"Wang Duo's Long Genealogy" (hereinafter referred to as "Wang Genealogy") is another masterpiece by Professor Xue Longchun of the College of Art and Archaeology of Zhejiang University, and this "force" is more inclined to refer to the laborious side. As one of the readers of the first draft of the book, and because we were compiling the He Shaoji Chronicle, I wanted to talk about my perception and ask brother Long Chun and the Fang family for advice.
I believe that for most people, Wang Duo is deeply rooted in the hearts of the people with the image of calligraphy and courtier, and for the former, people today should have no objection. However, for this evaluation of the second minister, I hesitated after reading this book.
In his early years, in addition to his literary conceit, Wang Duo also thought about making meritorious contributions to the chaotic world, for example, in the second year of Chongzhen (1629), there was a book to Zhao Lijiao, thousands of words, and a discussion on the direction of the enemy (Wang Genealogy, pp. 170-172). On the winter night of the fourth year of Chongzhen (1631), drinking with Wu Aheng and others, Wu showed the sword that had once been a bladed enemy, and Wang Duo had a song: "Shang Fang Jiu Ji Zhang Yu Head, drink to take the blood of the Xiongnu." The reward of the sword must be ten thousand households, and the restorer of the city has a fort of fifteen... For the sake of Zhang Li's gentlemen, dingyuan marquis will sometimes. (Wang Genealogy, p. 223) This is not all literati rhetoric, and the Wang Duo brothers did encounter Kou many times and had the experience of killing the enemy immediately (Wang Genealogy, pp. 249, 468). In the eleventh year of Chongzhen (1638), Wang Duo asked "to get four thousand strong soldiers, please tie the neck of the Kou, and cause it to go down." (Genealogy of the King, pp. 558-560) Unfortunately, in the lifetime of the Final Ming Dynasty, he did not have a hand, and not only that, in the eleventh year of Chongzhen's feast, Wang Duo was implicated in current affairs, and there was a saying that "white bones are like a forest", which changed color and shocked both left and right ("Wang Genealogy", p. 517), and the impact of this anger on Wang Duo's mentality as an official can be imagined.
Even in the hongguang dynasty official to the second auxiliary, it was not Wang Duo's highlight moment, although Wang Duo had made a wish before Emperor Guan: "Ling Duo is a thousand ancient houses and Du people, and not to make Duo a person of Zhang Huan and Wang Jue" (Wang Genealogy, p. 896), zhu Yousong obeyed Ma Shiying's orders, Wang Duo had no real power, and begged for rest many times, on the one hand, he repeatedly neglected to accept it, and on the other hand, in the advice of eunuch generals and soldiers, please do not set up the East Factory, sometimes there are sayings such as "burn and do not show left and right" (Wang Genealogy, pp. 915, 916, 918, 953). The feeling of melancholy is not difficult to speculate.
Wang Duo's "LanghuaGuan Thesis" (partial)
If combined with his "The Matter of Jie Jia Shen" after the death of The Seventeenth Year of Chongzhen (1644): "Therefore, the king chooses the subject, and the subject also chooses the king, who is willing to use his body in vain so that it is not a black and white confusion, and spend his life before Tang Wok?" (Genealogy of the King, pp. 927-928) and the handwriting of Yue Fei in the eighth year of Shunzhi (1651): "Let Wu Mu not die, Gaozong fleas, collect the ashes to boo it, and raise a hub like a rotten field mouse, and the Huanglong side will □□." (Genealogy of the King, p. 1342) Such a shocking and vulgar thing is that after The Hongguang Emperor was taken by the Qing soldiers, Wang Duo "counted his sins and said: 'Yu Fei'erchen, Ann gets worship?'" So he threw his arms away. (Genealogy of kings, p. 977) Is not surprising.
Echoing this earthly and earth-shattering generation, at the time of the Ming and Qing Dynasties, there were frequent changes in Wang Duo's family, Chongzhen thirteen years (1640), father (Wang Genealogy, p. 653); Chongzhen FOURTEENth Year (1641), and Mother (Wang Genealogy, p. 682). On two subsequent refuges in Jiangnan, Chongzhen died in Taoyuan (1642), his wife Ma died in Taoyuan (Wang Genealogy, p. 771); in the sixteenth year of Chongzhen (1643), his youngest son died in Yangzhou (Wang Genealogy, p. 810); The Third Concubine and her third daughter died in Suzhou (Wang Genealogy, p. 824); and after returning to the North in the same year, the fourth son died without skill (Wang Genealogy, p. 850). In the third year of Shunzhi (1646), the fourth brother died (Wang Genealogy, p. 1035). The so-called mourning is greater than the death of the heart, and it is probably nothing more than that.
