In the late Tang Dynasty, Li Shangyin was not only famous for his poems, but also for his literary fame. For example, "New Book of Tang·Biography of Li Shangyin" says: "Shang Yin was famous for his magnificent and ancient literature in the beginning, and in Linghu In the Chu Mansion, Chu Bengongzhangzou, because of his teachings, Li Ou and Duan Chengshi both used it to praise each other, and it was called Thirty-Six Styles." However, after entering the Song Dynasty, the status of ancient prose increased. , Parallel prose is not valued. Fan Nan's collected works are far less popular than Yishan's poems, and have not been converted into printed copies like poetry collections, so they have not been completely preserved. Li Shangyin's autobiography includes two collections of essays, "Collection of Fan Nan Jia" and "Collection of Fan Nan B", each with 20 volumes and 832 chapters. Chao Gongwu of the Southern Song Dynasty recorded it in "Junzhai Shuzhi" as "Collection of Fan Nan Jia and Yi" in forty volumes. When the people of the Yuan Dynasty compiled "History of the Song Dynasty·Yiwenzhi", they only recorded eight volumes of "Collected Works", twenty volumes of "Part Collection", and one volume of "Miscellaneous Manuscripts". More than one third of it was missing, but even these have not been handed down. In the early Qing Dynasty, Zhu Heling, Xu Jiong and others re-edited the collection from "Wenyuan Yinghua" and "Tang Wencui". They initially obtained 150 articles. Later, the "Complete Tang Wen" was compiled, and Qian Zhenlun compiled it into the collection. Increased to 230 articles. Nowadays, it has been compiled by modern masters Zhang Caitian, Cen Zhongmian, Liu Xuekai and Yu Shucheng, and only 352 articles in each style have been collected, which is less than half of the original collection. Li Shangyin's "Preface to the Yi Collection of Fan Nan" said: "At this year (the third year of Dazhong), Taiwei Niu was buried, and hundreds of sacrifices were made in the world. The other day Yin said: 'My Taiwei died with the ambition of Du Sixun, and with his son The two things are immortal. '" "Niu Seng, Confucianism, Buddhism and Confucianism" should be Li Shangyin's masterpiece in parallel prose, but this article has not been handed down. This shows that the circulation of documents in the paper-copied era has its particularities. In compiling the "Collected Works of Li Shangyin", the Qing Dynasty people not only made use of documents such as "Wenyuan Yinghua", "Yongle Dadian" and "Quan Tangwen", but also made full use of "Chengdu Wenlei" and "Quan Shu Yiwenzhi" edited by Ming people. This is how the local documents, "Jianzhou Chongyang Pavilion Inscription", were compiled and included in the collection. This article was handed down with the help of stone carvings, and was first copied into local documents by the Ming Dynasty. The author recently visited the Jianmenguan County Cultural Relics Institute to view the original stele and rubbings, and found that in addition to errors in transmission, there are also several problems with the original rubbings on the stele, from which we can discover the characteristics of the transmission of stone text. Let’s try to describe it below.

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The article "Jianzhou Chongyang Pavilion Inscription" is not found in "Wenyuan Yinghua", nor in various anthologies and similar books of the previous dynasties. This article is now included in Li Shangyin's collected works. It was compiled by Xu Jiong of the Qing Dynasty from "The Art and Literature of the Whole Sichuan" written by Yang Shen of the Ming Dynasty. Therefore, this article included in Volume 44 of the "The Art and Literature of the Whole Sichuan" should be its earliest source. It is hereby reproduced as follows:

Li Shanggun

The accompanying ministers have never seen the Heavenly Palace Palace many times, and they admire His Majesty Wudian, and then go to the country. By lying on the ground and reading the edicts of A, B, B, and D, one can also understand the emperor's will. The standards of Yao and Shun are not different from each other, and people's thoughts are still there in the far distance. Otherwise, you can use the Jiangling Order to go up the river for six thousand miles, and pull the teeth of big and small tigers, and the stream of water. , Scalper insurance, in order to ensure general peace (the county). Ling became a marquis and spoke of the emperor's will. In the third year of Dali, the field lawsuits were discontinued, the market was peaceful, the prison households bowed their knees, and the people were dismissed and did not recognize the subordinate officials. People came from all directions, tied to horses and cows, and the skin of the trees did not grow. , it is a dangerous road with a big shovel, the Kun stone is exposed to the earth, and its level can accommodate the four rails of the "Kaogong" car. It is built as a north and south pavilion to serve as a farewell to the laborers, and a pavilion on the east side of the mountain. It is called Double Ninth Festival, with the drunken wind and sun, and the north and south meridian runs through it. , if you leave Pingjun, there will be no que. Three years later, the people were afraid and went away immediately. Please stay in the east mountain to see the statue, which is actually under the pavilion. Hou Jiang's name is You. The text says:

Benevolence is the way, and Longlei is a hero. The sky is simple and easy to work, and I envy things. For the sake of the king, Chiang Kai-shek is the king. There is no end to what you can collect, just like a weapon with a storehouse. Go to Shiyu

When Jiang was alive, he regarded benevolence as his duty. Bo's suitability, Zhong's thoughts (breathing). Jue's younger brother inherited it, he was pure and not frivolous, and he made him a marquis, which is the virtue of the emperor (uprightness). Entering the twenty-fourth position

If you are the ruler, your sword will be full of energy. The king is in the south and the ministers are in the north. The father is sitting and the son is lying on his side. Drink the cow's milk and drink it, and the fields will be straightened. The city is clean and the prison is clear, and I return home to retire. Entering the twenty-four positions and twenty-five virtues

The morning rain is pouring, wetting his steep head (陙). The people are happy and prosperous, and they hope to show their mediocrity. Hou built the south pavilion and the north pavilion was Que Chong. As for Dongshan, there are three merits. Shangping Yidong

Push the danger to avoid the danger, and carry the big stone (onlay). After three years, the people begged to leave and stay. Bo's Nanliang, heavy bow and two spears. There was Lu and Wei in ancient times, but I am the only one who can lead them. Xia Ping Shiba You, Hao

Only benevolence returns, and the world is here. It's looking at its superiority, and its tail is chasing horses. But Jiang Zhirong, from Tang Pangxia. But the inscription on the pavilion is very rough.

Shangping Thirty-Five Horses (Volume 44 of "Quan Shu Yi Li Zhi", Wenyuan Pavilion Sikuquanshu. () is the author's explanation)

University on September 1, the eighth year of Dazhong in the Tang Dynasty Written by Dr. Hanoi Li Shangyun

Volume 779 of "Complete Tangwen", Xu Shugu's "Annotations to the Collected Works of Li Yishan", and Feng Hao's "Detailed Annotations to the Collected Works of Fan Nan" were all recorded based on this, and Feng Hao also recorded it according to Yang Shen The practice of filling in characters in other articles in "Quanshu Yiwenzhi" raises doubts about this article: "There are still few missing characters in the articles published today, and the meanings of the words have a slightly ancient meaning. Does Guo come from Yishan? Yishan calls itself, or Yuxi , or Fannan, and its county is in the west of Longxi, so others call it Chengji. Although this book is in line with the historical biography, it is doubtful that it is written as "Henan" in the Xu publication. According to the rumor, it is also recorded in Zheng Qiao's "Tongzhi·Jinshilue", but it is written in "Jianzhou in the eighth year of Dahe". It does not mention any humanities and who wrote it, which makes it even more suspicious. , and Yang used Xiu Wei to complete it, which may not be firmly believed. Also, there is more circumstantial evidence that Yu Sui used Xiu Wei to complete it. According to "Quan Shu Yi Wen Zhi", the person who was most pleased with Yong Xiu was the "Prefect" of Han Dynasty. The "Fan Min Stele" is located in Lushan, and the Han "Xiaolian Liuzhuangmin Stele" is located in Qianjiang. "Min", why add the word "zhuang"? "The Monument of Fan Jun, the Governor of Bajun", the beginning and the end of it are intact, and the summary was published by Li Benmo in the Hongzhi period of the Ming Dynasty. It cannot be read by more than half of the country. It is also listed in "Tongzhi·Jinshilue", but the note is "unspecified". How can I get the original engraving without any damage? Hong's "Li Shi", "Xiaolian Liumin Stele" There is the word Que, but there are not many texts. The stele is in Shuzhong. The "Stele of Fan Min, the Governor of Bajun" is quite complete. However, the last seven characters are "que" and the stele is in Lizhou. The stele was completed based on this, so it is also It's easy. Some of the words and sentences recorded are different from those of Zhao and Hong, and Gu Tinglin said in "Fan Stele": "The writing is very clumsy" but there is no time to check the date. It’s all engraved...it’s all based on what Xiu said, so how can we believe it?”

