I. Qing Dynasty "Book of Rites" and Gu Qianli
Liang Qichao Zengyun "Qingxue should take the classics as the backbone, and its most meritorious contribution to the scholars of the classics is that all the classics have new omissions" ("Introduction to Qing Dynasty Scholarship"), while the Book of Rites is lacking. Huang Kan explained Yun: "The Book of Rites is sparse and informative, and the later Confucianism is not easy to add, so the new one is sparse. ("A Brief Introduction to etiquette")
Most of the Qing people, represented by "Mencius Justice" and "Zhou Li Justice", have sorted out the Qing Confucian theories so that future generations can understand the general idea of the doctrine. In the eyes of Liang Qichao and others, Xinshu is the best scriptural work, but because it is easy to refer to, it cannot be considered "the most meritorious to scripture". Huang Kan's emphasis on Han Zhu Tang Shu is, in a sense, out of reflection on Qing Dynasty scholarship. He has a comment on "Ritual Justice" that "straight can not be done" ("Quotations", see "Puchun Huang Clan Wencun"), and believes that Kong Shu is difficult to overcome and is also very natural. However, most Qing dynasty scholars may not admit that their knowledge is inferior to Kong Yingda, so Huang Kan's statement still does not explain why the Qing people did not make a new omission for the Book of Rites.
Portrait of Mr. Huang Kan
This is a very interesting question. To answer this question, we must first understand the specific content of Qing Dynasty etiquette. Jiang Yong discussed the issue of etiquette, referring to the ming writings and deducing the meaning of the scriptures, and did not pay special attention to Zheng Xuan's notes. Dai Zhen continued to explore along Jiang Yong's path. Jin Bang tried to reconcile Xin Shuo with Zheng Xuanzhu in the middle, but did not succeed. Cheng Yaotian took the archaeological route and often easily denied Zheng Xuan. The Golden Eagle was more free, synthesizing various scriptures and reconstructing the ritual system of the Zhou Dynasty, which was very large in scale and also had a great influence. In short, the mainstream of ritual science in the Qing Dynasty followed the study of archaeological history and the canonical system, which was very different from the han and Tang commentaries on the text of the scriptures. The Qing dynasty studied the Zhou Dynasty system through scriptures, which were materials, not direct objects of study. To explore the Zhou Dynasty system, it is necessary to use the principle of exegesis of the scriptures, and the annotations are all understood by posterity, which can be referenced and cannot be used as a basis. In this academic environment, how should the Three Rites be viewed? The "Rites" talk about the etiquette of the Zhou Dynasty, which is naturally the most fundamental and reliable information. Although the Zhou Li is somewhat controversial, after all, it involves all aspects of the etiquette system and needs to be studied in depth. As for the Book of Rites, the content is too messy, including the contents of the Spring and Autumn Period and even the Han Dynasty, and only a few contents cannot be ignored or even important when discussing the relevant ritual systems, but as a scripture, it is actually not worthy of attention. Zheng Xuan studied the texts of the scriptures, so he made careful annotations to the entire text of the Three Rites from beginning to end; the Qing studies reflected in the ritual system in the scriptures required the use of some of the contents of the Book of Rites, but there was no interest in its full text. In this way, the Qing people did not have the "Book of Rites" new sparse, things are natural, easy to understand.
The concepts of "Qingren" and "Qingru" are too broad to encapsulate all individuals. The Qing Dynasty also had an outstanding exception for mastering etiquette without studying the canonical system and concentrating on the study of the annotated texts, namely Gu Qianli. Here, we may wish to take the famous "western suburbs" and "four suburbs" problems as an example to explain the difference between Gu Qianli and other scholars. "The Royal System" "Yu Yu is in the × suburbs of the country", Sun Zhizu and Duan Yujue think that it is regarded as "four suburbs", Gu Qianli thinks it is regarded as "western suburb", posterity has commented a lot, and the voice supporting Duan Yujue seems to be louder. In fact, Sun Zhizu and Duan Yujie were discussing the ancient "study system", and Gu Qianli was discussing the texts of Zheng Xuan and Kong Yingda, and the level of discussion was completely different, and they should not have been confused. Unfortunately, the mainstream of scholarship in modern times is still based on Qing Dynasty scholarship, and it is often necessary to explore the ancient system through scriptures, so it is supportive of Duan Yujie's superiority. Carefully observing what Zheng Xuan and Kong Yingda said, the text they based on as "Western Suburbs" is undoubtedly righteous, just as Gu Qianli said. As for whether the scriptures that Zheng Xuan and Kong Yingda saw were correct or not, it depended on different judgment standards. According to the inference of the ancient "study system", the "royal system" can only be regarded as "four suburbs", such as sun Zhizu and Duan Yujue's theory, which is also an opinion, but it is not necessary or cannot be denied gu Qianli's theory.
