Which year was the Gengchen Year of Kangxi?
Donghui
Tang poetry is an unprecedented peak in the history of ancient Chinese poetry. In less than three hundred years, Li Bai, Du Fu, Wang Wei, Li Shangyin and many other great poets emerged. At the same time, hundreds of small and medium-sized poets with their own characteristics emerged. According to the statistics of "Complete Poems of the Tang Dynasty" alone, there are more than 2,000 poets and more than 50,000 poems (some of them were included by mistake), and many more have been lost. For example, Mr. Chen Shangjun added more than 4,000 poems from various materials and published the "Supplement to the Complete Poems of the Tang Dynasty".
Due to the large number of poets and the vast number of works, there have been many anthologies of Tang poetry since the Tang Dynasty. For example, the "Zhongji Collection", "Heyue Yingling Collection" and "Guoxiu Collection" have been passed down to this day. In the Song Dynasty, with the rapid popularization of woodblock printing technology, many collections and anthologies of Tang poetry appeared. Among them, Wang Anshi's "Selected Poems of One Hundred Schools of Tang Dynasty" is one of the more important ones. There are three main reasons why this book is important: 1. Wang Anshi is famous and has a high status. He is a writer with a high level of literature, and he is a famous writer. This selection has certain reference value for studying Wang Anshi. 2. Wang Anshi’s poem selection is mainly based on Song Minqiu, a famous scholar and calligrapher in the Northern Song Dynasty. Song Minqiu has more than 30,000 volumes of books, especially a rich collection of Tang poetry. Therefore, this poetry anthology has high documentary value and can be used for collation. 3. This anthology is an anthology of poems from the Tong Dynasty. From the early Tang Dynasty to the late Tang Dynasty, more than 100 poets were selected, with more than 1,200 works, which is relatively representative. Generally speaking, from the Five Dynasties to the Song Dynasty, there were many anthologies of Tang poetry, but there were relatively few anthologies of poetry from the Tong dynasty, and even fewer that included all styles. The existing selected editions of Tongdai before this book include Youxuan Collection and Cai Tiao Collection, and later there are Ten Thousand Tang Dynasty Quatrains and Zhongmiao Collection, etc. However, the latter two are not selected from each genre.
According to Wang Anshi's preface, this book was compiled when he was a judge of the Third Division. With reference to his own official experience, it should have been written around 1060. It was published several times in the Song Dynasty, and there are currently two systems: the human version according to the order, and the classified version according to the content of the work. According to the documents currently available, especially Wang Anshi's autograph and Yang Pan's preface in the surviving Song edition fragments, both of them mentioned "hundred schools of thought" but did not mention classification. It can be speculated that Wang Anshi's original version should be divided into humanities and classification. This version is rewritten based on the human version, and Mr. Huang Yongnian also holds this view. Mr. Huang said in his explanation of the proofreading: "...the classified fragments of Song Dynasty engravings were classified and re-edited by Song Dynasty people and are no longer the original appearance of the original book." Unfortunately, only these two types of manuscripts are left now. The fragmentary volume, the Song Dynasty inscribed human version that better reflects the original appearance of Wang Anshi's anthology, is now in the Shanghai Library and has been preserved until the ninth volume. This edition was previously determined to be the Wuyin edition of the Northern Song Dynasty and Yuan Dynasty. Now it seems that it should be the Shaoxing edition of the Southern Song Dynasty, and there is a supplementary edition during the Chunxi period (please refer to the relevant content of Mr. Chen Xianxing's lecture "Xianxing Shuo Rare Books"). There are currently two classified volumes, one of which only has ten volumes left, is now in the Jingjiado Bunko in Japan. The other version was revised by Song Kedi and has eight volumes. It is now in the Library of China.
"Selected Poems of One Hundred Schools of Tang Dynasty" Preface by Wang Anshi
During the Yuan and Ming dynasties, "Selected Poems of One Hundred Schools of Tang Dynasty" was not published. By the Kangxi period, this book had been It is very rare that Song Nao had been purchasing the original for many years. Later, when he was the governor of Jiangning, he obtained the eight volumes of Xu Qian Xuejiu's Song Dynasty engraved fragments (5 to 8, 13 to 16), and called his disciple Qiu Jiong "still alive". "Shi Chongzi" was in the autumn of the Gengchen year of Kangxi (1700). Three years later, Song Nao obtained a complete book through the introduction of the famous calligrapher Mao Zhen, and asked Qiu Jong to engrave twelve volumes, making it a complete book of twenty volumes, which was completed the following year (1704). , this version is also human-oriented. This book is well collated and beautifully printed, and is indeed relatively faithful to the original. Even the missing pens of the Song Dynasty were reproduced according to the same pattern. Therefore, it was highly valued after it was carved, spread widely, and was reprinted many times. Nowadays, larger libraries basically have this book. For example, there are several copies of the national map. It often appears in ancient book auctions. What is rarer is the so-called first printing printed on civilized paper.