It should be said that there is no doubt about the authenticity of this article. Masters Liu and Yu have argued it, but Feng The problems mentioned by Mr. Li do exist. As far as the text is concerned, Master Liu and Yu's "Chronological Notes on Li Shangyin's Works" is the best organized. It was proofread using "Quan Tangwen" and "Quan Shu Yiwen Zhi". However, there are still some places. Flaws and incomprehensible places. In 1990, Sichuan University Press published the rubbings on page 125 of "Stele Inscriptions of Sichuan Dynasties" edited by Gao Wen and Gao Chenggang. " is different, Yang Shen's recording should be based on earlier rubbings. However, there are doubts about both:

First, there are taboo words "民" and "世" in the Tang Dynasty. In the rubbings, the word "民" is a variant of custom, which can barely be regarded as a taboo. The word "世" appears twice, both are original characters, which should not be written by people in the Tang Dynasty.

The second is that the inscription is a rhyming text, and many parts of the existing text fail to rhyme, such as "jie" and "wu", "gui" and "si", etc. These situations not only exist in Yang Shen's text, but also in the text recorded by Yang Shen. It also exists in the rubbings, which shows that neither of them is the old state of Li Yishan's writing.

The third is to compare the rubbings with Yang Shen's recorded text. There are also differences between the two. For example, "Zheguan (que) please", someone added "chazhidao" in the que text, three characters, rubbings In the place of the original que, there are the word "road" and "Liu () Dongshan", and in the extension of the que, there is the word "xiang". The reappearance of these que characters should be after Yang recorded the text.

The author personally saw the inscription stone. The body of the stele is made of local red sandstone. The surface is polished and the skin has fallen off. Most of the lettering strokes are badly scratched and are almost worn flat. Some words have obvious marks of being re-engraved. There are inscriptions written by descendants in fine writing. On the lower left side of the stele, there are two inscriptions: One is "Li Yishan of the Tang Dynasty wrote the stele "Double Ninth Pavilion Inscription". It took more than 600 years and was buried in the wild soil for a long time. In the spring of the 13th year of Zhengde, I obtained it from the site. The inscription has peeled off for more than ten years. Order the craftsman to repair the engraving and re-erect Yan Jian to guard it." There are 4 vertical lines, the characters are 2 cm large, and they are inscribed in regular script and are shallow. "Jian Shou" is Li Bi, the magistrate of the state mentioned below; the second one is "Daoguang Jia Chen Qiu, Jinmen Li Jingsan and Guo Jingchuan reconstructed Siting Shi" [Huang Banghong "Jianzhou Chongyang Pavilion and the "Jianzhou Chongyang Pavilion Inscription" Stele" ("Sichuan Cultural Relics" Issue 6, 1988) has recorded this information]. These indicate that neither the current text nor the rubbings are from the Tang Dynasty, but the rubbing patterns and spacing patterns may still be from the Tang Dynasty.

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There are differences between the stone version and the biography. Generally speaking, we should trust the stone version. However, if you look closely at the original stone carvings, you will find that the stone carvings are no longer the original ones, and the glyphs, fonts, and lines are different. First, there are obvious traces of modifications by later generations. After checking the relevant information, it was found that the stone tablet is different from the epitaph hidden underground. It is not immutable. It has been revised and carved several times along with the reconstruction of Chongyang Pavilion.

After Li Shangyin, this inscription was first noticed by Wu Shimeng of the Song Dynasty. Wu's "Jianzhou Chongyang Pavilion" recorded the incident, saying:

On April 2, the second year of Zhiping On the 15th day of the 10th, Master Meng followed Shu Commander Nanyang Gong to Jianzhou. On that day, they met at the Jianxi Pavilion in the East Garden. Before he arrived at the county, he bowed to his guests and leaned against the railing and said: "I saw a peak on the east mountain. It is a thousand-year-old mountain. Everyone." The hill is meandering and humble, like running around like a servant, with dense forests, green cliffs, and dense mist. There is a pavilion, crowned on the side of the mountain, with green tiles and scales, bright red balconies, and clear and clear long streams. Taibo Fufeng, Ma Junyuan, looked up at him and pointed to it and said: "I and Zhang Housong, the prefect, found a different place someday. It was the Chongyang Pavilion built by Jiang You, the governor of the Tang Dynasty, and it was inscribed in the preface of Shang Yin." I don't know how many years have passed since the pavilion was destroyed. I once visited its site. From the west, overlooking a county, it stands tall and clustered together. It is possible to read the inscriptions on the stele by touching it. Before the meeting, the officials cut down the wood and built it into the back hall of the mansion. They used the wood to build a new pavilion. They should recognize its rise and fall over time and dare to record it. Shi Meng retreated to study the inscriptions on Yishan, which were compiled in the eighth year of Emperor Xuanzhong's reign. Dazhong was 212 years ago. Isn't it possible that there were no good people during this period who would pity the ruins of his pavilion? Although there are good intentions, in order to govern the county, the only thing is to take the lead first, and on the way, the only thing is to pay tribute to the scriptures, let alone to care about it? Alas, since the merger, Xishan people have truly conquered this state. When Jiang Hou built this pavilion, it was lonely and deserted for more than 200 years. Mr. Fufeng and Zhang Hou tried to destroy it. They knew that the scenery of Xishan was ruthless to people. Those who are. A person who is pure and beautiful is like a Taoist man who is full of inner content, secures his place, and does not wait for others. How can he desire the love of others? People from ancient times to the present may love it or not. Pavilions rise and fall from time to time, but the scenery of streams and mountains remains calm. How can there be any gain or loss in its Qing and Xiu Xie? From ancient times to the Tang Dynasty, and from the Tang Dynasty to the present, there have been only two rare appreciations. From now on, it is not necessary to know whether people love you or not. The rise and fall of the pavilion will come again in a few years. It is worthy of people's appreciation. On the twilight day of the sixth month of that year, the imperial court ordered Lang Shangshu to serve as a member of the Ministry of Foreign Affairs, a judge of Langzhou's military state, and in charge of the internal affairs of the army to encourage farmers to work lightly. The captain gave Wu Shimeng a scarlet fish bag. (Volume 39 of Yang Shen's "Quanshu Art and Literature", Wenyuan Pavilion Sikuquanshu)

