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Source | "Jinshi Studies", vol. 7
Author | Zhang Jie, Xia Jun
Share | Shuyi Commune (ID: shufaorg)
The stone drum text is a four-character poem of the Qin State during the Spring and Autumn Period. However, with the erosion of the ten stone drums over the years, there are fewer and fewer words on them. Although the "Pioneer Edition", "Zhongquan Edition" and "Stamina Edition" of the Northern Song Dynasty Rubbings of the Stone Drum Script have the most preserved characters, they are all scraped copies, which makes the relationship between the lines of some characters lost, which requires us to do the work of restoring the ten entire rubbings of the Stone Drum Script. The restoration of the position of the text is correct, and the stone drum poem is the original stone drum poem. For example, the facts of the restoration prove that there is no such thing as "heir king" in the stone drum poems, only the last word "heir" in the previous verse and the first word "king" in the next verse.
1. The retrospective principle of the restoration of the stone drum script
Since the beginning of the twentieth century, the study of the stone drum script and the restoration of the position of the rubbing script have been in progress, and Mr. Luo Zhenyu's 1916 "Interpretation of the Stone Drum Text", Mr. Wu Guangpei's 1931 "Examination of the Stone Drum Text", and Mr. Ma Xulun's 1935 "The Records of the Stone Drum Text" have all made certain achievements. In particular, Mr. Guo Moruo's 1939 publication of "The Study of Stone Drum Scripts" drew on the strengths of others, connecting the past and the next, and made the study of stone drum scripts reach the highest level at that time. For the first time, the restoration of the position of the Chinese characters was carried out in conjunction with the photographs of the Northern Song Dynasty rubbings ("Pioneer Edition", "Zhongquan Edition" and "Houjin Edition") of the three stone drum texts of the Ming Dynasty merchant Anguo, which can be said to be the largest number of restored characters. After many revisions, the Study of Stone Drum Script is still a must-read for scholars of Stone Drum Script. However, from today's point of view, it is inevitable that there will be some shortcomings in the "Study of the Stone Drum Script", especially Mr. Guo Moruo's restoration of the position of the Northern Song Dynasty rubbing text of the Stone Drum Script still has some debatable points.
In 2008, Chung Hwa Book Company published "Research on the Collation of Stone Drum Texts" edited by Mr. Xu Guigui, and there is a solemnly recommended preface written by Mr. Qiu Xigui in front of the book. This book is indeed the most comprehensive, in-depth, and well-documented scholarly work on the Shigu script to date. Regarding the restoration of the position of the text, Mr. Xu Guigui said in the book: "The restoration work we have done this time is based on the pioneer version, and the restoration of the predecessors' facsimile engravings, facsimile copies, and Ma and Guo (Ma Xulun and Guo Moruo - citation note) two clans, and at the same time, according to the Zhongquan and Houjin two rubbings, we have added the remnants of the ......characters cut by the pioneer book"[1] But after looking at it, it can be seen that Mr. Xu Guigui's restoration is almost exactly the same as Mr. Guo Moruo's restoration, and the only difference is the "Zhi" in the eighth line of the "Ma Recommendation" chapterHe was set in the third position, and Mr. Guo Moruo was set in the fourth position. There is no doubt that Mr. Xu Guigui is correct, but seeing his interpretation of the Shigu script and other places, he found that the word "zhi" returned to the fourth position, which is probably a small mistake by Mr. Xu Guigui.
Academic research is a truth-seeking process. In this process, seeking truth from facts should be the basic spirit we uphold. We are now carrying out a new restoration of all the characters on the Northern Song Dynasty rubbings of the three stone drum scripts of Anguo, and we should implement it in the spirit mentioned above. Let's first introduce the relevant situation of Shigu Wen.
The words engraved around the stone drum are four-character poems, and ten stone drums have ten four-character poems. The ten four-character stone drum poems and the 300 pieces of the Book of Songs are artistic masterpieces produced in the same great era, and they are both precious treasures of ancient Chinese pre-Qin literature. The poems included in the Book of Songs date from the early years of the Western Zhou Dynasty to the middle of the Spring and Autumn Period, and were produced in the vast area under the jurisdiction of the Zhou Dynasty. It is now generally believed that the content of the stone drum poems reflects the social life scenes of the monarchs and nobles of the Qin State during the Spring and Autumn Period, such as travel, fishing and hunting, and the engraving date of the text is in the late Spring and Autumn Period or the early Warring States Period. It can be seen that there are early works in the Book of Songs, and there are late works in the stone drum poems, but the middle is crossed.
