With the academic community's high attention and evaluation of Yuan Dynasty calligraphers such as Zhao Mengfu (1254-1322) and their works, the surviving Yuan Dynasty calligraphy has become more and more popular, especially in recent years, its groundbreaking hammer price at various auctions is even more astonishing. Following the high price of 190 million yuan for Zhao Mengfu's "Prajnaparamita Heart Sutra" at the end of 2017, at the 2019 Jiade Autumn Auction, his early two books "And Guo You's Second Thesis Volume" were sold for 267 million yuan. Not only the Yuan Dynasty calligraphy benchmark Zhao Mengfu calligraphy auction price soared, even the late Yuan Dynasty Yang Weizhen (1296-1370) handwriting was also favored as never before, last year's Beijing Poly Spring Auction, Yang Weizhen's ink on paper "Hu YueXuan", finally sold for 90.275 million yuan. It is said that as the hometown of yang's hometown, Zhejiang Province, its provincial museum is also eager to auction this handwriting, but the bidding price is far beyond its budget, and it is too late to forget. Fortunately, the winner of the later auction generously expressed his willingness to provide free exhibitions to the provincial museum and make donations in his lifetime, which became a good story for a while.
In fact, among the above three hundred million or nearly 100 million yuan of calligraphy lots, two of them, namely Zhao Mengfu's "Two Scrolls with Guo Youzhi" and Yang Weizhen's "Hu Yuexuan", were all requisitioned by relevant departments from Japan, which is commonly referred to as Japanese return cultural relics. At the beginning of the new year in 2022, the Tokyo National Museum, together with the Taito-ku Calligraphy Museum, launched the exhibition "700 Years After The Future – Zhao Mengfu and His Times", which publicly displayed the famous works of Zhao and his contemporaries in Japan, once again giving people a taste of the rich collection of Related Collections in Japan.
Poster of the exhibition "Zhao Mengfu and His Times"
In fact, until the end of the Meiji era (1868-1912), in addition to Zhao Mengfu, the Japanese did not know much about the calligraphers of the Yuan Dynasty and their works, and there was also a rather biased phenomenon in the field of calligraphy collection, that is, the collection of calligraphy books was still mainly Zenlin inkblots. For example, the handwriting of Feng Zizhen, Zhongfeng Mingben and others who had contacts with the Japanese monks, as well as the inkblots of some monks who are not yet well known in China, are highly cherished, and only the pieces of paper are regarded as arches, and some are even recognized as national treasures (Feng Zizhen's "Obscure French with no Hidden Yuan", etc.), and the famous calligraphers who occupy a place in the history of calligraphy, such as Yang Weizhen, Kang Liwei, Zhang Yu, Rao Jie, etc., have few collections of their authentic works.
National Treasure Handwriting: Feng Zizhen's "Obscure French with No Hidden Elements"
This situation was changed after entering the Taisho period (1912-1926), objectively benefiting from the external environment, that is, with the fall of the Qing Dynasty, the collections of the imperial family, the imperial family, nobles, high-ranking officials, etc. were scattered, many of which gradually flowed into Japan and were acquired by emerging collectors. In addition to bookstores such as Bunkodo in Tokyo and Hirobundo in Osaka, Kanae Naito, Nagao Yuyama, Seiichi Taki, Nishiya Omura, and Lo Zhenyu (1866-1940) also played an important role. In particular, Luo Zhenyu, a scholar and collector, had a great influence on the Chinese painting and calligraphy collection community in Japan at that time.
Luo Zhenyu took refuge in Kyoto in the winter of 1911 until he returned to Tianjin in the spring of 1919 and lived in Japan for eight years, during which time he not only made amazing achievements in the research and bibliography of Dunhuang scriptures, oracle bone scripts, Han Jinmu Jian and ancient books and banknotes, but also played a leading role in the appreciation and dissemination of Jinshi calligraphy and paintings. Of course, forced by life, research and publication, Luo Zhenyu also sold a large number of calligraphy and paintings and other cultural relics. Today, it seems inevitable that people will be strangled, but at that time, perhaps out of helplessness, on the other hand, the overseas dissemination of traditional Chinese calligraphy and painting art was objectively not without a promotion effect.
