Confucius, (Sun.), written by Tetsuro Watsuji, Komei, 陈玥
Shanghai Ancient Books Publishing House, May 2021, the first printing of the first edition
This book was given by Gu Lidan's female history. The book is a small 32 folio, full text, no illustrations, this design is quite unique today. This book is preceded by a preface to the Chinese edition written by Mr. Fu Jie, which first introduces the author's situation. To my surprise, the author and Tetsuro Tsuji are not sinologists, Fu Jie said that he is a philosopher and ethicist with world influence, he entered the philosophy department of Tokyo Imperial University at the age of 20, published Nietzsche's research at the age of 24, wrote a lifetime of works, and served as president of the Japanese Ethics Society for many terms, and his ethics doctrine is called "Washitsu Tsuji Ethics".
Tetsuro Washitsuji's work is divided into four stanzas, the first of which is titled "Teachers of Mankind: Shakyamuni, Confucius, Socrates, and Jesus." Around the Meiji period, Japanese scholars first proposed the "Four Saints of the World" theory. Washitsu believes that the "Four Saints" theory contains an attitude that is not only biased toward the West, but can look at world culture broadly: "Indian culture is represented by Shakyamuni, Chinese culture is represented by Confucius, Greek culture is represented by Socrates, and Jewish culture that conquered European culture is represented by Jesus, which is to give these four cultures and four figures equal high evaluation." ”
Washitsu felt that these four characters could be chosen because they were all teachers of humanity. But Wakatsuji was well aware of the limitations of the influence of these four teachers: "Confucius wanted to educate the people of the lower reaches of the Yellow River, whose geographical area was roughly half that of Japan; Shakyamuni wanted to speak only to the people of the narrow area of the middle reaches of the Ganges; to Socrates, he only talked to the citizens of the city of Athens; and Jesus' scope of activity was only a small place of forty miles in length and twenty miles in width." Nevertheless, he felt that these four were teachers of humanity: "In fact, the number of people they have directly taught is extremely limited; but in terms of possibility, they can teach anyone." ”
So, can people with great influence in the world be called human teachers? Washitsu argues that this is not the case: "There is not a single example of people who have been hailed as 'the lessons of mankind' in their time who have been recognized by the public. The profound wisdom and great personality of human teachers can hardly be easily brought to the attention of the public. Those who are praised by the masses and who have established a great position before their deaths are not teachers of mankind, but should be called 'heroes'. ”
Since ancient communication channels were limited, how did these human teachers gain universal influence? In Kazutsuji's view, these human teachers have very good disciples, such as the "Ten Sages", "Ten Great Disciples", and "Twelve Apostles", who firmly believe that their teachers are true "Dao" realizers, and that no matter how much the masses of their contemporaries persecute and insult their teachers, this belief will never waver, and the disciples will devote themselves to propagating the Tao and truth of their teachers. He gives the example of Socrates, whose disciples Plato and disciple Aristotle completed the work of his teacher and created the source of Western thought. "After the great cause of his disciples was recognized by the world, Socrates lived forever as a soul in the cause of his disciples, and thus had to be recognized as a greater teacher."
It can be seen from this that there must be many prerequisites for a person's thought to be universally recognized by society, and it is an extremely important step to be able to cultivate extremely good disciples. At the same time, Wastsuji stressed that it would take a great opportunity to become a teacher of mankind, in short, he placed Confucius on a world scale on a par with other great philosophers of the first class, extracted from the particularity, and summed up the general universality, so as to highlight the greatness of Confucius.
When talking about the life of Confucius, Watji always emphasized the importance of the Analects, and pointed out that because of the different interpretations, later generations had different views on Confucius's life. He cited the example of "Zi Yue: Add me for a few years, fifty years to learn "Yi", you can not be too big" as an example. Washitsu mentions that the usual translation of this sentence is: Confucius said, give me a few more years, fifty years to learn the Yi, it will not be too big. However, some people do not understand it this way, thinking that "fifty years old" can be interpreted as "starting to learn "Yi" from the age of fifty", some people think that "I began to learn "Yi from a young age, and until I was fifty years old, I was still learning", and some people think that "as far as learning "Easy" is concerned, it is considered to be learned when I am about fifty years old. In addition, some people believe that "fifty" is a false word for "卒.".
