Editor's note: Fu Shan (1607-1684), Ziqing Lord, a native of Taiyuan, Shanxi, was a thinker, calligrapher, and physician in the late Ming and early Qing dynasties. His life was subjected to great historical changes in the Ming Dynasty and the Qing Dynasty, and experienced social, ideological, and academic turmoil and reconstruction, when people said that he had "swept away a hundred years of filth", and posterity praised him as "the master of the old man, and the arrest of the later scholar".
"Frost full of niches - Fu Shan's life, thought and scholarship exhibition" was recently exhibited at the Shanxi Museum (co-organized by Shanghai Museum, Henan Museum, Suzhou Museum, Mianyang City Museum), interpreting Fu Shan from different dimensions such as life, literature, thought, and medicine, and trying to restore a real and three-dimensional image of Fu Shan.
Fu Shan's manuscript book "Private Notes of Yinren" (partial) is collected by the Shanxi Museum
Fu Shan's life spanned the Ming and Qing dynasties, he was in the torrent of the collapse of the earth, his life was full of ups and downs, several dangers, Ming Chongzhen went to Beijing for his teachers during the Ming Chongzhen years, qing shunzhi years implicated in the anti-Qing was arrested and imprisoned, Kangxi years were forced to participate in the "erudite Hongshi branch" and desperate resistance, these in the eyes of posterity is not without legendary scenes intertwined, not only constitute the life of a cultural relic, but also the epitome of the great historical changes in the late Ming and early Qing dynasties. And Fu Shan's chirping with his friends and his ardent love with his children and grandchildren have outlined for us a real and touching side of an ordinary person.
Fu Shan's life and integrity
Fu Shan's manuscript book of "Private Notes of People" is a precious historical material that he personally recorded in his capacity that during the ninth and tenth years of Ming Chongzhen's nine or ten years, students from Tong Province in Shanxi Province went to Beijing to prosecute Yuan Jixianming, who had been wronged, and finally won victories.
In the last year of Chongzhen, the imperial court was in a fierce struggle, and Zhang Sunzhen, who was then the inspector of Shanxi, framed Yuan Jixian, who was the governor of Shanxi, and Yuan Was sent to Beijing prison. A group of righteous students, represented by Fu Shan and Xue Zongzhou, rushed to call out and made extensive contacts, so students from all over Shanxi went to Beijing out of righteousness and went to Beijing to complain about their grievances. During this period, there were not only the incessant persecution of them by Zhang Sunzhen's party, but also the cowardice and cowardice that came from the disunity among the students; there were officials and officials at all levels in Beijing who cared for and ignored them, and there were also bad news that relatives and friends from their hometowns were implicated and imprisoned or even died in prison. However, Fu Shan and others never stopped the pace of the struggle, they wrote and even surrendered to the officials at the sight of the officials, and even when the struggle reached a climax, they even stopped Wen Tiren, who was then the first assistant to the cabinet, from complaining about his grievances. In the end, on the one hand, due to the efforts of the students and the pressure of public opinion caused by them; on the other hand, a group of justice officials who sympathized with Yuan Jixian and the students also reached out to help, impeached Zhang Sunzhen's various wrongdoings, and called for a retrial of Yuan's case, which finally made Yuan Jixian's unjust case known, and Fu Shan, Xue Zongzhou, and others became famous all over the world, and everyone in the world knew that there were such righteous people on the right side of the mountain.
Fu Shan Xingshu "Cao Songgong Sixteenth Birthday Preface Screen" (Twelve Articles) (Partial)
This precious manuscript written by Fu Shan himself to record the origin of the whole thing, "Private Notes of People", is not only a precious historical material for us to study Fu Shan's life and thought, but also because it involves all aspects of the history of the late Ming Dynasty, and then becomes a rare manuscript for us to study the political, social and academic history of the late Ming Dynasty.
