Abstract: Wang Guowei proposed in his later years that the high achievements of epigraphy in the Song Dynasty stem not only from the pursuit of ancient knowledge, but also from an interest in appreciation. This interest is similar to the "quaint" taste he had talked about in his early years, which was a combination of the relics of the antiquities themselves and the aesthetic judgments based on cultivation. In the Northern Song Dynasty, this interest was not only reflected in the influence of bronze inscriptions on the art of calligraphy, but also in the way literati and bronze "got along". Su Shi's representative of a school of literati reflected on the improper use of power in bronzeware, using rather solemn and Zen words to depict the ease of drinking with bronze, while Neo-Confucian scholars such as Lü Dalin criticized the abuse of bronzeware and also used imitation bronze for daily life. In the two Northern Song Dynasty Jinshi works that have survived to the present day, unlike Lü Dalin's rigorous "Archaeological Map", The Xuanhe Bogutu of the Huizong Dynasty has a clear tendency of "aesthetic examination". The method of judging the age through style and judging the authenticity through color, although not scientific, has formed a kind of appreciation for bronze ware, setting the tone for it as an object of appreciation for future generations. The concept of "antique color" was born from this kind of appreciation, and even influenced the Southern Song Dynasty poets' depiction of nature.
One
The Ming dynasty had the "Seventeen Orders" cloud: "The incense makes people quiet, the wine makes people far away, the stone makes people junk, and the piano makes people silent... The Golden Stone Yi Ding is ancient. In the late Ming Dynasty, three generations of bronze ware were already listed as literati together with the piano, wine, stone, and incense, and what they carried on them was the value of "ancient" with profound significance. It is true that these ancient artifacts do have a "historical" value, but the "ancient" here is not just the meaning of "ancient", it is the same as the shadow, far, the same, the same, the meaning and beauty of life transcendence.
Such a meaning occurred in the Northern Song Dynasty's understanding of ancient artifacts. In his speech "The Golden Stone Science of the Song Dynasty" in his later years, Wang Guowei spoke highly of it, saying that "the Song people's study of the shape of ancient artifacts is far better than that of the modern world." In his "Post-Theory", he sums up the roots of this prosperity by the clouds:
The study of jinshi, created in the Song Dynasty, is less than a hundred years old and has reached the realm of completion. Originally, his progress was so fast, because since Emperor Renzong of the Song Dynasty, there was nothing to do in the sea, and the scholar and doctor had the leisure to learn. At that time, philosophy, science, historiography, and art each made considerable progress, and scholars and doctors also had considerable qualities. The taste of appreciation and the interest of research, the love of thinking about the past and the idea of seeking innovation are intertwined with each other. This kind of spirit can be encountered in the writings of the representative figures of the time, Su Shi, Shen Kuo, Huang Tingjian, and Huang Bosi. Its interest in ancient gold stones, as well as its interest in calligraphy and painting, is appreciated on the one hand and studied on the other. The ancient artifacts of the Han, Tang, Yuan, and Ming dynasties must not have the interest of the Song people, so the Song people's study of Jinshi calligraphy and painting is a tomb spanning hundreds of generations. In recent times, the revival of the study of jinshi has been written in the writings and the Song people, and the interest of the Song people in many aspects has not been caught, so although it is said that the study of jinshi is the learning of the Song generation.
In Wang Guowei's view, the achievements of antiquary in the Song Dynasty are rooted in the comprehensive qualities of scholars in various fields, which cultivate both the "taste of appreciation" and the "taste of research". Scholars have talked a lot about the latter. Liu Chang, one of the founders of epigraphy, has stated in the preface to the "Records of Ancient Artifacts of the Pre-Qin Dynasty" that the academic significance of the study of jinshi is that "the li family knows its system, the primary school corrects its writing, and the genealogy is second to its lineage", and the material materials of the bronze ware and the pre-Qin classics together constitute the "double evidence" of etiquette, history and primary school at that time. Scholar Li Zhi pointed out that this founding principle of modern Chinese historiography proposed by Wang Guowei did not come from Western archaeology (Western archaeology and documentary history are two disciplines), but from the "archaeology" of the Song Dynasty (a historical study that combines inscriptionology and philology). Taiwanese scholar Chen Fangmei believes that epigraphy is related to the new values given by the emerging "scholar-doctor" class of the Northern Song Dynasty, especially the ideas of Neo-Confucianism, and some important epigraphic researchers such as Lü Dalin, who and his brother Lü Dafang themselves are disciples of Da Ru Zhang Zai, who "directly target what they believe to be new visual materials from three generations, like the Neo-Confucian movement in the early to mid-Northern Song Dynasty, and strive to grasp the fundamental spirit of Confucian classics."
However, according to this line of thinking, since visual materials are constantly discovered, and new knowledge is also constantly accumulated, there is no reason why the epigraphy of the Northern Song Dynasty will be better than the more abundant visual materials and knowledge accumulation in later generations, as Wang Guowei said. Therefore, Wang Guowei's praise for Song Dynasty epigraphy is often considered to be somewhat biased. However, it should be considered that in addition to mentioning the pioneering nature of the Song Dynasty in the research method of jinshi, he emphasized that the "multi-faceted interest" of the Song people made later generations "somewhat unappreciated". He mentions several key figures here--Su Shi, Shen Kuo, Huang Tingjian, and Huang Bosi, except for Huang Bosi, the other three are not considered representative figures in the study of epigraphy, even huang Bosi, who is proficient in jinshi, most of the jinshi works have long been lost. But the four of them have one thing in common - they are all well-educated, proficient in calligraphy and painting, and interesting connoisseurs. Without this kind of "fun" of appreciation, without their spirit of attaching equal importance to "thinking about the ancients and seeking innovation", there would be no prosperity in the epigraphy and antiquarians of the Song Dynasty.
Wang Guowei's idea of attaching equal importance to "fun" and "ancient meaning" in this article cannot help but remind people of his earlier views in his article "The Position of Ancient Elegance in Aesthetics". At a time when Wang Guowei's academic interest had not yet fully turned to the study of jinshi and scripture history, he had already said that ancient works of art, including "the bells of the three dynasties, the imitation of the Qin and Han dynasties, the inscriptions of the Tang and Song dynasties of the Six Dynasties of the Han and Wei Dynasties, and the books of the Song and Yuan dynasties," had a sense of "quaint" beauty, which could also be called "quaint" works of art. Unlike the art of purely based on modeling, the reason why these daily "things" can become objects of appreciation is mainly due to a "sense of legacy", that is, no matter how ordinary they are in the world, once they are passed on to future generations, they will naturally attract people's pity, which is the origin of "ancient". But it is not enough to have ancient meaning, but also to have a personality that is enough to bear the fun. Wang Guowei believes that unlike Kant's "genius theory" on art, the requirement for appreciating ancient art is "high personality and sincere learning", which is gradually formed in the education and cultivation of the day after tomorrow, that is, the origin of "elegance". With these two conditions, "we play with our things and have nothing to do with their use, so that people are beyond the scope of interests and harms, and they are in a trance in the realm of ethereal tranquility." The bronze ware appeared from the ground, and the cultivation of its viewer's personality was gathered in time and space in the Northern Song Dynasty; this was a rare occasion in history, and it was also the favorite place of Mr. Jing'an.