The aforementioned Yang Weizhen's "Hu Yue Xuan Ji", its appreciation and dissemination is related to Luo Zhenyu, and even Some Japanese scholars believe that Luo Shi brought it into Japan and sold it. "Hu Yue Xuan Ji" is a paper ink print framed into an album, a total of ten pages, of which Yang Weizhen ink is five pages, Wusi column grid yellow note paper, cursive writing, counting 38 lines, more than 370 words. The other five pages are Yuan Xian's inscriptions on Hu Yuexuan's poems, including Li Yi, Lai Shan, Yu Shan, Dong Zuocai, Zhang Shu, and Zhang Kui, most of whom are figures who have been ignored or obscured by the history of calligraphy in the past, so they have important historical value. At the end of the album, Luo Zhenyu has two treks, which record the collection of Sheng Yu (Bo Xi) Hongfu and the loss of his collection after his death, and at the same time give high praise to Yang Weizhen's calligraphy: "Iron history books such as corals out of the sea, cliff frost cypress, guangying four photos, Kegan steep pull." "The inkblot was collected by The Qing Emperor Sheng Yu at the end of the Qing Dynasty, and after Sheng Yu's death, it flowed into Japan and was acquired by the Tokyo collector Yamamoto Shujiro (1870-1937), whose collection of calligraphy and paintings is recorded in volume II of the "Catalogue of Calligraphy and Paintings of Chenghuaitang", which also quotes the words and phrases in the aforementioned Luo Zhenyu inscription. Due to the lack of collection of Yang Weizhen's handwriting in Japan at that time, the Yamamoto clan specially invited Luo Zhenyu, who lived in Kyoto at the time, to write an inscription.
The inkblot was first widely known in 1915, from a photocopy reprinted in three installments of the Fashuhui magazine Shuyuan (Vol. 5, Nos. 1, 3, and 5, March, May, and July 1915). In the last year of Taisho, the Yuan Dynasty Calligraphy and Painting Exhibition sponsored by "Dadong Fine Arts" was also publicly exhibited, and later included in the Complete Collection of Calligraphy (all 27 volumes, edited by Yasaburo Shimochu, 1930-1932). After the death of Yamamoto, most of the rich collection of Chinese paintings and calligraphy in his "Chenghuai hall" was scattered, and the inkblot was lost. When Shupin (No. 90) launched Yang Weizhen's special edition in 1958, Hu Yuexuan was also transcribed from Shuyuan magazine in 1915. Unexpectedly, last year, he suddenly appeared at the Beijing Poly Spring Auction, and finally earned it for a Zhejiang buyer, which can be said to be a hundred years later.
Another of Yang Weizhen's original works, the Zhang Shi TongBo Table, which flowed through the hand of Luo Zhenyu, is now in the Tokyo National Museum and is currently on display at the exhibition "700 Years After the Death of Zhao Mengfu and His Times". The handwriting is a long scroll of ink on paper, 28.9 cm in length and 146.1 cm in width, and the light yellow wax paper is applied with a silk bar, and the cursive script is in cursive style, counting 51 lines and more than 500 words.
Yang Weizhen's "Zhang's Tongbo Table" (partial)
It can be seen that the ink is spliced together by two pieces of paper, especially the boundary grid at the splicing is obviously asymmetrical, and there are Zhu wen seals on the top and bottom. If you compare the current "Complete Records of Mr. Yang Tieya's Collected Writings" and other documents, it can be seen that the inkblot is not complete, and more than 160 words are missing in the middle, which has been pointed out by mainland scholars. (See Sun Xiaoli's "Notes on the Complete Works of Yang Weizhen", Volume VIII) Of course, there are many discrepancies between this inkblot and the text recorded in Yang's anthology, and the inkblot interpretation is as follows:
The Zhang clan came out of Qingyang, the Han Dynasty, the Wei Dynasty, the Jin Dynasty, and the Tang Dynasty, and there was no shortage of generations for the prominent officials of the Jia clan. Entering the Song Dynasty, he was a three-leaf clothed person, known as Shi Xun, called the Yokoura resident, known as Jiucheng, and the endless resident of Yu Ying. He crossed the river to worship him, and his descendants lived in the vegetable market of Hangzhi. There are eight ancestors who traveled to Song, aigan made the cherry dock of the mountain a hidden place, because of the knot. The sixth ancestor also moved from Sakura-wharf to the Auspicious Place of the Mountain, and with his son Qianyi Layman, he opened a well to support his relatives. Lay people are self-serving and frugal, and the filial piety of the stepmother does not decline day by day. In the case of winter snow, sweep the gap, sprinkle millet to eat frozen birds, and gather thousands