Text: Yang Feng
I have always paid attention to Sun Haibo's various works and editions, because Sun Haibo is our hometown sage and the pride of our hometown. Sun Haibo's "Collected Records of the Wei Sanzi Stone Classics" published in 1937 is a book that I have been looking for, perhaps because I can't find it. I have recently read some information, and I will first include it here for future inquiries.
The "Wei Sanzi Stone Classic" is also known as the "Zhengshi Three-Body Stone Classic". In the second year of the reign of Emperor Cao Fang (232-274), in response to the needs of scholars to read the scriptures, Confucian classics were engraved on stone tablets (so called the Three-Body Stone Classic or the Three-Character Stone Classic) in three fonts: ancient chinese, seal script, and Lishu, and the "Xiping Stone Classic" carved from the fourth year of the Eastern Han Dynasty (175) to the sixth year of Guanghe (183), and stood on the west side of the Taixue Lecture Hall on the southern outskirts of Luoyang, Wei. Among them, the complete publications are "Shang Shu" and "Spring and Autumn", and the unpublished ones are "Zuo Zhuan".
Since the beginning of the Yongjia Rebellion in 311, Wang Mi and Liu Cong besieged Luoyang and burned the Erxue ("Jin Shu Wang Mi Biography"), and the stone scriptures should have been destroyed. From the "Biography of Feng Xi in the Book of Wei", it is recorded that "although Luoyang was in chaos, the old three-character stone scripture seemed to be still there, and Zhixi and Changbo successively became states, abolished and divided, and fell to the point of decline." "Knowing that the Northern Wei Stone Classics have been seriously damaged, they have been scattered on the ground. In August of the fourth year (537) of the fourth year of Emperor Xiaojing of Eastern Wei, he moved the Han Wei stone to Luoyang to Yuyi. In February of the first year of the Northern Zhou Dynasty (579), he also set foot in Luoyang. In the sixth year of the Sui Kai Emperor (586), he was also admitted to Chang'an from Yijing and placed in the secretary's introspection. After the Tang Dynasty, Wei Zheng gathered them, and there was no longer one in ten.
In the twenty-first year of qing guangxu (1895), the southern dragon and tiger beach of Luoyang Baima Temple Village found 110 words of remnants of "Shangshu Junyi" and 36 characters of ancient Chinese, which first belonged to Ding Shuzhen and later to Zhou Jin. In December 1922, the remnants of "Shangshu Junyi Wuyi" and "Spring and Autumn Gong Gong Wengong" were found in Zhuyuanta Village, thirty miles southeast of Luoyang City, and the "Junyi" chapter was just connected with the Dragon tiger beach, the rough stone was large, and the estimated person was folded into two paragraphs, a total of 1771 words, about 580 words in ancient Chinese, returned to the Henan Library, and then there were "Shangshu Duoshi" and "Spring and Autumn Gong Jiu Nian" remnants, a total of 229 words, and 76 characters in ancient Chinese. In addition, there are more than 100 pieces of rubble, the small ones are 1 or 2 words, and the large ones are more than 40 words, scattered in the hands of collectors, and the number of words cannot be counted.
In 1945, Xutumiao Street in Xi'an City (the former site of the Tang Dynasty Zhongshu Inner Province) first found a fragment of the three-body stone classic "Shangshu Kangyu", only table carving, no back carving, a total of 35 characters, of which ancient Chinese accounted for 11 characters. After liberation, a piece of stone fragments was found near the above-mentioned land in Xi'an City, with the table inscription "Shangshu Zicai" with 10 lines and 33 characters, 8 characters in ancient Chinese, and the back engraving of the "Spring and Autumn And Wen Dynasty Year 2nd Year" scripture, surviving 10 lines and 50 words, and 15 characters in ancient Chinese.
The Wei Sanzi Stone Classic, inscribed in three different fonts of ancient, seal and li, has great value in paleography and collation, and is of great significance in the history of Chinese calligraphy and the evolution and development of Chinese characters. In particular, the integration of ancient texts has always been revered by people, and the Northern Song Dynasty Guo Zhongshu wrote "Khan Jian", quoting the Wei Sanzi Stone Classic, which has 122 characters in ancient Chinese, and Xia Zhen's "Ancient Text Four Rhymes", quoting 114 characters in the ancient text of the Stone Classic.
At present, the Palace Museum (the collection of three-body stone remnants, 36 characters of the ancient seal of the Cunwen, 39 characters of the small seal, 35 characters of the Book of Lishu, counting 11 lines and 110 characters), luoyang museum (the remnants of the "Spring and Autumn" in the collection, the largest number of preserved characters, counting 345 characters), the Henan Museum, the Fujii Ari neighboring museum in Kyoto, Japan, and the Tokyo Calligraphy Museum are all collected.
Sun Haibo's "Collected Records of the Wei Sanzi Stone Classics", published in 1937, 8 open-thread editions, all 1 volume, according to the copyright page, only 150 copies were printed at that time. Most of the books sold on the used book network are reproductions of Taiwan's 70s. Rong Geng, a collector and scholar, recorded information related to the book in his "Beiping Diary" recorded in Beiping (now Beijing) from 1925 to 1946: "On November 12, 1937, I entered the city at eight o'clock. Visit Sun Haibo and see Yi with the new Zheng bronze ware and the "Wei Sanzi Stone Classic". "On December 18, 1939, early classes were held. The school's "Wei Sanzi Stone Classics Collection" found that Jun Yishi was very suspicious. "On August 10, 1943, Sun Haibo's "Three-Body Stone Sutra Record."
In the 1920s, the fortunes of the country were uncertain, when nearly 100 square three-body stones were excavated near Luoyang, and most of the remnants were not properly preserved after being excavated, and some were even exiled overseas, and their whereabouts are still unknown. Therefore, the authenticity of some of the expanded copies collected in Sun Haibo's book "Wei Sanzi Stone Classics" was also questioned for a while. For example, Mr. Shang Chengzuo once wrote an article alleging that the remnants of "Junyi" and "Many Parties" were forged. As a matter of fact. The fragments of the "Junyi" and "Many Sides" that Mr. Shang Chengzuo denounced as forgeries are compared with the "Shang Shu" text carved by other remnants. The structure, pen, and font style are the same. Many words are even written by the same person. Therefore, the fragments of "Junyi" and "Many Parties" that were denounced by Mr. Shang Chengzuo as forgeries are actually not fake (in 2010, the journal of Pingdingshan University, Zhao Liwei, "Sun Haibo< Wei SanziShi Jingjing> collected <Junyi >, < multi-party > the authenticity of the residual stones").