| Chapter four is a verification of rubbings and facsimile of drum-shaped stone inscription in Qing Dynasty.By comparing these work,the rubbings that scholars in this period were referenced and the characters they found that used to be missing on these stones are presented in this chapter.In addition,by restoring "Tienyi Pavilion Rubbings" and comparing to rubbings from "Xianfeng","Houjin" and "Zhongquan",a conclusion has been made that the "Tienyi Pavilion Rubbings" in Qing D ynasty was indeed tailored.In fact,the "Tienyi Pavilion Rubbings" was made after "Zhongquan Rubbings" in Northern Song Dynasty.However,it was regarded as the first rubbings by the scholars in Qing Dynasty,this was because they had never seen rubbings from "Xianfeng","Houjin" and "Zhongquan".After the comparison,five features of "Tienyi Pavilion Rubbings" are deduced.Any rubbings after the original "Tienyi Pavilion Rubbings" that embodied these features could be deemed as having referred to " Tienyi Pavilion Rubbings".Chapter five is about calligraphy of inscriptions on drum-shaped stones.In this chapter,the calligraphers,either referenced or directly copied the inscriptions,and their works are fully organized with a conclusion that penmanship on inscriptions on drum-shaped stones was prosperous in Qing Dynasty.The main reason was that studies on epigraphy and graphetics were highly popular which drew quite a many scholars' interest on inscriptions on drum-shaped stones.On the other hand,the characters in the inscriptions were pure and artistic,the style of which could be perfectly adopted in their own penmanship works to a result of primitive simplicity and sublimation.Chapter six is a summary of breakthrough on the study of inscriptions in Qing.Being influenced by academic atmosphere at that era,the scholars only adopted proven litera tures based on solid materials and evidence,which led to giant progress both on rectifi cation of previous works and missing character restoration. |
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