"Rusu Qingfen: A Hundred Years of Painting Garden Shuzha Cong Examination", by Zhu Wanzhang
Guangxi Normal University Press, May 2019, 1st edition, March 2020 2nd printing
Mr. Zhu likes to collect the codex of modern and contemporary calligraphy and painting connoisseurs, and this book is dedicated to the codex, which shows that this book is where his temperament lies. Mr. Zhu said in the preface that the book is roughly divided into three parts, the first part is the letter of some painters or scholars, although it has nothing to do with him, but the content is mostly painting gardens and academic anecdotes since the late Qing Dynasty, so as to make up for the shortcomings of academic history; although the content of the second part of the codex is not directly related to the author, the party involved in the letter is either the author's teacher and friend, or has a direct relationship with the author; the third is written directly to him by the author's teachers and friends, and many of them are friends who have forgotten their years.
The first article of this book talks about Ju Lian's letter to Yang Yongyan, Ju Lian and his cousin Ju Chao and called "Erju", is a famous painter in modern Guangdong, but Ju Lian's works are mainly paintings, there are few handwriting, Mr. Zhu talked about the Guangdong Provincial Museum's Collection of Ju Lian's book "Xingshu Seven Words and Poetry Axis", and at the same time said that Ju Lian's Xingshu knot is slender, "seems to come from Mi Fu and Zhao Mengfu", and then Mr. Zhu talked about the two Open Ju Lian Codex collected by the Guangzhou Museum, he first made an interpretation of this codex, and then talked about the paper used to write the book. It can be seen that its observation is detailed.
Next, Mr. Zhu discussed in detail the situation of the recipient Yang Yongyan, and at the same time talked about Yang's interaction with Ju Lian, and finally concluded: "Ju and Yang's friendship tour reflects to a certain extent the mainstream literati in Guangdong who recognize Ju Lian and his painting art. "End with this generalization.
Although the three-way codex that Chen Shi once gave to Liang Dingfen is not long, it has a story behind it. Mr. Zhu talked about Liang Dingfen's early friendship with Chen Sanli, the father of Chen Shizeng, who was 17 years younger than Liang Dingfen, but the two had close contacts, and the contents of the Codex mentioned Zhu Yixin's "Answers to questions from innocence halls", and also discussed the relationship between Zhu Yixin and Liang Dingfen, and at the same time talked about Zhu Yixin's demotion to the main affairs because of the impeachment of Li Lianying and his return, And Zhang Zhidong's extension of his employment to Guangya Academy, "Answers to Questions from Innocence Hall" was completed by Guangya Bookstore in Guangxu in the twenty-first year. Because none of the three codexes had a time to settle the money, Mr. Zhu deduced the approximate time of the letter from the time of publication of the book.
Zhu Wanzhang's monograph has a lot of talk about Su Gengchun, from this book I read that Mr. Zhu called Su Gengchun a teacher, Su Gengchun is a famous expert in calligraphy and painting identification, Mr. Zhu is out of his door, no wonder his eyes are like a torch. The book talks about a letter from Yu Shengwu to Su Gengchun, which mentions that after the "918" incident, Yu Shengwu moved to Beijing, according to his autobiography, Yu Shengwu's father's collection of books was transported to Beijing, and in 1955 Kuang Yaming hired Yu Shengwu as a professor of history at Northeastern University, and since then he has lived in Changchun. However, several kinds of hanzhai were obtained from the old collection of the province, all from the liuli factory, and they did not know when they were scattered. The most famous person in Yu Shengwu's collection is the first-time edition of the "Explanation of The Meaning of Words in The Interpretation of Words", which was later obtained by Mr. Huang Yongnian, and a few years ago I went to the Huang Mansion to read this book, and the seals in the book were exactly the same as several in the Hanzhai collection.
In this letter from Yu Shengwu to Su Gengchun, wang Guichen wrote to him, asking Yu Shengwu to write calligraphy for Ou Chu. Mr. Zhu Wanzhang wrote a corresponding story about this matter, and at the same time mentioned that su Gengchun's "Selected Calligraphy and Painting Appraisers Since the Ming and Qing Dynasties" had a special entry for "Yu Shengwu", so as to speculate that it was precisely because of this entry included in the book that Yu Shengwu and Su Gengchun had correspondence.
Regarding why Su Gengchun is good at identification, Mr. Zhu started from Su Gengchun's father, Su Yongqian. In the eighth year of the Republic of China, Su Yongqian opened a Zhenguzhai calligraphy and painting antique shop in Beijing Liulichang, which was recorded in Sun Dianqi's "Liulichang Xiaozhi". The shop is quite famous in Liulichang, about Su Yongqian's business way, the text quoted an incident in the "Oral History of Qigong", one day Qigong went to Zhenguzhai to see a painting, very much appreciated a painting in the store, ready to save money to buy it, but Su Yongqian told him: "This is fake, the one in the house is real," and also explained to Qigong where the fake is. This incident made Qi Gong very emotional, thinking that it was not easy for an antique dealer to do this, "and it is not like those merchants who are in the world to be mercenary." ”
Qi Gong also talked about the origin of the name of Zhen Gu Zhai, because the shop hung a plaque of "Zhen Gu" written by Tie Bao, one of the four major calligraphers of the Qianlong period, and Mr. Qi Gong said: "His character can deserve these two words." It is precisely because of Su Yongqian's honest management that Zhenguzhai has a good reputation in the antique industry, and can receive a lot of good calligraphy and paintings, and wants to come to Su Gengchun to learn the secret of identification with his father. I know that many famous antique dealers started with integrity, but sometimes I think about the results of their integrity: what will happen if they really sell and leave fake ones in their hands? Wouldn't it be a disgrace to another person to sell the fake one to another person?