Wu Shimeng, a native of Chengdu, was a Jinshi in Qingli (1041-1048) and was a scholar and good scholar. Zhenzhuo, when he reached the rank of Tongyi Dafu, Zi Zhen first came to the position, so he asked for permission to edit the Tang Book. Ouyang Yongshu refused because of his young age. When the book was completed, Zhen wrote the "Tang Book Correction". This article was written in June of the second year of Zhiping (1064) by Emperor Yingzong of the Song Dynasty, which is the "two hundred and twelve years" after Li Shangyin wrote this article. This "Shu Commander Nanyang Gong" may refer to Zhao Peng. Zhao Peng served in Shuzhong for the second time, and the second year of Zhiping was his second time. The first volume of his "Qing Xian Ji" "Leaving Inscriptions on Jianmen Dongyuan" records that he had visited What happened to Jianzhou:

Jianzhou was an important place in ancient times, with heavy doors opening and closing. The two rivers are embanked, and the throat is shouting. In the past, when I resisted the crazy bandits, I was like a rotten warrior. When the time is right, Liangshou will be paid, and one will be in harmony with the public opinion. When the government succeeds in governing Dongpu, how can we untie the guest couch? I went to Fang Jinguan and invited me to build a pot. The carriages and horses rest while walking, looking up at the green hills. There is noisy chatting and laughter, and the gurgling of the car is mixed. Even if it is not spring, it is still beautiful, and the bandit wind is coming from Xiao Sa. The guest of honor drinks happily and enjoys the wine from Haichuan. The second carriage is old in Taichung, and he wrote a poem about it. Silence is the best place, so why should I answer it?

Jianzhou is on the road from Qinzhong to Shu, and receiving passing officials has always been an important matter for it. The construction of the East Garden and the reconstruction of the Chongyang Pavilion were all due to this incident. The East Garden mentioned in the article "That day I met at the Xixi Pavilion in the East Garden" should be the same place as the East Garden mentioned in the poem. Previously, local officials Ma Yuan and Zhang Song asked them to write an essay about the reconstruction of the Chongyang Pavilion. Wu Shimeng pointed out that Dongshan had been a scenic spot since the Tang Dynasty, and it was only after Li Shangyin composed the essay and Jiang built the pavilion that it became famous. At the time of the reconstruction, "I don't know how many years have passed since the pavilion was destroyed...the inscriptions on the stele can still be read clearly." At that time, the inscriptions on the stele could only be identified. The phrase "Lao Xie is the Sutra" in the Wu text seems to have been directly taken from Li Shangyin's inscription.

After Wu Shimeng, the person who mentioned this article again should be Zhao Mingcheng (1081-1129) in the late Northern Song Dynasty, who formally recorded this book in "Inscriptions on Stones". Volume 10 of "Inscriptions on Stones" says: "1897th "Tang Chongyang Pavilion Inscription", written by Li Shangyin, official book, no name, September of the eighth year of Dazhong." Later, Zheng Qiao (1104-1162) "Tongzhi" Volume 73 It is also recorded: ""Chongyang Pavilion Inscription", the eighth year of Taihe, Jianzhou.

