The Song Tuoshi drum inscriptions in the collection of Mitsui in Japan are all engraved in the Republic of China

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Source | "Collection of Ancient Art" No. 333 (June 2020 issue) Author| Ma Fame Sharing | Shuyi Commune (ID: shufaorg)

Note: Stone Drum Text, Pioneer, Stamina and other collections in Japan's Mitsui Tingbing Pavilion (now Mitsui Memorial Art Museum), the Republic of China by the Japanese collector Mitsui Takajian huge money purchased, it is said to cost as much as 42,000 yen (Taisho 10), at that time a beech wood built of Japanese-style house was only 1,000 yen. The person who bought the palm eye for the Mitsui clan was Kawai Quanlu. "Xiling Seal Society Chronicles": "Kawai Xianlang, the word Quanlu, a native of Xijing, Japan. The study of the history of Jingcang, the work seal, and the good identification of the gold and stone tablet version. Several tours between Jiangsu and Zhejiang, China. He once joined the headquarters and was known to Wu Junqing. Engraving the Qin and Han dynasties, the rich and ancient, the Jin and Shi families are happy and make friends".

For nearly 100 years, the "Ten Drum Zhai Stone Drum Text" has been regarded as the benchmark in the surviving rubbings of the "Stone Drum Text". If this newly discovered rubbings of the "Stone Drum Text" are really collected by the "Ten Drum Zhai" of Anguo in the Ming Dynasty and the Song Rubbing, it will be another major discovery in the history of Chinese cultural relics, no less than the discovery of the rarest copy of the "Chunhua Pavilion Post" of the Northern Song Dynasty that I had handled.

Fig.1 The inscription on the face of the new edition of Shiguwen. (Courtesy of Ma Chengming)

It all started in late October 2012 when I attended the 3rd World Chinese Collectors Conference in Taipei. One day, I received a call from a friend in Taipei, Hu Jun, asking where the author was? In the U.S. or in China? The author replied that it is not in the United States or in China, but in your hometown of Taipei. Hu Jun said that he had something to ask for advice and made an appointment to return to China to meet. We met in Shanghai in November, and after greeting each other for many years, Hu Jun took out a volume of inscriptions for the author to identify. The inscription on the album reads: "Song Tuoshi Guwen Ten Drum Zhai Old Collection, Xin Mao was obtained from the descendants of Qin Wenjin at the end of the year." (Fig. 1) I was very shocked to see the stick, and the "Stone Drum Text" collected by the great collector of the Ming Dynasty Anguo "Ten Drum Zhai" is very important. However, I am very surprised, because the author knows that the "Stone Drum Text" (hereinafter referred to as the "Ten Drum Zhai Stone Drum Text") in the collection of Anguo "Ten Drum Zhai" in the Ming Dynasty are all Song Tuo books, and there is no Song Tuo copy of "Shi Gu Wen" in both public and private collections in China. Therefore, in the past 100 years, the "Ten Drum Zhai Stone Drum Text" has been regarded as the benchmark in the surviving "Stone Drum Text" rubbing. Moreover, as far as the author knows, the rubbings of the "Ten Drum Zhai Stone Drum Text" have all been lost to Japan, and I have never heard of any collection in China. If this rubbings of the "Stone Drum Text" are really collected by the "Ten Drum Zhai" of Anguo in the Ming Dynasty and the Song Rubbing, it will be another major discovery in the history of China's cultural relics, no less than the discovery of the rarest copy of the "Chunhua Pavilion Post" of the Northern Song Dynasty that I had handled. It is possible to fill in the rubbings of the "Stone Drum Text", and there is no blank in the Song rubbings in China. With such a mentality, the author is sincerely afraid to open this inscription. (Fig. 2)

Fig.2 The inside page of the new edition of Stone Drum Script. (Courtesy of Ma Chengming)

However, before that, it is necessary to introduce the "Stone Drum Text" and the "Stone Drum Text" collected by the "Ten Drum Zhai" of Anguo in the Ming Dynasty.

The "Stone Drum Text" and the "Stone Drum Text" and "Stone Drum Text" collected by the "Ten Drum Zhai" of Anguo in the Ming Dynasty are the earliest large-scale stone carvings in China with characters engraved on stone, because they are engraved on the stone pier shaped like a drum, so it is named "Stone Drum Wen". As the earliest stone inscription in China, it has a very important position in philology, literature, calligraphy, and inscription, and has always been valued and studied by experts and scholars. The age of the stone carved in the stone of the "Stone Drum Text" can be determined in the pre-Qin era, more than 2,500 years ago, and the calligraphy of the carved stone is the ancient script. The content of the carved stone is ten four-character poems that record the king's hunting, fishing and hunting, and are engraved on ten drum-shaped stones. The circulation of the original stone is found in the early Tang Dynasty in the south of Yongxian County, Qizhou, Shaanxi Province, and the famous ministers of the Tang Dynasty, Su Mian, Li Sizhen, calligrapher Zhang Huaijun, Yu Shinan, poet Du Fu, Han Yu and others, have poems and praises for the "Stone Drum Text". At the beginning, the original stone was scattered in the field of Chencang, after Zheng Yuqing moved to the Confucius Temple of Fengxiang, after five generations of war and then dispersed, when Sima Chi of the Song Dynasty knew Fengxiang, the stone drum was moved to the Fuxue, when it has lost one of its drums, leaving nine stone drums. In the fourth year of Huangyou of the Northern Song Dynasty (1502), he visited Fu Shi and lost a drum, but the upper end of this stone has been cut off into a mortar, and the text is missing three characters on each line. During the Daguan period of Huizong of the Song Dynasty, the original stone was attributed to the Beijing Division (Kaifeng, Henan). The Song Dynasty crossed to the south, and the Jin people moved the stone drum to Yanjing, and then it has been stored in Beijing Guozijian. In the 20th century, it moved to Sichuan during the Anti-Japanese War, and moved back to Beijing after the war, where it is now in the Palace Museum. This is the migration of the stone drum rough over the years. After more than 2,000 years of wind and rain, sun and rain, natural disasters, man-made damage, and gradually decreasing, the number of words engraved on the stone drum has always been concerned and valued by researchers and collectors. Historically, there are more or less records of the words of the "Stone Drum Text", such as: Sun Juyuan has 497 words in the Tang Dynasty Record, Ouyang Xiu has 465 words in the Ancient Records, Fan Qintianyi Pavilion has 462 words, and Xue Shanggong has 451 words. Most of the above are written records, and the only physical rubbings that survive are Fan Qintian's pavilion book, which was originally collected by Zhao Mengfu of the Yuan Dynasty. However, in the Qing Dynasty Xianfeng ten years (1840), it was destroyed by Bingxie. Since then, there has been no physical appearance of Song Tuoben of "Stone Drum Text".

Fig.3 The new edition of the Stone Drum Script has two lines at the end: "澹菴成 always looks at the thatched cottage of Fengxi". (Courtesy of Ma Chengming)