In the Ming and Qing Dynasties, the old friends of the past were facing the new dynasty, and the provenance was different; and what Fu Shan was close to was naturally the same as the old rain with the same values as himself. Fu Shan's book "Cao Shuogong's Sixtieth Birthday Preface" in the Shanghai Museum can help us get a glimpse of Fu Shan's heart. The recipient of this set of calligraphy is Cao Shuogong, mingwei, a native of Fenyang, Shanxi.
The Cao clan was a member of the Fenyang Wang clan of the Ming and Qing dynasties. In the twelfth year (1639) of Cao Weizhong's Chongzheng Dynasty, he and Fu Shan were the same window of the Taiyuan Sanli Academy, and the two had a deep friendship. When Fu Shan lived in Fenyang, he often visited Cao's family and sang and talked about current affairs with Cao Shuogong. After the death of the Ming Dynasty, the temperamental Cao Wei was reluctant to come out as an official of the Qing Dynasty and lived in seclusion for many years. On the occasion of his sixtieth birthday, Fu Shan specially wrote the "Preface to the Sixtieth Birthday of Mr. Cao Shuogong", expressing the deep friendship between the two and praising Cao Wei's upright integrity.
Fu Shan's footprints in his life were half the world, when he was young, he went to Beijing to sue for the teacher, in middle age he went to the province for refuge, when he was old, he was forced to enter the capital to take the exam, plus he traveled back and forth between the north and the south, running east and west, contacting friends and friends, and lyrical travels, leaving behind many narrative songs and crying. However, Fu Shan had a strong affection for the hometown where Si grew up in Si, and the old home of Xicun in the north of Taiyuan City, the Hongchao, Qingyang Nunnery, and Hongye Cave where Fu Shan read and wrote nearby, the Songzhuang in the east of the city, the Jinci Temple in the south of the city, and the ancient temples in the city have left traces of Fu Qing's walking everywhere. Although the heavens and the earth change color, Fu Shan lamented that his life was like an overseas Chinese, "Taiyuan people as Taiyuan overseas Chinese" (Fu Shan,"Slogan Eleven Songs No. 3", Yin Associate edited "Fu Shan Quanshu" Volume 1, Shanxi People's Publishing House, 2016). But his hometown poems can often abandon the dust and depression, and appear the most vivid, light and lovely.
Fu Shan befriended many of Fangwai Zen figures, one because Fu Shan had studied Buddhism since childhood and was very proficient in Buddhist Zen truths, and the other because fu Shan himself was a relict and Taoist monk, and he was naturally close to the monks.
In 1919, the historian deng Zhicheng of the Republic of China purchased a volume of Fu Shan's handwritten book "Twenty-Three Monks' Chronicles" in Taiyuan, in which the Tianze monk was included, and he said: "The Tianze monk ... To every time you visit, you can't bear to wander and stay, and there is a heavenly fate in this." (Deng Zhicheng, "Fu Qing lord's "Twenty-three Monks Chronicle", "Bone Dong Trivia Complete Edition", Beijing Publishing House, 1996) Shows that the two people are in love.
The Jingye Nunnery, where the monk Tenzawa lived, was built in the early Ming Dynasty. In the thirteenth year (1640) of Ming Chongzhen, it was expanded and called Qingliang Temple, which became the dojo of the Linji Sect of the Nanyue Sect of Zen Buddhism. Due to its proximity to the ancient monument of "Baiyun Fei place" in Di Village, it was later renamed "Baiyun Temple" for Shanxi Inspector Tuna. Because there is a Zen Temple outside the north gate of Taiyuan City, it is commonly known as the South Ten Square Temple. Songzhuang, where the "Old Man of Songqiao" Fu Shan lives in seclusion, is not far from Jingye'an. We can even imagine that Fu Shan, in his spare time, often strolled to the temple to discuss the Tao with Zen Master Tianze, temporarily leaving the dust atmosphere and occasionally abandoning the world, which should be a moment when fu Shan, a relict, can relax.
