年度归档 2025年8月10日

Based on the creative concept of "warm realism", the creative team positioned the project "Hunting Crime Picture Book" as love women and social school, and the selection and weaving of cases also depended on these two standards, paying more attention to the topics reflecting women’s living conditions and emotional demands. At the same time, based on the main appeal of women’s perspective, they positioned the core tone of the drama as emotional expression and artistic aesthetics, instead of over-describing the cruelty and blood of the case, they paid more attention to the emotional touch behind the case and increased the freshness and literary sense.

Author: mist

Editor: Lan Er

Layout: Wang Wei

What is "love women" criminal investigation?

Have a perspective, aesthetics and healing.

The creative inspiration of "Picture Book of Hunting Crime" comes from a survey conducted by the writers’ team. After they learned about the profession of portrait painter, they immediately became interested in this group. This drama tells the story that Shen Yi (JC-T), a talented portraitist, and Du Cheng (Jin Shijia), the captain of the criminal investigation team, have cracked many difficult cases. The drama isThe specific expression of "innovation and change" of Ning Meng Film on the track of suspense short drama series, they tried to find a fresher breakthrough point and more diversified presentation methods to explore more possibilities for the creation of suspense drama..

Under this kind of exploration, Ning Meng Film focused on selecting young teams with stronger creative ability, including using some teams with film creation experience to collide in content creation, and strive to bring some unique temperament and style to the play.

Picture Book of Hunting Crime takes the fast-paced unit drama route, and it pays more attention to novel cutting corners, stories and realistic concerns than serious suspense in solving crimes. From the beginning, Ning Meng Film’s positioning for this drama is"Criminal investigation drama for women", its "love women" choice, not only lies in telling the experiences of female crimes or female victims, but more importantly, it weaves and unfolds stories from the perspective of women, women’s aesthetics and women’s value choices..

The mirror is a person’s doppelganger, and the unit case of "Hunting Crime Picture Book" is just like a mirror image. The female hot topics such as appearance anxiety and gender discrimination in the workplace are once again presented to the audience through their own narrative expressions. The moment when the truth of the case is revealed is shocking, but the hidden feelings behind the story are even more moving.

In the case of the plastic surgery hospital, Shen Yi said to Jiang Ge, the murderer: "Madame Curie represents women’s strength. From your works, I see similar strength, which comes from your talent and ambition, not your appearance"-compared with the present plastic surgery face, Jiang Ge also misses herself who was once plain but bent on conquering the world with her talent. Because of her appearance anxiety, she stepped into the plastic surgery hospital and danced with wolves, and the tragedy began from this moment.

Based on the main appeal of women’s perspective,The creative team positioned the core tone of the series as emotional expression and artistic aesthetics, instead of over-describing the cruelty and blood of the case, it paid more attention to the emotional touch behind the case.At the same time, they also integrate art and famous painting stalks into the story to increase the sense of novelty and literature.

Many other cases are also interspersed with metaphors of famous paintings and marked with their own special symbols. For example, in the case of domestic violence, "Judith Slaughters Heroffney" means that "women can understand women, and women can protect women". The two victims, ex-wife and current girlfriend, joined hands to resist atrocities, and they were responsible for each other even if something happened to them. In this tragic case, the tenderness that they guarded each other slowly overflowed through the screen. "I escaped from him, but I have never escaped." This statement by one of the characters is a torture of the soul of the crime of domestic violence.

It can be clearly seen that in the play, the creative team deliberately put more emphasis on bright light and color, and theyTrying to create a warm and artistic atmosphere, so that these stories linked to reality and social core women’s issues can not only present a tense detection process and unexpected plot reversal, but also convey moving and healing..

Although the creative team is young as a whole, it is very mature in key experience and ability, which also ensures the smoothness and accuracy of the works. In the creative process, the screenwriter team led by senior screenwriter Jia Dongyan provided many novel and wonderful plot settings, and director Zhang Xiaobo, as a producer, gave guidance on the overall style and structure construction. Zhang Yiyun, a senior producer of suspense drama, built a creative team of directors, photographers, fine arts and other majors for this drama, and selected the main actors, while director Xing Jianjun completed various difficult breakthroughs in shooting with very mature experience, which ensured the realization of the stylization of this drama.