It is estimated that the complete stone drum poem, regardless of the emphasis and the text, should be very close to 700 words. But unfortunately, when the stone drum was discovered in the early years of the Tang Dynasty, there were already a lot of remnants of the text on it, and with the erosion of the years, the text became less and less. According to Mr. Xu Guigui's statistics, the characters of the three stone drum texts of the Northern Song Dynasty rubbings of Anguo complement each other, regardless of the heavy text and the combined text, and even the words with only one or two remnants are counted, there are 502 characters; In the Yuan Dynasty, Zhu Caifu's book has 422 characters; In the Ming Dynasty, Sun Kehongben had 379 characters; In the Republic of China, the "New Tuoshi Drum Text" attached to the "Stone Drum Text" written by Mr. Ma Xulun has 356 characters.
It should be noted that the three stone drum texts of Anguo in the Northern Song Dynasty are all scraped copies (also known as cut-bound books and cut-mounted books). That is to say, these three kinds of stone drum texts in the Northern Song Dynasty rubbings are not preserved in the state of the whole rubbing, so An Guo said with regret in the "Zhongquan Ben" Bawen: "More than this drum, collect twenty years, spend ten thousand gold, the wish of the ten drums is paid, and the ink edge is not shallow, but I want to ask for an ancient extension to play with the whole scroll, but I can't get it." ”[2]
An Guo (1481-1534), a native of Wuxi, Jiangsu, was known as Mintai and Guipo. During the reign of Zhengde and Jiajing in the Ming Dynasty, Anguo was a good businessman and obtained a lot of wealth, and at the same time, he also ran a publishing and printing industry, and printed many books in the name of Guipo Pavilion. An Guo also loved the stone drum text very much, and did not hesitate to spend a lot of money to acquire the stone drum text rubbing, and later he actually collected ten kinds of stone drum text rubbing, so he named his residence Tianxiangtang Dongxuan "Ten Drum Zhai". Among these ten rubbings, the best ones are the three Northern Song Dynasty rubbings, and he imitated the way of the three formations of the soldiers, calling them respectively "vanguard book", "middle power book" and "stamina book".
According to Mr. Wang Zhuanghong in the "Essay on Supplementing School Tablets" [3], in the Daoguang period of the Qing Dynasty, that is, 300 years after the death of Anguo, the descendants of Anguo accidentally found ten kinds of stone drum rubbings of Anguo on the beams of the house when they dismantled and sold Tianxiangtang. In the early days of the Republic of China, Shen Wu's descendants changed them to Qin Wenjin, the owner of the Shanghai Art Garden True Appreciation Society; In the following decade or two, through the introduction of Japan Kawai Senro, Qin Wenjin sold the "Pioneer Ben", "Zhongquan Ben" and "Houjin Ben" to Mitsui Takajian of the Mitsui Foundation of Japan. At present, "Pioneer Ben", "Zhongquan Ben" and "Houjin Ben" are all collected in the Mitsui Memorial Museum of Art in Tokyo, Japan.
The "Pioneer Edition", "Zhongquan Edition" and "Stamina Edition" seen in Mr. Guo Moruo's "Research on Stone Drum Texts" are not from the originals of these three Northern Song Dynasty rubbings in the possession of Mitsui Takajian, but from the complete set of photographs of these three Northern Song Dynasty rubbings obtained by Kawai Xianlang when he was an intermediary. At that time, Mr. Guo Moruo copied the complete set of photos of these three Northern Song Dynasty rubbings in the name of exchanging and borrowing some oracle bone rubbings and the three Northern Song Dynasty rubbings by Kawai Xianlang.
However, these three kinds of Northern Song Dynasty rubbings are scrapbooks after all, and scrapbooks have the nature of calligraphy. The cutter cuts out the text on the entire rubbing, sequentially and pastes it in the notebook, and the words that are all over are cut out. So, the problem with the scrapbook is that it loses the line relationship of some of the text. In this way, the restoration of the text position can also be understood as the restoration of ten rubbings of the Northern Song Dynasty as ten "whole" rubbings of the Northern Song Dynasty.