But all these books are without exception the twenty-volume complete version, which is the printed version after the additional engraving was completed in 1704. The original eight-volume first printing in 1700 has never been recorded (only Huang Pilie mentioned, see below for details). And we can confirm from the Song Dynasty's preface to the complete version that the eight-volume edition was indeed printed after it was engraved: "When Zizheng was completed, the fruit became popular at that time, and those who cherish it are better than the auspicious light..." So this eight-volume first edition Is the printed version still in circulation? Moreover, if we look closely at the process of the Kangxi edition, we will inevitably have a question: In the process of enlarging the eight volumes into twenty full volumes, did Qiu Jiong revise the contents of the original eight volumes? What are the wording differences? Since the old incomplete Song version of Xu Qianxue obtained by Song Nao has been lost, we can now only get a glimpse of the Song version through the eight-volume first printing of the Kangxi Gengchen year. According to He Zhuo's postscript in the "Ban Song Lou Shu Zhi", the twenty-volume full volume that Song Nao bought at that time was not a Song engraving, but a manuscript, probably copied in the early Ming Dynasty. Combined with the twenty-volume postscript of Qiu Jong, "in the third year of Yue Dynasty, in the late autumn of Gui Dynasty, Gongfu obtained twenty volumes of Ni's edition of Yichou Qiandao and sent it to Changshu calligrapher." This indicates that the original version of this manuscript is Ni's edition of the Southern Song Dynasty. It can be said that in terms of documentary value, the eight-volume first printing can convey certain information of the Song Dynasty fragment and has an irreplaceable role, ranking second only to the Song Dynasty version.
I happen to have this first printed eight-volume edition, originally produced by Lu Fanghuai of the Qing Dynasty. It was bound in two volumes and printed on bamboo paper.
The first volume is from the fifth to the eighth volume, and the second volume is from the thirteenth to the sixteenth volume. There are Wang Anshi's preface and Yan Ruochu's postscript at the beginning of the volume, followed by Song Nao's preface, and Qiu Jiong's postscript at the end of the volume. The following is a brief comparative analysis of the differences between it and the twenty-volume full text:
First of all, the two prefaces and postscripts are different. The existing twenty volumes of the complete version only have the preface and postscript of Song Nao and Qiu Jong when they were re-engraved, but there is no original preface and postscript of Kangxi Gengchen year. The original preface and postscript describe the publishing process of the eight volumes in more detail. Song Nao's original preface also included a large section of his analysis of Yang Pan's anthology of poems by hundreds of scholars of the Tang Dynasty. This part of the reprinted preface has also been deleted (note, the existing anthology of Song Nao's essays preserves this original preface, but the words are still slightly different) . Qiu Jiong's original postscript has not been quoted elsewhere, and the article is not too long, so it is transcribed here for reference:
According to the Anthology of One Hundred Poems of the Tang Dynasty, it was compiled by Song Minqiu Cidao, 1,246 Chapter, King Jinggong took it, and the world thought it was compiled by Jinggong. Ye Shilin of Shilin said: Mr. Jing was self-proclaimed by his spirit, so the poems only follow his direction and cannot be more subtle. Sentences such as "All the people in the world are waiting for the rain, but they don't know where the dragon is coming from", etc., all speak directly to what is on his mind. Later, he served as a judge of Qun Mu. He collected all fake Tang poetry collections from the Song Dynasty and made appointments with them. In his later years, he began to express his interest in being gentle and unhurried, and the carefulness of his choices can be seen, and Jing Gong's self-satisfaction in it was also profound. My master, Shang Qiu Song Gong, spent several years visiting and purchasing this eight-volume fragment, which is extremely valuable. In the autumn of Gengchen, I and Baishi Yan Zhengjun paid a visit to Gong Weiyang's administrative office, and the words were followed in order to show them. Yu Tie was afraid that the remaining slips would easily be lost, so Duke Jing went to retrieve the big finger. Later, no one heard about it, so he urgently asked the public to order it and reprint it. I bow as a proofreader and fix the faults. If there is a word of doubt, I will conquer the king from afar and conquer the king from afar. For those who regret that it is incomplete, sigh! Among the 100 volumes of the Kongfu Literature Garden in the Jin Dynasty, only nineteen volumes were published in the Song Dynasty, and twelve volumes were missing in the recent annotation of Su Shi. Are the books of the ancients necessarily complete and valuable? Postscript of Qiu Jong in Huaishan Mountain
Postscript of Qiu Jong in "Selected Poems of One Hundred Masters of Tang Dynasty"
Preface to Song Luo in "Selected Poems of One Hundred Masters of Poems of Tang Dynasty"
Secondly, after Wang Anshi's preface to "Selected Poems of One Hundred Poems of the Tang Dynasty", the eight-volume edition of the first printing also contains an inscription and postscript by Yan Ruochu, which contains more than 300 words, saying, "The original preface by King Jinggong of the Right has been collected, and the remaining Song Dynasty edition has been lost. , I took it from the collection and rolled it up to see the old clouds of Jinggong?" This article has been deleted from the twenty-volume full version. After being prompted by Mr. Guo Lixuan, I found that this article was contained in Volume 4 of Yan Ruochu's "Notes on Qianqiu", and the text is basically the same.
