在我國文明史中,典籍作為重要的標志,一直與我國古老的文明社會并駕齊驅(qū),見證著歷史的冷峻和豐富。從壁石、鐘鼎、竹簡、尺牘、縑帛到紙張。對典籍的尊重程度,幾乎成了對一個歷史階段的盛與衰的評判準則。
然而隨著朝代更換、天災(zāi)人禍,能保留下的古書少之又少,而既有文獻價值,還具有文物價值的善本,更是彌足珍貴,成了世代文人一直無法忘懷的珍寶。
In the history of my country's civilization, classics, as an important symbol, have always kept pace with my country's ancient civilized society, witnessing the coldness and richness of history. From wall stone, bell tripod, bamboo slips, ruler slips, silk silk to paper. The degree of respect for classics has almost become the criterion for judging the prosperity and decline of a historical period.
However, with the change of dynasties, natural and man-made disasters, few ancient books can be preserved, and rare books that have documentary value and cultural relic value are even more precious and have become a treasure that generations of literati have never forgotten.
何為古籍善本
What are rare books of ancient books
善本,善本,自然是好書。只要是珍貴難得、內(nèi)容精美的古書刻本、寫本均可稱為“善本”。印刷術(shù)發(fā)明之前,書籍大都是寫本,將原稿或別本繕寫下來,與原文校核無誤,便為善本。唐以后,雕版印刷術(shù)得到應(yīng)用,書籍便有了“版本”一說,雖為后人考證加大了難度,但也給善本的收藏增添了很多趣味。版本出處的不同,收錄文獻的多寡,校檢程度的精劣,印刷(繕寫)質(zhì)量的高低,出版時間的早晚等等,就讓古籍有了足本與殘本、精本與劣本、古本與今本、孤本與復(fù)本等方面的差別。在擴大了善本內(nèi)涵的同時,歷代的學者、藏家也對其標準有了不同的定義。其中,清末張之洞解釋善本之義有三:一曰足本,無闕卷,未刪削。二曰精本,精校、精注。三曰舊本,舊刻、舊抄。拿現(xiàn)在的話來說,就是:文獻性、技術(shù)性與藝術(shù)性。
Rare books, rare books, are naturally good books. As long as it is precious, rare and exquisite content of ancient books, block-printed books and manuscripts can be called "rare books." Before the invention of printing, books were mostly manuscripts. If the manuscripts or other scripts were written down and checked against the original text, they became rare books. After the Tang Dynasty, engraving and printing were applied, and books had "versions". Although this made it more difficult for future generations to verify, it also added a lot of interest to the collection of rare books. The difference in the source of the editions, the number of documents included, the level of proofreading, the quality of printing (copy), the time of publication, etc., give ancient books full and fragmented editions, fine and inferior editions, and ancient editions. Differences from the present, orphan and duplicate. While expanding the connotation of rare books, scholars and collectors of the past dynasties have also defined their standards in different ways. Among them, in the late Qing Dynasty, Zhang Zhidong explained the meaning of the rare book in three aspects: one is the original one, the scroll without faults, and it has not been deleted. The second is the fine version, fine proofreading and fine note. The third is the old edition, old engraved and old copy. Take the current words: documentary, technical and artistic.
不同時期的古籍特點
Characteristics of ancient books in different periods
特定的歷史環(huán)境賦予了不同年代的書籍獨有的風貌品格。一頁宋版一兩金,宋代刻書將唐代褚、顏、歐、柳等諸位書法大家的字體運用于刻書之中,在將楷書推至高潮的同時也給予了宋版書端莊凝重的精神氣質(zhì),此外,其稀少的存世量也決定了它的價格高企。元版書秉承南宋遺風,形成了黑口、趙字、無諱、多簡的風格特點。
“黑口”指中縫線上下兩端的墨印黑條,“趙字”指刻書用字大多模仿趙孟頫的字體,“無諱”指書中不見因避諱而少筆多畫或借用他字的諱字現(xiàn)象,“多簡”指多用俗字、簡化字。明代刻書分早中晚三期,風格不盡相同,早期“黑口趙字繼元”、嘉靖開始“白口方字仿宋”、萬歷之后則是“白口長字有諱”。清以前出版并存世的雖有不少善本,可大多被藏在國有圖書館、博物館里,不可能出現(xiàn)在市場中;少數(shù)在海內(nèi)外私人藏家手里,也輕易不會出手,所以市場上常見的大多為唐人寫經(jīng)、宋版殘頁、元明清前期古籍乏善可陳,大量的是清中后期與民國書籍,更得讓人沙里淘金。清初善本有明代遺風,字形長方、橫細豎粗,根據(jù)出版方不同大致可分內(nèi)府刻本、官刻本、坊刻本、私刻本。
康熙時,字體開始變化,很多用始于唐宋、流行于明清官場科舉的“館閣體”,嘉慶時,已然失去了前人刻本那種舒展圓秀的雅氣,而變得呆板失神。民國時期的圖書出版量更是可觀,內(nèi)容豐富,因年代較近,流失損壞較少,因此價格也較低,但其中也不乏精品。
The specific historical environment has given books of different ages unique style and character. One page of the Song version and one or two golds. The Song Dynasty engraving uses the fonts of Chu, Yan, Ou, Liu and other calligraphers in the Tang Dynasty. It pushes the regular script to the climax and also gives the Song version the dignified spirit. Temperament, in addition, its scarce existence also determines its high price. The Yuan version of the book inherited the legacy of the Southern Song Dynasty, and formed the style characteristics of black mouth, Zhao character, no taboo, and multiple simplicity.
