As a genre, it is one of the oldest forms of text in China, and it is also the most social form of text creation. The surviving Chinese ruler documents mainly include archaeological objects, original rulers, and ruler materials in posters and prints.
One
The Chinese ruler literature has a long history, and it is a form of written communication that has arisen with the social needs and words of human society interacting with each other. As early as ancient times, when people's verbal communication could not meet the objective needs of interpersonal communication, a physical carrier with the significance of recording information appeared. The materials such as knotted ropes and carved wood found in ethnological surveys can be regarded as the relics of a form of physical interaction in the early human information transmission. When the use of words and interpersonal cross-domain communication become more and more frequent, written communication has increasingly become an important form of communication for people, and has become the main medium of information transmission for a long time. Liu Xun once said: "Three generations of political leisure, Wen han is quite sparse; spring and autumn employment is complicated, and shu jie mi sheng." Although this theory does not explain the origin of the ruler, it points out the characteristics of the era in which the ruler was popular in the ancient period. We can get testimony from the "Book of Shu Xiang Making the Yizi Birth", "The Book of Zhao Xuanzi of the ZhengZi Family", and "The Book of Fan Xuanzi of the Inheritance of the Son".
The origin of the Chinese ruler has not yet been confirmed, but "the earliest physical letter found so far is the family letter written by the soldier Heifu and The Shock written to the heart in 1976 at the Qin Tomb No. 4 in Sleeping Tiger Land, Yunmeng County, Hubei Province." The two letters written on the wooden mule are 23.1 cm long, 3.4 cm wide and 0.3 cm thick in their entirety, and the other broken piece of mulch is 17.3 cm long, 2.6 cm wide and 0.3 cm thick. According to research, these two pieces were written in the twenty-fourth year of Qin Shi Huang (223 BC).
It can be seen that before the paper was used, the ancients used bamboo pieces and wood chips as the carrier for letters, bamboo pieces called "Jane", wood chips called "Mu", or "Za", about a foot long, and the name of "ruler" became synonymous with letters. The term "ruler" first appeared in the Han Dynasty, and when commenting on the story of the filial daughter Ti Qian's book to save her father in the "Chronicle of the History of Bian Que Cang", it was said: "Ti Qian tong ruler, the father will be in peace." "This kind of noun formed by the physical carrier as adjective has been used in China for more than two thousand years, and a series of different aliases have been derived, such as ruler, ruler book, ruler han, and ruler jin. In a given environment, there are many different accolades and pronouns. Many such words are included in Ye Xinhua's book Compendium of Credit Languages in Old Style Books. According to the different recipients of the ruler, the names of the "books" vary. Those who are above them are known as the Song Ji, the Book of The Book, the Book of Revelation, and the Notes, and the Ones Below the Enemy, the Scriptures, and the Teachings, and the General Rules of Theory above and below them." Since the Han Dynasty, the works of the ruler have shown a trend of development from public to private. The increase in private correspondence and family letters shows that the social function of the ruler has been recognized by people and has become one of the tools of interpersonal communication. However, only a few famous texts of the Qin and Han dynasties that were found in the recorded ruler literature were attached to the historical books and were passed down. There are only a small number of archaeological discoveries in the physical originals, such as the Jian Shu Epistles in the Juyan Xinjian, The Dunhuang HanJian, the Juyan HanJian Jia B Series, and the Dunhuang Han Dynasty County Quanzhi Ruins Book. It was not until the Wei and Jin Dynasties and the Southern and Northern Dynasties, with the establishment of the status of the ruler style, the documentary value of the ruler was correspondingly valued in the history of literature, and then the collection, compilation and engraving of the ruler became an active document collation behavior, extending it from the private field to the public space. From the scattered famous works of the "Anthology" to the personal ruler collections of the Northern Song Dynasty, from the special categories of the personal anthologies to the general collections of rulers of fandoms and friends, from the engravings of the handwritings of the former sages of the dynasties to the selected compilations of the rulers of the past dynasties, the documents of the rulers are a grand view, and the famous articles are numerous, and they occupy a unique position in the history of Chinese literature, art and society.