The appearance of the "Ten Drum Zhai Stone Drum Text" and the sudden appearance on the market at the beginning of the Republic of China in the Ming Dynasty collector An Guo's "Ten Drum Zhai" collection of the Northern Song Dynasty "Stone Drum Text" was printed and published for the Shanghai Art Garden True Appreciation Society. Yiyuan Zhen Appreciation Society is a Wuxi Qin Wenjin, Qin Qing Zeng father and son, the fourth year of the Republic of China (1915) in Shanghai Sanma Road (Hankou Road) founded and opened a shop specializing in the printing of inscriptions in Koro and metal plates. In that year (about the seventh year of the Republic of China, 1918), the Society's "Supplementary Notice on the Printing of Zhou Drum and Qin Tablets by the Society" made the following explanation for the publication of the extension: "The Northern Song Dynasty was the first of the Ten Drum Zhai of the An's Ten Drum Zhai in Xishan Mountain. Guipo called the Song Neifu to give the book. …… There are two kinds of right Zhou Qin, beautiful and difficult to combine, for Molin Hongbao. It is also the most valuable of the master's steles. At the beginning of the opening of the Society, I asked for a fake seal, but because the owner was deeply closed and stubbornly refused, he was unwilling to surrender, so he had to think of the second thing to avoid the copy being fake. Zhou Drum is the fourth book of An's, and Qin Tablet is the first incomplete book of An's, although the number of words is small. All of them are Song Ta. It has been in circulation for more than ten years." [Note 1] This is the earliest time when the "Shigu Zhai Stone Drum Text" appeared, but the time when the "Ten Drum Zhai Stone Drum Text" appeared in the world was after Guo Moruo saw the photos of the pioneer, middle, and later copies of the "Ten Drum Zhai" in Japan and published the book "Research on the Stone Drum Text". The book was published by the Commercial Press in July 1939 as one of the series of the Confucius Institute. When the third edition was published in 1959, Kwok detailed the discovery of the Shigu Zhai Stone Drum Script in his Reprint of Benyan. Here is an excerpt from the book for the reader to get an idea. In the autumn of 1932, I saw a set of 42 rubbings of photographs at the Bunqiudo Bookstore in Tokyo, Japan, with no titles. Later, I learned that this was the photo of Hou Jinben, which was lent to a friend by Mitsui's son and was scattered. …… I sent the photo back to China, and Ma Heng and Tang Laner were responsible for printing it. It was about the same time as the discovery of this set of photographs. The Shanghai Art Garden True Appreciation Society printed the Zhongquan book, but vainly changed the word "right" to the word "A", and deleted it after passing it off as the book "Ten Drum Zhai Zhongjia Ben" to cover up its forgery. In the summer of 1936, the collector Liu Tizhi sent his collection of 20 volumes of oracle bone inscriptions to Tokyo, hoping to use them for research. I selected 1,595 pieces and compiled them into "Yin Qi Cui Edit", which was printed in Japan in May 1937. When I was compiling the work, a bone writer in Tokyo, Senro Kawai, heard that I had a rubbing copy of the oracle bones of the Liu family, and he suggested to me that he would exchange and borrow the photographs of the three stone drum inscriptions of Ankoku that he had treasured. Kawai was Mitsui's academic advisor, and in fact he was a broker who helped Mitsui buy ancient Chinese cultural relics. He was the one who brokered when he was bought by Mitsui, so he possessed a complete set of photographs of the three copies, which were samples sent from Shanghai at the time of the initial transaction. I accepted Kawai's suggestion, so I had the opportunity to see the pioneer, the middle power, the stamina, and the whole panther of the three books. The three photos are full of inscriptions, and the strangeness of power and stamina has been clarified. I copied the photo of Kawai...... Mail all the materials to Shen Yinmo in Shanghai and ask him to try to print them. Guo Moruo got the photo from Wenqiutang in 1932, and handed it over to Ma Heng and Tang Lan for publication, which was published by Zhonghua Book Company in 1935, and there were inscriptions by Tang Lan and Ma Heng in the back. The inscriptions of both of them thought that the book was a precursor. Tang Lan's inscription is very detailed, and the difference between this book and the Zhongquan book has been reviewed in advance. Later, the origin of the "Ten Drum Zhai Stone Drum Text" is revealed: "...... According to the wealth of An's collection, there is a sound of late Ming, which is not only a majestic asset, but also a fine appreciation. and Tongyi Huaxia (Zhongfu) is the best, and Fahrenheit immediately really appreciates the fasting law. An's collection of stone drums old Tuofan ten, because the number is ten drum Zhai, and before the Mao and the power, stamina three extension for the crown, after the extension of the essence of the solid a niche, in the Tianxiangtang beam (beam) between. When the Qing Daoguang was his descendants, he sold Tianxiangtang, because he found that Zhu Tuo was turned into the hands of Shen Wu (Xu Ting). (Wu taste as a stone drum Wen Ding, this department of Guhua Shannong). Or Yun by Shen's medium money of 400,000 yuan, which flowed into the market, and then sold it to Dongying for 10,000 gold. And the right to print the right of the right to change the word A, the traces of the alteration are very obvious, and cut off the An's long line, so the original of the extension can not be fully detailed. ……」

Fig.4 Comparison of the character "deer" in the fourth line of the first drum "Wuche Drum" of the Houjinben, Zhongquanben and Xinchuben (Qin Ben). (Courtesy of Ma Chengming)

Whether the new edition of the "Stone Drum Text" is a copy of the "Ten Drum Zhai" collection of Anguo The above is an introduction to the "Stone Drum Text" and the "Stone Drum Text" collected by the "Ten Drum Zhai" of Anguo in the Ming Dynasty. Now back to the first paragraph, the author opened this volume of inscription rubbings with sincere fear and carefully read it twice, there are many seals in the album, and there are two lines of words at the back of the book, although the characters have been framed, the ink has been opened, and the cursive writing is not as smooth as the grass today. Anguo Tibetan Seal and Cheng's view of the money are beyond reproach. But the rubbing paper is smooth, and the rubbing ink is missing, and there are quite doubts in my heart. At that time, I watched indoors, and the light was dim, so I wanted to come to a table lamp, increase the brightness, and read it carefully, there would be errors under the light, and I still didn't feel at ease. I took it outside to watch, but it was already dusk, and the light was slightly dim, so I couldn't see why. Agreed to see it again in daylight the next day. After reading it, my preliminary conclusion is that this book should be the collection of the "Ten Drum Zhai" in Anguo, and as for the ranking among the Anguo collections, I need to read it before I know it. So I asked for a copy for further study. The author's confusion about the new "Ten Drum Zhai Stone Drum Text" in this volume is that the rubbing paper is smooth, and the rubbing ink is not visible. Here, the problem of the word mouth of the rubbings of the stele needs to be explained. The rubbings of the stele are made of rice paper and hammered down on the stele. Most of the inscriptions of the stele are concave, the process of rubbing the stele is to first soak the rubbing paper, spread the rubbing paper on the stele, and then use a wooden or brown brush to brush the paper or felt on the stele, brush the paper where there is a word, and then use the ink bag to rub the ink, and the place where the paper is concave becomes a white character. The edge of the concave white character is called the word mouth. Therefore, mounting the inscription and mounting the painting and calligraphy are two different things, and the paper of the mounted calligraphy and painting should be flat and not wrinkled. The mounting of the inscription should retain the wrinkles of the rubbing's concave to see the words. There are two situations in which the rubbings of the stele do not see the mouth, one is that after the rubbings of the stele are repeatedly unveiled and framed, the words are flattened, and this situation is still a true rubbing. Another case is counterfeiting, where the printed matter is filled with ink and used as a genuine rubbing. The reason why the author is so concerned about the lack of words in this rubbing is because the author has seen prints under high-tech conditions, and the degree of realism can be simply chaotic. Ten days later, the copy arrived, and the author was still in Shanghai at the time, and there was no copy of the "Stone Drum Text" of Anguo's "Ten Drum Zhai" to proofread. After returning to the United States and returning home, he found the pioneer version, Zhongquan version, Houjin version and Zhu Caifu version inscribed by Zhao Shuru, four copies of which were the same as the new Chinese version, and five volumes were collated, and the results of the review confirmed that this new Chinese version was indeed the same as the "Ten Drum Zhai Stone Drum Text", which should be one of them. However, a new question arises that the time of the new domestic edition is comparable to that of the Zhongquan Capital, or slightly earlier than the Zhongquan Capital. Because of the character "deer" in the fourth line of the first drum "Wuche Drum", the new Chinese version is still more common than the middle version of the power version, which is the same as the later version (Fig. 4). It should also be the Northern Song Dynasty rubbing, why is there no inscription in Anguo? In the pioneer book, the power book, and the stamina book, Anguo has more than 40 collection stamps, and even in the Southern Song Dynasty rubbing book signed by Zhao Shuru, more than 20 collection stamps have been stamped, why is there only 7 collection stamps in this Anguo? The other books have Shen Wu's collection seal, why doesn't this one have Shen Wu's collection seal? Despite these doubts, the author has no doubt that this is one of the "Ten Drum Zhai Stone Drum Texts". At that time, the author already knew that there were six volumes of "Ten Drum Zhai Stone Drum Texts". There are four volumes in the Mitsui Bunko collection in Japan, the Pioneer Edition, the Zhongquan Edition, the Hindsight Edition, and one volume called the "Ankoku Volume III". There is a volume in the collection of the Nakamura Fuori Calligraphy Museum in Japan. The above five volumes have been used by the author, and there is another volume, which is the earliest printed copy of Zhao Shuru by the Shanghai Art Garden True Appreciation Society. This time it is Book 7 that appears. When I was chatting with Mr. Yoshihiko Takashima of the Nigensha Society in Japan, I asked Mr. Takashima about Mitsui's collection of "Ten Drum Sai Stone Drum Text". One year, Mitsui Tokyo's basement was flooded, and many of them were soaked with water, so Mr. Takashima helped Mitsui sort out the inscriptions. Mr. Takashima told me that Mitsui has seven copies of the Stone Drum Script, and it is unclear whether all seven of them are in Ankoku's collection. At that time, I wondered if the "seventh volume" that is now appearing in China would return to China from Mitsui in Japan.