Looking for "legend" in reality makes the portrait look good.

"When all efforts to solve the case will come to naught, the portrait artist is the last trump card". According to the observation of the creative team, in addition to the first-line criminal police investigators, there are many unsung heroes with different functions and identities in the police force. The roles of forensic doctor, trace inspector, portrait artist, etc. have excellent professional skills and many little-known legendary experiences, which also bring rich inspiration to the creators.

In order to ensure authenticity and create enough legend,In the stage of script creation, the screenwriter team has done many investigations, read a lot of related books and reports, and even imitated the teaching materials written by portrait experts, in order to ensure the sense of realism and substitution, and at the same time write the tension and charm of the characters..

The audience may think that the portraitist is a bit "fantastic", but the real portraitist is far more magical than the film and television drama. Zhang Xin, one of the eight experts of the Ministry of Public Security, once painted a portrait of the suspect in the silver case to help solve this crime that lasted for more than ten years. Lin Yuhui, a Shandong policeman, helped the FBI draw a portrait of the suspect with extremely vague monitoring screenshots in the murder case of YINGYING ZHANG.The real case and the skill of portrait itself are thrilling enough, so the creation of the play will present moderate fiction and imagination, but it will not be woven out of thin air, but will be based on realistic logic.For example, the artist’s skill of "painting the old at the age of three" presents its complete step process in detail according to the real human anatomy logic and realistic painting logic: first, draw the skull structure of the child through the photos of the child, then draw the skull structure of the adult according to the growth law of the human body, and finally "fill the meat" to complete the facial features structure and skin outline of the adult, thus achieving the effect of "painting the old at the age of three". This not only highlights the high professional charm of the portrait artist, but also makes the "strange skills" of the characters in the play fall to the ground in a scientific and credible state, making it understandable and acceptable to the audience.

These "fantastic" parts of the story are precisely the respect and restoration of the important significance and role of the portrait artist in reality. Through the publicity of the legendary and charming color of the police behind the scenes, the creators also hope to stimulate the young audience’s interest in pursuing. After watching this drama, they have greater interest and willingness to form a deeper understanding of the contemporary people’s police.

Although there are only 20 episodes of Hunting Crime Picture Book, butThe level of detail is quite high. For example, the team drew thousands of portraits of Shen Yi alone.. Portraits are not looking at photos to draw people, but to draw people out of thin air without knowing what the other person looks like, so they can only pursue "likeness" rather than a high degree of similarity. Moreover, Shen Yi in the play is a genius painter, and his portraits are not completely functional, but also have certain aesthetics and artistry. Due to the huge amount of props painting, it is necessary for several painters to work at the same time to complete it, and at the same time, it is necessary to ensure that all paintings are in a unified style, which belongs to Shen Yi’s style, which is also the difficulty of creation.

The same frequency and resonance of warm realism expression

How many dark spots are folded behind the sun, and whether the hidden corners are always invisible? Campus bullying never stops, AI face-changing fraud comes unexpectedly, and big data no longer infringes on our privacy all the time. These social issues that should not be ignored have never been solved, and how to interweave real problems with cases is also an unavoidable proposition for producers.

Based on Ning Meng’s creative concept of "warm realism", the creative team positioned the project "Hunting Crime Picture Book" as love women and social school, and the selection and weaving of cases also depend on these two standards.In the overall creative process, they will pay more attention to and tend to those topics that reflect the actual living conditions and emotional demands of ordinary people, and integrate thinking about these topics into the creation of cases, integrate the creators’ empathy for social difficulties, and call for more attention, understanding and care.

In the case of burying a corpse in a girl’s playground, two different girls who were not accepted by the group could only accompany each other silently. Who can understand the worries of adolescent girls? "Being different may not be understood, but it should be respected."

In the kidnapping case, the criminal decorated the triangle by himself, and almost crossed the sea, but he was only impersonated because of the college entrance examination, thus becoming an ant who could not touch more possibilities of life. Is his deception really so superb? It is just from his own analysis that "I have never been in your eyes", which is extremely embarrassing.