Mr. Ma Xulun's "New Rubbing Stone Drum Text" is ten whole rubbings (one of which has no words), but there are only 356 characters on these ten whole rubbings, which is half of the 700 words of the complete stone drum text, of course, the relationship between the lines of this half of the text is visible, that is, these 356 words can be seen in a certain line and a certain word in the nine poems. Although the 502 characters on the three Northern Song Dynasty rubbings are only 200 words less than the 700 characters of the complete stone drum text, the line relationship between the 146 characters that are more than the "new stone drum text" is not visible, that is, it is impossible to see which line and which character of the ten poems these 146 characters are. This requires us to restore the position of these 146 characters, in other words, to restore these 146 characters to a certain line and a certain character of the ten "whole" rubbings. If the restoration of the position of the text is correct, the stone drum poem is the real stone drum poem, and if the restoration of the position of the text is wrong, the stone drum poem will lose its original appearance.
In fact, although the line relationship of the 146 characters is not visible, most of them are not tangled in positioning. This is because the Northern Song Dynasty rubbing scrapbook is not cut out word by word and then pasted into the book, but the words are cut out line by line, and then pasted into the book step by step according to the line of this scrapbook.
The "Zhongquan Ben" scrapbook has three lines per page, with five characters per line; The "stamina book" scrapbook has three lines per page, four words per line; The "Pioneer Book" scrapbook has two lines per page, and each line has three words. For example, the first line of the first page of the "Zhongquan Ben" "汧殹沔=丞皮", the second line "Naoyuan-鲺carp处", and the third line "Zhiziyu-zhi" (where "=" is the expression of heavy characters, and "-" is the expression of cut marks). This shows that the whole rubbings of the Shigu text are seven characters per line, and on the cut rubbing, each line of seven characters is connected up and down, and only the new line will appear between the words and the cut marks. Moreover, the three scrapbooks of "Pioneer Edition", "Zhongquan Edition" and "Stamina Edition" refer to each other, which is more convenient for the judgment of the upper and lower connection of the text. Therefore, although there are 146 more characters, most of the characters are connected up and down, and it is not difficult to locate them.
However, there are really a small number of words, and there are cut marks up and down in the scrapbook, which are neither connected to the upper word nor connected to the lower word, so how to position this word?
For the restoration of these text positions, we have identified two restoration rules and two restoration reference texts.
The first rule of restoration, in a line of the scrapbook, if there are no cut marks between the characters, the words are undoubtedly connected in the whole rubbing. Once there is a cut mark between two words in one line of the scrapbook, the two words must not be connected in the whole rubbing. That is to say, in the whole rubbing, if the two characters are connected, they can be cut and pasted in one line of the scrapbook at the same time, and there is no need for the cutter to cut the two characters and paste them together.
The second restoration rule is that when restoring the whole rubbing, a word is connected side by side with the words on the left and the words on the right, and the stone flowers appear, which should be combined. Once there is an obvious disagreement between the two words in the row and the row, the two words must not be connected left and right. In fact, there is also this situation with the upper and lower words, if the upper and lower words have obvious stone flowers do not match, then the two words must not be connected up and down.
Two restoration reference books: one is the Lushan Chen's Jiaxiutang Fati, and the other is Gu Congyi's copy of the carved stone drum inkstone. Of course, after all, Jiaxiutang Fa Ti and Gu Congyi Yan are the facsimile and engraving of the reduced Shigu text, not the original Shigu text, and the mistake of the font is inevitable, and a very small number of words may also be copied in the wrong position, but the position of the vast majority of the text should not be doubted. Mr. Guo Moruo's text position restoration is also done in this way, he clearly said: "Fortunately, the original stone still exists, and there are many traces of the characters; There are no Jiaxiutang Dharma books and Gu's stone drum inkstones, which are excellent references. ”[4]
The Jiaxiu Tang Fa of Chen's family is now in the collection of the Palace Museum in Beijing. In the "First Batch of National Precious Ancient Books", it is introduced as follows: "00720 Jiaxiu Tang Post, (Song) Xiashan Chen's Edit, (Song) Li's Carving, Southern Song Dynasty Chunxi Carved Stone, Song Tuoben, Palace Museum. [5] The Jiaxiutang Fa Ti is an engraved copy of the calligraphy of famous masters of the past collected during the Chunxi period of the Southern Song Dynasty, including the Stone Drum Text. Judging from the copy of the "Stone Drum Text", there are still 441 characters, because the text is less than the three Northern Song Dynasty rubbings of Anguo, indicating that the extension time of the base text is later than the three Northern Song rubbings of Anguo.
