The following article is transferred from the Journal of Social Sciences of Zhejiang University, and I would like to thank you.
Wall Posting: A Documentary Tradition in which Textuality and Materiality are Intertwined
Li Chengqing
Peking university
About the Author
Li Chengqing is an associate professor at the Center for Ancient Chinese Literature and the Department of Chinese Chinese Language and Literature, Peking University, mainly engaged in the study of Tang and Song Dynasty literature and literature.
Summary
Yin Zhuo's "Hejing Yin's Anthology" volume 5 "Wall Posts" preserved some text forms of Sanwei Zhai's writing posts and Linchuan Junzhai stone carvings. Yin Yan's "Wall Post" is "the key to controlling qi and nourishing the heart shown by the sages in handwriting", and there is a personal understanding of it, and its text form and document generation process can not only be mutually corroborated with the three volumes of "Shi Shuo", but also reflect the interweaving of textuality and materiality in manuscript and copying historical materials. The practice of wall posting is far from the ancient proverbial culture and the paradigm of Zizhang's "scholar gentry" contained in the Analects, and at the same time responds to the cultural atmosphere of "sticking paper on the wall" in the Song Dynasty, which can be regarded as the "graphic" spatial presentation method of Confucian self-cultivation. From the perspective of text function, the inner rationale of the wall post lies in witnessing the Tao and saving, seeing each other day and night, and observing the province from time to time. In terms of generation methods, there are different generation methods such as self-writing, transcription, and miscellaneous records, which can be combined with the specific historical situations of Confucian self-cultivation and teaching in the Song Dynasty for specific analysis. With the institutionalization of the poster, the text of the poster has also migrated at the level of textual space and material carrier, and has a dual direction towards the academy and the anthology. From the form of texts to the study of collected documents, the "archaeology on paper" about their material carriers is a research path with rich possibilities.
Keywords: wall posting, Yin Yan, text form, materiality, documentary tradition
This article was published in Journal of Zhejiang University (Humanities and Social Sciences Edition)
Issue 3, 2024
See the original text for the reference notes
The Song Dynasty was an era of transition from pluralistic to neat and tidy documents. With the "copying and printing transformation" of the document carrier in the Song Dynasty, the text form and even writing habits of various collection documents have gradually been standardized from the original ecology of hand-ink writing to engraving and ink printing, so as to condense into a standardized text form. In turn, the standardized form of the text after the engraving and ink printing will have an impact on the manuscript writing of the scholars, so that many consensus at the level of conventional formats, systems or ordinances has been formed. Due to the fact that they are in the initial stage of the condensation of the text form, the documents of the Song Dynasty still retain many personalized elements in the mode of writing scrolls and copying by hand. Therefore, in the study of the historical materials of the Song Dynasty, whether it is a collection of historical works or scholars, it is necessary to pay attention to the various text forms carried by the ancient books and even the material characteristics of such texts in the original historical context, so as to return to the historical situation of the generation of Song Dynasty collection documents, explore the motivation and use of the author's "making" texts, and then distinguish and examine the characteristics of the textual and material interweaving of such historical materials based on the sense of Zhang Xuecheng's "school learning". In recent years, a number of scholars have been involved in this issue: in the field of slips, many of which are the most representative of Xu Jianwei and Chen Minzhen's research on the material background of the early short chapters and the production of the Spring and Autumn Period; in the field of inscription calligraphy, Chen Shuo's latest research on calligraphy points out that "the material perspective can play an important role in penetrating the barriers between text and image and presenting the complex mechanism between them"; and others can only engage in "paper archaeology" without the aid of physical documents For example, in the field of ancient slab wall engraving, there have also been a variety of research results on screens, powder walls, poetry boards, board tents, etc. The wall post to be discussed in this paper is also a research object that is not available in physical objects but still has room for exploration, which has a certain typicality. 