When Chen Zhou, the big BOSS and technical manipulator behind the scenes, surfaced, Shen Yi, on behalf of the general audience, issued a soul cry for big data invading privacy: "Who deprived us of the right to refuse, the public never had a choice."

Although the setting style of "Picture Book of Hunting Crime" is artistic and classical from the unique perspective of imitating the portrait artist, the core is actually the opposite of scientific and technological sense and hardcore direction, aiming at highlighting the perception and function of "people".The implied expression in this play is: No matter how advanced the technology is, it can’t replace the human brain’s insight into complex human nature and subtleties.Including the composition and light color of the play, it also pursues a style similar to classical oil painting, that is, it strives to seek the unity of this internal expression and external form.

The novel portrait artist’s design, the hot social reality connection, the innovative image presentation form based on female perspective and aesthetics, coupled with rigorous and meticulous polishing, all kinds of reasons have jointly promoted the success of the small-scale drama "Hunting Crime Picture Book", and the expression that the creative team tried hard to make in it has especially won the audience’s perception beyond expectations.Young audiences have a strong empathy and discussion around the expression of values, emotions and art presented in the play, and this kind of common frequency and resonance may be the greatest recognition of Hunting Crime Picture Book..

THE 　

At present, the urbanization rate of permanent residents in China exceeds 65%. Urban scale is expanding day by day, urban structure is becoming more and more complex, and urban governance, especially the governance of big cities, is becoming more and more difficult.

How to make the city run more efficiently and orderly at the macro level and improve the residents’ happiness at the micro level, cities have been actively exploring practical paths.

During this trip to the mountain city, urban governance was the focus of the general secretary’s inspection. "Network Plus" takes you to understand the latest deployment of the General Secretary from three dimensions.

The first is the "temperature" of urban governance.

On April 22nd, the General Secretary walked into the community of Democratic Village, Xiejiawan Street, Jiulongpo District, Chongqing to learn about the local implementation of urban renewal and guarantee to improve people’s livelihood.

The Democratic Village Community in Xiejiawan Street was built in 1950s and 1990s, and the renewal project was started in early 2022. In the past two years, the community has rebuilt 110,000 square meters of buildings, demolished 43,000 square meters of dangerous buildings and improved the supporting environment by 90,000 square meters.

This is the democratic village community in Xiejiawan Street, Jiulongpo District, Chongqing, which was filmed on April 23rd, 2024.

On the display wall of the community meeting room, past lives and community work in the democratic village community are introduced in detail. The general secretary stopped here, looked carefully and asked deeply.

General Secretary of the Supreme Leader pointed out that the renovation of old residential areas is a key point of urban renewal and a livelihood project, which should not only preserve historical memories and distinctive features, but also solve practical problems that residents are concerned about.

Urban renewal is an important starting point for improving urban governance capacity and level. Focusing on the pain points of urban residents, let the old community change into a "new look", let the back streets and alleys wear "new clothes" and let the underground pipe network get a "new life". Community residents sincerely said: "In the past, the environment here was dirty and messy. After the implementation of urban renewal, the roads were smooth and the environment was clean, and our sense of happiness was stronger."　　

People are the foundation of the city. The voice of residents reflects the value of urban governance. As General Secretary of the Supreme Leader said when he visited Shanghai last year, "A city should not only have a height, but also a temperature."

Look at the "accuracy" of urban governance.

In May, 2023, when General Secretary of the Supreme Leader visited xiong’an new area, Hebei Province, he particularly emphasized the need to promote the modernization of urban governance at the same time, and made great efforts to "embroider" from the beginning.

The metaphor of "embroidery" embodies the requirement of "accuracy" of urban governance.

Urban governance involves industrial structure, transportation planning, spatial layout and other aspects. Without refined governance, it is difficult to give full play to the proper functions of the city, and it is even more difficult to meet the requirements of good governance. Therefore, to do a good job in urban governance, we should be clear-minded, accurate-eyed, and meticulous, and all the needles should be "embroidered" in practice.

