Dong Jingchen 丨 Da Xu Ben's "Explanation of Words and Characters" circulation and engraving

Power Dagger

The circulation and engraving of Da Xu Ben's "Explanation of Words and Characters"

Confucian-Tibetan Pulpit (No. 7)

阝勹

廴匚

private

Speaker: Lecturer Dong Jingchen, College of Literature, Beijing Normal University

Moderator: Zhang Lijuan, Researcher, Center for the Compilation and Research of Confucianism, Peking University

Date: June 13, 2019

Venue: Red 2nd Floor, Peking University

Moderator: Teachers and students, we are holding the seventh lecture of the Confucian-Tibetan Forum today, and thank you for coming. The keynote speaker we invited this time was Dong Jingchen, a teacher from the College of Literature of Beijing Normal University, and the topic of her lecture was "The Circulation and Engraving of Da Xu Ben's "Explanation of Words"" in a big way. Teacher Dong studied under Professor Wang Ning of Beijing Normal University, and his research direction is mainly traditional primary schools, and he is a descendant of the Zhanghuang School. At the same time, she also has a strong interest in versionology, using the research method of versionology to study the version of "Explaining Words and Characters", which is also very good, and can be used as an example of case study of versionology, from which we can get some references, so I specially invited Teacher Dong to give us this lecture.

Speaker: The topic of my lecture is "The Circulation and Publication of Da Xu Ben's "Explanation of Words in Speaking Texts", and the main content includes five parts. The first part is the origin of the origin, that is, how I moved from the study of linguistics (that is, the traditional primary school) to the study of the version system of the Shuowen (hereinafter referred to as the "Shuowen"); the second part is the issue of the version of the Song Dynasty Shuowen, including Xu Xuan's proofreading of the Shuowen and the northern Song Dynasty Jianben, the zirconium and circulation of the Song Ben Shuowen, and the version of the Song Ben Shuowen; the third part examines the problems related to the large characters of the Jiguge Large Character Script, which had a great influence in the early Qing Dynasty; and the fourth part discusses the translation of the Qing Dynasty small character "Shuowen", including the Rattan Hua Xie Ben The fifth part elaborates on the interaction between the source flow of the Shuowen and the study of shuowen.

I. Introduction

1. Study origins

The origin of studying "Shuowen" is related to my major - my major is traditional linguistics, and when I am studying for a master's degree, reading "Shuowen" is our compulsory homework. Big Xu Ben, Little Xu Ben and Duan Zhu, the general photocopy of these books, I have ordered more than one of them. In this process, I will also notice that there are certain differences between the "Shuowen" used by the Qing people and the Chen Changzhi ben and Qi Liaozao ben that we are now in use.

Starting from the research of traditional primary schools, combined with the collation of different editions and the combing of the source flow of editions, I also noticed that from Kangxi, Yongzheng, Qianlong to Jiaqing and Daoguang, with the deepening of the research of "Shuowen" and the publication of new editions, the popular version of "Shuowen" has changed, and behind this, it is related to the circulation of books and book engravings in the academic history of the Qing Dynasty. In the history of the Qing Dynasty's Shuowen studies, the transmission, borrowing, and school journals of the old maples and banknotes of the Shuowen among scholars was an important part of the development of the Shuwen studies in the Qing Dynasty. On the one hand, the popular engravings determine the main versions of the Shuowen that scholars of different eras can read; on the other hand, the publication of the important engravings of the Qing Dynasty's Shuowen is in fact born on the basis of the study of the Shuowen by scholars of the same era, and is subject to the editions and proofreading concepts that can be seen by the abbots of the engravings.

Duan Yujie's study of "Shuowen" and its influence is a very typical case. Today, when we do the study of "Shuowen", we often refer to Duan Yujie's "Notes on the Interpretation of Shuowen". In fact, before Jiaqing Twenty Years (1815) published the Commentary on the Interpretation of The Commentaries on the Interpretation of Texts, the entire academic circle of the Shuowen was shrouded in the aura of Duan Yujie's "Jiguge Shuowen Ding" - jiaqing second year (1797), thanks to the help of zhou Xihuan, Yuan Tingjue and other bibliophiles, Duan Yujue obtained a number of rare copies of the Shuowen, and proofread the popular Jiguge Ben, and compiled the collation survey of the "Shuowen" version - "Jiguge Shuowen Ding" (hereinafter referred to as the "Shuowen Ding"). Looking back at the Qing Dynasty's "Shuowen" research and the publication of "Shuowen", it can be found that Duan Yujie not only promoted the study of the Qing people's "Shuowen" in the overall research method of "Shuowen", but also profoundly influenced the scholars of the same era and later in the specific "Shuowen" version and the "Shuowen" collation. During the Jiaqing period, the Tenghua Xie Ben and the Pingjin Guan Ben engraved from the Song Ben "Shuowen" are related to Duan's "Shuowen Ding". It is also related to the school language of The Transcription of the Lineage mentioned in Duan's "Commentary on the Sayings" of the Duan Dynasty. It can be said that Duan Yujie established the collation paradigm of the Shuowen in the Ganjia period, and also explicitly or implicitly influenced, inspired, or even interfered with the research conclusions of every Shuowen researcher at that time.

Behind the version of the Qing Dynasty's "Shuowen", it also reflects the collation concepts and collation results of different scholars. In the early years of the Qing Dynasty, Mao Shu used the size of Xu to school each other, Wang Qishu carved the book to change the small Xu to the big Xu, and to duan Yu cut the beginning to clarify that the size of Xu Yuanliu was different, the vine flower xie ben and the Pingjin Guan ben were reproduced on the basis of the same Song maple book, but the seal shape, explanation, and plate style were different, which was closely related to the correction concept of the abbot of the engraving. The collision of proofreading methods such as proofreading, this school, other schools and science schools also directly or indirectly affected the Qing Dynasty "Shuowen" engravings that we can read.

2. The Anthonys and their branches

Xu Shen of the Eastern Han Dynasty wrote the fifteen volumes of "Explaining Characters in Speaking Texts", which is a primary school book with five hundred and forty parts as the outline, comprehensively analyzing the shape of the small seal and explaining the original meaning of the characters. Regarding the circulation of the Shuowen before the Song Dynasty, according to the "Reading Records of junzhai" and the "Lineage Biography" and other documents, during the Tang Dynasty (766-779), Li Yangbing published thirty volumes of the Shuowen, which is no longer transmitted. The early surviving manuscript of the Shuowen has fragments of the Wooden Department and the Mouth Department. The editions of shuowen and its branches after the Tang Dynasty, in addition to Xu Xuan's proofreading of Shuowen Jiezi, also include Xu Kai's "Biography of Shuowen Jiezi Series", Xu Kai's "Shuowen Jiezi Rhyme Spectrum", and Li Tao's "Shuowen Jiezi Five-Tone Rhyme Spectrum".

(1) Tang Dynasty Book, "Written Dissolution"

The earlier manuscripts known as the Shuowen are fragments. Among them, the wooden fragments have a total of six papers, each paper has eighteen lines, more than 180 characters are stored, and the plutonium has the seals of the Song Dynasty "Shaoxing", the Yuan Dynasty "Tian Yan", the Ming Dynasty Xiangzijing "Descendants Shichang" and other seals, which were handed over by Mo Youzhi and Duanfang in the late Qing Dynasty, and entered the Japanese Apricot Rain Book House through Naito Hunan. In addition, Japan also has a fragment of the mouth of the Shuowen, according to which there were three kinds of sui. Compared with the Great Xu Ben, the seal shape, seal order, and explanation of the Shuowen manuscript are slightly different. Regarding the circulation, value, authenticity, and explanation of these Shuowen manuscripts, Mr. Li Zongkun has a very detailed study in the "Study on the Fragments of the Tang Manuscripts of the Shuowen Jiezi" (2015 edition of The Chinese and Western Bookstore).

Xingyu Bookstore collects fragments of the Wooden Part of the Tang Dynasty's "Explanation of Words"

(2) Xu Kai's "Biography of the Interpretation of Characters in Shuowen"

During the Southern Tang Dynasty, Xu Kai relied on the original "Shuowen" and attached annotations to compile the forty volumes of the "Biography of the Shuowen Jiezi Series", which was known as Xiao XuBen. Volumes 1 to 30 of the "Lineage Biography" are "General Interpretation", annotating the "Sayings" and attached to Zhu Ao's reverse cut, entitled "Wenlin Lang Shou Secretary Provincial School Secretary Lang Chen Xu Kai Chuan Interpretation, Chao San Dafu Xing Secretary Provincial School Secretary Lang Chen Zhu Ao Reverse Cut". Volumes 31 to 40 are general treatises on shuowen written by Xu Kai. The history book of the "Lineage Biography" or the work "Tongshi" is erroneously based on the first thirty volumes of the "Tongshi". Xu Kai served as a school secretary in Yangzhou around the eleventh year (953) of the Southern Tang Dynasty, and in the fifteenth year of Baoda (957) he reinstated Jinling and wrote the "Lineage Biography" around this period. During the Northern Song Dynasty (1056-1063), Su Song and Zhang Cili once surveyed the "Lineage Biography" in the Pavilion. After the book "Lineage Biography", there is Su Song Xining's second year (1069) trek, followed by "Si Nong Nanqi again, the old Que twenty-five, thirty a total of two volumes, do not ask for supplementation." The surviving fragments of the Song carvings of the "Lineage Biography" are the Zhejiang inscriptions of the Southern Song Dynasty, or the "Zhejiang Eastern Engravings" of Su Song and Ye Mengde mentioned in Wang Yinglin's "Chronicles of Sleepy Studies".

In terms of the number of volumes of the "Lineage Biography", "Chongwen General Catalogue", "Tongzhi", "Guoshi Jingbizhi" wrote thirty-eight volumes, "Zhongxing Guan Ge Bibliography", "Zhizhai Shushu Solution", "Literature Tongkao", "Song History YiwenZhi" and other works zirconium works forty volumes. The difference in the number of volumes of the Shi Zhimu may be related to the actual number of volumes in the collection of the Northern Song Dynasty pavilion and the number of volumes of the Southern Song Dynasty's engraved "Lineage". According to the actual existence of the "Chongwen General Catalogue", the "General Catalogue of Chongwen" is based on the actual existence of the pavilion, so it is missing or vols. 25 and 30, and the Tongzhi and the History of the State and the Classics of the Classics are inherited. Since the Southern Song Dynasty, volume 25 of the "Lineage Biography" has taken the explanation of the Great Xu Ben and the reverse cut to supplement it, although it is still titled Xu Kai's interpretation and Zhu Ao's reverse cut, in fact, there is no Xu Kai's commentary, nor is it Zhu Ao's reverse cut (in the Qing Dynasty Qi's Qi's algae version, the publisher changed the twenty-fifth volume to Xu Xuan's knot). Volume 30 has Xu Kai's notes. However, as to whether volume 30 is Xu Kai's old appearance, the Qing people have different understandings.

There are only fragments of the Song engraving of the "Lineage" (Guotu 3748), which is 30 to 40 in the archives, which is the old collection of the Ming Dynasty Zhao Miguang. According to Zhao Youguang's "Long Notes on The Sayings", zhao Miguang's "Lineage Biography" seen by Zhao Miguang, "the "General Interpretation" has died, but its purpose is preserved", then the Ming Dynasty is no longer complete. In the Qing Dynasty, the Song carved fragments of the "Lineage Biography" were once handed over by Zhou Xihuan, Huang Pilie, and Wang Shizhong, and later became one of the original copies of the Qi Liaozao engravings during the Daoguang years. Most of the "Lineage Biographies" circulated in the Qing Dynasty are manuscripts, which can be divided into foot and missing systems according to whether the seal shape and explanation are sufficient. Among them, the footbook system has the old copy of Mao Shu, the old collection of Qian Zeng, the old collection of Qian Chuyin, and the copy of Gu Guangxi's manuscript from Mao during the Jiaqing period and reference to the Qian Chuyin codex. Most of the rest are missing systems. The Wang Qishu inscription of the forty-seventh year of Qianlong (1782) was derived from the missing system, while the Qi Liaozao of the nineteenth year of Daoguang (1839) was mainly based on the Gu Guangxi manuscript of the footbook system, and participated in the study of the Fragments of the Song Carvings of the Lineage Biography.