Gu Congyi's copy of the carved stone drum inkstone is now in the collection of Tianjin Museum. The inkstone is a cylindrical body with a diameter of 19.5 cm and a height of 10.4 cm. The top of the inkstone is engraved with two articles of "and teacher" and "Ma Recommendation", and the bottom of the inkstone is engraved with two articles of "Wu Shui" and "Wu Ren", and the rest of the six articles of "Wu Che", "Huang Yan", "Tian Che", "Luan Che", "Rain of Thunder" and "Zuo Yuan" are engraved around the inkstone. The ten articles have a total of 434 characters, and because the text is significantly less than the three Northern Song Dynasty rubbings of Anguo, it shows that the extension time of the base text is later than the three Northern Song Dynasty rubbings of Anguo. The bottom of the inkstone is also engraved with "East China Sea Gu Congyi Le Shangshi". Gu Congyi (1523-1588), a native of Shanghai, was known as Ruhe and Yanshan. In the middle of Jiajing in the Ming Dynasty, he was recruited into the court with a good book and awarded the middle school. At the beginning of Longqing, he repaired the history of the country and promoted Dali to comment. There is also a "treasure of the inner house" seal on the inkstone, it is estimated that this inkstone was originally a thing in the palace, and then it was rewarded to Gu Congyi, and then Gu Congyi copied and engraved the stone drum text.
The base of Jiaxiutang and Gu Congyiyan are later than the rubbings of the three Northern Song Dynasty rubbings of Anguo, so some of the texts on the three Northern Song Dynasty rubbings of Anguo are not found in Jiaxiutang Fati and Gu Congyiyan, so that in addition to restoring according to the restoration rules of the first and second items, a very small number of characters can only be determined according to the size of the possibility.
2. Introduction to the restoration of the seven drums such as "Huang Yan".
Our restoration of the position of the Northern Song Dynasty rubbing script must be based on Mr. Ma Xulun's "New Tuoshi Drum Script", with Jiaxiutang Fati and Gu Congyi Yan as references, and implement the two restoration rules to the end.
Nearly half of the text of the "New Tuoshi Drum Text" and "Wang" has been remnant, but the second word "殹" and the last word "Liu" are in place, and the Northern Song Dynasty scrapbook is not lacking, so the whole text can be arranged in order. The whole article has seven words per line, a total of eight lines and more than five words, and the text is 61 words without weight. The lower part of this article is also engraved with a word, which Mr. Guo Moruo believes is "first", indicating that this article ranks first. (Figure 1)
Figure 1
"New Tuoshi Drum Text" "Original" is missing three words per line. The drum of "Sakuhara" was a stone drum that was once cut off by the peasants and turned into a stone drum that was lost and recovered. The whole article should be 74 words, that is, more than four words in ten lines, 33 words in the upper half and 41 words in the lower half. (Figure 2)
Figure II
There are some remnants of words in the "New Tuoshi Drum Text" and "Wu Che", but the first word "Wu" and the last word "Shu" in the whole article are in place, and the Northern Song Dynasty scrapbook is not lacking, so the whole text can be arranged in order. The whole article has six words per line, a total of 11 lines, and 66 words without counting the heavy text and the combined text. (Figure 3)
Figure three
There are some remnants of words in the "New Tuoshi Drum Text" and "Tianche", but the first word "Tian" and the last word "Le" in the whole text are in place, and if the clipbook of the Northern Song Dynasty is counted according to the words with one or two remnants, there is almost no lack of words, so the whole text can be arranged in order. The whole article has seven words per line, a total of nine lines and more than six words, and the combined text is 69 words without weight. (Figure 4)
Figure IV
There are only a dozen words in the "New Tuoshi Drum Text" and "Rain", while there are still many words in the Northern Song Dynasty clipbook. Referring to Jiaxiutang Fa Ti and Gu Congyi Yan can restore the position of the vast majority of words, the Northern Song Dynasty clipping book only has three more words, the first word of the seventh line "soup", the first word of the eighth line "Yin", because it is connected with the following words, its position is undoubted, there is a suspected "oar" word, there are two possibilities of the first word and the second word of the ninth line, from the combination with the "Yin" stone flower on the right, it must be in the first word. The whole article has six words per line, a total of 11 lines, and 66 words for the text and the combined text, of which 14 words are missing, and 52 words are saved. (Figure 5)
Figure V
There are some remnants of words in the "New Tuoshi Drum Text" "Wu Shui", but the words in the first line and the last line of the whole text are in place, and the text position is restored relatively smoothly. The whole article has five words per line, a total of fourteen lines and more than four words, and the text is 74 words without weight, of which 14 words are missing, and 60 words are saved. (Figure 6)
Figure 6
There are many remnants of characters in the "New Tuoshi Drum Text" and "Luanche", but the third character "Luan" and the last character "different" in the first line of the whole text are in place, and the restoration of the text position is relatively smooth. Some of the words that are more than Jiaxiutang Fati and Gu Congyiyan, such as "four", "xuan", "yang" and "wufu", are connected to the following words, and their position is undoubted; The "骜" and "disciple" in the fourth line have cut marks, and they must not be connected, but can only rise to the first position; In the eighth line, "
"And "such as" there are cut marks, will not be connected, and can only rise to the first position, so that with the right of the "yang" stone flower coincides, positioning is undoubted. The whole article has seven words per line, a total of nine lines and more than six words, and the text is 69 words without weight, of which 12 words are missing, and 57 words are saved. (Figure 7)
Figure VII
3. The three drums of "And Teacher", "Ma Recommendation" and "Wu Ren" were restored and debated
For the restoration of the text position of the above seven stone drum poems, we are the same as Mr. Guo Moruo. However, for the restoration of the text positions of the "Ershi", "Ma Recommendation" and "Wu Ren" chapters, we are not exactly the same as Mr. Guo Moruo. Specifically, there are eight characters with different positions, that is, the positions of four words in the "And Teacher" chapter are different, the positions of the three words in the "Ma Recommendation" chapter are different, and the position of one word in the "Wu Ren" chapter is different. Who is right and who is wrong? Take a look at our analysis below.