In the past, the academic circles blindly boasted that the atmosphere of Qing Dynasty scholarship was very serious, and now we can understand the situation more objectively. Since Qianjia, many scholars have expressed their admiration for Zheng Xuan, but not many have really studied Zheng Xuan's works in depth. Qing Dynasty etiquette was a study of the canonical system, and the annotated texts were not the focus of research. The Qing people used the Book of Rites to discuss ancient systems and rarely concentrated on studying the texts of the Book of Rites. In this context, Zhang Dunren asked Gu Qianli to preside over the film engraving of the "Book of Rites", which is like fireworks in the night, bright and dazzling. This is the highest achievement of the Qing Dynasty's "Book of Rites" and has a charm that will never fade.
Gu Guangxi statue
2. Fuzhou Ben and the Book of Rites
The Song version of the Fuzhou Ben "Book of Rites" has two works passed down. The first is the old collection of Gu Zhikui engraved by Zhang Dunren, which is complete from beginning to end, brushed and printed quite early, and is purely original. The first is a fragment of Jiang Ruzao's old Tibetan commentary on the main text, which is now in the "Central Library" in Taipei, with only eight volumes remaining, and there are many supplements. (See Wang Guowei's "Chuanshutang Tibetan Book Chronicle" and Abe Ryuichi's "Chinese Visiting Book Chronicles". The "Central Library" and other Collections of Song and Yuan Editions of The Solutions to the Problems received by the "China Visiting Books" are now available in a free scanned electronic version of the keio University Library website. In addition, fu Zengxiang's fragment of the old collection of "Interpretations", which is now the Institute of Oriental Culture of the University of Tokyo, about half of the leaves are copied from the shadows, and the remaining half of the Song edition also has many supplements. (See Abe Ryuichi's "Japan's Kokumi in the Song and Yuan Dynasties", see the first volume of the Collected Manuscripts of Abe Ryuichi, and a free scanned electronic version is available on the Keio University Library website.) In addition, the website of the Institute of Oriental Culture also provides free copies of the original book. At the end of the original book, Cao Yuanzhong's handwritten book is attached, and the recorded text can be found in the "Collection of Notes on the Scripture Room", and also in the "Records of the Books and Eyes of the Tibetan Garden Group". According to the supplementary edition of the Heart Chronicle, it is known that the repair situation is consistent with jiang Ruzao's old Tibetan text, and it may be speculated that it belongs to the original set, and then circulated separately.