The National Library of China has a fragment of the Song engraving "Biography of the Interpretation of Characters in Shuowen"

(3) Xu Xu Xu, Thealyphistic Rhyme

Xu Kai's compilation of the "Commentary on the Interpretation of Character Rhymes" "is easy to review, no sympathy for others, so talk about the old training, think that it is not recognized", completely disrupted the first order of the "Shuowen" and the order within the department, according to Li Zhou's "Cut Rhyme" arranged according to rhymes, the annotations are brief, or only reverse cut and no annotations. There is now an engraving of the Yuanzhuang Shantang, and in front of the book there is Xu Xuan's "Preface to the Seal Rhyme Of Shuowen Jiezi", and the end of each volume and the end of volume 2 and volume 3 are titled "Shuowen Jiezi Rhyme Spectrum", while the end of volume 1, volume 4, and volume 5 is titled "Shuowen Jiezi Seal Rhyme Spectrum". In later generations, in the works of the Gong, or in the "Shuowen Jiezi Seal Rhyme Spectrum". Because there is no author in the volume, there are also people who are mistakenly titled Xu Xuan. In the practice of collation and surveying, the "Rhyme Spectrum of Shuowen Jiezi" has little role in proofreading the order and explanation of the seal, and is mainly used for proofreading the shape of the seal.

National Library of China's Collection of Yuan carved "Spoken Word Interpretation Rhyme Spectrum"

(4) Lee Zhao, TheSociation of The Five-Tone Notation

Li Tao's "Five-Tone Rhyme Notation of Shuowen Jiezi" is an adaptation of Da Xuben's Shuowen Jiezi, compiled and first engraved during the Southern Song Dynasty (1174-1189). Since it was not easy to check the first characters of the "Shuowen" department, and the Song people were accustomed to checking according to rhymes, Li Tao took the "Shuowen" of Da Xuben and adapted it into the "Five-Tone Rhyme Spectrum". When the "Five-Tone Rhyme Spectrum" was adapted, the seal text, explanation, and reverse cut came out of the Great Xu Ben, with Li Tao's school language attached to it. However, in terms of arrangement, unlike the "Shuowen" head "Beginning one end hai" and the "inner part of the righteousness", the "Five-Tone Rhyme Spectrum" is changed to "Beginning East and Final A" according to four sounds, and the inner jurisdiction of the ministry is also arranged according to four sounds. Li Tao once served in the Pavilion, and although the surviving Song Ben "Five-Tone Rhyme Spectrum" is not the earliest engraving of the "Five-Tone Rhyme Spectrum", the different texts from the Song Ben "Explanation of Words" may have originated from the Northern Song Dynasty Supervisor's "Shuowen" that Li Tao could see.

Li Tao's adaptation of the "Five-Tone Rhyme Spectrum" is embodied in Li Tao's "New Compilation of The Interpretation of The Five-Tone Rhyme Sequence" and the "Later Sequence". These two articles were collected in Wei Weng's "Miscellaneous Notes on the Scriptures" and Ma Duanlin's "Literature Examination". However, neither in the surviving Song Ben "Five-Tone Rhyme Spectrum" nor in the engravings since the Ming Dynasty, there is no preface to Li Tao, nor is there an inscription by Li Tao. The book "Five-Tone Rhyme Notation" is preceded by Xu Shen's "Narrative of Explanation of The Interpretation of The Text" with the title "Xu Shi Shuowen" and Xu Xuan's upper table. Since the Ming Dynasty, many people at the time did not know that the "Five-Tone Rhyme Spectrum" was compiled by Li Tao, or mistakenly used the "Five-Tone Rhyme Spectrum" as Xu Shen's old appearance, or mistakenly thought that the "Five-Tone Rhyme Spectrum" was edited by Xu Xuan according to Xu Xuan's above table. Erudite such as Gu Yanwu, under the "Shuowen" article of the Rizhi Gong, it is also said that "the original order of the Shuowen is not visible, and now it is determined by the four voices, Xu Xuan, and so on." It is conceivable that during the Ming and Qing dynasties, the circulation of the old version of the Shuowen was very rare.

The surviving Song Ben "Five-Tone Rhyme Spectrum of Shuowen Jiezi", with the title of "Reprinting the Five-Tone Rhyme Spectrum of Xu's Shuowen Jiezi", is no longer the original engraving of the "Five-Tone Rhyme Spectrum". According to the collation survey and the combing of the version system, there are eight kinds of Ming carved "five-tone rhymes", and all of them have appeared in the Song Ben "Five-tone Rhymes". Except for the Mingneifu inscription, which is basically engraved according to the Song Dynasty and the text, the rest are derivative versions of the 14th year of Hongzhi (1501) Cheyu carved Yifan. In the publication of each book, it is often due to problems such as the rambling of the base book and the misplaced line, forming a systematic foreign text, and there are their own versions of the rheology.

Chinese Bookstore Collection song engraving "Five-tone Rhyme Notation of Shuowen Jiezi"

Overall, the "Five-Tone Rhyme Spectrum" adapted by Da Xu, Xiao Xu and Li Tao have similarities and differences in seal shape, explanation, and arrangement. When the Qing people were proofreading, in addition to using the above versions, they would also use the "Shuowen" cited in various books, the "Shuowen" cited in the Song Dynasty's "Collection of Rhymes", "Class Chapters" and other character books, and the "Lineage Biography" cited in Huang Gongshao's "Ancient and Modern Rhymes". However, due to the complex sources of quotations, in the history of Shuowen in the Qing Dynasty, different scholars also had different handling strategies when dealing with the materials quoted in his book.

Second, the long history: the problem of the version of the Song Ben "Shuowen"

The Shuowen (說文) was submitted by the Song and Yuan Dynasties, and was an important source of the engraving and proofreading of the Shuowen in the Qing Dynasty. Combing through the editions of the Song and Yuan manuscripts of the Shuowen can deepen the understanding of the book engraving activities of the West Lake Academy in the Yuan Dynasty in terms of versioning, and also help to clarify the specific printing of the Song Ben "Shuowen" used by the Qing people, and promote the study of the basic texts of the Shuwen periodicals such as the Jiguge Ben, the Pingjin Guan Ben, and the Tenghua Xie Ben.

1. Xu Xuan proofread the Shuowen and the birth of the Northern Song Dynasty Jianben

In the third year (986) of Emperor Taizong of Song's reign, Xu Xuan and others were instructed to proofread the Shuowen Jiezi and compiled it into thirty volumes of the Shuowen Jiezi, known as the "Great Xu Ben", also commonly known as the Shuowen. The school journal of Shuowen in the Northern Song Dynasty was closely related to the Chongwen Academy and the Guozijian. In the third year of the Reign of Emperor Taizong of Song (978), he built the ChongwenYuan (崇文院), "The Book of the Animal World, Yan Sifang Xianjun", under which there are Zhaowen, Shiguan, and Jixianyuan, called the Three Pavilions. In the first year of the Duan Arch (988), the Secret Cabinet was placed, which was known as the "Pavilion Pavilion". The Pavilion of the Song Dynasty was both a central school and a central librarian. The Kōkaku School Book is mainly responsible for the Elementary School of the Scripture Department (the Scriptures are also in the Guozijian), the Main History, the Sub-Department and the Jibu Department. According to the "Song Huijiao", each of the three libraries has a library, which is divided into four subsets of history, and each book has its own original and copy. The Guozijian of the Northern Song Dynasty was responsible for both the collation of scriptures and the publishing institution of engraving and printing, and the books that passed through the collation and survey of the Pavilion and the GuoziJian would be promulgated in the Guozijian engraving and could be sold on the road.

After the Song book of "Shuowen", it was included in Xu Xuan's and others' "Table of Upper Sayings" and "Table of Entering Books", which briefly introduced Xu Xuan's correction process. Xu Xuan mentioned in the above table that "the original copy of the collection book and the collectors of the Qunchen family should be examined in detail", and the "original copy of the collection book" here refers to the original and copy of the "Explanation of The Explanation of Texts" held by the Jixian Yuan, that is to say, the base book of the Great Xu Ben is based on the books collected by the library and the old books collected by the Qunchen family. The specific proofreading work of Xu Xuan and others includes about these aspects: First, compiling the "New Revised Character Meaning", sorting out the "Nineteen Texts of the New Revision" and adding the "Shuowen" seal, and listing the twenty-eight characters of "false and inconsistent with the six books" and the words "Fan, Yi, and Kin" of "the seal text inherits a slight difference". Second, at the end of each part of the Shuowen, more than four hundred new appendages were added, marked with "new appendices" and slightly annotated; third, after Xu Shen's explanation, li yangbing, Xu Kai, Xu Xuan, and others were added; fourth, according to Sun Xun's "Tang Yun", the reverse cut was noted under each word; fifth, the title of the volume was added, and the fifteen volumes were divided into thirty volumes.

Song Ben's "Shuowen" book hou Mu Wenyun: "His book should be paid to the History Museum, still let the Guozi supervise the carving as a printing plate, according to the Nine Classics of the Scriptures, Xu Ren accepted the price of paper and ink to redeem, and also commissioned Xu Xuan and other points to inspect and write the carving, without making mistakes, resulting in the wrong generations." "After the "Explanation of Words and Characters" was proofread and submitted, the lower Guozi supervised the carving for the printing plate. This is the earliest engraving of the Shuowen, which means that the circulation of the Shuowen has changed from a written version to an engraving, and has influenced the appearance of the version of the Shuowen since then: during the Northern Song Dynasty, although Xiao Xuben had a collection in the pavilion, it was not until the early years of the Southern Song Dynasty that it was engraved. The Northern Song Dynasty official's zishu rhyme books (such as the Jade Chapter, GuangYun, Class Chapter, Ji Yun, etc.), as well as the Southern Song Dynasty Li Tao's compilation of the Five-Tone Rhyme Spectrum, most of which were based on Xu Xuan's proofreading when quoting the Shuowen. You Yuan's "Sui Chu Tang Bibliography" primary school class has "Old Jianben Xu's "Shuowen", or also the Northern Song Dynasty Jianben.

2. The writing and circulation of the Song small-character "Shuowen"

The surviving "Shuowen" old maple, half leaf ten lines, each line of large characters twenty to twenty-two characters, small characters about three crosses, the layout is narrow, so the Qing people mostly called "small characters". Regarding the name of the "small character book", there is Mao Shu at the end of the book "Explanation of Characters in Shuowen", yun: "Xianjun purchased the real copy of "Shuowen", which is the Northern Song version, and felt that its characters were small, and the carving was opened in large characters. In the second year of Jiaqing (1797), Duan Yu wrote the Shuowen Ding, which called the Song Ben a "small character book", as opposed to the Zhao Jun manuscript and the Jigu Ge ben of the "big character book". Since then, the Qing people have mostly called the Song ben "small character book".

Erlebu Ben Huang Ji Shui Ben Naito Hunan Ben Ye Qixun Ben Qian Zeng Ben Wang Chang Ben Zhou Shu Ben Song Bao Chun Ben

(1) Song Small Book"Commentary"

There are eight surviving copies of the entire and fragmentary small-character "Shuowen". Among them, the entire "Shuowen" has four counts: one is the old collection of Mao Jin (hereinafter referred to as the "ErleBu Ben"), which was handed over by Mao Biao, Ji Zhenyi, Erlebu, Yang Yizeng and others, and is now the Tibetan National Map (09588). Second, Ye Qixun Ye inspired the old Tibetan book, the present Tibetan Xiangtu. The circulation of this book in the early Qing Dynasty is unknown. The first title of the book is the seal of the leaf, but this leaf is copied in the first four acts of volume 5, volume 9, and volume 13. Judging from the source of the copy, these four leaves are all copied and supplemented according to the copy of the JiguGe after the change of the printing line after Mao Jiao's body. At the same time, Mao's process of jiguge's school periodicals during the Kangxi dynasty also showed that Mao Shu failed to use the Song Ben "Sayings" in his later years. Judging from these clues, the hair seal of the bibliography leaf should be used as a seal. Third, Wang Chang's old collection, this book was very prominent in the Qianjia period, and the Shuowen Ding had participated in the proofreading of this book, which is now in the Japanese Jingjiatang Bunko Library. Fourth, Huang Jishui's old collection, missing the title, the text of fifteen volumes, the seal of "Huang Zhichun". This book has no Qing people's seal, and is suspected to be the old collection of the Qing Palace, and the current Tibetan national map (01117).