Fig.5 Catalogue of the auction of Duo Yun Xuan in Shanghai in November 2011. (Courtesy of Ma Chengming)

In order to clarify these questions, when I returned to China the following year, I wondered where this new volume of "Ten Drum Zhai Stone Drum Texts" came from. After inquiry, it turned out to be released from Shanghai Duoyunxuan Auction House in November 2011. Duo Yun Xuan is the author's "hometown" 30 years ago, the author has worked in Duo Yun Xuan for 20 years, and it is easy to find acquaintances to understand the situation. Yu Jun told that this volume of "Stone Drum Text" was provided by the descendants of Qin, the founder of Shanghai Yuanyuan True Appreciation Society, and a total of 16 tablets and calligraphy were auctioned at the same time. In the catalogue of the Duo Yun Xuan auction, the description of this "Stone Drum Text" reads: ""Stone Drum Text, leather paper mounted, one volume. Signed year, clear and extended. Description: This volume is engraved in the Qing Dynasty according to the Ming Tuo book of Anguo's collection. Estimate: RMB 2,000-3,000." (Fig. 5) When I saw the catalog, the author once doubted whether this volume of "Shi Tuowen" was a high-definition simulation of high-tech computers, and the doubts disappeared in real time. Because RMB 2 or 3,000 yuan can't make a replica.

Fig.6 In the 19th year of Guangxu of the Qing Dynasty (1893), Guozi supervised the wine Lu Runzhen, supervised the rubbing, and a set of "Shigu Wen" and "Shigu Wen Yin Xun". (Courtesy of Ma Chengming)

"Ten Drum Zhai Stone Drum Text" is the original extension or reproduction, but the description of the catalog: "This volume is a copy of the Ming Tuo in the Qing Dynasty according to the treasure of Anguo." On this question, the author asked Yu Jun what is the basis for this? Yu Jun said that this was said by the descendants of the owner, Qin, when they provided the auction: "When I was a child, my grandfather once said that Anguo's "Stone Drum Text" was a fake to deceive the Japanese. And tell them not to tell outsiders." The author was very surprised to hear such a statement. Whether it is true or not, half-believed. The so-called half-believers, whether the descendants of the Qin family have said such a thing, I have never heard of it before, and it is the first time that there is such a statement. But Yu Jun should not make up this statement out of thin air. Fortunately, the descendants of the owner Qin are also familiar with the author, and I will leave it to be confirmed later. Since it is said that the "Ten Drum Zhai Stone Drum Text" is a copy version, in view of the fact that the "Ten Drum Zhai Stone Drum Text" is currently recognized as the first surviving rubbings of the "Stone Drum Text", it is even more necessary to find out whether it is a copy or an original stone rubbing. The previous research I did was based on the comparison of the "Ten Drum Zhai Stone Drum Inscriptions" in Anguo with the newly discovered book in China, and confirmed that it was found to be one of the collections of Anguo. Now the research is whether the Anguo "Ten Drum Zhai Stone Drum Text" is a copy of the copy, which is a new proposition. It is necessary to change the direction of research, change the rut, and start anew, and compare the original rubbings of the "Stone Drum Text" with the "Ten Drum Zhai Stone Drum Text" in order to draw conclusions.

In the nineteenth year of Guangxu of the Qing Dynasty (1893), the prince of the country supervised the sacrificial wine, and Lu Runzhen supervised the rubbing, and the "Stone Drum Text" was sealed. (Courtesy of Ma Chengming)

The pen holder has a set of "Stone Drum Text" and "Stone Drum Wen Yin Training" (Figure 6) by Guo Zi Jian Jiu Lu Yun Zang Jian in the 19th year of Guangxu (1893), and a set of "Stone Drum Wen Yin Training", "Stone Drum Wen Yin Training", "Qing Qianlong Engraved Stone Drum Text", and "Qing Wang Jie and Other Rearranged Stone Drum Wen Yin Training" (Figure 7). Lu Yunzhen and Ma Heng were both managers of the original stone of the "Stone Drum Text" at that time, so there is no doubt that these two rubbings are original rubbings.

Figure 7 A set of "Stone Drum Texts", "Stone Drum Wen Yin Training", "Qing Qianlong Carved Stone Drum Text", and "Qing Wang Jie and Other Rearranged Stone Drum Wen Yin Training" by Ma Heng, director of the Palace Museum. (Courtesy of Ma Chengming)

With these two sets of "Stone Drum Text" of the original stone rubbing, and the "Ten Drum Zhai Stone Drum Text" of the pioneer version, the right version, the stamina book, the domestic version, drum by drum, word by word, word by word carefully proofreading, and finally found that the so-called Ming Dynasty great collector An Guo "Ten Drum Zhai" collection of Song Ta's "Stone Drum Text" has many signs of re-engraving. Here it is necessary to explain what is a copy of the inscription and what are the characteristics of the inscription. The so-called reproduction of the inscription is a copy. Take the rubbings of the original stele as a template, re-engrave a stele, and re-engrave this stele is a copy of the inscription. The difference between the copy and the original stone is that the text strokes of the copy are weak and the demeanor is wooden. The most difficult thing to reproduce in the copy is the stone flower of the stone stele. After the stele stone is carved, most of them are stored in the open air, without any cover, for thousands of years, the days are long, the wind and rain beat, the sun and rain, the stele is gradually damaged, the damaged place becomes a white point in the rubbing, we call the stone flower. Since this is a natural condition of damage, the stone flower looks very natural, and the copy has to artificially carve out the damaged place in the original form, which will have a stiff, stagnant, and unnatural feeling. Moreover, the degree of damage to the stele is deep and shallow, and these changes can still be seen in the original rubbing, and the copy can not be done, only a blank. In particular, between the strokes of the text, although there is damage between the strokes of the original rubbing, the brushwork can still be recognized, and the reprinted copy is blurred or damaged, and the place has become a stroke. After careful review, the so-called "Stone Drum Text" in the collection of Anguo's "Ten Drum Zhai" is completely consistent with the characteristics of the copy, and the original form of the copy is revealed. The places that have been clearly engraved in An Guoben after the proofreading are listed and juxtaposed as follows.

(1) The second character of the fourth line of the first drum "My Car Drum" is "sloppy", the word "辵" is subordinate to "stop", and the middle is the top of the pen. The original stone has a stone flower and is not connected with the upper horizontal plan. Anguo's original stone flower has been transformed into a pen plan that is connected with the upper horizontal plan. (2) The fourth character of the second line of the third drum "Tianche Drum" is the word "Jane", and the left side of the "individual" part is dotted. There are stone flowers in the lower part of the original stone and are not connected with the lower "卪" part. Anguo's stone flower has become a pen plan. (3) In the middle of the second character of the fifth line of the third drum "Tianche Drum", "Writing", An Guoben carved two points, and the original stone was actually a stone flower.

(4) The first word "Shu" at the end of the third drum "Tianche Drum", and the middle of the "fire" part is long and apostrophe. Although there are stone flowers in the middle of the original stone book, they are connected by a pen. An Guoben was interrupted by the pen, and Shihua and the pen plan were not clearly explained. (5) The first two characters of the seventh line of the fourth drum "鑾車鼓" are "陽趍", and the original stone is natural. An Guo is weak and spiritless, and the stone flowers and stars are broken, which is obviously artificially carved and re-engraved with the characteristics of this book.