"It is estimated that he transcribed the "Inscriptions on the Inscriptions and Stones". Later, Chen Si also transcribed the contents of the "Inscriptions on the Inscriptions and Stones" in the "Bao Ke Congbian". Later, Zhu Changwen (1039-1098) also transcribed the contents of the "Inscriptions on the Inscriptions and Stones" in the "Mochi Bian" Volume 6 : ""The Chongyang Pavilion in Jianzhou of the Tang Dynasty", written by Li Shangyin. "Mo Chi Bian" specializes in calligraphy narratives. Although Zhu did not mention calligraphers, according to his book examples, the calligraphy on this stele should be impressive, and its calligraphy should not look like the existing rubbings. Wang Xiangzhi (1163- 1230) It is also recorded in "Yudi Jisheng". Volume 4 of "Yudi Stele Records" and "Longqing Mansion Stele Records" says: "Tang Li Shangyin's "Chongyang Pavilion Inscription" was in the sun of Dongshan County, and the prefect Jiang Gongyou founded the pavilion in the eighth year of Dazhong in the Tang Dynasty. Li Shangyin wrote the preface and inscribed it, and the stone inscription still exists today. "The records are quite detailed, and it seems that they have read the inscriptions. The final draft of "Yu Di Ji Sheng" was probably during the Shaoding period (1228-1233), when the inscriptions still existed. After that, Zhu Mu's "Fang Yu Sheng Lian" "Volume 67" says: "The Double Ninth Pavilion is located in the east mountain of the county. Jiang You, the prefect of the Tang Dynasty, created the pavilion, and Li Shangyin wrote the inscription on the pavilion." "Zhu's narration may be a paraphrase of what Wang Xiangzhi recorded. All this proves that the article "Jianzhou Chongyang Pavilion Inscription" was circulated in the Song Dynasty, and because of the author's name and calligraphy, he became more and more famous and became a statement It is an indispensable content for local cultural relics.

However, this article was not included in Chengdu Literature by Yuan Shuoyou (1140-1204) of the Song Dynasty. This book was published in the fifth year of Qingyuan (1197). The envoy of the Sichuan pacification system, who was also aware of the affairs of the Chengdu military government, was appointed as the editor. Among the editors was Yang Ruming, a professor of Lizhou studies, Di Gonglang and Xincha. In the area where this stele is stored, "Chengdu Wenlei" contains seven poems by Li Shangyin ( Six poems and one article), but this article was not included, indicating that this article may have been unknown at that time. Therefore, for a long time after the Song Dynasty, few people mentioned this monument until the 14th year of Zhengde next year ( 1519) Kang Hai (1475-1540) also mentioned this article in his article "Reconstruction of the Chongyang Pavilion in Jianzhou":

I heard that the landscape of Jianzhou was old, and later I saw Li Yishan's "Chongyang Pavilion Inscription" mentioning the governor Jiang Youzhi In the third year of the county's reign, the people succeeded, and the dangerous road was shoveled, and the stone was exposed to the soil, which was flat enough to accommodate the four rails of the work vehicle. It was built as a north and south pavilion for the purpose of labor farewell. The mountains and rivers of Jianzhou are also great. When Jiang Jun had free time in the county, he entertained himself with the mountains and rivers. He was also famous as a scholar and official who recited his stories, which was so beautiful that he left it to future generations. His mind was also extraordinary. That's it. In the Yihai period of Zhengde, Li Jun of Wuling came to know Jianzhou. After a year, the government was established, and the people were Xianruo. So he spread the teachings, showed the traces of waste and falling, dug the high city into the pond, trained the troops and prepared them, and showed the rules and regulations, and the officials went to the ceremony. There is no common theory, but I have read the ancient music, searched for the spiritual secrets, and found the location of this pavilion. So I made a plan with two or three scholar-bureaucrats and said: "Rite and righteousness makes the world leisurely, and the good winner makes the land prosperous." , both of them must be shown here. The Jianshan Academy was built to show scholars, and it also represented the temple of Wuhou to commemorate the death of those who died, so that the common people could guard their positions, and the virtuous people could follow them, and they would follow the etiquette and justice. It's a good thing. If you don't know about the pavilion, you will be there for hundreds of years. Fortunately, you can find it but you can't cure it. It's not the way to reveal the secret of the spirit and reveal the treasure. So, you can clean up the filthy grass and restore the pavilion. Yan. When the banquet began to rise, the monument of Yishan was placed under Su Mang. Wu Zifang recorded: From ancient times to the Tang Dynasty, from the Tang Dynasty to the present, there have been only two appreciations. It will take a few more years for the pavilion to be abandoned and restored to its value. However, Zhifang also knew that there was Li Jun today. Li Junyan's pavilion is close to the pillow and Wuhua is far away. Facing Hanyang in the front, there is a beautiful rock pavilion on the left with a dragon lying on it, and the city tower is leaning on his arms. It's the same thing. As for the clear and flowing shadows of the Changxi River, I have been sitting on the pavilion for a long time. The swordsman Jiang Wencui is a jade man who knows how to tell Li Jun's affairs, so he entrusts me with a book on the cliff of the pavilion. There are four characters of the ancient Chongyang Pavilion on the side of the stone. It is written in a big calligraphy style by Zhang Jian of the Song Dynasty. , I still want to record and send it to me, so as to see how Li Jun compares to Jiang Jun in his free time, he should also be more worthy of Li Jun's blessing. The famous places in Guanzhong are countless, and there are few people who are as virtuous as Li Jun. In order to show my intention, I don’t know if I can wait and see it. Li Jun’s name is Bai Tian. He was a member of the Hongzhi Yimao Guangxi Province. In the summer of next year, the 14th year of Zhengde (1519), the 10th and 8th day of June in Ji Mao Xia, Geng Chen Hu, Xishan people’s martial arts Kang Hai Ji. (Volume 5 of "Dui Shan Ji" by Kang Hai, Wenyuan Pavilion Sikuquanshu)

