Xue Longchun
Mr. Huang Miaozi once called Mr. Wang Shiqing (1916-2003) "the first reader in Beijing". However, the reader has a low profile throughout his life, and outsiders know little about him.
In his youth, Mr. Wang Shiqing was influenced by the villager Mr. Wang Caibai and Mr. Huang Binhong, and became deeply interested in the collection and collation of Huizhou calligraphy and painting literature, and thus expanded to the study of calligraphers and painters in the late Ming and early Qing dynasties. Both Mr. Huang Miaozi and Mr. Xue Yongnian have invariably talked about the two academic traditions of Mr. Wang's examination work, one is the simple study since Qianjia, and the other is that he has governed the history of physics, with a scientific spirit, a scientific attitude and scientific thinking.
When Mr. Wang died in 2003, he left behind a hand-copied rare ancient book and compiled more than 140 kinds of documents. These manuscripts were later compiled and collected by Scholars such as Bai Qianshen, Xue Longchun, Zhang Yiyong and other scholars into the "Compilation of Rare Art Historical Materials of the Ming and Qing Dynasties by Wang Shiqing" and published by the Shanghai Ancient Books Publishing House not long ago, but this is probably only half of Mr. Wang's manuscript.
The Paper published a special issue of the preface to "Wang Shiqing's Compilation of Rare Art Historical Materials of the Ming and Qing Dynasties".
In the preface to the Shi Tao Poems compiled for Mr. Wang Shiqing, Mr. Huang Miaozi called Mr. Wang "the first reader in Beijing". In a large capital city, thousands of readers, with Mr. Huang's insight, it is not easy to be so praised. However, the reader has a low profile throughout his life, and outsiders know little about him.
Wang Shiqing (1916-2003)
Mr. Wang Shiqing was born in Shexian County, Anhui Province in 1916, and after graduating from high school in 1935, he was admitted to two famous schools, Beijing Normal University and Peking University. He longed for Peking University, but considering the economic conditions, he chose the Department of Physics of Beijing Normal University, and the next year he entered the Department of Philosophy of Peking University at the same time. After the outbreak of the Anti-Japanese War, he returned to the south and engaged in educational work in his hometown for 10 years. After the victory of the Anti-Japanese War, he returned to Beijing Normal University in 1947 to complete his studies. He is a researcher at the Institute of Higher Education of the Ministry of Education. However, in his youth, Wang Shiqing was influenced by mr. Wang Caibai and Mr. Huang Binhong, a townsman, and became deeply interested in the collection and collation of Huizhou calligraphy and painting literature, and thus expanded to the study of calligraphers and painters in the late Ming and early Qing dynasties.
A friend once described Mr. Wang's reading to me: before he left for retirement, he went to the rare book room of the Beijing Library every weekend to read books, uninterrupted for decades. After leaving the hospital, he took the bus to the Beijing Library every morning to read books, sometimes reading books for half a day, sometimes until the library closed, and then took the bus home, eating only simple fast food at noon. Materials transcribed with a pencil during the day and re-transcribed with a brush at night. By the time of Mr. Wang's death in 2003, he had left behind more than 140 kinds of documents and materials that he had copied and compiled.
In the summer of 2006, through the introduction of Mr. Bai Qianshen, I went to Beijing to visit Master Wang's mother, Shen Jiaying, and read the historical materials compiled by Mr. Wang at her home. Master Wang was very kind, and every time she went, she only said a few words of greeting to me, leaving me alone to quietly turn over the words. Because it was hot, she always asked the babysitter to cut me a plate of watermelon. On the fourth day, she suddenly took out a small frame of poems written by Mr. Wang and gave it to me, and said that if Mr. Wang was still there, he would definitely become a young man like me. This allows me to admire Mr. Wang while increasing my sense of responsibility for inheritance.
