After a long period of development, Jiangnan has long been the land of Zhong Lingyu show in the Ming and Qing dynasties, and has a large regional cultural advantage. The apricot blossom spring rain in Jiangnan has nourished countless literati and inkers. Yamakawa Kiyoki's qi is not only for men, but also for women. As Mr. Hu Xiaoming's "Notes on the South of the Cultural Jiangnan" said: "Chinese culture at the time of the Ming and Qing dynasties produced many characters, including many heroic and righteous men, high-ranking people, talents and beauties, and famous scholars, and from the perspective of historical figures, it precisely shows the richness and diversity of Chinese culture that is dedicated to reason and full of talent." ”
The flourishing of ming and qing dynasty jiangnan boudoir literature can be seen by several sets of statistics. Hu Shi made a provincial count of the places of origin of female writers accepted by Shan Shimin's "Qing Dynasty Show Art and Literature Strategy": "Jiangsu and Zhejiang each account for nearly one-third of the country, and the two provinces of Jiangsu and Zhejiang, together with Anhui, account for two-thirds of the country; plus Fujian and Hunan, they account for three-quarters of the country." According to the statistics of Huang Zhimo's "Collection of Poems of the State Dynasty", the book includes 1930 female poets of the Ming and Qing dynasties, 1851 people who can be examined, and 79 who cannot be tested, including 843 in Jiangsu and 450 in Zhejiang. According to Hu Wenkai's "Examination of Women's Writings in Past Dynasties", there were 2258 female writers in the Ming and Qing dynasties in the "lower reaches of the Yangtze River", accounting for 70.9% of the total number of female writers in the Ming and Qing dynasties.
Inscription of the Fish Mystery Collection (Gui Mao Yi Book)
(i)
The Literature of the Ming and Qing Dynasties has its remarkable characteristics. First of all, it is very common for female poets in Jiangnan to form associations and join the yin, and there have been more famous groups of poets such as the "Banana Garden Poetry Society" and the "Qingxi Yin Society". Gao Yanyi divides it into three categories: home style, social style and public style. At the end of the Ming Dynasty, Wujiang Shenshi was a prolific and vibrant home-style poetry society. At the center of this group is Shen Yixiu, "whose members include relatives of the main branch of the Shen family — Yixiu's sisters, brothers and sisters-in-law, cousins, nieces, aunts and clan aunts — a small group of about fifteen people." These Shen family bridesmaids, with family ties as a link, gathered together, titled flowers and grass, cut the clouds in the moon, "Aunts and sisters, and then the first concubine, do not screen the knife ruler and the chapter, abandon the group sewing and work zi ink." Above the Pine Tombs, on the shores of Fenhu Lake, the boudoir shows Daixing, and the Tongguan curses are intertwined." This was a grand event in the poetry world of the late Ming Dynasty, but they were still limited to the inner circle. In the early Qing Dynasty, social and public poetry clubs were already very common, such as the associations of Huang Yuanjie and Wang Duanshu in Shanyin, Zhejiang, which exceeded the threshold of the family. Although there are no historical records of their social gathering activities, their poems retain clues.
In the early Qing Dynasty, the Yangxiu Poetry Society in Jiangnan was the most famous with the Banana Garden Poetry Society. The initiator of the poetry club is Qiantang Gu Zhiqiong. Gu Zhiqiong, the word Yurui. A native of Qiantang (present-day Hangzhou, Zhejiang), the niece of the famous lady Gu Ruopu, the wife of Qian Kaizong, the mother of Qian Fenglun and Qian Zhaoxiu, the gongshi wenbiao, the author of the Yizhengtang Collection. The Banana Garden Poetry Society was initiated by her and is known as "Five Sons of Banana Garden" and "Seven Sons of Banana Garden". Chen Wenshu "Xiling Boudoir" Volume 10 "Yizhengtang Yong Gu Yurui" Tiaoyun: "(Gu Yurui) recruited women to be the Banana Garden Poetry Society, and there is the "Banana Garden Poetry Society Qi". The five sons of the banana garden, Xu Can, Chai Jingyi, Zhu Rouze, Lin Yining and female Yunyi also. Yun Zhu's "Guo Dynasty Boudoir ZhengShi Collection" Volume IV "Lin Yining" TiaoYun: "(Lin Yining) and Tongli Gu Qiji, Chai Jixian Jingyi, Feng Youlingxian, Qian Yunyi Fenglun, Zhang Chayunhao, Mao An Fangyuan, the Society of the Seven Sons of the Banana Garden, yilin is a beautiful talk." "Through kinship, neighborhood ties, and the social network of male literati," the banana garden women skillfully weave a historical space for themselves—cross-generational and contrary to the trends of the times, they established a genealogy of female writers that can be traced back to Gu Ruopu, a pioneer. This feminine tradition is also relevant in the spatial dimension. In public domains—on the waterways of Hangzhou, in the world of publishing, or on the pages of local chronicles—these women have forged a group identity beyond family ties." Their activities also went beyond the traditional model of family feasts and poetry and entered the public space. "Poetry of Hangjun of the State Dynasty" Volume 30 "Chai Jingyi" TiaoYun: "When the time came, the customs of wulin were rich, and the spring and Jingming were painted, and the paintings and embroidery screens of the boats intersected with the lake, and the decoration of Ming Hu Cuiyu and the pearl-bearded cicadas were exaggerated. (Chai) Ji Xian's solo boat, together with Feng Youling, Qian Yunyi, Lin Yaqing, Gu Qiji, all of them, practiced skirts and buns, and gave management notes. The girl in the neighboring boat saw it, and she bowed her head and wandered, ashamed of herself. "The women of the banana garden live in a space that spans the family and the public, and the spirit of the mountains and rivers is clear, and the spirit of Zhong Zhaohua is beautiful, traveling freely and writing freely, which is a momentary event."