Wang Guowei's "The Aesthetic Position of Ancient Elegance" was proposed in his early years under the inspiration of Kant, based on Chinese art and its appreciation tradition. However, his assertions of "the feeling of the afterlife" and "the love of thinking about the past" can be compared with Heidegger's thought. In Existence and Time, Heidegger pondered: To what extent are these antiquities that live before our eyes "historical"? Since they have not yet been "past", how can they somehow belong to the "past"? If we admit that the artifacts in front of us belong to history, then do they still exist in the present, in addition to providing us with interest in history or antique collection or Fang Zhixue, have a current significance for itself? Heidegger's answer to this question is that the historicity of these things is based on their "presence here and there", that is, the antiquities are not brought directly to us by a point in history, they once existed in a world of this and this, although that world no longer exists, but what was once in that world still exists; when they are again discovered and wrapped in reality, the ancient meaning of the body is revealed by this "fall", which is what Wang Guowei calls "the sense of the afterlife". (11) The so-called "realm of tranquility", although derived from the "non-interest" of aesthetic stillness as Kant called it, is closer to Heidegger's exposition of the perception of the "truth of existence" in the face of this "present presence". The final presentation of bronzes as works of art stems from the ability of the Song Dynasty literati as artists to cover up the "world of truth", that is, what they call the "heart of the ancients". （12）
Two
When the Song Dynasty scholars began to collect Shang Zhou ancient artifacts, almost everyone was shocked by what Wang Guowei called the "sense of the after-world". However, they have subtle differences in their understanding of this "ancient meaning". Under the influence of the revival of Confucianism, many scholars in the Song Dynasty had special feelings for the Taoism of the three generations of civilization wrapped in bronze ware. In the middle and early period of the Northern Song Dynasty, Liu Chang said in the "Records of the Ancient Instruments of the Pre-Qin Dynasty": "The affairs of the three kings are not recorded in a poem, and the holy kings have those who can live for a long time." (13) Lü DaLin also said in the "Archaeological Atlas": "The discussion of the day is a book, and I dare not play with the instrument." Look at its instrument, recite its words, describe it as if chasing the legacy of three generations, as if seeing its own people. (14) Although many of the three generations of instruments have only the usual phrase "to be used by children and grandchildren", scholars have closely associated them with the deeds and virtues of the three generations of holy kings.
For the literati doctors who were proficient in connoisseurship, the "ancient" in their hearts was not necessarily only the virtue of the Holy King. When studying Ouyang Xiu's "Collection of Ancient Records", the American scholar Elonor noted that Ouyang Xiu's so-called "ancient" is not necessarily three generations or even more distant Han Wei, and most of the inscriptions are from the Tang Dynasty. This "ancient" is actually a sense of separation of time and a sense of historical rupture, "he considers himself to be on the side of the cliff valley, and the cliff valley of time separates his time from the pre-Song era" (15). Chen Yunqian also pointed out that Ouyang Xiu did not clearly distinguish between the original objects of the stone stele and the stele (16) on the issue of "ancient", so he did not regard the golden stone as a kind of "historical relic", but crossed this time gap through the beauty of the ancient characters. Ouyang Xiu expressed in the Preface to the Collection of Ancient Records: "Tang Pan, Kong Ding, The Drum of Qiyang, the carved stones of Daishan, Zou Yi, and Hui Ji, the Steles of the Sages and Sages of FuHan and Wei, the Yi Instruments, the Inscription Poems, and the Preface, down to the Ancient Texts, the Seals, and the Zigzag Books of the Various Families, are all the most precious treasures of the three generations, strange and magnificent, and the works are wonderful and gratifying." (17) He seemed to be completely attracted by the beauty of the inscriptions on the ancient artifacts. The ancient meaning in the antiquities, against the background of Ouyang Xiu's own personality and erudition, presents a pleasing and quiet interest.
Milk nail pattern Gui Late Shang Late Zhou Early Zhou Shaanxi Lantian Lü Family Northern Song Dynasty Tomb
Unlike the situation in which the Collected Ancient Records do not depict graphics but only written records, Cai Yun records in Volume IV of the Tiewei Mountain Series that Li Gonglin, a great painter with a rich collection of ancient artifacts, often exhibited the original artifacts and the imitations he made in the Yaji for friends to watch and play (18). The Archaeological Map, which Li Gonglin failed to pass down, should also be the form of juxtaposition of diagrams and inscriptions, and became a model for subsequent Jinshi bibliographies (19). In Huang Bosi's "Treatise on the Yu of Dongguan", the style of ancient inscriptions has become a criterion for his judgment of calligraphy. For example, in the "Seal queen of the Ba Su clan", it is said that its "ancient text is of high quality and difficult to build, if the three generations of Ding Yi relics are already", and the "Poetry Axis of the Book of The Book of the Eighty-Body Poetry Axis of the Book of the Four-Body Poetry Scroll of the Book of the Afterglow of the Wei and Jin Dynasties" is said to be "the two kinds of Chinese inscriptions and the ancient text of zhong Ding, because of the attachment of the end of the volume cover song finally play the meaning of ya". (20) Huang Bosi believes that the Zhong Ding inscription is enough to match the most transcendent Wei and Jin rhymes in the history of books. By the end of the Northern Song Dynasty, the great collector Zhao Mingcheng said in the "Preface to the Golden Stone Record" that he collected ancient artifacts, the contents of which were "from the three generations above, down to the Sui and Tang dynasties, and the five seasons; the inner self-master, the Yidi of the Four-Square State, the ancient Wenqi characters that have been transmitted since the history of the warehouse, the book of the two seals of the big and small seals, the bell, the ding, the seal, the gui, the zun, the dun, the zhen, the mane, the disk, the inscription of the man, the inscription of the writer, the poem, the ode, the inscription, the inscription, the article of the narrative, the meritorious deeds of the famous Qing sages, as for the saying of Lao Tzu, all the ancient artifacts and monumental carvings, and the broken paintings of the husband' fragments, The one who has perished and remains is slightly exhausted" (21). He struggled to do this in order to preserve "historical documents and image data", which is naturally "a good tool for non-SAR areas" (22). Liu Zhao, who befriended Su Shi and Li Gonglin during the Yuan Dynasty, and later wrote an inscription for Zhao Mingcheng's "Inscriptions on Ancient Artifacts", said in a poem written for Zhao Mingcheng: "Collect he is rich and rich, and copy the japonica yellow scroll." Immersed in the summer Shang Zhou, Yu yu to the two Han. Ancestor of inscription, Zeng Xuancheng seal. Quite knowledgeable and elegant, not afraid of fish and glare. (23) From the poem, we can understand that what attracts him most is the calligraphic value of the inscription. When he identifies ancient artifacts, he will also judge them "not pseudo-artifacts" based on their "ancient characters". If the main driving force of Ouyang Xiu's "good antiquity" is the "sense of pleasure" brought to him by the highly infectious calligraphy style of ancient inscriptions, then Zhao Mingcheng is completely immersed in the admiration of the more ancient "text ancestors".
