A Study of Several Versions of the 'Hai Character Edition' of The Essay on Yue Yi

拙文出版，敬請指教。

這篇文章其實早在數年前便已開始撰寫，但期間因其他研究題目與迫切事務陸續插入，長時間進度停滯。直到2025年上半年於普林斯頓大學客座訪問期間，得以暫時放下公私諸務，才終於將其完成。

感謝普林斯頓大學藝術與考古系的邀請，這半年的訪問期間成為我得以暫時喘息並追趕研究進度的珍貴時光。

感謝兩位匿名審稿人的寶貴意見與指正，並感謝《故宮學術季刊》編輯團隊的協助。

拙文或仍有諸多未盡完善之處，尚祈各方不吝指教。

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〈海字本〈樂毅論〉若干版本考〉，《故宮學術季刊》43卷2期（2025），頁1-57。

“A Study of Several Versions of the 'Hai Character Edition' of The Essay on Yue Yi,” The National Palace Museum Research Quarterly, 43:2, pp. 1-57.

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Abstract

Wang Xizhi’s masterpiece in small-sized standard script, The Essay on Yue Yi (Yueyi lun), has long been highly valued by collectors. However, the numerous copies, imitations, and engraved editions produced over the centuries have resulted in a complex tradition of transmission. Among these, the incomplete “Hai Character Edition” (“Haizi ben”) is considered one of the most esteemed. Named after the character “hai 海” at the end of its 29 surviving lines, this version has attracted particular scholarly attention.

This article begins with a review of records related to The Essay on Yue Yi from the Southern Dynasties through the Song period, establishing a foundation for subsequent discussion. The second section compares four versions of the “Hai Character Edition” respectively in the Tokyo National Museum, the National Palace Museum in Taipei, the Palace Museum in Beijing, and the former collection of Robert H. Ellsworth (1929-2014). The third section examines a lesser-known version owned by Lin Xiongguang (1897- 1971) in the late 1930s. Despite receiving little scholarly attention to date, this version is noteworthy for its rubbings and Song dynasty colophons, which offer valuable material for further research.

Based on the evidence, the author suggests that although the provenance of this version is relatively clear, it does not align with the other four aforementioned copies. Of particular significance is an authentic colophon by Ouyang Xiu (1007-1072), likely written between 1060 and 1064, which provides important insights into the development of his calligraphy. Additionally, the colophon by Shi Zhengzhi (1120-1179) reflects the efforts of literati and officials in the Southern Song to revive artistic and cultural traditions following the dynasty’s relocation to the south.

In conclusion, this article aims to contribute to the study of The Essay on Yue Yi and to the understanding of Lin Xiongguang’s collecting activities.

（東晉）王羲之，〈樂毅論〉，349，收入《宋拓越州刻晉唐小楷》，國立故宮博物院藏拓本（「臺北故宮本」）