of people. Residents come and go, Ciwu or winged and follow, taste for the Lihao Zou clan to expand the earth field for a number of acres, and then with its promise as a straight, people are uneven, not the yi and the public, the township is called Zhang Paiyan. Cangding has given rice, known as yanglian, the official is a traitor (sentence), a ge (sentence), and the public leads the crowd to go to the south wall, and restores it as before. The crowd led the mouth to money to worship the public, but the public force was accepted, and the crowd entrusted money and went away. Gongfu invaded Haomao, so that zhou was poor and hungry, yu li created the hometown of the righteous well yizhou, and built a large stone beam three. Seventy years of life has an end. He married the Tongli Sun clan and had three sons. Long righteousness. Ci De, out of the Lu clan. Ci Rui, Rui's son Yue Qi. Qi tasted from Yu You, every hatred of the ancestors came to the spectrum unpaid, the stone of the three ancestors was not established, fear of mourning, and lost. Invite Yu to pass through his home, go to his ancestral tomb, known as the original of Tongbo, and worship and please be the three ancestors. Yu is known for his accumulation of good deeds, Flow and the Fifth Dynasty, to the Qi and Karma Yixiu, the Door Yida, and the descendants of the Zhang clan to eat his retribution. Therefore, the genus is more than its own, the book is to the stone, and it is related to the word: Zhang Shi has a surname, from Qingyang. The eminent one of Xun, known as Han Zhiliang. Under the pillar, there is a gentleman, and there is a heaven in the life. Eight generations of noble, no more than soup. Mao Xianshi Jin, Bo Qia is long. He was driven by Yu Ying, and his surname was in Hang. It is actually the originator, by Hang Migrating Song (leaf). The fifth generation carries virtue, and the earth gathers its auspiciousness. Ren Filial Piety was granted, and The Original Commander was Tsukitomo. The fifth is Chang, the eighth Mojing (Ye). Inscribed with a table of words, using Zhao HouQing (ye). In the spring of Zheng Yi, Li Yibang was the second rank of the Jinshi, the Fengxun Dafu, the former Jiangxi and other places of Confucianism, and the Huiqi Yang Weizhen wrote and wrote a book.
After the payment was dropped, there were four seals of Yang Weizhen: "Huiji Yang Weizhen Seal" Zhu Wenfangyin, "Li Yibang Second Rank Jinshi" Zhu Wenfangyin, "Lianfu" Baiwen Fangyin, and "Holding the Old Man" Baiwen Fangyin. The introduction of the volume also has its "Nine Mountains White Cloud Residence" Zhu Wen Changfang Seal.
From the above text, it can be seen that this article is the original manuscript of the inscription written by Zhang Qi, who was supposed to "taste from Yuyou" by Yang Weizhen, who was built in the ancestral cemetery of Tongbo. Yang Weizhen died in the third year of Hongwu (1370), and from the inkblot "To Zheng Yi Mi Chun", that is, to the twenty-fifth year of Zheng (1365), he wrote it when he was 70 years old after he moved to Songjiang. The pen is exquisite and skillful throughout, the beginning part is mostly a line book, and the middle begins to become more and more obvious, especially the grass body of the miscellaneous chapter cursive strokes, which is brilliant and flying, as if out of no man's land, showing its peculiar artistic style, and also reflecting the goodness of the Yuan Dynasty calligraphers. This inkblot, together with the "Hu Yue Xuan Ji", can be called the representative of Yang Weizhen's wild and exquisite calligraphy in his later years.
The cover of the inkblot has Luo Zhenyu's autograph inscription "Yuan Yang Lianfu Shu Tongbo Yan Table True Manuscript Chenhan Lou Collection", and the scroll tail has the "Luo Zhenyu Seal" white text square seal, indicating that it was once hidden by Luo Chenhan Lou. Later, the inkblot disappeared for a long time, and it was not until the end of the 20th century, after the death of the calligrapher Sugi Yu Aoyama (1912-1993), whose family donated it to the Tokyo National Museum in accordance with his will, and it was learned that the last collector of this ink treasure was Aoyama SugiYu. In fact, the aforementioned "Hu Yue Xuan Ji" was also hidden by it. It is said that Aoyama Sugiyu has always been obsessed with Yang Weizhen's calligraphy, and after the inkblot was acquired, he named his hall "Won Lian Zhai" and asked Taiwanese seal engraver Jiang Zhaoshen to engrave this seal, (see Tokyo National Museum, "Centenary of the Birth anniversary: The Eye power and Calligraphy of Aoyama Sugi Rain", 2012) and has been fond of using it ever since. Now from the two pieces of Yang Weizhen inkblots, you can see the Zhu Wenyin of "Obtaining Lian zhai".