It was under the double blow of the collapse of human institutions and family changes that Wang Duo after entering the Qing Dynasty was indulgent, just as he said in the "Sixty Songs" in the seventh year of Shunzhi (1650): "When life is decaying, it should be self-sufficient, and the dream eyes of Handan are general theater." The history books of the previous generation are like ants, so ugly and uncertain. Therefore, the wine will not be cursed, and the sorrows and joys are like mud. (Wang Genealogy, p. 1313) Another example is the self-description in shunzhi's eighth year (1651) to the third brother: "For the rest of his life, he was overwhelmed by the situation, and there was no pleasure, and when there was no pleasure, there was no relatively happy person or thing" (Wang Genealogy, p. 1399). Therefore, in his later years, WhenEver Wang Duo wrote a book in his later years, "left with Shengyou, ring with Song Ji, Yixing hair, ink dripping, and Boran book this" (Wang Genealogy, p. 1334), it is precisely because of the late Ming dynasty and personal circumstances.
As a serious academic work, this book did not deliberately overturn the case for Wang Duo, but through the narrative of this book, the logical chain of Wang Duo's life trajectory is undoubtedly more complete, and readers will have an objective and fair evaluation of Wang Duo.
Wang Duo's "Quasi-Mountain Garden Thesis" (partial)
The above is the introduction to this article. In fact, whether for Brother Long Chun or for me, the issue of the second minister is not the focus, for Brother Long Chun, a complete presentation of Wang Duo's life of eunuchs, social travel, artistic activities, and to provide reference for the academic community to study the politics and culture of the Yi Dynasty is the purpose of compiling this book; for me, through this book, I can understand the efforts made by Brother Long Chun in the process of studying Wang Duo in the process of materials.
Regarding the material, this is actually not a new topic, the Qing people's study style has always paid attention to having a point of evidence to say a point, not to mention the study of chronology, which began in the Song Dynasty, flourished in the Qing Dynasty, and the current people's scholarship was contaminated by the Qing people, naturally the same follows this iron law, but specific to each person, the efforts made are deep and shallow.
For a scholar, the collection of materials and the entire research process end up, so Long Chunjie's fifteen-year research career of Wang Duo is undoubtedly also a fifteen-year process of material collection. Looking through the bibliography attached to this book, it can be seen that Long Chun brother has cited more than 300 kinds of Ming and Qing poetry collections and more than 400 kinds of local chronicles, which is really eye-popping!
At the same time, Long Chun Brother's fifteen years of Wang Duo's material collection process just witnessed the process of literature retrieval and utilization, that is, from the early traditional search methods and paper text reading to the current compatible traditional methods and electronic retrieval and reading (E examination), from this point of view, not only Long Chun Brother, all the colleagues of the traditional literature and history disciplines are the beneficiaries of new technologies, depending on whether they can keep pace with the times.
Wang Duo's "Duling Qiuxing Poetry Volume"
In addition, the compilation of the annals of calligraphers and painters, a difficult problem that cannot be bypassed is that it is necessary to collect calligraphy and painting works (pictures) scattered around the world, And Long Chun brother actually collected more than a thousand works of Wang Duo (pictures), for a calligrapher and painter in the late Ming and early Qing dynasties, it is nothing less than a miracle. In this book, we are also fortunate to find that on the New Year's Day of the fourteenth year of Chongzhen, the Dragon Boat Festival of the third year of Shunzhi, and the twenty-ninth day of March of the eighth year of Shunzhi (Pages 666, 1063, 1343 of the Genealogy of Wang), Wang Duo created several works in one day, and there are no less than ten such records in this book. Nowadays, such works are scattered all over the world, and Long Chun's masterpieces have been recorded, not without the meaning of zhu hepu and sword and yanping.
When it comes to The collection of plates of Brother Long Chun, there is also a point of envy, he has visited or lectured in Hong Kong, Taiwan, the United States, and Japan many times, not only has he been able to collect a large number of overseas public and private collections (pictures), but also many museum collections can even access physical objects and shoot. At the same time, because Brother Long Chun has established a certain degree of popularity in the academic community, some domestic cultural institutions are also willing to provide convenience for him to consult the information. This situation, after all, is only an individual case, and it is obviously impossible to replicate it on others.