From the "Digital Cabin" in Jing ‘an District, Shanghai, which doesn’t close for 24 hours, services and resources will be extended to residents’ doorsteps, to Qingdao, Shandong Province, where temporary storage points for decoration garbage and bulky garbage will be set up to improve the environment for garbage sorting, and then to Chengdu, Sichuan Province, where an Internet rental bicycle management platform will be built to monitor the parking situation in bike-sharing in real time and intelligently dispatch enterprises to clear and transport … … Many cities are making "embroidered" urban governance shine into reality.

In addition, as the "cell" of the city, the community is not only the daily living place and living space of the citizens, but also the basic unit of public service and social governance and the "last mile" of urban governance.

"A lot of work of urban governance depends on the fighting bastion of grass-roots party organizations and the platform of communities." In democratic village communities, the general secretary once again urged to "improve the refined governance and precise service level of communities.

Finally, urban governance should improve the degree of intelligence.

In March, 2020, General Secretary of the Supreme Leader visited the Hangzhou City Brain Operation Command Center. Here, the general secretary said that it is the only way to promote the modernization of urban governance system and governance capacity to make the city smarter and smarter from digitalization to intelligence.

On April 23rd, General Secretary of the Supreme Leader visited Chongqing Digital City Operation and Governance Center.

During this trip to the mountain city, the general secretary once again came to see an "urban brain" — — Chongqing Digital City Operation and Governance Center.

The center collects urban physical indicators such as water, electricity, gas, communication, bridges, tunnels, tracks and pipe networks, and promotes the global coverage, full-time perception and full-time response of urban operation and governance, which is the overall reconstruction of Chongqing in exploring and realizing the governance system of megacities.

The general secretary was deeply impressed by Chongqing’s "urban brain", and he mentioned the subject of urban governance several times in his subsequent inspection. He said: "In the information age, it is necessary to speed up the pace of building smart cities and build an intelligent hub for urban operation and governance" and "make urban governance smarter, more efficient and more accurate".

"First-class cities must have first-class governance." Digital urban governance is an important way to improve the modernization level of urban governance. A "thinking" smart city can make people live safer and better.

This paper is organized from the "Guanzhi Lecture Hall" founded by the Shanghai Library Historical Documentation Center, and Chen Xianxing, a senior researcher at the Shanghai Library Historical Documentation Center, explains rare ancient books.

Chen Xianxing was born in Shanghai in December 1951, and his ancestral home is Lishui, Jiangsu. In 1973, he joined the Shanghai Library, studied editions and epigraphy from Gu Tinglong and Pan Jingzheng, and was in charge of cataloging and edition identification of ancient books for a long time. He has been a visiting scholar at the University of California, Berkeley, and the China Literature Research Archive, and has compiled (including cooperating with others) a school-based catalogue of’s ancient manuscripts, a rare book of ancient books, a journal of Chinese ancient books in the East Asian Library of the University of California, Berkeley, a school-based appraisal of Ming and Qing manuscripts, a catalogue of Song manuscripts collected in Shanghai Library, an inscription and postscript of rare books in Shanghai Library and a rare book in Shanghai Library. He is currently a member of the National Cultural Relics Appraisal Committee, a librarian of Shanghai Literature and History Research Institute and a research librarian of Shanghai Library.

Chen Xianxing, Senior Research Fellow, Shanghai Library Historical Documentation Center

The Discovery and Identification of the Northern Song Dynasty’s Version of Shi’s Six Sticks and Hangzhou West Lake Zhaoqing Temple Jielian Society Collection