Fu Shan Cursive "Picking Red Pear Leaves" Poetry Scroll Collection of Shanxi Museum
Located 60 miles from the county seat of Shouyang, Wufeng Mountain is named because it is surrounded by five peaks and resembles a lotus flower. Longquan Temple in the mountains was founded in the Tang Dynasty and is named after the spring water in the temple. In the seventeenth year of Ming Chongzhen, Fu Shan and his mother avoided the chaos in the mountains of Shouyang County, and later went to the Longquan Temple of Wufeng Mountain to worship Guo Jingzhong, a real person of Yang, as a teacher, a Taoist monk, and a true character generation, so he named it "True Mountain". In the "Collection of Frost And Red Niches", there are also cursive inscriptions and poems on Wufeng Mountain, and the preface begins as follows: "Hao Laofu holds the Ayako Suo book, the book has taken care of itself, and it seems that the family is on the line of curing ghosts, and he does not feel that he has lost his laughter, so he has this work." (Fu Shan's "Eight Rhymes of Self-Laughter in the Inscription Book", Edited by Yin Xieli, vol. 1 of "Fu Shan Quanshu", Shanxi People's Publishing House, 2016) Fu Shan is a Quanzhen Daoist who humorously calls his book a "ghost cure", which shows his human nature.
Hao Jiufu, known as Dexin, Ming Zhusheng, was originally a Member of the Jin Dynasty and a native of Shihe Village, Shouyang County. From Fu Shan's account, it can be seen that Hao Zhi Ayako asked Fu Shan to write. Fu Shan wrote this poem, which dealt in depth with the art of cursive writing. Later, Liu Xueya obtained FuShan's cursive handwriting, and Sui Leshi was located at the Longquan Temple of Wufeng Mountain. In this poem, Fu Shan talks about the writing of "Ning Humble No Qiao" (Wrist Yuan Luo Hu Humble), the innovation of calligraphy (not called the Zhongshu Guan, like the Yong Father), the structural beauty of cursive writing (intermittent tuanyuan, 杈杈安奈松), and the creative experience of calligraphy (three cups of busy meals, one sleep without healing). Looking back at the galloping beast, the spin-off bamboo wood dragon), the regularity of cursive writing creation (for pity scabs, can bitter vegetables as a maid), can be called the golden needle track model of calligraphy learning, coupled with the gentle writing of this work, majestic, such as vine tree disc error, dragon and snake changes, can be called a model of cursive art.
In the spring of the twenty-third year of the Qing Kangxi Dynasty (1684), Fu Shan's son Fu Mei died of illness, and Fu Shan was already a 78-year-old man. In his old age, he lost his son and was in pain. To this end, Fu Shan wrote more than a dozen "Weeping Poems". Famous people in the edition of "Weeping Poems": one is the manuscript book collected by the Shanxi Museum, and the other is the volume collected by the Taiwan Stone Bookstore. The versions differ slightly, but are generally the same and can be collated and supplemented with each other. In particular, the handwriting of the Shanxi Museum's collection is scrawled, with many modifications and serious smears, which should be the first draft of Fu Shan's "Weeping Poems".
The manuscript "Weeping Poems" consists of sixteen poems, except for one, fifteen, and sixteen, each with titles, which are weeping loyalty, weeping filial piety, weeping talent, weeping ambition, crying economy, crying courage, crying dry force, crying text, crying endowment, crying poem, crying book, crying word, crying painting. Among them, the crying economy has only the title and no poetry; the weeping courage, with only one sentence, seems to be unfinished. Looking closely at this draft, the original order was Weeping Zhongyi, Weeping Filial Piety II, Weeping Cai III, and Weeping Zhi IV, and then Fu Shan marked the last one: "Father weeps and sons are common, And Naiz is eighty..." marked as the first song, so the original order was changed to Crying Zhong ii, Crying Filial Piety III, Crying Cai IV, Crying Zhi V, and the rest of the order was marked in turn. Fu Shan has another trek after the poem, which is equivalent to Fu Mei's small biography, which is written smoothly and in one go, and the middle is slightly modified, but it is relatively clear. It seems that when Fu Shan wrote the poem, his mood was sad and emotional; when he wrote the poem, his mood had slowly calmed down. Fu Mei's death was an indescribable blow to Fu Shan, who was nearly 80 years old. Four months after Fu Mei's death, Fu Shan also died with sorrow.