In other words, Brother Long Chun's efforts in the field of calligraphy and painting research and in the collection of materials dare not say that it will last a thousand years, at least in terms of personal strength, under the current conditions, no one can surpass, and this alone is enough to lay the weight of this set of million-word chronology.
Inside the book
Here are some examples of material cited in this book:
In the "Long Compilation of Wang Duo's Annals", in addition to quoting a large number of Wang Duo's own poetry collections, rulers, and calligraphy and painting inscriptions (this is the proper meaning of the title, I will not repeat it), it also quotes Wang's handwriting, such as: Shunzhi Eighth Year (1651) Literary Axis: "In February of Xin Di, Gong Gongxiao Ascended to the Throne, Talked about Poetry with Beihai and Yunsheng, and Phi Shaoling Scroll." Gong Gongyue: The number of lines of his book. Shi Yanfu ten fingers pressed paper, ink tone and harmony, hate my old illness, and for several nights of labor, the girl pressed the kite, did not let the king fool go out, until the arm was weak, making a roaring leopard sound, and had to run into the palanquin, and then suddenly came out of the fusang. In order to tell Gong Gong: I am tired, does Gong Gong not approve? Wouldn't you agree? (Wang Genealogy, p. 1332) Although it is a calligraphy creation, it is also a documentary essay, which not only has a strong sense of immediate vision, but also has a very high historical value. Another example: Dai Ming said that the beginning of the "Dingyuan Poetry Collection" is engraved with Wang Duo's poem handwriting cloud: "It is not strange or ancient, not deep and not thick, it is not difficult to create, so it is not easy to learn it suddenly, I am afraid that it will be sloppy and ripe." Don't rush to its sweetness, afraid of shallow attacks also... Therefore, it is said that the big is not the small, the strange is not the peace, the creation is not the cause. Although this passage of poetry is not included in Wang Duo's own poetry collection, it is actually an important literary and artistic declaration of himself, and the discussion is not only poetry, but also calligraphy and painting, which is hereby received in February of the fifth year of Shunzhi (1648) of the "Annals" (Wang Genealogy, p. 1169). Another example: In the seventeenth year of Chongzhen (1644), Wang Duo went to Jiangnan to avoid Kou, and his friends Zhang Wenguang and Peng Ershu accompanied him, in addition to the quotations written by Wang Duo himself, "Jia Shen and Yu Feng Bo Liang Zhongliang Sword Walking in the Southeast Wilderness Zhao Xing's Alarm to the Road Encounter qiang Kou Chi is not without a sigh and" In addition to the poems of "Yan Di Meet Zhang Yuming to Give Advice", "Preface to the Poetry of Chenming", Zhang Wenguang's "Selected Poems of Dou Zhai", etc. ("Wang Spectrum", pp. 865-871), thus making this turbulent and distant period have a sense of epic times. Another example: This book quotes local chronicles, in addition to quoting biographies, officials and other information, its "Yiwen Zhi" is also quite collected, "Annals" Chongzhen seventeen years (1644) in April has a "six days, visit Wang Xin Yiyuan" narrative ("Wang Spectrum" 882 pages), Kao Wang's own poetry collection, although included in the "You Xuanzhu Garden with Xu Gu Erjun" chapters, but did not contain a date, "(Qianlong) Changzhou County Chronicle" volume 34 "Yiwen Zhi" received Wang Xinyi "On the sixth day of the first month of April, Wang Juesi visited the countryside with Xu Yuan sighed Jiang Boyu Gu Qingxia small drink", Its date was adopted by the Annals. As for The Letter from Wang Duo to Zhu Zhijunzha (Wang Genealogy, p. 750) in the spring of the fifteenth year of Chongzhen, the Book of Emperor Dazong's Wang Duo collected in the (Shunzhi) Fenyang County Chronicle, Volume IV, Yiwen, is even more precious. In addition, Tian Lanfang's "Notes on the Inkblots of Wang Wen'an" (Wang Zhi, p. 296) cited by Chongzhen in the sixth year (1633), Zhang Jinyu's "Records of Yishui Garden" ("Wang Spectrum" (p. 835) cited by Chongzhen in the sixteenth year (1643), Chen Mingxia's "After the Title of Wang Juesi's Scroll" ("Wang Spectrum" cited in the sixth year of Shunzhi (1649), Xue Suoyun's "Wang Shangshu Painting Wall Song", "Guan Wang Shangshu Yun Pen Song" ("Wang Spectrum" 1222 pages), or descriptions of Wang Duo's calligraphy and painting creation, Or the aesthetic criticism of Wang Duo's calligraphy and painting art is a valuable material about Wang Duo's calligraphy and painting being appreciated, accepted and disseminated, and compared with Wang's own narrative, this kind of text from the perspective of others is even more indispensable.