I obtained a lot of information about the calligrapher Zheng Zhen in the early Qing Dynasty from Mr. Wang's handwritten copies of Xu Shizuo's "Wild Cultivation Collection", "Mr. Wang Youxiang's Records of Glory and Sorrow", and the compilation of "Shui Xiang Yuan's Collection of Poetry", which I published the following year. In the process of flipping through, I noticed that Mr. Wang had compiled a volume of "Huangshan Yiyuan Poems", which included more than 700 poems related to Huangshan by more than 100 Anhui poets and calligraphers in the late Ming and early Qing dynasties. In 2009, the book was published by the Shanghai Ancient Books Publishing House, but when it was published, the editor insisted on changing the title of the book to "Selected Poems of Huangshan Scholars in the Ming and Qing Dynasties", and now it seems that the effect is not good. It was also in the summer of that year that I went with Mr. Bai Qianshen to visit Master Wang's mother, and when we chatted, we talked about the fact that Mr. Wang's posthumous works had been basically published, and we intended to continue to sort out and publish the historical materials of Ming and Qing artists compiled by Mr. Wang. This proposal was positively responded to by Master Wang's mother, who in a short period of time sorted out the manuscripts in her surviving home and the manuscript copies (most of the originals had been donated to Huangshan College in Mr. Wang's hometown) and handed them to us. After these materials were transported back to Nanjing, Mr. Bai Qianshen and I quickly selected them, among which those that had little to do with art history and that had already been published in other places (such as Cheng Wei's "Xiao Ranyin", Huang Sheng's "Yimutang Poetry Manuscript", etc.) were no longer sorted out. At present, this set of "Compilation of Rare Art Historical Materials of the Ming and Qing Dynasties by Wang Shiqing" is probably only half of Mr. Wang's manuscript.
"Wang Shiqing Compilation of Rare Art Historical Materials of the Ming and Qing Dynasties" was published by Shanghai Ancient Books Publishing House in September 2020
The book is divided into four parts: a collection of rare poems, a collection of poems, a collection of calligraphy and paintings, and an unpublished manuscript. Taking Gong Xian as an example, some of the rare poems are included in Gong's "Caoxiangtang Collection" and "Self-written Poetry Book", and the poetry collection part is included in "Gong Xian's Collected Poems", "Inscribed Painting Poems", "Gifts from Various Families to Remember Gong Xian's Poems" and so on. Since Gong Xian's poetry collection was never published, Mr. Wang's transcripts can be regarded as rare books, and together with other poems that Mr. Wang collected from other places, these materials are of great value for the study of Gong Xian. For another example, the poetry collection part is included in Zheng Min's "Zheng Min Poetry Notes", the calligraphy and painting collection is included in the "Zheng Min Painting Record", and the unpublished part is included in the "Zheng Min Chronicle". For another example, although Mr. Wang's "Chronicle of Cheng Yi" has been published, there are still many materials that he has compiled about Cheng Wei that have not been received in the annals, which is of great benefit to the study of Cheng Wei. In addition, in addition to paying attention to important artists such as Wanjiang and Shi Tao, Mr. Wang's compilation of materials also has many figures who are closely related to artists, who are not known for their calligraphy and painting, but have a lot of weight in the artist's network, such as Xu Chu, Cheng Shou, Xu Shizuo, Wang Yuan, Tang Yansheng, Wang Wei, etc., and their related poems and books also provide researchers with a lot of rare information.