There are four surviving fragments: First, the old Collection of Naito Hunan, which has been circulating in Japan, and the seal of "Fragrant Mountain Permanent Residence", collected by Naito Hunan, is now in the apricot rain book house. Second, Zhao Miguang's old collection (hereinafter also referred to as "Qian Zengben"), which was handed over by Qian Zeng, Zhang Dunren, Sun Xingyan, Yuan Fangying, Li Shengduo, and others, is now in Peking University, and zhao Youguang's "Long Notes on Speaking Texts" and Qian Zeng's "Bibliography of Shugutang" have mentioned this book. According to Qian Zeng's Tibetan seal, it was originally four volumes, but now only fragments remain, which have also been modified. Third, Song Baochun's old collection contains the seals of Zhang Xi and Zhu Yun during the Qianlong period, and Gui Fu and Weng Fanggang have also allegorized this book. The original is a complete fifteen-volume version, which may have been a fragment in the late Qing Dynasty at Fei Nianci's place, and was later written by Zheng Zhenduo, by fei's descendants and the Literature Preservation Society, and is now in the collection of Taitu (00911). Fourth, the old collection of Zhou Shuhan, that is, the zero copy of the Cabinet Treasury mentioned in the "Chinese Edition Engraving Chart", is now in Tibet (Shan 7957).

In addition, in the rust of the predecessors, there are also many Song Ben "Sayings", and the whereabouts of the present are unknown. The first is the Zhou Xihuan Collection book that Duan Yujue participated in the "Sayings and Texts". The second is the old collection of Huang Pilie, which is a blended edition, which is printed on white paper from volume one to volume seven, and printed on yellow paper in volumes 14 and 15, and the rest is copied and supplemented. Huang Pilie's book was later handed over by Wang Shizhong, Cai Tingzhen, and Cai Tingxiang. In addition, Tianlu Linyi's Song Ben "Shuowen" was written in the early years of Jiaqing; Fu Zengxiang's six volumes were studied by Mr. Zhou Zuchen during the Republic of China, and his whereabouts are unknown.

There are two main copies of the Song Dynasty's Shuowen. The first is the Ye Wan (Shi Jun) manuscript, He Huang Jingyan, during the Ganjia period, He Xihuan, Duan Yu borrowed the Zhang when he wrote the Shuowen Ding, and later zang Gong Zizhen, He Shaoji borrowed the Zhang, and now his whereabouts are unknown. The second is Sun Xingyan's old collection, which is now in the picture above. This book was copied by Sun Xingyan during the Jiaqing period when he asked Qian Dong to copy it from Wang Chang. The Wang Chang ben in the Jingjiatang Library has been copied and modified by the Cai brothers of the Jin Dynasty, and the Qian Dong manuscript has preserved the appearance of the Wang Chang ben during the Jiaqing period (1796-1820) for us.

In the surviving Song Dynasty, there are also cases such as copying, supplementing, and depicting. Naito was missing 11 whole leaves and 1 half leaf, and was not copied. Ye Qixun's original lacks 11 whole leaves and 7 and a half leaves, which are copied and supplemented by the printed version after being changed by Ji gu ge. Qian Zengben lacked 9 whole leaves, copied earlier, and the source was complicated. Wang Changben lacked 7 whole leaves and 2 half leaves, except for the first leaf of the volume for the Jin Kui Cai clan copy supplement, the rest of the copy supplement was earlier than the second year of Jiaqing (1797), and the source was also more complicated. At the same time, among the leaves of Wang Chang's Song engraving, there are 8 leaves for the early revision of the supplement, the paper color is different, and the supplement is earlier than the Jiaqing period. Song Baochun is missing 12 whole leaves and 2 half leaves, and 1 leaf is copied. In terms of depiction, there is basically no depiction on the Huangji Water Ben, Naito Hunan Ben, Zhou Shu Han Ben and Song Bao Chun Ben, which can reflect the original appearance of the engraving (only the ink nails and ramblings on the Huang Ji Shui Ben have been dug up), while the Erle Bu Ben, Qian Zeng Ben, Ye Qixun Ben and Wang Chang Ben each have their own depictions and digging supplements, forming many non-engraved different texts.

These Song ben and the shadow manuscripts from the Song ben constitute the Song ben "Shuowen" that has been stored and circulated since the Qing Dynasty.

(2) The circulation and study of the Song xiaozi script "Shuowen"

Judging from the Tibetan seals, inscriptions, and accounts, during the Ming and Qing dynasties, there were a large number of scholars who had alleged the Song Ben "Shuowen", including Zhao Miguang, Mao Jin, Mao Shuo, He Zhuo, He Huang, Zhu Yun, Weng Fanggang, Gui Fu, Qian Daxin, Duan Yujie, Huang Pilie, Ruan Yuan, Er lebu, Sun Xingyan, Gu Guangxi, Wang Shizhong, Xu Han, and a large number of other scholars, and many of them even had the privilege of seeing two or even three or more Song Ben "Shuowen". The small-character "Shuowen" that they have passed through is not only related to their study of "Shuowen", but also has a close connection with the engraving of "Shuowen" publications such as the Jiguge Ben, the Jiaohua Yinfang Ben, the Tenghua Xie Ben, the Pingjin Guan Ben, and the Ding Gen Shan Ben.

In the study of the Qing Dynasty, scholars such as Weng Fanggang, Qian Daxin, Huang Pilie, Duan Yujie, and Gu Guangxi have noticed the differences in text and layout in different prints of the small-character Shuowen. Duan Yujue's "Shuowen Ding" had the greatest influence, exposing the value of the Song Ben "Shuowen", and according to the Zhou Xihuan Ben, Wang Chang Ben, and Ye Wan's manuscripts that he had seen, he pointed out: "The three small characters of the Song Ben do not produce a bridge, so they are roughly the same but slightly different. In modern times, primary school researchers such as Zhou Zumo, Gao Ming, and Wang Guiyuan, as well as version researchers such as Zhao Wanli, Abe Ryuichi, and Li Zhizhong, have also deepened the study of the Song version of the Shuowen from different angles. The main differences in the former sage Shiyan's understanding of the small-character version of the Shuowen were mainly in the following aspects: At the time of publication, most of the Qing people classified it as the Northern Song Dynasty, but Weng Fanggang had already avoided the "Caution" character of the Erlebu Ben and proposed it as "The Later Inscribed Version of Emperor Xiaozong, not the Northern Song Dynasty Plate Ben", while Guifu's "Zhapu" was based on the brushed and printed Song BaoChun Ben, and the small character "Shuowen" was called "Ming carved small character book". Brush printing time, since the Qing Dynasty, there are Song Ben, Song Edition Yuan Seal, Early Ming Edition And so on. The nature of the version, there are the supervision book, the workshop book, the Ma Sha ben, the minister library and so on. There are also different understandings of the causes of different texts, such as depictions, revisions, and engravings.

In recent years, I have had the privilege of receiving help from the National Map, the Upper Map, the NanTu, the Xiangtu, the Jingjiatang Bunko and the Xingyu Bookstore in Japan, and have successively examined and examined the films or shadows of the above surviving small characters, and then tried to study and explore the version of the Song Version of the Shuowen, and noted some limitations and deficiencies in the research of previous generations. First, in the Song Ben "Shuowen", there are both different engravings and non-engraved texts caused by copying, digging, and depicting. Copying and tracing is not only an important clue to explore specific engravings or manuscript bases, but also a weak link in the research of previous editions: some researchers have not been able to exclude non-engraved foreign texts, which has affected the judgment of the order of editions and brushing. Second, when the predecessors inspected the Song Ben "Shuowen", limited to various conditions, they would also use the Pingjin Guan Ben, the TengHua Xie Ben, the Ding Gen Rare Ben, the "Four Series" photocopy of Wang Chang Ben, etc., but in the engraving and photocopying of the above version, there were intentional or unintentional text changes, and in the study of the edition, the engraved version and the photocopied version that had been depicted could not reflect the original appearance of the Song Ben. Third, the combination of edition research and the different texts of the "Shuowen" is not sufficient, or only pays attention to the differences in text, but does not make an in-depth discussion on the issues of engraving and depiction; or only explores the differences in the appearance of the brushed paper or plates, but fails to discuss in depth the source flow and different texts of the Shuowen in conjunction with the "Shuowen Ding" and the Qing Dynasty approval. Therefore, there are occasional omissions in the judgment of the families on the order of brush printing and the nature of the editions of the Shuowen.

3. The version of the Song and Yuan revisions of the Shuowen:

Early revision and late revision

(1) The editions of the early and late revisions of the Shuowen

According to the comparison of the cracks, revisions, texts, and engravings of the surviving Song small character "Shuowen", it can be clearly stated that the surviving small-character "Shuowen" can be divided into an early revision that has been revised once in the Yuan Dynasty, and a late revision that has been revised twice in the Yuan Dynasty. There are 273 editions of the Song Dynasty, of which 267 editions are in the early and late editions (the same edition also contains different revisions such as the same engraving, trimming the layout, digging out the engraving, cutting up the text, adding and deleting ink nails), and 6 editions are different editions (that is, the late revision of the supplementary engraving leaves). In terms of style, a total of 254 leaves have the names of the engravers under the center of the early revision, and in the late revision, 122 of the engravers of the leaves are removed.

After excluding the non-engraved texts caused by the depiction and copying of each book, it can be seen that the surviving early revisions of the "Shuowen" include the Naito Ben, the ErleBu Ben, and the Huang Ji Shui Ben. Among them, Naito Hunan's old collection was the earliest brush printing, the Erlebu ben was slightly later, and the huangji water ben's edition was slightly rambling. In addition, the Zhou Xihuan and Huang Pilie ben, from the top of the fourteenth to the fifteenth volume of the huang pilie, are considered by Huang Pilie to be "yellow paper and then printed", in fact, it is an early revision. At the same time, in the Huang Pi Lie's book, the copy of volume 1, volume 8 down to volume 13, the base book is also an early revision. The remaining five books are late revisions, of which Ye Qixun's brush printing is earlier, Qian Zengben, Wang Changben, and Zhou Shuhan's book, the three books are similar in time, Song Baochun's is the latest, the plate condition is poor, Zhi Guifu mistakenly recognized this book as a Ming engraving; Huang Pilie's volume from volume seven is also a late revision. In addition, combined with the "Shuowen Ding" and the Ye Wan codex obtained by He Shaoji and Xu Han, the Ye Wan codex was copied from qian Zeng, who had a good relationship with Ye Wan.

(2) The source stream of the version of the Song and Yuan revisions of the Shuowen

Through comprehensive investigation, it can be judged that the Southern Song Dynasty inscription of the "Shuowen" passed down from the Ancestors of the Northern Song Dynasty, avoiding the word "Prudent", is about the Hangzhou inscription during the xiaozong period (1162-1189). The identifiable engravings are concentrated in the Middle Southern Song Dynasty during the Ningzong period (1194-1224), and it is possible that these engravers were already Song cultivators. After entering the Yuan, the edition of the Shuowen was published at the West Lake Academy in Hangzhou, and after two large-scale revisions, the early and late revised texts were formed.

In the first draft of my study of the Song Dynasty of shuowen, the yuan dynasty revised edition of shuowen has been divided into two issues. Mr. Qiao Xiuyan told me that Mr. Ozaki Yasushi had a detailed study of the version and the investigation of the engraving in the two revised editions of the Book of the Later Han Dynasty engraved by the Two HuaiJiangdong Transit Divisions in the West Lake Academy in the "Study of the Song and Yuan Editions of the Zhengshi Dynasty". Qiao Xiuyan also suggested that the two revised editions of the Shuowen may be somewhat similar to the Book of the Later Han Dynasty. In Ozaki Yasushi's book, the Yuan Dynasty supplementary engraving of the Book of the Later Han Dynasty is divided into two phases, the first period of engraving, according to the "Dade Shengji General Technetium", is set as around the fourth year of Dade (1300), and the second period of engraving, according to the "Six Books", is set around the first year of the Great Era (1308). In addition, in the "Chinese Edition Engraving Chart", the engravers of the West Lake Academy are generally classified as "workers in the Song and Yuan Dynasties and supplementary editions in the Yuan Dynasty". On the basis of the research of previous generations, I checked other books engraved or repaired by the West Lake Academy, and made some minor corrections to the age of engraving discussed in the "Chinese Engraving Tutu" and "Research on the Zhengshi Song and Yuan Editions".

