CHUANG SHEN
Needless to say, the two works by Sun and Kao mentioned in the text refer to Sun Ch'êng-chê's Kêng-tzử hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu. Although Liang T'ing-nan pointed out that it would be unsuitable to compare his T'êng-hua- t'ing shu-hua-pa with the two works of Sun and Kao-which was moreover, something that he would not venture to do-it could be deduced that, in his opinion, the two catalogues compiled by Sun Ch'êng-chê and Kao Shih-ch'i must have been held in reverence. Otherwise it would be difficult to explain why he must necessarily take his work to compare with the Kêng-tzŭ hsiao-hsia-chi and the Chiang-ts'un hsiao-hsia-lu, and not with Pien Yung-yü's Shih-ku- r'ang hua-k’ao. According to Liang's remark, it is clear that owing to Pan Chêng-wei's recommendation of the Kêng-tzũ hsiao-hsia-chi, Sun's work became an art catalogue capable of being compared with Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu in the mind of Kwang- tung art collectors some time later; while on the other hand, Pien Yung-yü's work seemed to remain unnoticed, as it was during Wu Yung-kuang's time. It thus seems rather questionable whether Liang T'ing-nan was ever aware of Pien Yung-yü's Shih-ku-t'ang shu-hua hui-k'ao.
As to the origin of the editing method employed in Kung Kuang- tao's Yüeh-hsüeh-lou shu-hua-lu, some hints may be obtained from the preface written by Li Ch'ao-t'ang ** which reads,
+ +
The two brothers Huai-min, and Shao-tang (i.e. Kung Kuang-yung ✯✯ and Kung Kuang-tao ✯✯) had the largest collection of books in Kwangtung
At his leisure hours, Kung Kuang-tao compiled this catalogue by fol- lowing the editing system set down in the catalogues of Sun Ch’êng-chế and Kao Shih-chi.
Thus it can be seen that the origin of the editing method em- ployed in the Yüeh-hsüeh-lou shu hua-lu was also that used in the two catalogues of Sun Ch'êng-chê and Kao Shih-ch'i. From the time when Wu Yung-kuang completed his Hsin-ch'ou hsiao-hsia-chi to the time when Liang Ting-nan completed his T'êng-hua-t'ing shu-hua-pa, 15 years had elapsed, and up to the completion of Kung Kuang-tao's Yüeh-hsüeh-lou shu hua-lu, 21 years. During these 21 years, apart from the fact that owing to Pan Chêng-wei's recom- mendation, Sun Ch'êng-chê's Kêng-tzŭ hsiao-hsia-chi received more attention, and that Liang Ting-nan's T’êng-hua-t'ing shu-hua-pa
98
CHUANG SHEN
Needless to say, the two works by Sun and Kao mentioned in the text refer to Sun Ch'êng-chê's Kêng-tzử hsiao-hsia-chi and Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu. Although Liang T'ing-nan pointed out that it would be unsuitable to compare his T'êng-hua- t'ing shu-hua-pa with the two works of Sun and Kao-which was moreover, something that he would not venture to do-it could be deduced that, in his opinion, the two catalogues compiled by Sun Ch'êng-chê and Kao Shih-ch'i must have been held in reverence. Otherwise it would be difficult to explain why he must necessarily take his work to compare with the Kêng-tzŭ hsiao-hsia-chi and the Chiang-ts'un hsiao-hsia-lu, and not with Pien Yung-yü's Shih-ku- r'ang hua-k’ao. According to Liang's remark, it is clear that owing to Pan Chêng-wei's recommendation of the Kêng-tzũ hsiao-hsia-chi, Sun's work became an art catalogue capable of being compared with Kao Shih-ch'i's Chiang-ts'un hsiao-hsia-lu in the mind of Kwang- tung art collectors some time later; while on the other hand, Pien Yung-yü's work seemed to remain unnoticed, as it was during Wu Yung-kuang's time. It thus seems rather questionable whether Liang T'ing-nan was ever aware of Pien Yung-yü's Shih-ku-t'ang shu-hua hui-k'ao.
As to the origin of the editing method employed in Kung Kuang- tao's Yüeh-hsüeh-lou shu-hua-lu, some hints may be obtained from the preface written by Li Ch'ao-t'ang ** which reads,
+ +
The two brothers Huai-min, and Shao-tang (i.e. Kung Kuang-yung ✯✯ and Kung Kuang-tao ✯✯) had the largest collection of books in Kwangtung
At his leisure hours, Kung Kuang-tao compiled this catalogue by fol- lowing the editing system set down in the catalogues of Sun Ch’êng-chế and Kao Shih-chi.
Thus it can be seen that the origin of the editing method em- ployed in the Yüeh-hsüeh-lou shu hua-lu was also that used in the two catalogues of Sun Ch'êng-chê and Kao Shih-ch'i. From the time when Wu Yung-kuang completed his Hsin-ch'ou hsiao-hsia-chi to the time when Liang Ting-nan completed his T'êng-hua-t'ing shu-hua-pa, 15 years had elapsed, and up to the completion of Kung Kuang-tao's Yüeh-hsüeh-lou shu hua-lu, 21 years. During these 21 years, apart from the fact that owing to Pan Chêng-wei's recom- mendation, Sun Ch'êng-chê's Kêng-tzŭ hsiao-hsia-chi received more attention, and that Liang Ting-nan's T’êng-hua-t'ing shu-hua-pa
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