The ink book inscribed copper cover Ding Han Dynasty imitation Zhou Shaanxi Lantian Lü family Northern Song Tomb
The calligraphy of the people of the time was naturally deeply influenced by ancient books. Emperor Huizong's Xuanhe Pictorial Spectrum once highly praised the calligraphy of the former dynasty Horse King Yi as "true to the grass, and zhong ding seal with brushwork" (25). At that time, Wang Yi and Li Gonglin and Su Shi were all friends, and there were often elegant collections during the Yuan Dynasty, and it is conceivable that the gatherings of that year would inevitably be like the famous "West Garden Yajitu" story, not only doing calligraphy and painting, but also ancient artifacts are also indispensable and wonderful things in the Collection, and Wang Yi is likely to have seen Li Gonglin's inscription. Another character in the story of the "Xiyuan Yaji" is Mi Fu, and the Song people commented that his calligraphy "does not practice the old traces, every new idea is in the dharma, and the pen and ink are outside the path" (26), but the formation of his calligraphy style is not arbitrary. He described his book as "free to write, natural, and elegant", and people at the time also said that he was "a collection of ancient characters", which he considered to be the result of "taking the strengths of all" (27). In his heirloom Xueshu Ti (included in the Qunyutang Tie, collected by the Palace Museum), Mi Fu recounts his early years of learning Yan, Liu, Ou, and Chu, and later "entered the Jin Wei Plain", and after learning the seal book, he "loved the Curse Chu" and "Shi Gu Wen", and "Wu Zhu Jian used bamboo to paint with bamboo", and finally solved "Ding Ming Miaogu, Lao Yan" (28). The last stage of Mi Fu's study of the book is to learn the original Ding Ming, and there is no doubt that in Mi Fu's heart, this text from the infancy of history has the most natural beauty. In calligraphy, this state of random nature is the highest artistic state, and it is also the final way to learn books.
Three
Unlike today, when bronzes are put into museums as cultural relics, scholars and doctors in the Song Dynasty are more likely to have close contact with bronzes in their lives. For the literati, when they accept an artifact into the realm and space of their lives, they consider not only the beauty of these artifacts, but also how to "get along" with them; or even, in a sense, this feeling of "getting along" is in a sense the source of beauty. Of course, this was especially true of Emperor Huizong, who had a rich collection and was an emperor. When observing how Emperor Huizong laid out these artifacts in his daily space, it was clear that the taste of appreciation became one of the main intentions of these collections and placements. In the first year of Xuanhe (1119), Cai Jing was summoned to the newly repaired Bohol Hall to serve a banquet, recording Emperor Huizong's introduction to the collection in the temple, and its two rooms, "Liebao Play and Ancient Ding Yi Instrument", Zuo Ji Ge "Miaoyou", set up "Ancient and Modern Confucian Books Shizi Shu Mo"; Right "Xuandao", which is "The Book of Golden Cabinet Jade Flutes, and the Hidden Texts of the Heavens of Shenxiao" (30). The "Jigu Pavilion" that went forward also contained the "Xuanwang Stone Drum", and then the "Ancient, Shanggu, Jiangu, Zuogu, Chuangu, Bogu, and Mystic Pavilions, the Tibetan Ancestor Xunmu and the Xia Shang Zhouzun, Yi, Ding, Mane, Jue, Xue, Jie, Dun, Pan, Lu, Han, Jin, Sui, and Tang calligraphy and paintings, many of them were not knowledgeable and shocking, and the instructions of the Shang relatives were generalized" (31). These places, which are called "ancient", are not like in the ceremonial places, which need to have their own positions according to their shape and function, but are more similar to the furnishings of a royal museum, and the three generations of ancient artifacts, like Han and Tang dynasty calligraphy and paintings, have been included in the collection category of "ancient famous objects". In the second year of Xuanhe (1120), Cai Jing was again summoned to the palace to serve a banquet, and this time his description of the furnishings in the cabinets around the Bohol Hall was "tu, book, pen, Yan, Guding, Yi, 罍, wash, Chen Ji, Case, and Tata" (32), which looked like a literati study. When bronzes begin to be placed in the same space as books, paintings, numbers, and stones, this also indicates a more certain change in its identity (33). In particular, this change occurred in the royal places where the value of the "ceremonial vessel" of bronze was supposed to be very important, representing a deeper recognition of the emperor. In the center of the Palace Museum's collection of the famous work "Listening to the Qintu", Huizong sat on an ancient pine and stroked the violin, and in front of him was painted a Linglong Mountain stone, on which a small bronze ding was placed, and a diagonal flower branch protruded from the top. In today's parlance, the painting may be seen as showing Emperor Huizong's ability to "curate" various literary objects. In the quiet outdoor courtyard and the elegant affairs of the literati, like the piano that makes people think of the sky, the ancient ding is no longer a ceremonial instrument in the solemn ceremony, but shows a kind of life that transcends the ancient and modern, and shakes the universe.
When the Northern Song Dynasty literati first came into contact with bronze, although they were quite infected by the beauty of these inscriptions, they encountered a problem of "use". Ouyang Xiu said in his own collection of poems "Ge Shi Ding": "It is difficult to use the knowledge of the instrument, so as to show that the world is ridiculed." (34) In this poem, he believes that this ding is a very rare large ding, one of the "five dings" of the princes, because of its strange and simple shape, which is very different from the aesthetics of people at that time, and even causes ridicule because it is "difficult to use". Li Gonglin also wrote a poem for Cai Yun's very precious "Shang Zu Ding Yi" to describe the same "dilemma" of the ancient artifacts: "Shangyu Yu Yi also Yi'er, the lower one was placed in the Zhou Qinjian." The construction of a grand Ōmachi is extinct, and it is often ridiculed in the world. (35) However, Li Gonglin did "use" this object, and his former friend Liu Zhao recorded in the poem that he "drank me many times and stored food with ding"(36), and even copied the use of bronze ware in pre-Qin ceremonies, serving wine and rice in bronze, which showed Li Gonglin's rather relaxed and informal character.
Among the literati of the same period, drinking freely with ancient utensils was a common expression. Wen Yanbo, a heavy minister in the middle of the Northern Song Dynasty and who had many ancient artifact collections in his family, said when he saw the bronze ware shown by his colleague Su Du: "Guding Liang Jin Qi Fa Jing, unknown He Dai Le Gong name." It is also necessary to be a smith for the sake of the shrew, and can be used as a wine hammer with the xianweng. Polyester should still be tired of the nose, fishy not to re-dye the sheep. The wind is clear under the forest by the water' edge, and the long companion is drunk and jade. (37) Wen Yanbo said that there were elegant inscriptions on the well-made ancient ding, but it was impossible to know what kind of meritorious name was recorded there, and it was better to make it a wine hammer for xian weng, under the water's edge forest, drunk for a long time. Su Shi once received a bronze gift from Hu Muxiucai, and his reply poem also had a similar meaning: "Only the eared beast gnaws the ring, and the long-lipped goose crows." The three toes are sharp and short, and the two pillars are tall and thin. Jun looks at the overturning and pitching room, covered into a triangle and flipped into two buns. Although the ancient books are full of belly, I will also follow the world. As soon as Jun Jun saw Hu Zuoding, he noted that the ascension had drifted away. It is better to learn from the owl and do your best to drink wine every day. (38) Su Shi observed for a long time, and felt that this was not the "Ding" that Hu Muxiucai thought, and he guessed that it should be a kind of wine vessel, but he did not investigate it in depth, but he said that it was better to drink it as a "Yiyi" all day long (39). The "Yiyi" mentioned in the poem is a wine bag made of cowhide in the pre-Qin period, which can be used for hiding even when it is served in wine every day, and Fan Li used this as a pseudonym when he returned to hermitage in the Spring and Autumn period to make sense of what is appropriate. Su Shi's protégé Huang Tingjian, in the poem "Sending Wang Guanfu with a Bronze Pot", also followed Su Shi's attitude: "It is easy to disappear with customs, and disputes from the public." I watch wang longhua, and I will not change it when I enter the house. I have not seen the snake land, but I have seen the leopard written. Love jun ancient style, ancient pot to give to the king. When drinking wine, you can use the michu atmosphere. Ask the king why he repays, forgive and hear more. (40) Huang Tingjian said that if the ancient artifact entered the worldly use, its value would be submerged; if it was accompanied by princes and nobles, it would inevitably cause strife and anger; and my friend, in the midst of the troublesome eunuch sea, especially did not change his Qingfen character, and was quite "ancient", so it was most appropriate to give him this copper pot for drinking.
