The "Cursive Script Narrative" of "Xuanhe Shupu" says: Since the Han, Jin and Song dynasties, most of the cursive scripts were named after them. Among those that have been passed down to this day, Shu got Zhuge Liang. The cursive script "Yuan She Tie" is now in the collection of the Imperial Palace. Zhang Shu of the Qing Dynasty compiled the "Collected Works of Marquis Zhuge Zhongwu" and quoted the following text from "Taiping Yulan": "The master and the apprentice traveled far away, and the road was very difficult. Fortunately, they were all fine when they came to Baoxie. When the messenger came back, he rushed here, and it was no longer like this. "Yu Lan" is a kind of reading book on the desk of Emperor Taizong of the Song Dynasty, which shows that Sitie undoubtedly existed in the early Song Dynasty, so it is regarded as a quotation from the sages. Moreover, this is a conclusive evidence of Liang's calligraphy, and the material has been verified by scholars at that time. Therefore, the calligraphy has been put into the inner garden of the Tibetan library for the emperor to appreciate, and it has also been clearly recorded in the "Xuanhe Shupu". Yuan scholar Wang Yun's "Yutang Jiahua" and "Qiu Jian Collection" in "Postscript Zhuge Gong's "Yuan She Tie"" once said that he appreciated it three times in his youth, middle and old age. The case has a high level of appreciation, so the postscript stating that the calligraphy was collected by Su Shi and others during the Northern Song Dynasty is certainly credible. This also shows that this calligraphy was indeed found in front of Emperor Huizong of the Song Dynasty.
Yuanshe Tie from the Yuan Dynasty can be seen again in the "Jiangcun Calligraphy and Painting Catalog" selected by Gao Shiqi, a descendant of the early Qing Dynasty collector Gao Shiqi, for "Jin Shang" in the 44th year of Kangxi's reign, but it was not actually in the palace. It was passed on among the people. In the 14th year of Guangxu's reign, the "Jiguan Pavilion" antique shop in Beijing came from Taigu, Shanxi Province. It was coveted by collector Li Baoxian and pretended to be a later imitation. He "picked up the missing piece" for twenty taels of silver, which made him famous. This incident was rumored to be the butt of jokes at the Liulichang antique shop for not being able to recognize the treasures. It has been published in the series of books such as "The History and Appreciation of Antiques", "Appreciation of the Past", "Cultural Relics Talking about the Spring and Autumn Period", and "Collection Talking about History" by Chen Chongyuan, a senior figure in the Beijing antiques industry. Mentioned as a lesson for mistaking the management of antiques. Li was quite proud of his clever move. He not only recorded the original purchase, but also recorded all the inscriptions and seals on the calligraphy and painting in "Records of Calligraphy and Paintings Seen in Haiwang Village". The last record of "Yuanshe Tie" can be traced to the short message of the 57th issue of "Antique Records" of "Hebei First Museum Pictorial" in the 23rd year of the Republic of China: "Li Wenshi of Yizhou has "Yuanshe Tie" with the title "Liang" "Dunshou" has always been attributed to Wu Xiang's calligraphy. However, it is known that it is Zhuge Liang? There is a "book box post"), so it seems that there should be doubts."
Although there is doubt about the authenticity of "Yuan She Tie", older scholars have verified that it is a Tang hook copy of Wang Xizhi's imitation of Liang's calligraphy. In particular, Li Baoxun's account of Song Huizong's thin gold inscription is conclusive. Therefore, although the Stie mentioned in the inscription and postscript was destroyed in the Yuan Dynasty and dispersed from the palace, it was subsequently disseminated among collectors in northern Hebei, Lingnan and other places. Weng Fanggang, a connoisseur and collector of the Qing Dynasty, appreciated it twice and gave it an inscription and postscript, but he did not see it. Writings; Wang Yun, Su Shi, and Zhongzheng Zhengfu collected postscripts, etc., and the information was cut off by some meddlesome people before Li Baoxun wrote it, but Sitiao still believes it to be true.
Although the calligraphy of "Yuanshe Tie" is unknown because of Li Baoxun's death, people have no chance to see the charm of Youjun's imitation of Wuhou's calligraphy. Fortunately, in the 27th year of Daoguang's reign, the Cantonese Confucian Jia Ye Ying Yang compiled a collection of "Gengxia Xiguan Dharma Calligraphy" and copied it, and it was compared with the evidence of Guangdong calligraphy and connoisseur Wu Rongguang's research. It has been verified that the order of the calligraphy and seals written by Li Baoxun and the seals, ink rubbings between Huizong's "Double Dragon" seal, "Xuanhe" seal, "Yu Shu" gourd seal, Song Gaozong's "Shaoxing" seal, etc. are completely consistent with them. , so that people can appreciate the highlights of calligraphy and calligraphy. It is worth mentioning that there are many Cantonese calligraphy works, and there are four kinds of Ye Kecong calligraphy works. This calligraphy is recommended in Wu Rongguang's "Yun Qing Guan Fa Tie". Only the stone was engraved on the stone. During the period of Tongzhi, a certain Jin, the supervisor of the Guangdong Customs, returned to Beijing after completing his term of office. The boat was passing through the Bohai Sea when it suddenly encountered a storm and sank in the sea while being lifted by the boatmen. Therefore, although "Yuanshe Tie" can be said to be the only surviving copy of "Gengxiaxiguan Dharma Tie", due to the destruction of the stone, there were not many rubbings in the world before, and the copied and engraved Tie is still a piece of auspicious light.
In addition to the value of calligraphy, as Kong Ming’s own "Express Delivery" written by Bao Xie to attack Cao Wei, "Yuanshe Tie" and "Cao Zhen Stele" at the same time refer to "Zhuge Liang, the thief of Shu", and they are related to the same war. The enemy's troop movement strategies and the historical facts of the southern and northern wars echo each other, and the value of historical materials can be imagined.