This book also talks about a letter from Wei Yinru to Su Gengchun, Mr. Wei is a famous bibliographer, I learned from Mr. Zhu's literary side that Wei Yinru liked calligraphy and painting since childhood, studied the "Mustard Garden Painting Biography" and many famous monuments, and studied in the Chinese Painting Department of the Beiping Private Academy of Fine Arts, and was a disciple of Li Kuchan. Wei Yinru's paintings entered the art market in the 1970s, but unfortunately my vision was too narrow, and I only saw some of his books and failed to pay attention to his paintings.
The Wei YinRu Xinzha mentioned in the book is to entrust Su Gengchun to sell paintings in Guangdong, because at that time, Guangdong was the forefront of reform and opening up, when Su Gengchun was already working at the Guangdong Bohe Guangdong Cultural Relics Appraisal Station, and many people looked for the way through him. However, Wei Yinru's letter mentioned Su Gengchun's previous letter to him, Su said that the provincial cultural relics store stocked thousands of paintings, but only three or four paintings could be sold every month, it seems that it was not easy to sell paintings that year, so Su Gengchun returned the paintings sold by Wei Yinru. It seems that making a living from art is not an easy task, and who can look back and understand which people's works of art can soar? However, few people know the bitterness of it, and only people like Zhu Wanzhang, who have both teachers and insider knowledge, can learn the truth of the art market, and this is where this book is both interesting and informative.
"Qiankun Outside the Painting: Trivia of Calligraphy and Painting Collection since the Ming and Qing Dynasties", by Zhu Wanzhang
Life, Reading, and New Knowledge Triptych Bookstore Press, June 2020, 1st edition, 1st printing
The book is preceded by a preface by Fu Shen, a well-known expert in art history. Mr. Fu said that Zhu Wanzhang was his forgotten friend, they met at the seminar more than ten years ago, and later had more contacts, "In today's art history, Zhu Wanzhang belongs to the Shaozhuang school. The preface mentions that Zhu Wanzhang had previously worked in a museum in Guangdong, focusing on regional art, and later moved to Beijing to work for the National Museum, where his academic interests were mixed with mainstream art since the Ming and Qing dynasties, and he was "particularly good at writing some essays on art history." The essays that Mr. Fu said should be some of the articles included in this book.
The first article in this book uses the "Deep Picture of Spring in the Golden House" as an example to describe the transmission of molds in Qing Dynasty painting. Mr. Zhu mentioned that the transmission of molds in paintings first appeared in the "Catalogue of Ancient Paintings" of Nanqi Sheikh, although these paintings are not authentic, but since the Jin and Tang Dynasties, many original calligraphy and painting masterpieces have been lost, and it is precisely because of the transmission of molds that modern people have "limited restoration of historical truth". Mr. Zhu's sentence is very classic, which makes me immediately think of the "Orchid Pavilion Preface", and he really said "such as Wang Xizhi's "Orchid Pavilion Preface" in the parentheses of this sentence. This ancient masterpiece has been taken into the tomb by Li Shimin, but thanks to the inheritance of The Moben, posterity can basically glimpse the beauty of the king's calligraphy, of course, the Moben must not be compared with the original, but it is better than no trace. The "Orchid Pavilion Preface" is too famous, and the engravings of later generations are unknown, because they cannot get good copies, these engravings may be far from the originals, but this is another problem, and the engraving itself plays a huge role in spreading ancient art.
Mr. Zhu's article talks about the modeling of Hua Yao's painting of the same name by Jiang Lian, Huang Junbi and others. Mr. Zhu introduced the transmission process of these two molds one by one, and at the same time displayed the original and the two molds in the form of whole illustrations, so that readers could see the difference between the original and the model, but he also said that some of the models were appreciated by the time and future generations because of their circulation, so in the sense of passing on the mold, it has far exceeded the painting itself. Although there is no obvious difference in composition between the model and the original, the two molds are indeed not as good as the original. Mr. Zhu also said that the transmission of mold writing has become one of the important means of counterfeiting calligraphy and painting, and the modeling of some works is too faithful to the original work, so that it has been dug up and changed by posterity, which is obviously another problem in the art market.
There is also an article in the book about the relationship between the "Mustard Garden Painting Biography" and the Qing Dynasty painting world, because before the Qing Dynasty, the study of Chinese painting in addition to the master and apprentice, has always advocated two ways, one is the creation of the teacher, that is, the later generations called "sketching", the other is mutual integration, but after the Kangxi Eighteenth Year, the "Mustard Garden Painting Biography" was published and published, popular in the world, there is a great tendency to replace the original painting, Huang Binhong said: "Since the "Mustard Garden Painting Spectrum" came out, the number of scholars who can paint is more and more", which can be seen in the "Mustard Garden Painting Biography" It played an important role in the popularization of painting.
But the problem also arises from this, talented painters take the "Pictorial Biography" as the beam, master the basics and change course, and gradually form their own style, but there are also many painters who do not abandon the "Pictorial Biography" throughout their lives, and even some painters use the original composition in the "Pictorial Biography" to carry out local transformation and form their own works, Mr. Zhu cited several such painters in the text.
In fact, in the Qing Dynasty, in addition to the "Mustard Garden Painting Biography", there were other painting notations, such as Shangguan Zhou's "Evening Laughing Hall Painting Biography", Zhu Chan's "Painter Samadhi", Ma Qizhou's "Ma Xiao Painting Treasure", etc., but these paintings specialized in one discipline, and their influence was far less than that of "Mustard Garden Painting Biography". Why? This matter deserves further exploration.