In fact, the literati may not really "use" in this way, which is a kind of "reflection" on ancient artifacts as "ceremonial instruments" and as a show of power with the meaning of drinking. Su Shi once wrote a long preface to a Han Ding Ming, in which he bluntly criticized the Qin Emperor and Han Wu's pursuit of Jiuding as a "child's opinion", arguing that the artifact itself could not represent the legitimacy of any power (41). He also transferred the Ding zhen given by his mentor Zhang Fangping to his friend Master Huai Lian, and wrote the "Great Awakening DingMing" Cloud: "In the former Song and Lu, take them as soldiers." The book is known as Gao Ding, with the name of the instrument. Lequan and Dongpo, give it righteousness. The book is known as the Peak of the Great Awakening, and the name is followed by the instrument. The spring of the mountain, cooking its salary. For bitterness is for sweetness, consult scholars. (42) In Su Shi's view, using bronze to serve wine and cook tea is better than restoring ancient usage, naming one's own deep friends than investigating his original name from ancient books, which is more able to reflect the ancient people's attitude of swallowing heaven and earth, and is also more in line with the love between gentlemen who are not vain and pretentious.
Inscribed bronze plate Northern Song Dynasty Shaanxi Lantian Lü family Northern Song Dynasty tomb
Inscribed gilt gilt flower copper 匜 Northern Song Dynasty Shaanxi Lantian Lü family Northern Song Tomb
However, the "use" of these rather humane bronzes was often learned to be subservient to elegance, which made some scholars at that time very critical. When Shen Kuo examined the use of some ancient artifacts in the Mengxi Pen Talk, it was because "in the study of the present, everyone is unexpected, strange and shallow, abandoning the ancient for their own use, not just instruments" (43). Taoists who value ancient rituals are even more intolerant of such usage. Cheng Yi, the founder of Luo Xue, criticized the use of ancient artifacts at that time as "human affection is not symmetrical, and it is also inappropriate for the atmosphere of heaven and earth" (44), while his disciple Lü Dalin rebuked this phenomenon even more severely: "When there is nothing to do in the world, those who do good things are reserved, and they are just good tools for the eyes and ears." The Fruit of Heaven Is Lost to Sven! (45) A respectful Neo-Confucian scholar who largely treats ancient artifacts only as an indoor confession, and never plays with them or as a social object (46). The difference between these words and deeds and Su Shi and others seems to be quite related to the tension between Luoxue and Shuxue at that time, but in fact, these differences may be more due to the difference in attitudes towards ancient rites and ancient artifacts than from the dispute between the sects. In daily life, these Confucian scholars also prefer to use bronzeware, but the real "use" of it is usually imitations. Among the series of bronze artifacts excavated from the tomb of the Lü family in the Northern Song Dynasty in Lantian, there are both "milk nail patterns" in the late Shang and early Zhou Dynasties, "ink book inscribed copper covers" imitating Zhou in the Han Dynasty, and "antique gilt gilt flower copper stamps" (47) newly made by the Northern Song Dynasty. Although the objects of the three generations and the imitations of the later generations can be regarded as the collection of the family, it can also be speculated that the "milk nail pattern" belonging to the three generations is probably displayed in the hall or the master's study, and the bronze cover of the Han Dynasty is like the small ding in the "Listening to the Qintu", or used to burn incense and offer flowers, while the copper pot of the Northern Song Dynasty is more likely to be a real washing object.
Four
The aesthetic taste of "Xuanhe Bogutu" in appreciation is very different from Lü Dalin's "Archaeological Map" that has been handed down to this day. The Siku Quanshu states that the Archaeological Map is "rigorous in style, and if there is doubt, it is que" (48), while many of the assertions in the Xuanhe Bogutu can be called an "aesthetic examination", that is, as with the determination of handwriting by style, the chronology and authenticity are examined by first judging the "qi rhyme" of the artifact, followed by the observation of the instrument type and the style of the text (49). The formation of this style may have a lot to do with Huang Bosi's "Bogu Tu Shu" and Li Gonglin's "Archaeological Map" (50) based on the writing of Xuanhe Bogutu .com.
This method is not to compare it by "splitting" its pattern in detail, as in "typology", but by looking at its overall temperament. It also contains two parts: one is to know the wind of the times through the pattern, which is mainly used to break the age of ancient artifacts; the other is to know the truth of the ancients through color, and this method is mainly used to determine the authenticity of ancient and modern times. The former, for example, in the "Xuanhe Bogutu", has a clear distinction between the stylistic characteristics of Shang and Zhou's utensils: merchants are "shangqian", and their instruments are often "vegan" and "simple and ancient", and if the shang is prosperous, they are "refined and thick" (Shangbing Zhongding); the Zhou people 'Shangwen', whose instruments are heroic and dazzling, if the inscriptions and ornaments are set as Zhou objects, but those who are simple and have ancient styles, they are suspected to be "not far from the shang" (Zhou Wen Wang Ding, Zhou Xianding). But regardless of the Shang Zhou, there is an ancient rhyme. If "making vegan means simple", but "the charm is not ancient", "stealing close to human feelings", it is broken as "Han Gong's ear" (Han Su Wen Pot, Han Pan Plaque Pot). If the Han ware is "quite ancient", it is the best product in the Han ware (Han Ruyi Square Kettle). There is also a Han beast ear circular pot, "there is no decoration, there is more quality than the Shang, and it is better than the Zhou Zewen", so it is judged that "the cover is also ancient and only its shape is molded, and the Han dynasty is not far away" (51). And if the person who "does the work of qiqiao" is "more inferior than the Han ware, the ear made by the Tang people" (Tang Sanfengding) (52). These assertions are not found in the Archaeological Map, even if they are identical artifacts.