The stone inscription is more than 500 years after Wu Shimeng and about 300 years after Wang Xiang. It says: " "Deyi Mountain Stele is under Su Mang." Kang Hai did not see the stele, so he could not describe its specific shape. However, the postscript on the stele stated that "the inscription has been peeled off for more than ten years, and the craftsmen were ordered to repair it and re-erect it." At that time, the inscription on the stele was already overflowing and some repairs and engravings were being made.

More than ten years later (approximately between 1526 and 1529), Yang Shen (1488-1559) compiled "The Art and Literature of Quan Shu", and the recorded inscriptions already contained some missing inscriptions (see the quotation above), but only three or four The characters are not consistent with the more than ten characters Li Bi said. Judging from the explanations in brackets above, there are eleven doubts, which are consistent with what Li Bi said. Therefore, what Yang Zhi recorded is the result of Li Bi's revision and engraving.

Later, Cao Xuequan (1574-1646) recorded in Volume 26 of "Sichuan Guang Ji" similar to what Yang recorded:

Hanyang Mountain, the main mountain of the state Also, what Wugong Kang Haihan said in "Jianzhou Chongyang Pavilion" says "lie on your pillow and listen to the stream, facing Hanyang in front of you." "Ode to Wenquan in the East Garden" (engraved by Su Hong in Zhenyuan of the Tang Dynasty), "Inscription of Zhonghe Jileyuan in the Reconstruction of Kaiyuan Temple" (recorded by Liu Chongwang in the third year of Dashun), "Xuanzhao Pavilion Stele" (diary of April 1st in the fourth year of Shu Tiancheng), Song Gaozong The imperial edict stele of Ji Tian is located in Linlang County. "Inscription": The Chongyang Pavilion was built in the 8th year of Dazhong Period by the prefect Jiang Gongyou. It was inscribed in the preface by Li Shang. The stone is engraved on the east mountain of the county. Zhiyun: One mile southeast of Dongshan. , also known as Heming Mountain, with Moya Yan Shu Yuanjie's "Ode to Zhongxing" on it, Jiang You's Chongyang Pavilion is there, Li Yishan's brief account:

Hou talked about the emperor's intention, three years in Dali, it was a dangerous road. , the stone is exposed to the earth. Its level can accommodate four tracks of a work vehicle. It is built as a north and south pavilion for the purpose of preparing meals. There is also a pavilion on the east side of the mountain. It is called the Double Ninth Festival. With the drunken wind and sun, it passes through the north and south. If it is out of the flat ground, there will be no sigh. . Hou's surname is Jiang's name, and his inscription reads:

Benevolence is the way, Longlei is a hero, he works hard, he admires things, but he can take them endlessly, just like this. Arsenal.

When Chiang was alive, he regarded benevolence as his duty, the Bo family's suitability, the Zhong family's thoughts, and his younger brother inherited it.

Ruhou is in charge, the sword is full, the king is in the south and the minister is in the north, the father sits down and the son is lying down, drinking the cow's milk, the fields are straight, the market is in order, the prison is clear, and the king returns home to retire.

Morning rain. Pang Pang, wet the head of the bow, the people will be happy and prosperous, and the king will build the south pavilion, the north pavilion is a double one, and the east mountain is three of them.

