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The article "Epitaph of the Chongyang Pavilion in Jianzhou" can't be found in Wenyuan Huaying, and it can't be found in various selected works and books of predecessors. The existing articles in Li Shangyin's Collected Works were compiled by Xu Jiong in the Qing Dynasty from Yang Shen in the Ming Dynasty, so the articles collected in Volume 44 of Shu Quan Yi Lu should be its earliest source, and are hereby transmitted as follows:
Preface to the Inscription of Chongyang Pavilion in Jianzhou
Lee Sang Woo
I have never seen Queqin in the Imperial Palace, but I learned to dance with your Majesty in the temple. But I read the imperial edicts of A, B, C and D of the country, and I also understood the meaning of the emperor. The scale is Yao and Shun, which is not bad. Otherwise, I have to use Jiangling order to make the water travel for 6 thousand miles, holding tiger teeth, shovels and knives to cure Pu 'an. Three years, Dali, Tian lawsuit stopped, Jia Pingcheng, the prisoner bowed his knees, and the people did not know the petty officials. The four sides of the shore are quite beautiful, and trees are not born. It was a dangerous road, and the stone was seen. Its level could accommodate the four tracks of the "Kao Gong" car and was built into a north-south pavilion. Three years, people dare not go, please stay in Dongshan, it is really under the pavilion. The name of Houjiang. Wen Yue:
Benevolence is the Tao, and Lei Long is a hero. Life is simple and hard, and things are enviable. For the monarch (Quezhu), (Cai) Jiang is (Quegu). If there is no shortage, there is a library. Go to ten encounters
Jiang Zhi has a world, and he is kind. Bo's fitness, Zhong's thinking (fun). Juedi inherited it, pure but not bad, and made it wait, and the virtue of the son of heaven (straight). Enter the twenty-fourth post
Your marquis is reasonable and your sword is full. Jun south minister north, father sitting child v (side). Drink cattle and rely on it, and the lawsuit is straight. The city is in prison, so it's time to sue. Into twenty-four posts and twenty-five virtues
It rains in the morning and its head is wet. Folk music is healthy and willing to be mediocre. Hou Zuonan Pavilion, North Pavilion is (Quechong). As for Dongshan, it is three great merits. Shang Ping yidong
Push the danger to safety, the big stone is the shoulder. It's been three years and people are begging to stay. Bo's south beam, double bow and two spears. Gu you Lu Wei, I'm Cao. Xia Ping is eighteen and good.
Only in return for benevolence can there be a world. Super good, and it's a horse. Only Jiang Zhirong, by Tang Fat Shrimp. It's just a pavilion inscription, so it's rough and simple Shang Ping has thirty-five horses (Volume 44 of Shu Quan Yi Wen Zhi) and four books in the library. () explained by the author)
Li Shangju, Ph.D. in Hanoi, Tang Dazhong University, wrote an article on September 1 8.
