The famous ones are Erwangfu, Shaoxing imperial academy, Daguan Taiqing Loutie, Xichun Xiuneishi, Quanzhou, Yin Bei Costing, Wuzhen Zhangshi, Fuqing Lishi, Shitang, Linjiang Opera Fish Hall, Lizhou, Qianjiang, etc., and the quantity is similar.
In addition, there are posts by Changsha Prime Minister Liu, Pan's Jiangzhou post and Jianggong Library post. There is a little profit and loss, and the turnover is different.
There are dozens of other insignificant people.
Regrettably, all the original stones of the above-mentioned Spring Flower Pavilion in Song Dynasty have been lost.
There are only three kinds of stone carvings in Chunhua Pavilion:
(1) In the 43rd year of Wanli in Ming Dynasty (16 15), Su Zun Xun Ge Ben (commonly known as "Fu Su Ben") was pasted with five sets of stones.
The existing two groups of stone pillars are located in the forest of steles in Xi 'an, half of which are in Liyang.
(2) In the third year of Qing Shunzhi (1* * 6 years), a copy of Shaanxi Fei was carved according to the initial rubbings of Su Fu and placed in Anbeilin (commonly known as "An Edition" or "Guanzhong Edition").
(3) The Letter from the Yu Family in Liyang is one of the five sets of stone carvings in Ming Dynasty, including the Yu Family Ancestral Hall in Zhu Qiao Town, Liyang County, Jiangsu Province (commonly known as the Letter from Liyang).
However, the newly discovered stone carving of Chunhua Pavilion in the former site of Wenlan Pavilion in Hangzhou recently broke the understanding that Chunhua Pavilion has no stone carving handed down from Song Dynasty.
This set of stone carvings of Chunhua Pavilion is currently placed in the former site of Wen Lan Pavilion, No.28 Gushan Road, Hangzhou (now the location of the Ancient Books Department of Zhejiang Library). This pavilion was first built in the 47th year of Qing Qianlong (1782). It is one of the seven collections built for the collection of Sikuquanshu in Qing Dynasty, and it is also the only surviving one among the three museums in the south of the Yangtze River.
The stone carving of "Chunhua Pavilion Post" is stored in the stele gallery on the west side of the compound. The stele gallery was built in 1994, with two stele walls extending vertically from south to north. The walls are protected by glass frames and separated by stone tablets of Zhejiang Library.
Sitting in the south of a monument wall, there are four carved stones, namely, Chunhua Pavilion Post, Xiao Qingting Post, Pu Zuo Hall Post and miscellaneous stones of Ming and Qing Dynasties, of which four pavilions are only seen on one side (see Figure 4), and several Ming Dynasty epitaphs are embedded on the back.
Sitting on a monument wall in the north, there are 21 stone carvings with "Chunhua Pavilion Post" (according to the number recorded by the cobbler), and you can see the front and back of the stone carvings (one faces east and the other faces west, as shown in Figures 5 and 6). The complete stone carving is 102 cm long and 29 cm wide.
According to records, this set of carved stones was purchased by Zhang Yanchang (Maotang) from the former residence of Xiwu for Sun (the owner of Shousong) in the forty-sixth year of Qing Qianlong (178 1 year).
1933, Mr. Hou Kang, a descendant of Sun Shi, donated rubbings to Zhejiang Library. At that time, a whole set of rubbings, rubbings, rubbings, rubbings, rubbings, rubbings, rubbings, rubbings, rubbings, rubbings, rubbings.
After liberation, this set of steles gradually faded out of the sight of cultural relics workers, and the steles were damaged and lost in the Cultural Revolution.
1994, people of insight found these inscriptions in the Honglou Corridor in Zhejiang Province, and suggested to protect the display, so they built a stele gallery for storage.
Previous versions of stone carvings are unrecognizable, and are generally considered to be Ming and Qing stone carvings. In the spring of 2004, the author took Fu Su Ben to compare it, but there was no result.
In 2006, Shi Anchang, a researcher at the Palace Museum, made a comparison with the newly printed Chunhua Pavilion Book of the Palace Museum, and thought that the Chunhua Pavilion Book of Mao Qin Palace came from this set of carved stones.
This incident immediately caught the attention of the author. If confirmed, the stone carving of Chunhua Pavilion in Zhejiang Library is the earliest original stone that can be seen at present, which is of great significance.
The reconfirmation of stone carvings in Song Dynasty is an important discovery in recent years, which has brought the most original stone information to the study of inscriptions.
In order to identify the date of publication of this set of carved stones, it is necessary to comprehensively analyze and deal with the contents of publication, volume label, volume tail engraving, carved stone material, stone flower texture, stone cracks and so on. Unfortunately, when the stone chamber was built in 1994, the stone carvings on the wall of Chunhua Pavilion were displayed blindly and were not carefully checked, and the arrangement was extremely chaotic.
We are faced with a group of carved posts arranged in disorder, just like a mixed playing card. In order to further study, it is necessary to number the carved stones first. The numbering principle is "from top to bottom, from right to left", and the numbering is as follows:
Carve four stone heads on the south side and name them "Shan", "Shan 2", "Shan 3" and "Shan 4".
There are 2 1 stone carvings on both sides of the north, of which the one facing east is named Dongyi and Dong Er in turn ... and the one facing west is named Yi Xi and Xi 'er in turn. ...
After checking the statistics one by one (see appendix), we found that there were 25 carved stones (46 faces) in the Chunhua Pavilion in Zhejiang Library, and three fifths of the original Chunhua Pavilion were preserved.
There are three styles of volume numbers: "Five Five" (pure digital version number, volume number before and after), "One Six" (Tiangan mixed number) and "Ten Volume Nine" (volume number).
There is still a lot of room for engraving inscriptions in Chunhua triennial publication at the end of the volume (see after the West Seven Stones), but there is no inscription information engraved. It can be seen that when this post was published that year, there were no identification elements such as lettering time, place and imitation name.
Although it has brought difficulties to further identification, some Ge Tie engraved in the Song Dynasty can be ruled out if the information is not engraved. For example, at the end of the volume, the words "Xi Chun Edition Internal History, February 25, the twelfth year of B" are written in regular script.