Wang Shiqing Manuscript (I)
Manuscript of Wang Shiqing (II)
Mr. Wang is proficient in research, which stems from his systematic reading and painting, and tirelessly transcribing rare books, compiling and classifying various materials. He was extremely familiar with the artist's peripheral relations, even some of the smallest figures, he also had a considerable understanding. These materials look like bamboo chips, but as they accumulate, they can see the correlation and make greater inferences. His monograph "Scrolls of Heaven and Earth Have Their Own Truths- Wang Shiqing Art Garden Investigation and Supplementary Evidence and Scattered Examinations" (hereinafter referred to as "Investigation doubts") focuses on the birth, death, deeds, travels, and works of calligraphers and painters in the Huizhou area in the late Ming and early Qing dynasties, and also includes other influential artists at that time. Although there is no grand framework and profound theory, the accumulation of knowledge displayed is admirable. He really solved many ambiguous problems in the history of Ming and Qing art, clarified many mistakes of Zhang Guan and Li Dai, and clearly answered some figures and events that had always been considered impossible to examine. This kind of work is time-consuming and laborious, and many people look at it as a fear. Not only that, but people even despise it for its triviality. However, if we look back at Qianjia scholarship, which is still praised by people today, it is not difficult to see that the tireless and meticulous examination of the ancient famous object system is an important feature of Qianjia scholarship. Those seemingly trivial and exquisite examinations have laid a solid foundation for more macroscopic research. The results of the examination presented by the Qianjia scholars collectively were irreconcilable by scholars later, and their value cannot be doubted. If we evaluate Mr. Wang's research in the context of the discipline of Chinese art history research in the modern sense, which has just begun and is still superficial, its significance is even more important. It can be said that Mr. Wang Shiqing extended the method of Qianjia examination to the field of art history that the sages did not pay much attention to, thus establishing an important research paradigm for later learning: expanding the scope of art history materials, systematically collecting various materials centered on poetry collections, and after careful reading, hooking up and examining, it is often possible to achieve real breakthroughs in scholarship.
Wang Shiqing gave an academic lecture in the United States
Mr. Wang's research is mainly to discuss the life and death of calligraphers and painters, supplemented by the study of family lineage, travels and travel. For example, since the 1960s, the view that Zhu Daolang, the founder of the Qingyun Pu Taoist Academy in Nanchang, is a Bada Shanren was once very popular. Whether the Bada Shanren is Zhu Daolang or not, Mr. Wang has three papers discussing this issue, and after examining the whereabouts of the Bada Shan people after the destruction of the country and the death of their families, he found that this statement is inconsistent with the facts of the life of the Bada Shan people. In the nearly 30 years from Shunzhi (1653) to Kangxi Xinyou (1681), the Bada Shanren and Zhu Daolang were always separated from each other, and the distance was more than 100 miles, so Zhu Daolang could not be the Bada Shanren. Another example is the article "Dong Qichang's Friendship", which examines the interaction between Dong and 99 friends in five categories, who span more than a century, from Lu Shusheng, born in 1509, to Wu Weiye, born in 1609. This is probably the most nuanced example of an artist's network to date. In the case study of Dong Qichang and Shexian collector Wu Tingyou, Mr. Wang pointed out that wu ting's collection of famous paintings were not only for Dong to see, but also for a long time placed next to Dong Qichang for him to copy. Then, the relationship between Yu Qingzhai's collection and Dong Qichang's artistic style is quite noteworthy.
Portrait of the Eight Mountain People - "A Small Portrait of a Mountain"
Of course, Mr. Wang's main academic interest is the examination of the artist's birth and death years and life. The examination of the year of birth and death may seem like a minor problem, but it can raise other important questions in the study of art history. For example, the clues in the question of the birth and death years may be the entry point to solve the problems of style, authenticity and so on. In the research of the Anhui painter Sun Yi in the early Qing Dynasty, commentators often interpret the "Twenty-Four Figures of Sheshan Mountain" as his work, because under the "Sun Yi" article of Zhang Geng's "Records of Paintings of the National Dynasty", it is clearly recorded: "The sculpture "Twenty-four Figures of Sheshan Mountain" carved by Jin Lingjin is his pen. "Jin Zhi Jing Xiu Kangxi's "Chronicle of Shexian County" was written in the twenty-ninth year of Kangxi (1690), and was engraved in the second year of Yue. Mr. Wang examined Sun Yi's year of death and found that Sun Yi had been dead for more than thirty years. The author of "Twenty-Four Maps of Sheshan Mountain" is actually another Shexian painter, Wu Yi. According to the "Twenty-four Diagrams of Sheshan Mountain" to analyze Sun Yi's artistic style, it is inevitable to digress. For example, there are two "Three Friends Pictures" handed down by bad mountain people, the works have different pictures, and the location of the inscriptions is also different, but the content of the inscriptions is exactly the same except for the year of signature. One of them is signed with the year "己巳" (1689) and the other is signed with the year "Ding Ugly" (1697). The painting was given to a Mr. Shen, and the Bada Shan people recorded Shen's self-statement in the inscription that "Lin has eight in sixty this year", which can be known to be Shen Lin. According to the different years of the two works, there are two years of birth, namely the second year of the Apocalypse (1622) and the chongzhen three years of Gengwu (1630), so there must be a falsehood. According to the records of Shen Lin's friend Wang Yuan's "Records of the Shangya Society of Donggao", Mr. Wang was born in 1622 and died in 1692. Then the painting of the signature year "己巳" coincides with the signature year, and the signature year "Ding Ugly", Shen Lin has been dead for five years.