The text of the commentary on the scriptures and the Interpretation of the Commentaries inscribed by Zhang Dunren have also been circulated separately. Gu Qianli's writing at the end of the Song edition of the "Interpretation" provides the most basic and important information for understanding the circulation and shadow engraving of this book, and the full text of this first record:
"The Southern Song Dynasty Book of Rites Zheng's Notes Six Volumes, Ming Jiajing during the Shanghai Gu Congde RuXiu collection, more than a hundred years later into Kunshan Xu Jian'an Si Kou Chuan is lou, both have pictures. During the Qianlong period, Yu conghu hu chong received it, and its inscription in the Song Dynasty was not explicitly written. Some borrowers speculated that it was Mao Yi's father's so-called old prison book, and at the same time, it was passed down from one name to the other. Bao Chong continued to receive two kinds of one-line "Interpretations", one "Li Ji" and one "Zuo Zhuan", both of which are also Southern Song Dynasty manuscripts. The "Interpretation of the Book of Rites" is also different from the "Book of Rites" plate-style line writing and even the number of craftsmen, and the name is in the year and month. Yu then decided on the Book of Rites, namely Chunxi's fourth year Fuzhou minister Ku Keye. His "Book of Rites" was published in jiaqing bingchen year Yangcheng Zhang Taishou Guyu mr. When it was time to hug Chong, the orphans were still young, and the "Interpretation" was obtained for a while, and the single copy of the Tongzhitang was attached to it, so that the reader could realize that it was just a fu ben. Since the end of another star, every moment of reading this, Yu Shizhi knows that he has not been able to merge and pass on his truth, is it not a pity. Urging the nephew to look out the mountain, and to carefully investigate it in his current illness, there are many mistakes in the positive translation, and he will change them one by one to restore the old. However, Tai Shou jiu moved to the right of the river, and Yu Fu stayed in the township, and did not examine he Day Fang's wish. The Yuanshu is contained in four volumes, with no previous figures, and it is unknown from the He family. From this, Tongzhitang should have a copy of the cloud. Five days after Gengchen Mengqiu's summer, Yuan and Gu Guangqi Qianlifu recorded in the Fengjiang Mansion. (See Si Shi Zhai Shu Shu Bao.) The handwriting can be found at the end of the photocopy of the "Chinese Reconstructed Rare Book". ）
The "Chinese Reconstructed Rare Book" is a photocopy of the "Interpretation of the Book of Rites" Gu Guangqi
According to this, combined with the later situation, the six volumes of the Zhizheng text were handed over by Gu Ruxiu, Xu Qianxue, Gu Zhikui, Wang Shizhong, and Yang's Haiyuan Pavilion, and finally returned to the National Library of China. The four volumes of the "Interpretation" were handed over by Gu Zhikui, Wang Shizhong, Qu's Iron Qin Bronze Sword Building, and Chen Chengzhong, and also returned to the country. Gu Zhikui has both the main text and the "Interpretation", but the sources are different, and they are not merged into a set to collect, so Gu Qianli only sees the main text when he is engraved, and fails to use the "Interpretation". Wang Shizhong still had both the main text and the "Interpretation", and then dispersed, one returned to the Haiyuan Pavilion, one returned to the Tieqin Bronze Sword Building, and fortunately returned to the same national map in the end. However, the existence of the "Interpretation" was ignored when the "Three Editions of the Guyi Series" was photocopied, and later the "Reconstructed Rare Book" photocopied the main text in 2003, and the "Interpretation" was photocopied in 2006, so that we can easily see the full picture of the Song edition.
Gu Bao mentioned that some people mistakenly used Fu Ben as a prison book, referring to Duan Yujie and others. Ruan Yuan's "Li Ji School Survey Record" does not appear in the Fuzhou Ben, but there is a "Jian Ben", which is actually the Fuzhou Ben. In the case of not seeing the original book and not knowing the existence of the Fuzhou Journal, only based on the similarities and differences of some texts to make inferences, see that it is similar to the prison version quoted in the "Six Classics of Correct and Wrong", so it is mistakenly considered to be the prison version. Ruan Yuan, they could not directly proofread the Fuzhou ben, and could only refer to the biographical proofreading; nor could they see the eight-line annotation sparse text, and could only refer to the copy of the Hui Dong schoolbook and the Seven Classics of Mencius Kaowen. Nowadays, the Fuzhou Ben and the Eight Elements Annotations have photocopies (Fuzhou Ben is photocopied into the "Three Editions of the Guyi Series" and the "Chinese Reconstruction Rare Book", and the Eight Elements Edition has peking university press", "Photocopying the Eight Elements of the Southern Song Dynasty Yue Periodical Eight Elements of Etiquette and Justice"), and the information conditions are no regrets.