In the Xuanhe Bogutu, there are also more detailed descriptions of color, such as "Shang Father Ding Zun" is "color a few Wo Wo ochre, and green flowers are embellished, its ancient meaning is the most beautiful" (53), "Zhou Shi Zhang Father Dun Gai" is "blue and purple, brilliant eyes", "Wednesday Beast Gluttony Zun" and "green as a serpent, good pattern" (54), these are not objective records, but describe the subtle beauty and changes brought by ancient artifacts. Of particular interest is a piece of "Shang Yan Ding", which was originally from Li Gonglin's old collection, and Li's records of it have been quoted in Lü Dalin's "Archaeological Map", including the examination of text, as well as the quotations of ancient books such as "Commentary on the Interpretation of Texts", "Lü's Spring and Autumn" and "Record of Swords". However, when this artifact appeared in the Xuanhe Bogutu, the author, in addition to the error of dialectical Xu Shen's statement, also used a large number of praises for its form: "The copper color is brilliant as gold, the pattern is like a dragon and a tiger, and the Bangu poem 'Luo Xiu Gong Xi Chuan Xiao Zhen, Tu Jin Jing Xi Xi Floating Clouds." Baoding saw that the colors were mixed, and Huan Qibing was covered by Long Wen'. Now the corner of the eye is tailed, the dragon is slightly concrete, the law of the image, elegant and unhurried, cover so. (55) This text does not appear in the Archaeological Map, but the Archaeological Map adds the sentence "The people of the world are said to be gluttonous, and the ancients cast the elephant to know the gods and traitors, and the ding has this image, and covers the precept of eating and drinking" (56). The difference between these two trade-offs can quite reflect the difference in ideological tendencies between the "Archaeological Map" and the "Xuanhe Bogutu" - the former has a strong Confucian admonition meaning in addition to rigorous examination; the latter is particularly ink on the aesthetic characteristics of ancient artifacts, which is rich in the romantic interest of the literati. This romance of Huizong also extends to the observation of the mentality and fun of the three generations of artifact craftsmanship. For example, in the "Xuanhe Bogutu" "Zhou Beast Ear" cloud: "The body is vegan without lines, the shape is quaint, and the cover is beyond the reach of the post-secular workers. (57) "Zhou Yao Ling Pot" said: "Taste the number of Han Fang pots, all poured thin and ugly, this vessel is thick and elegant, the body is square and the edges are out, the belly is full of food, and the dragon is intermittent, the depressed text, the dazzling eyes, the benefit of the future generations of pure wind sweeping the ground, and can not be as if Zhou Zhiyi also." (58) Even in the recasting of bronzes ostensibly used for "rituals," there is not the meaning of the three-generation ritual system itself. Li Zero believes that a new feature of Emperor Huizong's ritual music is that it is based on "archaeology" as the background, and there is a taste of art appreciation (59). This is clearly visible in the description of the "Zhou Gluttony" in the Xuanhe Bogutu: "This vessel is particularly exquisite and ancient among the instruments, and can be used to uphold the law for future generations, so the edict official made it in the style of kai, in order to recommend the Heaven and Earth Sect Temple, so that the three generations of the canon are still mellow, seen today, and also the effect of the ancients." (60) In the ceremony, it is the beauty of the "exquisite and ancient" in the ancient vessels that inspires people's hearts and the dharma to future generations, so that the three generations of the ceremony "recommend the Heaven and Earth Sect Temple" is the beauty of the ancient artifacts.
Emperor Huizong's admiration for ancient artifacts, which had supreme power, eventually became a tool for him to show the myth of power and ritual music. He probably had never seen the preface to the "Han Ding Ming" in the "Su Shi Collection" that had long been banned at that time, and he used the strength of the whole country to collect bronze ware, and then used the fangshi Wei Xijin to cast the nine dings in the south of the Taiyi Palace in Beijing, and added five elements of color to match the direction, known as "Jiucheng Palace". In the third year of Chongning (1104), he cast the nine dings of the gods and became the "Eighteen Dings". (61) In the fourth year of Chongning (1105), he also produced the "Da Sheng Bell", "the establishment of the bureau to discuss the great music, the music into the state, the establishment of the government to sizhi, the ceremony and the beginning of the music divided into two" (62). After the promulgation of the "Xuanhe Bogutu", it caused a devastating excavation of ancient artifacts in the folk, "The world knows that it is so expensive, so it has a weapon, which is directly hundreds of thousands of dollars, and then moves to a million people who are not winged." Thus the tombs of the world were destroyed" (63). Twenty-one years after Emperor Huizong cast the Ding, the Jing Kang Revolution occurred, these artifacts were taken captive by the Jin people, and Huizong himself became a prisoner of the Jin people, and the historian Gu Jiegang once ridiculed: "This corrupt supreme ruler cast the Jiuding to prove that his pride in being ordained by heaven was shattered." (64) Emperor Huizong was able to get closer to the beauty of bronze because of his personal power, but his beauty was associated with power, and eventually he lost power and even jiangshan in the indulgence of this beauty.
Five
This cannot but be said to be a tension between the United States and power, and this is also the rejection of power and use by the "ancient meaning" itself. Emperor Huizong was unfortunate because in his case "literati" and "emperors" were inherent contradictions. If we take off the identity of the emperor and only experience the beauty that comes from the hearts of the people and can also inspire people's hearts from the ancient artifacts, it cannot negate the influence of the Northern Song Dynasty literature, including the Xuanhe Bogutu, on the appreciation of ancient artifacts in later generations. The Southern Song Dynasty's Commentary on the Ancient Artifacts of Shaoxing Neifu was almost added or subtracted on the basis of the Xuanhe Bogutu, while the works of scholars, such as Zhang Shinan's Chronicle of You Eunuchs and Zhou Mi's Zhiyatang Miscellaneous Notes, also had similar appreciation methods (65). The Southern Song Dynasty collector Zhao Xihu's "Records of Dongtian Qinglu" is the work of the so-called "appreciation book" in later generations, which also upholds the aesthetic attitude of experiencing the "heart of the ancients" in the appreciation of the Golden Stone of the Northern Song Dynasty: "The ancients must be exquisite in their work, and the workers are among the four people, not if the future generations are cheap husbands, so the ancient vessels must be as fine as hair and evenly distinguished, without any ambiguity." The strokes are like a tile but not deep, the size is the same, the difference is clear, and there is no ambiguity. This cover is made of copper essence, and there is no sand, one also. Good craftsmanship, two also. Don't be stingy with your work, three times. Nowadays, there are ancient artifacts, slightly or vaguely, must be fake, and the texture and smell are also different. (66) In the "Records of the Cave Heavens and Qinglu", there is even a special column of "bronze color identification", the cloud of which is: "The bronze ware has been in the soil for a thousand years, pure green as paving, and its color is slightly light before noon, and in the afternoon it is dripped by the yin qi." There are soil erosion places, or wear or peel, and like snails naturally. Or if there is an axe chisel mark, it is pseudo-also. Bronze falling water for a thousand years is pure green, and Ying is like jade, not yet a thousand years, green but not Ying. (67) It is conceivable that this meticulous experience must be the experience of the author and the bronze ware for a long time, and it is not an accidental observation, which is exactly the aesthetic tradition of the Northern Song Dynasty literati. Of course, this method is not scientific, and it is inevitable that it will "fit its meaning" (68), but a unique "antique" beauty in history was born in such an experience. Although "bronze" has a fixed "R GB value" in today's scientific measurement, in the Song Dynasty or in the broad sense of "antiquities", it does not represent any physical color that is only perceived by vision. Antiquity is the manifestation of the continuation of time in the present. The phenomenologist Merleau-Ponty once said that color is "premised on the precondition of pre-formed precipitation in me" (69), and that bronze is accompanied by the literati's perception of the subtle evolution of things over a thousand years. This process, which is long enough to transcend man's control of time, not only does not let the beauty of color disappear, but on the contrary, it brings a mellow beauty that has been precipitated in the human heart for a long time. From the Song Dynasty onwards, the literati were particularly fond of arranging flowers in bronze, not only because of the practical meaning, but also because there was a kind of fun between its antique color and the freshness of the flowers (70). Xin abandons the disease with the words "The sauce is in, the green grass is quickly cut, and the bronze Yi is inserted all over" (71), and the late spring of the dragon is inserted into the ancient vessel, and the loneliness of the flower will be exhausted and the ancient color of the silent calendar on the copper Yi will touch, revealing a kind of somber beauty. Zhao Bingwen, a Jin man, has the cloud of "Ancient Bottle of Lamei": "The stone cold copper is not clear, and the warm water of the clay pot is light and clear." The earth flowers are dizzy and the dragon pattern is astringent, and the candle tear marks are sparse and the goose characters are horizontal. The name of the meritorious deeds was not allowed, and the wind and moon were put into the bottle poppy. Jiaohuang awakens the dream of the morning sun, and the desolate grass of Hanyuan is born. (72) On the body of the earth flower-mottled bottle, the bright and mighty dragon pattern of the past is also dim and obscure, and the bronze vessel that was originally entrusted with merit now only contains the wind and moon in front of you, as well as the sentimentality for the fall of the country.
