Carved by Wei Zongwu at the Huating Yishu School in 1275
“Such is the man, and such is his learning.”
Zhang Qia (1161–1237) was one of the few disciples of Zhu Xi (1130–1200), the eminent Neo-Confucian master of the Southern Song dynasty, whom Zhu regarded as capable of continuing his philosophical legacy. Although Zhu never composed annotations on the Spring and Autumn Annals, Zhang devoted himself to writing the Collected Annotations for Spring and Autumn Annals. While Zhang’s interpretations diverged from those of his master, they established an independent scholarly perspective. Historical records note that during his tenure as a local official, Zhang built grain storage facilities, adjudicated disputes, resolved wrongful convictions, and welcomed forthright discussions on state affairs by scholar-officials. He was invited to lead the renowned White Deer Grotto Academy, where he restored its reputation for academic excellence before resigning. Despite multiple recommendations by court officials, he repeatedly declined appointments, citing illness, and refused to serve as an imperial academic advisor to expound on the classics. When the Department of State Affairs sought to transcribe and review his Collected Annotations for Spring and Autumn Annals, Zhang insisted on meticulous revisions, delaying submission for nearly a year—demonstrating his conscientiousness in scholarship and governance.
The initial edition of Zhang Qia’s Collected Annotations for Spring and Autumn Annals was carved in 1255 but was soon destroyed. In 1275, Wei Zongwu, a figure from the prominent Huating (modern-day Songjiang, Shanghai) family, re-carved the text at the Jiufeng Yishu School. Wei aimed to use this work to instill patriotic virtues and the distinction between Chinese and non-Chinese cultures among the school’s disciples. However, within six months, Emperor Gong of Song (Zhao Xian, 1271–1323) surrendered to the Yuan army. Only three copies of the Deyou edition of the Collected Annotations for Spring and Autumn Annals survive today. The National Palace Museum’s preserved copy features a spacious layout, precise calligraphy, and careful craftsmanship. The paper and ink remain pristine and elegant, akin to a first impression, making it a masterpiece among Song-dynasty printed text.