Over the years, many literary and historical figures in Tongling have been exploring and analyzing from time to time, wanting to know who the author is. Due to the severe weathering, only a traditional Chinese character "book" can be vaguely seen at the bottom left, and the author on the "book" cannot be identified. Mr. Chen Fu said that I have been there many times and took more than 100 photos. I only read one word in the book. If I recognize another word, I can infer who it is.
I asked him if he had guessed a rough idea. Chen Fu said, do you still remember that time we went to the ancient city of wall clock? I specially photographed Jiang Ji's inscription "Violet Song Xiu". Like Yao Tai Xian Jiao, it is also a regular script with round strokes and high similarity. "Wind Stone" Jiang Jishi's poem is the year of Gengyin, which is the same as Brewmaster Mountain. I think nine times out of ten, Yao Tai Xian Jiao was written by Jiang Ji. You can study it if you are interested. He also said that the inscription on the wall clock was ugly in time, and the inscription on Jiuxian Mountain was Geng Yin, which was logical in time and had its inherent reasonable connection.
I am very interested and agree with Chen Fu's flash idea. I think if we compare the inscriptions on The Wall Clock and The Story of Tongshan River, find out their similarities and deduce their logical internal relations, we may be able to draw a convincing conclusion.
Jiang Ji, whose real name is Yishan, is from Suzhou. He was born in Takeshi. In the seventeenth year of Wanli (1589), he served as a member of Fujian South Road, and was later promoted to Sichuan Handprint Department.
General Nan Lu has jurisdiction over Zhangzhou Wei, land and water camp, and Hanging Bell and Tongshan are under its military jurisdiction. There are two inscriptions on Jiang Ji's wall clock. One is carved on the top of the mountain in Lao Guo, with the words "Qinglian Songxiu" written directly in regular script and the inscription "Book of Jiang Ji in the Winter of Wanli Period (1589)". This inscription is oblique and flat, with a height of 280 cm, a width of 80 cm and an inscription of 60 cm square.
There is also a place carved in Lao Guo Mountain, written directly for the running script:
Tooth self-reliance, Gu Shan high, shed even.
The peaks of Hanfeng are jade islands, and the patches of Ningxia are violets.
Cang's eyes are really calm, and Xuanpu is arrogant.
Because the victory is comparable to Jieshi, Le Ming also wants to imitate Ran Yan.
Wanli Winter Ugliness, Ji Shu, Jiang Yishan, Wu Jun.
This inscription is 70 cm high, 133 cm wide and 10 cm in area.
There is a poem written by Jiang Ji in Tongshan, named Ode to the Wind-driven Stone, which is the first poem on the left of the four poems written by the Wind-driven Stone:
The stone at the peak is amazing.
Still walking in the Phoenix, the potential is not strong from a distance.
The satellite evaded the southern war, and Guibi inserted into Tianchi.
If you want to borrow Liang Dong, the Qing Dynasty is the best.
Wanli Gengyin (1590) River in midsummer
This poem is contained in Chen Zhenzao's Tongshan Zhi, page 220. Enlarging the pictures of pneumatic stones in the Republic of China, we can see that the words "stone", "big", "block", "you" and "look" are all cursive inscriptions. Chen Fu said that Jiang Ji is good at calligraphy, and he can write both big and small characters. He is good at regular script, running script and cursive script. He also likes to recite poems as a souvenir, which can be seen from the poems on the wall clock and the poems on Tongshan Mountain.
Gusu, Wu Jun and Dongwu are all nicknames of Suzhou in The Story of the River. There is little information about Jiang Ji. Judging from the time of the inscription, he left two stone carvings in Diaozhong City in the winter of his ugly year (1589), one is a poem, and the other is an inscription in regular script. The following year, Geng Yin (1590) came to Tongshan Lock City, and in midsummer, he carved a poem on the pneumatic stone. Tongshan is one of the five major water towns in Fujian, and it is the focus of attention of Jiang Ji, a participant in Nandao. During Jiang Ji's stay in Tongshan, Zhu Ying, a juren from Tongshan, swam and sang with him, boarded Zhenyuan Building together and enjoyed the beautiful scenery of the sea and the sky. Zhu Ying's poem "Climbing the Tower with Jiang Yishan" is included in Chen Zhenzao's Tongshan Annals, p. 254:
The sea and the sky are all in autumn, and the situation is dangerous.
Embroidery is what you see, and a mountain peak is what you see.
The fishing rod is empty, the crane's back is light, and the things are out of the chest.
Drink more when visiting the public, and take care of Jinfeng with high teeth.
Zhenyuan Building generally refers to a towering watchtower with an unknown address. Will Jiang Ji leave an inscription in regular script like the city of hanging clocks? Reasonable, it is reasonable for Jiang Ji to leave a regular script inscription in Tongshan. For example, he continued the practice of hanging clocks in the city, found a rock wall and carved a few regular script words. If this is the case, then the "Yaotaixian Temple" on the rock wall of Jiuxian Mountain conforms to this inference.