It is said that in addition to the inscriptions of calligraphy and painting, there are only a few existing Yang Weizhen calligraphy with a certain scale and an age, and the two handwritings introduced to Japan are long and large-scale works, and they are also the representative works of the late stage of his calligraphy perfection, which can be called the most precious treasure.
Before the transmission of such handwriting, the japanese academic community's understanding of Yang Weizhen was mostly limited to his poetry and lyrics, such as the "West Lake Bamboo Branch Words", and there were reprints in the late Edo period (1811), reflecting that his bright and timeless poems were once accepted by Han scholars. As for calligraphy, due to the lack of authentic handwriting, the understanding of Yang Weizhen's calligraphy basically stays at the level of the preface to the engraved or re-engraved "Tuyi Baojian", because the "Tuhua Baojian" has a preface to "The Book of Yang Weizhen in the Grass Pavilion of the Clouds", which has been engraved in Japan since the middle of the 17th century.
In Taisho-era Japan, yuan dynasty calligraphers who received special attention included Kang Li, Zhang Yu, and Rao Jie. The emergence of this phenomenon is also related to Luo Zhenyu, who lived in kyoto.
Kangli Wei (1295-1345), Zizi Shan, Zheng Zhai and Shu Shu, belonged to the Western Kangli Department, a semu person, a lifelong official, who served as a Rebbe Shangshu, a scholar of Kuizhangge University, and a scholar of Hanlin Academy. The "Yuan Shi Ben Biography" records that it is "good and true cursive, and those who know it are said to have the penmanship of the Jin people, a single piece of paper, and people fighting for treasures, which is nothing less than gold and jade". He is good at hanging his wrist to write books, skillful and fast with his pen, and his writing style is majestic and elegant, and he has a great personality. Its calligraphy is on a par with Zhao Mengfu and XianYushu, and is sometimes known as "Northern Zhao and Southern Zhao". For such an important Calligrapher of the Yuan Dynasty, until the end of the Meiji Period, there was no authentic calligraphy in Japan. It was not until the beginning of 1915, when the Hokshukai magazine Shuyuan (Vol. 4, No. 9) reprinted its Cursive Poetry Scrolls that people learned that Japan finally had the authentic handwriting of this foreign calligrapher. This handwriting was once written by Zhu Jiudan (1859-1914?), a collector of the late Qing Dynasty who had a relationship with Luo Zhenyu. It was hidden, and later flowed into Japan, and was owned by Yamamoto Shujiro. After Yamamoto started it, he specially asked Luo Zhenyu to write an inscription. At present, the outside of the volume contains an inscription from Luo Zhenyu's hand: "Yuankangli Literature Gongshu Han Scroll On Yu Luo Zhenyu Examination inscription", and the end of the volume has its three lines of trekking. After the collection of Yamamoto Washuro was released, the volume was acquired by the industrialist Kikujiro Takashima and donated to the Tokyo National Museum. The inkblot was later included in famous calligraphy books or magazines such as The Complete Collection of Calligraphy (17), Dongyang Fine Arts (Convenience Hall), Calligraphy Art (other volumes), Chinese Calligraphy Traces (Mainichi Shimbun), Shu pin (46), and Calligraphy Masterpiece Series (122), as well as in exhibitions such as "Calligraphy Masterpiece Exhibition" (1953), "Song and Yuan Art Exhibition" (1961), "Oriental Art Exhibition" (1968), "Chinese Calligraphy Masterpiece Exhibition" (1978), etc. In the past two decades, various related law book exhibitions have been seen frequently, and it can be said that the ink of the Yuan Dynasty law book is well known in Japan.
Cursive Poetry Scrolls
The Cursive Poetry Scrolls are a combination of three works written by Kang Li in different periods, all of which are ink books on paper and of different sizes.