Fu Shan's "Crying Poetry Album" (partial)
Entering and Leaving hundred homes: Fu Shan's scholarship and thought
The 17th century was an era of diverse and drastic changes in China's history and culture, and all ideas, religions, science and technology, art, and literature were like great rivers flowing to the sea, violently colliding in the turn and reverberation, exploring the way forward. Retro and innovation, orthodoxy and wildness, exclusion and tolerance, in this era cleverly coexisted, Fu Shan's literary concept can reflect such characteristics of the times.
Fu Shan is good at Tang poetry, the best du Fu, but also the poetry of various dynasties. Fu Shan's own poetry is often in addition to the sense of sincerity, the pursuit of obscure poetic style - reading Fu Shan, it is not easy, but carefully read, under the wrapping of layers of crooked teeth, it is a fu Qing lord who is extremely affectionate.
"Eight Songs of Yongshi" is a group of poems created by the Jin Dynasty literary scholar Zuo Si. Its name is Yongshi, which is actually Yonghuai, borrowing ancient things from the ancients to pour the blocks in the hearts of poets. These eight poems, with their profound social content, cast the poet's ideal of life and occupy a special position in the history of poetry, and successive generations of poetry critics have highly evaluated this group of poems. In Zuo Si's life, although the "good map" became a dream and his ambitions were not stretched, he did not bow down to the magnates and roll into the filth, but he resolutely cut off the common thoughts, returned to the countryside, and cleaned himself to the end, and this point was much in line with Fu Shan's spiritual pursuit.
It should be said that when the scribe transcribes the poems of his predecessors, he must have a profound understanding, study and resonance with the text, especially this set of gifts, which condenses the desire to say in Fu Shan's heart. Epic poetry is a common poetic genre in which ancient literati express their heartfelt hearts, and Fu Shan himself has composed thirty-six poems of "Yong Shi Xing Xing Miscellaneous Poems", which are the perfect entry point for reading Fu Shan, studying Fu Shan, and entering Fu Shan's reading world and heart.
Since the Song Dynasty, the acceptance and study of Du Fu's poetry has not faded from generation to generation, and by the end of the Ming Dynasty and the beginning of the Qing Dynasty, social turmoil, the people's chaos and turmoil, intellectuals have the same pain in their hearts as Du Fu who experienced the "Anshi Chaos", so the study and interpretation, annotation and transcription of Du Fu's poems have reached a climax, and Fu Shan is one of the representatives.
Fu Shan not only wrote special works such as "Du Shi Rhymes and Characters Returning", "Reprinting a Thousand Family Notes on Du Shi's Commentaries", "Du Shi Tong Annotations", and "Du Yu Yu's Theory", but also often wrote poems after reading Du Poems, expressing his heartfelt feelings, and even often wrote Du poems, and even copied a poem, which can be described as empathy and thoughtfulness. However, Fu Shan did not follow Du Shi in form, and even consciously rebelled against Du Shi's influence on him, which was the embodiment of Fu Shan's independent consciousness of literature, and for Du Shi, he was more of a respect for the concept of literary history. Reading Du Fu through Fu Shan, what we hear is another kind of low-wandering song of the relic's heart song.
Although from the handwriting and writings, it is not difficult for us to find that in fact, Fu Shan has a deep study of Song, Yuan, Ming and even early Qing poetry, but out of his admiration for Tang poetry, he is particularly fond of Tang poetry.