Most of the engravers of the first batch of revised editions of Shuowen in the Yuan Dynasty participated in the engraving and supplementary edition of books in the early Yuan Dynasty of West Lake Academy. He is the author of the "Added Rhymes" of the "Reorganization Bibliography of The West Lake Academy", that is, the "Rhyme Strategy of the Supplementary Reciprocal Annotation Ceremony Department", which has two copies, the upper picture of the Song carved Yuan Seal and the revised edition of the National Palace Museum in Taipei after the Yuan Dynasty. The back of the picture above is the Huzhou Road household registration in the Yuan Dynasty, the latest date is to the 26th year of the Yuan Dynasty (1289), and the Collection of the National Palace museum in Taipei has a Revised Edition of the Yuan Dynasty, of which the newly seen engraving is consistent with the engraving of the first revised version of the Yuan Dynasty in the Shuowen and the Book of later Han. The official paper in the picture above reveals that the first revised edition of West Lake Academy was also scrapped as early as the 26th year of the Yuan Dynasty (1289). At the same time, the first batch of revised engravings of the Shuowen are also found in the "Daedeok 4th Year (1300) "Daedeok Heavy School Shengji Zong" and the "Rites and Rites of the 5th Year of Dade" (1301), which shows that the first large-scale revision of the West Lake Academy in the Yuan Dynasty was not the Song and Yuan Dynasties speculated in the "Chinese Engraving Map", but should be around the time of Dade (1297-1307) after entering the Yuan.

In the second revised edition of the Shuowen in the Yuan Dynasty, the new engraving is Pingshan, and in other West Lake Academy engravings, it is seen together with Ni Pingshan, and it should be the same person. Ni Pingshan (Pingshan) is also found in the engraving of the "History of Jin" in the fifth year of Zhizheng (1345), the engraving of the "History of Song" in the sixth year of Zhizheng (1346), and the engraving of "The Compilation of Jintuo of the Eguo Dynasty" in the twenty-third year of Zhizheng (1363), which is inferred from the working years of about thirty years of an engraver, and the engraving of Pingshan in the "Six Books Tracing the Origin" of the Yuan to the third year of the Yuan (1337) should be participated in the revision rather than the original engraving. That is to say, the second batch of revised editions of the Yuan Dynasty was not the solstice period (1308-1311) that Ozaki Yasushi had speculated, but was the late Yuan Dynasty. In addition, according to Chen Ji's "Bibliography of West Lake Academy", in the seventeenth year of Zheng (1357), the library of West Lake Academy collapsed, "the book board was scattered and buried, and those in the rubble were often destroyed and stripped", and from the twenty-first to twenty-second years of Zheng (1361-1362), there was a large-scale revision of West Lake Academy. Judging from the printing surface of the late revision of the "Shuowen", some of the plates that have been revised for the first time in the Yuan Dynasty have cracked or even broken the edition in the late revision, which helps the late revision to be poorly preserved when the edition is brushed, which is consistent with the situation of "destroying and peeling" the book version described by Chen Ji. The second revision and supplementary work of the Shuwen edition in the West Lake Academy of the Yuan Dynasty is likely to be the last year of the Yuan Dynasty after the book library was peeled off. At the same time, the engravers Wang Zheng, Lin Maoshi, Shi Zezhi, Gu Xian, and others who appeared in the second revised edition of the History of Song, the History of Jin, and the Book of Later Han, together with Pingshan, can also provide reference for judging whether the relevant version has been revised twice by The West Lake Academy in the future.

Clarifying the timing of the two revised editions of the Shuowen Jiezi edition in the Yuan Dynasty can also further deepen our understanding of the specific printing of the editions contained in the "Reconstructed Bibliography of The West Lake Academy" and the "Nanyongzhi Jingshu Examination": The first large-scale revised edition of the West Lake Academy in the Yuan Dynasty during the Dade period, then the rusty "Shuowen" in the "Reconstructed Bibliography of the West Lake Academy" compiled by the third year of the reign (1323) to the first year of Taiding (1324), immediately after a revised edition, the Song Yuan repaired the early revision of the "Shuowen" book version. Moreover, the rest of the books and editions of the "Reorganization Bibliography of West Lake Academy" should actually be revised editions after the early Yuan Dynasty. After entering the Ming Dynasty, the Shuowen and other Editions of the West Lake Academy were mostly moved to the Nanjing Guozijian, and the "fifteen volumes of the Shuowen Jiezi" described in the "Nanyongzhi Jingshu Examination" compiled by Huang Zuo and Mei Que in the twenty-third year of Jiajing (1543) were the book editions of the Late Revised Edition of the Shuowen after two revisions in the Yuan Dynasty. Moreover, the old book editions of other West Lake Academy books in the Nanyongzhi Jingshu Examination should also be revised editions by the Yuan Dynasty or even the Ming Dynasty.

(3) The correction of the Song and Yuan revisions of the Shuowen

Through proofreading, it can be seen that compared with the early revision, the late revision has been revised and supplemented, and many seals, explanations, and anti-cutting texts have been formed. For example, in terms of seal shape, the late revision of "芼" mistakenly from "Zhong", "Barnyard" mistakenly from "Sleepy", and "Xi" mistakenly from "Moon". In terms of explanation, the late revision of the "橦" changed "account pole" to "account pillar", or "changed" from Ge to Shouyi as "from Ge and from one", "Yuan" changed "Yingye" to "Yuye" and so on. In terms of reverse cutting, the late revision of the "big" changed "Ta Da" to "He Gai", "Picking" changed "Zhu Er" to "Bamboo Calendar", and "轢" changed "Lang Strike" to "Calendar". Judging from the sources of proofreading and reform, although there are some close and wrong forms in the early revisions, the explanations and anti-cuts are consistent with the Song Ben of the "Five-Tone Rhyme Spectrum"; while the explanations and reverse cuts of the late revisions are rarely consistent with the "Five-Tone Rhyme Spectrum" Song Ben and the Great Xu Ben quoted in his book, there are many seal shapes and explanations, and the reverse cut takes more rhyme books such as "Libu Rhyme" and "Zengyun" of the "Jiyun" system, which are not the same as the Sun Yu's anti-cutting on which Da Xu is based, and even some are cut out in reverse from the "Jade Chapter", so there are many mistakes, and the correction is actually rough.

Regarding the revision of The West Lake Academy in the last years of the Yuan Dynasty, Chen Ji's "Bibliographic Preface to the West Lake Academy" records:

The subset of the republished history of the scriptures is insufficient, and there are 3 in terms of editions 7890, and 3.43 million in word terms, 636350 with 2. The damage of the books that have been made up is scattered, and there is one in terms of plates, and 2 in terms of words, and 2 in words. ...... Bookworms, 90 people in terms of people have 2. For the reading correction, yuyao prefecture magistrate Yu Wengui, mountain chief Shen Yu, Guangde Road Xuezheng Ma Sheng, Shaoxing Road Lanting Academy mountain chief Ling Yunhan, Cloth Zhang Yong, Zhai Chang Song Liang, Chen Jingxian also.

Although the second revision of the West Lake Academy at the end of the Yuan Dynasty was a huge labor-intensive, judging from the different texts of the early revision and the late revision, in the correction of the second revised version, the revision of the explanation was relatively rough, the reverse cut change was particularly clumsy, and the overall quality of the correction was not high.

Most of the typical different texts of the Present-day Shuowen, as well as the differences between the Zhou Xihuan and Wang Changben mentioned in Duan Yujie's Shuowen Ding, are mostly due to the differences between the versions of the early and late revisions of the Shuowen, except for the copying and depiction.

III. The publication and influence of the Shuwen of the Kikokuge Ben

The Jiguge large-character "Commentary" published by Mao Jin's father and son is the first "Shuowen" engraving of "Beginning and Ending" since the Ming and Qing dynasties, and it is also the most popular version of "Shuowen" in the early years of the Qing Dynasty. However, since the Qing Dynasty, the engravings, prints, and corrections of the Jiguge Ben have been in various disputes, and they are also important issues that cannot be avoided in the study of the Shuowen version.

Kikokukaku Trial Edition First Edition A Edition First Edition B Edition Preliminary Revised Edition Revised Edition

1. The origin of the engraving of the Shuwen of the KikokuGe Ben and the circulation of the book edition

The Jigu Pavilion of Mao Jin and Mao Ji's father and son is famous for its rich collection of books. Before Mao Jin's death in the sixteenth year of Shunzhi (1659), he had divided the books and engraved editions of books into his sons Mao Zhen, Mao Biao, and Mao Shu, and Mao Jin's old collection of Song Ben 's Commentaries on The Interpretation of Words" belonged to Mao Jin's brother Mao Biao. Mao Yi had a collection of manuscripts of the Shuowen Jiezi Series and other elementary school books such as The Collected Rhymes and the Class Chapters.

The engraving of the Shuwen of the Jiguge Ben was carried out through the efforts of Mao Jin and Mao Shu's father and son, but the real printing and circulation of the book was during the Kangxi Period, which was related to Zhu Yizun's primary school books in Jiangnan. Zhu Yizun's "Exposure Book Pavilion Collection • Khan Jianbao" Yun:

Yu Yeqiao Wu Zai published "Explanation of Words in Speaking Texts" for Zanmao Shangshe, Zhang Shangshe Shijun published "Jade Chapter" and "Guangyun", Cao Tong Zhengyin published Ding Du's "Jiyun", and Sima Guang's "Class Chapter". In the future, Xu Kai's "Biography of the Sayings of the Literary System" and Ouyang Delong's "Rhymes to Explain Doubts" will surely have good deeds and gentlemen who are skeletonized.

From the forty-first year of the Kangxi Dynasty (1702), Zhu Yizun lived in the Huiqing Temple of Bailianjing in Suzhou, traveling back and forth between Jiangsu and Zhejiang, and making friends with Mao, Zhang Shijun, Cao Yin and so on. Zhang Ze Cuntang's "Jade Chapter" and "Guangyun" were published in the forty-third year of Kangxi (1704), the five editions of Cao's Neem Pavilion "Collection Rhyme" and "Class Chapter" were engraved in the forty-fifth year of Kangxi (1706), and the earliest surviving trial print of Mao's Ji guge has the hand-proof inscription of Mao Xi's forty-three years (1704) and forty-four years (1705), and the seal line of the Zhiji Guge Ben "Explanation of Texts" is also around the forty-third year of Kangxi. Since then, Mao Has repeatedly revised the Jigu Ge Ben, and the fifth revision was in the fifty-second year of the Kangxi Dynasty (1713), shortly before his death.

Duan Yujie's "Commentaries on the Book of Texts" pointed out that after Mao Jin and Mao Jin, the editions of the JiguGe Ben were first returned to the Qimen Ma clan (i.e., the brothers Ma Yuelu and Ma Yuezhen), and at the time of Qianjia, they were also owned by Qian Tingmo. Today, according to Mao's life, Mao's title has a proof of "the fifth revision of the decoction year", which is actually Kangxi 癸巳 (1713), but in the "Shuowen Ding", Duan Shi mistakenly attributed 癸巳 to Shunzhi 癸巳 (1653), and the Qing people often attacked Duan's mistake.

