Qian Yong
Qian Yong
Qian Yong (from February 25, 1759 to October 11, 1844) was a native of Jingui (now Wuxi) in Jiangsu Province in Qing Dynasty. He has been a shoemaker for a long time and has traveled all over the country. Gongshi Ci, Zhuan, Li, fine engraving tablet, good at painting and calligraphy, printed in Sanqiao (Wenpeng), Yibu (Wujin) style. There are shrinks in the small Han stele, a collection of all kinds of small Tang stele stone. After that, Yangzhou jiangrenji got dozens of residual stones. Yu Yue said that Mei Xiaoyan Zhongcheng, a hundred taels of platinum, was embedded in the wall of Hangzhou Gujing jingshe. However, there are many false words in the steles, which can not be corrected one by one. Small landscape painting, sparse ancient Danyuan. There is a copy of Zhao Danian's Liutang Huawu painting, which is stored in the Palace Museum. He was 86 years old. His works include Lu Yuan Conghua, Lu Yuan Tan Shi, LAN Lin Ji and Mei Xi Shi Chao. There is a collection of "examination of artistic ability".
Character experience
Qian Yong (1759-1844) was a scholar and calligrapher in Qing Dynasty. Li Qun word, the word Meixi, number Meixi Jushi, Jingui County Taibo Township Xizhuang bridge (now Wuxi City Hongshan Town Houzhai Xizhuang bridge) people.
Qian Yong is the 30th grandson of Wu Yue Wu Su king. In the early days of song Jianyan, his ancestors fled from Hangzhou to Taizhou, moved to Houshan in Wuxi in the middle of Baoqing, and moved to Taibo Township in Jingui County in the Ming Dynasty. Zeng Zu Ji Xuan (Fenglu Gong), grandfather Cheng Ji (shaomei Gong), father Yue (Jinshan Gong). Qian Yongli, who lived in Qianlong, Jiaqing and Daoguang dynasties, was a famous scholar in Wuxi in the middle of Qing Dynasty.
Qian Yongsheng was born on the 28th of the first month of the 24th year of Qianlong (February 25th, 1759). Qian Yong was smart when he was young. He was able to write regular script when he was five years old. When he was eight or nine years old, he worked on seal script and Li script. He studied ancient books with his father. When he was 14 years old, he got a batch of rubbings carved on Han and Wei steles in Suzhou and copied them all the time. Later, he was guided and discussed by Jin Zujing, a retired official in charge of calligraphy and poetry, sun Yuanru, Hong Weicun, Feng Yushan, Lingzi, Xu langzhai, Cheng Junfa, Shi fan and Qin Xi. At the age of 17, he traveled to Wumen, and then went to the exam. He failed in the exam. He went back to his hometown to earn a living in a private school (Library). In 1785, Qian Yong was appointed to the shogunate by Bi Yuan, governor and Minister of Henan Province, at the age of 27. Qian Yong collated his book Zhongzhou Jinshi Ji and appraised a number of paintings, calligraphy and inscriptions. In 1791, Qian Yong was employed to compile county annals in Shaoxing. At the end of the next year, he went to the north to visit ancient China. Qian Yong saw a number of famous inscriptions in Jining, Shandong Province, and met Wang Yongzhen, the eleventh son of Qianlong. Yongyu printed Zhiyi Jinzhai tie according to the order, which was published by Qian Yong in Beijing.
Qian Yong's mother Hua Tai'an then lived in Changshu and Diaozhu, and his stepmother died. Qian Yong also moved to Weng's villa and lived in Weng Xincun fifth generation congzu Shangshu's villa of tierenge University in Changshu. Later, Qian Yongjian built a sutra writing building, which imitated the stone scriptures of Cai Yong in Han Dynasty to write filial piety, the Analects of Confucius, the University, the doctrine of the mean, and carved stones. Qian Yong also wrote a number of tablets in goule and calligraphy, which were widely spread in Jiangsu and Zhejiang provinces, and later spread to Korea, Japan, and other neighboring countries in Zhongshan.