Not only that, the term "bronze" was often used to describe natural scenes in the Southern Song Dynasty. Chen of the Southern Song Dynasty wrote a poem: "Jiang Yun is thin and thin, autumn clear, small basket of public opinion money line." Only out of the morning light mountain to bid farewell, slightly roundabout and dangerous. The cliffs are all bronze, and the good birds have no sound. The forest's home is stable and quiet, and there have been many disputes here recently. (73) Fang Yue's "Autumn Cliff Collection" has a poem cloud: "The water and sky are one color grinding bronze, and the sunset is desired to be without the wind of reeds and flowers." The double-flying wild ducks suddenly startled, and the fishing song gradually drifted away from the autumn river. (74) It is not unusual to use nature to describe artificial colors, but it is rare to use artificial to describe natural colors. The gray-brown cliff walls of the cliffs are covered with mottled new greens, and the faint red and blue colors in the dark blue hues that meet the water and sky in the evening are all natural, and the reason why the poet associates them with "bronze" is because "bronze" is just the distinct accumulation of "things" in time, and it is the most authentic perception that has been cleared up after time has washed away all the worldliness and civilization.
Zhou Gluttony Ming Wanli Bo Ruzhai "Reconstruction of Xuanhe Bogutu"
From the beginning of the Southern Song Dynasty, academically, the "truth of examination" of gold stones as historical materials and the "truth of existence" of antiquities as objects of beauty have been gradually separated. In the process, bronzes gradually evolved into three new properties. First, at the level of public life, the imitation of the three generations of ceremonial instruments was popularized by Zhu Xi to the "ritual of interpretation" of the local prefecture and county family temples, making it a symbol of folk etiquette to follow the three generations (75); second, as the academic object of epigraphy, juxtaposed with inscriptions, epigraphy became xianxue in the Qing Dynasty, where a large number of ancient artifacts were excavated, and was combined with Western scholarship in the late Qing Dynasty to the Republic of China, and gradually developed into modern archaeology; third, as an object of appreciation, juxtaposed with literary rooms, calligraphy and paintings, flowers and trees, several beds, seals, etc., with living space as the domain. Aesthetically observe its character. Unlike the institution as objects of ceremony, and the distinction between academic objects in the distinction of "class", antiquities as objects of appreciation are in fact "not of class" (76). This "non-class" is precisely because in the literati space, the "things" are a whole that intersects and reflects each other, thus avoiding the distinction brought about by the system and knowledge. Zhao Xihu described in the "Records of Dongtian Qinglu" an ideal study environment:
Pleasing to the eye is not in color at first, and ying's ear is not in sound at first. Clear windows, burn incense among them, Jiake Yuli contrast, take the ancient people's wonderful traces of the picture, to bird watching seal worm book, QiFeng Yuanshui, Mozi Zhong Ding, see Shang Zhou. Duan Yan gushing rock spring, Jiao Tong Ming Peiyu, do not know that they live in the world. The so-called blessed use of the qing, who has more than this! （77）
The ancient artifact is not used as an object of use, nor is it classified in research, nor is it even appreciated in its sound and color. In the ancient ware of the Strange Book and the simple and elegant form, as well as in the remote landscape and the clear sound of the piano, "see" the super-traditional "ancient meaning". The myth of "once here" is clearly defined as the true meaning of existence in this world. Nowadays, the things of the Song people have become a model of "quaint elegance", but the Song people also understand the true and timeless beauty of the "things" that are hidden in time and space in the deep "heart of the ancients".
exegesis:
(1) Chen Jiru: "Iwasu Youshi", Wen yuange's "Four Libraries Complete Book" version.
(2) This article is a manuscript of Wang Guowei's speech for the Peking University Historical Society in November 1927, and is included in the sequel to Mr. Jing'an ("Wang Guowei's Testament", volume III, Shanghai Bookstore, 1983 edition, page 713).
(3) The Testament of The Kingdom of Wei, Vol. III, pp. 717-718.
(4) (13) Liu Chang: Records of Ancient Artifacts of the Pre-Qin Dynasty, Wen Yuange's Siku Quanshu.
(5) Li Zero: "I Read 'Guantang Jilin'", in Book City, No. 8, 2003.
(6) Chen Fangmei: Bronze Ware and the Cultural History of the Song Dynasty, (Taiwan) National Taiwan University Press Center, 2016 edition, p. 15.
(7) Huang Bosi has a special golden stone work "Bogu Tu Theory" eleven volumes, unfortunately has been lost, but there are still "Ancient Artifact Theory" collected in the "Xuanhe Bogutu", and his heirloom book "Dongguan Yu Theory" has the record and study of jinshi characters. His cousin Li Gang's "Yellow Cemetery Epitaph" said that he was "a hundred sons and a hundred families, the book of the histories of the past dynasties, the heavenly officials, geography, the calendar, and the saying of Bu Xiao, all of which are exquisite; and the good ancient Wenqi characters, Guan Luoxia, got the name of the Gongqing family's merchant Zhou Qin Han Zhong Ding Yi instrument, (Sui) tried to study the calligraphy and painting system, learned the right and wrong, and said that the end of the ancient Literature was in the pavilion" (Li Gang: "Liang Xi Collection" volume 168, Wenyuan Ge "Four Libraries Complete Book" ben).
(8) This essay was written in 1907 and included in the Sequel to the Jing'an Anthology (Book III of the Testament of Wang Guowei, pp. 614-623).
(9) According to Luo Zhenyu's comments in the preface to Guantang Jilin, the general academic circles believe that Wang Guowei's scholarship had a clear turn at the age of thirty-five (1911). Before that, he liked Western philosophy and aesthetics, and later ruled the Chinese classical songwriting department, and then "abandoned the previous study and specialized in the history of the classics" (Wang Guowei: Guantang Jilin, Zhonghua Bookstore, 1959 edition, p. 2).