Today, there are about 3,000 surviving Song editions, except Buddhist scriptures, there are less than 20 in the Northern Song Dynasty, and its value is self-evident. Because of the scarcity, there was a lack of research on the engraving of the Northern Song Dynasty in the past, or the Southern Song Dynasty was regarded as the Northern Song Dynasty, and some people regarded the Northern Song Dynasty as the Southern Song Dynasty. It is not difficult for us to correct the former mistake now. For example, Du Xunhe’s Collected Works, a Southern Song Dynasty Shu edition, and Selected Poems of Wang Jinggong and Tang Hundred Schools, which were collected in the above picture, were all classified as Northern Song editions in the old days, but later changed to Southern Song editions with the improvement of people’s understanding. It is more difficult to correct the mistake of regarding the Northern Song Dynasty as the Southern Song Dynasty. This is not only the difficulty of identification, but also because people learned from the past and were skeptical or even contradictory from the beginning. For example, the Long and Short Classics in Weng’s collection has always been regarded as the Southern Song Dynasty edition, especially after being appraised by the officials of Siku Library, later generations habitually searched for the evidence printed in the Southern Song Dynasty along their thinking, but ignored many obvious features printed in the Northern Song Dynasty. Therefore, I said that the above picture is worth spending 4.5 million US dollars to buy a "Long Short Classic", and many other rare books are "given away" by Mr. Weng Wange. From this point of view, we should regard the identification and research of the Northern Song Dynasty edition as one of the important tasks of the development of edition science today, and it is not an exaggeration to call it filling the gap of predecessors.

Du Xunhe’s Collected Works, a South Song Shu Engraving Edition, Collected in Shanghai Library.

I’m here to introduce two books of the Northern Song Dynasty, one of which is Shi’s Six Posts, which is hidden in Tofuku-ji Temple, Kyoto. The other is "The Lotus Collection of Zhaoqing Temple in West Lake, Hangzhou", which was auctioned by Beijing Zhuode Auction Company in autumn in 2015 and finally received by the owner of Shanghai Fengjiang Bookstore.

Six Chapters of Shi’s is a Buddhist book imitating the style of Six Chapters of Bai’s, and its editor is Yi Chu, a high-ranking monk in Kaiyuan Temple of Qizhou in the later Zhou Dynasty. There are twelve volumes in the book. In 2001, this book was photocopied and published by Linchuan Bookstore, Japan, as one of the Series of Zen Classics compiled by two Japanese scholars, Saiyama Yanata and Hiroshi shiina, with the title "Six Chapters of Yi Chu", which was designated as a block-printed edition in the Southern Song Dynasty. In 2008, Chen Jie, now a professor at the University of Tokyo in Japan, came to the picture to read a book. I happened to see that she was carrying some copies of this book, and the engraving font was long and narrow European characters. I immediately said to her, "This is probably the Northern Song Dynasty edition, and its font is very similar to many European Northern Song Dynasty editions, including Long and Short Classics. If you have the opportunity to go to Japan, you must read the original book." In the winter of 2009, I got the opportunity to visit Japan for three months, thinking that I could see books there, but it was not. Because this book has always been hidden, few Japanese experts and scholars have read it. It is said that even Mr. shiina Hongxiong, who wrote the publication instructions of the photocopy, only saw the film. Therefore, after I arrived in Japan, I could only "have an eye addiction" with photocopies. Unexpectedly, I looked through it and found something.

This book is divided into volumes by strategy (that is, volume). The first three volumes are slightly rough in engraving, and the shape is uncertain. The number of volumes or the title "Volume" engraved in the center of the edition, or the title "Strategy", or in Yin or Yang, with fish tail and black mouth; From the fourth volume to the twelfth volume, the core of the edition is only a few questions, no fish tail, basically white mouth, and the shape is unified. At the end of the volume, in the second year of Chongning in the Northern Song Dynasty (1103), a monk in Kaiyuan Temple in Yuezhou carved a book with an inscription and postscript. This book was first proofread and engraved with four strategies, but it was not completed because of lack of funds, and it was only through various ways that it was able to continue to engrave. Although it is slightly different from the engraving, it is generally consistent (later, volumes 5 to 12 were engraved and published according to the layout of volume 4); Besides, the words Xuan, Lang, Jing, Hong, Yin, Kuang, Zhen, etc. are not strictly taboo, but they are all taboo in the temples of the Southern Song Dynasty, so the postscript of Lu Tan was not later reprinted, so it should be no problem to make this book a biennial publication of Chongning in the Northern Song Dynasty. However, this is not the first printed edition of Chongning. Depending on whether the book edition has been altered, rambled, revised or engraved, it is likely that the printing will be as late as the Southern Song Dynasty.