Since the late Ming Dynasty and the ming dynasty, various literary genres have disappeared one after another, advocating the retro "Later Seven Sons", the public security faction that sings "solo lyrical spirits", the Jingling Zhong Tan who marked "deep and lonely", and Li Zhuowu, who advocated the "childlike theory", all of which have left a deep imprint on literary history. Literature is the expression of the heart and temperament, in a sense, it is a reflection of the private academic field, Fu Shan's choice and acceptance, understanding and advocacy of Tang poetry, out of his own self, never follow the customs, understanding this, we see Fu Shan's tang poems, will have a different meaning.
Among the calligraphy of Fu Shan, which has been handed down, there are a considerable number of self-composed poems. Fu Shan's poetry has always been obscure, and the reason for this is, of course, that fu shan's learning has flooded hundreds of families and a huge number of people; second, because Fu Shan's literary thought, Shi Chengzongshang, has had a clear influence on his creation; third, because of Fu Shan's status as a ming relic, he has to hide many of the meanings he wants to develop under the "puzzle"; fourth, in Fu Shan's poetry, there are not only a large number of "classical", but also a very large number of "modern classics". However, the most fundamental reason for the difficulty of his poetry is fu shan's unique personality, and his personality of being both proud and laughing and scolding is reflected in the poetry.
Fu Shan Shu Zuo Si "Epic Poem" Ten Screens (choose one) Mianyang City Museum collection
Since the late Ming Dynasty, Chinese academic thought has become increasingly active and diverse, with science, psychology, and primary schools, one after another; Confucianism, Buddhism, and Western learning have competed with each other. Fu Shan lived in such an unprecedented academic era, with his strong academic ability, he was familiar with various academic disciplines, in addition, beyond the ordinary academic energy and reading range made him outstanding achievements in the field of history, in the field of sub-learning that has long lost his voice. When future generations look at Fu Mountain, they are all impressed that it is worthy of a cultural peak, and the cornerstone that constitutes this cultural peak is the hard-reading yellow scroll under countless green lamps, and the pen and ink marks condensed on the silk.
In the late Ming and early Qing dynasties where Fu Shan lived, Song Ming Theory was still ideologically dominant, the Four Books and Five Classics were still enshrined as orthodox, and the study of the Sons was excluded from orthodoxy and even regarded as "heretical". In this context, Fu Shan sang about revival of sub-learning, put himself in a heretical position that was in opposition to orthodoxy, and even wrote poems to show his attitude: "Heresy cannot be resigned, and the true meaning is interpreted by whom"! (Fu Shan's "Poetry of The Rock Path Immediately Reply to Lian Qian's One Hundred Rhymes and Two Grandchildren", Yin Associate editor-in-chief of "Fu Shan Quanshu", vol. 1, Shanxi People's Publishing House, 2016) can not be described as deaf and deaf.
Fu Shan expressed his mind by studying zhizixue, corrected the customs of the times, and corrected people's misunderstanding of Zhuzixue. He believed that the Book of the Sons was "strange and gratifying", could kill the inherent values and thinking methods, could "mingzhi, see the tao, and take the festival", and open up a new situation for thinking and learning. Fu Shan has a very deep study of "Zhuangzi", "Xunzi", "Huainanzi", "Gongsun Longzi", etc., often with notes, commentaries, comments integrated, and involved in primary schools and history, reflecting his profound academic skills, but also constitute an important part of Fu Shan's handwriting.
Fu Shan's Compilation of the Names and Rhymes of the Two Han Dynasties was compiled by chongzhen at least in the fifteenth year of Chongzhen (1642). The whole book is divided into two parts: "Western Han Book Name Rhyme" and "Eastern Han Book Name Rhyme", with the names of the two "Han Shu" chronicles, listing names, titles, strategy, references, and notes, arranged in the order of "Hongwu Zhengyun", rhyme with the order of words, and the words appear in the order of the book, which is one of the few indexing works in the Ming Dynasty. In addition, Fu Shan also annotated more than ten historical books from the "History of History" to the "History of Yuan", and from Fu Shan's poems, we can also see his attention and familiarity with the History Department.