In terms of text, this first printed version is also different from the twenty-volume full version (the Yang Shaohe version of the national map is used as an example below) in many places. It is obvious that some revisions have been made during the engraving process.
For example, in Volume 5 Wang Changling's poem "Zheng County Su Tao Da Presents Feng Liu to Feng Liu" was added to the full version to "Zheng County Su Tao Da Presents Feng Liu Yuan 2". Mr. Huang Yongnian's edited version is here It is noted that "'Yuan Er' is not found in the Song version" (note, the Song version here refers to the remaining Song Dynasty engraved human version in the picture above). Obviously, the eight-volume Song fragmentary edition here is the same as the Song divided human edition pictured above. Volume 5 is Li Qi's "Send Lu Shaofu to Yanling", in which "the customs in Nantian are different", and the compiled annotation says "Nantian, Song version, classified version as Nanchuan". If you look up the eight-volume first printed volume, it is called "Nanchuan". If you look closely, you will find that the first printed twenty-volume full volume was also named "Nanchuan" by Yang Shao of the National Map and the Haiyuan Pavilion edition, and the later twenty volumes were printed. Originally it was changed to "Nantian", which shows that the twenty-volume full version was later revised one after another. (There are many situations where the first printing and later printing of the twenty-volume version are different. Here are a few examples: Wang Jian’s "Send afar" in the thirteenth volume, and the eight-volume first printing and Yang Shaohe's are both "Send afar". "Dai Tianmou" in Lu Tong's "Moon Eclipse Poems" in Volume 15, the first printed version is "Dai Tianchang", Huang Yongnian's collation notes say "Dai Tianmou, the classified version is 'Dai Tianchang'"; Yu Hu's "Dai Tianmou". "Crossing Lingxiao Cave to Visit Mr. Zhang's Temple", "Cha Zhi Heng Only Rafters", the first printed version is "Cha Zhi Heng Zhi Raf". The collation notes say "'Cha Zhi', classified version 'Cha Quan'")
"A Gift to Feng Liu from Su Tao of Zheng County"
Volume 6 of Zhang Biao's "A Journey to the North to Repay Meng Yunqing", Volume 20 of "Who Believes in Luck and Talent" The full version has been changed to "Who Believes in Wen and Cai", and Mr. Huang Yongnian revised it according to the Song version and He Zhuo's proofreading. He Xiao: "Adapted from the 'One Work' annotated in "Yinghua"") Apparently he has never seen this eight-volume edition (note: the original edition used by Mr. Huang to compile is his twenty-volume edition, which was recorded by Jiang Gao He Zhuo's proofreading. But obviously this book is a later edition. It would be better if Mr. Huang could refer to the twenty-volume first edition, such as the Yang Shaohe edition of the National Map.)
"A Journey to the Far North to Reward Meng Yunqing"
These points are all examples of the same eight-volume first printing and the existing Song version as shown above, but there are also differences. place. For example, in "Jingzhou Guan Yuanrong's Departure" written by Rong Yu in Volume 5, there is a sentence "The yellow clouds that cover the captives are broken, and the white grass is burned in the wilderness". The Song version of the picture above is "The Qiang is burned in the white grass." Both of them seem to be compatible. Among these four volumes (five to eight), the first printed edition of eight volumes is the same as the existing Song Dynasty version shown above, but different from the twenty-volume full version. There are many examples, and I will not list them one by one.