(6) The third character of the fifth drum "Lingyu Drum" is "deep", the right point of the "𡵖" part, and although there are stone flowers on the left side of the right point of the original stone book, the pen is clear. An Guoben mistakenly carved stone flowers and pencil into one pen. (7) The second line of the sixth drum "Zuo Yuan Drum" is the second character "徰", the character "Zheng" part of the left piggy pen. The small dots on the original stone book are stone flowers. An Guo had already mistakenly carved a small stone flower and a pig pen into a pen. (8) The second line of the sixth drum "Zuo Yuan Drum" is the lower part of the right point of the fourth character "𤔲" and the word "爫". Although there are stone flowers in the original stone, the pen is clearly described. An Guo had already carved the stone flower and the dot pen into a pen.

(9) The sixth drum "Zuo Yuan Drum", the fourth character of the ninth line of the "𡔀" character "𦣻" part of the middle two small horizontal lines. The original stone is clear, and An Guoben's erroneously engraved small horizontal plan has been lost. (10) The first word "𥂱" in the tenth line of the sixth drum "As the Original Drum" is horizontally planned, and the original stone instinctively sees the pen, and An Guo is not carved into a plan. (11) The second word "I" in the sixth line of the ninth drum "My Water Drum" is the "mouth" part of the original stone book, and the "mouth" part of An Guoben is connected with the right stone flower, and it cannot be carved.

(12) The second, third and fourth characters in the fifth line of the ninth drum "My Water Drum" are "隹, C, Shen", and An Guoben clearly translates and engraves the signs, especially the stone flower of the word "Shen". The above is a copy of the inscription found from the rubbings of the "Ten Drums and Stone Drum Texts".

Note 1 "Postscript on the Publication of Zhou Gu Qin Tablets by the Society" is excerpted from Chen Rongqing's article "Analysis of the True Falsification of the Northern Song Dynasty Tuozhi in the Stone Drum Inscription Collected by Ming Anguo". In the article, "Zhou Gu is the fourth book of An's family" should be the book of Zhu Caifu signed by Zhao Shuru published by the Art Yuan True Reward Society. "The Qin tablet is the first incomplete copy of An's" should be the fifty-three character version of "Mount Tai Carved Stone".

The doubts of the inscription at the back of the book of "Ten Drum Zhai Stone Drum Text" An Guo and Huaxia are both great collectors in the Jiajing period of the Ming Dynasty, and the Song and Yuan Dynasty calligraphy and paintings collected by the two are now collected in museums and private collections. However, the collection seals of the two people in the rubbings of the "Ten Drum Zhai Stone Drum Texts" have not appeared in any of the paintings and calligraphy in their surviving public and private collections. Among the paintings and calligraphy in the surviving public and private collections, none of the collections used by the two of them are printed in the rubbings of the "Ten Drum Zhai Stone Drum Texts". This cannot but make people doubt the authenticity of the two people's collection seals in the "Ten Drum Zhai Stone Drum Inscriptions". Looking at the inscription at the back of the "Ten Drum Zhai Stone Drum Text" album, there are contradictions in the inscriptions before and after, and there are fallacies in the time of the characters.

Fig.1 After the "Zhongquan Ben", there is a Yuan Ni Hao view of the "Ugly Mid-Autumn Festival View in the Cultivation and Fishing Xuan Ni Ou". (Courtesy of Ma Chengming)

Suspicion 1: The place mentioned in the inscription of Ni Hao in the "Zhongquan Ben" is different, and after the "Zhongquan Ben", there is a view of Ni Hao (1301-1374) in the Yuan Dynasty: "The Mid-Autumn Festival is viewed in the cultivation and fishing Xuan Ni Hao". (Fig. 1) In fact, this line of characters was copied from Ni Hao's volume of "Poetry and Grass Rulers". The volume was auctioned by Christie's Hong Kong in April 1995 and is now in the collection of the University of Chinese in Hong Kong. (Fig. 2) is one of the volumes of "Poetry and Grass Rulers".

Fig.2 Detail of Yuan Ni Hao's "Poetry and Grass Ruler" volume, collected by the Chinese University of Hong Kong. (Courtesy of Ma Chengming)

Last year, I happened to see an article in the "Chinese Calligraphy Online Official Website", which was published by Mr. Hou Yong on May 22, 2019, entitled "Ni Hao's "癸ugly Mid-Autumn Festival" Examination", which was written by Ni Haoba behind the "Ten Drum Zhai Zhongquan Ben". The author does not know Mr. Hou Yong and apologizes for not being able to obtain Mr. Hou's consent to quote his article. According to the "Complete Works of the Qing Pavilion", Mr. Hou ranked the dates of Ni Hao a few days before and after the Mid-Autumn Festival, and determined that Ni Hao was not in the Yuxuan on the day of the Mid-Autumn Festival, but in the Yunxuan. "Synthesis of the poems contained in the "Complete Works of the Qing Pavilion", the Mid-Autumn Festival, Ni Hao, August 15. Ni Hao made "Cultivating Clouds" and poems "Painting Gifting Cultivating Clouds" for Wang Yu, and also had the poem "Su Wang Gengyun Mountain Residence", praising Wang Gengyun's Cultivating Cloud Mountain Residence and having a poem "Guichou August Visiting Gengyun Gaoshi in Xiwei for Writing Cultivating Cloud Xuantu and Writing Poems for It". On August 19, Ni Hao wrote a poem reviewing the scene of the Mid-Autumn Festival in Gengyunxuan. In the year when the Mid-Autumn Festival night and moon were bright, Liangfu (author's note: Xu Liangfu's word for cultivation and fishing) and Jinghe brought wine to Gengyunxuan, drank and went to bed." (Note 1)

Fig.3 Yuan Ni Hao, 31.8×20.5 cm, collection of the National Palace Museum. (Courtesy of the National Palace Museum)