Two
As a genre, the type of literature formed by the ruler is a very rich literature topic in China since ancient times, and it is the object of collation, publication and collection by people over the centuries. In traditional documentary practice and bibliography, the evolution of the categories and names of the ruler literature reflects people's understanding of such documents.
The collation of literature depends on the status of the existence of this type of literature and people's perception of its value. During the Spring and Autumn Period of the "Shujie Misheng", the ruler was not effectively preserved, and the number of records recorded in the literature was very limited. In the Han Dynasty, although the creation of rulers became increasingly common, the literature of rulers was not systematically sorted out. Until the Wei and Jin Dynasties and the Southern and Northern Dynasties, due to the unprecedented prosperity of literature, the use of paper became more and more widespread, the transformation of writing medium promoted the application and literary development of the ruler, the social value of the document was increasingly reflected, and the establishment of its independent style created a foundation for the construction of the ruler literature collation. Liu Xun was the earliest scholar in ancient China to discuss the rheology and characteristics of the era from the perspective of stylistic theory, and in the "Wenxin Carved Dragon", he has classified the ruler into the category of "secretary", forming the concept of the early category of ruler literature. In the anthology of the earliest collection of articles in ancient China, the classification of rulers is more elaborate. Among the 38 types of articles listed in the book, such as fu, poems, riots, edicts, books, and orders, there are "books" that are special categories of rulers, and other articles such as tables, shangshu, qi, notes, and notes also have articles that are the same or similar to rulers. The compilation of Xiao Tong's "Selected Works" marked the initial establishment of the classification system of ancient literary works in China, and the first special category of ruler literature was created in the catalogue of ancient Chinese collections, which created a style for the compilation of rulers in later generations. After that, in the selected readings edited by successive generations in China, rulers became a common category. For example, in the Song Dynasty's "Five Hundred Schools of Broadcasting Fang Daquan", there are nearly 40 kinds of various literary styles in the Song Dynasty, such as tables, notes, qi, forms, edicts, songs, ten thousand words, books, zhazi, overlapping banners, and comfort books, and the rulers are juxtaposed with them. In Yao Nai's "Compilation of Ancient Texts and Dictionaries" and Zeng Guofan's "Miscellaneous Copies of the History of The Classics", which had a great influence in later generations, the ruler also became a mandatory article, the former was divided into 13 categories, of which there were "book sayings" categories, the latter was divided into three categories: the writing door, the warning door, and the record door, and there were "book mu categories" under the warning door, and noted: "Those who tell each other of the same generation... Later generations of books, yue qi, yue shifts, yue mu, yue jian, yue knife pen, yue ti, all are. During the Republic of China period, the Commercial Press published the "types of books" listed in Wu Zengqi's "Compendium of Ancient and Modern Literature and Banknotes in Hanfenlou", which is subdivided into 14 headings: Yue Shu, Yue Shang Shu, Yue Jian, Yue Za, Yue Tie, Yue Za Zi, Yue Shu, Yue Zhi, Yue Qi, Yue Qin Shu, Yue Qian, Yue Jie, and the rest are appendices. It can be seen that the name of the ruler is diverse due to the difference in identity and function of the two sides.
The income of the ruler was concentrated in the Tang and Song dynasties. Liu Yuxi's "Liu Guest Anthology" contains books and Qi zhiwen, and the Ouyang Wenzhong Gongji divides the category of rulers into "Shu Qi" and "Shu Jian". The compilation of a special collection of personal rulers began in the Northern Song Dynasty, and the Song Shi Yiwen Zhi contains "Fan Wenzheng Meter" and "Yellow Valley Book Ruler". During the Southern Song Dynasty, there was a collection of rulers that brought together fans or teachers and friends, and the Song Shi Yiwen Zhi contained the "Xie YixiTang Teachers and Friends Rulers". In addition, the first series of posts to compile rulers in the form of engraved posts, the Fengshu Thesis, was also born in the Southern Song Dynasty, which preserved the calligraphy handwriting of a generation of celebrities and became a precious collection of ruler literature.