Photocopy of Shi’s Six Sticks (the title was changed to "Six Sticks of Yi and Chu")

In the past, Japanese academic circles have always called this book Six Chapters of Yi Chu, not because of the common name of the author, but because the book is clearly titled "Six Chapters of Yi Chu" at the beginning and end of the volume. However, after careful examination, I found that the word "Yi Chu" in each volume has been gouged out, not only leaving traces of gouging out, but also the word "Yi Chu" is a Liu Ti word, which is quite different from the word "Liu Tie" and the European word in the text. At the beginning of this book is Yi Chu’s Six Postscripts of Shi, and at the end is Yi Chu’s Preface to Six Postscripts of Shi, Hu Zheng’s Preface to Six Postscripts of Shi, and Lu Zhong’s Preface to Reopen Six Postscripts of Shi, so the word "be gouged out" should be "Shi", and the original title is actually "Six Postscripts of Shi".

In addition, Japanese scholars did not seem to pay attention to the repair of this book before. Judging from the photocopies, at least one feature is very obvious, that is, all the repaired editions are mostly Liu Ti characters, which are similar to the font of "Yi Chu" which was gouged out at the end of the volume. Related to this, most of the pages of this book have no engraved names, and some of them have only single words, and Zhu Jian is the only one with full names. Although they have not been found in other editions, it is difficult to check them, but they also have a feature, that is, all the engraved leaves are later supplemented. Therefore, even if Zhu Jian and other engravers can find out, they can only confirm the age of the repaired version, not the original engraving age. From the font, they are probably engravers in the Southern Song Dynasty.

Zhu Jian, the engraver on the photocopy of Shi’s Six Posts

With the help of Chen Jie and Mr. Naipujin of Kyoto University, I was lucky enough to visit Tofuku-ji Temple twice on December 19th, 2009 and March 4th, 2013. For the first time, I was only allowed to read for two hours, that is, from 9: 30 to 11: 30 in the morning, and I only read four volumes, that is, one third of the whole book. But before I left, I told the other party with certainty that this book should have been published in the Northern Song Dynasty. After listening to it, the other party’s eyes lit up and promised to let me read the whole book in the future. Soon, the famous Japanese version scientist Yasuo Ozaki heard Chen Jie say that I decided that the book was a book of the Northern Song Dynasty, and thought that I was overrated. So four years later, I invited Mr. Ozaki to go with me and read it all day. If the first reading of the original is only a rough proof of the previous reading of the photocopy, then after nearly four years, we will have a new understanding. The repaired version of this book has different faces, even if there are engravers, there are similarities and differences. For example, the heart of the sixty-first leaf of Volume 6 has the word "benevolence", and its frame is obviously smaller than the original one, and it is unilateral all around, which is different from that of the original one. However, the frame of the leaf engraved with Zhu Jian is the same as the original one. There are also advantages and disadvantages in the writing and engraving of the patch, such as the eighth and eleventh leaves of volume five, which may be ignored if not carefully identified; The inferior is like the twenty-first leaf of Volume 9. If you don’t know the background of this book, it seems that there is no doubt that it is a supplement to the Ming Dynasty based on experience. These phenomena not only infer that this edition may be mended more than once, but also remind me whether there will be any identification problems in some surviving Song Dynasty engraved Yuan editions or Song Dynasty engraved Yuan Ming handed-over editions, because some repaired editions,There is no clear evidence like the three dynasties edition of imperial academy in Nanjing in Ming Dynasty, but the predecessors made a judgment that the edition was revised in Yuan Dynasty or revised in Yuan Dynasty and Ming Dynasty because of its different fonts and the repaired edition was often worse than the original one. Is this judgment based on limited experience correct? In other words, should these books be re-appraised? Because this book, together with a batch of other Chinese books collected by Tofuku-ji Temple, was brought to Japan from China by the Japanese monk Bian Yuan in the first year of Chunyou in the Southern Song Dynasty (1241) and was hidden in Fumonin, Tofuku-ji Temple, and its revised edition was even worse before Chunyou’s first year.