When restoring the text position of the "And Teacher" chapter, we have a big difference of opinion with Mr. Guo Moruo, that is, what is the line and word of "The Teacher"? Mr. Guo Moruo thinks that a line is six characters, and we think that a line should be seven characters.
It turns out that this is an old problem, only in the early 20th century, Mr. Wu Guangpei wrote "Examination of Stone Drum Texts" and Mr. Ma Xulun wrote "Stone Drum Texts Shu Ji" both believed that one line was seven characters, while Mr. Luo Zhenyu wrote "Interpretation of Stone Drum Texts" and Mr. Guo Moruo wrote "Research on Stone Drum Texts" and believed that one line was six characters. Because of the outstanding achievements and wide influence of Mr. Guo Moruo's "Research on Stone Drum Literature", the one-line six-character theory has been widely accepted by the academic community. For example, Mr. Cheng Zhiqing's "Trial Reading of Shigu Wen" [6] in the 80s of the 20th century insisted on the one-line seven-character theory.
Why can't we accept Mr. Guo Moruo's one-line six-character statement? Because to accept it is to violate our rules of restoration many times.
The "New Tuoshi Drum Text" and "Teacher" chapter only survives less than the cross, and the Northern Song Dynasty clipbook still has many words. Referring to the Jiaxiutang Fa Ti and Gu Congyi Yan, the position of most of the characters can be restored, but there are still a small number of characters that need to be restored according to the restoration rules.
In the fifth line of the "and teacher" chapter in "The Study of Stone Drum Literature", Mr. Guo Moruo connects the two words. But in fact, there are cut marks between the two words, and they must not be connected, so there must be a blank space between "骖" and "right", but the "骖" will be raised by one grid, and it will become a line of seven characters. Mr. Guo Moruo later admitted that "only the right side of the word 'right' has cut marks in the middle of the careful examination, and it is indeed a blank space"[7], but Mr. Guo Moruo still insisted on a line of six characters, and he once wanted to raise the word "right" by one square instead of raising the word "right" by one square, so that the words "right" and "Tao" were connected. Is it okay to recover like this? Looking closely at the bottom of the "right" and the top of the "Tao", the stone flower is obviously incompatible, and the two words must not be connected. Therefore, it can only be raised by one level, and there is no doubt about the seven characters in a line.
The same is true of the suspected "letter" and "reply" in the seventh line of the "Teacher", Mr. Guo Moruo connected the two characters, and he also knew that there were cut marks between the two characters, but he had an explanation, that is, he believed that the cutter knew the writing of the previous character by Xue Shanggong of the Southern Song Dynasty, and in order to cater to it, "he cut it off so that the two characters were cut off one after the other"[8]. In fact, this explanation is not worth refuting. The cutter is only in charge of the cutting and pasting, how can he worry about such a heart? If the cutter was really a good connoisseur, he wouldn't do so, because he knew that the rubbings in his hands were incomparably precious original stone Takuhara. In this way, it is suspected that there are cut marks between the words "letter" and "complex", and there must be a blank space. And the "Fu" can't go down, because there are cut marks between it and the "Gu" below, and it will not be connected, so it can only raise the suspected "letter" by one level, which once again proves that there is no doubt about a line of seven characters.
