Are shape extension, graphic extension and holographic extension the same thing?

Many predecessors and scholars believe that graphic extension, graphic extension and holographic extension are the same thing, but their names are different, so they are all written as graphic extension, graphic extension and holographic extension in books or articles, also called three-dimensional extension. I used to think that "one thing has different names", just like a person has a name and a nickname. Later, when I was studying "three-dimensional rubbings", I analyzed and compared rubbings in different periods and found some problems. Through the study and textual research of works in different periods, I think that the extension of form, form and overall modeling is the staged performance in the process of technique evolution. Like all things, there are embryonic stage, early childhood stage and growth stage. There was physical extension before photography was invented. There are two opinions about the pioneer of device shape extension. One is Ma Qifeng (182 1- 1850) in Daoguang period of Qing Dynasty, and the other is Da Shou monk (179 1- 1858). Both of them have works that remain in the world. About the invention of shape extension, it is widely said that "shape with light". The general plot is as follows: "The abbot of Jiaoshan Temple celebrated his birthday with six boats. He took the shape of a lamp, measured the size of Jiao Shan Ding, drew an outline, used thick paper as a leak, used extremely thin cotton paper as a paper extension, used bletilla striata water before extension, used a writing brush, and then applied paper with wet cotton. When the paper is dry, cover it with silk wool and apply ink. Liuzhou monks created this method, which was favored by collectors. Ruan Yuan (1764- 1849), an engraver, learned about it, and invited Liuzhou, a monk, to expand his collection of three generations of bronzes in his own way to entertain friends. Jinshi Ruan Yuan wrote an inscription on the scroll "Liuzhou and Shangtuo Jiao Shan Ding-shaped rubbings": "Zhou, Jiao Shan saw it, and this picture is not bad at all. After careful examination, the monks in Liuzhou drew a picture, printed it in the shape of a tripod, and used it as an origami to unfold the inscription. Retrial, and the inscription is also woodcut. The trace of the carved seal is really good. "He added," This tripod is not big enough. I tried it with my hands, but I couldn't win. "This method of" taking the shape with a lamp "is to illuminate an object with a lamp to obtain the projection of the object, and then outline the shape of the object according to the shadow. When the lamp is close to the vessel, the larger the vessel, the smaller it is. Even if it is calibrated by measuring the actual size of the object, it is difficult to be accurate. The methods of "punching holes with thick paper", "painting wood into a tripod shape" and "combining inscriptions with wood carvings" only get a rough idea of the shape of the vessel, but create a brand-new idea. The generation of a skill cannot be matured at once. Another outstanding feature of the six-boat monk-shaped extension is that it cherishes ink like gold, is leisurely and carefree, elegant like cicada wings, but subtle, and uses cicada wings to the extreme. Liuzhou monk is a man who combines all kinds of arts. He is good at calligraphy, official seal, flying white, iron pen and occasionally writing flowers, which are all wonderful for Xu Wei. He is also good at printing, carving bamboo and identifying ancient tablet computers. So Ruan Yuan called it "Stone Monk". The graphic extension represented by Chen Jieqi is the inheritance and development on the basis of "the extension of form". Chen Jieqi (18 13- 1884), a scholar of Daoguang for twenty-five years (1845), worked in imperial academy for ten years and was awarded the post of editor of imperial academy and assistant of the National History Museum. During his tenure in the Qing court, he witnessed the powerful aggression of the imperialists, the humiliation of the Qing court and the intrigue among his colleagues, deeply feeling that the country was not right. Xianfeng four years (1854), my mother died in my hometown. He resigned and returned to his hometown on the grounds of mourning Ding, and made up his mind not to be an official. And wrote a poem that "there are few good friends in the lively field, and the bane of the office is flat". After returning to China, I devoted myself to the collection and research of epigraphy and other ancient cultural relics. A few years later, I saw black-and-white photos of Yu Ding and other scenic photos, which made me associate with them and put forward the idea of "painting with foreign photos". It was Chen Jieqi who discovered the advantages of using foreign photos to shape the body and the disadvantages of "shaping the body with light" in the extension of the body, and put forward the idea of improvement after careful consideration. At that time, Chen Jieqi was in a period when foreign photos were out of fashion. (Photography was born in 1839. After his death, Mao's Wei County Photo was formed in Chen's hometown in the late Qing Dynasty. Chen Jieqi was inspired by Yu Ding's pictures, and then Chen Jieqi and others did a lot of practice to improve the shape extension of the device, and completed the "graphic extension" on the basis of the shape extension of the device. That is to say, the method of lighting modeling will be changed to "modeling with pictures". Chen Jieqi also devoted himself to the improvement of paper, ink and tools, which greatly promoted the development of rubbing technology. Shaping with light is freehand brushwork. It has too much plasticity. Monk Liuzhou tried his best to be "similar". Chen Jieqi and others achieved "image" on this basis. In other words, closer