Next, I will talk about another Northern Song Dynasty edition, Lotus Society Collection of Zhaoqing Temple in West Lake, Hangzhou. Before 2009, I haven’t seen the Song engraving of the authentic Yan book "Magu Xiantan Ji" and the Liu book "Mysterious Pagoda". Since I visited Japan in November, 2009, I have successively seen the Song version of the exquisite small-print edition "Four-part law to delete complex and fill gaps and act as banknotes" (Shaoxing three-year Zhejiang Siming engraving) and the large-print edition "King Kong Prajna Paramita Sutra" (the date and place of engraving are unknown). I didn’t know that what I saw before included the Northern Song Dynasty’s "Opening the Treasure" and the Southern Song Dynasty’s large-print edition "A Collection of Spring and Autumn Classics" At the same time, I also learned that in the Song Dynasty, Zhejiang carved books, not all European characters were used. Therefore, at the end of 2014, when Xiling auction house collected the Zhejiang edition of The Lotus Sutra, I thought it was entirely possible to engrave the magazine in the late Northern Song Dynasty, based on its exquisite font and other relevant basis.

Book Shadow of Hangzhou Engraving Lotus Sutra at the End of Northern Song Dynasty

Before that, as early as 2000, when the Shanghai Library purchased Weng’s collection, I had noticed that there were differences between the European-style version of the Northern Song Dynasty and the European-style version of the Southern Song Dynasty because of studying the engraving of the Long and Short Classics. In Japan, I have read the Classic of Filial Piety and General Canon collected by the Imperial Palace’s Shuling Department, the Collection of Historical Records collected by Osaka Xingyu Bookstore, the Six Postscripts of Shi’s in Tofuku-ji Temple, Kyoto, the Lunlue of the Ritual Department collected by Nagoya Zhenfu Temple, and the Family Name Interpretation collected by the Library of Congress, and learned that the European characters in the Northern Song Dynasty are mostly narrow and long. In that case, the so-called "square font" of Zhejiang block-printed edition by the previous edition scholars can only be said to conform to the general appearance of Zhejiang block-printed edition in the Southern Song Dynasty, but not in the Northern Song Dynasty.

The Book Shadow of Tongdian in the Northern Song Dynasty Collected by the Book Mausoleum Department of the Imperial Palace in Japan

After realizing that the European style and Yan style engravings in the Northern Song Dynasty and some early Southern Song Dynasty are different from the common Southern Song Dynasty engravings, there is an intuition that there should also be authentic Liu Ti characters in the Northern Song Dynasty in history. And this book "Hangzhou West Lake Zhaoqing Temple Jielian Society Collection", which was compiled and engraved by people from Zhaoqing Temple Province, and the preface to the book "Qian Tang West Lake Zhaoqing Temple Jiejing Society Collection" written by Dr. Tai Chang in the second year of Dazhong Xiangfu (1009) is the authentic font of Liu Gongquan’s book "Mysterious Pagoda", and the rest of the contents, preface, inscription and text are "Magu Xiantan Ji". Compared with Qian Yi’s preface font, the common Liu Ti characters popular in Fujian woodcut in the Southern Song Dynasty are quite different.

Book shadow of the preface to the collection of Jiejing Society of Zhaoqing Temple in West Lake of Qian Tang Dynasty 　

Judging from the text, the poems of 90 people who entered the Lotus Society of Zhaoqing Temple in West Lake in this book were all written between the first year of Chunhua in the Northern Song Dynasty (990) and the third year of Jingdezhen (1006). Su Yijian’s preface was written in the second year of Chunhua (991), Song Baizhi’s association inscription was written in the first year of Chunhua, Ding Wei Song dynasty’s preface was written in the third year of Jingdezhen, and Qian Yi’s general preface was finally completed. Therefore, the second year of Dazhong Xiangfu is not only the last year of compilation, but also the time when the book was engraved. Because Qian Yi’s preface was written in November of that year, the engraving may not be completed in the same year, but it will not be far apart. If we analyze the similarities and differences between Yan and Liu fonts, especially the fact that Qian Yi’s preface is engraved with Liu characters, there is another possibility that it may be more in line with the actual face of engraving, that is, before Qian Yi’s preface was written, the book was not only compiled, but also the engraving was completed when Qian Yi sent the preface, so Qian Yi’s preface was later engraved. This can also be seen from the fact that there is no money order in the book catalogue. If the whole book including money order is printed and engraved at the same time, it seems that there is no need to change the font, because these prefaces are not written by the author. Therefore, the appearance of Qian’s preface in the form of a willow character has a certain contingency, and this contingency is the proof of the subsequent engraving of the preface. From this, I even think that even without Qian’s preface, the book has been established, so it is likely that it was printed first. It is unknown whether there was a printed version of Qian’s preface in the world, because this phenomenon is not uncommon in the circulation of carved and printed ancient books, but it has been submerged for a long time. As far as my current experience is concerned, this kind of authentic Yan and Liu fonts are presented in the Song version of a book at the same time, which has never been seen in the South Song Dynasty.There is no basis for publishing and engraving in the Southern Song Dynasty or later.