Quantang Wen (Volume 779), Xu Shugu's Notes on Li Yishan's Collected Works, and Feng Haofan's Notes on Nan's Collected Works were all recorded in sequence. Feng Hao also questioned this article according to Yang Shen's method of adding words in other articles of Quanshu Wenyizhi: "There are still a few words missing in the current publication, but the meaning is slightly interesting, making the fruit look like a mountain?" Yishan calls itself Yuxi or Fannan, and its county is Longxi, so it is called Ji Cheng. Although the book Hanoi is consistent with historical biography, it is doubtful whether it is accurate and literary. Xu's publication is Henan. Is there any other evidence? Suppress the spread of errors. Zheng Qiao's "A Brief History of the Scholars" is also included, but in the eighth year of Daiwa, it became a sword state. No matter who is a humanities or a book, it is even more suspicious. I have some doubts about the inscription, but I'm afraid I can't believe it. Press again: I suspect that the person who made it up is more circumstantial. The most highly praised by convents, Quanshu Literature and Art Annals, won the Fan Min Monument of Han Taishou in Lushan Mountain and the Liu Zhuang Monument of Han Xiaolian in Qianjiang. Both prefaces are correct, especially in ancient times, but in fact Liu Bei only has his name and can't make it up. Filial piety taboo' people', what is the word' Zhuang'? Fan Junbei, Jinshilu and Zhao Zhiyun, the magistrate of Ba County, are intact, and their general descriptions are extracted. During the reign of Hongzhi in the Ming Dynasty, Li Yiben made it, so readers should not go halfway across the country. "Stone" also has a column, and the note is "unknown". Why did you get the original engraving word for word? Shi Hong's "Lishi" and "Xiaolian Liu Min Monument" have strange words, but there are not many words. The tablet is in the middle of Shu, and the tablet of Ba county magistrate is still complete, but the seven characters are odd, and the tablet is in Chenzhou, which can be easily completed with a little repair. Recorded words are different from Zhao and Hong, and they are not listed. And Gu said in "Fan Bei":' Remake this book, the words are very clumsy and evil.' But it's not time to test when it was engraved. ..... unity as the core, with the cloud, how can you believe it! "
It should be said that the authenticity of this article is beyond doubt. Liu and Yu Shi had an argument about this, but the problem that Feng said existed. As far as the text is concerned, Liu and Yu Shi note that Li Shangyin's chronology is the best, and there are complete and complete collations, but there are still missing articles and doubts. Sichuan University Press 1990 published Gao Wen, edited the rubbings on page 125 of Inscriptions in Sichuan Dynasties, and explained them based on the inscriptions. Compared with Yang's works recorded in Shu Wen Yi Zhi, Yang Shen's rubbings were earlier. However, both have doubts:
One is that the word "min" and "Shi" were taboo in the Tang Dynasty. The word "min" in rubbings is a variant, which is barely taboo, while the word "shi" appears twice, both of which are original characters, so it should not be written in the Tang Dynasty.
Second, the inscriptions rhyme, and the existing texts fail to rhyme in many places, such as "Xie", "Wu", "Gui" and "Si". These situations exist not only in Yang's works, but also in rubbings, which shows that they are not old-fashioned.
Thirdly, comparing Tuoba Wen with Yang Shen's Suiji, there are also differences between them, such as "Gaiguan (Que) please" and "Wen Que". Tuowen has the word "Lu" in the original que, "Liu () Dongshan" and Tuowen have the word "Xiang" in the que, and these que words should be in.
The author personally saw the inscription tablet, the tablet body is local red sandstone, the surface is polished, the skin has fallen off, most of the lettering strokes are almost smooth, some characters have obvious signs of re-engraving, and there are inscriptions written by later generations in fine handwriting. There are two inscriptions on the lower left of the monument: one is the inscription on Chongyang Pavilion written by Li Yishan in the Tang Dynasty, which lasted for more than 600 years and was buried in wild soil for a long time. In the spring of the thirteenth year of Zheng De, it was given to the ground, and the inscription has been peeled off for more than ten times, and the craftsman was ordered to repair and recast the sword. " Vertical 4 lines, the word is 2 cm, and the regular script is engraved in shade, which is shallow. The "swordsman" is Li Zhizhou Bi mentioned below; Secondly, "Daoguangqiu, Jinmen Li Jingsan and Guo Jingchuan rebuilt the pavilion" [Huang Banghong's "Jianzhou Chongyang Pavilion and the Inscription of Jianzhou Chongyang Pavilion" (Sichuan Cultural Relics 1988 No.6) has recorded this information]. These modern characters and rubbings are not old things of the Tang Dynasty, but their rubbings and spaces are old things of the Tang Dynasty.
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There is a difference between the stone version and the biography version, and common sense should be regarded as a faithful stone version. However, a closer look at the original stone carving will reveal that the stone carving is not genuine, with different glyphs, fonts and lines, and there are obvious traces of modification by later generations. By consulting relevant materials, it is found that the stone tablet is different from the epitaph hidden underground, and it is not immutable in itself, and has been revised several times with the reconstruction of Chongyang Pavilion.