February 1987 in Zhang Chonghe's home Front row: Wang Shiqing, Fu Hansi Back row: Bai Qianshen, Zhang Chonghe, Shen Jiaying
Mr. Wang said that his work in the examination of birth and death was influenced by Mr. Wang Zongyan, who wrote "Even Records of Doubtful Years" and discussed with Mr. Chen Yuan'an on the problem of doubtful years. The charm of doubtful almanac is that people only have one life and one death, and the time of birth and death can only have one or two, and the examination of it can best reflect the spirit of science. Mr. Wang Shiqing's research papers, a single one does not seem to be eye-catching, but dozens of papers are gathered in one book, and each one has a solid conclusion, I believe that readers will be embarrassed by it. Wang Zongyan commented that Chen Yuan'an's "Records of the Doubtful Chronicles of the Shi Clan" was "well-examined, meticulously organized, and resigned from the covenant", and this is exactly the realm that Mr. Wang Shiqing expected to achieve.
In the past art history research, people were always more concerned about painting history and painting works, and rarely paid attention to the poetry collections of artists and contemporaries. An important feature of Mr. Wang's "Investigation of Doubts" is the extensive use of poetry collections, and its data excavation work has philological significance and exemplary value. As far as the artist's biography is concerned, he does not trust the late history of painting, because of the gap between the times, there are many inaccuracies. And the poetry collection often has biographies written by friends at the same time, and there is more than one. In some poetry collections, the author is neither famous nor can he be seen, but Mr. Wang searched for everything and picked gold in sand, often with unexpected gains. For example, in the year of birth and death of Cheng, the usual method is to be born in 1605, died in 1691, and died in 87. However, this is obviously inconsistent with the "Eighty-six Years of Death" of Cheng Ding's contemporary Chen Ding's "Biography of the Daoist People in the Dirt Area". Mr. Wang retrieved three materials from Li Nianci's "Collected Poems of Gukou Mountain House", Fei Mian's "Annals of Mr. Fei Yanfeng", and Wang's "Collection of Mountains" and determined that Cheng Was born in 1607 and died in 1692. For another example, when examining Shi Tao's friend "Dai Zhan", Mr. Wang first derived the surname of Dai Zhan Jiang from the collection seal of "Descendants of the Jiang Clan" in Shi Tao's painting fan work for Dai Zhan. From Shen Dacheng's "Xuefu Zhai Collection" volume 14 "Jiang's Ancestor Friend Ruler", it is also known that he is a "Xin'an" person. According to Jiang Dengyun's "Orange Yang Sanzhi", it is known that "Jiang Shidong, the word right Li, the number Dai Zhan". From Min Hua's "Chengqiu Pavilion Collection" Volume II "Title Jiang Right Li Cousin Uncle Kai Booklet", Jiang Shidong was a native of Jiangcun, Shexian County, and was named after Jianghuaijian in calligraphy. "Dai Zhan" is such a name that is unknown to later generations, but Mr. Wang has verified his life through a collection of essays. Although the life of the little man seems to have no grand purpose, Shi Tao has four letters written to him, and without the examination of his life, these letters are difficult to make full use of in research. What is more significant is that Mr. Wang has selected a number of small people like Dai Zhan, who play an indispensable role in discussing Shi Tao's tracks.