Since the Ming and Qing dynasties, the editing and engraving of the ruler literature has gradually become a common practice, and the selected books of the ruler have emerged in an endless stream, and at the end of the Ming dynasty and the beginning of the Qing Dynasty, there were also scenes of collecting the compilation and publication of the ruler, such as Zhou Lianggong's compilation of "The New Banknote of the Ruler", "The Tibetan", "The Neighbor", and the Three Signs of the Ruler, and enjoyed it. The sharp increase in the number of rulers in the Qing Dynasty created conditions for the collection of originals, and the ancient rulers that exist today are mainly products after the middle of the Qing Dynasty.
Therefore, in the history of catalogs, from the Ming Dynasty onwards, the category of rulers appeared. For example, there is a category of "Qizha" under the collection of "Hundred Rivers Andography", and there is a category of "Ruler" under the collection of Qing Yao Jiheng's "Bibliography of Haogutang". The establishment of the category of "rulers" in the bibliography of the group of books is a reflection of the growing number of ruler literature and the importance that bibliographers attach to the status of their documents.
In the ancient Chinese catalog, the attribution of the ruler is mainly based on the set of parts, and later catalogues often follow this example. The "Compendium of Chinese Series" edited by shanghai library has "the genus of rulers" under the category of collections, and includes 39 kinds of general collections and special collections, and a number of collections of rulers are included in other collections.
Three
The survival of Chinese ruler literature depends on the two main forms of physical originals and engraving. The former as a first-hand material, its literature circulation characteristics are first of all the original objects handed over from generation to generation, the second is archaeological discoveries, occasionally obtained; the latter as a secondary document, the dissemination characteristics of its literature are first carved stone extension, handwriting fax, and second, engraving and printing, deep and widespread existence. The former is unique and the latter is plural. Although the forms are different, the essence of their documentary value is the same, and they are all texts with information connotations, which can be used by future generations for research. However, the generation and dissemination of historical documents have been falsified and tampered with, so the identification of forgeries in the shaku literature has also been the object of people's attention since ancient times.
Yao Jiheng, a Qing Dynasty pseudo-discriminator, said in the preface to his book "Examination of Ancient and Modern Pseudo-Books": "Those who forge forged books have produced their own people in ancient and modern times, so there are more fake books than in the world." Scholars here, the authenticity is not clear, but it can still be said that it is a book? It is necessary to take and discern, and the first meaning of this reading is also. "Literature falsification does not distinguish between ancient books, and single articles and rulers also belong to its scope. In volume 41 of the Anthology of Literature, Xiao Tong included the "Li Shaoqing Reply to Su Wushu", and there have been many lawsuits since the Tang Dynasty. Liu Zhiji pointed out in "Stone" that the text was "magnificent in color and flowing in tone and sentences." Looking at its style, it is not similar to the Western Han Dynasty, and what it did later, it is falsely called Ling zuoye." Su Shi of the Song Dynasty also called it "shallow in words, and composed by Children in Qi and Liang". Later generations such as Qian Daxin, Weng Fanggang, and Huang Kan all knew that this letter was a forgery, and they were judged by the fact that its stylistic style was different from the mainstream style of the Western Han Dynasty. Some scholars have also judged from the text analysis and historical examination of the correspondence between Li Ling and Su Wu: "The Book of Li Answers is a false theory. ...... It was produced after 54 BC. The controversy over this article has been published in recent years, which has become a famous example of the study of the falsification of rulers.
In modern times, with the development of scholarship, the ruler has become an important research material, and people have paid more and more attention to its identification of forgery, and the forgeries found have emerged in an endless stream. Chinese literature falsification has its specific social environment and subjective motives, both economic interests and political purposes. As we all know, the large number of forgeries of the historical documents of the Taiping Heavenly Kingdom is a major problem that plagues scholars' research, and scholars have devoted a lot of energy to distinguishing the authenticity of historical materials. Since the autumn of 1934, Luo Ergang has written articles on the problem of falsification of the historical materials of the Taiping Heavenly Kingdom in the "Book Supplement" of the Ta Kung Pao, and published a series of treatises, in which he summarized six reasons for the falsification of his contemporaries and descendants. For example, in 1862, when Zeng Guofan, Zuo Zongtang, and Li Hongzhang led an army to besiege the Taiping Army from all sides, the Zhejiang officials of the Qing court spread a forged "Secret Code of Li Shixian the Attendant" in the society, using Li Shixian's mouth to publicize the strength of the Qing army and create public opinion to cooperate with its military offensive, thus disturbing the military morale of the Taiping Army. In addition, the correspondence between Hong Xiuquan and Shi Dakai, which had a great influence on Shi Dakai, and the Book of The Heavenly King, which had a great influence on Shi Dakai, was also a forgery. On the eve of the 160th anniversary of the outbreak of the Taiping Heavenly Kingdom Movement in 2011, we asked experts from the Nanjing Taiping Heavenly Kingdom Museum and modern historians in Shanghai to jointly identify it, and after identifying the forgery from the three angles of calligraphy, seals and historical events, we judged it to be a forgery.
