展訊 | 載文蘊藝——中國歷代金石碑拓大展

載文蘊藝
中國歷代金石碑拓大展

Carrying Cultural Art

An Exhibition of Chinese Epigraphic Rubbings
Through the Ages

展覽時間

2026年1月20日-2026年3月8日

Exhibition Dates

January 20, 2026 - March 8, 2026

展覽地點

深圳美術館一樓 1、2 號廳

Venue

Exhibition Halls 1/2,1F, Shenzhen Art Museum

深圳美術館

Organized by Shenzhen Art Museum

展覽前言

Preface

中華文明五千年，文字為脈，金石為骨。自先民以刀筆刻甲骨、鑄吉金，至后世勒石銘功、摹拓傳藝。方寸之間，鐫刻的是歷史足跡，傳遞的是文明薪火。

文字的實用性書寫，其功能在于記錄和傳播。為了讓書寫更便利，字形更美，且符合昔時審美情趣，于是在書寫過程中形成法度，是為“書法”。中國書法諸體產(chǎn)生、發(fā)展和演化的過程中，無論是篆書的婉轉、隸書的雍容、楷書的端莊，還是行書的瀟灑、草書的狂放，其具體又抽象，實用又唯美。其美美在點畫，美在結構，美在章法，美在意境為世所公認。

本次展覽薈萃商周金文、秦漢碑碣、魏晉墓志、唐宋摩崖、明清叢帖等歷代金石碑拓200余件。它們曾立于廟堂之上，曾藏于林壑之間，曾埋于丘陵之下，歷經(jīng)歲月滄桑，終以拓片之形重煥光華。這些碑拓既是書法藝術的巔峰范本，更是中國歷代政治、經(jīng)濟、宗教、文化的鮮活見證。

文字凝萬古之思，碑刻承千載之志。讓我們循著拓痕，溯流而上，與歷史重逢，向未來啟程。

Five millennia of Chinese civilization find their pulse in the written word and their bedrock in the enduring legacy of bronze and stone. From the primordial incisions upon oracular bones and the casting of sacred bronzes to the monumental stelae and the refined art of ink rubbing, these works transcend their modest scale. Within these finite bounds lie the indelible imprints of history and the undying embers of a civilization's flame.

The practical writing serves the functions of recording and dissemination. Yet, the pursuit of greater convenience in writing, enhanced appeal of the character forms, and an alignment with the aesthetic sensibilities of antiquity gave rise to a disciplined practice governed by canonical principles—calligraphy. Throughout the genesis and metamorphosis of its various forms, Chinese calligraphy has struck a profound balance between the concrete and the abstract, the functional and the sublime. From the sinuous grace of seal script and the stately poise of clerical script to the dignified posture of regular script, the fluid spontaneity of running script, and the unrestrained vigor of cursive script, its beauty is universally celebrated. This splendor resides in the nuance of every stroke, the architectural integrity of the structure, the rhythmic orchestration of the composition, and, ultimately, the transcendent aura of its spiritual resonance.

This exhibition assembles over 200 quintessential rubbings, spanning the bronze inscriptions of the Shang and Zhou dynasties, the monumental stelae of the Qin and Han, the epitaphs of the Wei and Jin, the cliff-side engravings of the Tang and Song, and the comprehensive compendia of the Ming and Qing. These relics once stood in the solemnity of imperial halls, rested amidst the seclusion of verdant valleys, or lay interred beneath silent mounds. Though weathered by the vicissitudes of time, they are resurrected here in the form of luminous rubbing. Beyond being supreme exemplars of calligraphic mastery, these ink-on-paper echoes serve as vivid testimonies to the political, economic, religious, and cultural tapestries of imperial China.

Inscriptions crystallize the reflections of ten thousand ages and stone bears the aspirations of a thousand years. Let's follow these traced remnants, venturing upstream to the source of our heritage, to encounter history anew and embark upon a journey toward the future.

部分作品欣賞

A Selection of Works

何尊銘文拓本

Rubbing of the Inscriptions on the He Zun

何尊為中國首批禁止出國（境）展覽文物。銘文不僅記載了周成王五年遷宅成周（今洛陽）、祭祀武王的史實，更首次出現(xiàn)了“宅茲中國”的完整表述。三千年后，埋藏它的泥土和這泥土連接的960萬平方公里的土地，都以它命名，“中國”成為每一個中華兒女自信、自豪的源頭。

墻盤銘文拓本

Rubbing of the Inscriptions on the Qiang Pan

墻盤銘文所記述的周王政績與司馬遷的《史記·周本紀》中的內(nèi)容非常吻合，關于微氏家族發(fā)展史部分的內(nèi)容則并不曾見于已知的文獻，填補了西周國史微子家族的一段空白，屬于重要的歷史資料，被稱之為“青銅史書”。

石鼓文全套拓本

Rubbing of the Stone Drum Inscriptions

中國最古老的石刻文字，被譽為“中華第一古物”。故宮博物院內(nèi)建石鼓館專館陳列，原件為故宮鎮(zhèn)館之寶。

裴岑紀功碑

Pei Cen's Meritorious Achievements Stele

東漢永和二年，敦煌太守裴岑率三千郡兵出擊北匈奴于伊吾北，取得重大勝利的紀念碑。

劉平國治關亭頌

Liu Pingguo Cliff Inscription: Building the Pass Station

記載了東漢龜茲左將軍劉平國率領孟伯山等六人修筑列亭和關城之事。龜茲地處西域交通樞紐，漢西域都護曾駐節(jié)于此。石刻揭示了漢代駐軍在西域防備匈奴、維護絲綢之路暢通的史實。