The big stone is made of silicon. In the third year, the people went to beg to stay. Bo's family went to Nanliang, heavy bow and two spears. In ancient times, there was Lu Wei, but I was the Cao. Ma Huanma, but Jiang Zhirong, from the Tang Dynasty Pang Gu, it is rough and

Written by Hanoi Li Shangyin, a doctor of Taixue, on September 1st, Dazhong 8th year. > Cao Xuequan served in Sichuan from the thirty-seventh year of Wanli (1609) to the forty-first year of Wanli (1613). This article was probably recorded based on the rubbings or original stones he obtained when he was in Shuzhong. The matter was nearly a hundred years after Yang Shen. There are some differences between what Cao and Yang recorded. For example, Yang recorded "for the king (que), and (que) Jiang is (que)", with three characters for "que", while Cao's records have five characters for "que". Obviously, After a hundred years, the situation has become more serious.

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Yang's text is slightly authentic, but judging from the rhyme of the inscription, there are also blindly following the text extensions at that time, such as Those rhyming characters were obviously not written by Li Yishan, nor should they have been modified by Yang. Yang only relied on the stone books that were revised and engraved at a certain period. There are many gaps in Cao's records, but there are also some. Texts inferred from thought, such as inscriptions, also have irregularities in rhyme. Comparing the rubbings, we can see that any irregularities are either unclear, or the glyphs are inconsistent with other texts, which shows that they were rewritten by later generations. carve. In order to facilitate reading, these gaps should be filled in in a more reasonable way. Factors that can be used include the line format of the extension, the four-character format of the inscription, rhyme, etc. Based on this, the author has temporarily revised and supplemented the relevant word "que". The content can be found in the small brackets in the quotation from Yang's recording above. The specific reasons are as follows:

1. "With the rule of Pu'an County", the writing on the rubbing "zhi" is blurred, and the word "pu'an" under "zhi" is slightly smaller, as if it was added later. The meaning of the text may be added based on the original text. The word "Jun Ye" still has traces of the word "Jun" on the rubbings. The word "Ye" has multiple small characters and is more like the word "Ming". It can be connected with the character "Ming" to form the phrase "Ming Ling is a Marquis". . However, judging from the line pattern, it is obvious that this character was added later.

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2. "(To) the tree skin does not grow". On the rubbing, the word "Zhi" is not centered, which is a later supplement, but it is consistent with the text. The meaning is consistent. This was added after Yang Lu.

3. Yang recorded it as "Yi Jing Lao Xie", but on the rubbing only the word "Lao" remains in its original state, the word "Yi" is not clear, and it looks like the word "Jin", and "Jing" and "Xie" The two characters are slightly smaller and seem to be added later.

The rubbings here are diffuse, and there seems to be another word between "Lao" and "楯". Judging from the shape of the glyph, it is the smaller word "Qu". Wu Shimeng's Ji said, "Wei Lao Fen is the Sutra", which should be a paraphrase of Li Shangyin's sentence. Accordingly, it is translated as "Wei Jing Lao Zuo Sui", which seems to make sense. The first character is "Wei", and the lower end can be regarded as a scratch.

4. Yang recorded it as "无有噫(que)", but a hundred years later Cao recorded it as "无有噫hee", and the supplementary word for que was "hee", so It is believed that the text was additionally engraved by Yang later. The stone here is loose and the inscriptions are no longer visible. It is now impossible to know whether the supplement of "hee" has any textual basis.

5. "He Guo" is clearly written on the rubbings. However, Yang Lu only wrote "Three Years" without the word "He Guo". However, according to the pattern, there should be two words. This should It was added by someone after Yang.

6. Yang added the word "路" after the word "Guan". In Yang's recording, there are all ques before and after "please stay". In the extended text, "begging" is added before "please", and the word "hou Xiang" is added after "liu". Judging from the inscriptions left by the Yang family, it can be seen that the Yang family was relatively loyal to the original text of the rubbings at that time, and did not make any unnecessary additions or changes as Feng Hao said. Even if it was unwritten, it was still recorded.

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7. The handwriting of "Jie" here is basically clear, but the inscription is in rhyme. The rhyme characters in this group are "wu", "Ku", one belongs to the eight-thing rhyme of Rusheng, and the other belongs to the eleven-evening rhyme of Qusheng. The two may rhyme together. However, the character "Jie" belongs to the rhyme of "Xue" in Rusheng 17. It is obviously a rhyme. According to its shape, it may be "Ri" or other characters. "Jie" may be added by later generations. This character should be added in Yang's records. Before writing. Yang recorded the inscription as "for the king (Que)", and the current inscription is "only the king's wish". The epidermis of the stone where the word "wish" originally appeared was seriously peeled off, and this word was added later. The character "WEI" in the front is slightly smaller, which is different from other characters in style, and also seems to be added later. Cao recorded this, and the five characters were Que, indicating that a hundred years later, something fell off again.