2. Five editions of the Shuwen of the Kikokukaku Ben and their reproductions

Regarding the engraved base of the Kiguge Ben, at the end of the Kiguge book, there is Mao Shubao, saying: "Xianjun purchased the real copy of the Shuowen, which is a Northern Song Dynasty plate, and it is suspected that its characters are small, and they are carved in large characters, and the first king died before it was completed. "But is the base of the Jigu Ge Ben the Mao Jin Old Tibetan Song Book "Shuowen" mentioned by Mao Feng? In the second year of Jiaqing (1797), Duan Yujie was found in Zhao Jun's large-scale copy of the "Explanation of Words", that is, the Zhao Jun's manuscript, that is, the "imitation of the engraving of the Ancient Pavilion". It is also pointed out in the Shuowen Ding that the Jiguge Ben was changed five times by Mao, with changes in printing and text before and after, and in the fifth revision, more "Lineage Biography" was taken. Since then, scholars such as Pan Tianzhen and Guo Lixuan have also further discussed the version of Jiguge. For example, Mr. Pan Tianzhen once wrote an article to clarify the differences and version values of the Sanshu Ji Gu ge ben of nantu zang. However, in his research, Pan's practice of denying the authenticity of Kangxi's fifty-two proofs (i.e., the engraved copy of the Huainan Bookstore) based on Mao's forty-three-year proof of Kangxi is unreliable.

As far as the visual inspection is concerned, combined with the collation of the Shuowen Ding, the surviving Jiguge ben can be divided into five trial and first editions before the reform, and the revised version after the five reforms. Among them, the first printed version can also be subdivided into the first print A version, the first print B version, and the scratched version can also be subdivided into the first revised print version and the revised printed version. In fact, the difference in the printing order and correction of the Kikokuge Ben also reflects the proofreading basis and source of correction at different stages of Mao Jin and Mao's father and son.

The trial print of the Kikokuge Ben is now the Southern Map of Tibet (GJ115366), which is the earliest known version of the Mao Ben Shuowen, and is also a school sample that reflects the reform of Mao Xi's forty-three and forty-four years (1704-1705). Judging from the collation survey, comparing the trial print with the fragments of the Zhao Jun's manuscript "Explanation of Texts and Characters" of the present-day Otani University in Tibet, the trial print of the Kiguge Ben shows the appearance of the Zhao Jun's codex as the background and the appearance after the correction according to the Song Xiaozi ben, Xiao Xu Ben, etc. -- that is to say, the base copy of the Ji Gu Ge Ben is not the path engraved according to the Song Ben that Mao Shu said in his later years, but is based on the Zhao Jun's manuscript or a copy of it. Since Mao Jin's old collection of the Song Ben "Shuowen" was later returned to Mao's table, Mao Shu was unable to use the Song Ben "Shuowen" during the 43rd year of kangxi proofreading. Then, the writing of the KikokuGe Ben and the engraving of some of the book editions should have been completed before Mao Jin's death.

On the trial print of Jiguge, there are also Zhu pen and blue pen corrections of Mao Shu Kangxi's 43 to 44 years. Among them, most of them are based on small seal proofreading to change the dot painting, and there are seal shapes and explanations of correction. Judging from Mao's school language, when Mao Shu revised the trial print, there was no mao Jin's old collection of small characters or other "Shuowen" of the Big Xu Ben system, so he took more "Lineage Biography" and referred to the "Jade Chapter", "Guangyun", "Five-Tone Rhyme Spectrum" and other books to correct.

In the first print of Kikokuge, the opinions on the correction of mao's Kangxi forty-three and forty-four years on the trial print of Kikokuge were basically absorbed. The engraving text of the First Print A And The First Print B Is basically the same, and only the First Print A Book at the end of the volume is "After the Ming Dynasty Learns Mao Jin from the Song Dynasty To Investigate". The first print of the second edition was changed to "Later Study Mao Jin from the Song Dynasty Survey".

In the fifty-second year of the Kangxi Dynasty (1713), Mao Yi changed the ancient Geben for the fifth time. According to the facsimile of the Huainan Bookstore, when Mao Shu made the fifth correction, he took a certain print of the first printing order as a proof for proofreading. Compared with the first printed version of Kiguge, in the original version of Kikokuge, the main text is supplemented according to Xiao Xu's addition of 11 seal texts such as "bad and idle", and the explanation is also largely based on Xiao Xu's correction. After the fourteenth leaf of the fifteenth volume of the last volume, the fifteenth to the twentyth leaf are added, and the MaoZhi language and the appendage are added. Duan Yu's "Commentaries on the Book of Texts" on Mao's fifth reform, "there are many corrections, often taking Xiao Xu's "Lineage Biography" and also idly using his book", which is not a false statement.

According to the difference in the number of words in the heart of the edition and the number of words at the beginning of the volume, the revised version of the Jiguge Pavilion can be distinguished into two prints: the first revised printed version and the post-Mao jie revised print. The fifteenth edition of the first revised edition of the printed volume has the character "Ki gu ge" in the heart, and the printed version has been dug up after the change. Judging from this clue, the printing line of the revised edition may have been transferred to Qimen Mashi after Mao Mu's death. As Duan Yujie's "Sayings of the Text" said, "What is done in the present fang, that is, the fifth proofreading of the book", the popular version of the Ganjia period is the printed version after the jiguge reform.

In the Qing Dynasty, there were a number of engravings of the Jiguge Ben, among which the one that was reprinted from Mao Chuyin's Jia Ben was the Huainan Book Bureau in the seventh year of Guangxu (1881). Printed after the five reforms, there are Guo Lixuan's "Research on the Original Engraving of Ancient Chinese Books and the Study of the First Printing", and the reprinted A and B copies, and the Qianlong Thirty-eighth Year (1773) Zhu Yun Pepper Hua Yinfang. In addition, there are two other kinds of engravings of the Jiguge in the late Qing Dynasty: first, the Sichuan Hezhou Fang engraving engraved from Zhu Yunben in the tenth year of Tongzhi (1871), the inner seal book "Tongzhi Xin Wei Nian Xin Cadmium / Xu Shi Shuowen / Bizheng Wuxue "诳", Guangxu second year (1876) Yao Xiaoyuan purchased and revised the edition, the plate inscription was changed to "Daxing Zhu's original Guangxu II Year Chuandong Guanshe Rebuilt Hezhou Shu Jia Jing Engraving"; second, the re-engraved version from the engraving of the Jia Ben, the previous generation is unknown.

Although Duan Shi did not have the opportunity to obtain an earlier Mao test print when writing the Shuowen Ding, the understanding of the base version of the Zhao Jun codex still needs to be deepened, but in light of the existing version of the Jigu Ge Ben, Duan Yu's judgment of the source of the version of the Ji Gu Ge Ben and the basis for proofreading and reforming it is basically accurate and credible, and Duan's proofreading conclusions have also profoundly influenced the study of the Shuowen in the Qianjia period.

IV. Qing Dynasty Imitation Song Dynasty Imitation Engraving Small Character "Shuowen"

Gu Guangxi wrote and Huang Pilie's annotations on "Hundred Song And One Endowment" Yun: "Mr. Duan Maotang of the Golden Temple came to Yu Wuzhong, and there was a work of "Ji Gu Ge Shu Wen Ding", and the song ben's miaogu has been washed out. "The original intention of Duan Yujie Jiaqing's second year (1797) to write the Shuowen Ding was to provide scholars with the results of the proofreading based on the Kikoku Ge Ben. However, the many different texts revealed in the Shuowen Ding greatly aroused the attention of Qing Scholars to the differences in the versions of the Shuowen, and also stimulated the Interest of the Qing people in the "Small Character Song Ben" "Shuowen" described by Duan Shi. During the Jiaqing period, the Tenghua Xie ben "Shuowen Jiezi" and the Pingjinguan Ben "Shuowen Jiezi" were all carved according to the small character Song Ben, which responded to the urgent needs of the academic circles for the Song Ben "Shuowen" at that time.

Katarai Fuzo SongMoto,"Written Dissolution"Fujihana Makimoto,"Preaching", Hiratsukanmoto,"Preaching"

1. Fujihana Komoto

Jiaqing Twelfth Year (1807) Vine Flower Xie Ben, is the first Qing Dynasty according to the Song small characters of the book reprinted "Shuowen" publication. When the Tenghua Xie was engraved, the plate frame was slightly larger than the Song Ben and the Pingjin Guan Ben engraved according to the size of the Song Ben, and smaller than the KikokuGe Ben, so the "Bibliographic Answers" was called "The Tenghua Xie Ershi Inscribed Chinese Character Book".

Regarding the base of the Vine Flower Xie Ben, Erlebu Preface Yun: "I see the book "Explanation of The Words of the Sayings" of the Song Plate in the New An Bao Junxi Family Collection, carefully inspected, Hai Feng is not false, Xun Can be treasured, and the edge is heavy as a carving, and it is widely circulated. However, for a long time, there has been no conclusion in the academic circles as to whether the inscription of the Vine Flower Xie Ben exists and what its nature is. After excluding the interference caused by the consistency between the Jiguge Ben and the Song Ben, taking the differences in the version and line of the Song Ben "Shuowen" caused by the revised version as a clue, and combined with the depiction of the different texts on the Erlebu Tibetan Text, it can be clear that the main base of the Tenghua Xie Ben is actually the Song Early Revised Edition of the Erlebu Old Collection. However, in the specific engravings, the Tenghua Xie Ben not only retained some of the characters of the base text, but also corrected according to the "Song Ben" (actually the Wang Chang Ben of the Late Revision Book) according to the "Song Ben" (actually the Wang Chang Ben of the Late Revision Book) that was commonly used at that time, thus forming a complex written appearance.

Judging from the handover, the "Bao Jun Xi Fen" mentioned in the Preface of Erlebu, that is, Bao Shufang, the word Xi Fen, the word Xi Fen, the word Xi Fen, the word Bao Jun Erlebu served as the governor of Lianghuai in the tenth year of Jiaqing (1805), or became acquainted with Bao Shufang. At the time of Ganjia, Mao Jin's old collection of Song Ben 's Shuowen' texts was probably handed over by Wang Hao, Bao Zhidao, and Bao Shufang, but Bao Shi did not have a seal. In the spring of the twelfth year of Jiaqing, the Erlebu probolature vine Flower Xie Ben was bao Shufang's death in August of that year, no later than December, and this book was transferred to the ownership of Erlebu.

"The vine flower xie ben line is generally in accordance with the Song early revision of the "Shuowen", but because the text has been changed according to the Mao ben, so in the fourteenth year of Jiaqing, Sun Xingyan wrote the "Republishment of the Explanation of the Word Sequence", and its cloud "recently carved small characters Song Ben, changed its characters, and according to Mao Ben's proofreading, there is no restoration of the old view", saying that it is the Vine Flower Xie Ben.

2. Hiratsukan Hon "The Preaching" and its adaptations

Sun Xingyan's Pingjinguan imitation Song periodical "Shuowen Jiezi" is the most widely circulated and influential version of the Great Xu Ben "Shuowen" since the middle of the Qing Dynasty, and it is also the ancestor of many reprints in the late Qing Dynasty.

(1) Hiratsukan Hon

The inscription "Jiaqing Jiazi Year Imitation Song Periodical" is written for the ninth year of Jiaqing (1804), and the book is preceded by Sun Xingyan's "Preface to the Republishment of the Song Ben", which is signed jiaqing fourteen years (1809). Regarding its base text, Sun Xingyan did not give a clear explanation, only saying that "the Song Ben of this periodical, according to its old style, that is, there are characters and dare not change it in vain." In the research of predecessors, either according to Tibetan seals or according to collation, there are some speculations about its base. Nowadays, according to the approval and calligraphy of Sun Xingyan, Gu Guangxi, and others, it is possible to roughly outline the engraving history of the Pingjin Museum. In the tenth year of Jiaqing (1805), Sun Xingyan of the Pingjin Pavilion in Shandong wrote to Qian Dong, mentioning that "the brother wanted to reprint the Song Ben "Shuowen" and studied it later" for it. This letter shows that when planning to engrave the Shuowen, Sun Xingyan immediately planned to divide the Shuwen into two parts: First, to republish the Song Ben "Shuowen" in a rare copy; second, to search for materials extensively to write a study and proofreading of the Shuowen. The work of the two parts is closely related and focused, and the start time is about the same.

