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According to the postscript written by Jiang Yinqiu in Xiling, Pan Jiru “found in his old chest a scroll bearing the inscription ‘He Zizhen’s Official Library and Xiangxue Cottage,’ and in Gengzi he sought Gu Heyi to supplement the painting.” Gu was the grandson of He, and both he and Pan Zunqi were among the “True Seven Elders.” However, the main image in the current Xiling version is not by Gu, but by Cheng, a renowned painter of the same period. How did this happen?
By carefully examining the various postscripts, it becomes evident that the books, paintings, and postscript authors featured in this volume are distinct individuals. He, Cheng, and Pan Zunqi were all born around the early Jiaqing era; their primary activities centered on Dao and virtue. Pan Zunqi was ten years younger than the other two and lived a long life into the Guangxu period. Li Hongzu belonged to a generation later than Pan Zunqi, whose main activities occurred during the Xianfeng and Tongzhi eras. Zhang Yu and Yang were born in the same year and lived during the Republican period. Jiang Yinqiu was born at the end of the nineteenth century and died in the 1980s.
The distinctive feature of this volume lies in how authors from different generations, in a style reminiscent of “Che Ji Hua,” persistently recount the process of the scroll’s “formation, dispersion, reunification, and supplementation”—the painting underwent phases of “requesting the image due to a house,” “requesting the image because of the image,” “losing the image amid turmoil,” and “supplementing the image through words.” Although conditions varied across generations, the cottage remained; each generation sought to see different texts and images on the scroll, yet the cottage was always there. In this sense, the Xiling Xiangxue Cottage Scroll is no less legendary than the famous “Three Volumes of Dai Xi” preserved by Pan Zunqi.