Suspicion 2: There is another source for the inscription of "Zhongquanben", and the above is to confirm that the location of Ni Haobao in the "Zhongquanben of Shiguzhai" "Gengyuxuan" does not match. In addition, Mr. Hou also made a research and comparison in calligraphy, and the materials used are the same as those used by the author before, which is now in one of the volumes of "Poetry and Grass Ruler" of the Chinese University of Hong Kong. Moreover, Hou Yong also found out the source of Ni Ouba's signature, which was from the "Ni Ouba's Tang People's True Relics of the Right Army" in the National Palace in Taipei. You can know the source of the "Zhongquan Ben" Ni Haoba. (Figure 3) Doubt 3: The content of the Anguo script of the "Zhongquan Ben" is inscribed in the Anguo seal script after the "Zhongquan Ben", and there is this paragraph: "...... This book is hidden by Zhang Jingqiao and Gu Weng Yizhou, who have been admired for a long time and did not dare to invite it. Bing Gully Sheng Weng and the Gu family have a family friendship, knowing that the collection of the remaining ten drums has been eight or nine, and because there is an inscription by Mr. Ni Yunlin at the back of the book, and the inscription of Mr. Pu Changyuan has a mentor-disciple relationship. According to the book "Index of Biographical Materials of the Ming Dynasty" compiled by the Taiwan Central Library, Sheng Hao, that is, Sheng Weng in the Bing Gully in Anguo, was born and died from 1418 to 1492, while Anguo was born and died from 1481 to 1534, and An Guo was only 12 years old when Sheng Bing died in the year. Anguo's inscription time in the Zhongquan book is Jiajing Jiawu (1534), Sheng Binggul has passed away for 42 years, how to re-establish this "Zhongquan book" for Anguo and the peace meeting? Doubt 4: The content of the Anguo Script of the "Stamina Ben" is inscribed in the seal inscription of the Anguo State after the "Stamina Ben": "The right Zhou Xuanwang Shigu Wen 10 is a relic of Mr. Zhepu Changyuan, and the treasure of the descendants is regarded as the Great Training Heavenly Sphere, which is not available for purchase." Although it is unknown whether it can be compared to the copy seen by Wei Han, it is certainly credible that it is something from 500 years ago. If it weren't for Gongben, it would have been so perfect. Yu because of the depth of love does not feel the eagerness, Keqiu Bang Shunchen will meet with 50 acres of cold fertile land to return, and he is willing to be paid, and he is sorry to cut the property. ......" is also inscribed in Puyuan Kaishu at the back of the book, which is "Bingyin New Autumn East China Sea Shengyuan Ji", and the page is framed with a note in the national security seal: "Bingyin was the bestowed person by Mr. Zheng in the 19th year of Hongwu." According to the introduction of "Baidu.com", Puyuan (1344-1379), known as Donghaisheng, was a native of Wuxi, Jiangsu, and was awarded the title of Jin Mansion Citation. Gong poem, and Fujian Lin Hong as a poetry friend, number ten talents. Puyuan is especially good at painting landscapes, as a disciple of Ni Hao, Ming Gu Qilun's "National Elegance Product" on his poem "Words and Words", there is "Pushe Anthology". Pu Yuan died in the 12th year of Hongwu in the Ming Dynasty (1379), and Pu Yuanba, the "Hou Jin Ben", was in the year of Bingyin. If the previous year of Bingyin was the third year of Taiding of the Yuan Dynasty (1326), Puyuan had not yet been born, and if the next year of Bingyin was the nineteenth year of Hongwu (1386), it was seven years after Puyuan's death. Therefore, Puyuan must be false. Suspicion 5: "Pioneer" and "Zhongquan" Contradictory in Angola after the "Pioneer" there is a seal book: "...... Yu first got Jiangyin Xu's book, the heir to the Yan people Zhu's hand and ink books, and my hometown Gu's Pu's book, the word has been called rare, and now this book is in Gusu Cao's family, completely unque, paper and ink especially ancient words increase tens, the people of the past have not seen it, cover for five or six hundred years ago, the most ancient book is also handed down. …… Now have this impressive ten drums, combined with the old books, except for the Xin drum only nine drums left do not count, it is appropriate to get ten, because of the ten drums in the name of Yu Zhai. ......" in the "Zhongquan Ben" after the Anguo seal book: "...... Yu Zhai Ten Drums Xu Ben was the earliest, Zhu each this time, Uramoto was second, this book was later in Uramoto, and the last winner was Cao Benye. …… Because it is suitable for the number of ten drums, he is fasted with the name of ten drums." In the two inscriptions of "Pioneer" and "Zhongquan", it is said that "Jiangyin Xu's Ben" is the earliest book of "Ten Drum Zhai". However, Jiangyin Xu's original is not what An Guo said in the pioneer book, "except for the Xin Drum, only nine drums remain", but the foundation of the Xin Drum. This can be seen from the inscription on the back of An Guo's book in Zhu Caifu's book, that is, Zhao Shuru's inscription. This inscription was written on the 5th day of the eighth month of Jiajing (1533), a few months before the two inscriptions of "Vanguard" and "Zhongquan": "...... Jiangyin Xu Zi expanded the favor to the ink book 200 years ago, the paper and ink are still inferior, although its Xin drum has stone marks, the glyph is difficult to distinguish. ......" shows that Jiangyin Xu is the original of Xin Drum and cannot be counted in the number of ten drums. The inscription is contradictory. Doubt 6: The content of the "Pioneer Edition" is also in the "Pioneer Edition" after the "Pioneer Edition": "Yu Su does not practice seals, since the Song Guo Zhong angry seal body thousand text ink scroll, love its penmanship ancient method, get up in the morning and the sun is a number of crosses. He didn't need to answer the question, and he never wrote a book. Now this is the first treasure of my fast, so I don't feel troubled, and I take the book of encouragement. Although his hands are stiff, he is also happy in his old age." As far as is known, in the 53-character and 165-character versions of the "Stone Drum Text" and "Mount Tai Carved Stone" in the "Ten Drum Zhai", Anguo has a total of 13 inscriptions, of which 10 are inscribed in seal script, and only 3 times are inscribed in Xingshu. This contradicts what is said in the Bazhong, "Every time it is used for inscriptions, it has never been written". To sum up, we can find out the symptoms of the reprinted copy from the rubbings of the "Ten Drum Zhai Stone Drum Scripts". An Guo and Huaxia collected seals, and the same seals could not be found in the other paintings and calligraphy collected by the two. The inscriptions of Ni Hao, Pu Yuan, An Guo and others at the back of the book contain many contradictions and fallacies, which are enough to deny the authenticity of the so-called "Stone Drum Text" collected by Anguo in the Ming Dynasty as a Song Tuoben.

The history of the circulation of the "Ten Drums and Stone Drum Texts" is based on the circulation of the "Ten Drums and Stone Drum Texts", which first appeared in the title of the "Later Edition" of Tang Lan published by the Chinese Book Company in 1935, which is said to be the demolition and sale of Tianxiangtang by the descendants of Anguo during the Daoguang years, and it was discovered in Liangjian, which immediately entered the hands of Shen Wu, a native of Yi, and then flowed to Dongying. Wu Hufan's diary on March 5, 1937 also recorded the "Ten Drums and Stone Drum Texts": "Ma Shuping (Heng) came to discuss the National Conference Catalogue of Ancient Paintings produced by the Palace Museum. …… He also talked about the ten stone drums of Song Tuo and Jin Wen collected by An Guipo,...... All of them are stored in the ancestral hall of the An family, hidden in the iron cabinet, the descendants of the An family do not know, with the roof to transfer people, to the Daoguang time for someone to obtain, the whole set of custody in Wujiang Shen Xuting (that is, Shen Wu, the ancient Huashan people). Write forever. At the beginning of Shen Wu, there was a definitive version of the stone drum text, which was written before the deposit, and the An's book, and he regretted that he had become a book and wanted to rewrite the previous work, but he died before it was finished." Tang Lan and Wu Hufan both said that they were in the thirties of the last century, which was also the time when the three volumes of "Pioneers", "Zhongquan" and "Aftermath" of the "Ten Drums and Stone Drum Texts" had been published. Although there are slight differences between the two of them, they both say that they were obtained by Shen Wu, and Shen Wu's collection seal can also be seen in the rubbings of the "Ten Drums and Stone Drum Texts", so Shen Wu is also a key figure. So did Shen Wu ever collect this "Ten Drums and Stone Drum Text"? The penman also made some discussions. First of all, we must understand Shen Wu. Shen Wu was born in the third year of Daoguang (1823) and died in the thirteenth year of Guangxi (1887). Gong poems, good calligraphy, Jing Danqing, thanks to the guidance of Gu, Shao, Hua three masters, famous in Jiangsu and Zhejiang. Xianfeng intermittently traveled to the Kyoto Division. He is the author of "Ronghu Fishing Flute", which is very rich, and the landscapes he makes are as good as scholars, and there are no engraved painting marks. He is the author of "The Definitive Version of the Stone Drum Text", "The Examination of the Painting of the Liang Ancestral Hall of the Han Dynasty", etc. Shen Wu was a collector in the late Qing Dynasty, who once collected the Ming Dynasty Celebrity Ruler Ink Treasure (all 12 volumes), which was later collected by Zhou Zuoren, Pan Boshan, Zhang Heng and others, and is now stored in the Beijing Palace Museum. The penman has also seen some of the inscriptions in his collection, and is a medium collector. However, he has indeed studied the "Stone Drum Text" very much, and has monographs such as "Stone Drum Wen Analysis", "Qiyang Stone Drum Place Name Examination", and "Chengzhou Stone Drum Examination". The Stone Drum Script was his last work, and it was not engraved until 1890, three years after his death. Therefore, Wu Hufan said in his diary earlier that Shen Wude's "Ten Drums" and "Stone Drum Text" were not established after the "Stone Drum Text" was written. Shen Wu did not mention the so-called "Ten Drums" of the Ming Dynasty Anguo in the "Stone Drum Text" in the "Definitive Version of the Stone Drum Text". However, there are three places in the book that prove that he did not collect the Song Tuoben's "Stone Drum Text". First, in the "Stone Drum Text" "...... It is a pity that the grandchildren are gone, and it is too late to see the final version of the examination, and it is sad to share the appreciation. Foolish at this moment Shi (pen author note "Stone Drum Wen") back to the chest for three years, to not be able to participate in the school, follow the middle, now and old and sick, strength for it, in order to repay the long-cherished wishes. However, he did not dare to say that he was a strong and tortuous person, and he who laughed at the liberal arts was also a writer." Second, in the "Stone Drum Script", "it is true that there are more old and more advanced characters than near them. However, there are those who are vague and clear and discernible in Song Tuo, and there are those who are not close to the old Tuo, and there are those who are inferior in the rubbing. It was recorded by Sun Juyuan and Xue Shanggong at the same time, and the existence does not match. It is also difficult to distinguish half of the words that are difficult to distinguish, or receive or not record. Today, the Fan Song Tuo and Sun Xue books, and the new and old two books from the Tibetan Ming Tuo, with all the other supplements, and their biography is corrected by the author or false. It must be examined and read in sentences, holding on to a total of 500 and 27 characters, and making up for the lack of 4 characters. If Sheng'an's entire book is 722 characters, and Liu Yao's book has more than 650 characters, he will not dare to take it as much as possible." Third, at the end of the same example, "Sun Juyuan obtained 497 characters from the Tang Dynasty in the Buddha's Tomb, Fan Qintian added 462 characters from the Northern Song Dynasty, Xue Shanggong recorded 451 characters, Ouyang Gongji recorded 465 characters, Zhao Kui saw 417 characters, Hu Shijiang recorded 474 characters, Zhao Gu added three words to the ancient records of Yunwu Qiu Yan for a total of 477 characters, Gengzi Xia Ji Yun Wuyan obtained more than 430 characters, Lin Dong collected 455 crosses from the Song Chunhua Li Huan, and Pan Di saw 386 characters. Liu Meiguo received 494 words, and Du Mu Youyun saw Song Tuo's 422 words,......." This is only a record of Shen Wu's Song book in the ordinary case. Based on what Shen Wu said in the above three places, it can be seen that Shen Wu completed the "Stone Drum Text" in his later years, "because of his old age and illness", and "returned to his chest for three years, and participated in the school with no rare books", and "participated in the school from the Tibetan Ming Dynasty and the old two books". In the Song version of the "Stone Drum Text" listed at the end of the example, there is no so-called "Stone Drum Text" of the Northern Song Dynasty in the "Ten Drums" of Anguo. Therefore, Shen Wu once collected the "Ten Drums and Stone Drum Texts", which is completely fabricated. In addition, in the "Definitive Version of the Stone Drum Text", Shen Wu mentioned Wei Jiasun's person, and Wei Jiasun's contemporaneous friends Zhao Zhiqian, Shen Shuzhen, Hu Shu and others, until Liu Tieyun, Wang Yirong, Weng Tongyi, Luo Zhenyu and other Jinshi families who collected inscriptions in the early Republic of China, no one has ever seen or mentioned the so-called "Ten Drums" collection of Song Ta's "Stone Drum Text" and "Mount Tai Carved Stone". At the beginning of the Republic of China, it suddenly fell from the sky, and the Shanghai Art Garden True Appreciation Society published Song Ta's "Stone Drum Text" and Song Ta's "Mount Tai Carved Stone" in the "Ten Drums". The writer saw that the 53-character version of the "Qin Feng Taishan Tablet" published by the first art garden true appreciation society was the first edition in October of the seventh year of the Republic of China (1918). He successively published "Zhou Xuanwang Shigu Wen Ten Drums in the First Edition", and Guo Moruo's "Research on Stone Drum Texts" has "An Shi Biben Printed by Shanghai Yiyuan Zhenzhen Society in the Eighth Year of the Republic of China (1919)". Soon after the appearance of the inscriptions in the so-called "Ten Drums" collection, they were sold to the Mitsui Takakin clan in Japan. According to Japan's book "Catalogue of the Collection of the Mitsui Bunko Pavilion-Writing the Famous Inscriptions of the Old Collection of the Tomb of the Bing Cabinet", the 53-character version of "Mount Tai Carved Stone" was purchased by the Mitsui Clan in the eighth year of Taisho (1919). In other words, after it was published by the Art Garden Shinsha, it was sold to Japan the following year. The "Pioneer Edition" and "Neutral Edition" of the Stone Drum Script were also sold to Japan in the 10th year of Taisho (1921). In the thirties of the last century, Guo Moruo only saw black-and-white photographs in Japan, and he had not seen the original rubbing.