to reality. Chen Jieqi wrote to Pan Zuyin: "In painting theory, if the scale is made of wood, paper or three or five feet, it is easy to establish the original scale." . Ears, tripod top (diameter, width) and abdomen (depth, circumference and droop) must be detailed. Send a rubbings, asking for an entire ear and a stretch in the stomach. "Jane Zhai Gu Jian and Biography" says: "The extension of the map is mainly based on the size. Give the dimensions of the top, middle, bottom and top, and the bent parts on both sides are clamped in the wood block with horizontal lines, such as threading, which can be true. Then lean forward to see the mouth, that is, the yin and yang of the organ. After digging out the back of the paper, those with flowers and ears are made up, and many of them are combined. People who are used to ancient artifacts will unfold. Don't spread it on bricks and wood. If you can't connect, you can use paper to expand it. The developer of the whole paper seems to be ingenious, vulgar and not elegant. " From the above description, we can clearly see that Chen Jieqi gained experience after a lot of practice and passed it on to his friends without reservation. At the same time, we also find that Chen Jieqi and others have some misunderstandings in graphic extension creation. In other words, they failed to solve all the problems of graphic extension in this period. That is, I don't understand, and the technology is not good. Therefore, today we read a lot of their works in that period, and we will find that the works extended from the original musical instruments are real and powerless; The works developed by seal cutting are good in shape and weak in device. Although I didn't find written materials to confirm whether Chen Jieqi had contact with Monk Longzhou, it is reasonable for Chen Jieqi to know more about the process of ship expansion. The first is the relationship between Chen Jieqi and Ruan Yuan. Ruan Yuan was a scholar in the fifty-fourth year of Qing Qianlong (1789) and a scholar in Liren Pavilion. He was a famous Confucian scholar in Qing Dynasty, and he also had a deep study on calligraphy, painting and cultural relics. Chen Jieqi asked Ruan Yuan for advice and was appreciated by Ruan Yuan. He has close contacts with He, Pan Zuyin, Wu Dacheng and Wang (discovered by Oracle Bone Inscriptions in 1899) and frequent correspondence. As mentioned above, Ruan Yuan invited the monk Liuzhou to expand the collection of three generations of bronzes for his friends. We don't know whether Chen Jieqi has a collection of six-boat monks' paintings. Chen Can learned from his 49-year-old predecessors in Ruan Yuan, and also from his friends (He is a close friend of monk Liuzhou). Moreover, although the Six Boat Monks in Chen Jieqi lived in the south and the north, they lived in the same era. At that time, the expansion of the monk Liuzhou was also called stunt. For Chen Jieqi, who is well-informed and has many friends, he will know nothing. Furthermore, from the early works of Chen Jieqi and others, it is not difficult to see the skills of Liuzhou monks in "making wooden bowls". In fact, there is a passage in Chen Jieqi's letter to his good friend Wu Dacheng: "Jiao Shan's Zhou Ding character is questionable. I have been ignorant for a long time, but I don't doubt the meticulous painter. Unless I witness it with my own eyes, I dare not make a decision. " It can be further confirmed that Chen Jieqi not only saw the rubbings of Jiao Shan and Zhou Ding by the monks of Liuzhou, but also saw more than one. It can be said that Chen Jieqi devoted himself to research in doubt, and made some innovations and developments on this basis. From the article "Pioneer of Communication Technology in Late Qing Dynasty and Communication Art in Weicheng" written by Mr. Chen, the seventh Sun, we can further confirm its important part: "The contrast between black and white is too large after the bronze inscriptions are expanded by Bo Gu, and the effect is not good compared with red expansion and green expansion. Mr. Wang was shocked when he saw the photo of Ding brought by Pan Zuyin from the capital ... After careful consideration, Mr. Wang put forward the idea of "painting with foreign photos". ..... Tongzhi wrote to Pan Zuyin on December 2, 13th year, saying,' Make maps with foreign photos, don't print them, collect the versions and keep them for yourself. Combined with the rubbings of the previous edition, two pictures can be made. The big ones are in the original size, and the small ones can be photographed in a moment. The small ones are reduced pictures and words. Foreign photos can be taken with branches facing each other and on all sides, especially orchids, bamboos, chrysanthemums and plums. Landscape painting is also good, but it should be refined. If you want to be famous, you must surpass your predecessors. Unless you are smart, discerning and witty, you can't achieve it. There is no shortage of this style in the Academy of Painting, which collects foreign landscape paintings from all over the world and folds them into powder books, which can be sorted out by itself, but it is not easy to use strokes. In addition, Mr. Wang also wrote a letter to Wu Yun in Jiangsu, who edited and published the map of two Yi warehouses. He also wrote a letter to Wu Dacheng, a scholar in Shaanxi and Gansu at that time ... Wang invited Chen Zizhen, a kinsman with a stone carving of "Cao", to participate in the drawing of the rubbings. ..... but this is only a breakthrough in black-and-white contrast and overall effect, and' the picture is not as good as the law, but it is a pity', and it needs to be explored and improved in the picture. It took several years to achieve satisfactory results, and realized Mr. Wang's wish that "this style is indispensable in the painting academy". ..... There was no