Qian Yong is also good at water conservancy. At the age of 70, he was hired by Zhang Jing, the governor of Nanhe River, to assist in the planning of water conservancy projects and put forward a set of insightful and constructive suggestions. After that, he submitted to the higher authorities the article of "speed up the construction of Sanwu water conservancy, enrich the country's tax, and benefit the people's fields", which required dredging the tributaries of Taihu Lake to ensure the people's fields around Taihu Lake. At the age of 80, he sent the complete picture of seven provincial sea routes and Yan haishui Shi to Songjiang Prefecture, and cared about the water conservancy construction of the country.
Qian Yong made a lot of friends and met many famous scholars in his life, such as Weng Wengang, Wang Chang, sun Xingyan, Hong Liangji, Zhang Xuecheng, yuan Zisui, Bao Shichen and so on.
Qian Yong has a lot of works, including Shuo Wen Shi Xiao Lu, Shou Wang Xin Shu, Lu Guo Jin Shi mu, Lu Yuan Cong Hua, Shu De Bian, Deng Lou Za Ji, tie Juan Kao, etc. These works are of great reference value for later generations to study epigraphy, literature and history, natural science, etc. Qian Yong was originally from Hua'an and daijiawan, northeast of Wanshan, Changshu. The birth of children is rare and auspicious. After Wu Ru, he gave birth to a son who lived and became rich.
On August 30, 1844 (October 11, 1844), Qian Yong died at the age of 86. On September 22, the 26th year of Daoguang (November 10, 1846), he was buried in Wanshan, Changshu. Weng Xincun, a scholar of Ti Ren Ge University in Changshu, wrote an epitaph for it.
Reading the notes of Ming and Qing Dynasties, you can't get around Qian Yong's Lu Yuan Cong Hua. This ancient note is famous for its rich content, detailed information and fluent writing. The book is divided into 24 volumes, covering many aspects, such as laws and regulations, astronomy and geography, archeology of gold and stone, calligraphy and painting of cultural relics, poetry and novels, social anecdotes, anecdotes of people, customs and customs, warning maxims, jokes and dreams, ghosts and spirits, etc. In his later years, Qian Yong lived and walked in the garden. "In his spare time when he was in the garden, he saw and heard what he saw and heard, and he was writing notes on his own." he said that he was "a pen to express his sorrow and smile.". His preface, Lu Yuan Cong Hua, was in July of the 18th year of Daoguang reign of the Qing Dynasty.
No imperial examination in my life
Qian Yong's retreat from seclusion means that he left home for a long time and traveled to a foreign land for a long time. He traveled all over Zhili, Shandong, Henan, Hubei, Jiangxi, Anhui, Zhejiang, Fujian and other provinces. He returned to his hometown 50 years later and lived in seclusion. Usually, scholars say retiring refers to those who are old and ill, can't be an official, and go home to live their life; or they are upright and arrogant, don't bow down for five Dou of rice, come back, and ask themselves if Hu doesn't come back. Qian Yong's retiring is different from these people, because Qian Yong has never been an official in his whole life, and has never even passed the entrance examination, so he is more like a Wulin retiring than an official Out of the world. Qian Yong was a famous scholar in Qing Dynasty. He was proficient in the study of inscriptions and especially good at seal script. Even today, two or three hundred years later, his ink treasures can be seen everywhere, such as the moon tower in Yangzhou and the tomb of Qian Muzhai in Changshu.
About Qian Yong's detailed life, there are two kinds of Chronicles of Mr. Meixi, both of which are published in Book 122 of the chronicles series of rare books collected by Beijing Library.
Influence and works
Erecting a monument for Qian Muzhai's tomb
Qian Muzhai was originally a minister of the Ming Dynasty. He was the Minister of the Ministry of rites. When the Qing army went down to the south of the Yangtze River, he led the officials of Hongguang court to surrender to Duoduo, and sent people to post the placards everywhere, calling on the people not to resist, so that they would not turn into vermicelli. Therefore, people despise the loss of the festival. When Emperor Qianlong also denounced Qian Muzhai as "heartless and shameless" and banned his works, scholars in the south of the Yangtze River increasingly despised him as the head of "the five immortals of Jiangsu and Zhejiang", Qian Yong resolutely declared that the long abandoned Tomb of Qian Muzhai "engraved the five characters of Su Wenzhong's book" the tomb of the old man in Dongjian "in front of the tomb, and the audience would laugh at it." If you sail against the current, how much courage do you have to dare to do so!