At that time, there was a wave of doubts about the reprint, and at that time, since the publication of the pioneer, Zhongquan, the three volumes of "Stone Drum Text" and "Taishan Carved Stone", not no one suspected that it was a reprint. As mentioned earlier, on March 5, 1937, Ma Heng went to Wu Hufan and talked about Song Ta's "Stone Drum Text" in An Guipo's possession, and on March 8, Wu Hufan's diary said, "I purchased the Xianmao version of "Stone Drum" published by Zhonghua Book Company and the two copies of "Stone Drum" published by Yiyuan Zhen Appreciation Society. However, on March 14, Wu Hufan said in his diary: "In Shen (Yin Mo)'s house, I watched the photobook of Song Ta's "Stone Drum", that is, the first Northern Song Dynasty book in the old collection of Yun'an Guipo by Ma Shuping. According to the photo, the word mouth is indeed better than that of the Chinese and the art garden, and there are many inscriptions in An's seal book, and the cover of An's has to be obtained from Cao's in Suzhou, and I don't know why Cao's Xu people also. Today's set of photos is worth 1,200 yuan, which is shocking." Wu Hufan was deceived by An Guo's seal inscription. In the article "Qin Shi Huang Carved Stone Examination" published in the seventeenth issue of the "Yenching Journal" in February 1935, there is such a paragraph in "Mount Tai Carved Stone": "The old collection of Anguo Benming Anguo is now printed by the Art Garden True Appreciation Society. The total number of words is 165 characters, depending on the "Qin Seal Spectrum". Take the "Jiang Ti" of the school, which is more than the "Jiang Ti", most of them are half a word. However, the word "luck" in "governing the road and running", and the word "purity" in "not being pure" are uniquely complete. Its "靡" word for the seal word, "Jiang Ti" for the seal word, to the "Jiang Ti" for the victory. …… At the end, there is an inscription of Anguo, and the cloud: "Guipo is asked again." Then the first trek or state this original calendar, cut off by people. The stone slab is sluggish, the first emperor's ode and the second edict are clear and similar, so that the original rubbing, Song Xujiang Xiufu and the two should not be seen, and it is not suspicious that it comes from the "Qin Seal Spectrum" instead of the original stone rubbing. ...... Rong Geng suspected that this "Mount Tai Carved Stone" was a copy from the two aspects of seal inscription and stone flower plate stagnation. In the collection of the Palace Museum in Beijing, Zhao Yanguang's "Stone Drum Text" has Tao Beiming's inscription and inscription, and the signature inscription has "There is no stone pattern in Anguipo's stone pattern near Song Fuben Ear", and the inscription "...... An Guipo is Yang Sheng'an's interpretation of the stone drum text, Ruan Wenda thinks it is not credible, Xishan is not a remote place, An family restores and abandons the family, if there is Song Ta as promised, the elders of Qianjia can not be ignored. Now Anben is full of return to the East China Sea, only the copy and Mount Tai carved stone, the squid pattern is not very natural, the original extension is not viewed, so it is inevitable to doubt, do not judge the rest of the life, there is still a fate to see or not. Wuzi (1948) April Beiming." Rong Geng, Wu Hufan, and Tao Beiming are experts in identifying the inscriptions, and Ni Duan of the copy has been found from the unnaturalness of Shihua, but unfortunately there is no in-depth continued research. The above three examples are known to the author, and at that time there was a suspicion that the inscriptions in the collection of the so-called "Ten Drum Zhai" in Anguo were copied and engraved.