photography industry in the Acropolis at that time, and Mao's "Photo of Weixian County" was taken behind her husband in the late Qing Dynasty. ..... For example, in the process of perfecting the shape extension diagram, the light spots in the vessel are reflected in the black-and-white contrast in the painting. First of all, using the thick and thin ink in the traditional China ink painting technique to make plate making and extension with the set extension method not only requires a lot of plate making, but also requires high extension technology. Later, it was developed to use the density of ink dots to deal with the intensity of contrast, which solved the difficulty of the transition between shade and shade that was difficult to deal with in the process of overprinting, and the spread was completed once after plate making. ..... In the bronze academic works published in the late Qing Dynasty and the early Republic of China, Bo Gu's drawings and copied inscriptions were finally replaced by the original drawings and inscriptions. Among them, the most typical one is Luo Zhenyu's Catalogue of Ji Jin, which was compiled by Pu Yi's teacher Chen and published in 1930. Mr. Wang's exploration and development of the art of copying and extension, like his research on epigraphy, enriched the cultural and artistic treasure house of the motherland and was affirmed and respected by the academic circles. The "shape extension diagram" mentioned repeatedly before is called "graph extension" today. From the above words, we know the achievements of Chen Jieqi, a great master, in the field of graphic extension, from conception to repeated practice, and his painstaking efforts. With his profound academic background, extensive knowledge, abundant financial resources and meticulous style, he further improved and perfected his communication skills. Unfortunately, there is no special work about his spread and circulation. His letters and inscriptions with friends are unpretentious, and his insights are precious, although auspicious. Because he has a good education and can practice, the accumulated experience is very important. It can be said that he studied from three aspects: "technique", "law" and "Tao". He completed his thought from the track of technology-art theory-spirit. Chen Jieqi Jiantuo rubbings are characterized by heavy brushwork, no hurry and no rashness, and elegant style. Deeply understand the three flavors of ink. Holographic extension is constantly developed and matured on the basis of graphic extension, with more accurate shape taking and more flexible ink using skills. Holographic extension, literally, is not difficult to understand, "complete" means complete and thorough. During this period, photography gradually increased in China, and photo studios appeared. Western sketch theory was also introduced into China in large quantities, and the popularity of slide projectors, magnifying rulers, calipers and other equipment gradually emerged. With more accurate measuring tools, (Chen Jieqi and others used a self-built ruler to measure the artifacts at that time, put the size of some parts on both sides of the artifacts, and then measured the width. The most important thing is to adopt the western focus perspective method to make the shape taking more accurate and reasonable. People who like and study this technology have more choices. Only in this period did Chen Jieqi's idea of "painting with foreign photos" come true. During this period, a number of outstanding works emerged and passed down from generation to generation. Some authors left their names and places of origin, while others didn't even know their names. For a long time to come, they still used Chen Zanzhai's graphic expansion method, using rigidity, cloud gauge, paper leakage, photography, magnifying ruler and slide projector to enlarge the map. The representative of this period is Zhou Xiding (1891-1961), a famous Kang Yuan, formerly known as Jiarui, whose real names were Xiding and Xiding. In his later years, he set up the Ink Box, Mo 'an and Zhaitang as Shiyan Guild Hall, and was from Wushi Village, Jinxi County, Jiangxi Province. Settle in Beijing with your ancestors. In his early years, he opened an antique shop in Liulichang, Xuanwu District, and later engaged in the dissemination of ancient artifacts and the protection and appraisal of cultural relics in Beijing culture and art circles. Good at seal cutting, good at drawing, known as "Zhou". Therefore, he has a deeper understanding of ancient artifacts and the taste of ink and wash than ordinary people, and has made a thorough and detailed study of the extension techniques of Chen Jieqi and others. On the basis of profound traditional skills, he also learned the perspective of western learning. The artifact graphic works developed under his hand are naturally different. He named this work "holographic extension". Holographic extension works can apply the western focus perspective method to the drawing of the shape of the device, and have made great progress from local to overall modeling. The three-dimensional shape of an object is basically reflected by the ink effect. Strengthened artistic expression. The shortcomings are the lack of flexibility from form to spirit, the failure to solve the transition problem between subjective consciousness and objective image, and the unreasonable phenomenon. From a large number of works that remain in the world, it is not difficult to distinguish form extension, graphic extension and holographic extension, each of which has obvious characteristics. Chen Jieqi called himself a figure extension, while Zhou Xiding called himself a full-body extension, which can reflect their respective characteristics. I think, out of responsibility for history, it is more accurate to call them by their names separately than collectively.