Zhu Zhou theory
The "Zhu Zhou theory" began in the early Tang Dynasty, and includes many different views such as the theory of King Wen of the Western Zhou Dynasty, the theory of King Cheng, and the theory of King Xuan.
1. King Wen of the Western Zhou Dynasty said in Ouyang Xiu of the Northern Song Dynasty's "Collected Ancient Records Postscript": "Wei Yingwu thought that King Wen of Zhou was the drum, and King Xuan carved poems." Ge Cube's "Yunyu Yangqiu" quoted Wei Yingwu's "Song of Stone Drums": "Zhou Wen greatly hunted Qizhiyang" and so on, and believed that the stone drum was a relic of King Wen of the Western Zhou Dynasty. However, the original sentence of Wei's poem is "Zhou Xuan hunts for the sun of Qi", so the emergence of "King Wen's theory" should be related to the above two people mistakenly citing "Zhou Xuan" in Wei's poem as "Zhou Wen". Although the basis for the argument of "King Wen's theory" is not sufficient, it still has a certain market. Zhu Guozuo's "Song of Stone Drums" in the Ming Dynasty still held the view that "doubts cannot be settled by Wen Chengxuan".
2. The theory of King Cheng of the Western Zhou Dynasty. Those who hold this theory include Dong Kui's "Guangchuan Book and Postscript", Cheng Dachang's "Yong Lu", Shen Wu's "Shigu Wen Dingben", etc. The main reason is that "Zuo Zhuan: The Fourth Year of Zhaogong" records: "Jiao Ju spoke to Chuzi and said, 'Cheng has a search for Qiyang'", and Du Yu's annotation said: "King Cheng returned to his hometown to die, and he hunted in the sun of Qishan Mountain." Moreover, the stone drum was unearthed in Chencang and contained poems related to hunting. Therefore, we thought that the hunting events recorded in the stone drum were consistent with the great hunting events of King Cheng, and we came to this view.
3. King Xuan of the Western Zhou Dynasty said that this theory originated in the early Tang Dynasty. It was first proposed by Su Xu, a calligrapher in Zhenguan Dynasty, at the beginning of "Records": "Li Si is the oldest among the surviving handwritings of Xianyan in the world. I don’t know where Shi Zun’s traces are, but they are close to Guanzhong.” Li Sizhen agreed in "Shuhoupin". Later, through Zhang Huaiguan's reasoning in "Shuguan", he came to the conclusion that "Shiguwen" was "a satirical work by King Xuan Xie". Since all the writings on the Shigu were burned during the reign of the First Emperor, very few such writings survived after the Qin and Han Dynasties. In addition, many of the stone drum writings were not included in later generations' calligraphy books, so there was no evidence for identification, so the "Historical Theory" became conclusive. Because Wei Yingwu used "satire" to carve poems that were difficult to explain, he changed Zhang Huaiguan's "Satiricizing Xuan Wang Xie's Hunting" in "Song of Stone Drums" to "Big Hunting's carvings on stone show his merits." Another basis for the "Xuan Wang theory" is that Shigu's poems such as "Che Gong" and "Auspicious Ri" in Shigu's Poems, and "Che Gong" and "Auspicious Ri" are hunting poems praising King Xuan, so it is believed that The Shigu poems should also come from this time. This view echoes the "Shi Zhen Theory" and has created a huge momentum. "Xuan Wang Theory" has a wide influence, and many scholars in the Tang and Song Dynasties also recognized it. Later, it was recognized by Emperors Kangxi and Qianlong of the Qing Dynasty. Until the end of the Qing Dynasty and the beginning of the Republic of China, as the "Qin Zhu theory" gradually gained the upper hand, the "Xuan Wang theory" gradually faded out, but it has not yet come to an end. There are still some supporters to this day.
The theory of Zhu Qin
There are about a dozen different opinions and views on "The theory of Zhu Qin", mainly including Qin Xianggong, Qin Wengong, Qin Degong, Qin Mugong, Qin Xiangong, Qin Duke King Huiwen and others said.
1. Qin Xianggong said that Yang Shen, Quan Zuwang and others were the masters. In 1955, Guo Moruo further demonstrated the "Xianggong theory" in "Research on Shigu Wen" and put forward the view of Shigu's "Jianri theory". According to the records of "Yuanhe County Chronicles", it is believed that the stone drums unearthed from the Sanjie Plain must be related to the establishment of one of the Sanjie; and according to the "Qianyi" drum "汧殹攔攔" and the "Meiyu" drum "汧Poems related to Lianshui such as "殹洎掎", as well as the titles "Emperor" and "Successor" appearing in the poem "Eshi" drum "When the emperor comes, the successor begins", it is believed that the content of "Shiguwen" is related to Xiang Gong The historical facts of escorting King Ping to the east for eight years are consistent with the construction of the territory. The stone drum should be a relic of the Xianggong era. Later, Zhang Guangyuan further believed that Shigu was produced in the 10th year of Duke Xiang and that the author of the poem was Tai Shiyou.