The seven characters in the "Teacher" chapter are the result of our restoration according to the restoration rules, and the opening that violates the restoration rules must not be opened.
Mr. Guo Moruo also thinks that the drum line of "And the Teacher" cannot accommodate seven characters, which is also wrong. When we visually inspected the drum body of the drum "And Shi" at the Palace Museum in Beijing, a line of seven characters can be accommodated, but like the "Field Car" drum with a line of seven characters, the first word of the line is carved from the top of the drum body. Looking at the photo of the drum of "And the Division" and the photo of the drum of "Field Car", it can also prove that there is no problem with the seven characters in one line.
Mr. Guo Moruo's "And Teacher" has two more words "come" that are incorrectly positioned. The "come" and "music" in the ninth line have cut marks and will not be connected; The "come" in the tenth row is obviously inconsistent with the "heir" stone flower below, and it is obviously inconsistent with the "I" stone flower on the left, so this position must be wrong, so "come" should be raised one square. Looking at the "come" in the ninth line, it is obviously inconsistent with the "come" in the tenth line, so it only has two possibilities: the first and third characters. We think that it should be in the first position, and if it is in the third position, the stone flower belt that spreads from the upper right to the lower left should have been wiped out of the way.
Mr. Ma Xulun insisted on a line of seven characters, but he was very entangled in the reading of the sentences of "And the Teacher". Mr. Guo Moruo insisted that "the heir to the king is □, and the ancient me is □" is not easy, and the line of seven characters is "the heir to the king□□ the ancient me is □". After many changes in Mr. Ma Xulun's sentence reading, in the restoration of "Shigu Wen Shu Ji", the three words "ancient me" were raised one level at the same time, making the sentence reading the same as that of Mr. Guo Moruo. Mr. Guo Moruo criticized: "Kaojia Xiutang and Gu Yan, the words 'ancient me' are clearly combined with the words 'its writing'. ”[9]
Mr. Cheng Zhiqing, in his article "Trial Reading of Stone Drum Texts", restores the position of the three words "ancient me" in the same way as Mr. Ma Xulun.
Mr. Guo's criticism is justified. For the positioning of the three words "ancient me", we will definitely adopt Jiaxiutang Fati and Gu Congyiyan, and will not adopt the views of Mr. Ma Xulun and Mr. Cheng Zhiqing.
Since the chapter of "And the Teacher" is indeed a line of seven characters, how to read "The Heir to the Beginning □□ the Ancient Me to □"? The last few sentences of the "Teacher" chapter should be: "□ the son of Letian, □ to □ heir." Wang Shi □□, the ancient self came to □. The facts of the restoration prove that the continuous reading of "The Heir King" is a mistake in the reading of Shigu's poems. There is no "heir king" in the stone drum poem, only the last word "heir" in the previous verse and the first word "king" in the next verse.
"And the teacher" article each line of seven words, a total of ten lines of more than five words, not counting the repetition, the text is 75 words, of which 39 words are missing, 36 words are saved. The unrecognizable remnants are indicated by ☆, and the full text is as follows (Figure 8):
□□□□，□=□=。 □
□□□，□=□=。 And the division
□=, bow and arrow. □□
□□, □□□ to. left
驂□=, right [驂] Tao =. Yes
□=，□=□=。 □ do not have it,
☆ □ □. Gu comes
□, □□ its writing. Small and big
Come, □=□=. □ Lotte Son,
□ □ heirs. Wang Shi □
□, the ancient self came to □.
Figure eight
The rhyme of our line of seven characters is not the same as the rhyme of Mr. Guo Moruo's line of six characters. Like the Book of Songs, the stone drum poems like to use dense rhymes. The first few sentences of the "And Teacher" chapter are rhymed with the Duo department, such as "Shu"; Then change the rhyme of a few sentences, such as "to"; Then the next few sentences rhyme with the Duo department, such as "get" and "write"; The last few sentences are changed back to the rhyme, such as "come", "son" and "heir". In the rhyme of a few sentences, there is a doubt, "Tao" is indeed at the foot of the rhyme, but it is a rhyme word, check the relevant rhyme book to know, because the vowels are similar, the quiet can rhyme, in the "Book of Songs· Daya· Siqi" and "Book of Songs·Daya· Zhaomin" have such a situation, the stone drum poem "Wangyan" at the end of the "carp" and "willow" are also the rhyme.