Book Shadow of Lotus Society Collection of Zhaoqing Temple in West Lake, Hangzhou

Of course, it is not convincing enough to judge this book as a copy of the Northern Song Dynasty only based on its date of publication and font change characteristics, because people’s acceptance of the fonts of the Song Dynasty still stays on the traditional understanding of typology. Therefore, whether we can find other equally "hard" evidence to prove that it is indeed the Northern Song Dynasty edition is the most concerned person. Although the book has not been found to be circulated in a single line, the relevant literature is also very scarce. However, after a close inspection, I found that the original book is easily ignored by people, which is also a strong evidence that the book was published at the latest in the period of Dazhong Xiangfu: the preface of the book and the publication of most poems and characters, whenever it meets Buddha, Fa Xi, Baodi, Provincial Chang, Zhaoqing Temple, Bailianshe, Huayan Hangpin, imperial court, kings and four related poems. Some seem to have not looked up in form, but for the words that need to be respected, the number of words per line has been specially adjusted to make it at the head of the line, so that the paid-in words can look up. For example, in Qian Yizhi’s preface, there are generally 16 words per line, but the sentence "The former prime minister, You Cheng, Hanoi, is coquettish to the public, and one after another is hundreds, with the emphasis on national assistance and the hope of resignation", in order to make the word "national assistance" look up, the previous line is engraved with 17 words. Therefore, those who have different lines and words in this book do what they want to do for the sake of looking up. However, there are also more than a dozen poems that don’t look up when they meet the above respects.

Jumping and Looking Up in Collection of Lotus Society of Zhaoqing Temple in West Lake, Hangzhou

With regard to three situations in the same book, namely, blank spaces and jumping lines, changing lines and not looking up, my understanding is that the province often publishes this episode without seeking uniformity in layout and lines, but deliberately makes formal arrangement adjustments to the text. In other words, he printed it directly according to the preface and the original appearance of the poems about joining the club. Moreover, it is not uniform to raise the head of the word Jing, or to raise the head of this word without other words, or to raise the head of other words without this word, which is also a reflection of the fact that the manuscript has not been adjusted and unified. As for the case of changing the line type to achieve the purpose of looking up, it is not often done intentionally, but according to the original line type, that is, the original seems to look up without line breaks, but actually looks up. In order to cater to the original writing form, it has to be changed. It is very clever and reasonable for the provincial governor to do so, which not only shows his absolute respect for the author’s contributions, but also truly and objectively reflects the attitudes of the people who joined the society at that time towards Buddhism, association and the provincial governor himself, which is what the provincial governor likes to see, which makes the best publicity for his goal of blending Confucianism and Buddhism through association. It is precisely because the province often adopts such a method of editing and engraving that it was inadvertently engraved by the provincial governor (959-1020) before his death, that is, the original engraving of this book was the best proof. If it is later engraved, and the personnel and dynasty have changed, it is impossible to have this kind of "messy" layout again, and its layout will inevitably be adjusted accordingly.

From this, it is thought that version editors usually attach great importance to bank payments, and different bank payments mean different books and different version systems. However, people often don’t pay attention to the phenomenon of different lines and characters in the same book, or think that it is the intention of the engraver, or that it is caused by the patched version, and the reasons for it are lack of understanding from the outside to the inside. This book of the Northern Song Dynasty gives us an inspiration, that is, the inequality of lines and characters can not be ignored in the appraisal version, which is likely to be an important basis for deciding whether to engrave the original or copy it.