Liu Cong
"Dong Meiren's Epitaph", Shanghai Library Collection of Rare Books, Shanghai Calligraphy and Painting Publishing House, 2020 edition
After the "Dong Meiren" in the old collection of Si Ou Tang, there are fifty-two inscriptions collected by Wu Hufan, and fifty-two poems and works. The fifty-two families are: Zhu Xiaozang, Wang Tongyu, Jiang Zhaolan, Jin Rongjing, Ye Gongqi, Mao Guangsheng, Feng Bian, Wu Mei, Zhang Maojiong, Chen Zengshou, Cheng Songwan, Chu Deyi, Zhou Qingyun, Wu Zengyuan, Xia Jingguan, Jiang Jiayu, Jin Zhaofan, Wang Jilie, Huang Yanpei, Ma Sulun, Jin Tianyu, Huang Binhong, Chen Chengxiu, Zhu Zhenzeng, Zhu Baoling, Yuan Fan, Wang Xiao, Fei Yan, Du Yingzhen, Jiang Chi, Di Baoxian, Deng Bangshu, Yang Xi, Huang Xiaoshu, Feng Chaoran, Cheng Wenlong, Wang Yunzhang, Ren Yan, Yuan Kewen, Chen Fangke, Fang Huan, Cai Jinyong , Xie Yucen, Zhao Zunyue, Yuan Siliang, Xiang Diqun, Wang Xue, Wang Dong, Chen Dingshan, Pan Chengmou, Long Yusheng, Lü Zhenbai. If you add Wu Hufan's "Whistle" in front of the book, the "Golden Wisp Song" and "Dongxian Song" at the back of the book, there are as many as one hundred and seven inscriptions attached to the inscription of the inscription in the inscription of the inscription, which can be described as unprecedented in scale, and can be called a perfect combination of the appreciation of the inscription and the singing and singing of filler words.
If we sort out the process of collecting inscriptions, we will find that the time of Wu Hufan's collection of words lasted from 1927 to the mid-1960s, and the number of planned words was eventually expanded from fifty to sixty (the actual number of entries was fifty-two). In addition, from the thick ink book to the light ink book, Wu Hufan has modified "Dong Meiren" many times. And each modification, the inscription after the book, from the selection to the number, will be adjusted and changed accordingly. Behind these adjustments and changes, what are the hidden hearts of Wu Hufan? What stories will this "Dong Meiren", which has cost Wu most of his life, tell us in the end?
Wu Hufan's hidden ink book "Dong Meiren"
Wu Hufan title "Whistle All Over"
(i)
In the summer of 1927, after Wu Hufan entered the Tibetan "Dong Meiren", he began to collect inscriptions for it. The first inscription attached to today's light ink book is Zhu Xiaozang, who was the altar of words at that time. Although Zhu's inscription does not have a time to fall, because the inscription paper has Liu Weilin's "Ding Wei July" view, it shows that before Ding Di (1927) July, Zhu's inscription has been framed into "Dong Meiren", which may also be Wu Hufan's first mounting of thick ink. Soon after, Wu Hufan may have modified "Dong Meiren" again, and he put Feng Chaoran's title paintings, Wang Tongyu's inscriptions, and his own books "Whistle", "Golden Wisp Song", etc. (all four of which were in the Autumn or Mid-Autumn Festival) into the thick ink book. It is not difficult to imagine that at that time, Wu Shi's initial acquisition of "Dong Meiren" was not long, and his interest was high, so he tirelessly added content and repainted the pool. However, the specific number of inscriptions called for may not be clearly planned.
Around the end of 1927 or early 1928, Wu Hufan wrote a letter to Zhao Zunyue (see Zhao Fengchang Zangzha), which gave us some more understanding of the process and details of the word solicitation:
Shu Yong Elder Brother Dajian: Former Brother Cheng's Brother On Behalf of the Brother Asked for the Title of Dong Clan Zhi, Has Mr. Zhong ke made it? Chen Bandit Shi Zhujun and Beijing Zhujun begged for a generation of conquests. Each disciple answers with a page of painting. It is offered to the footers around the beginning of this month. Fortunately, it is not better than those who do not know each other, but they are not in a hurry. Attached a plain note of five or six pieces of paper, begging for hope. Yu Rong thanked him. Specially invited waiters. Di Hu Dun Shou.
According to this, it can be seen that: First, at this time, Wu Hufan has begun to solicit words from the lyricists outside the circle of friends; second, Wu has a special "plain note", which is naturally to prepare for the unified mounting in the future; third, many word compositions are exchanged through the way of "each word brother answers one page with a fan". In the face of the numerous inscriptions in Wu's collection, we often marvel at the strength of his circle of friends. However, judging from this letter, in the process of soliciting inscriptions, Wu Shi is also very good at using some kind of interest exchange as a means.