The development of historiography in the Ming Dynasty was exhausting, but what Fu Shan and historians in the late Ming and early Qing dynasties adhered to and pioneered was the introspection and revitalization of historiography by intellectuals since the late Ming Dynasty, which had profound social significance and the background of the times, and objectively also played a leading role in the development and prosperity of Qing Dynasty historiography.
For 300 years, in the word of mouth of ordinary people, Fu Shan's most prominent identity is undoubtedly that of a doctor. The miraculous medical skills coupled with the legendary and miraculous stories reflect the image and status of Fu Shan in the minds of the people. "If you are not a good face, you will be a good doctor", this is the value consensus of ancient Chinese scholars, and for Fu Shan, this is a skill that makes it easier for the dynasty to support the family after the dynasty. Fu Shan, who refused to become a doctor, chose to practice medicine and lived with the "children selling medicine markets", which showed the tenacity and freedom of the remnants in helplessness, and left many legends and reverie for future generations.
For hundreds of years, due to the great fame of Fu Shan's doctors, there are many medical books written by Fu Shan, such as "Fu Qing's Main Female Department", "Andrology", "Qingbao Secret Recipe", "Dialectical Record", "Theory of Various Diseases of Size", "Secret Record of the Stone Chamber", etc., all of which are regarded as guidelines for doctors, many of which are still required books for Traditional Chinese medicine even today. Whether these works were really written by Fu Shan or were infiltrated by later generations, although there are still different opinions in the academic community, as a cultural phenomenon, "famous doctor Fu Shan" has long been deeply rooted in the hearts of the people.
And Fu Shan's medical thought, we can see from his "Xingshu Medicine Formula Album", from the drugs listed by Fu Shan, basically covers the efficacy of traditional Chinese medicine aimed at promoting the lungs, blood invigorating blood, improving qi, and strengthening the spleen. From "old people are not allowed to take the cold agent" and "anti-guide drugs... It can be seen that Fu Shan Kaifang pays more attention to different people.
Fu Shan's "Frost Red Niches"
Fu Shan wrote a lot in his life, but because of his open personality and ability to see through the world, he was not very prepared to clean up the poems he wrote in his life, and the poems and miscellaneous articles in the world were scattered with the owner. The well-known "Frost Red Niche Collection" is actually not a collection of Fu Shan's lifetime, but is continuously collected, edited and supplemented by posterity.
When Fu Shan was alive, his friend Dai Tingyu of Qixian once inscribed the "Poems of the Four Men of Jin", of which Fu Shan and his son Fu Mei occupied two families, which were a volume of "Frost Red Niche Poetry Sketch" and a volume of "My Poetry Sketch", but only one volume of each volume was too small, and Fu Shan's poems were only a few, which was completely insufficient to reflect Fu Shan's literary achievements. Between Qing Yongzheng and Qianlong, Zhang Zhifu, a wenxi man, had searched for and collected Fu Shan's poems so that he "almost prepared a large amount, stored a bag, carried it with him, and fu Zi was not arrested, and he traveled to the right side of the river one day and died in his residence." Or probe its pockets, and the poems of Mr. Li will be lost." (Qu Yuansu's "Original Preface to the Collection of Frost Red Niches", Liu Yue's edition of "The Collection of Frost Red Niches", Three Years of Qing Xianfeng) can be regarded as an indiscriminate collection of Fu Shan's poems on a large scale. Although Zhang Zhifu died, his disciple Zhang Yaoxian (Zi Sixiao), a Yangqu man, took over his baton and searched for him. Although forced by the increasingly tense pressure of the literary prison at that time, Zhang Yaoxian also "destroyed the board" of the book, but then Zhang Yaoxian insisted on engraving and printing the "Frost Red Niche Collection", which was published in the twelfth year of Qianlong (1747), twelve volumes, an appendix volume, and six volumes of Fu Mei's "My Poetry Collection". This is the famous Zhang engraving of the "Frost Red Niche Collection".