"Chinese Reconstruction Rare Book" photocopied Chunxi's four-year Fuzhou minister Kuben "Book of Rites" Gu Guangji
Before the Tang Dynasty, the texts of scriptures were circulated in manuscripts, although there were notes and phonetic meanings that could limit the scope of changes in the text, after all, it was inevitable that various different texts would be produced. According to the Tang Shi Jing, the commentaries of the Five Dynasties Are still circulated and collated. The Northern Song Dynasty was proofread because of the five generations of prison books. The five dynasties and the Northern Song Dynasty have been lost, and the extant versions are all after the Southern Song Dynasty. All versions of the annotated texts are based on the Northern Song Dynasty Jian ben as the ancestral text, and the Chunxi four-year Fuzhou Minister Ku carved ben as the earliest surviving official periodical, and the style and text should be the closest to the Northern Song Dynasty jian ben. The asanas are different, and the annotated text is also close to the Northern Song Dynasty jianben is Shao Xi's three-year two Zhejiang East Road Tea Salt Divisional Eight-Line Annotated Manuscript. The Ming and Qing annotated editions are based on the Ten Lines of Commentaries carved in Fujian in the middle of the Southern Song Dynasty as their ancestors, and their annotated texts are in the same line as the Yu Renzhong Periodicals. Yu Renzhong's "Notes on etiquette" should also be an official version, which is not far from the Northern Song Dynasty supervisor's version. It was only because Yu Renzhong was going to insert the Classic Interpretation in segments, and the annotated text of the Jianben was different from the Classical Interpretation, so the main text was tampered with to accommodate the Classic Interpretation. (Or Yu Renzhong has inserted a version of the "Interpretation" before, and Yu Renzhong has just copied it accordingly, it is also possible.) Yu Renzhong's writing of the Epigraphic Commentary and insertion of the Commentary on the Spring and Autumn Rams can also reinforce this speculation. But there is no more material today, and it is represented by Yu Ren Zhongben. After the Song Dynasty, most of the confusion in the annotated texts of the Book of Rites was due to the tampering of Yu Renzhongben. In the past, the high evaluation was based on the text that had been tampered with by The Yu Renzhong system, and the official editions such as the School Supervisor Were changed back to some texts, and had no independent text value. In order to discuss the annotated text of the Book of Rites today, it should be based on the Fuzhou ben and the eight-line annotation text should be proofread, so as to obtain the text that is closest to the Northern Song Dynasty jian ben. (Please refer to the humble text "Miscellaneous Knowledge of the Li Ji Edition" and "Photocopy of the Southern Song Dynasty Yue Periodical Eight Elements Ben Li Ji Zhengyi Compilation Afterword".) For the two articles, see also the humble book "The Book of Philology Reading" published by Sanlian Bookstore. ）
Song Jianyang Yu Renzhong's engraving of the "Notes on the Book of Rites" book shadow
In the early southern song dynasty, all official scriptures should be engraved on the basis of the early Southern Song Dynasty prison book, so that the locals can learn. After being engraved during the fuzhou minister Ku Chunxi's years, it was printed for a long time and also repaired many times, and Huang Zhen's "Daily Copy" has "XianChun Nine Years Repair Fuzhou Six Classics". Wang Guowei once proofread Jiang Ruzao's old Tibetan revision and found that there were many errors, see the "Chuanshutang Collection of Good Books". Gu Zhikui's old collection is an early print, there is no full-page exchange, and the text is exquisite. Nevertheless, this section has also been partially revised. For example, between the first and second lines of the twelfth leaf of volume two, you can see the stitching marks, and you know that the first line has been modified and re-engraved.
