A Brief History of the Origin and Development of Chinese Printing Technology (Serial)

Eight, the origin and development of archery


The stencil printing is developed on the basis of the above-mentioned stencil printing and is more mature and exquisite than the stencil printing. It is not only different from the Northern Song Dynasty used to print banknotes overprint and overprint, but also different from the full-page overprint used in Yuan and Ming dynasty. It is a kind of new art that is similar to the overprint and overprint but also has a yin and yang back and shades. . It is said that art is because its craft itself is more influenced by the art of painting; its products are almost indistinguishable from the hand-painted works and reach a level of uncertainty. In this regard, in particular, coordination and cooperation with Gonghuashu are difficult to achieve and compare with any modern printing technology.


As the name implies, the printing plate used for the printing of the stencil is a "snap plate." The "饾" in the "饾" version mentioned here is the meaning of "饾饤". “饾饤”, also known as “饤斗” and “饤饾”, is a kind of stacked food. Yang Shen's "Li Sheng Quan Collection" volume 69 "Eat", said it is "five colored cakes", as a treasure bird of flowers and plants, according to the accumulation of depression in the box, called "fight." The stencil is a printing plate that is printed in a stacked, cumulative form similar to the "snap." The interpretation of the “Ci Hai” “Sui Ban” is: “A type of multi-color overprinting method for woodblock printing in popular folks in Anhui during the Ming and Wan dynasties. Usually, color separation is based on different colors and shades of yin and yang. Into a number of plates, and then overprint or overprint the tone. Because of their stacking together, like a dragonfly, so called ".


The stencil printing process is an extremely complicated process. Although its main processes - scratching, stencil printing and brush printing - are similar to full-page overprints in offset printing, its high requirements for specific operations in these three processes are far from comparable to full-version overprinting. First of all, it is necessary to organize technical personnel of the three major processes to conduct a division study prior to the tracing, and through research, the pictures to be reproduced are decomposed into a number of templates in accordance with the different shades and the yin and yang back and shades of the screen. This is a key art recreation process. If you understand the modern printing platemaking process, you can easily imagine how difficult it would be to reproduce the continuous tone with shades of gray on the original without the dot. It is the key and basis for the reprinting of lithographic printing to achieve proper edition.


After the plan is determined, it is necessary to use the pen and cane paper to describe the decomposition screen according to the requirements of the version plan, and accurately outline the outline of each color block to distinguish the color regions and levels. Some of the precious ancient paintings and paintings were re-drawn after sub-engraving, in order to protect the original works and re-create the original damaged parts, so that the reproductions can truly reproduce the essence of classical art.


After the trace, the next process is a carved version. Engraving is an important part of the success of the stencil printing process. Only in the case of selecting the appropriate plate material, precise and meticulous processing, handy tools, and good layout on the ground, can the various lines corresponding to the original work be carved. The charm of patterns and tricks. Therefore, the lithographers of the stencil printing are mostly artists who are versed in painting and calligraphy.


Printing is the third major step in stencil printing. It is a reproduction art that uses a carved plate to reproduce the original style and flavor. Unlike modern printing, printing in the stencil printing process requires more of the artist's individual artistic accomplishments and operating skills. In particular, it is more difficult to express mysteries by printing giant images that are old or difficult. For the copy person, the different materials (different paper or fabric), the size of the copy, the new, old, work, writing and coloring of the screen, and the characteristics of the yin and yang back and shades, All need to use different techniques to achieve the reproduction of the original, a few real effects.


There are different opinions on when and who started printing. Generally speaking, Hu Zhengyan from the Ming Dynasty generally believed that the reason was the printed editions that people could see in the early days. Only Hu Zhengyan was engraved in the “Ten Bamboo House Paintings” and Ming Yizong’s 17th C. In the year (1644), "The Ten Bamboo Slapsticks". In the spring of 1963, the Shanghai Museum interviewed in the west of Zhejiang Province in Ming and Zong of the Ming dynasty (1626) Jinling (now Nanjing) people for six years, and Wu Faxiang used the stencil printing technique to engrave the "Duo Xuan Gu Gu Gu Pai" and this "Diao Xuan Gu Gupai’s “Engravings of the Ten Bamboos” was better than the 19-year-old Hu Zhengyan’s “Hide of the Bamboo Patch”. In addition, Wu Faxiang imprinted “Duanxuan Gu Gupai” and Hu Zhengyan’s engraved Shizuzhai Art Spectra and Ten Bamboo Spectra. The knife method was well-knit and well-printed. It was not the early printing of the stencil printing process. Products. Therefore, the author believes that the starting time of the stencil printing and the founding of the founder need to be further studied and explored from the moment of the Ming Dynasty's flourishing color print art.