Mr. Zhu's monographs are based on paintings, grasp a point that no one pays attention to, and then expand the topic, telling the story with small views, which is quite surprising to the reader.
"The Right Army with wings of the Holy Religion", (Italian) Biluo
Sichuan People's Publishing House, May 2020, 1st edition, first printing
This book was donated by Mr. Wu Hao, but when I read it, I saw that this book is one of the "Art History: Facts and Perspectives" series edited by Wang Jiakui and He Hongliang. Many years ago, when I went to Chengdu to search, Mr. He drove me around a few places, at that time he looked very young, a young and strong look, but when it came to some palms and history, he was serious and pertinent and not exaggerated, so many years have not seen, did not expect him to compile such a professional book series. For three days, when the eyes are shocked, believe it.
Biro's book can be described as the main body of today's academic writing: specializing in a little. The entire book deals with aspects related to the Jiwang Sacred Order, and the author first states in the preface that this stele was originally erected at the Hongfu Temple in Chang'an and has been stored in the Xi'an Confucian Temple since the early Northern Song Dynasty, which is today's Xi'an Forest of Steles Museum. The "Jiwang Shengjiao Order" is the work that embodies the most calligraphic glyphs of Wang Xizhi in the past, and has been highly valued by calligraphy enthusiasts of all generations.
"Buddhism and calligraphy are two great treasures of Chinese culture." Although he also knew that the former was a foreign religion and the latter was a native art, for thousands of years, the two had been contaminated with each other. The author also said that Tang Taizong's extensive collection of Wang Xizhi's works finally made Wang Xizhi the most well-known calligrapher, and then talked about Xuanzang's translation of Buddhist scriptures after returning from the sutras, "He is the most diligent Translator of Buddhist scriptures in China." Tang Taizong reigned for 24 years and created the famous rule of Zhenguan, so the author believes that he is "undoubtedly the great Ming Emperor in Chinese history." And the "Jiwang Sacred Order" makes "these three cultural greats all concentrated on one side of the "Jiwang Sacred Order" stele." After this discussion, Biro explained why he used the monument as a research object, because Biro believed that the monument "is indeed a monument to the combination of Buddhist faith, royal authority, and calligraphic charm." ”
Biluo's research first began with the actual stele, talking about the size, composition and number of lines and words of the original stele, and at the same time said that the stele was too vertebratized, making it difficult to see the lines engraved on the original stele, and the original stele was heavily shaved once in the second half of the 18th century because of the small mouth, which is the so-called "stele". The article also mentions that the stele fell into two pieces due to an earthquake in the Ming Dynasty. Biro used the early rubbing, and then used local screenshots to prove that the original stele reconnected together was misplaced, which shows the details of his observation.
Regarding the contents of the "Jiwang Sacred Order", Biluo listed ten parts, including the title and main text of the "Tang Dynasty Three Tibetan Sacred Orders", the title of Emperor Taizong's reply to Xuanzang's thanks, the title of the "ShushengJi", the main text of the "Shushengji", The reply of Gaozong's thanks to Xuanzang, the title of the "Heart Sutra", the main text of the "Heart Sutra", the translation of the Buddhist scriptures polished the names and inscriptions of the officials, Biluo wrote the titles of each content as a part, and counted the number of words in these ten parts, which shows the details of his research. He mentioned that people have different opinions about the process of translating the Heart Sutra, but most scholars now support that the Sanskrit text of the Heart Sutra is actually translated by Xuanzang from Chinese, and the original text is Chinese. Bi Luo also said that the "Holy Order" and the "Shu Sheng Ji" were carved into stone tablets three times before the "Jiwang Holy Order", of which the two stone tablets of Chu Suiliang Shudan were completed when the Big Wild Goose Pagoda of the Great Ci'en Temple in Chang'an was completed. The amazing thing is that these two stele are still in place, and when Li Xinyu visited the Big Wild Goose Pagoda a few years ago, he carefully explained the story of these two stele to me.
Bi Luo mentions in the book that when Xuanzang first asked Tang Taizong to write the Sacred Order for his translation of buddhist scriptures, the emperor refused this request, because Emperor Taizong probably thought of Emperor Xiao Yan of Liangwu writing the preface to Baoliang's Da pan ruo jing yishu, and Emperor Taizong believed that the destruction of the Liang dynasty was caused by Emperor Liangwu's use of state funds to support Buddhism. But later, Tang Taizong spent some time with Xuanzang at the Yuhua Palace, and gradually accepted the Buddhist belief, so when Xuanzang asked for a preface for the second time, Emperor Taizong wrote this "Sacred Religious Order".
However, Biluo noticed details that others had not noticed, because the fifth line of the Jiwang Sacred Order reads: "When the fractals of the past were divided, the words were not transformed, and when they were always present in the world of constant hiding, the people looked up to virtue and knew and obeyed." To this passage, Biro said:
Although the "Great Wild Goose Pagoda Sacred Order" originally changed the word "min" to the word "ren", it can be seen from the "Biography of the Master" and the "Monument to the Holy Sect of the Second Emperor of the Tang Dynasty" that Li Shimin himself used the words "shi" and "min" continuously, and apparently consciously preserved his name in the "Holy Order".
This is an interesting interpretation. But I wondered, as the emperor, will Li Shimin intentionally embed his name in a preface, is it necessary for him to play this small game?