Wang Duo's "Tang Poetry Scrolls" (partial)
In addition to collecting materials, Brother Long Chun also took great pains in the examination of materials, such as: examining Wang Duo's painting of the "Bamboo" fan, which was painted by the Wang clan for Zhu Yizhi by the "Sending Garden" and "Ming Lao" (page 49 of the "Wang Genealogy"), and also examined the Fan Jingwen Codex, which was borrowed by Fan Zha "Xianjun Zhiming and borrowed his brother's rafter pen, and felt that the golden stone has now been carved... He also left his ancestors with ink and asked for honor "Yunyun", according to the Wang's collection of essays, "Ink Marks of the Ancestors of Fan Huichuan" (press: Huichuan, father of Jingwen), and verified that this zha was Fan's to Wang Duo ("Wang Genealogy", p. 401). This kind of research seems simple, but in fact, it is due to the author's establishment of a powerful database of character information.
In addition, this book also has many errors in the material of Wang Duo's poetry collection, such as Wang's "Chihe Stele", the original collection of essays "Chengzi October Shuo" Yunyun ("Wang Genealogy" p. 354), in fact, according to the deeds of the Wang clan, the actual content is chongzhen eight years (Yi Hai) events. For another example, in the Sixteenth Year of Chongzhen (1643), "An Shan Song", there is a "June Book of Luckshuiwan" Yunyun ("Wang Genealogy" p. 812), but the whereabouts of the Kao Wang clan, at this time in Suzhou, have not yet arrived in Jining. In addition, the anthology contains the "Records of Xia Zhen": "In the early spring of the Yi Unitary, the Great Chaos of liukou" Yunyun ("Wang Genealogy" p. 873), in fact, it contains the chronology of JiaShen. This kind of error in the timing of poetry may be because the time item in the ancient draft is often vacant, and it is inevitable that it will be wrong when it is finalized later. To this end, in the compilation of the almanac, it is necessary to deliberate and check through the comparison of different materials and the ranking of the itinerary, which requires great care and patience.
Not only that, But Brother Long Chun also produced the zodiacal zhou "Title Wang Juesi Preliminary Collection" (related to the "Three Trees of the Heavenly Revelation") at the beginning of Wang Duo's poetry collection, which was actually changed from the preface written by Jiang Dejing for Wang ("Wang Genealogy" p. 67); while Ni Yuanlu's "Five Words instead of Preface" composed by Wang Yuanlu was actually changed from the preface to "Selected Endorsements" written by Wang Duo for Ni Yuanlu (Wang Genealogy, pp. 293-294). For example, due to the intentions of the Wang family, it is especially a major discovery, and the special paper "Shunzhi Ten Years' Journal< The Tampering of the Selected > of the Proposed Mountain Garden and the Reshaping of Wang Duo's Image" has been discussed by Mr. He Hongliang in the surging book review "The Great Achievements of Wang Duo's Research -- The Long Compilation of Wang Duo's Genealogy and His Life's Deeds and Examinations", and it is suggested that it be marked and exposed in this book, and will not be described here.
When it comes to the collection and collation of Wang Duo's materials, it is still inseparable from the most basic link: text interpretation. Wang Duo is good at using strange characters, "Gift wang siren poetry volume" ("Wang Spectrum" 570 pages, figure 47) "Baosong Tange Seal History" ("Wang Spectrum" 572 pages, figure 49) is true, in addition, Wang Duo is also good at cursive writing, so the interpretation of text has become a basic requirement, Long Chun Brother Linchi has rich experience, in this regard has excellent basic skills, enough to ensure the quality of text interpretation.