As mentioned earlier, the earliest surviving surnamed printed matter is Wu Faxiang's “Diao Xuan Gu Gu Gu Pai” carved in Jinling. The book was written in 1963 for the Shanghai Museum in the western part of Zhejiang Province. It has two volumes, one on top of the other. It shows that this tab was once collected by Zhang Zongxi of the Qing Dynasty. According to "The Qing Yong Zhai Bibliography", "The Luo Xuan changes the ancient tabulation spectrum" for the white mouth, single column, up and down two volumes; the first volume of 49 pages, 98 surfaces, including Yan Jizu essays small cited three pages; the next volume 45 pages, 90 According to the “Jinling Communication Biography”, “Diao Xuan change ancient tabulation spectrum” was carved by Wu Faxiang at Jinling, at the age of 48. Since the tabernacle head of the painting, Yan Jizu, Xiao Yinzhong said, “Duan Xuan changes ancient tab. "The book was written in the Ming dynasty ancestral temple Bingyi (six years, 1626), and the "Jinling pass" said that Wu Faxiang was 48 years old, which can be determined that the print pioneer Wu Fatong was born in Ming Wanli for six years. (1578) What we now know is: Wu Faxiang, “Duo Xuan”, was born in Ming Wanli for six years (1578). At the age of 48, Jin Ling succeeded in engraving 182 figures with stencil printing. For Yan Wenyu, “The Spectacle of Han Flowers, The Treasure of the Scholarly Room,” “The Luo Xuan changes ancient tabulation spectrum.” Among them, “change ancient” is a symbolic depiction of the meaning of allusions, that is, a symbolic technique to draw a picture of One example is the picture of the content. For example, there is a painting called “Painting and Painting Boat” in “Duo Xuan Ceng Gu Gu Pai Pai”. The picture-in-picture is The boat filled with paintings and calligraphy was rippling in the water (Figure 1), and it was marked by Huang Tingjian's verse of “Gifts of Meining Yuan,” which was written in the “Yong Jiang Jing Ye Hong Guan Yue, which is bound to be the Mi Calligraphy and Painting Boat”. The depiction of the great calligrapher Mi Yaoxi's collection of paintings and paintings and the intricacy of paintings and paintings was illustrated by Hu Shi’s painting of Han Yu’s poems “While arranging thirty thousand books and inserting thirty thousand shafts” in “The Ten Bamboo Slapsticks”. The method of “carving pears” painted by the frame “Kong Rongrang Pear” is exactly the same. Mr. Feng Pengsheng wrote “An Overview of Chinese Woodblock Watermarking” Cloud: “A symbolic approach to draw the content of an allusion, Probably also known as 'change ancient'. "The name Luo Di Xuan Gu Gu Pu" may be the result of this.


Hu Zhengyan's “The Ten Bamboos and Bamboo Sew Prints” written by the stencil printing is slightly later than Wu Faxiang's “The Dalge of Transforming Ancient Books.” "Guo Gupai" was discovered lately and was rarely circulated. It has not caused much impact in society. However, the Hu spectrum has not only been well-printed, but also widely distributed, and posterity has been frequently engraved and far-reaching. In addition, Hu Zhengyan is an artist who is skilled in painting, ink making, documenting, seal carving, and fame. As a result, many academics believe that Hu Zhengyan invented the stencil printing technique.


Hu Zhengyan, the slogan from the word, and the silent swearing man, originally from Xiuning, Anhui Province, lived on the side of the Jincun Mountain in Jinling. Because of the more than ten years of bamboo planted in the courtyard of the residence, the room was named “Shizhuzhai”. Hu Zhengyan Zeng Guanzhi to Wu Ying Dian Zhong Shu She, after the death of Ming, he retired for 30 years, died in the Qing Emperor Kangxi ten years (1671), died at the age of 91. In addition to painting, ink making, documenting, and seal carving, You Xi set books and carved books, and were also the authors of Yin Cun Xuan, Hu Shicao, Yu Lin Chronicle, and Shi Zhu Zhai Pictogram. There are more than 20 species such as "The Legend of Ten Bamboos", the book "The Six Books Are Fake", "The Six Scriptures of Six Scriptures", "The Card of Fuyu", and "The Ancient and Modern Poems." One of the most outstanding and most prestigious among them is his “The Ten Bamboos and Bamboos” and “The Legend of Ten Bamboos.”