Gu Qianli pointed out in "Examination Difference" that this line of inscription is particularly secret, according to the number of words on one line, when the first word "wall" was first engraved, there was no small note under the first word "wall", "The barrier of the wall is the wall barrier home", and later it was necessary to insert nine characters of this note, so the first line was re-engraved. We look at the Wuzhou Jiang Zhai engraving (fragment, there is a photocopy of the "Chinese Reconstruction Rare Book" in the same period), and indeed there is no such note of nine characters, and we know that Gu Qianli's speculation is correct. What is more interesting is that the same situation exists in the eight-line annotation sparse text, that is, the inscription before and after this note is dense, and according to the number of words, it can also be considered that there was no nine characters in this note at the beginning, and later revised and inserted. The Wuzhou Jiang Zhai carved version and the Eight Elements Annotation Sparse Book are both versions that Gu Qianli could not see back then, and can now be used to prove the accuracy of Gu Qianli's inferences, which is painful. What is more noteworthy is that the situation of the three versions shows that the nine-character note should not have been in the prison book since the Northern Song Dynasty, and at some time in the early Southern Song Dynasty, the official supervisor should have added this note, so the Shaoxing Eight Elements Note and the Fuzhou Ben in Jiangxi were invariably modified. This is an example of the official text getting more and more confusing, and it is particularly precious. Because of this, when we read books today, we must try to find as many versions as possible from the early Southern Song Dynasty, compare them with each other, and speculate on the texts of the Northern Song Dynasty.
3. Shadow carving Fuzhou Ben
Gu Qianli presided over the shadow engraving of Fuzhou Ben, which should be directly based on the original book to produce a photocopy manuscript, according to the shadow manuscript engraving. Therefore, although the glyphs are simplified and the strokes tend to be monotonous, the stroke structure is basically faithful to the base, and the layout details, including the number of words in the center of the plate, the name of the engraver, etc. are all the same as the base, which is a very successful photocopy. The author has not yet carefully proofread, and I dare not guarantee that there will be no errors, but ordinary reading can completely replace the photocopied Song version, and when there is any doubt, check the photocopy.
When Jiaqing began to preside over the shadow engraving for Zhang Dunren in the past ten years, Gu Qianli had many years of experience in presiding over the engraving, and had a deep understanding of the technical problems of ancient engraving, so he could pay attention to the key details when filming, and the precision of the processing was amazing. For example, in the seventeenth to nineteenth lines of the fourteenth leaf of volume 6, the Song version is poorly fonted, while between the sixteenth and seventeenth lines, between the nineteenth line and the twentieth line, the upper and lower plates are broken, obviously for the purpose of re-engraving. When Gu Qianli was engraved, although he could not express the clumsiness of these three lines of font, he still reproduced the broken frame of the edition so that the reader could speculate about the revision. The first line of the twelfth leaf of the introduction volume two above has been re-engraved and replaced, and Gu Qianli has also reproduced the appearance of the broken upper and lower plates, which is a warm treatment to remind the reader.
The sixteenth and seventeenth lines of the fourteenth leaf of volume VI are broken, and the frame between the nineteenth and twenty lines is broken
Gu Qianli speculated in the "Examination Of Differences" that the reason why the fourteenth leaf of volume 6 was that there were no seven words in the Fu ben scriptures, "Zhou Ren was weeping and causing trouble", and later it was inserted, so even the last two lines were re-engraved together, and the three lines were used to absorb the dense situation brought about by the increase of seven characters. Duan Yu was angry when he saw the "Fu Ben Kao Yi", and wrote an article not by Gu, saying that Yun "counted the number of words, and if he went to these seven characters, this line was two inches empty, and it was definitely not the case" ("Jing Yun Lou Ji" volume 11), because Duan Yu cut was not familiar with the engraving technology, ignored the gap in the plate frame that Gu Qianli warmly suggested, and mistakenly thought that Gu Qianli advocated Fu Ben inserting seven words in the seventeenth line, so he mistakenly said "absolutely not". Confucius "is also lowly, so he can despise things" and "does not try the art of the past" (Analects of Zihan). Gu Qianli failed to become an official, failed to pre-study the mainstream of the world, and wrote and engraved books for people, so he could appreciate the important information contained in the details of the version and remind the world in the shadow engraving. Unlike today, when you specialize in version studies, you can be a professor, and mainstream scholars in the Qing Dynasty easily despise these techniques, and it is not surprising that Duan Yujie did not understand Gu Qianli's painstaking efforts. Gu Qianli saw duan Yujue say, "If you go to this seven-word line, this line is empty for two inches", you should not bother to explain, you can only smile bitterly.