After Li Shangyin, this inscription was first valued by Wu Shimeng, a poet in the Song Dynasty. Wu recorded it in Jian Zhou Chongyang Pavilion, saying:
On April 20th, 5th, the second year of Zhiping, Shi Meng took over Nanyang Jianzhou from Shu, which was the East Garden of the Rihui, but the public did not come to the county. He will pay tribute to the guests and talk about Kan Kan on the railing: Seeing the peak of Dongshan Mountain, the mountain is so beautiful that people are attached to it, running like attendants, lush forests and cliffs, and so on. Two cars are too rich to help the wind. Ma Yuan Jun pointed to him and said, "Give it to the prefect Zhang Housong, and it will be different in the future. It is the Chongyang Pavilion built by Jiang Gang, the secretariat of the Tang Dynasty. The pavilion has been buried for many years. I have been to its site, overlooking a county in the west, and I can compete with it. At present, I can save and read the inscription on its tablet. Before the meeting, officials will cut down trees, build the back hall of the school, and give them materials and new pavilions. Only when they know their prosperity and the waste of time will they dare to remember. The inscription "Learning Meng Kao Yi Mountain" was compiled in the eighth year of Xuanzong, 210 years ago. During this period, those who have no good deeds will be kind if they pity their pavilion. However, governing the county is the first, but the only way is to work hard and be merciful. Well, since they got married, people in Zixi Mountain have won the victory in this state. The pavilion was built by Jiang Hou, and it has been lonely for more than 200 years. Fufengjun and Zhang have abandoned it, knowing that Xixi Mountain is heartless. If you have a clear and beautiful mind, you can fill your inner feet, be safe in what you keep, and nothing can stay outside. Why do you want to be loved? Ancient and modern people either love or don't love, pavilions rise and fall, and mountain scenery has its own. Wu can have an unscathed profit and loss to make clear and show evil? From ancient times to the Tang Dynasty, from the Tang Dynasty to the present, I only have two real ears. From then on, we will never know whether people love or not, and the rise and fall of pavilions will be repeated for many years, which is worthwhile. On a dark day in June, Chao Shangshu, a court official, ordered a captain in charge of Langzhou to arrive at the grange without pomp and give the flying fish bag to Wu Shimeng. (Yang Shen's "All Shu Literature and Art Records" Volume 39, Wenyuange Siku Quanshu Edition)
Wu Shimeng, a native of Chengdu, was a scholar of (1041-1048), who was knowledgeable and good at repairing. His book is very famous, and he is an official doctor. His son Zhen first asked for the repair of Tang books. Ouyang Yongshu refused because he was young, and the book was finished. Zhen Zhen wrote the article "The Correction of Tang Books" in June of the second year of Zhiping (1064), which is "2 12 years" when Li Shangyin wrote this article. This "Shu Shuai Yang Nangong" may refer to Zhao Bian and Zhao Bian who served in Shu for the second time. The second year of Zhiping was his second time. His "Qing Ji Xian Volume I Jianmen East Garden" recorded his experience when he went to Jianzhou:
Sword is the key of ancient countries, and heavy doors are opened and closed. DiErChuan, throat said this and took a sip. In the past, it was like pulling a giant. Pay close attention to peace and be in harmony with public opinion. Cheng Zheng governs Dongpu, how to solve the guest couch. Go to Fang Jinguan and ask me to buy a pot. The walking bike is resting, and its eyes are green. Talking and laughing, overturned the car. It's neither spring nor youth. Bandits are scattered. Host and guest drink prosperously, and Haichuan can drink enough. Second, the car is old, and the poem is called Yu Wei. Silence is excellent, why answer it?
On the way from Qin to Shu, it is an important thing for Jianzhou to receive past officials. It is because of this that the East Garden was built and the Chongyang Pavilion was rebuilt. The East Garden mentioned in the article "is the pavilion where the sun will meet" should be the same as the East Garden mentioned in the poem. Prior to this, some local officials, Ma Yuan and Zhang Song, rebuilt Chongyang Pavilion and asked him to write a composition to record it. Wu Shimeng pointed out that Dongshan has been a scenic spot since the Tang Dynasty, but it didn't become famous until Li Shangyin wrote a composition and a pavilion on the river. When rebuilding, "I don't know how many years have passed since this pavilion ... I can save reading the inscription on it". At that time, only the inscription could be recognized, and Wu Wenzhong's words "Old age is Jing" seemed to be taken directly from Li Shangyin's inscription.