But history is sometimes difficult to assume, for example, why did the monk Huai Ren at that time make such great efforts to collect Wang Xizhi's characters to publish this "Holy Order"? Could it be that Tang Taizong's love for the king's calligraphy made Huairen have such a move? And Bi Luo also noticed that the "Jiwang Shengjiao Order" is the beginning of the Chinese and Korean dynasties of the collection of character monuments, of course, jiwang calligraphy in the era of Emperor Liangwu has been done, when Xiao Yan ordered Zhou Xingsi to collect Wang Xizhi's characters, compiled into the famous "Thousand Character Text", and the ancients' collection of characters has continued to later generations, Bi Luo mentioned in the book, many of today's books and newspaper titles, as well as university plaques, many of which are used in the collection of characters, he cited "Chinese Calligraphy" and Japan's "Zhao ri Shimbun" and so on. This ancient and modern way of associating can be seen in Biluo's thinking on governance.
"Yanyuan Cultural Relics", edited by Hao Ping, compiled by the Policy and Regulation Research Office of Peking University
Foreign Language Teaching and Research Press, March 2018, 1st edition, first printing
This book was donated by Mr. Wu Hao, the editor-in-charge. Large 32 open, hardcover, full-color printing, ring lining cover only in the middle of the large characters printed "Yanyuan Cultural Relics", the front and the spine of the book accounted for half, the lower right corner of the cover printed with the English title, to indicate that the book is a Chinese and English comparison. The book consists of three parts, one is historical retrospective, the other is a glimpse of cultural relics, and the third is an appendix, of which the first part is the most historical value, and the second part is the main body of the book, which contains a large number of cross-page photos, which can be seen to be taken by professional photographers.
The first part of the book begins with sources from Peking University. In 1916, there were three ecclesiastical schools in Beijing: Huiwen University Hall, North China Union University and North China Union Women's University, and a merger was contemplated, and on December 3, 1918, the board of directors in the United States decided to hire Stuart Layden as the president of the new school that was merging. After some discussion, the next year decided to name the new school Yenching University, because the old campus was too narrow, Stuart Leiden began to look for new land. He first found an open space in the Temple of the Moon, because it was a very prudent thing to sell the land to foreigners at that time, so there was no progress in many negotiations, Situ decided to give up, and found a piece of land outside the Xizhimen, that is, today's Beijing Zoo, but it was not negotiated here.
Later, Situ Leiden took a fancy to the Ruiwang Garden next to Tsinghua University, which was then owned by Chen Shufan, the overseer of Shaanxi. In the summer of 1920, Situ Leiden specially went to Shaanxi to discuss the purchase of land with Chen Shufan, and he prepared a huge amount of 200,000 US dollars at that time, but he did not expect Chen Shufan to say that he would buy half and give half gift to Yanda, which made Situ Leiden overjoyed. The book quotes an article written by Dong Jianwu, which mentions that Chen Shufan put forward three conditions at that time, one was to erect a monument in Yenching University to commemorate his father's donation of spoon garden to Yanda, the second was to recognize the Chengde Middle School run by Xi'an as an affiliated middle school of Yanda, and the third was that Chengde Middle School had the right to guarantee 50 graduates to attend Yanda every year, and at the same time enjoy free treatment.
Today, it seems that Chen Shufan really has a forward-looking awareness, and now real estate developers often introduce famous schools in the developed community, so as to make the community a "school district house", which is the idea of a degree. Chen Shufan also proposed the qualifications of 50 people to go to college for free, which shows how much he cares about the cultural construction of his hometown. Stuart Leiden immediately agreed to his request, spending only 60,000 silver yuan to buy the core area of today's Peking University, and of the 60,000 silver dollars, only 40,000 yuan was paid, and the other 20,000 yuan was donated to Yanda as a scholarship.
The next book recounts the history of this plot, starting from the spoon garden established by Mi Wanzhong in the Ming Dynasty, to the current water surface near the entrance and exit of the North Gate of The North, and there is a cloister with carved columns and paintings next to this pond, and the note board next to it says that this is the former site of the spoon garden, and every time I drive into Peking University, I will pass through this area. During the Qianlong period, the emperor gave this plot of land to Hezhen, who built it as Shuchun Garden, and later when the Jiaqing Emperor overthrew Hezhen, he listed twenty crimes for him, the thirteenth of which mentioned Shuchun Garden: "Its garden is decorated with no different from The Yuanmingyuan Pengdao and Yaotai, and I don't know what kind of lungs and intestines it is." This crime always feels a little magical to read, but the truth is that Shuchun Garden has been confiscated. Yongxi wrote in the transcription of the raid and the Family Property of The Yan Family: "There are 1,330 houses in the whole garden, and 357 pavilions in the veranda," which shows how brilliant the Shuchun Garden was built in those years.
After the raid, the Shuchun Garden was divided into two parts, the eastern part was given to Qianlong's eleventh son Yong mao, and the western part was left to the tenth princess and her vassal FengSheng Yinde, and Fengsheng Yinde was the son of Hezhen, and this name was also given by Qianlong. Since Fengsheng Yinde had married the emperor's daughter, this part of the garden had not been confiscated. Later, after the death of Yong Yao and the Tenth Princess, according to the custom, the garden was taken back to the Inner Palace, and then given to Prince Rui.
The book goes on to talk about Stuart's invitation to American architects Murphy and Statch to design the new campus, after which Murphy had already designed Jinling Women's University. When I visited Jinling Women's University a few years ago, I also saw that the Chinese and Western combination pattern designed by Murphy was still intact, and almost every building in the park was connected by a cloister, and then said that it was to protect students from the wind and rain, but this design did not continue to Yenching University, and the similarity is that Jinling Women's University was also built on top of a famous garden site - the school is part of Yuan Mei Sui Garden, and now there is a sign of SuiYuan on campus.