In terms of sentence breaking, some people have broken this sentence as "add me a few years, fifty years to learn, easy can be no big deal", the word "easy" here is explained according to the "Classic Interpretation": "Once read Yi is also, now from ancient times." According to this interpretation, "easy" is "also". Then, the passage that Confucius said has nothing to do with the I Ching. In addition, Tetsuro Watsuji also made a personalized interpretation of other chapters in the Analects, which shows that writing a book about Confucius as a non-sinologist can indeed be refreshing.
"Double Yu Ju Zhai Seal", (Qing) Wu Shifen Collection, (Qing) Wu Chongxi edited
Xiling Printing Press, March 2021, 1st edition, 1st printing
This book was donated by Mr. Zhu Qi. At the beginning of the book, there is a preface written by him, which begins with the grandeur of the Mountain Left Golden Stone in the Qing Dynasty, and then talks about the collection of ancient seals in the Qilu area of the late Qing Dynasty, with Chen Jieqi and Wu Shifen having the most abundant collections. Then he talked about Wu Shifen's resume, and then said that Wu Shifen was good at the study of phonology and rhyme, fine appreciation, rich collection, and wrote a number of works on epigraphy, and mentioned that the origin of Wu Shitang's name was because of the family's collection of Yu Sikou pots in the late Western Zhou Dynasty. Zhu Qi mentioned that Wu Mu's grandfather, Cha Liguan, went to Hubei to inspect the seals, and collected hundreds of ancient seals. Cha's father, Wu Shifen's maternal grandfather, Zha Chun, was good at calligraphy and seal engraving, and was collected in the Jiaqing Four-Year Collection and The Two Dynasties as the "Copper Drum Library Collection Seal", and asked Weng Fanggang and Wang Wenzhi to preface it, which is an important bronze seal in the Qianjia period.
In 2014, China Guardian Auction Company held a special session of the Japanese Seal Book Collector's Jinshan Zhuzhai Collection, many of which are rare things, and I also want to get one or two, but I received a call from Mr. Tong Yanfang, vice president of Xiling Printing Agency, who said that he wanted to get two of the printed scores, one of which was "Copper Drum Library Collection". In fact, I also like this score, since I have a friend's trust, of course, I need to cut love, not to mention whether I can shoot the score, it is also unknown. So I raised a sign on behalf of Mr. Tong on the spot and successfully won the two seals he wanted. For this reason, Teacher Tong specially gave me a pair of joints. But since then, I have never seen the "Bronze Drum Library Hidden Seal", and now through Mr. Zhu Qi's neglect, Fang knows that Wu Shifen has a special love for Jinshi, which has an important relationship with his family's edification.
Regarding the value of the Shuangyu Ju zhai yincun, Zhu Qi quoted the evaluation given by Luo Zhenyu in the preface: "To taste and evaluate the genealogical collections of the various families, I think that Chen's "Yinju" is the most extensive; and the essence of the language is crowned with the "Shuangyu Ju Zhai Spectrum". Later, Zhu Qi spoke of Luo Fuyi's comments on the book in the Compendium of the General Catalogue of the Continuation of the Four Libraries: "Its scores are quite detailed, and they are used by those who have made copper seals in recent times. Luo Fuyi elaborated on the specific classification methods of the Shuangyu Hu zhai yincun in the "Seal Genealogy Examination", and then Zhu Qi said such an important sentence: "The author has pointed out many times in the article that the ancient Chinese printing spectrum often has the nature of 'manuscript', even if it is the same author (editor), the same name of the seal, its content is not exactly the same. ”
What Mr. Zhu said can be said to have won my heart first. In the past few years, I was also keen on the collection of printed scores, compared many famous scores, and found that many of the contents of the same name printed scores have certain differences. Although I don't think of it as a manuscript, the difference between the printed notation and the woodcut version is the way it was written. After the engraving is completed, if there is no error, it can be brushed and printed until the layout is worn out and cannot be used. The printing notation is different, unless it is a non-original plutonium seal spectrum, all the remaining seals are tibetan prints of plutonium on the page. Some seals use engraving plates to first engrave the interpretation on the page, so that the seal on the plutonium cover is only a slight difference in the position of the plutonium cover, and there is basically no change in the content, but most of the printed sheets only brush the printing column line without interpretation, so which position the plutonium coverer will print in which position, most of them have no rules, and even in the process of stamping, some seals will be replaced, which is the nature of the manuscript that Zhu Qi said.