Gu Qianli presided over the publication of the fu ben "Book of Rites", which was between ten and eleven years in Jiaqing. At that time, the Song version of the "Interpretation" could not be found, so according to the Tongzhitang inscription, the "Interpretation" was reproduced, as Gu Shiba said above. The so-called Tongzhitang inscription is not the thirty volumes of the Classic Interpretation collected in the Tongzhitang Jingxi, but the Tongzhitang single engraved Liji Interpretation. The Tongzhitang single engraving also has the fifteen volumes of Sun Jue's Spring and Autumn Classics (see Yao Yuanzhi's "Miscellaneous Notes on bamboo leaf pavilions"), and this "Interpretation of the Book of Rites" is also comparable. Tongzhitang single engravings are rare, the author once asked friends to pay attention, in the national map to see a one, it seems to be a single edition of Tongzhitang, and has not yet been further demonstrated. (See Hua Zhe," "Introduction to Zhao Ye Xingshi and Fu Ben LiJi's Explanatory Texts", see The Second Series of Bibliographic Studies of Editions.) Gu Qianli wrote "Gengchen Mengqiu was in the fifth day after the summer", which was the twenty-fifth year of Jiaqing, and he said that he would let Gu Zhikui's descendants find out the Song version of the "Interpretation" and correct the errors in the original engraving of the "Interpretation", hoping to revise the version of the text to reflect the original appearance of the Song version, and lamented that "the day did not review this wish." However, the "Interpretation" of the "Interpretation" printed after the shadow engraving has been revised, and there is a line of publication "Jiaqing Twenty-five Years Gengchen Song Ben "Interpretation" Re-proofreading and Printing Line". In the past, it was thought that the revision of the edition was revised in the twenty-fifth year of Jiaqing, but now it seems that Gu Qianli re-proofread the Song Ben "Interpretation" in the twenty-fifth year of Jiaqing, although it is true, as for when the revision will be realized, it is still unknown.
In other words, the "Interpretation" part of Zhang Dunren's engraving of the "Book of Rites" was later revised, so there was a big discrepancy between the successive prints. For example, in the thirteenth line of the first leaf, "䦧", the early printed version is "Hu Qiang Reverse", and the later printed version is "Hu Que Reverse". The Song version is written as "曆", and the shadow engraving avoids the Qing Gaozong as "厤".
Left: Early print "Hu Quality Reverse"; Right: Postprint "Hu Que Reverse"
The first character of the third leaf is "卒", the early printed version is "only suddenly reversed", and the later printed version is "seven suddenly reversed", which is consistent with the Song version. Another example is the twelfth line of the thirty-seventh leaf (Fuzhou Ben", "Li Ji Interpretation" one hundred and twenty-two leaves, through several leaves, and the inner text is still divided into four volumes) Under the small characters, the early printed version is "Note 16,696 characters", and the later printed version "600" is "two hundred", the same as the Song version. And so on, there are a lot of textual differences. In addition to the text, the changes in the layout are also obvious. The elephant trunk under the early print is not engraved, all black, and the upper and lower trunks of the later print are added to the engraving name, word count, etc. according to the Song version. Again, the last one hundred and twenty-second leaves, the main text ends at the beginning of the nineteenth line, the early print is blank below, the twentieth line is also blank, and the end is in the first line of the one hundred and twenty-three leaves. The nineteenth line of the 122nd leaf of the post-print edition has a tail inscription, a small character with a number of words, and the twentieth line is inscribed with the word "Li Ji", which is consistent with the Song version. It can be seen that the post-print version tries to modify the old version according to the Song version, but after all, it is only a revision, so the post-print version frame is still used as a left and right bilateral, and cannot be changed to a four-sided bilateral according to the Song version.