After Wu Shimeng, the person who mentioned this article again should be Zhao Mingcheng (1081-kloc-0/129) at the end of the Northern Song Dynasty. He officially recorded this book in The Story of the Stone, which has ten volumes: Tang Yang Ge Ming Di/kloc- Later, Zheng Qiao (1104-162) recorded in Volume 73 of Tongzhi: "The pavilion of Chongyang was founded in the eighth year of Taihe. "Estimation is to copy the Jin Shilu, and later Chen Si also copied the content of Jin Shilu in Bao Ke Cong Bian. Then, Zhu (1039- 1098) wrote six volumes of Mo Chi: Chongyang Pavilion in Tang Jianzhou, written by Li Shangyin. Bian specializes in calligraphy description. Although Zhu did not mention calligraphers, according to his calligraphy examples, the calligraphy of this monument should also be considerable, and its words should not be the face of the existing rubbings. Wang Xiangzhi (1 163- 1230) also recorded The Jade Emperor's Collection of Sounds. "Yu Mu" Volume IV, Qin Long Fu Bei Ji has a cloud: "The inscription of Chongyang Pavilion by Li Shangyin in Tang Dynasty was written in Sun of Dongshan County, and was the satrap of Jiang Gongbi in the eighth year of Tang Dynasty. I remember it in detail, as if I had read the inscription. The final version of Ji Sheng of the Jade Emperor was about the year of Shaoding (1228- 1233), when the inscriptions still existed. Later, in Volume 67 of Yu Fang Sheng Lan, Zhu Mu said: "Chongyang Pavilion is located in the east of Dongshan County. In the middle Tang Dynasty, Jiang Gang built the pavilion and Li Shangyin made the inscription." Zhu's narrative may be an interpretation of the record. All these prove that the article "The inscription on the pavilion on the Chongyang in Jianzhou" spread in the Song Dynasty, and because the author's name and calligraphy became more and more famous, it became an indispensable content for people who stated local cultural relics.
Song Yuan Shuoyou (1140-1204) did not receive this article in Chengdu Literature. This article was edited by Yuan Shuoyou in the fifth year of Qingyuan in Sichuan appeasement system (1 197), and Di Gong Lang was among the editors. Therefore, for a long time after the Song Dynasty, few people mentioned this monument until the fourteenth year of Zheng De next year (15 19). Kang Hai (1475- 1540) mentioned this article in the article "Rebuilding the Chongyang Pavilion in Jianzhou":
I heard that the scenery in Jianzhou is very old. Later, I saw Li Yishan's "Chongyang Pavilion Ming" saying that Jiang Gang ruled the county for three years. It's a big shovel, a dangerous road, and flat enough to test the four tracks of trucks and build a north-south pavilion, so that we can work hard. Pavilion Dongshan, posthumous title Chongyang, drunk. Then the landscape of Jianzhou will also win. Jiang Jun, on the other hand, was able to spend his leisure time in the county and amuse himself. He was also named a scholar-bureaucrat who told his story, praised the beauty of the time and reserved talents for future generations. His mind was solid and extraordinary. Zheng Deyihai and Wuling Lijun came to learn about the founding of the state. After more than a year of political success, the people are salty. Therefore, the way to widely teach is to show the trace, the high city is deep and the pool is deep, and prepare for training. Chen showed the track and officials listed the codes. There is no vulgar discussion, just browsing Austrian music, and the pavilion address is poor. So I made a plan with the scholar-officials of the twenty-third and twenty-third, saying: those who are polite and righteous have a lot of leisure in the world, and those who are good get the earth. Both of them have to show that they have been here, and those who build the mountain academy are to show their scholars and to show the temple of Wuhou, so as to protect their humble position and be inherited by the later sages, with little courtesy and righteousness. Jiasheng is like this, the ignorant pavilion will be for hundreds of years. Fortunately, today, get it, get it, cure it, don't release the secret, and send Kun Zhen. So I washed the dirty grass and restored the pavilion. When