The celebrity ruler has attracted people's attention because of its unique collection value, and its economic value has made the counterfeiters dizzy and confused. For example, there are people in Nanjing who "specialize in the falsification of the late Qing Dynasty celebrity codex and take it as a profession." Therefore, the late Qing celebrities who have suffered the most from the falsification of the rulers in the past must be examined with the perspective of counterfeiting, both in the originals and publications. Now take the family letter as an example. In 1912, the Republican Book Company typeset and published the "Li Hongzhang Family Letter", which published Li Hongzhang's 90 family letters for the first time, and then published it many times, and even the Taiwan Wenhai Publishing House also included this in the "Series of Historical Materials of Modern China", which was widely circulated. However, after examination by scholars, there is a forgery in it. Modern celebrities have a large reading audience and are readers that publishers are happy to publish, but it is difficult for ordinary people to distinguish between right and wrong by mistakenly accepting fake works. Therefore, the identification of the counterfeiting of modern celebrities has always been the scope of academic discussion. For example, in 1936, the Guangyi Bookstore published the "Letters of four famous people in the Qing Dynasty", which not only had Li Hongzhang's forged letters, but also Lin Zexu's forged letters, which were often cited by historians for mistakenly believing that the history of letters. In the 1930s, the "Zhang Zhidong Family Book" published by the Shanghai Central Bookstore was compiled and published by posterity in a variety of family letter collections, and it was also a forgery after examination. In recent years, family book reading materials have become popular in the book market, but some editors and publishing houses have not done serious work to identify forgeries, but simply arranged and reprinted celebrity ruler books from the Republic of China period, resulting in widespread fallacies.
The identification of contemporary letters cannot be ignored. The question of the authenticity of Guo Moruo's letter to Chen Mingyuan was once a major public case in the literary world, and Guo Moruo's secretary Wang Rongsheng once wrote a book entitled "Distinguishing the Forgery of Guo Moruo's Letters and Calligraphy" on this matter. In the 2013 Beijing cultural relics auction, Yang Dai's opposition to the auction of Qian Zhongshu's letters was a widely discussed cultural event, which led to the news that Qian Zhongshu and Yang Dai's letters to Wei Tongxian were "all forged".
In terms of the characteristics of literature, it is easier and more numerous than books to be counterfeited. Therefore, the identification of the forgery of the ruler needs to be identified from many aspects, such as circulation and source, writing characteristics and paper, writing style, content of letters, and the situation of both parties.
Four
There are three main orientations for the review and research of the rudimentary literature: one is stylistic theory, the second is the history of literature, and the third is the history of calligraphy. As a kind of textual information, any research can be drawn from it and used for its own use, and its research can be attributed to the scope of their respective discussions.
Ancient Chinese stylistic theory can be traced back to the pre-Qin, but it was not until the Wei and Jin dynasties and the Southern and Northern Dynasties that more systematic stylistic works were produced. Cao Pi's Treatise on Classics is the first single stylistic treatise in China, in which there are already fragments of commentaries on the ruler. When Liu Xun's stylistic treatise appeared, the theory of the ruler as a style was initially established, and in the "Wenxin Carved Dragon Secretary", Liu Xun summarized the stylistic characteristics of the ruler: "The detailed general style of the book, the original is exhausted, the words are scattered and the pottery, and the style is supported, so it is advisable to be smooth and lethal, gentle and compassionate." Civilization is calm, but also the dedication of the voice of the heart. Since then, there have been various comments on the ruler style throughout the ages, and the differences in the promotion have put forward different views on the status, characteristics and attribution of its style. Although there was no comprehensive monograph on the study of rulers in ancient China, it was sometimes discussed in the writings of literati scholars. According to the tradition that the selected texts after the Tang Dynasty in China basically adopt the style and according to the tradition of selecting texts, the preface examples of the selected texts of the ruler class most intensively represent the editor's experience in the study of the ruler, and these articles have the academic value of the philology of the ruler, so that they can deeply study the theory of Chinese ruler literature and are academic resources to be explored in depth.