Mr. Wang's Boguan Collection of the Early Qing Dynasty, many of the historical materials in the Collection were used by him for the first time, and these materials are not familiar to us and are often ignored. Mr. Wang's collection work often revolves around the circle of artists, such as Cheng Wei's "Xiao Ranyin" volume "Gifts of Good Friends", receiving 50 gift poems from 37 people before Cheng's 50 years old, and more than 170 names seen in the poem titles, which is undoubtedly a record of Cheng Wei's social activities in the first half of his life. According to the characters and characters of "Xiao Ranyin", and then collect the anthology, there will certainly be a lot of relevant information, and Mr. Wang's "Cheng Yi Annals" was written on this basis.
The Qing Dynasty selection collection is also regarded by Mr. Wang as the source of art history materials. In the more than one hundred years of the early Qing Dynasty, there are dozens of anthologies for the whole country, such as "Three Collections of Poetry", "Poetry of the National Dynasty", "Rotary Collection", "Second Collection of Years of Hua Jisheng", "Poetry of the National Dynasty", "Poetry of the Famous Artists", "Three Compilations of Wanya", "Poetry of the Most", "Poetry of the National Dynasty", and so on. These anthologies often contain poems from outside the collection of writers, and some poets' works that have not been passed down from poetry collections are even more dependent on this. In the preface to Mr. Xie Zhengguang's "Early Qing Dynasty Candidates for the Early Qing Dynasty Poetry Examination", Mr. Wang was deeply touched: "I like to read the poetry anthologies, especially the early Qing poetry anthologies. Because from there, I often find the historical figures and historical facts that I expect to find, which is often not found elsewhere. "Mr. Wang's research has indeed benefited greatly from the anthology. For example, in Ni Kuangshi's "Poetry of the Most", Yao Youlun "Wishing Teacher Tang the Seventieth Birthday" is titled "Shi Zi Yan Fu, the eighth birthday of the first month of September", according to which it is confirmed that Tang Yansheng (Zi Yan Fu) was born. In Liu Ran's "First Collection of National Dynasty Poems", there is also a contemplative Lun "Weeping Tang Yanfu Master", Liu Ran commented on Yun: "Yanfu is Yu's old friend, nongShen is dead." "Tang Yanfu's death year has been missing again. If Mr. Wang had not unearthed these two pieces of information from the anthology, Tang Yansheng's birth and death may still be unsolved.
In February 1987, Mr. and Mrs. Wang Shiqing visited Harvard University
Genealogy is also a very good information for Mr. Wang Shiqing. Genealogy has very important reference value for characters' surnames, titles, lineages, places of origin, generations, deeds, etc., but its collection is generally relatively remote and not easy to draw. For example, in the early Qing Dynasty, the families once made a calligraphy and painting album for a person named "Zhongweng", and when examining the name and surname of "Zhongweng", Mr. Wang not only used Wang Jichun's "Collection of Pulse Wanggong" and other orphan collections, but also used the "Qianchuan Jinzi Wang Clan Dunmumen Branch Genealogy" to determine the lineage and brothers of the 'Zhongweng' family. In the article "Jiang Tao is not Jiang Yihong", he compares the nuances in Wanli's "Rebuilding the Genealogy of the Jiang Clan of Jiyang" with Qianlong's "Genealogy of the Jiang Clan of The New Andong Guan", and negates the Chen theory that Jiang Yihong's grandfather moved to Hangzhou. In general, genealogies are more credible, but those that are later refined are also mixed with false material. For example, when discussing the lineage of the Bada Shanren, Mr. Wang believes that the "Genealogy of the Eight Branches of the Zhu Clan in Jiangxi" was cultivated during the Yongzheng period of more than 80 years in the Qing Dynasty, and it was rebuilt in the Republic of China (1929), and it was copied from source to copy, and there were many defects and errors. Based on the poems of the Bada Shanren from his nephew Zhu Kanzhuo, his direct friend Zhu Guan, and his indirect friend Li Wei, combined with the naming characteristics of Zhu Yuanzhang's descendants, he eloquently overturned the erroneous interpretation of the Genealogy, pointing out that it was a "tong" character and was the ninth grandson of Zhu Quan of Ning Domain.