1. The text form and document generation of Yin Yan's "Wall Posts" Song Confucian Yin Yan has "The Collected Works of Mr. Hejing Yin" handed down, and there is nothing special about the compilation of its collections, except that the five types of targets in the volume are called "Wall Posts" (see Figure 1 and Figure 2), and there is no such case in the collection of the Six Dynasties and the Tang and Song Dynasties. When compiling the "General Catalogue of the Four Libraries", the Qing Siku Pavilion was keenly aware of this point, and the summary said that "the volume of his "Wall Post" is the key to the sages of the handwritten book to govern the qi and nourish the heart, stick to the walls of the house to be vigilant, and the descendants record it." When Ding Bing recorded the "Collected Books of Mr. Yin Hejing in Six Volumes of Ming Periodicals in the Yifu Collection" in the book collection, it was also said that "it was the text of the posterity that recorded his self-warning". The second theory is generally close, but it is slightly ambiguous in terms of its textual form and the transmutation of the document carrier. The summary of the examination of the four library ministers is actually based on the words of Zhu Xibai at the end of Yin Yan's "Wall Post": A volume of ink left by Mr. Yin Gong of Hejing, all of which are the key points of controlling qi and nourishing the heart shown by the sages in the late years of the sage, sticking to the walls of the house, and self-warning. His family is seized and hidden, and Zhao Hou of Yang Xia engraved Linchuan County Zhai, and the copy is sent. Xi steals only the tireless study of the former sages, and he has died later. His heart is blazing, as if he could see it. And Zhao Hou's intention to copy and engrave is not to take his calligraphy and painting work, for the good deeds to pass on and play. Reading the final chapter, I suddenly lost myself, because of my respect for it, and then I used it to edict myself. Chunxi Bingshen March Ding Si, Xin'an Zhu Xi Jingshu. Zhu Xi's statement is quite clear. First of all, the material characteristics of Yin Zhuo's wall posts are "handwritten on piece of paper", and the storage method is "sticky house wall", which is more occasional and free than the carefully and deliberately decorated scroll banners hanging on the wall. In addition, from the perspective of the transformation of material carriers, after Yin Yan's death, his family "seized and hidden" his ink, and also bound and collected the original Yin Yan's handwriting, not just a transcript. Then, Yangxia Zhao Ye carved the stone according to the Yin family's collection of Yin Yan's ink, which was displayed in Linchuan Junzhai, and the ink was decorated as a volume of "Mr. Yin Gong's Legacy of Mr. Hejing", and Zhu Xi was sent to ask for the inscription, and Zhu Xi was as above. Zhu Shangshu's "Narrative of the Song People's Collection" said that "the book "Wall Post" is a volume, and there is an engraved copy between Chunxi", which is slightly ambiguous. Gai Zhuxi clearly said that Yang Xia Zhao Hou "so the meaning of copying and carving, and not taking the work of his calligraphy and painting", which can be proved to be based on Yin Yan's handwriting to engrave the stone (also known as the carved post), rather than just transcribing the text and then engraving and printing it as a small collection. The reason why it is judged to be an engraved post is because Zhu Xi's phrase "not taking his calligraphy and painting" has a clear and exclusive point - when copying and engraved, Yin Yan's handwriting of law was preserved. At the same time as Zhu Xi inscription, there is still Zhang Yan, the language said: Mr. Hejing lived in the fast, mostly in a piece of paper book aphorisms, placed between the window wall, now often hidden in his home, so engraved is also. Playing and interpreting repeatedly, reverie is deeply interesting, the merit of the body is reached, and the taste of harmony is endless. Suddenly, scholars can also learn from here. Chunxi Bingshen March Renxu, Guanghan Zhang Yan Jinshu. The four characters "so engraved" can prove that Zhang Yan also inscribed after the stone carving, and walked with Zhu Xi in March of Chunxi Bingshen (1176). This year marks the 34th anniversary of Yin Yu's death (1142). Taking Zhu Xi and Zhang Yan's inscriptions and reading them together, we can find that Zhu Xi's trek was written on April 22, 1176, and Zhang Yan's trek was written on April 27, 1176. However, the two are not in the same place in this period, and the examination of the "Zhu Xi Annals Long Edition" knows that Zhu Xi is in the Hanquan Jingshe at this time, and has not yet arrived at the Wuyuan Exhibition Tomb; In other words, Zhu Xi and Zhang Yan are likely to have received the rubbings of Yin Yan's wall posts separately and made them separately, rather than after the same rubbing. Of course, from the level of textual reading, we can also notice that the later Zhang Xi inscription is not "intertextual" with the earlier Zhu Xi's inscription, and this kind of textual echo is a common feature of the writing of the successive inscriptions in the same volume. Therefore, it can be judged that Zhu Xi and Zhang Yan at the end of the volume of Volume 5 of the "Collected Works of Mr. Hejing Yin" are successively followed, and Zhao Ye was framed at the end of the volume after receiving the inscriptions sent back by Zhu and Zhang respectively. Later, Zhu Xi also inherited the tradition of carving Yin Yan's ink into stone. In the summer and May of Chunxi Gengzi (1180), four years after the hand-barred Yin Yao wall post, Zhu Xi carved another kind of Yin Yao calligraphy stone and placed it in the White Deer Cave Academy, and wrote "Ba and Jing Carved Post" and said: "Mr. Right and Jing post, get the son of the king Zhenqing." Chunxi Gengzi Xia May Bingxu, carved White Deer Cave Academy. Xin'an Zhu Xi Ji. Here, we can also glimpse that the Song people's writings of the former sages are often not satisfied with the preservation of the text, but also pay attention to the authenticity of the handwriting.