8. Yang Lu wrote, “There is no limit to what you can do.” However, the word “ChuChu” in the existing stone carving is slightly smaller and has a blank space, which is inconsistent with other texts and is difficult to explain.

9. Both Yang and Cao recorded it as "Zhongshi's Si", the word "Si" is the rhyme of Shang Ping Qi, and the first couplet rhyme "Gui" is the rhyme of Rusheng twenty-four positions. This rhyme It can rhyme with "德" (the rhyme of twenty-five virtues in Rusheng). The extension of the word "思" is vague, and based on the residual shape, it looks like "Xi".

10. The word "Jue" was re-engraved at the original place where it was dropped. The traces are very obvious. Both Yang and Cao agreed with this repair.

11. Yang recorded it as "pure but not wrong", which is consistent with the rubbings. However, there seems to be a disconnect between "pure" and "er" in the rubbings. Cao's recording was "rope but not wrong". ”, the rubbings he saw may be different from today. According to the rhyme, it is written as "簰".

12. Both Yang and Cao wrote "The sword has Ying Zang", which should be the word Yin as Tongjia. The word "sword" is unclear, but what Yang and Cao saw is clear.

13. "Fu" does not rhyme with other sentences, so it is changed to "side", and the rhyme and meaning are consistent. The inscriptions written by Yang and Cao have already written "Fu", and the rubbings here are also clearer. Perhaps the original inscription was wrong.

14. Yang Lu wrote "wet the steep head", while Cao Lu wrote "wet the head". The meaning of the text is inappropriate, and the word "tou" does not match the rhyme, so it was changed to the word "陙", which is the shape of the word. , meaning, and rhyme are all consistent, and the handwriting in the rubbing is not similar to other characters. It is also a later addition, which should be done before Yang recorded the text.

15. Yang recorded "Beiting is (que)", with the word "que", Cao recorded it as "Beiting is double", the rubbing, "shuang" is clearly written, it must be after Yang, Cao It was re-engraved before. However, "double" in this group does not rhyme with other sentences. Due to its meaning and rhyme, it is either "Chong" or "Long".

16. Yang wrote "The big stone is to carry", and Cao wrote "The big stone is to carry". "Carry" and "缼" both have the rhyme of Shangping Sijiang, which is inconsistent with other rhymes. The surviving remnants of the rubbings are not consistent, and the word "leave" and "spear" below belong to the lower Ping Shiba special rhyme. Based on this, it may be inferred that it is "掊". The rhyme of the word "Cao" is Xia Ping Liu Hao, or it may rhyme with it.

Judging from the above, Li Shangyin's text was still intact in the Song Dynasty, but it was incomplete in the Ming Dynasty. When Yang Shen recorded the text, the inscriptions were no longer the same as those of the Tang Dynasty. They did not avoid Tang taboos and had many places. Regarding the remaining que, Yang made few changes and basically maintained the que, even to the point where some parts could not be written down.

A hundred years later, Cao Xuequan made an abridgement based on the rubbings that were different from those seen by Yang Shen. He deleted the unwritten parts and added some missing words. However, there are also cases where Yang Lu has the text and Cao Lu has the missing words. This shows that although the stele was re-carved after the Yang family, new peelings occurred. The surviving text on the rubbings is relatively complete. However, no matter in terms of literary meaning, rhyme scheme, or calligraphy characteristics, there are many discrepancies with the original text. It should be that supplementary inscriptions were made after Cao's time. This incident proves that rubbings of stone-engraved documents may not be able to maintain the integrity of metal and stone. Especially public stone-engraved texts such as inscriptions are not like epitaphs that have been buried for many years. It is inevitable that future generations will make additions and alterations. Judging from the engravings attached to the inscription and related local chronicles, Jianzhou Chongyang Pavilion has been rebuilt seven times since the Song Dynasty. Each time it was rebuilt, Li Shangyin's text was displayed as a key symbol, so repairs were naturally inevitable (Huang Banghong's "Jianzhou Chongyang Pavilion and "Jianzhou Chongyang Pavilion") Jianzhou Chongyang Pavilion Inscription "Stele"). Since the author's collected works have been lost, stone carving has become the only way to preserve and inherit this article, which is not included in various collections. However, natural weathering and artificial repairs can also easily cause distortion. When using this kind of material, these factors must be taken into consideration. Some rubbings must not be trusted, but they cannot be fully trusted. Appropriate interpretation can be made based on their textual meaning and style to achieve the purpose of interpretation.

(Author’s affiliation: Department of Chinese, Fudan University)