After seven years of construction, in 1929, the new campus of Yenching University was finally completed, which was named "Yanyuan" at that time, and later Yanda successively purchased a number of nearby gardens, making the campus larger and larger. In 1952, the national faculties were adjusted, and many universities were merged into Peking University, but the core part of Yenching University was retained, and its gate was called Peking University West Gate today. However, according to the architectural concept of Chinese, the main entrance should be located in the south, and some should be located in the east, why is the gate of Peking University in the west? There is a saying that when Murphy designed the campus, because of the irregular plot, he stood on a hill, trying to find the internal connection between the terrain and the central axis, and he inadvertently saw Yuquan Mountain, so he set this direction. However, another explanation is mentioned in the book, saying that the entrance to the Western church is mostly located on the west side, so I consulted a Protestant friend, who told me that the medieval church architecture had such an exquisite, but the Catholic Church and the Protestant church did not say so.
Flipping through this book, you can understand the history of Peking University and the historical story of each building on campus, the history is so interesting, but if you read it carefully, it makes people feel infinite emotions.
"Mo Youzhi's Diary", by Mo Youzhi and compiled by Zhang Jian
Phoenix Press, March 2014, 1st edition, first printing
This book was donated by Wang Mian, a teacher from Beijing Youth Daily, who said that she was sorting out the bookshelves at home during the epidemic and felt that this book was more useful to me, so she gave it to me. This book is one of the "Rare Historical Materials series in modern and modern China", the series totals two series, each series of ten kinds, Wang Mian's teacher gift is a complete set of two series, more than half of which are the original historical materials I like, especially a few are bibliophiles' diaries, more than I love, this is the first of the first series.
The preface to this book is the "Preface" written by Mr. Zhang Jian, a finisher, who talks about Mo Youzhi's remarkable achievements in bibliography, and says that Mo's "Bibliography of the Zhijian Biography of The Pavilion" can be on a par with Shao Yichen's "Four Libraries Concise Catalogue Annotation", and at the same time talks about the situation that Mo Youzhi's manuscripts of "The Diary of The Pavilion" are stored in many places. Mr. Zhang Jian was able to collect the bases of these diaries one by one, compile them into one compilation, and point proofread this book, which shows that doing some proofreading is not only to sit on the cold bench, but also to make great efforts to collect the bases one by one, of which the bitterness is beyond the knowledge of outsiders. Zhang Jian said in the "Preface" that the "Diary of The Pavilion" contained in the "Mo Youzhi Chronicle Long Compilation" written a few years ago was mostly read on the microfilm of the library because of the limited conditions, so there were some errors, and now this diary has been sorted out to correct some typos, which also shows the difficulty of engaging in point schooling.
Mo Youzhi's diary was recorded from the Xianfeng Decade to the Tongzhi Decade, most of which was a daily must-remember, but after the eight years of Tongzhi, it began to appear once a few days, or even once a month. Zhang Jian believes that this is due to Mo Youzhi's lack of energy or cumbersome affairs in his later years. When I flipped through this compiled diary, I saw that Mo Youzhi only wrote one word for a long time, such as from April 19 to April 22 of the sixth year of Tongzhi, he only wrote one "qing" word every day, and this situation appeared in the diary a lot.
When reading the diaries of the ancients, I often see that they write the weather first every day, but I have not known the purpose of recording the weather, I belong to the unclear sense, so sometimes when I keep a diary, I will also write about the weather, and then I feel that there is no use, so I no longer record. For example, in These diaries of Mo Youzhi, only one "sunny" or "yin" word is written a day, which is not a weather forecast, is there nothing to remember on this day except sunny and cloudy? Lu Xun's diary sometimes writes "Nothing today", perhaps remembering the weather means that there is nothing today. But sometimes I can't help but play it, thinking that this is an expression of Confucian concepts, Confucius wrote "Spring and Autumn", a word of praise and criticism, such as "Wang Zhengyue" why the "zheng" character is not used "one", this word, has been debated by later scholars for more than two thousand years, but what is the meaning of the word "Qing"? At least with this bit of knowledge, I haven't been able to think through it.
As a famous bibliophile, Mo Youzhi did not talk much about receiving books in his diary, but occasionally involved, and would be recorded in great detail, and his visit to the books that attracted people's attention was sent by Zeng Guofan to find the embers of the Wenhui Pavilion and Wenzong Pavilion of the Siku Quanshu, and on March 30 of the fourth year of Tongzhi, he wrote about this in his diary:
Gurudwara Xiangxiang Asked the Two Cabinet Books, whether those who were still incomplete would accept them. The public saying does not have to be collected, but most of the more than half of the existence should be at the discretion. It is also said that the good "History", "Han", "Korean", and the old scriptures of this dynasty said that when the fine books were purchased, the books published by Shi Liju and Baojingtang and the "Fa Yan" published by Qin Dun's father were also the same.
Reading this passage, I am quite puzzled. The two cabinets have been destroyed, and most of the books that can be found should be fragments, but Zeng Guofan ordered Mo Youzhi to only receive a complete set of "Four Libraries" cabinet books, and the fragments are not collected, but if most of them are encountered, if the remaining half are more than half, they can also be received as appropriate. In the process of Mo Youzhi's actual visit, Wen Zongge and Wenhui Ge's "Four Libraries of The Whole Book" were actually not received, which shows that Zeng Guofan did not know the accurate information about the damage to these two cabinets, but he asked Mo Youzhi to collect some non-cabinet books in the process of collecting books, and pointed out the engravings of Collectors such as Huang Pilie and Lu Wenbi, which shows that his understanding of good books is very good.