In addition to the written materials, many pieces of information are also hidden in the works of calligraphy and painting that have been handed down to generations, which are also rare materials for the study of art history. For example, Shi Tao's "Ding Qiu Flower Album", in which three copies of "Ge Zhai Poems" are copied. Who is Gezai? Mr. Wang found his traces in Li Qi's "Collected Works of Qiu Feng", whose surname was Bian (卞), "Su Negative Fengcai". However, after checking the preliminary anthology and the Zhi multiplier, there was no other news. He accidentally turned to the "Zhile Lou Calligraphy and Painting Hammer", and wrote Yu Zhiding's "Writing Ancient YuFuzi in the Pavilion Chart Axis" in the Qing Dynasty Department, on which there was a poem on the Five Ancients of Bian Hengjiu, and the two Zhu Wenyin of "Hengjiu" and "Gezhai" were written, and it can be known that Gezhai is the number of Bian Hengjiu. From the poets and references selected in front of Wang Zhongru's "Xizhai Collection" and Zhu Guan's "Three Collections of Years and Years of Hua Jisheng", it was learned that Bian Hengjiu's character Dream Age. It seems that the key evidence of Finding Qingyu Zhiding's "Writing ancient Yufuzi in the Pavilion Chart Axis" is quite accidental, but this is the result of Mr. Wang's long-term attention to calligraphy and painting works. When talking about Shi Tao's paintings, Mr. Wang often refers to them as "historical paintings", and he believes that the paintings made by Shi Tao for his friends have the same facts, and with detailed examination, it can be known that Shi Tao and his friends have interacted. In fact, not only Shi Tao, but also the chronicles, upper paragraphs, seals, and inscriptions (poems and texts) in the works of many painters in the early Qing Dynasty have historical value, and in the past, we were accustomed to "looking at it with paintings".
Shi Tao's chronology
In the prefaces to the two books "Shi Tao's Poems" and "Investigation of Doubts", Huang Miaozi and Mr. Xue Yongnian invariably talked about the two academic traditions of Mr. Wang's examination work, one is the simple learning since Qianjia, and the other is that he has governed the history of physics, with a scientific spirit, a scientific attitude and scientific thinking. Adhering to these two academic traditions, Mr. Wang does not collect too much information and does not avoid miscellaneous, and the examination process pays great attention to the scientific nature of the method. He stressed that the examination of any historical fact can only rely on direct and conclusive evidence and scientific methods of argumentation. Evidence must have three qualities: first, it is direct, it must be directly related to the proposition of the argument, Mr. Wang made an analogy, which can be used as evidence to argue whether the Bada Shan people have Taoist thought, even if there are hundreds of articles, but it is by no means direct evidence to argue whether the Bada Shan people are Zhu Daolang; the second is reliable, as far as possible to use first-hand information, he reminds readers to be particularly cautious when citing second-hand or late evidence; third, it is accurate, and the evidence can only have a unique interpretation. Accurate and reliable arguments are conclusive evidence. Only on the basis of direct and conclusive evidence can we draw accurate and factual conclusions.
