Siheyuan: I am Liu Guangqi

After giving the warning, Tong Fengquan slowly opened the sticker box. As he moved, the contents of the sticker box also revealed the true face of Lushan. It was not gold, silver or jade, but an ancient book with a somewhat shabby atmosphere, indigo.

There are faint traces of time mottled on the brown book cover.

There is a blank space in the upper left corner of the book. It may have been around for a long time and has turned yellow. In the middle of the blank space are printed four neat large characters in regular script, "Spring and Autumn Classics".

"It's an old book. It's clear and clear. It's clear, right?"

Liu Guangqi took a look and asked casually. He often saw this kind of old books from Panjiayuan to street stalls, not too many nor not too few. Tong Fengquan of the Qing Dynasty would definitely not be so excited, at least it must be from the Ming Dynasty to be worthy of Tong Fengquan

Take it so seriously.

"I'm just a little arrogant, so I'll guess further."

Tong Fengquan suppressed a smile and said. As he spoke, he gently stroked the cover of the ancient book with one hand, as if stroking the skin of a peerless beauty.

"It's not Qing Dynasty, it's not Ming Dynasty, it's jute paper, damn, this can't be a Song version."

It is impossible to tell the age of an ancient book just by looking at the book cover. Liu Guangqi opened the book cover and took a look, and immediately recognized the paper used in this book. It was the jute paper commonly used for printing books in the Song Dynasty. Liu Guangqi looked at the treasure in the box.

He asked with trembling eyes.

"Is that right? You decide for yourself. You are now a teacher, so you can't ask me everything. One thing, be careful not to let me damage it. This thing is old and delicate."

With Tong Fengquan's permission, Liu Guangqi tiptoed and picked up the Song version of the Spring and Autumn Annals. The book was about thirty-five centimeters long, twenty centimeters wide, and about a finger thick.

Liu Guangqi opened the pages of the book and compared them bit by bit according to the knowledge Tong Fengquan and Lan Yigui gave him, from the paper materials, humorous printing, and annotations on the side.

Chinese calligraphy and painting works can be traced back to the Warring States Period. At that time, paper had not yet appeared. The materials used for painting were treated silk, and the materials used for writing were bamboo slips. However, when encountering some special occasions,

Sometimes they would also write and change the writing material into silk. This was the earliest silk book.

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Because the materials were expensive, the ancients did not often paint or make silk books. Therefore, before the emergence of paper, the carrier of knowledge had always been bamboo slips.

As time came to the Eastern Han Dynasty, Cai Lun transformed paper, making it tough, thin, and convenient for mass production. Paper gradually replaced bamboo slips and silk books in the next few hundred years.

Although paper existed, due to the backwardness of printing methods, before the advent of block printing in the Tang Dynasty, books were copied by hand. Influenced by the way bamboo slips were used, books before the Tang Dynasty were like bamboo slips and calligraphy and paintings.

It's rolled up, like a scroll.

Thread-bound books only appeared after the invention of block printing. And during this period, because block printing was time-consuming and laborious, often the entire template would be scrapped due to a mistake, so it was not widely used. It was mostly used for scriptures.

print.

It was not until the invention of movable type printing in the Northern Song Dynasty that large-scale printing of books became a reality. The form of ancient Chinese books was fixed from this time.

Liu Guangqi slowly looked through the ancient books in his hand. Liu Guangqi had seen ancient books from the Qing and Ming dynasties, but this was the first time he read ancient books from the Song Dynasty.

"It's so beautiful"

The Song version of the book is a little different from the books of later generations. In order to save paper, the books of the later generations were very compact and had very small margins. However, the Song version of the book made the margins very large, giving it a unique charm.

In this regard, Gu Qianli, a bibliophile in the Qing Dynasty, once said that even the wordless places in the books of the Song Dynasty are beautiful.