The research on this volume started long ago, but the research on the mainland is often limited to introduction, and the research on this volume in Taiwan Province Province is more in-depth.
In modern times, it seems that the focus of discussion in Xuanzong of Tang Dynasty is not on calligraphy style, but mainly on: 1. Completion time of Xuanzong; Second, is this roll a double hook profile? In addition, it will also involve the author of "Who is it"; The installation form of the volume; Postscript of Cai Jing and Cai Bian and the circulation of this volume.
Yes, researchers have great differences on the completion time. The research on the date of completion of the book is mainly based on the contents and historical materials described in Ode. The sentence with a time hint in the eulogy is: "There are only five brothers. Compared with Fang Bo. See you at the age of one. Although I am full of admiration for the screen, I am also full of laughter. I just quit the shepherd and left the Beijing Post. " And autumn and September in my heart. Although there is a little disagreement about the "five brothers" in the first sentence (see below for details), researchers generally believe that this ode was written after the brothers returned to Beijing (remote collar festival) and before the death of Wang Song Cheng Yi, the earliest of the two brothers. The general understanding of "the heart in autumn and September" is that the heart in September has a day (see below for different views).
Twenty years before Kaiyuan was put forward earlier. In A Record of Gu Shuhua, Mr. Xu Bangda presumed that the completion time of this eulogy would not be later than the death time of Wang Shen Cheng Yi, and Wang Shen died in the twentieth year of Kaiyuan (the other was the twelfth year of Kaiyuan). Therefore, it was completed no later than the twentieth year of Kaiyuan, and it was a work of Xuanzong before he was forty-two years old.
Earlier, the theory of "Seven Years of Kaiyuan" was put forward, which was published by Mr. Jiang in "Essays on Reading Paintings in Shuangxi" on 1977, and included "Textual research on the age of Tang Xuanzong's completed book": a penny. In this paper, Mr. Wang concluded that the writing time of "Ballad" must be four years after Kaiyuan. In the eighth year of Kaiyuan, Wang Fan had the intention of rebellion, and the situation was quite serious. There is a gap between brothers, so it must be eight years before Kaiyuan. In September of four to eight years, in the fifth, seventh and eighth years of Kaiyuan, there was a day in mind. In the five or eight years of Zi Zhi Tong Jian, it was recorded that Xuanzong was quite busy, and it was unlikely to be completed. In the seventh year of Kaiyuan, there was a matter of admonition by the Song King, which made Xuanzong very grateful. Mr. Jiang believes that this is undoubtedly written for this incident. The theory of "the seventh year of Kaiyuan" has a wide and lasting influence. 1989, Mr. Huang Weizhong and Wei Guangcheng co-wrote Xuanzong of the Tang Dynasty. He used two materials about Wei Guangcheng found in historical materials to supplement and confirm Mr. Jiang's theory of "Seven Years of Kaiyuan". 1998 Mr. Lin Baiting's Memory of the Empire, Exhibition Atlas of Treasures Collected by the Palace Museum in France-Ode to Birds of Emperor Xuanzong of Tang Dynasty, and Mr. He Chuanxin's Treasure of the Son of Heaven-Exhibits Collected by the National Palace Museum in Taipei (V) in 2003, 20 10, Tan Yiling.
Mr. Fang 200 1 Appreciation of Writing Stork Songs questioned the theory of "Seven Years of Kaiyuan". Mr. Fang believes that it is no problem to infer that it was completed after four years of Kaiyuan, but eight years of Kaiyuan is not the lower limit. Mr. Jiang mentioned that Wang Fan was going to rebel, which didn't seem as serious as Mr. Jiang said. First of all, Qi Wangfan himself didn't want to rebel. Secondly, although Xuanzong punished the ministers who made good friends with Qi, the alignment was as always. Therefore, the gap between brothers is not big. The lower limit should be before the death of Wang Shen Cheng Yi, that is, the 12th year of Kaiyuan (the textual research of Xu Bangda is the 20th year of Kaiyuan). As for when it was written, it depends on when the snipe landed in Linde Hall. Therefore, Mr. Fang believes that the Song of the Snug should be written between the fourth year of Kaiyuan and the twelfth year of Kaiyuan.
Later, in 2008, Mr. He Chuanxin thought it might be completed in the fifth year of Kaiyuan in the article Ode to the Stork written by Emperor Xuanzong of Tang Dynasty. Because "from the context, it seems new to say,' For example, Bo Hao, see you at the age of one' and then say,' Quit my job as a shepherd and stay in Beijing'". Therefore, Mr. He Chuanxin chose a year with a bright future, in September, which is closest to the fourth year of Kaiyuan, that is, the fifth year of Kaiyuan.
At first, Mr. Liu Zhengcheng interpreted "Heart in September" as "Heart in Year" in the Complete Works of China's Calligraphy, so Mr. Liu Zhengcheng thought it was completed in September of the ninth year of Kaiyuan. It seems that this view is not recognized.