I began to prosper, I found the monument of Yishan under the savage. Wu Zhifang wrote: From ancient times to the Tang Dynasty, I have only appreciated the ears twice since the Tang Dynasty, and I know how many years the pavilion has been abandoned. However, employees know that there is Li today, and the pavilion is near Wenxi, far from Wuhua, in front of Hanyang, Zuoxiuyan Pavilion and Wolong, and the tower of the tower is in the bosom, similar to employees' records. As for Changliu, I couldn't go, so I sat on the pavilion for a long time. Jiang, a swordsman, is a clean man and an old friend. He can tell the story of Li Jun, because he is entrusted with a book to remember the clouds. On the bank of the pavilion cliff, there are ancient stone carvings of Chongyang Pavilion, which are big books. It was written by Zhang Yi in the Song Dynasty, which is good for you. I hope I can't leave you. As long as I can remember, I didn't know that you gentlemen like to travel, and those who like to sing will record it several times. I also want to record it and send it to me to see how Li Jun's leisure time is better than Jiang Jun's and when Li Jun will be better. There are countless famous people in Guanzhong area, and virtuous people like Li Jun are not so eager to confess, and I don't know if they can wait and see. His name is Bi, and during the day, Guangxi Hongzhi, nurturing people, is extensive and profound. Therefore, the ancient road in Du Yi is like this. The pavilion was formed in the summer of the Five Shadows, and it will be fourteen years next year (15 19). In the summer of June 10 and 8, Chen Geng Hushan people recorded martial arts Kang Hai. (Kang Hai's Duishan Collection, Volume 5, Wen Yuan Ge Si Ku Quan Shu)
Its inscription was carved more than 500 years after Wu Shimeng and about 300 years after Wang Xiang, and it is called "Deyi Mountain Monument is in the shade". Kang Hai didn't see the stone tablet, so he couldn't describe the specific shape. However, the postscript on the stone tablet has written that "the inscription has been peeled off for more than ten years, and craftsmen have to repair and rebuild." At that time, the inscription had overflowed and there were still things to be repaired. In the following ten years (about 1526 to 1529), Yang Shen (1488- 1559) sorted out all the records of Shu art, and there were some inscriptions (see above), but only three or four words, which was more than ten words different from what Li Bi said.
Then the situation recorded in Volume 26 of Guang Ji (1574- 1646) is similar to that recorded by Yang:
Hanyang Mountain, the main mountain of the state, is the cloud "leaning on the pillow and smelling the stream, facing Hanyang in front" written by Kung Fu Kang Haidehan, and the cloud in the Monument: "Stone pillar writing in Jianzhou (carved in the 18th year of Shanxi Taiyuan), Wenquan House in Dongyuan (carved in Su Hong by Tang Zhenyuan), and the inscription of Kaiyuan Temple in bliss" (Dashun III) "Monument": Chongyang Pavilion. Zhiyun: Dongshan in the southeast, also known as heming, has a poem about Zhongxing written on the cliff, and the Chongyang Pavilion in Jianggang is there. Introduction to Li Yishan:
Hou talked about the meaning of the emperor. Three years in Dali is a big shovel and a dangerous road. Its level can accommodate the four tracks of the test vehicle, and the north-south pavilion is built, so that it can be used to relax and pavilion Dongshan, also known as Chongyang, intoxicated in the wind and connected with the north and south. There is no embarrassment when you are off the ground. Hou Ming Jiang,:
Benevolence is the Tao, Lei Long is a hero, life is simple, work is simple, things are different, but you are the only one. An inexhaustible supply is like an arsenal.
Life, benevolence, suitability, thinking, commitment of Jue emperor, rope without action, order for Hou, the virtue of the son of heaven.
Your marquis is reasonable, and your sword is full. You are in the south, your minister is in the north, your father is sitting on the chair, drinking cattle and squatting, the lawsuit in the field is straight, the city is in prison, and you retire.