First of all, Mr. Chen Fu thinks that the "Qinglian Songxiu" of Diaozhongguo Laoshan Mountain is highly similar to the "Yaotai Fairy Corner" of Tongshan Jiuxian Mountain. They are all regular script fonts with rounded strokes and the same thickness. He believes that it is impossible to draw a conclusion on this point alone. After all, there is still a lack of key evidence. Indeed, many regular script characters, especially inscriptions, will appear round after being processed by masons. But because of its similarity, it can be used as one of the necessary conditions.
Secondly, in Tongshan stone carvings, except for Fengdong Stone and Jiuxian Mountain, there is no third inscription of the same year. I consulted a variety of Tongshan chronicles. In the year of Gengyin in Wanli, there was no one but Jiang Ji who came to Tongshan and left an inscription. In this way, the research object is focused on Jiang Ji, and the two inscriptions are highly similar, which makes me initially form the judgment that Jiang Ji may be the author of the inscription on Jiuxianshan.
Thirdly, I found that the inscriptions on "Violet Pine Show" and "Yaotai Fairy Pit" were all engraved with the word "book", and the poems on the rocks of Laoshan Mountain and Tongshan Mountain were also engraved with the word "book". Inscription is the author's writing habit, and the similarity between them increases the possibility of pointing to the same author. Since Jiang Ji wrote the word "book", the word "book" in Yao Tai Xian Jiao may also be written by Jiang Ji.
Fourthly, Chen Fu thinks that we should find the same internal relations from the meanings of words such as Yaotai, Xuanpu, Xianyao and Qinglian. For example, the inscription on Jiuxian Mountain, Yaotai refers to the legendary immortal residence. Fairy mountain is fairy mountain. Another example is the inscription on the bell. Violet is a blue lotus, and Buddhism regards lotus as a symbol of purity and non-staining. The "Xuanpu" engraved with poems is the legendary residence of immortals on the top of Kunlun Mountain, which is consistent with the meaning of "Yaotai". The two inscribed words show that the author regards Laoguoshan and Jiuxianshan as immortal mountains in the divine world, and they are a desirable clean and flawless immortal residence. The characters used in the stone carvings in the two places have the same aesthetic taste, which is probably written by the same author, which is also one of the necessary conditions.
Fifthly, Chen Fu remembers that when Mr. Chen Qiushun was alive many years ago, he told him that the word "Wanli Gengyin Year" was a "four". A few years later, I went to see it and never saw it again. Can "four" be followed by "month"? If "Yaotai Fairy Pit" was inscribed in April of the year of Gengyin in Wanli, then the time range can be reduced to "month". That is, Jiang wrote poems in Jiuxian Mountain in April and in Fengdong Stone in midsummer (May). Only in this way can it conform to the time process of the real historical scene and make the argument more convincing.
Sixth, I found that the writing of regular script in both places is the same, that is, the calligraphy font is regular script. Look at the word "shrug" first. It's written like three points of water and milk, with an ear below it. This word is not in the dictionary, it is cursive. Look at the word "Yaotai" again. The word "Yaotai" has the claw prefix removed, and the mountain prefix has been changed to the stop prefix. The characters on the platform are simplified to one point and one horizontal. These three characters are regular script fonts evolved from calligraphy fonts and are the result of cursive script. Calligraphy writers generally know that although these three characters violate the stroke composition of the original characters, they are allowed in calligraphy creation.
Regular cursive script is a way of appreciation imposed on the audience by calligraphy authors, which has strong personal characteristics and is the writing method of a few authors in specific situations. For example, three points of water and cheese, the following ear character, people will think of the word shrug from the calligraphy font. "Yao" and "Taiwan" lack strokes, and they still look like Yao Taiwan. Coupled with the fairy's context, it is naturally not easy to produce wrong associations. In this way, Jiang Ji highlighted the characteristics of his calligraphy, which distinguished him from other calligraphers.
There are few such writers, especially in small places like Bell and Tongshan. It is almost impossible for two writers with the same writing habits to sign in the same way in the same year. Therefore, since Jiang Ji wrote the word "Song" in "The Old Mountain of Hang Zhongguo", the word "Yaotai" in "Nine Immortals Mountain" should also be written by him. Combined with the above arguments, it should be recognized that Yaotai Xianjiao was inscribed by Jiang Ji. If there is another person, it is really a historical coincidence.
In the process of writing this article, Mr. Chen Fu climbed Jiuxian Mountain twice, tried to figure it out repeatedly in front of the "Yaotai Fairy Corner", and climbed the ladder to identify it by using sunlight from different angles, hoping to make a breakthrough. He said that on the word "book", he vaguely saw a horizontal line and two vertical lines, and felt the meaning of the word "base", but the lower part was too loose to draw a conclusion. He also said that arguments are often like this. If you don't read them once or twice, or even nine times or ten times, you may suddenly see them the eleventh time. If you shine a flashlight from the side at night, or stand at an appropriate distance and zoom in with a telescope, I wonder if you can find anything.
I admire Mr Chen Fu's patience and preciseness. This is what academic research should be like. Even if there are reasonable arguments, we should do everything possible to find new evidence. Textual research is to restore the historical truth. If the word "relevance" is recognized again, then the previous inference is beyond doubt.
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