Fu Shan Cursive "Two Songs of Unconsciousness" one of the poem scrolls Shanxi Museum collection
Later, in the thirty-second year of Qianlong (1767), the Chizhou Shidai people Su Er carved the "Frost Red Niche Poetry Banknote" without volume, two volumes and one letter, which was engraved for Su. In the six examples written by Liu Zhen at the beginning of this volume, Liu Shi sighed:
"Junzhi is highly knowledgeable, profoundly learned, involved in the immortal interpretation of the heart in his later years, and has subtle insights, and can be different from obstacles... Calligraphy is ancient, and those who obtain its handwriting are regarded as arches, so their poems are always obtained from others. There are several copies of his manuscripts hidden, and they are also stupid, and they have always been difficult to search for skeleton plates. Very few people know his poetry. There are not many poems selected here, but only those who see what they see, and they are eager to give them.
Zhengjun poems are recorded with them, and their chronology cannot be detailed. And both are divided into categories, and their years and months are more difficult to note. Therefore, those who note the year and month between the original poems are also removed in the form of examples, and the viewer forgives them.
Silk handwriting, dot paintings between the mutilations, then the fish Lu Hai Feng's blackmail, can not guarantee that it will be nothing. A liberal gentleman, when there must be those who do not hesitate to teach the right, and even more fortunate. (Liu Zhen's "Frost Red Niche Poetry Banknote", Su Er's inscription "Frost Red Niche Poetry Banknote", Qianlong Thirty-two Years)
From this, we can not only see the difficulty of searching for Fu Shan's poems. Liu Yan was a friend of Zhang Yaoxian, and he wrote down the Yun Zhang carved version only 20 years after the "Poetry of the Red Niches of The Frost" at the end of the volume, and when he asked Zhang Yaoxian himself, Zhang Carved was no longer available, which showed that at that time, the wind was pressing and the respect of the scholars for Fu Shan had formed a strong contrast, but in this call, the more complete and better "Frost Red Niche Collection" came out, which was also inevitable.
During the qing jiaqing and Daoguang years, Zhang Jingsheng of Shouyang searched for six volumes of Fushan's poems that were not contained in the previous engravings, but unfortunately he did not die before he could pay for it, so his brother Zhang Guyu and Shouyang man Liu Yue (Zi Xueya) published forty volumes of the "Collection of Frost Red Niches" in the third year of Xianfeng (1853). In the "Frost Red Niche Collection" at the beginning of the volume, Liu Yue said: "Dai Fengzhong carved the "Frost Red Niche Collection" cannot be obtained. Yangqu Zhang Sixiao searched for twelve volumes, and also compiled six volumes of Mr. Zishou Maojushi's "My Poetry Collection", zhaoyu Liang Zunfu assisted in engraving in Yixing, and colleagues were suspicious and destroyed its board. Tongyi Zhang Jingsheng received six volumes of the original engraving that was not contained, called 'picking up the remains', but the real grass was weedy, and it was not time to pay for it. His brother Gu Yu obeyed his wishes and visited Luo Gong with Yu Gong, and the more he gained in the past forty years. Hide it, every time you browse, sigh with excitement. Nong ZiDong, Yu Du's disciples according to the true transcription of the ministry, in order to figure fu Zi, for the purpose of the tenth has five, volume 40, "My Poetry Collection" volume ten has one, Yan Ri 'reserve', in order to obtain the wrong, or the money can not be passed without false accusations. (Liu Yue's "Small Quotation of the Collection of Frost Red Niches", Qing Xianfeng Three Years, Shanxi Museum) It can be known that Xianfeng was compiled according to Zhang's engraving, and Liu Yue carved this book with his 40 years of Luo Visiting, which can be called a great hero of Fu Shan.