As far as the Shuangyu Juzhai Seal is concerned, Zhu Qi believes that its version characteristics are roughly divided into three categories: the first type is called "seal body without dividing volumes", which is commonly known as "Chen Zhou Ben"; the second type is "imitation Song style eight volumes", that is, commonly known as "Fuzhou Ben"; the third type is "other scattered versions", for example, there is a version of "Ten Bells Mountain House Seal Lifting Book". The reason for the first two divisions is the "Yinlin Qing Dialect" signed by Wang Chonghuan, the youngest son of Wang Yirong, in 1940 to entertain the old man:
When Zhongyu Zhongxi, the son of Ge Xue, was guarding Chen Prefecture, he had printed the original of the black kuang on the wooden board, and fifty copies of the sealed score were printed, and the points were the same, and they were exhausted in a few days. Later, when Su Wei transferred to Fujian Province, there was also a copy of the Fine Kuang of the Shanghai Hongbao Bookstore. In Minyu Zhongcheng's son Khotan sheng du turned to Kun, Jiasheng Taishou brothers beat hundreds of hands. The former is Chen Zhouben, and the latter is Fuzhou Ben. Shanghai Xiling Printing Society once photocopied the world according to Fuzhou Ben.
Zhu Qi then used this as a basis to point out that Luo Fuyi's earliest version of the Shuangyu Hu Zhai Seal Cun in the "Compendium of the General Catalogue of the Continuation of the Four Libraries" was a mistake in the Daoguang Ben. Although Luo Fuyi later changed the time of writing to the early year of Tongzhi, Zhu Qi believed that the first compilation of the "Seal Of Existence" was not written by Wu Shifen, but during Wu Chongxi's tenure as the prefect of Chen Prefecture, combined with the time limit of Chen Jieqi's borrowing of Wu's Tibetan seal "Ten Bell Mountain House Seals" (癸未本), it can be seen that the "seal body is not divided into volumes" was written between the tenth and fifteenth years of Guangxu, and the "eight volumes of imitation Song style" were written around the twenty-seventh year of Guangxu. Zhu Qi believes that the classification and arrangement of the "Yincun" clearly bears the traces of the "Copper Drum Library Tibetan Seal", and at the same time mentions that Wu Shifen collected a lot of bronze seals during his tenure in Henan and Shaanxi:
According to Wang Brother Meng's research, there are also a small number of Wu's Tibetan seals from the Wanping Cha clan's copper drum library and the old collection of Wang Hub (Lotus Lake), but the proportion is very small. During the Tongzhi period, the Wu Shifen Tibetan Seal was borrowed by Chen Jieqi and compiled into the Ten Bells Mountain House Seal, which was later returned to Wu Chongxi. In 1940, Wu's descendants sold Tibetan seals to Zhou Shuhan in Tianjin, and in the 1950s, they were collected by the Cultural Relics Department of the Ministry of Culture by Luo Fuyi, and now return to the Palace Museum, and the number of losses is very small, which can be described as a fortunate event for Yinlin.
It turned out that there was still such a relationship, which made me feel abdominal pain in an instant, and I was determined to have the opportunity to blackmail President Tong Yanfang against a legal letter as a spiritual compensation.
A Study of Calligraphers in The Lingnan Dynasties, by Li Xiangqun
Anhui Normal University Press, August 2020, 1st edition, 1st printing
This book was a gift from the author. From the author's profile, it is understood that Mr. Li Xiangqun is currently the librarian of Guangdong Vocational College of Literature and Art, the vice president of Lingnan Printing Society and the president of the Institute of Printing Studies, and the vice chairman of the Guangdong Calligraphy Critics Association. This book is preceded by Wu Xiaoyi's "Lingnan Seeking Maolong, Guangdong Sea Exploring Li Zhu" as a pronoun, which briefly describes the handwriting of a place in Lingnan, mentioning that due to the humid climate in Lingnan, paper preservation is not easy, so there are not many handwriting preserved before the Song and Yuan Dynasties, the most famous of which is the Song Lizong Baoqing period Qiongzhou white jade toad cursive book "Foot Xuan Ming". Wu Xiaoyi also mentioned that Lingnan calligraphy in the Ming Dynasty had a great development, especially Chen Xianzhang invented the "Maolong Pen", and his "Seed Hemp Poetry Scroll" has survived to this day.
