This paper mainly takes the Dunhuang paper manuscripts as examples to explore the types and naming of Jielan based on its formation history.

At present, scholars pay little attention to the types and functions of the ancient blank papers in Dunhuang manuscripts. Few scholars make special research on the blank papers for mending from the perspective of codicology. Based on the Dunhuang manuscripts collected in the National Library of China, the author discusses the form, quantity and source of the blank papers for mending, as well as the type and nature of the blank papers.

Da Cheng Bai Fa Ming Men Lun Kai Zong Yi Ji written by Tan Kuang, a monk of Hexi in the Tang Dynasty, is one of the commentaries on Mahayana’s Bai Fa Ming Men Lun. According to our comprehensive investigation into the published images of Dunhuang manuscripts, there are 76 manuscripts of Kai Zong Yi Ji in total and most of them are fragments. Based on the comparative analysis of contextual consistency, splicing broken characters, hang kuan accordance, handwriting, calligraphy style similarity and paper quality, we patch up 38 fragments into 13 groups. This work provides a preliminary information basis for sorting out and studying Kai Zong Yi Ji in the future.

The Dunhuang manuscript BD08263 named Notes on Vajra Prajnaparamita Sutra is the second processing by the transcribers with the notes added betwee n the lines of the original Vajra Sutra. The transcribers only annotated some sentences or words instead of the full text of the scriptures of Vajra Sutra. The interpretation is concise and clear with quite a Zen style. Their purpose should not be to lecture, but to a greater extent reflect their learning notes when reading Vajra Sutra. Compared with the relatively institutionalized materials such as monks chanting and testing sutras in Dunhuang documents, this annotation is a relatively more personalized document with a unique value for researching the reading history of Buddhist scriptures in the Tang Dynasty.

There are currently two editions of Chen Maoren’s Xu Wenzhang Yuanqi. One is the first draft of Chen Maoren’s book, which contains only 65 kinds of styles. The other is a little-known updated edition Chen Maoren’s Zazhu, which contains as many as 109 kinds of styles. It should be valued and adopted by the academic community.

The volume one of Chun Qiu Zong Yao was collected in the Rare Book Collection of the National Library of China, attached to the 30 volumes of Chun Qiu Jing Zhuan Ji Jie in the Song Dynasty block-printed edition. Although there are occasional typos in the original volume, the biggest problem is the misplaced pages. The justification and diction of this volume were deeply influenced by the great scholar Wang Tong at the end of the Sui Dynasty. Among all one thousand and two hundred words, the name of Wang Tong appeared three times and there were four places quoted Wang Tong’s doctrines. According to the article “Chun Qiu Statements” in volume one of East Garden Cluster’s Viewpoint of Li Ruchi, we can get two points of proof, one is that Li Hou was the author of Chun Qiu Zong Yao, second is that volume one of Chun Qiu Zong Yao collected in National Library is actually the preface of Chun Qiu Zong Yao. Li Hou, author of Chun Qiu Zong Yao, was from Huayang. Besides, I doubt that the Li Hou from Huayang is the same man who annotated the poems of Du Fu and Su Shi. Li Hou’s main activities concentrated from the late Northern Song Dynasty to the early Southern Song Dynasty. He wrote and presented the Chun Qiu Zong Yao to the emperor when he should be served as the Vice Minister of Honglu Temple in the late Northern Song Dynasty.

Zhang Xuecheng focuses on “the forest of the works of the world”. He took the Warring States period as the node to separate the entire academic world as the “source of three generations of prosperity” and the “flow of after the three generations”. He divided them into dual realms, “on the way” and “off the way”. Besides, he is a deeply self-proclaimed “school of literature and history”, aimed at analyzing the necessity and viable path to the “source” of “on the way” in later academics’s “out of the way”. Therefore, constitute the three characteristics of Zhang Xuecheng’s study on academic history. That is to say, he faced the whole academic world rather than a specific academic category; secondely focused on the “source” and “flow” of the dual judgment rather than the outline of the long-range academic history, and he determined to reform the academic rather than only satisfied with the interpretation. These characteristics make him go beyond the general sense of academic history writing

The current relevant work and most of the bibliography considered two editions of Dui Shan Shu Wu Mo Yu Lu, one was a block-printed edition engraved by Mr. Wu in 1870, and the other was a block-printed edition engraved by Mao Xianglin in 1874. However, the block-printed edition engraved by Mr. Wu in 1870 was only a kind of reprinted editions instead of the original one, the earliest edition. The block-printed edition engraved in 1870 and carved by Mao Xianglin was identified as the original edition, and the edition by Mr. Wu was reprinted from it. Moreover, the edition by Mr. Yang was reprinted based on Mr. Wu’s edition. The block-printed edition engraved by Mao Xianglin in 1874 was considered the better version. It was built on the edition in 1870 by Mr. Mao. 

Yao Guang was a famous bibliophile and a core character of the South Society (Nan She) during the Republic of China. Yi Jian Chui Xiao Lou Shi Hua collected in the Shanghai Library is a collection of manuscripts finished in his later years. The book is of great value to study the South Society. Through this book,not only could be deeply recognized the literary works of Zhou Shi, Gao Xie and Gao Jun of South Society in the late Qing Dynasty and the early Republic of China, but also could be further understood Yao Guang’s friendship and his life story. Besides, as a famous bibliophile, Yao Guang transcribed various ancient rare books, including the prefaces and postscripts, which will provide literature materials for further study of poetics.