Mo Youzhi's diary says that he once went to Jiaoshan To read the book: "When the hair thieves arrive in the mountains, there are monks who can meet their wishes and will not be destroyed. The day before, he had talked in contrast about the time when the Taiping Army occupied Zhenjiang in the third year of Xianfeng, because the monks of jinshan Temple did not cater to the Taiping Army, resulting in the burning of Wenzongge's "Four Libraries of The Whole Book". Comparing these two paragraphs, it really corresponds to the saying: The one who knows the affairs is Junjie. Mo Youzhi also recorded the famous Jiaoshan Collection built by Nguyễn Yuan, which was also lost mostly by the erosion of local officials:
Asked to ruan wen da duke domain used to be the cabinet of books, said Chang Zhen Dao set up about this, according to its house to live, the Binjiang Buddhist house is occupied by the servants, most of the books in the cabinet are taken by the devil, and scattered among tourists, and the existing people are less than eleven.
Mo Youzhi's record can fill the gap in the history books. A few years ago, I visited the Lingyin Book Collection, and I also visited the Jiaoshan Book Collection, but I couldn't see any traces, but now that I read What Mo Youzhi said, I finally understood some of the reasons. In his diary, he also talked about some of the Shigu Zhu Su poems that I was concerned about, such as his writing on January 8 of the ninth year of Tongzhi:
Zhu Xiubo studied diligently in Beijing, and after this interview, it was said that Weng Shuping had received the fragments of song's "Shi Zhu Su Poems", which was suitable for Song Muzhong and Weng Qinxi to collect the six volumes, and could make up for it.
This passage is talking about another fragment of the Shi Gu Zhu Su Poem, which was obtained by Weng Tonggong, of which six volumes can supplement the fragment that Su Jie and Weng Fanggang handed over, but Mo Youzhi said that he did not know where Weng Ben had gone, but Weng Tonggong and Weng Fanggang were both surnamed Weng, and it was not known which weng's old collection was referred to here, and it seemed that the writing of the diary was too brief and easy to produce ambiguity. And he also mentioned such a sentence in his diary: "He also got Ding Jianqing's book, saying that he was framed by people, and only Xiang Gong could straighten it out, but he didn't know what he could do." ”
Ding Yan told Mo Youzhi in the letter that he had been framed and only Zeng Guofan could save him, but he did not tell Mo Youzhi who he really was and what had happened to frame him. I should pay attention to this information and slowly dig into it in the future. This shows the importance of the diary: it may not be rigorous in what it says, nor does it have a corresponding narrative, but it can provide ideas and clues.
"Tianyi Pavilion Poetry Collection", Compiled by Gong Lie
Ningbo Publishing House printed the first edition of the 1st edition in January 2019
Last month I talked about the book "Compilation of Poetry of Tianyi Pavilion and Moon Lake Dynasties" donated by Gong Liebao, mentioning that although the poems compiled by the book are both tian yi ge and yue hu, the poems about the latter are several times that of the former, and for this reason, Mr. Gong said to me in WeChat: "I forgot to send you a clumsy compilation of the "Tianyi Ge Poetry Collection", which contains more than 300 poems until publication, and the poems after 1949 account for one-third of the total poetry of Tianyi Ge, which is an early attempt as the "Tianyi Ge Yue Lake Poetry Compilation". The lower limit of the "Compilation of Poems of Tianyi Pavilion and Moon Lake" is before October 1, 1949, so the poetry of Tianyi Pavilion is obviously less. The "Tianyi Pavilion Poetry Collection" should be supplemented. "It is for this reason that I got the book that Mr. Gong gave me.
In fact, think about it calmly, most people will be like me, subjectively magnifying the things they care about, such as their love of books, they feel that everyone in the world should love books, definitely love books, it is impossible not to love books. But really in social interaction, I found that most people don't know what Tianyi Pavilion is. From this point on, people prefer the beauty of Moon Lake is a common phenomenon, and the great library is only a small area of people's attention. But on the other hand, this is also the responsibility of my generation: we should continue to publicize the greatness of Tianyi Pavilion and let more people know about this great library. Panic saying three times is the truth, not to mention that the greatness of Tianyi Pavilion is not blown out, and this is the reason why I complained about the previous book given by Mr. Gong. Since the world has the responsibility of the book collector, then of course my generation must loudly drum up for this elegant thing.
Mr. Gong's newly donated "Tianyi Pavilion Poetry Collection" obviously calmed my narrow heart, because this whole book is related to Tianyi Pavilion, although it is also accompanied by some poems from other libraries, but those library buildings have now also moved into the Tianyi Pavilion scenic spot. This book also contains some of the relevant texts related to Tianyi Pavilion, which shows how much effort Mr. Gong has put into collecting these related texts.
Unfortunately, I have not been able to meet Mr. Gong so far, and now I see his jade photograph from the back of this book, which is indeed a typical image of Jiangnan literati. From the author's resume, I learned that he had also compiled so many books related to Ningbo, and in the book he donated, there were more than ten misplanted zigzags that he corrected with ink pens, and the seriousness of his work made me worship.
Regarding the scope of this book, Mr. Gong said in the "Notes on the Compilation" that the genre is limited to old style poetry, and free-form poems in vernacular literature are not accepted, but the lower limit of inclusion is extended to contemporary times. It seems that Mr. Gong believes that even the poems written by contemporary people, if they are not traditional old-style poems, will be excluded. In this regard, it can also be interpreted as a very high suspense.