The preface talks about Mr. Lai Xiangqun's nearly twenty years of time, using his spare time to collect information to write this book, and talks about Li Xiangqun's early years of study by Shang Chengzuo, Mai Huasan and many other famous artists, Mr. Lai studied calligraphy, learned from all the strengths, is a scholar who has both profound traditional skills and broad vision, and he is also a calligrapher. The preface quotes Mr. Li's insight into the use of pen: "The method of writing, the hard pen should be slow, the soft pen should be tight, and the rigidity and softness should be balanced." To learn calligraphy only from the level of Dharma, one can only understand the specific dot paintings and structures of its parts, and cannot truly understand the whole picture and essence of calligraphy art. Only by entering the Tao through skill and experiencing the spiritual realm displayed by the works can we truly understand the subtleties of calligraphy art. ”
After Wu Xu, it was Lai Xiangqun's Journey to Explore the Lingnan School, which talked about his personal experience and his achievements in calligraphy. In addition to calligraphy, Mr. Li also has a systematic review of the history of Lingnan seal carving, he wrote in the text: "Lingnan seal carving has a long history, although there are Rong Geng brothers' "Dongguan Yinren Biography", Ma Guoquan's "Guangdong Yinren Biography", Xian Yuqing's "Guangdong Seal Genealogy Examination" and other monographs, but there is no complete history of seal engraving. The book "Lingnan Seal Carving" is a supplementary study I have done for the history of Lingnan seal carving, and it is the first seal carving history book. ”
Mr. Lai mentioned that the Lingnan School has long been well-known and recognized by the academic community, but the Lingnan School, which also has Lingnan characteristics and Lingnan style, has long been snubbed. He believes that "the Lingnan School of Calligraphy does exist objectively", and divides the school into two major schools, the Thesis School and the Epigraphy, believing that the Lingnan Thesis School was opened by Li Jian and then passed down all the way, Zhu Ciqi got its true transmission, and then Zhu Ciqi passed it on to Kang Youwei. For the Lingnan school of steleology, Mr. Li believes that it should start from Wu Rongguang, then pass it on to Li Wentian, and finally to Kang Youwei, "In the end, it all came down to the successor Kang Youwei, and Lingnan calligraphy has since formed a pattern of stele and thesis." Kang Youwei became a master of the "Lingnan School" of epigraphy and theatrics.
I would like to see how Mr. Li evaluates Kang Nanhai's calligraphy, but for some reason, Mr. Li's monograph does not specifically discuss Kang Youwei.
The book is divided into three parts, the first part is Song Ming, the middle part is Qing Dynasty and modern times, and the second part is modern and contemporary. Mr. Li selected dozens of calligraphers from the Lingnan region in the form of a biography, one by one, some of which are well known to everyone, such as the aforementioned Wu Rongguang, Li Wentian, Kang Youwei, Zhu Ciqi, and some calligraphers who I have never paid attention to before, such as liu Guangqian, the modern epigrapher he talked about, and learned from the text that Liu Guangqian served as the prefect of Sicheng Province, returned to Macao after his return, entertained himself with Han Mo after xinhai, was good at painting Mei Ju, and in his later years he was a scholar of Luofu Mountain, and his legal name was Yonglian. Later generations have few records of Liu Guangqian's life and deeds, and in the limited historical materials, it is mainly about his achievements in painting, such as Huang Banruo's comment: "Yougong landscape, there is Ni Yunlin's fetal breath. The part that Li Xiangqun pays more attention to is Liu Guangqian's achievements in garden design, focusing on the Lu Family Garden built by Liu in Macau. According to the article "Macao LuJia Garden" written by Lu Qi, the owner, Lu Lianruo, is the chairman of the charity committee of the Macau Chamber of Commerce and the Charity Association of Kyeong Vu Hospital. It was macau's second-generation gambler, but due to poor management, it later sold the garden designed by Liu Guangqian in sections, and in the 1970s, the Macau government purchased the park, renovated it and opened to the public.