Interestingly, the Fuzhou minister Ku Chunxi ranked that leaf in the fourth year, and the early print was placed after the twenty volumes of the Book of Rites, and the leaf order "Twenty-one" was recorded below the heart of the edition, which was the last twentieth leaf of the twenty-first volume of the Book of Rites, and the number of words above the center of the edition was "one hundred and thirty". The later prints still use the same plate, and after moving to the "Interpretation", the lower leaf of the center of the edition is changed to "one hundred and twenty-three", which is the one hundred and twenty-two leaves of the last leaf of the "Interpretation", and the number of words above is "one hundred dan five" ("Dan" is "single", just like the cloud "zero"). The number of words above the center of the Song version is indeed "one hundred dan five", while there are no leaves below. Jiaqing eleventh year Gu Qianli Bao Song edition volume 20 end of the cloud: "At the end of the famous title of a piece of paper, the loader is divided into the beginning of the "Interpretation". Those who do not know think that it is the old prison book, not also. At the end of the "KaoYi", it is published that "fuzhou minister library newly published twenty volumes of the Book of Rites and four volumes of the "Interpretation"", Yiyun: "Or this is the Song Supervisor's book, the most wrong." Gai did not know that this leaf yuan even twenty rolls tail. Its distinctive feature at the beginning of the "Interpretation", the ear of the special worker who dressed at the wrong time, is now revised. When he first compiled the journal, Gu Qianli believed that the fuben title of one leaf should be after the twenty volumes of the commentary. When Jiaqing was compiling the journal in the eleventh year, Gu Qianli did not find the four volumes of the "Interpretation", and he should not have seen this title. I did not see the original, but I could shadow it attached to the end of the main text of the sutra, which Cao Yuanzhong believed was according to the Tongzhitang's one-line "Interpretation". (See Cao Yuan Zhongbao.) The current number is from the "Fuzhou Minister Library" to the "Chunxi Fourth Year February Day", and the word count is exactly one hundred and five, which is in line with the number of words in the heart of the Song edition and the photocopy after the engraving. The number of words in the early printed edition is "one hundred and thirty", and I do not know that there are other texts on the basis of the Tongzhitang single line, or the text that is calculated together with the "Jiaqing Bingyin July Yangcheng Zhang's Shadow Imitation Song Ben Re-carving" at the time of the shadow engraving, in short, it is not the text of this leaf of the Song edition. Later, when he saw the Song version of the "Interpretation", Gu Qianli should have noticed that the Song version of the "Interpretation" had one hundred and twenty-one leaves at the end, and after the end of the "Li Ji Interpretation", there was also the word "Li Ji". Therefore, he changed his previous thinking, believing that this four-year title of Fuzhou Minister Ku Chunxi was probably placed at the end of the "Commentary" and as a publication of all the twenty volumes of the Book of Rites and the four volumes of the "Commentary". Therefore, the bottom of the edition is engraved with the leaf "one hundred and twenty-three" that is not in the Song version, and moved to the end of the book. If Cao Yuanzhong's words are not false, Tong Zhitang's Song version of the Interpretation of the Book of Rites also has this title, which will also strengthen the judgment that should be placed at the end of the Interpretation.
Left: Early print, listed after volume 20, the leaf number is "21", the number of words above the center of the plate is "130" Right: The post-printed version, listed in the Interpretation
Because the original is the best, the shadow carving is true, and there is Gu's "Examination Difference", so since the advent of the shadow carving Fu Ben, it has been regarded as the best copy of the Zheng Zhuzhi of the "Book of Rites", and its reputation is very high, and later the Chongwen Bureau has also been engraved. Unfortunately, there have been no photocopies in modern times, so today readers make less use of them. This is the same as Gu Qianli's photocopied "Anthology of Literature" and "Tongjian" and so on in modern times, there are photocopies, (photocopied copies are often late Qing Dynasty reproductions.) The situation as a popular version is very different. Fu Ben has not been photocopied, in addition to the above-mentioned academic attitude of using the Book of Rites, but also to consider the factors of immature understanding of the version in the academic community. During the Republic of China period, there were photocopied Yu Renzhongben, and there were also photocopied and annotated copies of the "Four Series", which were considered to be good copies at that time. Later generations used these photocopied copies to be able to proofread various versions of the text, only to know that the Yu Ren Zhongben and the Mutual Annotation Of the Drawings were all tampered with vulgar texts, and the texts