Since Wu Hufan began to use the painting fan to exchange the inscriptions of the lyricists outside the circle of friends, it shows that at this time he already had a large-scale word collection plan. Here happens to be another example: in the autumn of 1928, Cheng Wenlong, a Tibetan quanjia, after watching "Dong Meiren", once wrote a note on the thick ink book. Two months later, Cheng filled out a poem "Yulou Chun" (later framed in a light ink book) at the request of Wu Hufan. Word Cloud: "Beauty has gone to leave something special." This Zhixi came out of GuanShan. Sui Xuan evolved into clouds and smoke, and the first expansion still existed in the true stone. The ugly slaves are also rewarded with the Yanling Room. The last pen of the tomb point Dai Heng District. The master is a good judge of the real dragon, singing and a hundred words to sign the truth. The last sentence, "Singing and a Hundred Words", shows that by the autumn and winter of 1928 at the latest, Wu Hufan had set a plan to sing fifty words and fifty songs.
Cheng Wenlong title "Jade Lou Spring"
According to the above statistics, among the twenty-six people who had the inscription time after the light ink book, there were as many as sixteen people who wrote the question in 1928. Perhaps, this year is also the year in which Wu Hufan collected the most inscriptions. After another year in 1929, by the spring of 1930, the plan of "singing and a hundred words to be true" was finally realized. After the inscriptions of the various families of the light ink book today, there is Wu Hufan's book "Dong Xian Ge , The First Fine Tuo Ben of Dong Zhi from Tibet", after the words of The Book of The Eight Clouds:
Yu Yu obtained this original stone manuscript in May, made the "Whistle" words in front, collected Song sentences into the "Golden Wisp Song" inscription, and begged fifty inscriptionists, all of them and all of them, all hundreds of themselves, into a giant, leaning on the end of the "Dong Xian Song" temple. Li Chen's two daughters Shi Zhi's "Dotted Lips" and "Tasha Beauty" belong to the Neizi Jingshu Book and Zhi. March.
Wu HuFanbao's "Song of the Cave Immortals"
It seems that in March of Gengwu (1930), "Dong Meiren" was already in the state of "fifty inscriptionists, all over the world, all hundreds of people, into a giant". However, there is still a question here: why is it that the "Book and" of "Book he" and "Tasha Beauty" of The Book of The Book of Puzhong Yun Pan Jingshu are not found in the fifty-two homes after the light ink book today? And who is the "History of Li Chen and the Two Daughters"?
To solve this doubt, we have to first introduce a copy of the "Attack on the United States" collected by the Shanghai Library. The "Attack on the United States Collection" is a collection of Wu Hufan's handwritten "Dong Meiren" inscriptions and harmony words, a total of sixty-one, which can be divided into two parts: the main draft and the continuation. The main manuscript is a collection of fifty-two inscriptions by Wu Shi, and fifty-two harmony works (including two female history inscriptions, Pan Jingshu and two poems), and finally at the end of the 1930 "Dongxian Song". The sequel is an inscription of nine houses, and nine songs. From the point of view of writing, the original draft is relatively neat, and the continuation is very casual, and the two are obviously not written in the same period. At the end of this volume, there is also Wang Tongyu's October 1931 inscription, which is speculated to be the time when the main manuscript was compiled.
It is not difficult to find that the fifty-two houses in the original draft of the "Attack on the Beauty Collection" are not the same as the fifty-two houses after the light ink book. The light ink book is actually five in the original draft of the "Attack on the United States", and then add five from the sequel, so in the end it is still fifty-two. The five deleted are: Zhang Zhonglai, Pan Boshan, Pan Jingzheng, Li Zhongyao, and Chen Naiwen. The five additional ones are: Yang Qi, Wang Xue, Long Yusheng, Xiang Diqun, and Lü Zhenbai. There is no doubt that Li Zhongyao and Chen Naiwen in the main draft of the "Attack on the Beauty Collection" are the "history of Li Chen and the two daughters" mentioned in the "Dongxian Song". However, these two female historical words were later removed from the light ink book together with the three poems of Zhang Zhonglai and Pan Kunzhong.