Shi Tao's "Eight Open Vegetables and Fruits" Color on Paper 24.3cm×30cm Collection of Shanghai Museum
In his masterpiece on the study of Shi Tao's life and death, Mr. Wang analyzes his view of evidence in a specific and subtle way, which can be regarded as a demonstration he has made for the reader. He cited five pieces of evidence about Shi Tao's birth year, the first four of which were Shi Tao's handwriting, and the latter was Shi Tao's friend Li Wei's "Sixty Gifts of Qing Xiangzi". All five pieces of evidence are direct and reliable, but the most accurate is Li Wei's poetry. None of the first four pieces of material can determine the specific year, and there are one, two, or even more possibilities from which a single conclusion cannot be drawn. Li Yu's Shou poem was written in Kangxi Xin Mi (1701), and the "壬" in the sentence "Out of the Armpit ZhiJun Nian in 壬" can only be Chongzhen fifteen years of Nong Wu (1642). Regarding Shi Tao's year of death, the first postscript of Li Biao's "Weeping Dadizi" is "The Death of the Eight Mountain People in the Previous Year", and the second is "Jiaoqia Ten Years", and the time of the Engagement between the Eight Great Death Years and Li and Shi is exact, so his death must be in the forty-sixth year of the Kangxi Dynasty Ding Hai (1707). As for the rest of the literature, such as the paintings in the Catalogue of Calligraphy and Painting, none of them can be compared with Lee's elegy. "We can only prove the untrustworthiness of these claims based on Li's elegy, and we cannot use the evidence of these claims to prove the suspiciousness of Li's elegy." Because they cannot prove in the slightest that the Bada Shan people did not die in Kangxi Yiyou, and Li and Shi Tao's engagement did not begin with Kangxi Pengyin." It can be seen that Mr. Wang's scientific spirit and outstanding thinking ability in evidence collection, identification, collusion and interpretation can be seen.
Some of Wang Shiqing's writings
The materials that Mr. Wang uses to argue are all obtained from poetry collections, Fang Zhi, anthologies, genealogies, calligraphy and painting works, and calligraphy and painting works, which are far from being provided by ordinary index books. Even if you flip through the original book, if you just look at the table of contents, you can't find out at once, and many seemingly insignificant but very important materials must be read word by word to discern their value. Without decades of consistent reading, it is almost impossible to master such a wealth of material. Being able to do so requires both academic determination and time guarantees. In today's increasingly developed digital technology, convenient search saves scholars a lot of time, and the humanities are indeed facing a once-in-a-lifetime opportunity, but how to set search terms can test the researcher's academic ability. Mr. Huang Yinong, who first proposed the concept of "E evidence", also pointed out that the complete "knowledge map" plays a key role in the E examination. The information obtained by the E examination is usually fragmentary and fragmentary, out of the context of the text, but also out of the context of the society at that time, and if you do not try to restore the historical scene of these materials, the use of them will be problematic. It is ironic that some researchers have taken a passage quoted from an author's article to illustrate the author's opinion (this view is exactly what he opposes). In addition, the E examination can solve some information problems, but can not solve the problem of rhetoric, the accurate grasp and understanding of rhetoric, still need a large number of complete literature to read carefully. Therefore, in the era of E examination evidence, the work of carpet reading, transcribing and compiling various historical materials such as Mr. Wang is particularly important.
After carefully analyzing Mr. Wang Shiqing's research path, collection and use of literature, and then returning to this set of "Wang Shiqing's Compilation of Rare Art Historical Materials of the Ming and Qing Dynasties", readers must be able to better understand its value. As an accomplished scholar of art history, Mr. Wang Shiqing's literature compilation and related research in the process of reading books are not only a solid foundation for his personal research, but also provide scholars in this field with a large number of collated research materials and suggestive thinking directions. In other words, although Mr. Wang has prepared a large amount of organized materials in his lifelong reading career, he has not had time to complete all his research and writing, and now that these historical materials have been sorted out and published, everyone can use them, and Mr. Wang would be pleased to know that they can continue to play a role.
"Wang Shiqing Compilation of Rare Art Historical Materials of the Ming and Qing Dynasties"
"Wang Shiqing Compilation of Rare Art Historical Materials of the Ming and Qing Dynasties", compiled by Wang Shiqing, bai qianshen, Xue Longchun, Zhang Yiyong, etc., Shanghai Ancient Books Publishing House, published in September 2020
(The author is a professor at Zhejiang University, this article was originally titled "Qianjia Xuefeng in the Field of Art History Research", which is the preface to "Wang Shiqing's Compilation of Rare Art Historical Materials of the Ming and Qing Dynasties")
Editor-in-Charge: Ruoxi Chen
Proofreader: Zhang Liangliang