As far as the selection of the base of the Pingjinguan "Shuowen" is concerned, in the tenth year of Jiaqing, Sun Xingyan asked Qian Dong to help him write Wang Chang's old Collection of Song Late Revised Texts of Shuowen, and in the winter of the twelfth year of Jiaqing (1807), Sun Xingyan, who was serving as the governor of Shandong Province, borrowed song early revisions of the Shuowen from Erlebu, and "borrowed and sent the small-character copy of Song Ben's "Shuowen" to school with the Eryantai." In the first month of the following year, Qian Tong took the shadow to write Wang Changben to Dezhou, Shandong for delivery, and Sun Xingyan was able to obtain both the forehead book and the shadow writing Wang Changben, "roughly the same", and then Sun Shi's shadow wrote Wang Chang's book, and Yun "plans to republish it today, with the forehead book as the fix". Soon after, Sun Xingyan sent the Book of Sayings to Gu Guangxi, who was in Suzhou at the time, and Gu Guangxi presided over the engraving in Suzhou. The Pingjinguan Edition of the Commentaries on the Interpretation of Characters was published around the fifteenth year of Jiaqing (1810). However, due to the fact that the Rattan Hua Xie Ben had already been published in the twelfth year of Jiaqing (1807), and Sun Xingyan had been a subordinate of Erlebu, Sun Xingyan was inconvenient to explicitly state that the original copy of the Pingjin Guan Ben was derived, and wrote an earlier "Jiaqing Jiazi" (1804) in the inner seal than the Fuji Hua Xie Ben. Compared with the original text, the PingjinGuan ben "Shuowen" was basically engraved according to the plate style, engraving, and Song Zhen of the forehead book, and the original words were also retained, reflecting the academic concept of "not schooling" by Gu Guangxi, the host of the school journal, and also providing a faithful copy of the Song Ben "Shuowen" for the academic circles at that time, so the "Bibliography and Answers" had the comment that "Sun Ben was the best".

In the fourteenth year of Jiaqing, Sun Xingyan's "Preface to Reissuing" also mentioned that Sun Xingyan intended to "use the similarities and differences of the words quoted in the commentary, do not write for the article, and accompany the book", but this proofreading has never been published. According to the available materials, yao Wentian compiled the "Qunshu Quotations and Sayings" according to the Qunshu Quotations in the early years of Jiaqing, and in the eleventh year of Jiaqing, Yan Kejunguan was located in the Pingjin Pavilion in Sun Xingyan Mountain, based on Yao Wentian's compilation materials, supplemented the version of the "Shuowen Ding", and re-added the case to form the first draft. In the twelfth year of Jiaqing, Sun Xingyan had written Yan Kejun's school language in the large character "Shuowen", and Jiaqing absorbed Yan Shu into the "Preface to Reissuance" in the fourteenth year of Jiaqing. After The publication of Sun Ben in the fifteenth year of Jiaqing, Gu Guangxi, at the invitation of Sun Xingyan, overthrew yan Kejun's schoolbook over the "Shuowen", "Lineage Biography", and quotations from the Zishu, Similar Books, and Other Books, and on the basis of absorbing the sayings of Sun Xingyan and Niu Shuyu, he also published five volumes of "Speaking of Literature and Examination of Differences". However, the relevant work of Sun Ben's school record was terminated in jiaqing in about the nineteenth year, and it could not be published in the end. The title of "Speaking of Texts and Examinations of Differences" written by Gu Guangxi is actually a fragment of the proofreading of the original proposed supplement to the Pingjinguan "Speaking Text". Twenty-three years after Sun Xingyan's death in Jiaqing (1818), Yan Kejun published the final revised "Discussion on the School of Speaking Literature" in sun's Yecheng Mountain Pavilion. The yan kejun and Gu Guangxi school languages written on Sun and Gu's schoolbook "Explanation of Words and Characters", the "Discussion on Speaking Literature and Literature" with the inscription "Yao Wentian and Yan Kejun were co-authored, and Sun Xingyan consulted and ordered", as well as the "Debate on Speaking Texts and Doubts" copied by Gu Guangxi after his death, epitomized Yan Kejun and Gu Guangxi's collation concepts and collation conclusions when they wrote the Pingjinguan ben "Shuowen".

In the specific proofreading, Yan Kejun's proofreading base is the Mao's Jiguge Ben, and its proofreading method focuses on the Qunshu citation "Shuowen", and its proofreading concept is "to correct Xu Xuan's loss", that is, to surpass Xu Xuan and restore Xu Shen's old appearance. The proofreading base of Gu Guangxi's review of Yan's proofreading is the Old Collection song book "Shuowen" of Erlebu, whose proofreading method focuses on proofreading, and its proofreading concept is "not proofreading". In fact, Yan Kejun's version of the proofreading language is actually more than Duan's "Sayings and Texts", and it is not personally proofread. However, when Yan Kejun revised the Shuowen according to the quotations of his book, he could not distinguish the complexity of the quotations in various books, so he was sloppy when proofreading the conclusions. When reviewing Yan Kejun's school language, Gu Guangxi pointed out the deficiencies in Yan Kejun's proofreading based on the edition collation and the style of various books. However, Gu's manuscript of "Shuowen" is only in several volumes and has not been sorted out.

Pingjin Guan Ben Tao ShengFu Ben Jiang Rui Tang Ben Ding Gen Shan Ben

(2) A copy of the Hiratsukan ben

During the Taiping Heavenly Kingdom, the original plate of the Pingjin Pavilion was burned in flames of war, and during the Tongzhi and Guangxu years, there were a number of engravings derived from Sun Ben.

According to the actual engravers at the end of the bibliographic volume, in the late Qing Dynasty, according to the reprint of Sun Benxing's paragraph, there are versions such as the Tao Shengfu engraving of the thirteenth year of Tongzhi (1874), the Ding Gunshan engraving of the seventh year of Guangxu (1881), and the engraving of Jiang Ruitang in the twelfth year of Guangxu (1886). Among them, the predecessor of the more controversial is the Ding Gun Shan carved book. The inscription of the Ding Ben tablet is "According to the old collection of the Ancient Pavilion of Jigu Pavilion" (栨古阁), Ding Shi Baoyun: "The original is the Northern Song Dynasty small character book obtained by the Mao clan, and its original is now the Yang Clan Haiyuan Pavilion in Liaocheng, Shandong Province." However, judging from the fact that the Erben is not wrong and Sun Ben has reprinted the new misunderstanding, the Ding Gen Shan Ben is mostly the same as sun Ben, and it can be seen that Ding Ben is not directly based on the Mao Jin old Tibetan Song Ben of the Haiyuan Pavilion at that time, but is based on the Pingjin Pavilion Ben as the main base, and published after referring to the collation opinions of Jigu Ge Ben and Gui Fu, Wang Jun, Xu Han and others, and in fact it is also a copy of the Engraving from Sun Ben.

In the late Qing Dynasty, there were copies of the line of money changed based on Sun Ben, including Chen Changzhi Ben and primary school letter books. Among them, in the twelfth year of Tongzhi (1873), Chen Changzhiben was widely circulated, and it is also the most popular version of "Shuowen" today. Chen Changzhiben line by line, new appendices down one grid, plate style Shulang, clear eyebrows, "Bibliography Q&A" has "Chen Ben is the most convenient" evaluation.

5. The History of The Theory behind the Edition

1. The Origin of the "Theory" Edition

Since the Northern Song Dynasty Yongxi iii year (986) Xu Xuan proofread the Shuowen and published the Guozi Supervision Edition, the Shuowen has gone from a variety of manuscripts to a final version. The surviving Song Ben "Shuowen" was carved during the southern Song Dynasty's Xiaozong period, and was revised during the Ningzong period, and was revised in the West Lake Academy of the Yuan Dynasty, after two revised editions during the Dade period and the last year of the Yuan Dynasty. Since the Qing Dynasty, the Tenghua Xie Ben and the Pingjin Pavilion Ben have been engraved on the basis of the Song Early Xiu Ben from the old collection of Erlebu. The Ye Wan manuscript was derived from the Late Song Revision Of Qian Zeng's old collection, and the Qian Dong Manuscript and the Continuation of the Ancient Yi Series and the Four Series were derived from the Late Song Revision of Wang Chang's old collection.

As for Zhao Jun's manuscript "Explanation of Characters in Shuowen", although the Qing people mostly speculated that the book came from the "Song Da Zi Ben", but examining the collection of Books by Zhao Gongguang and Zhao Jun, combined with the source flow of the versions of the Shuowen and the Five-Tone Rhyme Spectrum, it can be seen that the so-called "Song Da Zi Ben" does not exist - the "appearance" of the Zhao Jun codex is not a Song ben as the base. The seal shape and explanation of the Zhao Jun's manuscript are based on the "Five-Tone Rhyme Spectrum" engraved after Jiajing in the Ming Dynasty, and the seal is based on the Song Dynasty's late revision of the Song Dynasty's "Explanation of Words" collected by Zhao Jun's father Zhao Gongguang, and is copied in half-leaf seven-line lines. The Zhao Jun manuscript or a copy of it is in fact the main base of the Jiguge Ben.

The engraving appearance of the trial edition of the Kiguge Ben reflects that when the Kiguge Ben was engraved, Mao Jin used the Zhao Codex as the main base, and according to the traces of the revision of the manuscript of the Mao Jin Old Tibetan Song Dynasty and the Mao's Old Tibetan "Lineage Biography"; the change in the Jiguge Ben from the trial print to the first print and the first revised print, occurred from the 43rd year of Kangxi to the 52nd year of Kangxi. At this time, Mao's main basis was the manuscript of the Lineage. In the printed version of Mao Jiao's reform, the character "Ji Gu Ge" in the heart of the fifteenth edition of the volume was dug up, and this change was made after Mao Jie's death. In the Qing Dynasty's Jiguge translations, in addition to the Huainan Bookstore edition from Mao Chuyin Jia, Zhu Yun Jiaohua Yinfang and some other Qing Dynasty reproductions were mostly printed from Mao's reform.

In the source flow diagram of the version of The Great Xu Ben "Explanation of Words" attached to the text, the straight line on the figure is the relationship between the engraving or revision, and the dotted line on the figure is the relationship of absorption and correction.

2. The Shuowen version and the history of shuowen

Combing through the source of the shuowen version, we will find that the circulation of the version of the Shuowen in the Qing Dynasty has a particularly close relationship with the history of shuowen. This is a very typical case.

In the history of Shuowen studies, the important inscriptions of Shuowen often have a very close relationship with the mutual exchanges between primary schoolers, bibliophiles, and school surveyors, and have formed different versions of the source stream. For example, in the last years of the Kangxi Dynasty, Zhu Yizun persuaded the publication of primary school books, and Mao's Jiguge Ben "Shuowen" was finally printed. On the occasion of Gan Jia, Duan Yujie exchanged books with Qian Tingmo, Zhou Xihuan, Yuan Tingjue, Gu Zhikui and others, which promoted the revision of the edition of the Shuowen and indirectly contributed to the publication of new periodicals such as the Tenghua Xie Ben and the Pingjin Guan Ben. At the same time, the engraving of each "Shuowen" engraving is based on the research of the "Shuowen" of the same era, and is also subject to the version and proofreading concept that can be seen by the publisher of the engraving. Mao Yu did not understand the difference between the origin of the Great Xu Ben and the Little Xu Ben, and repeatedly took the "Lineage Biography" to correct the "Shuowen", so Duan Yujie had the ridicule of "seeing the donkey". The Tenghua Xie Ben and the Pingjin Pavilion Ben are both based on the Erlebu Tibetan Ben, but the Tenghua Xie Ben is based on the Mao Jie revised version and the "Song Ben" mentioned in the "Shuowen Ding", forming a more complex textual appearance, while the Pingjin Guan Ben has more faithfully retained the appearance of the base text, becoming the most refined and most influential of the many "Shuowen" engravings in the Qing Dynasty.