Hu's "The Ten Bamboos and Paintings" (Figure 2) includes 8 kinds of paintings, including Mopu, Mopu, Guopu, Xiongpu, Lanpu, Zhupu, Meipu and Shipao. Each was packed into 2 volumes, 20 in each, in a butterfly style. "Shu Bamboo Riddles" (Figure 3), a total of four volumes. Among them, the volume is divided into 7 categories and the figure is 62; the volume is 9 points and the figure is 77; the volume is 3 points and 9 types, and the figure is 72; the volume is 4 points and 8 types and the figure is 68. The book receives 289 images. From the point of view of the imprinting technique, Hu's “The Ten Bamboo Slapsticks” is more mature and superb than the “The Bamboo Scribbles of the Ten Bamboos” that were 18 years old, and all of them are made from the stenciled flowers. It is reflected that China's engraving and printing techniques have reached the level of supernaturalization in the late Ming Dynasty. Just as Li Ke-hung said in his "Preface": "The ten bamboo notes, the relics of ancient and modern times, the great achievements of the arts garden, old renovations, poor workmanship have changed, are they too strong?"


The Chinese print art, including "Shanban Printing", continued to develop in the early Qing Dynasty. Since then, with the armed invasion of China by Western powers and the introduction and development of modern printing techniques, China's traditional printing industry has gradually declined and it has fallen into a situation of being eliminated. In order to protect the splendid cultural treasures of the Chinese nation, Mr. Lu Xun proposed to Mr. Zhen Zhenjun in 1932 the suggestion to print a sticky note using the traditional Chinese version. The two people share the same interest and they say it together. At the beginning of 1934, Handan printed and printed 340 copies of the “Beijing Tab”, which was personally selected by Mr. Lu Xun. Afterwards, Mr. Lu Xun and Mr. Zhenzhen Zheng expressed their will to “remember an old book that could be revived at any rate.” They began to plan the “The Legend of Ten Bamboos” written by Hu Zhengyan. Unfortunately, Mr. Lu Xun failed to wait until he had worked hard to prepare the “Shu Bamboo Slapstick” and he had to leave the world. (According to Mr. Lu Xun and Mr. Zhenzhen Zheng, “The Ten Bamboo Snapshots” was published in 1941).


After the liberation, this quintessential craftsmanship called “wooden watermarking” came back to life under the care of the party and the government, and it has made considerable progress in copying large-scale Chinese paintings. Rong Bao Zhai in Beijing and Duo Yunxuan in Shanghai have made unremitting efforts to achieve new results that have inspired the world. Take Rongbaozhai as an example:


Rongbao Zhai, located at the West Street of Liulichang in Beijing, was built in the 17th century. It was formerly known as the “Songshizhai”, a Southern paper shop known for Jinghua, and was renamed Rongbao Zhai for 20 years. Rong Bao Zhai was firstly known for the wide collection of Jinshi paintings, four treasures of Wen Fang, and antique jade. Later, he was renowned both at home and abroad for his professional printing. In 1932, it was entrusted by Lu Xun and Zheng Zhentong. It successfully printed 340 photos and installed four volumes of Beijing Tab, which laid a good foundation for the further development of the printing technology.


Rong Bao Zhai's woodblock watermark (ie, the stencil printing, the same below) painting, compared with the original, resembles a stunning, even if the artist himself is also difficult to distinguish between authenticity. It is said that Rong Baozhai used a woodblock watermarking technique to copy the famous painting “Shrimp” by the master painter Qi Baishi, and linked the copy to the original painting, and asked Qi Baishi to identify himself. The old man Shiraishi left and looked to the right, and for a long time, he shook his head and said, “You can't see it, you can't really see it.” Once again, a foreign expert, out of professional instinct, used a magnifying glass to carefully inspect the Rongbaozhai copying with the woodblock watermarking technology. The Autumn Ducks found that there were no dots in modern printing and no signs of offset printing. Therefore, it was concluded that the painting was original, not a copy. When he visited the woodblock watermarking process of Rongbao Zhai, he expressed his conviction.


Why is the woodblock watermark of Rong Bao Zhai so vivid? There are three reasons: First, the paper, ink, ink, and pigment used in the watermarking process of Rongbaozhai woodblock are generally the same as the materials used in the original work. Second, although the woodblock watermark is a process technology, it is actually an artistic creation. It absorbs, The use of painting techniques has the same advantages as original paintings. Third, when Rong Baozhai uses woodblock watermark technology to copy drawings, it requires strictness, excellence, and meticulous care. The painters, engravers, and printers are highly skilled, and some drawings are copied far away. Far more than the original painting time. For example, Rong Bao Zhai copied in 1979

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