In the text, Li Xiangqun highlighted Liu's calligraphy achievements, calling him a stele calligrapher, inheriting the epigraphical ideas of Li Wentian and Kang Youwei in the Qing Dynasty, "His calligraphy creation, transporting the stele into the post, and the stele and the post are integrated." According to the calligraphy works that have been handed down to the present day, Li Xiangqun discussed Liu Guangqian's calligraphy creation in stages, and in the conclusion, he talked about Liu Guangqian's use of stele such as "Shi Chen", "Zhang Qian", "Ode to The Pavilion", "Ode to the West Narrow" and other stele cliffs as the roots, and extensively absorbed the pens of The Qing people such as Jin Nong and Deng Shiru to form a unique style of writing. From this study, it can be seen that Mr. Li not only ignores the historical materials of the calligrapher's life, but also analyzes the book's books through the characteristics of the handwriting, and finally draws corresponding conclusions, which stems from Mr. Li's understanding of calligraphy creation, which is the characteristic of this book.
Later, by Pan Dun
Leaf Sweeping Workshop printed the first edition of the 1st edition in September 2019
Zhejiang People's Fine Arts Publishing House, March 2021, 1st edition, first printing
Mr. Fu Diyang, the editor of the bureau, asked the author to send me two autographed copies. In WeChat, I asked Mr. Fu to convey my gratitude to Mr. Pan Dun on his behalf. From the introduction sent to me by Mr. Fu, I learned that Mr. Pan Dun is a native of Shanghai and graduated from the Department of Chemistry of Fudan University, and when I read this masterpiece, I felt the humanistic rigor of science students.
Both books are "Later", and the editor of the leaf sweeping workshop is Mr. Fu Yue'an, a famous Taiwanese bookman, and the book is traditional vertical. The Zhejiang People's Edition is in a simplified horizontal layout with color illustrations, while the Leaf Sweeping Workshop Edition does not. The cover inscription of the two books is written by Mr. Dong Qiao, and there is a page of color inserts attached to the front of both books, which is a passage written by Mr. Dong Qiao specifically for "Later".
There is no preamble to this book, the main text after the table of contents, and there is no afterword, and the title of the last article, such as the title of the book, is thought to be used as a pronoun. Mr. Pan Dun said here: "In the past few years, I have been lazy when writing articles, and when I finished writing them, I threw them to Lu Gongzi and handled them with him, and a few friends read my articles in newspapers and on the Internet and saw that it was Mr. Dong who wrote down, and kindly advised me to come out of his style and write out my own appearance early. ”
Mr. Pan said bluntly that others read his articles and read the feeling of Dong Qiao, some people advised him to go in and out, write his own style, he thanked his friend for his good intentions, but did not change the meaning, and said: "Or Chuan Gongzi understands my mind, he said that Mr. Dong found an exit for the confused vernacular text, I said that I followed this exit to see the entrance of the vernacular text, and from then on I pondered Mr. Dong's penmanship, Mr. Dong's words, Mr. Dong's structure, that is almost all my pleasure in writing, without this fun, Do you rely on the dream of being a writer and rely on the manuscript fee to support the article? ”
It can be seen that Mr. Dong Qiao had a profound influence on Mr. Pan. When I read this book, I can also feel that Mr. Pan really grasps Mr. Dong's style, and even there are traces of Mr. Dong in the narrative tone. For example, in the article "Old School Dining Room", the first paragraph of the article is:
The landlady's last name is Fei, and we all call her English name, Daisy. A native of Shanghai, whose ancestral home is Huzhou, Zhejiang, and a descendant of the famous painter Fei Xiaolou during the Jiadao period. Daisy studied painting at the Shanghai Academy of Fine Arts in her early years, immigrated to the United States in her twenties, and worked in a restaurant opened by an elderly Taiwanese couple after studying. The old couple retired, the juniors did not want to take over the plate, the restaurant entrusted to Daisy, and after three or five years, it became more and more famous. It's just that youth is inevitably steep and turbulent, and an annoyance makes Daisy wake up from a good dream, feel cold and discouraged, hurried out of the restaurant, pack her bags, and travel the world to scatter her mind. Shanghai is the old home, and meeting Michael is not the old man, it is a fate.