It rained in the morning and wet my head. Folk music is healthy, may it be extraordinary. Hou Zuonan Pavilion and North Pavilion are double. As for Dongshan, it is three great merits.
To save the day from danger, Dashi was only three years old, and the people went to beg for leave. Bo was the south beam, and he bowed his bow and spears. Lu Wei was the ancient one, but Cao was the only one.
Benevolent return, the world, its super, its tail horse, is, by Tang Pang. It's just a pavilion inscription, so it's rough and simple
On September 1, 1988, Dr. Li Shangyin in Hanoi wrote a vacancy.
Cao Xuequan worked in Sichuan from thirty-seven years of Wanli (1609) to forty-one years (16 13). This article should be based on his rubbings or original stones when he was in Sichuan. It was nearly a hundred years after Yang Shen, and what Cao Shi wrote was different from what Yang wrote. For example, Yang Lu's words "Jun (Que), Jiang (Que) is Que" and Cao Lu is Que. Obviously, after a hundred years, it has become more serious.
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Yang's essays are a little true, but judging from the rhyme of the inscription, there are also places that blindly follow the extension of the essays at that time. For example, those verses are obviously not written and should not be changed by Yang. Yang is just a stone book revised according to a certain period. There are many omissions in Cao Shilu's article, but there are also articles inferred from the meaning, such as its inscription, and some rhymes. Comparing with the rubbings, we can see that any place that doesn't rhyme, or is ambiguous, or the zigzag style of the book doesn't conform to other articles, obviously it is necessary for future generations to engrave the book again. In order to facilitate reading, we should fill these gaps in a more reasonable way, and the available factors include the style of rubbings, the four-character format of inscriptions, rhyme and so on. On this basis, the author made temporary amendments and supplements to the missing words, the contents of which are shown in the small parenthesis quoted by Yang. The specific reasons are as follows:
1. "Zhi Pu 'an County", the handwriting of "Zhi" on the rubbings is vague, and the word "Pu 'an" under "Zhi" is slightly smaller, which seems to be a post-engraving. The meaning of the text can be added according to the original text. The word "Jun Ye" still has traces of the word "Jun" on the rubbings. The word "Ye" is smaller and more like the word "Ming", which can be connected with the next word to form the word "Ming is waiting". But reading between the lines, this word is obviously added after extra.
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2. The word "Zhi" on the rubbings is not in the center, but it is a complement, but it is consistent with the meaning of the text and is added after Yang Lu.
3. Yang Lu wrote "reward", but only the word "labor" remained unchanged in the rubbings. The word "Yao" is unclear, but it looks like the word "Jin", while the words "Jing" and "Reward" are slightly smaller, as if they were supplemented later. There are many characters here. There seems to be a word between "old" and "true", which is a relatively small word "qu" according to the font. Oh, Ji Meng said, "Work only for the classics" should be translated from Li Shangyin's sentence. According to this teaching, it seems to be the same. The first word is "only", and the lower end can be regarded as a scratch.
4. There is nothing in Yang Lu, but in Cao Shi in the last hundred years, it is recorded as nothing and laughter, and the word "smile" is used to fill the gap. It should be Yang's later lettering. The stone is loose and the lettering is not obvious. It is impossible to know whether the complement "Xi" has a literal basis.
5. "He Guo" is clearly written on the rubbings. However, Yang Lu only wrote "three years", without the word "and the country". However, according to the style, there should be two words, which should be added after Yang.
6. Yang was absent after the word "Guan" and added the word "Dao" to the extension. Before and after Please Take a Picture, Yang Lu's essays were all blank, with the word "begging" before "please" and the word "waiting for an image" after "staying". Judging from the lack of articles left by Yang, Yang was still loyal to the original text at that time, and did not arbitrarily add, delete or change it. Even if it was unwritten, it was still listed.