鄐君開通褒斜道

Stele Recording Chu Jun Opening the Baoxie Road

俗稱《大開通》，石門十三品中最著名的一品。全篇字形因石就勢，隨性恣肆，張揚霸氣。其結字以篆作隸，方古舒闊，高古偉岸，率意天成而極具氣勢，在中國書法史上有著舉足輕重的地位。

顏氏家廟碑

Stele of Yan Family Ancestral Hall

顏真卿為其父顏惟貞刻立，碑文記述了顏氏家族及其仕宦經(jīng)歷、后裔仕途、治學經(jīng)世的情況。此碑四面環(huán)刻，四面碑文皆為楷書，由顏真卿撰文并書。宋代時隨《開成石經(jīng)》一同被收入西安碑林，現(xiàn)為西安碑林博物館鎮(zhèn)館之寶。

金石碑拓
簡介

Introduction to Stone and Bronze Rubbing

金石碑拓是中國傳統(tǒng)金石學與手工技藝結合的重要載體，指以金石器物（青銅器銘文、碑刻、石刻等）為母本，通過鋪紙、上墨、捶打、揭取等一系列工藝，將器物表面的文字、圖案復制于紙張之上的成品及其制作技藝的統(tǒng)稱。作為記錄歷史、傳承文化的重要媒介，金石碑拓被譽為“石上史詩的紙上再現(xiàn)”，是研究古代文字、書法、歷史、藝術的第一手資料。

金石碑拓的歷史最早可追溯至東漢或南北朝時期，唐宋時期，金石學興起，碑拓技藝進一步發(fā)展，拓印手法更加精細，拓本質量大幅提升，不僅用于學術研究，更成為書法學習的重要范本。明清兩代，金石碑拓進入鼎盛時期，拓印范圍從碑刻、青銅器擴展至甲骨、磚瓦、玉器等各類金石器物，拓本收藏成為文人雅士的風尚，相關的拓印理論與技藝也被系統(tǒng)整理記載。

金石碑拓兼具史料價值與藝術價值。在史料層面，許多金石器物歷經(jīng)千年侵蝕，原物可能殘缺破損，而拓本真實保留了器物原始的文字與圖案信息，為考證古代歷史事件、典章制度、文字演變提供了不可替代的實物依據(jù)。在藝術層面，碑拓本身是一門獨特的手工藝術，拓印過程中，墨色的濃淡、捶打的力度、紙張的選擇都會影響拓本的呈現(xiàn)效果，優(yōu)秀的拓本不僅能精準復刻母本的書法神韻，更能形成自身獨特的肌理美感，成為書法藝術與手工技藝融合的佳作。

2022年1月國家文物局發(fā)布《關于加強石刻文物拓印管理的通知》，要求嚴禁擅自拓印等級文物，名碑拓本更顯其珍貴性。如今，金石碑拓作為國家級非物質文化遺產(chǎn)，不僅是古代文化傳承的重要載體，更在當代文化保護、藝術創(chuàng)作、學術研究中發(fā)揮著重要作用，其承載的歷史記憶與手工技藝，成為中國傳統(tǒng)文化不可或缺的重要組成部分。

Stone and bronze rubbing, an important medium born from the combination of traditional Chinese epigraphy and manual craftsmanship, refers to both the finished product and the associated techniques. The process involves using metal and stone artifacts (such as bronze inscriptions, stele engravings, and stone carvings) as the matrix, and through a series of steps—laying paper, applying ink, pounding, and peeling—reproducing the text and patterns from the artifact's surface onto paper. As a vital medium for recording history and transmitting culture, stone and bronze rubbings are hailed as the "paper reproduction of epics on stone." They serve as primary sources for studying ancient writing, calligraphy, history, and art.

The history of stone and bronze rubbing can be traced back to the Eastern Han Dynasty or the Northern and Southern Dynasties. During the Tang and Song periods, with the rise of epigraphy, rubbing techniques further developed. The methods became more refined, significantly improving the quality of rubbings. They were not only used for academic research but also became essential models for calligraphy practice. In the Ming and Qing dynasties, stone and bronze rubbing reached its peak. The scope of rubbing expanded from steles and bronze ware to include various metal and stone artifacts such as oracle bones, bricks, tiles, and jade objects. Collecting rubbings became a trend among literati and scholars, and related theories and techniques were systematically documented.

Stone and bronze rubbings possess both historical and artistic value. Historically, many metal and stone artifacts have suffered erosion over millennia, with the originals potentially damaged or fragmented. Rubbings faithfully preserve the original textual and pictorial information of these artifacts, providing irreplaceable physical evidence for researching ancient historical events, institutions, and the evolution of writing. Artistically, the rubbing process itself is a unique manual art. Factors such as the density of ink, the force of pounding, and the choice of paper all influence the final presentation. Excellent rubbings not only accurately replicate the calligraphic essence of the original but also develop their own distinctive textural beauty, becoming masterpieces that merge calligraphic art with manual skill.

In January 2022, the National Cultural Heritage Administration issued the Notice on Strengthening the Management of Rubbing Stone Carving Cultural Relics, prohibiting the unauthorized rubbing of graded cultural relics. This makes rubbings of famous steles even more precious. Today, as a national-level intangible cultural heritage, stone and bronze rubbing is not only a crucial vehicle for transmitting ancient culture but also plays a significant role in contemporary cultural preservation, artistic creation, and academic research. The historical memory and manual craftsmanship it carries form an indispensable part of traditional Chinese culture.

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