Flipping through this collection of poems, the Ming Dynasty composed less than one-tenth of the poems, most of these poems are with the founder of Tianyi Pavilion Fan Qin's advocacy, but also including Fan Qin's own poems, but whether he himself or others, clearly mention the "Tianyi Pavilion", only Xie Taizong's "Tianyi Pavilion Jushu" is one, the first few sentences of this poem are:
Literature who proves that the secretary cabinet is excellent, and The Luo Chest Star Douye has plotted.
Wang Chong City read the family ride, yijia signed and compiled the ten thousand volumes of the building.
The main body of this book is basically a Qing dynasty poem, which contains five poems written by the Qianlong Emperor, four of which are inscriptions for the book "Yilin" by Hongli, although this poem is not a song of Tianyi Pavilion, but after all, it is inscribed on the Tianyi Pavilion Collection. Yuan Zicai also inscribed five poems for Tianyi Pavilion, the third of which is:
There was originally a pond in front of Tianyi Pavilion, and the pond south was listed as a rockery.
The rate of the Bunkin Pavilion is imitated, so it is also stacked with stones to form a fortress.
The old man in the garden wrote in the small note of the fourth song: "All the Song version of the secret copy in the cabinet has been lost, the book is sandwiched with brassica, the cabinet is placed under the stone, and the cloud collects yin and wet materials." "But only one of the brassicas in the book has been left, and I see the dark thing, not sure if it still has the effect of avoiding insects." Rao Guoqing, director of Tianyi Pavilion, took me to visit the new library of Tianyi Pavilion, where there were multiple packs of new brassica in each shelf, and I forgot to open a pack to see if it was the same plant compared with the precious brassica. Director Rao gave me a bag at that time, and the bag of brassica was now in a bookcase in Zhilanzhai and I couldn't bear to open it. However, I have carefully looked at the Yingshi under the Tianyi Pavilion bookcase, and in my layman's opinion, those stones do not seem to have the function of absorbing moisture, and Yuan Ming also noticed the Yingshi at that time, and I don't know if the Yingshi he saw was the same as what I touched.
Flipping through this book, from a general point of view, most of these poems are Yongwu, and Yongwu poems are difficult to write famous sentences throughout the ages, so in comparison, I seem to prefer some couplets of Tianyi Pavilion, such as this pair written by Ruan Yuan:
Chengmei Jian Liu Ting after the Qing Festival crown Shi Ze Yong Siming Sima Sima ,
Thanan Lei Dong Zhi Qi Book Quan Shi High-rise Building 100 Feet Yuan Long.
This link hangs in the Treasure Book Building, and there is also a pair of books written by the bibliophile Zong Yuanhan and written by Sha Menghai in the Treasure Book Building, which is also pleasing to me:
Jie Ge three hundred years old house wasteland foot Kui Haiyu,
Ten thousand volumes of the book were given to the Duke of Que.
What I like is also this couplet of Wang Haonan's inscription in the twenty-fourth year of the Republic of China, who talked about Wu Chongyao in Guangdong, Bao Tingbo in Shexian County, and Lu's Bi Song Lou, one of the four major library buildings in the late Qing Dynasty, which shows that he is familiar with the history of bibliography:
Wu in Yue Bao in She, each has a thousand autumns of great cause Sheng Southeast Stone Room Fu Huang piece feathers,
Rou Ri Jing Gang Ri Shi is not without the Song High Rise from the Northwest Mountain Hub Bell Drum belongs to others.
"Lianyu Zhi Zhi", written by Ni Xingyuan and compiled by Li Chao
Phoenix Press, May 2015, 1st edition, 1st printing
This is one of the second series of the "Series of Rare Historical Materials in Modern and Contemporary China" donated by teacher Wang Mian. The day before, I had just finished reading Gong Lie's "Tianyi Pavilion Poetry Collection", which was followed by a lot of Yang Lian, and I felt that those Yang Lian could more concisely summarize the greatness of Tian Yi Ge, so I remembered that the book given by Wang Mian was also about Yang Lian, so I took advantage of the opportunity to read it together. However, before he could think about it, the author of the book, Ni Xingyuan, began in the "Self-Narration": "Yu has been happy since childhood, and in the elegy door, he has a hobby of You Du." Whenever there is any smell, it is copied by hand. ”
This hobby is quite peculiar, there are many people who like the Yang Lian, but the people who like the Bang Lian have heard about it for the first time, but the interesting thing in the world is because there are different people to make different voices, and it is also a big branch of the Yang Lian, so some people have put it into one compilation, and they can also experience the wonderful art of the Bang Lian. Fortunately, this book is divided into eight volumes, which is not actually a special collection. Volume VII and volume VIII of this book are external editors, including the social association, the collection of sentences, the donation link, the door link, etc., in addition to the celebration link, the harmonic link, etc., and even the author has some birthday hanging plaques also entered into the book, the interesting point is that the author will mostly talk about the origin of each link, as well as the end of the story related to the link, this way of writing is quite similar to Liang Zhangju's "Yang Lian Cong Words".
Regarding the author's situation, Li Chao introduced in the preface that Ni Xingyuan was a native of Xianxian County, Cangzhou, a Guangxu juren, who tried to set up a museum in dumen, and after traveling around the curtain, liked to write the Yang Lian, and also liked to collect the Yang Lian, so he wrote the manuscript of the book, and before his death, he entrusted the manuscript to his beloved disciple Wang Zhenying, who failed to pay for it because of poverty, and before his death, he entrusted it to his friend Kou Jinsheng, who treasured it for decades and could not publish it, until Zhu Huimin sorted it out and published it. It took decades of hard work for a manuscript to come out, and it was not easy to write a book, and it was even more difficult to publish.