"Heikou" refers to the black stripes on the upper and lower ends of the center seam. "Zhao" refers to the characters used in the engraved books mostly imitating Zhao Mengfu's fonts. "No taboo" refers to the fact that there are no other characters in the book that avoid taboo and draw more or borrow other words. The phenomenon of taboo characters, "duojian" refers to the use of common and simplified characters. The engraving of the Ming Dynasty was divided into three phases: morning, middle and late, with different styles. In the early days, "Heikou Zhao Zi Jiyuan", Jiajing began "Baikou Fangzi imitated Song Dynasty", and after Wanli, "Baikou Long Zi has taboo". Although there are many rare books published before the Qing Dynasty, most of them are hidden in state-owned libraries and museums, and they are unlikely to appear in the market; a few are in the hands of private collectors at home and abroad, and they will not easily sell them. The most common ones are written scriptures written by the Tang Dynasty, broken pages in the Song edition, ancient books in the early Yuan, Ming and Qing Dynasties, and a large number of books in the middle and late Qing and the Republic of China. The rare books in the early Qing Dynasty have the relics of the Ming Dynasty, and the fonts are rectangular, thin and thick. According to different publishers, they can be divided into Neifu, official, workshop, and private.
In the Kangxi period, the font began to change. Many of the "guange styles" that began in the Tang and Song Dynasties and were popular in the official imperial examinations of the Ming and Qing Dynasties have already lost the graceful elegance of the predecessors' engraved editions, and became dull . During the period of the Republic of China, the volume of book publishing was considerable and the content was rich. Due to the recent age, there was less loss and damage, so the price was also lower, but there were also fine works.
古籍善本的市場表現(xiàn)十分穩(wěn)定
The market performance of rare books is very stable
國內(nèi)藝術(shù)品拍賣當中,古籍善本一直是最穩(wěn)定的一個板塊。十幾年來,古籍善本的價格始終比較平穩(wěn),呈穩(wěn)步上升趨勢,尤其是堪稱善本的古籍幾乎從來沒有下跌過。古籍善本的買家,始終是一個規(guī)模不大但穩(wěn)定的群體。古籍收藏自古以來都是文人收藏的最高層次。它不僅要求藏家有一定的經(jīng)濟實力,還要擁有相當?shù)奈幕B(yǎng),然而真正能夠兩者兼?zhèn)涞娜嗽谑袌錾蠀s是少數(shù)。因此古籍市場始終處在一個“慢熱和被低估”的狀態(tài)當中。這是古籍價格能夠長期保持穩(wěn)步攀升的基礎(chǔ),也是近年來許多投資者選擇古籍保值增值的原因所在。在諸多類型的收藏品走俏市場的時候,古籍的收藏價值也逐漸得到了藏家的重視。在藝術(shù)品市場上,書畫作品似乎人人可欣賞點評一番,面對古籍善本多數(shù)人則望而卻步;一部宋刻孤本,其文獻價值無可比擬,又有多少人能明白它呢? 千年過后,“書中自有黃金屋”對于古籍善本的收藏來說,仍然適用。
In domestic art auctions, rare books of ancient books have always been the most stable section. For more than ten years, the price of rare books has been relatively stable, showing a steady upward trend, especially the rare books, which have almost never fallen. Buyers of rare books of ancient books are always a small but stable group. The collection of ancient books has been the highest level of literati collection since ancient times. It not only requires collectors to have a certain degree of economic strength, but also a considerable cultural level, but there are only a few people in the market who can really do both. Therefore, the ancient book market has always been in a state of "slow heating and underestimation". This is the basis for the price of ancient books to keep rising steadily for a long time, and it is also the reason why many investors choose to maintain and increase the value of ancient books in recent years. When many types of collectibles are popular in the market, the collection value of ancient books has gradually gained the attention of collectors. In the art market, calligraphy and painting works seem to be appreciated by everyone, but most people are discouraged in the face of rare ancient books; an isolated copy of Song Dynasty, its documentary value is incomparable, how many people can understand it? Thousands of years later, "the book has its own golden house" is still applicable to the collection of rare books.