The study of the literature of the ruler is one of the most concerned aspects. Since ancient times, many famous passages that have been passed down through the ages and are well-known to the population are important masterpieces in the history of Chinese literature. As a "double style", it is a direct lyrical work between the two people, the text is sincere, natural and free, and has a literary aesthetic. The maturity of the literary characteristics of the ruler is closely related to the independence and self-consciousness of the genre, from the Wei and Jin dynasties to the present, people generally classify the literature of the ruler as literature, and in the traditional bibliography, it is classified under the collection. In addition to prose, in literary form, there are also poems, or combinations of scattered, or poetry. The anthologies of rulers selected and published in successive dynasties have also mostly been based on the connoisseurship of the famous rulers as a standard. In the history of Chinese literature written in modern times, the ruler has its place, and there is a monograph "The History of Chinese Rumu Literature" published, combined with other monographs on the study of Chinese rumu literature, the general situation of Chinese rumu literature has initially appeared in the history of literature.
The ruler has an important position in the study of the history of calligraphy, and its objects are divided into two parts, one is the inscription of the past dynasties, and the other is the calligraphy of the ruler. As we all know, the main purpose of ancient inscriptions is to appreciate the calligraphy handwriting of celebrities, and the inscriptions have made great contributions in preserving and disseminating excellent calligraphy works, and the selected calligraphy works in the posts have preserved the rulers of many famous artists. Therefore, the thesis not only has recognized calligraphic value, but also neglected documentary value. The study of theology is a major prominent study in China, and the writings of successive dynasties have been discussed endlessly, but the study of the rulers in them still needs to be deepened, especially the status of the ruler literature in the Ming and Qing dynasty inscriptions. The original has always been collected as an ink treasure. As a calligraphy material, its research and photocopying and publication are also excellent works, and the results are remarkable. Therefore, combined with the study of the history of calligraphy, a number of textual materials of the ruler can be excavated from it, rather than simply regarded as calligraphy works. For example, 13 of the fragments of the Shaoxing Mi Ti collected by the Shanghai Library and the National Library are all rice inscriptions, and the fragments of the Ying Guang Tang Thesis, which are stored in the Cultural Relics Museum of the University of Chinese in Hong Kong and the Palace Museum, also have nearly 40 fragments of the Rice Paste texts, all of which are lost in the Quan Song Text. The value of the literature in the post can be seen here.
On the basis of the study of the ruler literature, the results of the collation of the ruler literature of the past generations can be described as a series of articles. However, due to the fact that the motivation for writing is not for the purpose of publication, it has the characteristics of concealment and volatility, and the actual transmission of the ruler is only a small part of the original creation, which is particularly precious. Therefore, since the Song Dynasty, the ancient carvings of Hongyin, the printing of Jinshu, and the publication of generations have been endless. Due to the different styles of the rulers and the different works and grasses, there are sometimes cases of misunderstanding and unrecognizability in the process of recording and collation, and if the original or photocopy of the handwriting is not seen, its errors are difficult to proofread. For example, the "Yan Family Collection Ruler" has Pan Shicheng's "Haishan Xianguan Series" collated version, "but his book interpretation is not refined, the fish and the fat are more false", and the Shanghai Library re-"revised its text, correcting its errors", and launched a new punctuation book. Errors can also occur if the letters are copied or edited improperly. For example, in the Collected Letters of Lu Xun published in 1976, two letters from Lu Xun to Xu Shousheng were reversed and mistakenly planted. Therefore, the collation of the ruler is not only a difficulty in word processing, but also a recognized problem in the examination of its age, and many rulers in ancient and modern times do not have a clear time marker, and it is necessary to organize and cite the discretion of the person from the content and the author's life. In short, the main goal of the study of the ruler literature is to continuously and deeply understand the laws and characteristics of the stylistic development of the ruler, and to reveal and sort out the text from multiple disciplines through methods such as falsification, examination, and collation, so as to give play to the value of the ruler literature.