The following example is to illustrate that since only one to the ninth volume of the Song Dynasty version shown above exists, then among the thirteenth to sixteenth volumes, what are the first eight volumes and the twenty complete volumes? How can we get a glimpse of the appearance of Xu Qianxue's old eight-volume Song version through the text differences? Here are some comparisons of different texts, not all listed, but one example for each volume:
Volume 13 Wang Jian's "Three Lines in the Palace", "Looking at Flowers in the Furong Garden", early volume 8 The printed edition is titled "Furong Garden"; in volume 14, Linghu Chu's "Yingcheng Qiuhuai is sent to the minister of Qianhui in Jiangzhou", "Mountain dew infects clothes and moisturizes", the first printed edition is titled "Mountain Road"; in volume 15, Jia Dao's "Nanchi" ", "It's hard to survive when you are drowned in a moor", the first printed version is "Drown in Tears"; in Volume 16, Li Pin's "Sending People to Xiangkou", "Xing Han stayed in the water all night", the first printed version was "Xing Han sleeps in the water all night".
"Sending People to Xiangkou"
There are many variations of this kind, although they may not all be better than the twenty-volume full version (of course with additional engravings and revisions) It is also based on some basis), but it is closer to the original appearance of the eight-volume residual Song Dynasty edition, and has unique documentary reference value.
Finally, let’s speculate on the relationship between Xu Qianxue’s old eight-volume incomplete Song version and the existing Song version shown above. First of all, both are based on human nature and retain Wang Anshi's original appearance. Secondly, as mentioned above, according to the research of Mr. Chen Xianxing, the Song version of the picture above is the Shaoxing edition of the Southern Song Dynasty, which was repaired and reprinted during the Chunxi period. This book has been photocopied and published, making it relatively easy to obtain. It can be observed that the font style of the original Shaoxing engraving is European style, which is very neat, while the patched version has different styles and is slightly rough. The eight-volume edition originally engraved by Kangxi was known as "still heavy in style". It also used neat European style and avoided Song taboos until it was "structured". Moreover, the style and layout of the two are the same, with ten lines and eighteen characters, written in white. Therefore, I think this eight-volume residual Song Dynasty edition may be the Shaoxing edition, and it should be the first printed edition. Because as mentioned above, the sentence "burning the wasteland and the white grass is empty" in Volume 5, the first printed version of Volume 8 engraved by Kangxi is different from the Song version shown above, and the Song version reads "Burning Qiang". If you look closely at the Song version, this page happens to be the page printed after the supplementary edition. It may be a variant text that appeared during the supplementary edition. Huang Pilie once compared the first eight volumes with the Song version, and wrote a postscript, which is now preserved in the fourth volume of "Xipu Book Inscriptions and Continuation Records": "I got a broken Song version from Wuliu Shuju, only Eleven volumes (note, this is the remnant Song Dynasty version pictured above)... In the summer of Wuchen, in the thirteenth year of Jiaqing, on the afternoon of June 24th, I passed by Wuliu Bookstore and got Yangqiu in Huaishan from the owner. The engraved version of "Wang Jinggong and Hundred Poems of the Tang Dynasty" was handed down by Dazhong Cheng Gong in Song Dynasty, from Volumes 5 to 8, and from Volumes 13 to 16, so the pair was the remaining copy of Song Dynasty. "This is the same casket." Obviously, although Huang Pilie did not cite specific reasons, he also believed that the original version of the Kangxi eight-volume first edition "is the same as this casket" after comparison.
To sum up, Xu Qianxue’s old eight-volume Song version is most likely the first-printed and unrevised Southern Song Dynasty Shaoxing edition, while the eight-volume first-printed edition that Qiu Jiong based on has not been revised in the subsequent engravings. , more of the features of the Song version of Xu Qianxue are preserved, and four of them (volumes 13 to 16) are of irreplaceable documentary value, in addition to the only remaining Song version of the human version of the Song Dynasty.
Editor in charge: Zheng Shiliang
Proofreader: Shi Jun
The above is the content related to the year of Kangxi Gengchen, and it is a sharing about the Song Dynasty.
After reading which year the 24th year of Kangxi was, I hope this will be helpful to everyone!