Qian Muzhai's Chuxueji, youxueji, qunzhongshilue and liechaoshiji are still important works of Ming and Qing historians. Qian Yong's inscriptions for Qian Muzhai's tomb show respect for Qian Muzhai, who is a literati, but not for Qian Muzhai who surrendered. One is one, two is two. Qian Yong is right. In the section of "blood Robe" in Lu Yuan Cong Hua, Qian Yong showed more respect for Yang Tingshu who fought against the martyrdom of Qing Dynasty, and his admiration overflowed between the lines.
Research on women's foot binding
It is generally believed that women's foot binding began in the Song Dynasty and lasted for more than 700 years from the yuan, Ming and Qing Dynasties to the Republic of China. Since she was a child, the so-called "little Lotus" has been wrapped with three inch cloth. Qian Yong was well versed in Confucian classics and history since childhood. He read a lot, especially in historical research. In the section of "foot binding" in Lu Yuan Cong Hua, he took the trouble to trace the origin of foot binding. According to Qian Yong's textual research, it is "between Song Dynasty and Yuan Dynasty". So he wrote in the book: "the virtue of a woman, from gentle temperament for the first meaning, dignified appearance for the second meaning, to the size of the foot, this is not important." In the Qing Dynasty, when every woman had to wrap her feet, Qian Yong made an appeal to get rid of this bad habit, making him as famous as Yuan Mei, Li Ruzhen, Yu Zhengxie and Gong Zizhen, who also opposed to wrapping their feet.
Meixi Jushi, Xiaohan stele, Xiaotang stele, fine engraved stele, landscape scenery
Qian Yongzhi's study of calligraphy
In ancient times, calligraphers used official script in Han Dynasty and Wei Dynasty, and used real script in running script in Jin Dynasty, Song Dynasty and six dynasties. Calligraphers started from Li Beihai, Emperor Taizong of Tang Dynasty.
When I was weak, I always liked to learn Valley books. Although I was old enough to learn it, I was also praised for it. I didn't feel suspicious. As soon as he saw the swimming book, Mr. Lin Licha said, "I'm wrong." Because he asked, "what can I do for you?" he said, "I must learn songxueweng's calligraphy before I can turn back." Later, Feng Dingyuan discussed Valley poems and thought that once the disease of vulgar Cha Ya in Jiangxi entered the pen, nine oxen could not be pulled out, so he had to retreat with Yishan and Xikun styles, which was the wonderful words of Mr. Wu. This view of the valley of poetry and books can not be contaminated. Yu Wei Wen Heng Weng's old book was also infected with the disease of the valley, which was inferior to that of Si Weng Shen Shitian. (the four schools of Song Dynasty) only Junmo was the one who learned from Duke Lu. The character of Junmo was mellow and upright, and his calligraphy and painting were correct. Today, it is said that wan'anqiao stele is Duke Lu's zhongxingsong and Xiangzhou dayjintang Ji. It is also the school of Duke Lu's family Temple stele in cursive script, and Wang Daling is not the school of contending for seats.
The book of rice should not be too indulged by scholars, and the book of CAI should not be too restrained by scholars. It's not natural for scholars to let it go without losing it. There are books of the Tang Dynasty. Today, only inscriptions are handed down. Europe, Yu, Chu and Xue had their own families. Yan, Liu, Li and Xu did not follow each other. As a poem, they were divided into early, prosperous, middle and late periods. Before Dali, most of them lived in Europe and Chu. After Dali, most of them lived in Yan and Li, and most of them lived in Dazhong and Xiantong. Today's scholars should take Tang tablet as their ancestor. Most of the Tang people are short, long, fat and thin
Chinese PinYin : Qian Yong
Qian Yong