Reading this collection again, we can find that although the original manuscript of the "Attack on the Beauty Collection" is fifty-two people including the "History of the Two Daughters of Li Chen", it is not the same as the "Fifty Inscriptionists" and "The History of the Two Daughters of Li Chen" mentioned in the 1930 "Dong Xian Song". For example, in the "Attack on the United States", there is Wang Dong's "Golden Man Holding Jade Plate", and the light ink book is in "Xin Wei July", of course, it was made in 1931. There is also Wang Jilie's "Pearl Curtain" in "Attack on the United States", according to Wu Hufan's diary, which was also written in April 1931. Therefore, Wang Dong and Wang Jilie, who only filled in the words in 1931, would never appear in the "fifty inscriptionists" mentioned in 1930.
As for why this situation occurred, we may wish to speculate: in early 1930, Wu Hufan first selected fifty inscriptions (with another female history and two families), and inscribed himself "Dong Xian Song" at the end of the hall. But by the next year, Wu Hufan had made some adjustments to the selection of the fifty families. He re-selected fifty of the inscriptions collected in the past five years (including Wang Dong and Wang Jilie) (still attached to the history of Li Chen's second daughter). The inscription of this re-selection was added to his own and composed, and at the same time, it was copied and sorted into a "Attack on the Beauty Collection" (the original draft). The Collected Works of Attacking the United States (the original draft) may have been copied in October 1931, when Wang Tongyu signed it.
Here is another background to introduce: Wu Hufan's inscriptions for "Dong Meiren" are actually far more than what we see today, and there are many people who ultimately failed to be selected for "Attack on the United States". For example, Lin Tiezun's "Half Cherry Words" contains a poem "Dream Furong Title Wu Hu Fan Jia Collection Sui Dong Meiren Epitaph Original Tuoben", composed in 1928. The Diary of the Ugly Man was published in 1937: "Shen Xinzhanglai, titled "Dong Meirenzhi" and "Huanxi Sha". "Hong Jingshan has a poem entitled "Nian Nu Jiao, For Wu Hu Fan Title Dong Meiren Zhi Tuoben", which was published in the "Ningbo Travel Shanghai Hometown Association Monthly" in 1934 No. 134... None of these inscriptions are found in the Attack on Beauty Collection. In addition, in the thick ink copy "Dong Meiren" collected by the Shanghai Library, the scattered pages of Gu Weichang, Dong Shouci, and Qu Bombmin's three family manuscripts were also not included in the "Attack on the United States Collection". They were probably eliminated together when Wu Hufan gave the thick ink book to Pan Jingzheng.
In the early 1930s, Wu Hufan also completed the process of transferring the inscription from a thick ink to a light ink book. The adjustment of the candidates in 1931 was probably done in this process. By the summer of 1932 at the latest, when the light ink copy of "Dong Meiren" was loaded with five other Sui Zhi, the fifty-two inscriptions attached to the book should have been the fifty-two in the original draft of the "Attack on the Beauty Collection". Then between 1937 and 1938, two title paintings by Zhang Daqian and Zheng Element were added to the light ink book. At this point, Wu Hufan's modification of "Dong Meiren" has also come to an end.
Zhang Daqian's title painting
Zheng Element's Title Painting
(ii)
In the spring of 1961, Wu Hufan, who had just recovered from a stroke, wrote a few lines of trembling inscriptions on the last page of the light ink book "Dong Meiren":
After Yu obtained this zhi, he beged fifty inscriptions, followed by four female historians, and exhibited sixty. At the beginning, he composed forty-six songs, and then successively became ten songs, and he suffered a stroke disease, which could not be made in fine letters, and Suo Luochuan supplemented ten songs. The second poem of the daughter of the continuation of the peace, appointed by Naokawa. Luo Chuan loves this ambition, returns to his good, and fulfills his wishes. In the spring of Xin Ugly, Wu Qian became ill.
Wu Hufan 1961 Spring Trek Language
According to the "Attack on the United States", there are sixty-one consecutive drafts, which is basically consistent with the "exhibition for sixty" mentioned in the inscription. Among the sixty-one families, only the main draft Li Zhongyao and Chen Naiwen, and the continuation of Gu Fei and Xian Yuqing are female lyricists, which is in line with the "Four Families of Female History". It can be seen that the "Attack on the United States Collection" from the main draft to the continuation of the draft is also the result of Wu Hufan's expansion from fifty to sixty. So, when was the plan to expand to sixty families set? Checking the 1954 edition of the "Traces of words of the Song Dynasty", the collected "Whistle, Sui Dong Meiren Epitaph Effect Jiaxuan Bracket" Hou Yun: "There are also fifty rhymes with inscriptions, and the words are not entered into the text. This shows that the scale of the fifty inscriptions remained unchanged until 1954. As for why after 1954, why did Wu Hufan have a new plan to expand the inscription to sixty houses? It is not difficult to guess that this is naturally related to Zhou Junxia (Luochuan).