were inferior, and they were definitely not the ratio of Fu Ben. Through a series of acts such as photocopying and proofreading, we have determined today that Gu Qianli's determination that Fuzhou is the best book is inherently difficult, which is equivalent to returning to Gu Qianli's starting point. The last question is, since there are direct photocopies of the Song edition of the "Three Editions of the Guyi Series" and the "Chinese Reconstructed Rare Book", why do we still choose Zhang Dunren's shadow engraving? In fact, there is naturally no problem with photocopying the Song version, but the author recommends the use of photocopied engravings for several reasons. First of all, as a negative reason, the photocopy reflects the layout of the Song version is quite complete, and as a normal reading, it can completely replace the photocopy of the Song version. If in doubt, we can always check and photocopy the Song ben. There are three positive reasons. First, the shadow engraving deleted the non-engraving information such as annotations and punctuation on the base (the value of the Song ben annotations, please refer to Liao Mingfei's "Fu Ben Li Ji Jin Luxiang Batch Point Small Knowledge", see "Confucian Classics and Ideological Studies" Fourth Series), the layout is clean, more suitable for reading. When we studied the Book of Rites, we urgently needed a book that was convenient for us to punctuate and annotate. Second, the Ying carved Fu Ben is the most rare book recognized by scholars since the late Qing Dynasty, and we have a common documentary basis with the scholars of the previous generations, which is naturally convenient. Third, Gu Qianli's proofreading work is really outstanding, in addition to the main text, the "Interpretation" and the "Examination Difference", which is an indispensable version of the zheng notes of the Book of Rites. The author has always believed that the Ying carved Fu Ben is the best reading book to study and study the Zheng Zhu of the Book of Rites, but there is no chance to have it, so I can only go to the library to turn it over. Now that I have this photocopy, I can't help but feel a strong interest in re-learning the Zheng Zhu of the Book of Rites.
Fourth, the stroke of the book is different
The shadow carved Fuzhou ben is attached to Gu Qianli's "Examination Difference", still using the name of Zhang Dunren. Later, the "KaoYi" was included separately in the "Imperial Qing Jing Xie", also under the name of Zhang Dunren. Zhang Dunren provided the conditions, Gu Qianli was responsible for implementation, it should be a normal cooperative relationship, not plagiarism, and there is no need to cry out for Gu Qianli. We only need to know that "Kao Yi" was published in the name of Zhang Dunren, so the expression is written by Zhang Dunren and Gu Qianli is a friend, and there are twists and turns.
The "Examination of Differences" fully reflects Gu Qianli's profound understanding of the annotated texts, and is said to be the highest achievement of the Qing Dynasty's "Book of Rituals" study, which is not excessive. Unfortunately, in the past, scholars often thought that they belonged to the same category as Ruan Yuan's "Collation Survey", and did not read it carefully, and Gu Qianli's absolute learning was not widely recognized. In 2013, the author and the graduate students of Peking University read the "Examination Difference" together, and I was amazed and wrote a "Record of the Examination of the Fu Ben", (there is an electronic version circulated. See also the humble book "Academic History Reading Secretary". This is not repeated. The author is convinced that "Fu Ben Kao Yi" is the best guide for us to study philology, improve our reading ability, and deeply understand Zheng Xuan's commentaries.
5. Expectations
This article is just a hasty article based on what I have seen in the past, and has not been able to re-proofread the books. Whether there are any textual similarities and differences between the photocopy early print and the Song version, whether there are any other changes between the early print and the post-print version except for the "Interpretation", and whether there are similarities and differences between the early print, the post-print version, and the "Commentary" version, these basic questions have not been able to provide a definite answer. Apologies are made to the readers. In the past, There were no photocopies of Zhang Dunren's engraved "Book of Rites", which we could not have, and proofreading was not easy, and it was difficult to read in depth. Now that I finally have this photocopy, I can edit it by hand. Paper books are comfortable to read, convenient for punctuation and annotation, long-term collection, and reading at any time, you can accumulate a variety of information and experience, many aspects are more advantageous than the electronic version. I believe that after the publication of this book, many readers will proofread it themselves, and the above basic questions will soon be answered. I also believe that there will be many readers who will take "Kao Yi" as a clue to explore the text of the Zheng Zhu of the Book of Rites, and our reading world will be richer and more playful.