Compared with the written and codices of the Shuowen, the circulation of the engraving is wider, and it also determines the main version of the Shuowen that scholars of different eras can read. The popular engraving is the most accessible version of an era, and the limitations of each engraving will also affect a generation of scholars. For example, the misunderstanding of Gu Yanwu's "Rizhi Technetium" on the "Shuowen" originated from the Ming carved "Five-Tone Rhyme Spectrum" that was popular at that time. By the Kangxi Dynasty, the Mao Ben was certainly superior to the "Five-Tone Rhyme Spectrum" of the "Beginning and The End of the Hai", however, when mao yi school changed the ji gu ge ben, it was changed according to Xiao Xu's school, and there were some school corrections that had no basis for version. During the Kangxi and Yongzheng dynasties to the Qianlong dynasty, the Jiguge Jie jie was the only engraving in circulation. With the exception of a few scholars who have access to the Song Dynasty' Shuowen, most scholars have only been able to use the KikokuGe Ben when conducting research. Even Gui Fu and Duan Yujie, who had seen the Song Dynasty's Shuowen, their different texts in the Shuowen Jiezi Yizhi and the Commentary on the Commentary on the Interpretation of The Words revealed that the Shuowen on which they were based was still mainly based on the Jiguge Jiejiao. In the eighth year of Daoguang (1828), Wang Yun's "Book of Mr. Wenquan Zhai", mentioning the version of "Shuowen", Yun:

Before reading the book, he wanted to use the outline of the "Sayings" and said that the "Sayings" that were stored were not widespread, and he wanted to offer them instead, but mr. Yu bowed down. The "Shuowen" of the case today, only two large and small Xu books. Yu saw the Great Xu Book, the first printing of the Jigu Pavilion and the five times of the Supplement (all those who practice it today are this one). Fujihana pavilion and Hiratsukan are all imitations of Song Ye. ...... In summary, the ancient first seal is combined with vine flowers and Pingjin, but there are also many advantages in the addition, and it must not be erased as one of Duan Maotang. The vine flower italic body is correct and more false, the Pingjin annotated text is not blackmail and more vulgar, and the correction of its seal text cannot be followed by mistakes. ...... Mr. Zhu Zhujun has engraved the supplement of the ancient five times, and the self-yun Song ben, the curse of the afterlife, there is no need to argue about it.

This letter shows that the version of shuowen that can be used by researchers of the Shuowen in the early years of Daoguang is much richer than that of scholars in the early Qing Dynasty and even Qianjia, and their basic understanding of the version system of shuowen is also more in-depth than that of previous scholars.

The research of each researcher of the Shuowen in the Qing Dynasty is not only based on their own research concepts and the research basis of the Shuowen of the same era, but also subject to the versions they can obtain. For example, scholars such as Zhu Yun, Weng Fanggang, and Gui Fu, who were in the Beijing Division during the Qianlong period, failed to deeply understand the source of the shuowen version, which also restricted their use of rare books to proofread the shuowen to a certain extent. In the thirty-eighth year (1773) of Zhu Yun Qianlong's altered edition of the JiaoguGe Jia, he mistakenly believed that Mao Ben's inner seal of the "Northern Song Dynasty School Journal" said that at the beginning of each volume, "Daxing Zhu Yun repaid the carving according to the Song Ben"; Weng Fanggang Bao Mao Jin's old Song Dynasty Early Revised Edition, believing that the book was "extremely slatted, there are so many false errors, the fingers are invincible"; Gui Fu said in the "Lizheng Book of the Gong Li Department" that "Fu saw the "Shuowen", but the Yuanmingjian inscribed version", and misjudged the two Song yuan revisions he had seen, "Sayings", and misjudged the two Song and Yuanyuan revisions that he had seen. In Jiangnan at the time of Qianjia, Duan Yujie, Huang Pilie, Yuan Tingjue, Gu Guangxi, and others paid full attention to the complexity of the Shuowen version. In Wang Yun's "Reading of Saying Texts and Sentences", it is said that the Fuji Hua Xie Ben and the Pingjin Guan Ben are evaluated:

According to the "Shuowen" version, the Great Xu Ze Mao Ben (different from the See Xing Ben, it seems to be changed once or twice), the Bao Shi Ben (many typos, but there is no vain change), and the Sun Shi Ben (less misspelled words, but the "Preface" Says Gu Qianli changed its seal text, then it cannot be based).

Behind Wang Yun's distrust of the Pingjinguan's original seal shape, it actually has a lot to do with Wang Yun's understanding of the base of Qi's "Lineage Biography" (that is, Gu Guangxi's manuscript) -- the "Lineage Biography" that Wang Yun can see in Beijing is a Wang Qishu engraving and Zhu Yun's collection of manuscripts, both of which are missing copies. Therefore, Wang Yun instead suspected that the manuscript of Gu Guangxi's "Lineage" of the foot-based system was not credible, and arbitrarily believed that the seal shape of Sun Xingyan's PingjinGuan Ben "Shuowen" written by Gu Guangxi was not credible. The concept of version behind this series of chain reactions is also quite interesting.

3. The collision of the proofreading concepts of "Shuowen"

The Qing Dynasty's "Shuowen" collation works include Zhu Wenzao's "Saying that the Literature Department Passes on the Examination", Duan Yujie's "Ji Gu Ge Shu Wen Ding", Qian Kun's "Shuo Wen Xue Interpretation", Yan Kejun's "Discussion on the Interpretation of The Saying Text", Niu Shuyu's "Saying Literature Interpretation Character School Rust", Wang Yun's "Saying Literature Department Transmission School Rust", and so on, while the Qing Dynasty scholars' "Shuowen" criticism is even richer. A closer look at the school language of the various families shows that in the Qing people's proofreading, there were both personal proofreading and zirconium introductions,especially the influence of Duan Yu's "Saying Wen Ding", which is particularly worthy of attention. Since most of the researchers of the Shuowen after Duan Yujue did not have the opportunity to obtain multiple rare copies of the Shuowen at the same time as Duan Shi, when referring to the collation conclusions of Duan's Shuowen In the study of the Shuowen, there were often some misrepresentations of the cause and effect. For example, the Song ben of the Shuowen Ding seems to have Wang Chang as the main base, and there are more out-of-school Zhou Xihuan ben; in the ShuoWen Ding, there is no difference between the different texts on Wang Chang's ben and the engraving of different texts; in the Shuo Wen Ding, under the articles of "叒, 淲, and Lang", there are also the misgrafts of the Song ben or other scripts as the "first printed version", resulting in the school language being inconsistent with the actual appearance. Among the scholars of the Qing Dynasty, Gui Fu, Qian Tu, Yan Kejun, Chen Qi, and others all referred to the Shuowen Ding. In Gui Fu's "Explanation of the Meaning of The Interpretation of Characters in Shuowen", "small characters" and "Song Ben" are seen together, of which "small characters" come from Gui Fu's Song small characters with jingyan, and Gui Fu's "Song Ben" actually comes from Duan Yujie's "Sayings and Texts". In fact, the "small character book" that Gui Fu saw and the "Song Ben" that Duan Shi saw both included the Song Early Revision And the Song Late Revision In nature, but because Gui Fu mistakenly thought that the "small character book" he saw was the Yuanming Fang Ben, the "Small Character Book" and the "Song Ben" that were actually the same system in the "Proof of Righteousness" were re-emerged. In the first article of Qian Kun's "Ordinary Cases" of "Saying Wen Xi Interpretation", there is "an error in the publication of a Mao Mao Axe Axe", but in fact, the mao axe season, "Mao Axe Axe" is wrong, and in the Taitu Tibetan Gu Guangxi and Niu Shuyu Batch SchoolBook "Explanation of The Interpretation of The Interpretation of The Characters of the Saying Text" (00943), Gu Guangxun Zhiyun "opened his mouth and made a mistake", "This article is straight to the paragraph of the great order "Speaking of Texts". As for Yan Kejun's "Discussion on the Proofreading of Shuowen", its edition proofreading also mostly inherits the error of "Shuowen Ding", and in the collation of his book, some materials that are not actually quoted in the "Shuowen" are also mixed in, and the original book still needs to be checked when using it.

At the same time, in the study of the Qing people's "Shuowen", the collision of different proofreading concepts also stirred up different sparks - the typical proof of proofreading, there are Sun Xingyan's "Song Ben in this journal, according to its old style, that is, there are characters, do not dare to change in vain", and there are also Gu Guangxi", "Xu Shi's own righteous example, which is in this book." Later, the ruler of this was on the outside, and he was very demure, and the fingers of the non-disciples were more obscure, and the book to him was also painfully involved." Typical examples of his school are the fifth proof of Mao Ji's school, Yun's "inspection of the primary school books to prove it", and Yan Kejun's quotation from his book to change the "Sayings". As for the science school, it is another way to take the proofreading of the "Shuowen": if Duan Yujue's "Shuowen Ding" is the embodiment of his achievements in proofreading, the "Commentary on the Interpretation of The Words" published by Jiaqing in the twentieth year (1815) is "to note the sutra, to make a note of Zheng, and especially to note the xu", which has both the school, the school, the other school and the science school. Today, it seems that in the bold theoretical proofreading of Duan Zhu, there are both eye-catching "divine strokes" and extremely pedantic and unreliable "whimsical ideas", and the various gains and losses in Duan Zhu are closely related to his proofreading concept and the study of "Shuowen".

VI. Conclusion

The version of the Shuowen is very complex, and since Xu Xuan's revision of the Shuowen in the Song Dynasty, the revisions, supplements and reprints of different editions of the Shuowen have influenced the main editions that scholars of different eras can see. In recent years, I have mainly devoted myself to combing through the origin of the editions of the Shuowen and the circulation of important Shuowen collections in the Qing Dynasty. In the process of studying and groping, I had the opportunity to see the criticism of a large number of scholars such as Mao Feng, Weng Fanggang, Gui Fu, Lu Wenbi, Chen Qi, Duan Yujie, Sun Xingyan, Gu Guangxi, Yan Kejun, Niu Shuyu, etc., and felt the collision and conflict between the top researchers of the Qing Dynasty. At the same time, I am also deeply grateful to Zhou Zumo, Zhao Wanli, Pan Tianzhen, Chen Hongsen, Wang Guiyuan, Li Geng, Zhang Lijuan, Guo Lixuan, Ryuichi Abe, Yasushi Ozaki, Qiao Xiuyan, Shiraishi Shojin and other scholars for their research on shuowen, versionology, and collation surveying. These studies, with wonderful and solid case studies, have inspired me a lot. Of course, I would also like to thank my teacher, Mr. Wang Ning, for hosting the "Digital Explanation of Texts" platform, which provided convenient conditions for my research on the version of "Speaking Texts".

My postdoctoral outbound report, "Copying, Borrowing and Engraving: The Circulation and Engraving examination of the Qing Dynasty 'Explanation of Words'", revolves around the circulation and engraving of "Shuowen" in the Qing Dynasty. In the papers that I have published or will publish, I have successively discussed the origin and publication of the Shuowen editions of the Song Ben, the Mao's Jigu Ge Ben, the Erle Butteng Hua Xie Ben, the Sun Xing Yan Pingjin Guan Ben, and the Genealogical Biography of Wang Qishu Ben and Qi LiaoZao Ben. At the same time, after clarifying the relevant versions, I also wrote an article to track down the specific situation of the schoolbooks used by Duan Yujie's "Shuowen Ding" (some of which no longer exist), and to think about how Duan Yujie's conclusions influenced the study of the Shuowen in the Ganjia period of the Qing Dynasty. In addition, when discussing the clues of the relevant collections, I tried to sort out the academic historical context in them--behind the circulation of the old texts of "Shuowen" in Jingshi and Jiangnan, in fact, they also reflect the research ideas and research methods of different scholars such as Weng Fanggang, Gui Fu, Ding Jie, Wang Niansun, Zhu Wenzao, Chen Yu, Qian Daxin, Duan Yujie, Niu Shuyu, Gu Guangxi, and so on. It is hoped that these studies will enrich and promote the study of "Shuowen" and versionology. Recently, I have also been sorting out Gu Guangxi's "Speaking of Texts and Examinations" as an appendage to the photocopy of Pingjinguan's "Explanation of Words and Characters". The above is the content of my speech today, please criticize and correct the teachers. Thank you!

DaxuMoto's "The Writing Of The Writing" Edition

Moderator: Thank you very much to Teacher Dong for his wonderful lecture, which condensed her series of research results on Da Xu Ben's "Shuowen". From the earliest Song carved small characters to the Qing Dynasty's engravings, different prints of the engravings, including the versions seen by Qing Dynasty scholars, involving many important issues in the academic history of the Shuowen, they were clearly and thoroughly explained, which made me gain a lot.