Five
The value of the ruler literature is mainly reflected in the three ends of historical, artistic and social nature.
The historical value of the ruler lies in its authenticity, which more objectively reflects the relevant information of the parties, that is, the so-called "reading its text can refer to its deeds and want to see its temperament, not only the literary rhetoric for scholars to imitate." Therefore, the ruler is the most direct historical material for character research, because "private messages ... Belongs to the category of autobiography". It is the best evidence to understand the true experience and secret psychology of the master at a specific stage, and the use of letters in the writing of biographies and chronology has attracted much attention. It also provides important details for examining major historical events. In 2013, Zhang Peilun's great-grandson Zhang Gongqing and others donated precious documents such as their great-grandfather's correspondence with the ruler and the diary manuscript to the Shanghai Library, from which we can see the political secrets of the late Qing Dynasty, especially the insider of a series of major operations, which have important historical value for understanding the naval construction in the late Qing Dynasty. Archives are the document system with the most preserved letters, and the letters in the archives determine their special value because of their attribution characteristics, making them more relevant than independent letters and having their complementary historical value. Among the nearly 160,000 Sheng Xuanhuai archives that have been published by the Shanghai Library, the number of letter functions has reached 90,345, of which 55 are From Li Hongzhang to Sheng Xuanhuai, 900 by Zheng Guanying to Sheng Xuanhuai, and 10 by Zhang Zhidong to Sheng Xuanhuai. Among them, there are many historical secrets, and some rare whistle-blowing letters have been preserved, such as Sheng Xuanhuai's secret letter entitled "Qi Dongye Language" from Tao Xiang, obtaining confidential information inside and outside the Forbidden City, "because it is related to the inside story, it is really unseemly, and it has been burned by Sheng Xuanhuai." But after all, it has left a part, and it is still a rare historical witness. Therefore, with the successive publication of secret epistles, it has become the norm as a historical material and has an important position in the historiography.
The artistic value of the ruler comes from the calligraphy artistry of the ruler and the engraving and engraving technique of the paper. According to the "Book of Han And The Biography of Chen Zun", Chen Zun "has a book of good nature, and the ruler of the people, and the lord is proud of his hiding", which shows that the collection of the ruler stems from the beauty of its calligraphy, and its artistic value has been valued since the Han Dynasty, so that it has been carved into the post, for the appreciation of the desk, or the collection of letters, showing taste. The treatises of the past dynasties have been described in detail, and the artistic value of his calligraphy goes without saying. Just as Li Yu in the late Ming and early Qing dynasties said in Li Yu's "Casual Love And Occasional Mail", "the system of simple notes, from ancient times to the present, I don't know tens of millions of changes", this kind of entertainment art "from the character instrument play, with flowers, birds and insects, all of them are not in shape, no day is new", has a very artistic beauty of craftsmanship, Mr. Liang Ying of the Shanghai Library made a comprehensive investigation of this in the "Notes", and I will not repeat it here. In short, in the history of Chinese literature, the ruler is one of the most document categories with art forms and connotations.
The social value of the ruler literature is determined by the social application and etiquette carried by its function. Some scholars believe that "for the ancient Chinese literati, there are two styles that almost no one does not write: one is poetry, and the other is letters. In fact, the writing of letters has a greater breadth, and it is the most social writing in our country, and even if you are illiterate, you will ask someone to write on your behalf. Therefore, the differences in identities and reasons between the two sides form a diversity of stylistic forms, and their various special titles show complex interpersonal network relationships and reflect the reality of social hierarchy. As an application of interpersonal communication, the ruler carries various scenarios of people's social life, and its social connotation is incomparable to other literature. For example, the scenes listed in "Qiushui Xuan Ruler" and "Xuehong Xuan Ruler" are waiting, celebrating, consoling, asking for trust, resignation, borrowing, promise, joking, inviting, self-description, praise, gift, celebration, farewell, hope, introduction, envy, persuasion, etc. From these two best-selling books, some people have analyzed the humanistic phenomena of the Shaoxing Shiye network, and their social historical value can be seen from this. The etiquette of the ruler style also makes it have a unique social value, and the ancient "shuyi" book is not only a norm for the writing form of the ruler, but also a solidification of the projection of social hierarchy and etiquette in the literature. Historically, correspondence has been the main form of information dissemination among people from all walks of life, and the ancient post stations and modern postal stations established for this purpose have built a mechanism for maintaining social exchanges. It is a "shuttle" that weaves interpersonal networks and feelings, and has profound sociological significance. A piece of paper Feihong, carrying countless human emotions, the sound dust of fish and geese in ancient poetry, touched the feelings of many people! In the past 30 years, the popularity of e-mail and mobile phone text messages has made letters sink and changed the way people interact. Therefore, the social value of the ruler is more remembered and cherished by people.