"Wu Hufan and Zhou Junxia", by Liu Cong, Zhonghua Bookstore 2021 edition
In the humble work "Wu Hufan and Zhou Junxia", Wu and Zhou fell in love in 1953, and about the summer of 1960, the two had an emotional change and immediately broke up. The blow of this breakup, for Wu Hufan, was also one of the reasons for the stroke in early 1961. After the initial recovery of the stroke, wu Hufan's inscription on the last page of "Dong Meiren" is actually only his good wish, not a fait accompli. It is Wu Hufan who hopes that on the "Dong Meiren" that he cherished all his life, he can leave more traces of Zhou Junxia to make up for the regret in his heart after the breakup.
Judging from the inscription, Wu Hufan's wish has three points: First, ask Zhou Junxia to "supplement the book" and ten words. This is the same as asking Zhou Shi to copy "And Xiaoshan Zi" on his behalf, all in order to increase Zhou's weight in this volume. Second, please Ask Zhou Junxia to "continue to make peace" two female historical words (Gu Fei, Xian Yuqing). This shows that in the depths of Wu's heart, Zhou Junxia has been regarded as the hostess of the Meijing Bookstore after Pan Jingshu. Third, give "Dong Meiren" to Zhou Junxia to meet Zhou's long-cherished wish of "loving this zhi". Giving "Dong Meiren" to "Zhou Meiren" can be said to be Wu Hufan's lifelong cherishing of "Dong Meiren" to draw a complete end. However, these are all wu's wishful thinking, can they finally get their wishes?
Nine of the fifty-two poems and word handwriting after the ink book are indeed written by Zhou Junxia: Ma Xulun, Jin Tianyu, Chen Chengxiu, Deng Bangshu, Chen Fangke, Xiang Diqun, Pan Chengmou, Long Yusheng, and Lü Zhenbai. It seems that for the request for "supplementary letters" and words, Zhou Junxia basically agreed. However, the two songs of "Continuing Harmony" Gu Fei and Xian Yuqing were not completed by Zhou Junxia. Examining the sequel to the "Attack on the United States" today, we can still see the original words and works of Gu and Xian Erjia. But careful review and work are by no means out of the hands of Zhou Xia. First of all, under the harmony words of Li Zhongyao and Chen Naiwen, there is an inscription of "Pan Jingshu", while the harmony words of Gu Fei and Xian Yuqing are not inscribed with "Zhou Junxia". Secondly, carefully reading the two harmony words, the pen is clumsy and shallow, which is exactly the consistent style of Wu Hufan, and there is also Wu's repeatedly modified handwriting, which is naturally not the sum of Zhou Junxia.
As for the wish to give "Dong Meiren" to Zhou Junxia, I am afraid that it has not been realized. Today, in the light ink edition of Dong Meiren, we have not found any inscriptions or seals of Zhou Junxia (except for the nine supplementary books for Wu Hufan). To say that this chronicle was once collected by Zhou Junxia, there is no other evidence other than Wu's own inscription in the spring of 1961. Besides, after Zhou Junxia proposed to break up, how could she accept such a valuable gift again? This doesn't make sense in terms of human feelings. In addition, there is a stronger evidence that until the end of 1964, this zhi was still in wuhu fanner. Let's look at a letter from Wu Hufan to Long Yusheng in "Character Ringing Round: Long Yusheng's Collection of Modern and Contemporary Cultural Celebrity Codex Exhibition":
Brother Yu: Apologize for a long absence. It has been a year since the brother underwent surgery, and the problems of his confidants have been removed, but he is weak and weak, and he cannot walk out of the house, so he has to recuperate at home. The "Sui Dong Meiren Epitaph" was examined, and in the inscription, there were still two less families (sixty families), one belonged to Zhenbai, and one was intended to ask his brother to give a small word, without major tone. If there is no refusal, a small note is attached. (Grant the lake sail, do not write Qianjing) (do not ask the year and month) because the former are also before the thirty years. Thank you. Di Hu Dun Shou.
Although this letter is not signed, from the point of view that "it has been a year since the brother performed the operation, and the problem of the confidant has been removed", it refers to the fact that Wu Shi cut a gall in East China Hospital due to gallstones during the Spring Festival of 1964. (See "Wu Hufan Annals") Re-examine Long Yusheng's "Collection of Poetry and Lyrics of Ninhan", and the "Yu Meiren" of Long Shi's title "Dong Meiren" was also written at the end of 1964. It is not difficult to infer that Wu Hufan's letter was written at the end of 1964, which was exactly "one year" after his gallstone surgery. Since "Dong Meiren" was still at Wu Hufan at the end of 1964, how could it be sent to Zhou Junxia in the spring of 1961? It seems that although the inscription of "Dong Meiren" left a record of giving Zhou in 1961, Zhou Junxia did not accept it after the breakup.