(10) Wang Guowei: Guantang Jilin, p. 623.
(11) Heidegger: Existence and Time, translated by Chen Jiaying and Wang Qingjie, Life, Reading, and Xinzhi Triptych Bookstore, 2006, pp. 430-432.
(12) See Heidegger, The Origin of Works of Art, Lin Zhong Lu, translated by Sun Zhouxing, Shanghai Translation Publishing House, 2004, pp. 52-53.
(14) (56) Lü Dalin: Archaeological Maps (Outer Five Types), Shanghai Bookstore, 2016 edition, pp. 2, p. 7.
(15) Elonor, "The Anxiety of Beauty: The Aesthetic Thoughts and Pursuits of northern Song Dynasty Scholars", translated by Du Feiran et al., Shanghai Ancient Books Publishing House, 2011, pp. 37-38.
（16）Yun-Chiahn C. Sena,“Ouyang Xiu’s Conceptual Collection of Antiquity”, in Alain Schnapp (ed.), World Antiquarianism: Comparative Perspectives, Los Angeles, California: Getty Research Institute, 2013, p. 220.
(17) Ouyang Xiu: "Collecting Ancient Records", People's Fine Arts Publishing House, 2010 edition, pp. 1-2.
(18) Qiyun: "When Li Gonglin was writing Bo, he was the best at painting, and he liked to be ancient, taking the income of his life and the people he heard and saw as a pattern, and the name was called "Archaeological Map". (Cai Yun: "Discussion on the Tiewei Mountain", Zhonghua Bookstore, 1983 edition, p. 79.) ）
(19) Volume 115 of the General Catalogue of the Siku Quanshu (Qingqianlong Wuyingdian Inscribed Edition) cites Cai Yun's "Discussion on the Tiewei Mountain" "and The Great Guanchu, which is an imitation of Gong Lin's "Archaeology" and the "Xuanhe Dian Bogutu", according to Cai Yunai Li's contemporaries who also participated in the compilation of the Bogutu, it is believed that this book is mainly from Li's work rather than Huang's. Lü Dalin's "Archaeological Map" also contains a lot of artifacts hidden in Li's house, and quotes from him.
(20) Huang Boxi: "The Theory of The Eastern View of Yu", Zhonghua Bookstore, 1991 edition, pp. 62, 94.
(21) (22) (24) Jin Wenming: "Jin ShiLu School Certificate", Guangxi Normal University Press, 2005 edition, pp. 2-3, pp. 2-3, 205.
(23) Liu Zhao: "Inscription of Ancient Artifacts Gifted to Fu and Jian Zhuyou", Xueyi Collection, Volume II, Qingwu Yingdian Juzhen Edition Series.
(25) Xuanhe Pictorial Notation, Yu Jianhua Dian School, People's Fine Arts Publishing House, 1964 edition, p. 205.
(26) Zhang Ugly: "Qinghe Calligraphy and Painting Boat", Shanghai Ancient Books Publishing House, 2011 edition, page 452.
(27) Yoneba: "Kaigaku Meigen", Meikoku Hyakukawa Gakukaimoto.
(28) Mi Fu: "Baojin Yingguang Collection" Volume VIII, Wen Yuange "Four Libraries Complete Book" version.
(29) "Bohol Hall" is also the "Xuanhe Hall" during the Zhenghe period, and the Xuanhe Bogutu is named after this hall.
(30) Cai Jing: "The Record of Qu Yan of the Bohol Temple", Chen Jun's "Chronicle of the Nine Dynasties of the Song Dynasty", vol. 28, Song Shaoding engraving.
(31) This description can only be found in Wang Mingqing's "Afterword of the Swinging Dragon", vol. 1 ("Song and Yuan Notes on the Novel Grand View", Shanghai Ancient Books Publishing House, 2001 edition, p. 3804).
(32) Cai Jing: "The Record of the Taiqing Lou Shiyan", see Wang Mingqing's "Records of the Aftermath of the Wave", vol. 1.
(33) During the reign of Emperor Gaozong, who was also keen on collecting and imitating ancient ceremonial vessels, the form of this literary house was also inherited. In the "Violent (Exposure) Book Club" in which the "Records of the Southern Song Dynasty Pavilion" records that all officials enter the cabinet every year, the imperial book drawings are displayed on the square table set up by the secretary, "the first line of ancient artifacts on the east wall, the second and third lines of pictures, the fourth line of famous sage ink, and the west wall is the same." Moreover, the utensils displayed behind the Royal Screen are also "ancient instruments and qinyan", and "Daoshan Hall and Houxuan and the writing court are all equipped with pictures" (Chen Qi: Records of the Southern Song Dynasty Pavilion, Zhonghua Bookstore, 1998 edition, pp. 68-69).
(34) Hong Benjian: "Ouyang Xiu's Poetry Collection School Notes", Shanghai Ancient Books Publishing House, 2009 edition, page 194.
(35) Wu Zeng: "Nengjie Zhai Manga" volume 11, Wen Yuange "Four Libraries Complete Book" version.
(36) Liu Zhao: Xueyi Collection, Vol. II.
(37) Wen Yanbo: "WaiJi Su Du Zhi Zhi Bronze Ware Shape System 56 Characters Returned", Lu Gong Ji, vol. 4, Ming Jiajing Five Years Inscribed.
(38) Collected Poems of Su Shi, Kong Fanli Dian School, Zhonghua Bookstore, 1982 edition, p. 514.
(39) It is easy for today's scholars to see that this is a "jue", cheng Dachang's "Yan Fanlu" (Wen Yuange's "Four Libraries of the Whole Book") volume 14 examination: "Wen Zhong did not order his instrument to be a knight, and the name of Yu Mu was thought to be Dingran." The size of the imitation of the weiqi yong, with a more ceremonial image, is exactly the same as the ancient lord of Li Gonglin. Gu Jue Que Zi Tong, Shaoxing Jian, Feng Chang Cast Jue, is making a finch shape, as painted in the "Li Tu", I know that it has its own origin. Zefu takes the knighthood as the covetous, and the feather of fate refers to the real thing. ...... The first system is to take the convenience of everything, and the cast copper can be strong for a long time, and it is appropriate to sacrifice the swallow. If it is flowing, it is immediately wood, drinkable or floating, and it is all flexible. Lin Huan's "Compilation of Notes on Ancient Artifacts of the Song Dynasty" also pressed: "Yu Qian refers to the ear cup, which appeared in the late Warring States period." (Shanghai People's Publishing House, 2013, p. 23) Li Zero also has a detailed examination of this bronze artifact in "The Ancient Cast of the Present: Archaeological Discoveries and Retro Art" (Life, Reading, and Xinzhi Triptych Bookstore, 2007 edition, pp. 70-73).
(40) Notes on the Collected Poems of the Valley, Notes by Ren Yuan, Shi Rong, and Shi Jiwen, Huang Baohua School, Shanghai Ancient Books Publishing House, 2011, p. 355.
(41) (42) Su Shi Anthology, Kong Fanli Dian School, Zhonghua Bookstore, 1986 edition, pp. 556, p. 558.