Although the title of "heir king" did not begin with Mr. Guo Moruo, since he advocated "the beginning of the heir king□ and the ancient self came to □" in "Research on Stone Drum Literature", many researchers have begun to look for the "heir king". Some people are looking for a king who has just ascended the throne, while others say that a prince who has not yet ascended the throne can also be called an heir. Some people are looking for a certain king of Zhou, while some people are looking for a certain king of Qin; Some people say that Zhou Tianzi and the heir king are one person, while some people say that Zhou Tianzi and the heir are two people; Among the two people's statements, some people say that Zhou Tianzi and the heir king are father and son, while some people say that Zhou Tianzi and Qin heir are in a father-son relationship. There are different opinions, and there is no consensus. Our sentence reading has indeed swept everyone's interest, but isn't "advocating truth and correcting errors" exactly the academic character that every researcher must have? In fact, like the Book of Songs, the "Son of Heaven" and "King" in the Shigu poems refer to the supreme ruler of the Zhou Dynasty.
In Mr. Ma Xulun's "New Rubbing Stone Drum Text", there is no longer a single word of the drum rubbing of "Ma Xu", and there are still more than ten characters in the Northern Song Dynasty cut and paste, so it is necessary to refer to the Jiaxiutang Fa Ti and Gu Congyi to restore the original.
Mr. Guo Moruo set the first line of "Tian" on the fourth position, but looking at the Congyi inkstone, "Tian" is obviously not on the fourth position, and on the fifth position, but the word "Tian" has reached the arc-shaped inkstone, so when the word is engraved, it is a little higher, which shows that the stone drum poem has the word "rainbow". There is no such word in the Jiaxiutang Fati.
Mr. Guo Moruo fixed the "heart" in the fifth line on the second position, that is, it is connected to the "it" below. However, looking at the "Zhongquan Ben", there are cut marks between the "heart" and "it" in the peer, and they will not be connected, so the "heart" should be raised one level and set at the first position of the fifth line. It should be noted that the "stamina book" is to paste the word "heart" after the word "zhi" in the whole article, which indicates that the cutter in the cutting and pasting, at first the stone flower is a lot of stone flowers and do not know the word "heart" to give up, after the "Ma Recommendation" article, and feel that it is a pity to abandon this word, so the "heart" is pasted behind the last word of the whole article "zhi". This interpretation may be more appropriate to the circumstances.
Mr. Guo Moruo set the "zhi" in the eighth line at the fourth position, but took care of Congyi Yan, and the "zhi" and "its" were juxtaposed with two lines apart, not with the "one" under "its", so the "zhi" should be set at the third position (as mentioned earlier, Mr. Xu Guigui was also the same). The "zhi" and "its" of the Jiaxiutang Dharma are juxtaposed next line, and we take Gu Congyi's inkstone as the standard, because there are mistakes in copying, and they are often abbreviated lines.
"Ma Xu" each line of five characters, a total of eight lines, not counting the repetition, the text is 40 words, of which 23 words are missing, 17 words are saved. The full text is as follows (Figure 9):
□=□=, □□ days
Rainbow. □ = Pi □, □ =
□ go. 䮺 = 馬薦,
= =。 Micro = pheasant ☆,
The heart □ one. □
☆□□，□□
□□。 □□□
□, the □□ of □.
Figure 9
There are only a few words left in the "New Tuoshi Drum Text" and "Wu People", while there are still many words in the Northern Song Dynasty clip-and-paste book. Referring to the Jiaxiutang Fati and Gu Congyiyan, the position of most of the characters can be restored.
It should be noted that there is a horizontal stone flower belt on the base of Gu Congyi's inkstone, and the stone flower belt is compressed up and down when copying and carving, so that the eight characters and one line of the "Wu Ren" chapter become seven characters and one line, which is not referential.
Mr. Guo Moruo fixed the "the" in the seventh line on the third position, which is connected to the "I" on the second position, but the "its" of Jiaxiutang Fa Ti and Gu Congyi Yan are both on the fourth position, and they are not connected with the "I" on the second position. Looking at the "Zhongquan Ben" and the "Houjin Ben", there are indeed cut marks between "I" and "it", and they must not be connected, which proves that Jiaxiutang Fati and Gu Congyi Yan are correct.
"Wu Ren" has eight characters per line, a total of nine lines, not counting the repetition of the text, the combined text is 72 words, of which 30 words are missing, and 42 words are saved. The full text is as follows (Figure 10):
Wu people are anxious, and they respect □ day and night.
載西載北, do not ask for no generation.
☆ And out of the □, □ with □.