Since the inscriptions collected by the Qin family of the Shanghai Art Garden True Appreciation Society are from the Shanghai Art Garden True Appreciation Society, they must make an exploration of the Shanghai Art Garden True Appreciation Society. We have already given a brief introduction to the Shanghai Art Garden True Appreciation Society, and now we will give a brief introduction to its founders, Qin Wenjin and Qin Qingzeng. Qin Wenjin (1870-1938), the character of the grandson, the grandson, the number of Yun layman, the old man of Xiyuan, the keeper of the black layman, etc. The name of 齋鉏彝齋, the ancient cabinet, the Wuxi people, the grandson of Qin Zuyong, a calligrapher and painter of the late Qing Dynasty. He once went to Japan with the Japanese envoy to study and exchange ideas and study advanced science and technology, especially book binding, copper engraving, and colographic printing. In 1915 (1904), he founded the Art Garden True Appreciation Society in Shanghai, photocopying historical inscriptions and calligraphy. Rich collection, especially fine examination of the gold tablet edition. Qin Qingzeng (1894-1984) was a famous Gan, the second son of Qin Wenjin, who adhered to his family education since he was a child and was good at writing and painting. There are more than 40 leaves of his "Ancient Pavilions and School Monuments", and each leaf has a famous person at that time as its title, including Kang Youwei, Liang Qichao, Zheng Xiaoxu, Yuan Kewen, Pei Jingfu, etc. The book is now in the Shanghai Museum. Qin Qing once followed his father to run the Art Garden True Appreciation Society in Shanghai. The only surviving copy of the famous "Northern Wei Dynasty Zhang Hei Female Tomb Inscription" is the Qin family's collection. During the Republic of China, the situation of printing and publishing inscriptions in Shanghai was the same, and the inscriptions published by "Seeking Ancient Horses" and "Sweeping Leaves and Mountain Houses" were all simple bindings for those who learned calligraphy. "Youzheng Bookstore", "Civilization Bookstore", "Commercial Press", and "Art Garden True Appreciation Society" are high-end inscription editions for collectors, researchers, and lovers of inscriptions. The inscriptions published by each family are preferable to the fact that the version is ancient and rare. At that time, some people were skeptical about the inscription published by the Art Garden True Appreciation Society. On page 251 of the book "Yu Shao Song Calligraphy and Painting Collection", in December 1935, Yu Shao Song (Note 2) had the following passage: "The seal inscription of the Confession of the Heart Gift Sent to the Art Garden True Appreciation Society is a gift of letters. Occasionally, take Qin Jie, Shimen praise it, feel that all the words of "Lingshan Stele" and "Huiji Carved Stone" are the same, and the words that are not scattered are twisted, and it is suspected that this stone has been dead for a long time, and later generations have taken the words of the first two stones and mixed them together. The title of the Society's Qin Wenjin is that Song Xu Dingchen was originally a deception, which is particularly contemptible. Qin printed a lot of inscriptions, most of which were filled in and decorated, and the theme was the old extension. And such as "Zhang Biao Monument" and so on, are all fake, and they are not shallow." January 1936: "The Huiji Carved Stone" was framed and printed by the Qin family in Shanghai. Not only are the points different but the style is also very different, and the album is really bad. This extension is an easy thing to obtain, I don't know what Qin doesn't know? And use this inferior book to mislead people." April 1936: "Publisher of "Taishan Tablet" Shanghai Art Garden. The products published by this society should not be trusted, is there a place for the monument to be coated and decorated? There is no other way to proofread it." Mr. Chen Yuxian, a lover of today's inscriptions, recently wrote an article "Reading the Monument - "Transferring Flowers and Grafting Trees" in the Photocopy of the Inscription of the Republic of China Art Garden. In recent years, Mr. Chen has purchased a rubbing of the inscription that was originally in the collection of the Qin family of the Pearl Garden Genuine Appreciation Society, and has collated it with the inscription printed and published by the Artist Yuan Genuine Appreciation Society in that year, and found that there are many discrepancies between the rubbings and the printed matter. The inscription has the transfer of flowers and grafts, and the rubbing has a crown and Li Dai, and the collection of seals and other forgeries is used as a means of forgery.

Fig.4 The inscription album published by Shanghai Art Garden True Appreciation Society is to pick out the words needed from the inscription and integrate the couplet, some of the characters that are not in the inscription are pieced together, and some of the characters that have been damaged in the inscription are filled in ink. Ni Haoba in this book is also a patchwork. (Courtesy of Ma Chengming)

In the stele published by the Art Garden True Appreciation Society, there is a "stele joint collection extension", "joint extension of the grand view", etc., this kind of stele is to pick out the words needed from the stele, integrated couplet, some words are not in the stele on the piecework, some words have been damaged in the stele to fill in the ink. (Fig. 4) The conditions for this forgery and re-engraved inscription, rubbing, patchwork and ink, inscription and transfer of flowers and trees, Zhang Guan Li Dai, and stamping of forged collection seals, etc., are all possessed by the Qin family of the Art Garden True Appreciation Society. In view of the various inscriptions found in the rubbings of the "Ten Drum Zhai Stone Drum Inscriptions", and the various errors found in the Anguo inscriptions, it is also confirmed that Shen Wu did not collect any "Ten Drum Zhai Stone Drum Inscriptions". In addition, the descendants of the Qin family heard their grandfather's statement that "you must not tell outsiders if you deceive the Japanese", and the author later met with the descendants of the Qin family, which also confirmed that his statement was true. Basically, it can be arranged that this "Ten Drum Zhai Stone Drum Text" was forged by Qin, the owner of Shanghai Art Garden.

Fig.5 When Song Ta's "Stone Drum Text" was not framed, there was a seal of Jiaoshan in Anguo, which was a separate paper at that time. (Courtesy of Ma Chengming)

In the process of collecting materials, the author had a key inspiration that made the author suddenly realize that the so-called Song Ta's "Stone Drum Text" collected by the so-called Ming Dynasty collector An Guo's "Ten Drum Zhai" was indeed forged by Qin, the owner of the Art Garden True Appreciation Society. There were once three friends who were lovers of inscriptions, and when Duo Yunxuan auctioned this domestic copy of "Ten Drum Zhai Stone Drum Text", they saw the original of the book that had not been framed and worn, and told the author that he had seen the word "unusable" in the book. So I followed this clue and found a photograph of the original book, which had not yet been framed, and found that when it was not framed, there was a seal of Anguo "Jiaoshan", which was a separate piece of paper at that time (Fig. 5), and after mounting, this seal was added and pasted on the lower part of the word "Shu" at the end of the first drum and drum. (Fig. 6) The words "This series of paper wounds is not available" are indeed found on the last page of the online bound (Fig. 7). A word to wake up the dreamer, this volume is the art garden true appreciation society Qin Shi when the forgery of the "Ten Drum Zhai Stone Drum Text" is undoubtedly discarded. The author has all kinds of questions about this volume before: why is there no inscription of Anguo in this volume? Why are there only seven collector's stamps in this volume? Why is this volume not framed by Anguo, not framed by Shen Wu, and not framed by Qin? Why is there no collection seal of Shen Wu in this volume? It was easy to solve it because he knew that this was the book that the Qin clan discarded when he turned the carving.

Fig.6 After mounting, this seal was added and pasted on the lower part of the word "Shu" at the end of the first drum and drum. (Courtesy of Ma Chengming)

The author also found two Indian and Tibetan seals of the so-called "Ten Drum Zhai" in Anguo, which are examples of the Qin family of the Art Garden True Appreciation Society. In July 2011, it was also Shanghai Duoyunxuan Auction House that obtained a copy of "Tang Qi Ming Tablet" from the descendants of the Qin family. Judging from the paper and ink situation, the earliest extension of the inscription is only the early Qing Dynasty, and there are five collection seals of Anguo's "Ten Drum Zhai" in the volume. (Fig. 8) Anguo was a native of the Ming Dynasty, how did he rub the seal in the Qing Dynasty? It was made by the Qin family. As we can also see in Mr. Chen Yu's article "Reading the Tablet" above, Mr. Chen purchased a fragment of the old Tuo's "Stone Drum Text" that was originally collected by the Qin family of the Art Garden True Appreciation Society, and Mr. Chen proofread the printed version of the fragment of the "Stone Drum Text" published by the society that year, and printed three more Tibetan seals of Anguo's "Ten Drum Zhai" (Fig. 9) after the print.