The first is the "Li Bai Ancient Wind Poetry Volume" (35 cm in length and 63.8 cm in width), that is, one of The Poems of Li Bai's "Fifty-Nine Ancient Winds" is recorded in the Chapter Cursive Calligraphy, and there is no year of falling money, only the "Idle Book Taibai One Poetry Zi Shan Zhi" knowledge. Later, there is a ten-line inscription by Zhang Yu (1283-1350), although some handwriting has fallen off, but you can still appreciate its frank and natural unique style of writing. Zhang Yu's original handwriting is extremely rare, and the Japanese have rarely witnessed it before, so this inscription and Kang Li's poetry can be described as a double wall. This work is accompanied by Wen Zhengming's Xiaolishu Shu (文征明) Xiao Lishu (文征明) Xiao Lishu (文征明) before and after this work, which not only appreciates its rare and exquisite Xiao Lishu, but also its Chinese characters are of great benefit to appreciating Yuan Dynasty calligraphy, especially Kang Li's handwriting.
The second is a self-composed poem, namely "Self-composed Autumn Night Sentimental Seven Words ancient poem" (28.9 cm in length and 82.2 cm in width), a book with grass in between. The explanation is as follows:
Yuan Tong was three years old, and Meng Qiu was seventeen years old. The sound of crickets was heard on the first night, and the autumn cicadas cried for a long time. The next night the cicadas cry more, what is the heat of the mid-night snack? The three more want to stop the cicada sound, and the leech sound cuts into harmony. May the lotus harvest the golden qi and show autumn righteousness for the luck of the cool. Sweep away the dark autumn moon, steaming is both as fresh as the breeze. Yu composed this poem, this ten years, suitable for the book, occasionally recorded, Zishan Zhi. On August 11, the fourth year of the year, jiashen was in the West Building of the King of Henan in Hangzhou.
Conrie wrote his own poems
It can be seen that the poem was given in the third year of the Yuan Dynasty (1335), and ten years later, in the fourth year of Zhizheng (1344), it was re-enacted in the West Building of the King of Henan in Hangzhou. According to his life, Kang li died in May of the following year, which is his most recent handwriting. The whole text is majestic and smooth, vigorous and fresh, and full of charm of freedom and detachment. After the handwriting, there is another WenZhengMing Xiaoli Shu ShuYu, describing Kang Li's experience before and after this work, etc., and finally recording: "Zishan tasted self-talking people, and the Japanese book was tireless in tens of thousands of words." It is advisable that more books be passed on to the world, and fewer are unique in the world. These three posts are xiangcheng collection, borrowed for several months, each with a number of words attached to the end. Wei Shi is good at ancient and elegant, and will be able to forgive his ignorance. The reason why Wen Zhengming left the Three Treks is because he had borrowed this scroll from the Shen family in Xiangcheng to watch for several months. Most of the existing wenzheng ming calligraphy is in line letters, and the small libi in the inscription of this volume is extremely rare and also worth cherishing.
The third is the "Six Absolute Sentences of the Tang Dynasty" (30 centimeters in length and 101.6 centimeters in width), that is, one each of the six Tang absolute sentences recorded in cursive writings, such as Yuan Shu, Du Mu, Li Bai, and Liu Yuxi. "I accidentally wanted to write cursive writing, because I wrote six tang verses." In march of the second year of the Yuan Dynasty, the mountain was recognized. "The second year of the Yuan Dynasty, that is, 1334, was the work of his 40 years old.
Kangli's cursive calligraphy is derived from Zhong Xuan, Wang Xizhi and Huai Su, as well as other brushwork, especially the integration of Zhang Cao and Imakusa to form a transcendent and unique self-style. Luo Zhenyu's inscription at the end of the volume reads:
There are Yuan generation scholars, most of whom cannot go out of the scope of Zhao Wei Gong, but Kang Lizishan, Yang Lianfu, Rao Zuiqiao and Song Zhongwen can transcend the unique, guide the source Zhong Fu, and the private Shu Sushi. There are three books in the volume, the former seems to be Yuan Chang, and the latter should be in contention with the old monk of shu banana. In August, Shangyu Luo Zhenyuguan lived in the Snow Hall of Haidong Residence and inscribed Zhixing.