This passage is an introduction to Daisy's life, followed by a detailed description:
Born in Hong Kong, Mike moved to San Francisco with his family early in the morning and opened a restaurant. The fate was settled, the career was re-established, and from then on, there was more place to spend time in the wine glass on the west side of Jinxian Road. The ground floor café glass window floor, English white lacquer solid wood wall panel with bloody red tangled velvet wall cloth, old teak floor, old teak bar, old teak staircase leading to the second floor dining room with a small terrace, side tables, dining tables in various glass vases are always white lilies, white orange stems, white calla lilies, white peonies, the ceiling hangs a few bronze ceiling fans, spring, summer, autumn and winter, the four seasons are turning, slow, quiet, and idle, leisurely and unrelated to the world, a shake, ten years.
Then we talked about the old-school Shanghai restaurants, which talked about Lao Zhengxing, Lao Banzhai, Lao Fang, and Xinghua Lou, and he said that I had only been to one end and one end of these places, and the former was more lively than the latter. The scalper who sold vouchers at the bottom of the apricot blossom building left the deepest impression on me, because the apricot blossom building and the old Zhengxing were both on Fuzhou Road, which used to be the most famous ancient book street in Jiangnan, and I don't know how many times I have swung around on this street for thirty years, the ancient books on this street come and go, no one can count clearly, the only constant is the scalper standing under the door of the apricot blossom building rain or shine.
To this day, Fuzhou Road is still a place where book lovers from all over the world meet in Jiangnan, and when local friends invite guests, either Lao Zhengxing or Xinghualou, but unfortunately, my taste buds are dull, and I have not been able to taste the subtleties of the south point. Pan Dun talked about the old-school literati writing more about food and less about restaurants, and then pointed out a few famous artists, but Pan Dun believed that even if he went to those restaurants according to what the famous people wrote, "almost nothing was found, the true transmission had been lost, the martial arts were all wasted, and only an empty shelf was left to greet tourists who came from the north to the north and went in an unknown way." This kind of statement seems to go against the hospitality of local friends, such as Lu Gongzi and I have eaten several times in Lao Zhengxing and Xinghualou.
Pan Dun believes that "literati who don't cook but love to eat write restaurants that look better", and then he cited Mr. Dong Qiao. From Mr. Dong's article, he noticed that there were two restaurants that were often mentioned, one was the Lu Yu Tea Room, and the other was the old-school Guangdong Tea House, because the dim sum there was done well. In 1991, the first time I went to Hong Kong, local friends very warmly invited me to drink morning tea, I am a northern turtle, never had the habit of drinking tea in the morning, but I could not resist the persistence of my friends, or went with him to a famous restaurant.
At that time, it was about ten o'clock in the morning, it was full of diners, there were many people sitting around each table, some were chatting, some were flipping through the newspaper alone, the waiter pushed the car slowly between the tables, while walking and drinking, that scene made me inexplicably moved, I really knew what is called human fireworks, but also understood what Hong Kong people say about drinking morning tea, not drinking a cup of tea in the morning, the richness of food is beyond imagination. I think Hong Kong people love to drink morning tea, and it is more about understanding the atmosphere that blends into it. Reading this passage from Panton's article today instantly reminds me of what happened decades ago. Mr. Poon also mentioned a famous Cham Mei kitchen, which he said opened in Hong Kong in 1924, opened a semicolon four years later, and has been a guest for more than 80 years. In 2011, Zhan Mei Kitchen reopened in the north building of the old Jin Jiang Hotel in Shanghai, "also authentic, also noble, but also nostalgic", but unfortunately, today's Shanghai "may no longer have these many authentic, noble, nostalgic seeds", the restaurant opened for three years, closed.
Such an article, just some nostalgic descriptions of the past and the present, coupled with a few exquisite sighs, does not seem to want to explain any problems, but after reading it, there will be an inexplicable feeling. Why is there such a strong sense of purpose? This is where I need to reflect. An article that makes people feel something is enough. I think this is the reason why mr. Dong and Mr. Pan's articles are loved by so many people.