Figure 7 At the end of the online bound is the words "This paper injury is not available". (Courtesy of Ma Chengming)

Fig.9 The printed version of the fragment of the Stone Drum Script published by the Shanghai Art Garden True Appreciation Society, compared with the old fragment of the Stone Drum Script collected by the Qin family of the Art Garden True Appreciation Society, three additional collection seals of the Anguo "Ten Drum Zhai" were printed. (Courtesy of Ma Chengming)

In the "Ten Drums and Stone Drum Inscriptions", there are 6 or 70 prints of different inscriptions in Angola Province, and the author has also made an exploration, but he is not allowed to receive it, and later on October 7, 2018, Mr. Chen Keqi, a master's student majoring in fine arts (calligraphy and seal carving) at the School of Fine Arts of Hangzhou Normal University, was inspired by the article "The Orthodox View of Zhao Shu's Art from the Exchanges of Uncle Zhao". In Mr. Chen's article, there is a passage about the interaction between Uncle Zhao and Qin Wenjin: "...... The above-mentioned Qin Wenjin once engraved more than 100 kinds of inscriptions of Zhou Qin Dingyi and Han Wei into thousands of sentences, named "Tablet Collection", "Liantuo Daguan" and other printed copies of the publication and distribution, Zhao Shuru felt this, in the autumn of Ding has (1917), engraved a white text seal for gifts, printed and said: "Xishan Qin Zhai Sun Collection of Ancient Characters", side money said: "Old friends and grandsons are in the study of gold and stone, try to use gold texts, the original characters of the stele are extended into a union, and the ingenuity is unique, and there has never been." The surplus efforts were persuaded to be printed and widely transmitted. This spring's Tibetan affairs, the sea is promoted as a masterpiece, every time a book is published, the rest have to be the first to worship, ashamed of the retribution, with the engraving is the seal, talk about the reward, and ask the immortal. Ding Si autumn day, uncle and child in the residence. He also engraved the "Zhu Wenyin side of the "Proofreading of the Grandson", and said: "The new edition of the Monument of the Grandson is jointly expanded and expanded, and the uncle and the child are the seal of the engraved proofreading." Qin Wenjin is rich in collections, and has studied the oracle bone bell and Qin Han seal very deeply, and Uncle Zhao is ancient, obsessed with three generations of Jijin characters, and once engraved "There are three generations of good words in his life" white text seal to see the Zhi, so Zhao Shuru was very happy about Qin Wenjin's collection of actions, and hit it off with Qin. Every time Qin Wenjin got an ancient artifact, Uncle Zhao engraved a party for it. Qin's name is called "Yi Yi", and Uncle Zhao has engraved this seal, saying: "The old friend of the grandson is newly obtained by Zhou Yi Yi, and the one who was unearthed in Yunguan is because of the color of his Qi. Uncle and widow engraved and remembered.' In the winter of Gengshen (1920), Qin Wenjin won a statue of the Northern Zhou Lu monks, and Uncle Zhao carved a white seal of "Stone Buddha Gong" to provide for support forever. In the spring of Wuchen (1928), Qin Wenjin bought a copy of "Zhang Hei Girl's Tomb" with a lot of money, and he called himself "Guarding the Black Layman", and Zhao Shuru engraved a Zhu Wen seal for the gift, saying that "Wei Hei Female Zhi is the only book in the sea, and the grandson and old friend get it with a lot of money, and love is equal to the head, and this chronicle is also sought." Wuchen Zhongchun, uncle and child carved and recognized.'" In addition, Qin Wenjin used for his own purposes, such as "Treasured Bricks", "Treasured Grandchildren", "Ancient Treasures", and "Collections...... The seals are all from the hands of Uncle Zhao."

Fig.8 The catalogue of the Tang Qi Ming Monument auctioned by Duo Yun Xuan in July 2011. At the beginning of the Qing Dynasty, there were five collection seals of Anguo's "Ten Drum Zhai". (Courtesy of Ma Chengming)

From what I said above, I know that Qin Wenjin and Zhao Shuru have a lot of contacts, and they are very close, and every time Qin Wenjin gets an antiquity, Zhao Shuru immediately prints it as a gift. I remember that the "Zhu Caifu Edition" of the so-called "Ten Drum Zhai Stone Drum Text" was published with the inscription "Song Tuo Shi Drum Text, Wuwu August Shuo, Jisun Zang, Shu and Ru Inscription" (Fig. 10). The year of Wuwu is 1918, which is the time when Zhao Shuru and Qin Wenjin have been very close, and there are more than 20 pieces of Anguo's collection seal in the volume of "Stone Drum Text", and the pattern of the seal is very similar to Zhao Shuru's seal. The author suspects that the Anguo Tibetan seal used by the Qin family was engraved by Zhao Shuru, and it is unknown whether Zhao Shuru knew that this "Stone Drum Text" was a reprint. The story of the descendants of Anguo dismantling and selling ancestral property and discovering the "Ten Drum Zhai Stone Drum Text" on the beam is actually not new. As early as the Tang Dynasty, Zhang Yanyuan's "Book of Law" in the third volume of the book, there is an article "Tang He Yan's Lanting Record", which contains the story of Xiao Yi's "Hidden Treasure on the Beam" of the Lanting Pavilion back then. Tang Taizong loved Wang Xizhi's calligraphy, and Lan Tingxu was the first in the king's book, knowing that the monk Zhiyong was discerning talents, and he hated it. Later, he sent the minister Xiao Yi to go, Xiao Yi saw that the monk did not talk about the Lan Pavilion, only talked about calligraphy and painting, and became more and more familiar. One day, Xiao Yi knew that the monk went out, so he went to the temple and said that he left a silk towel in the room of the talent, and entered the room to obtain Wang Xi's orchid pavilion and returned. The Art Garden True Appreciation Society's Qin Clan's Zhang Guan Li Dai uses this story to make it fascinating and add to its legend. In the inscription of Anguo in the "Ten Drum Zhai Stone Drum Text", the author has pointed out that there are many contradictions and fallacies, and there are three possible such situations. The first is that the counterfeiter has limited knowledge and is wrong because he cares about one or the other. The second is that the counterfeiter deliberately leaves a flaw, fearing retribution from God. The third is that the counterfeiter deliberately leaves a flaw in the "game world", secretly reminding that if the viewer cannot recognize the flaw, he should be responsible and not blame the counterfeiter. As for the Qin family of the Shanghai Art Garden True Appreciation Society, it is unknown that it belongs to the first type.

Fig. 10 The "Zhu Caifu Edition" of the "Ten Drums and Stone Drum Texts" was published with the title of Zhao Shuru, "Song Tuoshi Drum Text, Wuwu August Shuo, Collected by Grandchildren, Uncle and Child". (Courtesy of Ma Chengming)

Conclusion: The title of this article is "About the Great Collector of the Ming Dynasty An Guo" and "Ten Drum Zhai" Collection of Song Ta's "Stone Drum Text". The conclusion is that the so-called "Stone Drum Text" collected by the great collector of the Ming Dynasty Anguo "Ten Drum Zhai" is a reprint, and Anguo has not collected it, and Anguo does not have the room names of "Ten Drum Zhai" and "Tianxiangtang", and Shen Wu has not collected it. It was forged by Qin, the owner of the Shanghai Art Garden True Appreciation Society. The author once wondered why when the "Ten Drum Zhai Stone Drum Text" appeared, experts and scholars such as Guo Moruo, Ma Heng, Tang Lan, and Shen Yinmo did not doubt its authenticity. Later, the author found it difficult to distinguish the situation at that time. At that time, except for Zhao Shuru, who may have seen the original tuoben, no one had seen the original tuo, and he went to Japan. At that time, there were no inscriptions published by the Art Garden True Appreciation Society and Zhonghua Book Company, and it was not until the publication of Guo Moruo's book "Research on Stone Drum Literature" that the inscriptions were not seen, and there was not enough information to make them identical. It wasn't until the nineties of the last century that the Japanese Ergensha published the original color of the law that the true face of the whole book was seen. For decades, it has been a foregone conclusion that the "Ten Drum Zhai Stone Drum Text" has been the first place in the rubbings of the "Stone Drum Text". If it weren't for the emergence of this domestic book, if it weren't for the inspiration of the Yu family of Duoyunxuan and the descendants of the Qin family, the author would not have done further research. In the end, the author is a retired person, who lives alone overseas, and has the courage to write an article to deny the universally recognized "Stone Drum Text" for a hundred years. If there are deficiencies, I hope that people of insight will correct them. The article excerpted the articles of Chen Rongqing, Hou Yong, and Chen Keqi from the Internet, and the author does not know the three gentlemen, so I apologize and thank you. Mr. Zhong Wei of Shanghai Library helped to find the materials, and Ms. Feng Qian helped to sort out the pictures, and thanked them together. Note 1 Excerpted from Hou Yong's article "Ni Hao's Examination of the Mid-Autumn Festival". Note 2 Yu Shaosong (1852-1949) was a native of Longyou, Zhejiang, a calligrapher, painter and connoisseur. He was one of the seven appraisers of calligraphy and painting in the Palace Museum's 1935 London exhibition.

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