Roche's book, written in 1916 ( C Chen ) , is the only modern scholar among the inscriptions of the book. Its brief phrases name the general characteristics of Yuan Dynasty calligraphy, arguing that most of the Yuan Dynasty calligraphers could not jump out of Zhao Mengfu's calligraphy barriers, and only the four families of Kang Li, Yang Weizhen, Rao Jie and Song Ke could be detached and independent and shine. At the same time, kangli Weiwei's cursive poetry scrolls are reviewed, the former is similar to the Zhong Xuan (ziyuan chang) book, and the latter can compete with the huaisu (worldly nicknamed "book banana old monk") book. Since then, Luo Zhenyu's inscription has been often cited by Japanese scholars, and has almost become a guide to commenting on Kangri's calligraphy. At the same time, Luo Zhenyu's recommendation of the above-mentioned Four Families of Kangli, Yang, Rao and Song also invisibly affected the Japanese calligraphy collection community and promoted people's attention to Yuan Dynasty calligraphy. Since then, some precious Yuan Dynasty law books have continued to flow from China to Japan and fall into the hands of Japanese collectors. For example, in the collection of Kikujiro Takashima, Zhao Mengfu's "Dugu Ben Ding Wu Lan Ting Preface and Lan Ting Thirteen Paks" (Burning Ben) and "Kai Shu Xuan Miao Guan Reconstruction of the Three Doors", Rao Jie's "Cursive Du Fu DengYue Yang Lou Poem", as well as the "Song and Yuan Famous Artists Ink Book" including Deng Wenyuan, Kang Li Wei, Lü Min, Qian Weishan, Qian Liangyou and other calligraphers, including The Ink Book of Famous Artists of the Song dynasty, including Ru Mu, etc., are representatives of them.
During his time in Japan, Luo Zhenyu also published two Yuan Dynasty law books on his own. The first is the "Zhao Wenmin Gongyu Wenjing Gongfa Book", of which the Zhao Mengfu Fashu contains two kinds of stele he wrote: Feng Zizhen's "Record of Yanqingyuan" and Fan Zhongyan's "Tang Diliang Gongbei"; Yu Ji's Fashu contains his book Han Meicheng "Seven Hairs", with Zhang Yu's inscription. The second is the "Eight Books of the Law of the Yuan Dynasty", which contains the handwriting of eight Calligraphers of the Yuan Dynasty, namely Feng Zizhen, Gong Huan, Tai Buhua, Gu Shanfu, Li Xiaoguang, Shen You, Yang Weizhen and Rao Jie. It can be seen from the inscription on the cover "Luo Zhenyu Department in September of the Fifth Afternoon" that it was published in 1918. Among them, Yang Weizhen's handwriting, namely the aforementioned "Zhang Shi Tongbo Table", rao's book is "Banana Pond Snow Poem", which was transferred to the collector Yamamoto At that time, and his "Catalogue of Chenghuaitang Calligraphy and Paintings" Volume II is recorded in detail. Others, such as Feng Zizhen's inscription, Gong Huang's Shujian, Tai Buhua's "Gifting Jian Shangren to Jiangxi Gurudwara Yu GeLao" Seven-Word Verse Poem (now in Taiwan Academia Sinica), Gu Shanfu Xiaokai's "King Kong Prajnaparamita Honey Sutra" (now in the Palace Museum), Shen You's "Feeling Double Crane Words" and so on are also extremely rare calligraphy masterpieces. Mr. Chen Yuan had seen the book before and was particularly concerned about the writings of the ethnic minority calligrapher Tai Buhua. He wrote in the "Huahua Examination of the People of the Western Regions of the Yuan Dynasty": "In recent years, there have been Colo editions of the "Eight Laws of the Yuan Dynasty" on the sea, and there is a seven-word law of the Tai bu Hua Xing book "Gifting Jian Shangren to Jiangxi Gurudwara Yu Ge Lao", which is not contained in the "Selected Poems of the Yuan" and "Gu BeiJi". (Chen Xinhui wrote "Yuan Xiyu Renhua Kao", Yang Jialuo edited the first volume of "Masterpieces of Chinese and Foreign Transportation History", Taipei: World Bookstore 1970) I think that I can make up for the gap in the past historical materials.
Luo Zhenyu published the "Yuan Eight Family Law Book"
In short, Luo Zhenyu, who traveled to Japan in the east, not only brought and transferred the calligraphy of Yang Weizhen, Rao Jie, and others, and printed the famous calligraphy of the Yuan Dynasty at his own expense, but also personally inscribed the authentic handwriting and pointed out the way to appreciate the door, thus opening the door to the collection and appreciation of the Yuan Dynasty law books in modern Japan. In addition, during the Japanese period, Luo Zhenyu also had Yang Weizhen's authentic manuscript "Ruxintang Record", but the specific circumstances and whereabouts are unknown and need to be further investigated.