(43) Shen Kuo: "Mengxi Pen Talk", Qilu Book Society, 2007 edition, page 200.
(44) Cheng Hao and Cheng Yi: The Testament of ercheng, Shanghai Ancient Books Publishing House, 2000, pp. 191-192.
(45) Chen Junmin: "Lantian Lü's Testament Collection", Zhonghua Bookstore, 1993 edition, p. 592.
(46) Huang Tingjian speaks of a Confucian in one of the Five Treatises on the School of Theory with Dun Li: "Idle and pure, the ancient vessels are listed left and right, the ancients are not allowed to see, recite their books, and seek their righteous taste, then the spirit of benevolence and righteousness is born in the chest, and the joy of talking is long, and it is the same as the joy of the frequent party's noisy nonsense!" This study room, named "Bi Chengxuan", with a few clear windows and ancient artifacts on display, and the scholars who sit quietly in the middle of it, meditate all day long and cultivate the "qi of benevolence and righteousness", is a typical portrayal of the life of a Confucian ("The Complete Works of Huang Tingjian", compiled by Zheng Yongxiao, Jiangxi People's Publishing House, 2011 edition, page 1204).
(47) The names of each artifact refer to the Shaanxi Provincial Institute of Archaeology, shaanxi history museum, Peking University School of Archaeology, Peking University, Peking University Chinese Archaeological Research Center, "OtherWorldly And Common Currents: Cultural Relics Excavated from the Lü Family Cemetery in Lantian, Shaanxi", Zhonghua Bookstore, 2013 edition, pp. 50, 54, 60.
(48) General Catalogue of the Four Libraries, vol. 115.
(49) Hsu Ya-hwa of National Taiwan University believes that the Xuanhe Bogutu does not mention the word Lü Dalinzhi's Archaeological Map, mainly because his brother Lü Dafang was a "Yuanyou Party member" and a taboo of Cai Jing's son Cai Jing(ed.), who was responsible for editing the work at that time (See Alain Schnapp (ed.), World Antiquarianism: Comparative Perspectives, 2013, p. 243), but the style of the two works is different, It is not appropriate to speculate on politics, when it mainly reflects Huizong's personal artistic tastes.
(50) When revising the Xuanhe Bogutu, the Zhizhai Shulu Jie jie "adopted it quite a bit, but also deleted it" (Chen Zhensun: "Zhizhai Shulu Solution", vol. VIII, Qingwu Yingdian Juzhen Edition Series).
(51)(52)(53)(54)(57)(58)(60) Wang Yi: Xuanhe Bogutu, Shanghai Bookstore 2017 edition, page 232, page 97, page 104, page 317, 121, page 349, page 205, page 128.
(55) Wang Yi: Xuanhe Bogutu, p. 5. In the Southern Song Dynasty's Commentary on the Ancient Artifacts of Shaoxing Inner Province, in addition to quoting Ban Gu's poems, it is also commented that "the instruments of the Shang Zhou Dynasty, or the ancient color of the Zhou Dynasty, or the green flowers are embellished, or the ochre is dazzling, or the soil stains are dark, and this ding is as brilliant as gold" to explain its uniqueness in detail (Zhang Shu: "Shaoxing Inner Province Ancient Artifact Review", Zhonghua Bookstore 1986 edition, p. 8).
(59) Li Zero, "Cast the Present in the Past: Archaeological Discoveries and Retro Art," p. 83.
(61) Hong Mai: Essays on Rong Zhai, Zhonghua Bookstore, 2005, p. 584.
(62) History of the Song Dynasty, Zhonghua Bookstore, 1985 edition, p. 3886.
(63) Cai Yun: "Discussion on the Tiewei Mountain", p. 80.
(64) Gu Jiegang: "Jiuding", Shi Lin Miscellaneous Knowledge, Zhonghua Bookstore, 1963 edition, p. 162.
(65) For example, Zhang Shinan's "Chronicles of Eunuchs" Volume V says: "There are also differences in the color of lacha. The three generations and the Qin and Han idle instruments, passed down from generation to generation, have been immersed in idle years, and their color is slightly yellow and moist... It was also cast by Jurong hundreds of years ago, and its art is also exquisite, and it is not cast today. It must be black and dry, and it must be natural and ancient, and it must be true and ancient. (Zhonghua Bookstore, 1981 edition, p. 41) The volume of the elaborate Zhiyatang Miscellaneous Notes says: "The best bronze ware, the water turn, the weeds are exquisite, the color is like green jade, there is no model, and the bizhou instrument is also." (Zhou Intensive, volume IV, Zhejiang Ancient Books Publishing House, 2015, p. 23.) ）
(66) (67) (77) Zhao Xihu: "Records of Dongtian Qinglu", Huang Binhong and Deng Tuo, eds., The Ninth Series of the First Collection of the Fine Arts Series, Zhejiang People's Fine Arts Publishing House, 2013 edition, pp. 244-245, 243, 249.
(68) See Chen Zhensun's "Explanation of the Records of the Zhizhai Book", vol. VIII.
(69) Merlot-Ponty: Phenomenology of Perception, translated by Jiang Zhihui, The Commercial Press, 2001, p. 276.
(70) In the Records of the Cave Heavens, it is said that "the bronze has been in the soil for a long time, and it has been deeply soiled, and it is used to cultivate flowers, and the flowers are bright in color, such as the branches opening quickly and thanking the late" (The ninth series of the first collection of the "Art Series", p. 243).
(71) Xin Abandoned Disease: "Man Tingfang and Hong Cheng Xiang Jing Bo Yun Presents Jing Lu Neihan", Deng Guangming,"Jiaxuan Ci Chronicle Notes", Shanghai Ancient Books Publishing House, 1993 edition, p. 82.
(72) Guo Yuanmin: "Quanjin Poems", volume IX, Wen yuange's "Four Libraries Complete Book".
(73) (74) The Institute of Ancient Literature of Peking University, ed., Quan Song Poems, Peking University Press, 1998, pp. 40189, p. 38446.
(75) For the influence of Zhu Xi's three generations of artifacts on the rituals of local states and counties, see Chen Fangmei's Bronze Ware and the Cultural History of the Song Dynasty, Chapter IV.
(76) After the Southern Song Dynasty, ancient artifacts and miscellaneous objects are also called "bone Dong". For example, Xu Mengxin's "Compilation of the Three Dynasties northern league" volume 208 records that after the change of Jing Kang, "(Bi) Liangshi went to (Jin) County, but after the chaos in the capital, he abandoned ancient artifacts, calligraphy and paintings, ancient and modern bones, and bought them and hid them." Later, Bi Liangshi returned to Hangzhou in the Southern Song Dynasty, and "went to the line with all the bones and dong, and was very happy" (Ding Chuanjing's compilation of anecdotes of the Song Dynasty, Zhonghua Bookstore, 2003 edition, p. 863). Dong Qichang defines him as "a class of miscellaneous artifacts, named Bone Dong" (Dong Qichang: "Bone Dong Thirteen Sayings", Art Series, Vol. 2, No. 8, p. 253). After the Ming Dynasty, the meaning of "antique" began to appear to mean ancient cultural relics, but the term "bone Dong" was still used.
Quoted from the ancient book public number k