In Ni Xingyuan's "Compilation of Lianyu Zhi", the part of the lian lian is divided into three categories: the male, the female and the double, of which the first category is the most, because the ladies have few deeds. As usual, I paid attention to the connection with bibliophiles, and the first page of the book talks about when Li Wentian supervised Jiangnan, the bibliophile Sun Xiong actually fell behind, and later Li learned that Sun was a famous scholar, deeply appreciated, and praised for it, after Li Wentian's death, Sun Xiong wrote a long joint. The book also contains a link written by Sun Xiong for the bibliophile Zhao Zongjian, which is longer. Han Zhai has a variety of Sun Xiong's works, but I did not notice that he also liked to write long links, which is one of the harvests I gained from reading this book. Sun Xiong's master was Weng Tonggong, and after Weng's death, Sun Xiong wrote the following:
Complaining about Li Enniu, the bad situation in the past ten years of party disasters, lamenting that the lonely minister went to the country, and the heart was long in love with the Nine Dragons, if on the name of Tong Shixun, the genealogy table of the Prime Minister was determined;
Du Guan Ma Tent, Ru Lin worshiped hundreds of generations of teachers, the pain boy ran to the funeral, on the one hand, it was thousands of years old, ashamed of the fall of the green shirt, empty of the Han Men disciple class.
It can be seen from the above that Ni Xingyuan will have the heart to collect the links of relevant characters together so that they echo each other, and the reader can also read the deep meaning of the links. The book will also include some celebrity self-help links, such as Yu Quyuan's self-written alliances:
When life is not replenished, death is not related to numbers, hard work, writing more than two hundred and fifty books, circulating in all directions, is also enough;
Look up to the sky, do not bow to people, vast, more than thirty years of life, smile, I returned to the city.
After this association, Ni Xingyuan wrote this comment: "Ming is self-saving, but it is self-praise, but Mr. Fang is worthy of this, and he cannot be generalized to others." A few words pointed out the eyes of this connection. The links collected in the book will also involve some important historical facts, because they have worked in the northeast, so they record some important events at that time, such as Zhang Zuolin was killed by the Japanese by train, and Ni Xingyuan said before writing the link: "On the eve of the train being bombed, it was the time of the lunar eclipse, and if Providence showed change for it." And then wrote Lianyun:
A moment of thunder, the earth's axis collapsed and the flying lightning bolt;
In the middle of the lunar eclipse, the sky is bleak and the stars are sinking.
Zhang Zuolin's death greatly changed the situation in the northeast, and the author wrote about the tense background at that time: "In early January of the eighteenth year of the Republic of China, Chairman Chang Hanxiang of Heilongjiang (Yin Huai) was summoned to Feng by the commander-in-chief Zhang Changguan Wan, and on the eleventh day, he and Yang Lingge (Yu Ting) were shot and executed. After hearing the exhaustion, the colleagues of the provincial bureau planned to hold a meeting to mourn. Then he recorded a number of associations written by many people, one of which was:
Wuding food, wuding cooking, for the big husband, should be so;
A few people sang, a few people cried, and said that the law of appearance had its own antecedents.
The author mentions that Liang Rengong was his same year, a great chinese literary hero, lamenting that Rengong was less than sixty and died of illness, and the book includes Yan Xishan's Bang Liang Rengong:
Writings and other bodies, ask the contemporary yingnian, there are many private disciples;
Clarify the lanren, deeply indignant at the same time, who reverted to the successor talent.
Ni Xingyuan commented on this association: "It is also self-simplified and profound, and it is enough to describe the life of Ren Gong. "However, this is the first time I have seen such a good association written by Yan Xishan. In addition, there are many interesting episodes in the book, which cannot be listed here. In short, this kind of thing is a Chinese-style word game, but also developed the wisdom of the author, during the Republic of China, Lu Xun and other people of insight emphasized the romanization of writing, the starting point is to enlighten the people's wisdom, but if it is really Romanized, will there still be these wisdom condensed Yang Lian?
Chen Mingzhi's seal
During the Spring Festival, Mr. Chen Mingzhi sent me two seals, the seals are all pseudonyms, one Zhu and one white, one large and one small, and it takes a lot of heart and eye power to carve these two chapters, plus hand power, and its friendship makes me miss it endlessly.
About two years ago, I went to Yueqing, Zhejiang Province, to visit the bookstore opened by Mr. Zheng Jincai, whose name is Taoyuan, but there are many physical stores in an area, and this kind of bookstore community is the first time I have seen it. At noon that day, Mr. Zheng invited a number of friends to dinner, and I was able to get to know Mr. Chen Mingzhi, who speaks standard Mandarin and can't hear that he is a Yueqing person. After dinner, we went to the bookstore to chat, and learned that Mr. Chen was a calligrapher whose speech and demeanor had the introverted nature of an old-fashioned literati.
Mr. Chen told me that he often travels to Beijing and can meet and chat when he has the opportunity, but over the years, I have been busy with searching and writing, and since then I have not been able to meet Mr. Chen again, so that I can often see some of his information in WeChat. He took the time to help me engrave the two seals, and then asked me to meet, just in time for me to search for me in Shanxi, so Mr. Chen expressed the seals of these two parties to me.
After getting these two seals, playing carefully, the warm Qingtian stone feels very good, and I am ashamed of it in addition to thanking it.
(Press: Due to yesterday's mistake, the picture of the seal given by Mr. Chen Mingzhi was not inserted, and I feel very sorry for Mr. Chen Mingzhi, and I would like to post this article again in today's article, hoping that Mr. Chen will forgive me.) ）