In fact, Mr. Dong's research can be understood from many angles, including the perspective of primary school research, the perspective of collation survey, the perspective of the history of Shuowen, the perspective of academic history of the Qing Dynasty, and also the perspective of versionology. From a versionological point of view, there is a lot to learn from. From the perspective of versionology, I think that the study of versionology is actually still in a rough stage, researchers actually have a particularly deep understanding and understanding of versionology, and version researchers actually do not seem to be particularly concerned about academic history and the content of books. How to combine the two, this is a big academic breakthrough point, but also can be studied academic growth point, I especially hope that more people like Professor Dong's version of the combination of academic research can be done. Therefore, I think that Professor Dong's research is very meaningful, applying the research method of versionology to the field of monograph research, and studying versions in combination with academic history.

From this example, in the past, we may not have such conditions, it is not very convenient to look at the version, and scholars who study the content of the book may not pay too much attention to the version. I remember that before I wrote my doctoral dissertation, I once asked Professor Li Changran if anyone had written a paper on the versionualization of Mencius, and Teacher Li said that it seemed that no one had written a thesis on the version of Mencius. I was a little surprised at the time, and I was not surprised later, in fact, not only mencius, the thirteen classics and other important books, except for Wang Yi's thesis on the version of the Book of Rites, there are no special papers to study, so the research in this area is a big vacancy. So far, there have been a little more versioned papers on scripture, and some sporadic papers on other aspects. These classic books, especially those that are important and have more engravings, their versions are more complex, and people do not dare to touch these things, in fact, these studies are very meaningful and valuable, and they need to be studied urgently.

The problem with the version of "Shuowen" is a hard bone, and it is not easy to study. Teacher Dong went to various places to see a lot of books and editions, which is a must go, although it is now very convenient to collect information from the Internet, but still have to go to see the physical object, do some specific investigation work. In terms of the development of versionology, case studies are the foundation. Although theoretical research is very necessary, the meticulous study of each case is the most basic and solid content of our academic development. If there is a more detailed combing of the editions of these important books (such as "Shuowen"), then our understanding of versionology will be greatly improved. If students are interested in versionualism, they can learn from this research method.

The above is my impression, and I would like to ask you questions.

Teacher Wang Fengxian: I was very inspired to listen to Teacher Dong's lecture. In the past few years, I have also been doing a collation survey of the scriptures, and when I was surveying the Zhou Yi Ji Xie, I also found the problem of the Jigu Ge Ben, and there were four times before and after the change, and the fourth change changed the number of volumes, from ten volumes to seventeen volumes. Listening to Teacher Dong's lecture today, I suddenly realized that Kikokuge was not what I had known before, but was in a process of change, and the version was constantly improving. So what was the original base of the Jigu Ge Ben "Commentary" and has the base book changed?

Speaker: Judging from some special lines and special texts of the trial edition of the Kikokuge Ben, the base of the KikokuGe Ben is the Zhao Jun manuscript or the same ancestral book as the Zhao Jun manuscript. However, in the earliest surviving jiguge trial edition, there are some different Zhao Jun manuscript texts, and judging from the sources of proofreading, some of them may only come from the Song small characters, not from the Five-Tone Rhyme Notation or other books; some from books such as the "Lineage Biography". That is to say, Jiguge ben may have completed the writing before Mao Jin's body, and did a correction according to the Song small characters that Mao Jin was hiding at that time, and perhaps also engraved a part of it--when Mao Jin arrived, The jiguge was officially proofread and printed.

However, as for the source of Zhao Jun's manuscript, this is the question I am going to discuss in a paper I am going to write. Of course, if I want to write the Zhao Jun's manuscript, I must first solve another problem, that is, the source flow of the ming Dynasty's version of the "Five-Tone Rhyme Spectrum", and then I can study the heterogeneous relationship between the "Five-Tone Rhyme Spectrum" and the Zhao Jun's codex—from which one of the inscriptions of the "Five-Tone Rhyme Spectrum" the Zhao Jun Codex comes from. There are more than six or seven engravings of the Ming-inscribed "Five-Tone Rhyme Spectrum", and where the different texts of each book come from, they all need to be solved. But there is no doubt that the "Five-Tone Rhyme Spectrum" on which Zhao Jun's manuscript is based is a relatively late version, no earlier than the Jiajing period.

In addition, Zhao Miguang and Zhao Jun have a large number of primary school books, which is also a clue to thinking about this problem - I have checked their old primary school books, such as the National Map, which contains Zhao Youguang's "Lineage Biography", Peking University has Zhao Youguang's "Shuowen" and "Seal Rhyme Spectrum", Nantu, Shangtu, and Jingjiatang also contain their primary school books. A chronicle during the Republic of China period recorded that Zhao Miguang had a batch of proofreading of the "Five-Tone Rhyme Spectrum", and the whereabouts of it are not clear today. Therefore, it is necessary to sort out the source of Zhao Jun's manuscripts, and also fully consider the situation of primary school books hidden by Zhao Miguang and Zhao Jun.

Teacher Wang Fengxian: When our school surveyed the "Zhou Yi Ji Xie", it was found that when Ji Gu Ge published the "Zhou Yi Ji Xie", it was originally changed with Hu Zhenheng's "Secret Book Collection Letter" as the base copy, but finally it was replaced by Jiajing's thirty-six years of Zhu Mu's Jule Tang as the base book, and the Ji Gu Ge Ben "Zhou Yi Ji Xie" called itself "Song Ben", but it did not use the Song original proofreading, why is this?

Speaker: On this issue, Teacher Guo Lixuan reminded me how to understand the "Song Ben School Journal" of Jigu Geben. It may be that The Kikokuge has made corrections based on the Song Ben, but it is not necessarily based on the Song Ben. Because Mao's collection of books is also very large, they may have three or four or more Song ben at the same time, but which book to use as the base book when engraving samples depends on whether he has a collection at that time, and which book is more convenient to use, and these factors may have an impact when publishing the base book and proofreading the book. Teacher Guo Lixuan also had this problem with the Jiguge inscriptions that he came into contact with, and he said that on the one hand, we must realize that Mao Jinmao has a particularly large collection of books, and on the other hand, we must realize that the original copy of Mao's engravings may not be the Song ben that Mao's collection can see now.

Teacher Wang Fengxian: I have a problem, that is, Mao's collection of the Song Ben "Zhou Yi Ji Xie", but he did not use it when it was engraved. When he went to Qianlong to engrave the Yayutang Ben, Hui Dong said that he had used the Song Ben School, but the fact was that Hui Dong had not seen the Song Ben, but used a Yayu Tang Ben, so there was the Yayu Tang Ben, and later the Qing Dynasty's "Zhou Yi Ji Xie" was a derivative of the Ya Yu Tang Ben. There are more Song ben and more complex versions of "Shuowen", while there are only two version systems of "Zhou Yi Ji Xie", which is relatively clear. I really admire you going all over the country and even to Japan to investigate the version, I used to pay more attention to the collation survey, less attention to the field version survey, listening to your lecture made me realize that I should examine the proofreading problem more from the perspective of the version.

Speaker: The starting point of my initial research was "Ji gu ge shuo wen ding", I want to determine the source of Duan's proofreading: some of the school books used in the "Shuo Wen Ding" have not been passed down, how to review his collation conclusions? Later, I combed through the respective editions and found a copy that was consistent with or similar to the order of the print used by Duan, and reviewed Duan's conclusions. Of course, in the end, I also found that Duan's some different texts were different from the books I saw, that is, miscorrected. I speculate that some of these miscorrections arose from Guoquan —other books that Duan had also proofread, such as "JiYun" and "Classic Interpretations", were not all personally proofread, and some were commissioned by Zang Yong (also satirized by Gu Guangxi). According to Yuan Ting's motto, the proofreading of the "Shuowen Ding" was yuan's first "reaming in the jianduan", so from Yuan Tingqi to Duan Yujie, there may also be some over-reaming in the middle, and it will cause some misplanting and misunderstanding of the school language. Moreover, the "Song Ben" mentioned by the Qing people may not really be the Song Ben, and sometimes the Song Ben School Survey can also be called the "Song Ben", and even the Song Ben School is based on the Ming carved ben, and then the transcribed book is also called "Song Ben", and today we must fully realize that the "Song Ben" mentioned by the Qing people may not really be the Song Ben. Including the "Song Da Zi Ben" (Zhao Codex) mentioned by Duan Yujie, there is also a lot of trouble, and I am writing a paper on this issue, arguing that this "Song Da Zi Ben" is not a Song Ben. Including the "Song Ben" mentioned by the "Thirteen Commentaries on the Thirteen Classics", the "Song Ben" is actually a school book such as the Huidong Schoolbook, and the Huidong Schoolbook is written as "Song Ben", so the Collation Survey Bureau absorbs the rusty "Song Ben" of the school language into their books, thus causing some very complicated problems.

Teacher Wang Fengxian: I am more concerned about whether you are going to make a point school book (equivalent to a final version) of "Shuowen"?

Speaker: One of the tasks I have always wanted to do is to do the collation of "Shuowen" and absorb the different texts of each version of the system, and now I have a proofreading of more than 100,000 words. However, this proofreading is still a long way from publication, and there are many aspects to consider - when making proofreading, it is basically scattered, but when collated, there are different versions of different texts, and how to deal with non-engraved different texts; in addition, in the version of the school, whether Xiao Xuben should be considered (because Xiao Xuben and Da Xuben are not the same system), how to deal with the "Shuowen" cited by the group book needs to be considered. Maybe I may not be able to make a final version, but what I hope is that, like Mr. Zhou Zumo's "Guangyun Schoolbook" and Mr. Zhao Zhenduo's "Collected Rhyme Schoolbook", based on a common version, the different texts of each version of the school are collected and provided to the academic community.

Teacher Li Changran: I would like to ask you a few small questions. First, is there any remnant of the second, third, and fourth proofs of the Kikoku Kakuben?

Speaker: At present, I can see the five reprints before the change, and there have been three reprints. At the same time, it needs to be said that the trial print of Jiguge hidden in Nantu is the earliest print we can see at present, but on this book, there are already some traces of crooked, slender and other revisions, so there may be an earlier print of Kikoge, but this also needs a physical version to prove. After five reforms, I am still in the above map, in the national map, I have seen several intermediate prints that reflect the transition state from the first print to the revised version (only a few volumes have been corrected, and other volumes have not been corrected), and after the five changes, there are also differences between the first revision and the later print. Clarifying the printing order and different texts of the Jigu Ge Ben can in turn help us judge the time and source of the copy supplement on some of the Song texts of the Shuowen. For example, the reason why I infer that the Mao Seal of Ye Qixun and Ye Qi's old Collection was that it was made up is because those few leaves were copied and supplemented according to the five times that mao Qixun was able to see it before he was born.

Moderator: There is a question that you just did not talk about carefully, that is, about the time when the Song carved small print was first published, what basis do you have, such as the basis for engraving.

Speaker: There is no basis for engraving, I set it as the Filial Piety Period because the beginning of this volume and some editions of the leaf have the word "prudent" to avoid, such as changing "Xu Shen" to "Xu Shi" or writing it as a missing pen. Since the initial engraving is basically rambling, I can only roughly speculate that the initial engraving was during the year of Emperor Xiaozong. Most of the engravings were not concentrated during the Xiaozong period, only Ruan Yu was one of the earlier engravers, and the others were engraved during the years of Guangzong and Ningzong.

Host: I suspect it will be earlier, and at the same time as the earliest batch of Southern Song Dynasty prison texts, is there such a possibility from the perspective of avoidance words?

Speaker: Yes, I said that no later than during the xiaozong period, there is a possibility that it will be earlier, because that era coincided with a large number of engravings of the Northern Song Dynasty prison books. However, in the end, which era was the earliest, because there was no engraving work as the most critical basis, it was impossible to judge. Regarding the relationship between the Northern Song Dynasty Jianben and the Southern Song Dynasty, no historical records have been found, but according to the post-Narrative text of the Song Dynasty, we can infer its age in the context of such a large era as the Southern Song Dynasty's re-engraving of the Northern Song Dynasty.

(Thanks to Dr. Bin Liu for recording)

Source: Studies in Confucian Classics and Thought, Vol. 12,

Peking University Press, 2020.

Special thanks

College China Cultural Development Foundation

Dunhe Foundation

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Editor-in-chief of the public account: Meng Zhen, Xie Yan, Dong Jingchen

Editor-in-Charge: Weijing Xu