Abstract
The fragmented manuscript of Maoshi and Maoshi zhengyi housed in the Tokyo National Museum is the only remaining manuscript that has Maoshi guxunzhuan (毛詩詁訓傳), Maoshi zhengyi (毛詩正義) and Jingdian shiwen (經典釋文) in one document. This article investigates the properties of the manuscript as well as the time at which it was written. Based on the information on the reverse side of the manuscript, this article believes the manuscript was written by some Chinese scholar in the Tang dynasty, and it seems that the scholar expressed a systematic idea throughout his transcription. Maoshi zhengyi had three functions, namely explication, emendation as well as demonstration which proved the rationality of the annotation written by Mao Heng and Zheng Xuan. However, this manuscript only focused on the explication of the poems and the annotation, which seemed to reflect a new academic atmosphere in the Mid-Tang dynasty.
Keywords
Maoshi zhengyi, Anthology of Songs for Rituals Offered to the Gods, manuscript, combined printing of commentary and sub-commentary, Sinographic texts
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