Shi Xi, a lost essay catalogued in The General Survey of Literature and History in Collection of Zhang’s Writings printed by Jia Ye Tang was not lost. It was actually included in The Complete Works of Shi Zhai printed by the House of One Hundred Thousand Books. This essay, first discovered by Zhou Zuoren in the above codex in 1942, was published on the first page in the 2nd volume of Journal of National Compilation and Translation Hall of North China in 1943. However, it was not widely appreciated because of the Japanese invasion, and the discovery did not attract the attention of the academic circle at that time. Now The Complete Works of Shi Zhai by the House of One Hundred Thousand Books is stored in the National Library of China, and Shi Xi is in the fifth volume. Nevertheless, Shi Xi is not the first draft of “Zhi Nan”, the internal chapter of The General Survey of Literature and History, as Zhou Zuoren’s epilogue said, but the first draft of Gan Yu. A comparative textual study of 16 ambiguous sentences in Shi Xi and Gan Yu assumes that Zhang Xuecheng adopted different ways to revise his works with deletion and polish. Moreover, the study also reveals the changes in Zhang’s academic thoughts and his state of mind.

Collection of the Unusual Individual Works in Qing Dynasty Stored in Cai Shan Lou (《采山 楼藏稀见清人别集丛刊》) edited by Luo Lu (罗鹭) includes twenty unusual Individual Works from the Qing Dynasty. It seems to be an insignificant book compared to other books in the Qing Dynasty published in recent years. However, it is an important book based on all his book collection activities, studying his performance, ideas and the significance of his collection. The book is an important fruit of contemporary folk collection and protection of ancient books, and it will have a significant impact in the future.

Sun Chengze’s Shui Li Shu (Water Conservancy), collected in the Cheng Yu Tung East Asian Library, University of Toronto, is the only extant copy that we know at the moment. However, according to An Annotated Bibliography of Chinese Rare Books in the Cheng Yu Tung East Asian Library, University of Toronto, the book is considered a pseudograph. It is misunderstood as Jiu Zhou Shan Shui Kao, another book by Sun Chengze. A survey reveals that Sun Chengze’s descendants transcribed Shui Li Shu, collected in the Cheng Yu Tung East Asian Library, University of Toronto. Obviously, it is not the same book as Jiu Zhou Shan Shui Kao. Shui Li Shu is an important book written by Sun Chengze on water conservancy, and is a book of high academic value.

The Classic of Tea of the Baichuan Xuehai edition from the Song Dynasty is one of the earliest editions preserved. The book’s fine printing and the beautiful seals on it are highly valuable for editorial and artistic research. The book is collected by renowned artists, such as Cheng Sui, Jin Nong, Zhang Daqian, and famous book collectors, including Tang Yue. The book’s seals help verify the collectors and their relations and highlight the book’s value as a rare edition and a history text.

For five centuries, The History of the Kingdom of China has traditionally had a significant influence on the international academic community. The book shaped the first time a complete image of China for the Spanish Royal Family and the entire European society. The paper reviewed the investigation works specialized in this topic published in the Chinese context over 23 years from 1998 to 2020 and found that one of the principal problems was lack of justifications for the use of editions. In view of this, the paper examined the master copies of the English, Chinese and Spanish editions of the book of Mendoza, investigated their relations with the final revised Spanish edition promised by Mendoza, and pointed out the mistakes of Chinese scholars on their use of editions. The paper aims to provide Chinese scholars with detailed edition information about The History of the Great and Mighty Kingdom of China.

There is a fragmented red grid manuscript of Catalogue of Siku collected in Nanjing Library. It is written in ink, style of Gong Kai, official script, and proofread in red and black. Its number of lines and words is in line with the original copy of the Siku. The author compares it with four copies: the manuscript of Catalogue of Siku revised by Ji Xiaolan in Tianjin Library, the original manuscript of the Siku by Wenyuge, the copy of Zhejiang and the copy of Wuyingdian. It is found that the copy of Zhejiang is consistent with the copy in Nanjing Library, but different from the manuscript of Wenlan and Tianjin Library. In particular, given that some irrelevant and unattended texts in the copy of Zhejiang are the same as the copy of Nanjing Library, but different from the other copies, it can be confirmed that the copy of Nanjing Library is the base of the copy of Zhejiang. It is further proved that the copy of Zhejiang was not based on the manuscript of Wenlan, nor its other copies annotated with text, but based on the original Catalogue of Siku written by Siku Museum. The copy of Zhejiang is a collection, proofread on the transcript of Wenlan, and included the proofreading of Lu and Wang

Complete Collection of the Song Dynasty compiled by contemporary scholars has unearthed many missing works of the Song Dynasty. However, they have ignored the articles of Ma Cun, an influential writer. Due to Yuanyou’s political storm, Ma Cun’s anthology was banned. Later generations re-edited various editions of Ma Cun’s anthologies, which eventually disappeared in the Qing Dynasty. Seven missing articles of Ma Cun are founded in this paper. They are “The Story of Haozhai”, “The Story of Dengying Pavilion”, “The Story of Yingxuntang”, “Farewell of Chen Ziran to the West”, “Comment of Zichang to Gai Bangshi”, “Letter to Hou Meng ” and “ Letter to Yu Yanming”. These works are scattered in various collections of articles, genres, and local chronicles in the Southern Song and later generations. Ma Cun’s writings are characterized by magnificence and aura. 

Xu Naichang was a well-known publisher of engraved books from Anhui Province in modern times. He once published over a dozen engraved books such as Collections of Jixue zhai Study, which has played an important part in the publishing history of China. From the perspective of editorial studies, his engraved books such as Lady’s Poems Collected and Engraved by Xiao Tanluan Studio and Anthology of Lady’s Poems, not only follow the predecessors’ lines of thought, but also contain plenty of innovations in editorial style, thought and ideology. Thus, they have very important academic value.