The Buried Chamber Inscription is a Tang Dynasty inscription, which is short in length and takes into account both ideological and artistic nature, so it has always been well received. However, around this article, there have been many "doubts" and controversies.
For example, whether the author of this article is Liu Yuxi or not; how to interpret the "Golden Classic" and "Suqin"; whether there is a mistake in the copy of the Buried Chamber Ming, and what is the interpretation of the "Bai Ding" in the text.
In particular, the explanation of "Bai Ding" once set off a storm on the Internet. Due to the fallacy of the interpretation of this inscription, some of the students' parents pointed out that the author of the Burrow Inscription was suspected of discriminating against "civilians", so they demanded that the inscription be removed from the language textbook.
Below I have made a brief summary of the various questions about this "Buried Chamber" and various interpretations of the academic community, and I will introduce it to you here. By the way, I tried to answer the question about "Bai Ding", hoping to throw bricks and jade and trigger everyone to discuss together.
On the question of the Buried Chamber
At present, there are four questions about the Buried Chamber Ming: first, who is its author; second, what is the correct interpretation of the "Golden Classic" and "Suqin"; third, whether the "Buried Chamber Ming" has been erroneously copied; and fourth, what is Liu Yuxi's attitude toward "Bai Ding".
Let's start with the first question: who is the author of the Buried Chamber? Whether the author of "Buried Room Ming" is Liu Yuxi, in fact, there has been a great controversy in the academic community.
In the 1970s, a group of academic celebrities, including Wu Xiaoru, Bian Xiaoxuan, and Beishan, unanimously concluded that the "Buried Room Ming" was a "pseudonymous work". In other words, someone created this article in the name of Liu Yuxi.
One of the important reasons is that this inscription has never been included in Liu Yuxi's personal collection. In addition, the Tang Dynasty calligrapher Yan Zhenqing once mentioned that a man named Cui Chu created the "Buried Room Ming".
In folklore, the author of the Buried Chamber Is Liu Yuxi. However, during the Northern Song Dynasty, Ouyang Xiu, Liu Xun and others refuted this statement. Ouyang Xiu adopted Yan Zhenqing's statement in his New Book of Tang, believing that the author was Cui Yuan.
In the late Southern Song Dynasty, someone wrote the "Integration of Ancient and Modern", and for the first time officially adopted Liu Yuxi's signature. In the Qing Dynasty, this inscription was selected for the "Ancient Literature Guanzhi", so the author of the "Buried Room Inscription" was Liu Yuxi, which became a matter of certainty.
However, celebrities in academia such as Wu Xiaoru believe that the author of this article is neither Liu Yuxi nor Cui Yuan, and should be an "anonymous family". Since there is no correct answer to this question so far, I will not delve into it here.
The second question of the Buried Chamber Inscription: "Suqin" and "Golden Scripture" really mean. In many related commentaries, the "suqin" in "you can tune the suqin and read the golden scripture" is interpreted as a piano without decoration, and the "golden scripture" is interpreted as a scripture written with "mud gold".
However, some scholars have pointed out that the "Golden Sutra" in the "Buried Chamber Inscription" refers to the ordinary scriptures of the "two houses of Buddhism and Taoism", which is not necessarily written by "mud gold". "Suqin" is also not an ordinary "unadorned" qin, and the "suqin" in this article originates from an allusion.
According to legend, Tao Yuanming of the Jin Dynasty himself could not play the piano. Therefore, whenever a guest arrives, he will take out a stringless "Suqin" and pretend to be playing to entertain the guests, and the allusion of "Suqin" is often used in Tang poems.
For example, in Li Bai's poem, there is a sentence that "Suqin has no strings, and the wine is used for kudzu", and Bai Juyi's poem has "Suqin wants to get half stringless", which mentions that "Suqin" is stringless. So what these literati play is, in fact, the "invisible piano."
Understanding this question can also explain the third question about the Buried Chamber: whether the article has fallacies in the copy.
Because in the previous interpretation, I don't know that there is an allusion to "Suqin". Therefore, some people believe that the phrase "you can tune the suqin" contradicts the "chaotic ears without silk bamboo" in the following text.
Therefore, some people suspect that its original text is a mistake in the spread, "the chaotic ear of the silkless bamboo" should be "the pleasant ear of the silky bamboo". But in fact, after the mystery of "Suqin" was unveiled, this question no longer existed.
The fourth question in the Buried Chamber is the interpretation of "Bai Ding". All along, some parents on the Internet have pointed out that the statement in this article that "there is a great deal of humor and no white ding" is inappropriate, and the author is not discriminating against "white ding".
I have read many articles and want to excuse the author by interpreting the word "white ding", indicating that the author does not discriminate against ordinary people at all, but after reading some literature, I found that everyone's interpretation of this article may have some problems.
"Bai Ding" originally referred to ordinary people without meritorious names, but in this article, it actually refers to those outside of "Hongru". To know why the author says this, you can relate to the context and thoroughly understand the implications.
Before the author mentioned that "there is a great deal of laughter and laughter, and there is no white ding", the author once explained that the environment of the burrow where he lived was "moss marks on the upper steps of green, grass color into the curtain green".
Moss grew up the steps, and weeds grew into the curtains. It is conceivable that the place where he lives is not only "no white ding", in fact, there can be no "Hongru". Because no one went at all, he was alone.
After writing the two sentences of "Talking and Laughing with Hongru", the author used six sentences in a row to make a wonderful description of the virtual reality. He claimed to be able to "play the piano in the air" and read some Buddhist texts in the Burrow. The advantage is that there is "no mess of silk and bamboo ears" and no "labor form of the case".
In connection with the context, it is not difficult for us to judge that the author's so-called "Hongru" is based on the existence of imagination. In fact, where did these "Hongru" come from? It all comes from those "Golden Scriptures".
Because he was alone in a dark room, he could only accompany the Buddhist scriptures, and reading books was to exchange ideas with the author of the books. The classics that are read are also written by "Hongru", so naturally there is "no white ding".
If "Bai Ding" is also written into such a huge production, then "Bai Ding" will also become "Hong Ru". Therefore, the author of the "Buried Room" set the sentence "there is no white ding" because he despised "civilians".
epilogue
No wonder some people say that today's people read ancient chinese as much as they read foreign languages. A short Tang Dynasty inscription, there are still so many "doubts" and controversies in the academic community, ordinary people can't understand it, misread "Bai Ding", thinking that Liu Yuxi discriminated against the commoners, it is very normal.
However, it is surprising that the author of "Buried Room Ming" is likely not Liu Yuxi at all. Therefore, no matter whether the sentence "there is no white ding" in the article, whether there is discrimination against "civilians" or not, it seems that it does not matter to Liu Yuxi.
Who is the real author of this article, the first more authoritative statement is from Yan Zhenqing's "Cui Yuan". As for the author's statement that Liu Yuxi, it was originally "gossip" originating from "folk".