Recently, Mr. Hou Yili also put forward the nine-year theory of Kaiyuan, which is quite different from other nine-year theories. According to "The Mirror of Xuanzong Imperial Decree in the Ninth Year of Kaiyuan", Mr. Hou Yili "was old, and the kings were princes, so he recalled the capital." It is considered that Kaiyuan nine years is the upper limit of completion time. And Wang Shen died in the 12th year of Kaiyuan, which must be the lower limit of completion. Between the ninth and twelfth years of Kaiyuan, there were only nine years in September and twelve years in September. However, there was a considerable time lag between the return of the King to Beijing in the 12th year of Kaiyuan and the 9th year of Kaiyuan. In November of the 12th year of Kaiyuan, Wang Shen died, so it was most appropriate to finish the Song of the Stork in the 9th year of Kaiyuan.
In this discussion about the writing age, apart from the above-mentioned ode content as a comparison, there are several historical records as the basic points of discussion. The first is the chronicle of Tongjian Kaiyuan for four years, "The two kings are not in harmony, and the emperor leads the festival from now on" and the imperial edict of Tang Xuanzong in Tongjian Kaiyuan for nine years, "The king is a vassal historian and is called to the capital." According to these two different documents, the upper limit of completion time is different. The former was first put forward by Mr. Jiang. Before Mr. Hou Yili, there was no doubt about it. Mr. Lian Fang's theory of "four to twelve years of Kaiyuan" and Mr. He Chuanxin's theory of "five years of Kaiyuan" are all based on this basic point. The latter kind of documentary record proposed by Mr. Hou Yili broke this basic point, thus delaying the upper limit to the ninth year of Kaiyuan. After reading these two documents carefully, I have to say that it takes time for things to develop. The fourth year of Kaiyuan is the beginning of "remote control of kings", but not all kings have "remote control ceremonies", while the ninth year of Kaiyuan is a clear imperial decree promulgated by Xuanzong, which means that all kings should "remote control ceremonies". Wang Shen's death is undoubtedly the latest lower limit of completion (it happened in Kaiyuan 12 and 20 years, and it seems that Kaiyuan 12 years is more likely. )。 However, before that, there was an incident in which dorri made friends with the minister. The theory of "the seventh year of Kaiyuan" thinks that this time has seriously affected the brotherly relationship, but some people think that it is not so serious. Although there are objections to the understanding of "having a heart", it is basically one-sided to think that "having a heart" represents a date rather than a year.
In addition to the completion time, there is also a question whether this roll is filled with double hooks. The earliest query appeared in Introduction to Oriental Maps, and Mr. Xu Bangda also agreed with this view. However, more people are skeptical about this issue, such as Jiang, Mr. Wang and Mr. He Chuanxin. However, Mr. Hou Yili believes that this volume was written after visual inspection and high-definition digital viewing. Mr. Hou Yili also discussed whether this volume was recorded in the East Map Xuan Lan, and thought that if the inscription of Hui Zong in the East Map Xuan Lan was written in Qianshui, this volume was not another volume. Because there is no inscription by Hui Zong on the front of this volume, there is a collection seal of Liang Wang in the early Ming Dynasty (the authenticity of the seal needs to be confirmed).
With regard to the postscript on the tail, the predecessors generally thought it was the original works by Cai Jing and Cai Bian, but after comparing Cai Jing's "The Return of Jiang Xue to Kyrgyzstan" and Cai Bian's "To Four Brothers", Mr. Hou Yili thought that the quality of the postscript was a little poor and there were many clerical errors, so it was not the original works, but a well-founded copy. The record of "East Map Xuan Lan" and Su's postscript may have been deleted. The same postscript of Ming Lin You was also cut off.
As for the mounting method, it is generally considered as "Xuan He Zhuang". However, this volume is not standardized, because there is a lack of inscriptions by Hui Zong and seals by Shuanglong Garden, and only half of Gu Xuan and Yu Shu seals are left, so some scholars question the authenticity of this volume. Mr. Hou Yili's textual research believes that this volume was changed from album to hand-written volume during the Xuanhe period, which is why the "Kaiyuan" seal should be forged.
In addition, there are several minor questions about this volume: Mr. Jiang, the author, thinks that Xuanzong cooperates with Wei Guangcheng. This statement has certain influence. However, Mr. Fang believes that this is an essay written by Xuanzong for singing and Wei Guangcheng alone. The focus of the debate mainly lies in the understanding of "tendency to be the same" There are also different interpretations of the "five brothers". Mr. Jiang thinks that Song Wang Chengqi, Shen Wang Chengyi, Xuanzong and Xue have great influence. Mr. Hou Yili pointed out that in addition, there are Wang Shouli, the "five brothers" except Xuanzong. Regarding the circulation of this volume, Mr. Zhang Guangbin tried to sort out its circulation in the calligraphy inscriptions collected in the Palace Museum, but it was difficult to form a system because of the lack of information in the Southern Song Dynasty and the Yuan Dynasty. The study of calligraphy style in this volume is rather general. It is generally believed that it inherits Wang Xizhi's calligraphy style and has the aesthetic characteristics of fullness and beauty in the prosperous Tang Dynasty.