Wu Hufan and Long Yusheng exchanged letters
In addition, it can also be seen from the letter that Wu Hufan said that "there are still two less families (sixty families) in the inscription, one belongs to Zhenbai, and one intends to ask for a brother..." And among the sixty-one families in the "Attack on the Beauty Collection", if you don't count the last Qu Xuanying, as of Lü Zhenbai, it is exactly sixty families. This suggests that the plan for the Sixty was finally completed in the mid-1960s. In 1961, although the cloud was "exhibited into sixty", it was just a beautiful plan. As for Wu Hufan's exhortation to Long Yusheng to "give Hufan money, do not write Qianling" and "never ask questions about the year and month", it shows that Wu Hufan wants to maintain the consistency of the sixty inscriptions in time- it seems that they were all written in the late 1920s and early 1930s. And "Qianying" is a nickname used by Wu Hufan after Pan Jingshu's death in 1939, which is inevitable to expose the time, of course, can not appear here.
Long Yusheng, Lü Zhenbai inscription and Zhou Junxia's epigraphy and composition
In the mid-1960s, Wu Hufan's inscriptions of Long Yusheng and Lü Zhenbai were still copied by Zhou Junxia, which shows that the written exchanges between Wu and Tuesday have not been interrupted so far. Since then, Wu Hufan has modified "Dong Meiren" at least once, that is, to transform it into the final appearance of today's light ink book. But why is this final appearance not "sixty as shown" as stated in the 1961 saying, but still fifty-two? Why were the inscriptions of Zhang Zhonglai, Pan Boshan, Pan Jingzheng, Li Zhongyao, and Chen Naiwen, who were once included in the book, removed from the light ink book? The reason for this is inexplicable.
It is said that the original words and the harmony words are both present, which can be seen one by one in the "Attack on the Beauty Collection". In particular, Pan Jingshu's two poems and lyrics were completed at the latest in early 1930, and Wu Hufan also mentioned them in the lyrics of "Dong Xian Song". Although this volume was once intended to be given to Zhou Junxia, Wu Hufan would never delete Pan Jingshu because of Zhou Junxia. In the mid-1960s, the album was in the hands of Wu and Tuesdays, who neither accepted gifts nor modified them without permission.
Perhaps, after Wu shi solicited words from Long and Lü at the end of 1964, he asked Qu Xuanying and others for words, and the candidates of the sixty families could not be finalized in the end. Or perhaps, when rearranging the order of the sixty houses, the two female historical poems that Pan Jingshu had drawn were planned to wait for Zhou Junxia's two poems to be reconciled and then loaded together at the end of the album (because they were previously the fifty-six houses of Wu Zihe). However, after Zhou Junxia "copied" Long Yusheng and Lü Zhenbai, she never "daihe" Gu Fei and Xian Yuqing. Therefore, the Pan and words that were temporarily removed from the light ink book can no longer be re-loaded into the book. Dragged on until October 1965, Wu Hufan suffered another stroke and was admitted to Huadong Hospital, which was even more unbearable. Of course, these are conjectures, and the literature has no signs, which is not enough to examine the evidence.
P.S.
Although Wu Hufan's letter to Zhao Zunyue was not signed, the "Mr. Zhongke" mentioned in the letter was the lyricist Xu Zhongke. According to Xia Jiancheng's "Xu Zhongke Epitaph", Xu Shi died on the "eleventh day of February", that is, on March 2, 1928. In the winter of 1927, Zhao Zunyue traveled north and had many acquaintances with the old Beijing poets; after returning to Shanghai at the end of the year, he invited Xu Zhongke to lunch. (Zhongke Essay Yun: "At noon of the eighth day of Ding Jiaola, Wujin Zhao Zunyue Uncle Yong beckoned to drink... There is a northern flavor. These circumstances coincide with Wu Hufan's letter entrusting Zhao Zunyue to the Beijing poet and Xu Zhongke to beg for words one by one. It can therefore be inferred that the letter was written at the end of 1927 or early 1928. For an introduction to the "Attack on the United States", see Liang Ying's "Lyricist Wu Hufan" (included in "Wu Hufan's Hands and Eyes", Peking University Press, 2015). Mr. Hou Chengliang gave a number of pictures of the "Attack on the Beauty Collection" and helped you a lot, and hereby thanked him.
Editor-in-Charge: Zheng Shiliang
Proofreader: Luan Meng