□□□=，□□□=。 Big Celebration
□ Zeng, subject to his mediocrity□. □
Yu Feng, the hole is □. □ deer
□=,吾□其☆。 □=Monkey=,Large
□□□。 □□□ begging, again
□□□。 □□□☆, yes
Figure 10
"Wu Ren" is the same as other stone drum poems, all of which have changed rhyme many times, and Mr. Guo Moruo and others' "□ has been subjected to its mediocrity, and □□ Yufeng" has the disadvantage of looking for the same rhyme part, in fact, it is not necessary to do so, like the "Book of Songs" and stone drum poems, there are less than four sentences to change the rhyme, two sentences to change the rhyme, and it is not uncommon for a poem to change the rhyme feet of four or five different rhymes.
It should be noted that the three Northern Song Dynasty rubbings, "Pioneer Edition", "Zhongquan Edition" and "Stamina Edition", were never kept secret before or after the collection of Anguo, or even changed hands to Shen Wu. It was not until the early days of the Republic of China, after Qin Wenjin changed hands, that the "Ten Drum Zhai Zhongquan Edition" with the most preserved characters was photocopied and published in Qin Wenjin's own Shanghai Art Garden True Appreciation Society (the revised version was "Ten Drum Zhai Zhongjia Edition" when photocopied and published, in order to pretend to be the first), which made people who like Shigu Wen refreshed. In society, from the late Qianlong period of the Qing Dynasty to the early period of the Republic of China, the most widely circulated is the many facsimiles of the Northern Song Dynasty rubbings of the stone drum inscriptions collected by the Tianyi Pavilion in Ningbo, Zhejiang, which can be said to have formed a Tianyi Pavilion stone drum system. In the fifty-fourth year of Qianlong, Zhejiang calligrapher and painter Zhang Yanchang first copied and engraved the Tianyi Pavilion rubbing, and this precious Northern Song Dynasty rubbings were known. It is said that the Tianyi Pavilion rubbing was later destroyed by fire. In the second year of Jiaqing, a cabinet scholar, Ruan Yuan, supervised Zhejiang, based on Zhang Yanchang's book, and participated in the early Ming Dynasty stone drum texts, re-engraved the stone, and placed it on the wall of the Minglun Hall of Hangzhou Mansion for people to copy and expand. In the twelfth year of Guangxu, the clan Sheng Yu went to the stone to engrave Ruan Yuan's Hangzhou Mansion book, and placed it on the wall of the Korean Ancestral Hall in Beijing, which was also for people to copy and expand. Because these last two copies are fine, they are called the first and second best copies of the stone drum inscriptions in the world.
There are still more than 460 characters in Ruan Yuan's Hangzhou Fuxue book, because the text is less than the three Northern Song Dynasty rubbings of Anguo, indicating that its predecessor Tianyi Pavilion Northern Song Dynasty rubbings were later than the three Northern Song Dynasty rubbings of Anguo. It is said that the Tianyige rubbings are also scrapbooks, so there is also the problem of restoring the position of the text.
Taking Ruan Yuan's Hangzhou Mansion Xueben as the representative of the Tianyi Pavilion stone drum system, there are two words in which the position is incorrect. One is the "Fu" in the "And Teacher" chapter, which is in the second position of seven characters in a line, and the correct one should be in the third position; The other is the "its" in the seventh line of the "Wu Ren" chapter, which is in the third position, and the correct one should be in the fourth position. The latter is the same as Mr. Guo Moruo's mistake, or to be precise, Mr. Guo Moruo and others adopted the positioning of Ruan Yuan's Hangzhou Mansion Xueben, and ignored the "excellent reference" of Jiaxiutang Fa Ti and Gu Congyi Yan. Ruan Yuan's Hangzhou Mansion School also has the same as ours, such as the "Zhi" and "its" in the "Ma Recommendation" chapter are juxtaposed with two lines apart.
Author's note: This article was first published on the website of the Research Center for Unearthed Literature and Ancient Characters of Fudan University on July 4, 2013 with the title of "A New Examination for the Restoration of the Northern Song Dynasty Rubbing Script of the Shigu Script".
Notes:
[1] Xu Baogui. Beijing:中華書局,2008:460.
[2] [4] [7] [8] [9] Guo Moruo. Research on Shigu Literature[M]//The Complete Works of Guo Moruo (Archaeological Editor Vol. 9).Beijing:Science Press,1982:261,42,114,115,113.
[3] Fang Ruo's original work, Wang Qiang Hongzeng. 補補補譨緆(訂版)[M].上海書店出版社,2008.
[5] Ministry of Culture. The First Batch of National Rare Ancient Books.2008.
[6] Cheng Qinqing. Calligraphy,1984(3).
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