2. Qin Wengong said that in the late Qing Dynasty Zhenjun's "Annotations to the Collected Works of Shigu" and "Tiangui Occasionally Wen", he believed that the content of Shigu's poems was consistent with the "Historical Records of the Qin Dynasty" recorded "Wen Gong's third year, with military force" Seven hundred people hunted eastward for four years, and they arrived at Qian and called a meeting." This theory is consistent with other historical facts. He believes: "Trying the "Historical Records of Qin", Wen Gong sent 700 troops to hunt eastward in the third year, and arrived at the gathering of Qianwei in the fourth year. This is what is said in the "Qin Yin Mian Mian". It is also said that in the past Zhou Dynasty, I The pre-Qin Dynasty won here, and the later soldiers were awarded the title of princes. They settled in it and said it was auspicious, that is, the city was established. This is what is said, "My road is level, and the good trees are in the area." But Bingshen's divination revealed that the first drum (my chariot) was all about hunting, so the seven hundred people were hunting in the east.
Su Yinghui, Na Zhiliang and others followed. Later Tang Lan changed his view and changed it to "Xiangong theory".
9. Qin Xiangong's theory Tang Lan proposed this theory when he published "Shigu Chronology" in 1958. From eight aspects including inscriptions, literary history, new vocabulary, glyphs, calligraphy, place of discovery, stone content, and geographical location, he demonstrated in detail that the stone drum inscriptions could only have been produced during the Warring States Period. Combining with documentary records, he further believed that the stone drum inscriptions were produced during the Warring States Period. In the eleventh year of Xiangong's reign.
10. Before King Huiwen of Qin came to the First Emperor, Zheng Qiao's "Preface to the Stone Drum", Luo Junti's "Explanation of the Ten Inscriptions of the Qin Dynasty", Cheng Zhiqing's "Trial Reading of the Stone Drum Text" and others support this theory. Zheng Qiao used the words "殹,?" in Qin Jin and Qin Quan. Through text comparison and analysis of "Emperor" and "Successor", he believed that the stone drum was a Qin artifact and that the stone drum came into being after King Huiwen of Qin. Before the First Emperor. Luo Junti and others also used comparative analysis of texts to compare and make quantitative statistics on the texts before and after the First Emperor's "Shu Tongwen". He believed that the closer the era was, the more the characters were with the same characters. Therefore, it was judged that the stone drum was produced during the reign of King Huiwen of Qin. to the First Emperor.
11. Others include Li Xueqin's "Eastern Zhou and Qin Dynasty Civilization" which believes that stone drums were produced in the middle and late Spring and Autumn Period; Qiu Xigui's "Outline of Philology", Huang Qiyi's "Date of Stone Drum Texts and Related Issues", Chen Zhaorong's "Qin Gong" Issues of the Age of the Gui: Also on the Relative Age of the Stone Drum Texts" and others believe that the Stone Drum was produced between the Spring and Autumn Period and the Warring States Period, etc.
The theory of Han Dynasty, Northern Wei Dynasty, Yu Wenzhou and others
1. "Han theory" began in Wu Yi's "Inscriptions on Gold and Stone" in Qing Dynasty. Because the drum in "Luang Che" is "horse", "Gu Wenyuan" interprets it as "Six Horses of Hehe", and the emperor of the Han Dynasty had the system of driving six horses, so it is inferred that the stone drum was produced in the Han Dynasty.
2. The "Jin theory" originated from Wang Kaiyun in the late Qing Dynasty, who believed in "Xiang Qilou Collected Works" that the stone drums were carved in the Jin Dynasty; the "Northern Wei theory" originated from Yu Zhengxie, a Qing Dynasty man, who wrote in "Answers" "Chengjun Guanshu" believes that Shigu came into being in the Northern Wei Dynasty, and Yao Darong's "Shigu Wenzu Zhengji" follows from it; "Yuwen Zhou theory" comes from "Jin Shi·Ma Dingguo Biography", which states that Jin Ren Ma Dingguo identified Shigu as the origin of Yuwen in the Southern and Northern Dynasties. This statement is also supported by the inscriptions of Zhou Dynasty and Gu Yanwu of the Ming Dynasty in "Inscriptions on Letters and Stone".