Wang Duo's "Cursive Vertical Axis"
Brother Long Chun mentioned many times in an interview that the "Long Compilation of Wang Duo's Chronology" is only a by-product of his study of Wang Duo, which is not a humble remark, and his rich reserves in the field of Wang Duo's research have not only achieved the "Long Compilation of Wang Duo's Genealogy", but also spawned many achievements, that is, taking the recently published "Four Books of Wang Duo" as an example, the "Wang Duo and the Jiwang Character Stele", "Wang Duo's Inscription Theory", "The Documentary Value and Artistic Interest of Wang Duo's Poetry Manuscripts", "Tools, Materials and Wang Duo's Works", which one is less than the accumulation of materials? To the last article, Long Chun Brother's emphasis on materials, by no means limited to the text content, but also including material materials and forms, over the years, I have repeatedly followed Long Chun Brother to visit museum exhibitions and auction previews around the world, he can always carefully push the authenticity of calligraphy and paintings, materials, pens, ink, etc., and peel away the cocoon like solving a case.
There's one word that became buzzword in 2020: inner volume. I have not specifically studied whether there is an inner volume in the academic community, and what kind of inner volume, but I believe that to a certain extent, the expansion of materials also means the expansion of methods and ideas, if one day we do not even have the impulse to obtain more materials, it means that we can only repeat ourselves.
Returning to the "Long Compilation of Wang Duo's Chronology", due to the obscure style of Wang Duo's writing, and although there are many engravings handed down from the Wang's poetry collection, they are not exquisite and voluminous, so whether the original is wrong, or Long Chun brother's compilation is improper, it is inevitable that there will be omissions, here are some examples:
In the sentence "The Collection of the Guandi Temple Hall at the Top of Guanshan Mountain" (贶贶) (The "King's Genealogy", p. 356), the "situation" is suspected to be a "falsehood".
"Answer to Guanxi": "The heavens are heavy and the servants are trapped, and after the chaos is gone, they avoid the land and cannot learn boluan chun" (Wang Genealogy, p. 815), and "chun" is suspected to be a blackmail of "舂".
"Snow Landscape" fan ("Wang Spectrum", p. 1239), the interpretation of "thinking of images and images", after checking the physical pictures, it should be regarded as a "image" of falsehood.
"Xiang Mengzhai Record" "The sorrow and joy of the world are light and thick, and the death and life are all illusory and dreamy, and if they are unhappy first, they are not illusory." The dream is not pleasant before, and it is not instantaneous and fragrant. If you don't go through the years, then it is not illusory" sentence (p. 414), the sentence is read doubtfully: "The sorrow and joy of the husband's world are light and thick, and the death and life are illusory, and the dream is not happy before it is not illusory." The dream is not happy first, it is not fleeting, and the incense is not illusory when it does not go year by year. ”
"With Someone Za" ("Wang Genealogy" p. 390), the Za language involves the posthumous affairs of Xiang Xiang, Long Chun Brother thinks that Wang Duo sent a risky Xiang, I am afraid it is not accurate, according to the following quotation Wang Duo's "Biography of Mao Zhongyuan" ("Wang Genealogy" page 398), when The Emperor of the Rising Sect (press: Qizong, the father of the Emperor Xiang) is a great deed, and the friendship with Wang Duo is reasonable, and this recording of the will, when the Sect of Qizong first sent a letter to Wang Duo, Fang Xian was solemn.
Wang Duo's "Farewell to Shen Shiyou's Poetry Volume" (partial)
To give the above example, it is not that our people are nitpicking, because after the first draft of Brother Long Chun came out, Brother Meng did not abandon it, and he once discussed with our people about the number four, so Brother Long Chun's omission is also the omission of our people. Although Brother Long Chun, like our people, hopes that the almanac manuscript will be more perfect and come out again, for a work with a million words scale, the time cost is too large, so it is better to rely on the advice of the Hai Nei Fang family as Brother Long Chun said!
Brother Long Chun in the public account "exhibition play" interview, looking back on the fifteen years of Wang Duo's research career, once quoted Lu Fangweng "white hair mercilessly invaded the old land, green lights have a taste like childhood" poem to lyrically sigh, we feel the same way, more than ten years with Long Chun brother repeatedly went to Beijing to check the information, at that time in the Wenjin Street North Map Old Library to check the materials, a pack of pancakes can pass a whole day, or, in a university library ancient books department to cover each other secretly photographed materials (bringing food into the library and secretly shooting materials are illegal, in order to save money and save time, Enjoy it), that scene is still vividly remembered. And now, the School of Art and Archaeology of Zhejiang University, where Brother Long Chun is located, is composed of Mr. Bai Qianshen, Brother Long Chun, Chen Shuo, and Cai Chunxu, and this sensitive and studious style has been passed down from generation to generation, and Brother Yusheng admires it!
