古书

在我国文明史中,典籍作为重要的标志,一直与我国古老的文明社会并驾齐驱,见证着历史的冷峻和丰富。从壁石、钟鼎、竹简、尺牍、缣帛到纸张。对典籍的尊重程度,几乎成了对一个历史阶段的盛与衰的评判准则。

然而随着朝代更换、天灾人祸,能保留下的古书少之又少,而既有文献价值,还具有文物价值的善本,更是弥足珍贵,成了世代文人一直无法忘怀的珍宝。

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.

何为古籍善本

What are rare books of ancient books

善本,善本,自然是好书。只要是珍贵难得、内容精美的古书刻本、写本均可称为“善本”。印刷术发明之前,书籍大都是写本,将原稿或别本缮写下来,与原文校核无误,便为善本。唐以后,雕版印刷术得到应用,书籍便有了“版本”一说,虽为后人考证加大了难度,但也给善本的收藏增添了很多趣味。版本出处的不同,收录文献的多寡,校检程度的精劣,印刷(缮写)质量的高低,出版时间的早晚等等,就让古籍有了足本与残本、精本与劣本、古本与今本、孤本与复本等方面的差别。在扩大了善本内涵的同时,历代的学者、藏家也对其标准有了不同的定义。其中,清末张之洞解释善本之义有三:一曰足本,无阙卷,未删削。二曰精本,精校、精注。三曰旧本,旧刻、旧抄。拿现在的话来说,就是:文献性、技术性与艺术性。

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.

不同时期的古籍特点

Characteristics of ancient books in different periods

特定的历史环境赋予了不同年代的书籍独有的风貌品格。一页宋版一两金,宋代刻书将唐代褚、颜、欧、柳等诸位书法大家的字体运用于刻书之中,在将楷书推至高潮的同时也给予了宋版书端庄凝重的精神气质,此外,其稀少的存世量也决定了它的价格高企。元版书秉承南宋遗风,形成了黑口、赵字、无讳、多简的风格特点。

“黑口”指中缝线上下两端的墨印黑条,“赵字”指刻书用字大多模仿赵孟頫的字体,“无讳”指书中不见因避讳而少笔多画或借用他字的讳字现象,“多简”指多用俗字、简化字。明代刻书分早中晚三期,风格不尽相同,早期“黑口赵字继元”、嘉靖开始“白口方字仿宋”、万历之后则是“白口长字有讳”。清以前出版并存世的虽有不少善本,可大多被藏在国有图书馆、博物馆里,不可能出现在市场中;少数在海内外私人藏家手里,也轻易不会出手,所以市场上常见的大多为唐人写经、宋版残页、元明清前期古籍乏善可陈,大量的是清中后期与民国书籍,更得让人沙里淘金。清初善本有明代遗风,字形长方、横细竖粗,根据出版方不同大致可分内府刻本、官刻本、坊刻本、私刻本。

康熙时,字体开始变化,很多用始于唐宋、流行于明清官场科举的“馆阁体”,嘉庆时,已然失去了前人刻本那种舒展圆秀的雅气,而变得呆板失神。民国时期的图书出版量更是可观,内容丰富,因年代较近,流失损坏较少,因此价格也较低,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.

古籍善本的市场表现十分稳定

The market performance of rare books is very stable

国内艺术品拍卖当中,古籍善本一直是最稳定的一个板块。十几年来,古籍善本的价格始终比较平稳,呈稳步上升趋势,尤其是堪称善本的古籍几乎从来没有下跌过。古籍善本的买家,始终是一个规模不大但稳定的群体。古籍收藏自古以来都是文人收藏的最高层次。它不仅要求藏家有一定的经济实力,还要拥有相当的文化涵养,然而真正能够两者兼备的人在市场上却是少数。因此古籍市场始终处在一个“慢热和被低估”的状态当中。这是古籍价格能够长期保持稳步攀升的基础,也是近年来许多投资者选择古籍保值增值的原因所在。在诸多类型的收藏品走俏市场的时候,古籍的收藏价值也逐渐得到了藏家的重视。在艺术品市场上,书画作品似乎人人可欣赏点评一番,面对古籍善本多数人则望而却步;一部宋刻孤本,其文献价值无可比拟,又有多少人能明白它呢? 千年过后,“书中自有黄金屋”对于古籍善本的收藏来说,仍然适用。

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.