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7. The word "Xie" here is basically clear, but the inscription rhymes. In this group, the rhyming words "Wu" and "Ku" belong to the entering rhyme and the ending rhyme, which may be rhyming. However, the word "Jie" belongs to the rhyme of "Xue" in the 17-tone tune, which obviously rhymes. According to its shape, it may be "rising" or something. "Xie" may be engraved for future generations, and this word should be engraved before Yang Luwen. Yang Luwen called it "being a monarch (que)", and now it has been expanded to "the wish of only a monarch". The word "wish" was seriously stripped from the original tablet and added later. The previous word "Wei" is slightly smaller, which is different from other words in style and seems to be a complement. Cao Shi has recorded this, and the five words are que, which means that after a hundred years, it has fallen off again.
8. Yang Lu's "abstract infinity", but the word "abstract" in the existing stone carvings is slightly small and empty, which is inconsistent with other articles and extremely difficult to explain.
9. Both Yang and Cao recorded the thought of Zhong, with the word "thought" as the rhyme of Qi, while the word "Gui" as the rhyme of Rusheng 24, which can rhyme with "De" (Rusheng 25 Deyun). The word "thought" in the extension is vague and looks like "Xi" according to the residual shape.
10. The word "Jue" was re-engraved in the original barge, with obvious traces. Both Yang and Cao Shi agreed to the repair.
1 1. Yang Lu's "pure but incomplete" is consistent with extension, but there seems to be a gap between "pure" and "Er" in extension, and Cao Shilu's "rope but incomplete" may be different from today. According to rhyme, it is "mi".
12. Both Yang and Cao wrote that "swords are beneficial", and Yin should be used as a generic name. The word "sword" is not clear, but what Yang and Cao saw is still clear.
13. "fu" doesn't rhyme with other sentences, so it is changed to "side", which has both rhyme and meaning. Both Yang and Cao Luwen wrote "Fu", and the extension here is also clear. Maybe the inscription was wrong from the beginning.
14. Yang Lu "wets its steep head" and Cao Lu "wets its thick head". The word "head" has the wrong meaning. The word "head" doesn't rhyme. Changed to "parallel", the form, meaning and rhyme are consistent. The handwriting in the rubbings is different from other characters, and it is also added after engraving. This should be Yang's record.
15. Yang Lu's "The North Pavilion is Que" and the word Que, Cao Lu's "The North Pavilion is Double", and the word "Double" is clearly written, which is added after Yang and before Cao Shi. But in this group, "Shuang" does not rhyme with other sentences, and its meaning and rhyme are either "Chong" or "Long".
The rhyme "Cao" of 65438+ is yes, and it can also rhyme with it.
It can be seen from the above that Li Shangyin's article was still complete in the Song Dynasty, but it was incomplete in the Ming Dynasty. When Yang Shen recorded the article, the inscription was not engraved in the Tang Dynasty, and there were many fragments. Yang didn't change much, and basically kept the missing parts, so that some places couldn't be written. One hundred years later, Cao Xuequan abridged the rubbings which were different from those seen by Yang Shen. The unwritten part was deleted, and some missing words were added, but there were also things that Yang Lu had words and Cao Lu had vacancies. This shows that Yang Shen has been carving the tablet since then, but it has fallen off again. The rubbings handed down now are relatively complete, but there are many inconsistencies with the original text in terms of meaning, phonology and calligraphy characteristics, which should be supplemented after Cao Shi. This proves that the rubbings of inscriptions may not retain the characteristics of inscriptions, especially the open inscriptions like inscriptions, which have not been buried in the world for many years, and it is inevitable for future generations to make up the inscriptions. According to the inscriptions and related local records, the Chongyang Pavilion in Jianzhou has been rebuilt seven times since the Song Dynasty, each time with Li Shangyin's article as the key symbol, so it is necessary to repair it (Huang Banghong's "Jianzhou Chongyang Pavilion and the Inscription Monument of Jianzhou Chongyang Pavilion"). In the case that the author's collection of works has been lost, stone carving has become the only way to preserve and inherit this article that has not been collected by various collections, but natural weathering and artificial repair are also easy to cause its distortion. When using this kind of materials, we must take these factors into account, we must not trust some rubbings, and we can make appropriate exegesis according to their meaning and style in order to achieve the purpose of reading.
(Author: Chinese Department of Fudan University)