou Ben Chunhua Ge Tie, ink Tuo remnant. The fifth, sixth and eighth volumes are stored and divided into three volumes. They are the old collections of Wu Zhengzhi of the Ming Dynasty
The Chunhua Pavilion Post in Quanzhou, also known as the Spring Post, is an important reproduction of the Chunhua Pavilion Post in the Song Dynasty. It is said that the original stone was hidden in the Neifu of the Southern Song Dynasty, and was taken to Quanzhou by the Emperor Bing when he fled south. In the Ming Dynasty, Chen Maoren’s “Quannan Magazine” said, “Ten volumes of Chunhua Pavilion placards were left in Quanzhou by the Song Emperor Nanshou. The stone carvings have been buried in the ground. For a long time, the light of the stone is strange, and the hornbeam is scary. It is the placard that sends it. So the people in Quanzhou called it the ‘genuine horseshoe’.” It is quite legendary. Wang Zuo’s “New Ge Gu Yao Lun” recorded that after the stone was unearthed, “in 1911 (1371) in the fourth year of Hongwu’s reign, the magistrate was ancient and permanent, which was carved in the preface of Liu Cizhuang’s interpretation. The Emperor Renzong ordered to enter the inner mansion, and people could not see it.”
From the above experience, we can see that the spread of this post is not much, and the world attaches great importance to it. According to the records, there were copies of the Ming Dynasty. The original stone felt wax, even though the “horseshoe” in the Ming Dynasty is rare, let alone Song Tuo. Therefore, Song Baochun said in his postscript that these three volumes of Song Tuo are “not perfect, but also valuable”
The specific situation of Volume 3 is as follows: Volume 5 is stored in 16 volumes, with each half opening about 25 cm vertically and 14 cm horizontally. The title at the beginning of the volume is “Zhujia Ancient □□ (French Calligraphy) Five”. The content is the works of Cang Jie and Xia Yu to Zhiguo. Zhiguo is absent below. In the volume, there are twelve pieces of Zhuyi Bian Postscript and two pieces of Zhangwei Postscript. After the volume, there are two postscripts of Song Baochun and one postscript of Zhu’s from the Qing Dynasty. The collection is printed with “Wu Zhengzhi’s seal”, “Tongxuan’s master’s collection of books and paintings”, “Wang Xiaoyu’s collection”, and “Yiwu Zhu’s collection of rare books”. Zhang Weiba pointed out: “This paper is made of pure hemp,… which is exactly the same as the Song Tuolan Pavilion written by He Shuo.” “Xicheng Miao’s book to the ancient Buddhist scriptures are composed of other books.”
Volume 6, stored in 26 halves, with each half opening 25 cm vertically and 11-16.5 cm horizontally. The title at the beginning of the volume is “The sixth of the Dharma Book, the first of Wang Xizhi’s Book”, and at the end of the volume is the seal script inscription “On November 6, the third year of Chunhua’s reign, the sixth year of the year of renchen, the third year of Chunhua’s reign, the third year of Chunhua’s reign, the third year of Chunhua’s reign, the sixth year of the. In the volume, there are seven pieces of Zhu’s postscript. The collection includes “Wu Zhengzhi’s seal”, “Huang Shengdong Shu’s seal”, “Tongxuan’s master’s collection of paintings and calligraphy”, “Wang Xiaoyu’s collection”, “Yiyu’s approval of epigraphy and paintings” and other 13 aspects
The eighth volume is stored in 22 rows, with each half opening 25 cm vertically and 14 cm horizontally. The title of the first volume, “Calligraphy, Wang Xizhi of Jin Dynasty (cursive script)”, is different from other books. At the end of the volume, there is an inscription on the seal script of the third year of Chunhua. The paper color is slightly yellow and glossy, and the ink is deep and uniform. And the beginning and the end are consistent, which is the most neat spirit in the three volumes. There are two pieces of Zhu’s side postscript in the volume. The collection includes “Zheng Zhongfu”, “Wen Peng’s seal”, “Wu Zhiju”, “Tongxuan master’s collection of books and paintings”, “Tongliang Wang Xiaoyu’s collection of gold, stone, calligraphy and paintings”, and “Yi Xuan’s collection”
In addition to the ones mentioned above, the descriptions of the Spring Postscript mainly include: Ming Fan Dache’s Stele Postscript, Zhu Cunli’s Iron Net Coral, Qing Wang Hong’s Di Zhai Postscript, Sun Chengze’s Leisure Pavilion Postscript, Qian Yong’s Lu Yuan Cong Hua, Shen Zengzhi’s Mei Sen Postscript, modern Zhang Boying’s Xiaolai Bird House Postscript, modern Lin Zhijun’s Postscript, and Wang Zhuang Hong’s Postscript.

泉州本淳化阁帖第五卷之二泉州本淳化阁帖第五卷之三泉州本淳化阁帖第五卷之四泉州本淳化阁帖第五卷之五泉州本淳化阁帖第五卷之六泉州本淳化阁帖第五卷之七泉州本淳化阁帖第五卷之八泉州本淳化阁帖第五卷之九泉州本淳化阁帖第五卷之十泉州本淳化阁帖第五卷之十一泉州本淳化阁帖第五卷之十二泉州本淳化阁帖第五卷之十三泉州本淳化阁帖第五卷之十四泉州本淳化阁帖第五卷之十五泉州本淳化阁帖第五卷之十六泉州本淳化阁帖第五卷之十七