Six
The Shanghai Library has more than 130,000 originals from the Ming and Qing dynasties to the contemporary era, ranking among the best major libraries in China. The first source is the collection of donations, such as Zhang Yuanji, Li Yigong, Chen Zhi, Ye Jingkui, Ye Gongqiu, Gu Tinglong, Pan Jingzheng, Qu Fengqi and Wei Tao, the son of Mao Dun; the second is procurement, such as the antique bookstores purchased in Shanghai, Suzhou, Nanjing, Beijing and other places over the years; and the third is the collection of items handed over by the former Shanghai Municipal Cultural Relics Management Committee. In recent years, the Manuscript Museum of Chinese Cultural Celebrities exhibited by the Museum has actively explored the collection of manuscript literature, and the collection of letters of contemporary cultural celebrities has made important gains.
Since its establishment in 1952, the Shanghai Library has continuously collected, collated and studied rulers, revealing the collection of rulers in various forms. During the Spring Festival of 1961, the Shanghai Library held the "Exhibition of Qing Dynasty Scholars' Books", which "displayed more than 180 books and briefs of 120 famous scholars of the Qing Dynasty, with a thousand words and long letters, and short and simple notes, all of which were not published." It is a very influential academic special exhibition. In the past ten years, the collation and research of the library's collection has been continuous and has achieved remarkable results. The Shanghai Library's Collection of Ming Dynasty Rulers, whose rarity is treasured by the world, has been systematically sorted out and examined, and 8 volumes of the "Shanghai Library's Ming Dynasty Rulers" with a combination of original photocopies and punctuation typesettings have been published, and 586 Ming Dynasty rulers have been published, involving 341 authors. During the Kangxi Dynasty of the Qing Dynasty, the "Yan Family Collection of Rulers" collected by Yan Guangmin in Qufu was listed as a national first-class cultural relic, and this famous work of rulers also published 8 huge volumes of the original photocopied and punctuated typeset joint publication. In the publishing series of "Selected Manuscripts of the Past Dynasties of shanghai library", two volumes of Weng Tonggong and Yu Fan's rulers were introduced. In addition, the letters of Wang Kangnian's teachers and friends, Yu Dafu, Liu Yazi, Mao Dun, and others were published in special books, and provided a large number of rulers for the compilation and publication of many famous anthologies such as the Complete Works of Li Hongzhang.
Since its inception, the "Historical Documents" annual journal is a documentary academic series edited by the Institute of Historical Documents of the Shanghai Library, and since its inception, more than 3,900 rulers have been published in the library, such as Wang Guowei to Liu Chenggan, Zeng Guofan to Zhang Yunlan, Chen Baozhen to Youpeng Shuzha, Hu Pu'an Youpeng Shuzha, Li Hongzhang to Li Hanzhang, Li Hongzhang to Zhang Peilun, Shen Zengzhi's "Hai ri Lou Family Book", Ye Gongqiu's "Shuzha of The Distant Nunnery" and other rulers, which have been continuously published and printed, and a large number of original materials have been published. Colleagues in the museum also pioneered the research monographs "Saying Notes" (Shanghai Science and Technology Literature Publishing House) and "Ruler Style and Elegance - Catalogue of Ming and Qing Color Notes" (Shandong Fine Arts Publishing House) for the purpose of ruler paper. The museum's treasured collections of Song Tuo's "Seventeen Theses" (Shanghai Ancient Books Publishing House) and "Yu Gutai Fa Ti" (Shanghai Bookstore Publishing House) were also stunning.