(This article was originally published in Chinese Calligraphy, No. 3, 2021, author affilications: Nanjing University of Technology)
"Wang Duo's Chronicle"
By Xue Longchun
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Wang Duo's Genealogy Long Edition ¥306.5 Purchase
<h1 class="pgc-h-arrow-right" data-track="8" > content introduction</h1>
Wang Duo, Zi Juesi, Jue Si, Jue Zhi, Song Qiao, Henan Mengjin people. In the second year of the Ming Dynasty, Chongzhenjian successively served as the Right Counselor, the Head of the Nanjing Hanlin Academy, the Right Attendant of the Rebbe and the Attendant of the Hanlin Academy, and moved to the Nanjing Rebbe Shangshu in the thirteenth year, and Ding Yan did not go, and on the eve of the seventeenth year of the national change, he was promoted to the Shangshu of the Rebbe, but did not go to office. Hiromitsu was a member of the BunkyōKaku University, and was the second assistant. In May of the second year of Shunzhi, he and Qian Qianyi were equal to Nanjing to meet the Qing army, and the following year, Shi Qing, was appointed as a waiter in charge of the Hongwen Academy, until his death.
Wang Duo is one of the most important calligraphers in the late Ming and early Qing dynasties, and also a "second minister" of the Ming and Qing dynasties, which has high research value in art history, cultural history and political history. In addition to the systematic collation and examination of Wang Duo's own anthologies, writings, inscriptions, manuscripts, letters, etc., it also collects and carefully reads a large number of poetry collections, notes, and letters of his contemporaries and friends, which has important documentary and historical value and academic research value.
<h1 class="pgc-h-arrow-right" data-track="10" > author profile</h1>
Xue Longchun, born in October 1971, is a native of Gaoyou, Jiangsu Province. He is now a professor at the Institute of Cultural Heritage of Zhejiang University and a doctoral supervisor. He received his Ph.D. from Nanjing University of the Arts in 2004. In 2006, he entered the postdoctoral mobile station of the Department of History of Nanjing University. In 2008-2009, he was awarded the Young Scholars Academic Fellowship by the Association of American Academic Societies (ACLS) and was a visiting scholar in the Department of Art History at Boston University. His main research areas are the history of Chinese calligraphy and seal engraving in the 16th and 17th centuries and the literature of rulers, and he has published more than 60 academic papers, including "Examination of Zhang Huaihuan's Calligraphy Works", "Zheng Zhen Research", "Wang Pet's Chronology", "Yayi Mountain Color: Wang Pet's Life and Calligraphy", "Yuanming Calligraphy Talk Series", "Gu Huan: Huang Yi and Qianjia Jinshi Fashion", etc., and edited "Please Follow His Roots: Proceedings of the International Symposium on ancient Calligraphy Creation Research" (in cooperation with Sun Xiaoyun), " Feihong Wanli: Chinese Virtue To Bai Qianshen 100 Zha (1983-2000) and so on. He has won the first prize of the 7th National Symposium on Calligraphy, and the second prize of the Theory Award of the 3rd and 5th Chinese Calligraphy Lanting Award. He is currently a member of the Chinese Calligraphers Association and a member of the Canglang Book Club. Good at calligraphy, he has been introduced to professional magazines such as "Chinese Calligraphy", "Chinese Calligraphy and Painting", and "Calligraphy" for many times.
<h1 class="pgc-h-arrow-right" data-track="12" > editors recommend</h1>
☆ Panoramic display of Wang Duo's rich life experience. Wang Duo, as a generation of book masters, is famous all over the world, and Dong Qichang is called "King of the South Dong and the North", and has the reputation of "Later King Shengqian Wang (Wang Xizhi)"; however, as a Mingchen, he was demoted to Qing, guilty for life, and finally after his death, he was listed in the "Biography of the Second Minister", and his life was ruined.
☆ The whole book is rich in citations, fine in examination, and a carefully compiled index of personal names, with the genealogist as the center, which can glimpse one of the books, politics, and literature in the late Ming and early Qing dynasties. The atlas contains more than 160 works by Wang Duo, a considerable part of which is disclosed for the first time, and is printed in four colors in high definition, which can be cross-referenced with the chronology.