Ding Ben's "Frost Red Niche Collection" Collection of Shanxi Museum
Later, at the end of the late Qing Dynasty, out of respect for the sages of the Three Jin Dynasties and the moral need to promote integrity, Ding Baoquan of Shanyang, who was then the governor of Shanxi, published the "Collection of Frost Red Niches" according to Liu Ben, forty volumes, three appendices, and one volume of annals, when in the third year of Xuantong Xinhai (1911), the first preface of this volume is titled "Yi Tong Three Years Old Xinhai Mengxia Shanyang Ding Baoquan Order in Taiyuan Festival". Ding Baoquan was a scholar of the fifteenth year of Guangxu (1889), and this book is also known as the Ding Carved Ben. It is a collection that Ding Baoquan hired famous scholars and bibliographers Miao Quansun and Luo Zhenyu and revised according to their opinions, and is accompanied by a volume of Fu Shan's biography, strategy, sacrifice text, "The Families Send Tribute to The Poetry of Huai Yang", "The Preface to the Inscribed Editions of this Collection" and "The Chronology of Mr. Fu Qingzhuo", which is rich in information and provides a lot of help for the research of future generations.
In addition to the above several "Frost Red Niche Collections", Fu Shan's poetry collection also has the "Fu Shan Testament", which was published by Guangxu Ding Wei (1907) Pingyao Wang Jinrong. Some scholars also suspect that Wang Ben was carved by Wang Jinrong's descendants. There is an excerpt from Liu Yu's Xianru Waiji in Wang Ben's "Collection of Frost And Red Niches", which is contained in the book, although there are some inadequacies, but it is of special significance for the study of Fu Shan's reputation and acceptance history in the folk, and it should not be abandoned.
The Shanxi Museum also has a set of "Frost Red Niche Collection", which is a smaller open book and easy to carry, and the content is the Ding Ben system.
In fact, after entering the Republic of China, most of the people carved Zi Xing according to Ding Ben's "Frost Red Niche Collection", and Fu Shan's poetry collection was also spread through Ding Ben, such as Taiwan's Hanhua Cultural Undertaking Co., Ltd. and Wenshizhe Publishing House in 1971 and 1975 respectively, and the Shanxi People's Publishing House also photocopied and published the "Frost Red Niche Collection" in 1984 according to Ding's engraving, which was valued by Xuelin for a while. In order to consider the preservation and dissemination of the edition of Fu Shan's poetry collection, the Shanxi Ancient Books Publishing House photocopied and published Liu Ben's "Frost Red Niche Collection" in 2004, which belongs to one of the "Jin Humanities Survival" of the society.
In 2007, in order to commemorate the 400th anniversary of Fu Shan's birth, the Shanxi Ancient Books Publishing House also photocopied and published Ding Ben's "Frost Red Niche Collection" annotated by the famous Fu Shan research expert Chen Jianxian.
In addition to the above-mentioned publications, which are mainly photocopied, Shanxi scholars have worked diligently and pooled the strength of the province to organize and publish the "Fu shan Quanshu", "Fushan Quanshu Supplement" and "New Compilation of Fushan Quanshu" in 1991, 2004 and 2016, and Fu Shan's academic and ideological achievements have become more and more perfect and perfected under the unremitting efforts of scholars - of course, the whole book can never be complete, and it will never be endlessly perfect, which is also the driving force that spurs Fu Shan researchers to continuously improve and make unremitting efforts.
Fu Shan is a monument of Shanxi culture and an eternal symbol of the humanities of the Three Jins, and the study and dedication of Fu Shan's works and the exploration of Fu Shan's scholarship, thought and spirit will be a never-ending subject.
Source: Art Market