Gu Shao's "Drinking and Reading the Riot Map" (attached to Wu Zao's "Qiao Ying")
Two
Secondly, the Ming and Qing Dynasties jiangnan poets were no longer satisfied with studying alone, and there were many people who worshiped male literati as teachers. Ren Zhaolin's "Preface to the Poetry Collection of Xiaochun Pavilion" Yun: "In the boudoir in recent times, many relatives and teachers have taken friends, Ruo Zhaohua (Xu Yuan Zhaohua) to Xihe (Mao Tai Shi Qiling), Su Gong (Wu Yuanxiu) to Dingyuan (Feng Wen class), Cai (Zhang Xuan) to XiTang (You Tai Shi Dong), Ruo Bing (Xu Yuan Yingyu) to Songya (Hui Wen Dong), Wo Tian (Shen Zheng Shi Dacheng), Zhi Zhai (Fang Yuan Fang Pei) to Ji Tang (Weng Guo Zi Zhao), Wei Pu (Hang Shi Yu Shi Jun), and its Authors. Among them, Professor Xu Zhaohua of Mao Qiling is particularly well-known. Mao Qiling tasted: "Although Wumen is multi-talented, he is not as good as Xu Du in poetry. Youyun: "To the doorman poets to push Sheng Tang and Wang Xi, but they are not as good as Zhaohua." "Speaking" under the Door of the Maoxi River with a boudoir show, and it has to be praised so much, which shows its reputation. Mao Qiling wrote the preface to his poetry collection, saying that he "wrote a lot of profits, like The Distant Forest Hideki, which makes people hopeless." Yi Fang's predecessors, the first did not know how to marry Dou Tao, and the others were responsible for this and many things", and for the engraving of "Xu Du's Poetry" attached to the "West River Collection". Ren Zhaolin and the "Ten Sons of Wu Zhong" were also among their teachers and friends. After the preface quoted above, Ren Zhaolin fuyun: "With Yu's knowledge and ugliness, he did not dare to attach himself to the last dust of the gentlemen, and the boudoir was poetic, and there were as many as a few people." And Zhang Yunzi's "Title Shen Huisun "Embroidery Yu Collection" is sent" Xiao Zhuyun: "Over the years, the students have successively used poetry to be righteous, such as Su Window, Wan Xi, Qiong Lou, Cui Juan, Bi Cen, hui sun, very popular." In addition to the ten sons, Ren Zhaolin also had four disciples, Wang Qiong, Wang Yuyi, Jin Yi, and Ma Suzhen. Ren Zhaolin's "Preface to the Second Episode of Ailan Poetry Banknotes" Yun:
Dantu Prince Yanagimura, poet also. In the past, yu shihu bookstore, out of his female brother Qiong's dozens of poems, Xun Kuang Yicai, no less than his brother... Qiongshi has been engraved for two years, with a book quality... Nearly, he had three sons, and Joan and four. After the continuation of the ten sons, it is also a very popular moment. The three sons, one is Wang Yuyi, Zi Yiqiu, Chen Shengchang Yan Room; one is Jin Yi, Zi Xian Xian, Chen Shengji Room; one is Ma Suzhen, Zi Bo Xian, Lu Sheng Er Xie Room. All yumen disciples.
Wang Yuyi and Jin Yi later joined Yuan Ming's disciples as female disciples of Suiyuan. There were more than forty female disciples in Yuan Ming's Garden, and Forty-four female disciples in the Bicheng Immortal Hall, and each of them compiled "Selected Poems of female disciples in suiyuan" and "Poems of female disciples of the Bicheng Immortal Hall". Yuan Ming and Chen Wenshu followed each other first, and many female disciples surrounded them, singing and giving gifts, flying notes, and even holding poetry meetings, which was the peak of the study of art by The Girly Show, and also the peak of the development of Jiangnan Girl's Literature.
(Please rotate the phone 90 degrees)
You Zhao and Wang Gong, "Thirteen Female Disciples Hulou Invitation to Work" (Shanghai Museum Collection)
Three
Third, it is more common for the Ming and Qing dynasties to have a joint chant and pass it on from generation to generation. In the late Ming Dynasty, the Wujiang Shen clan and the Tongcheng Fang clan had already been the first whip of the familyization of the poets. Shanyin Shang Jinglan was more famous than his daughter and daughter-in-law in the early Qing Dynasty. "Jing Zhiju Poetry" volume 23 Yun: "Qi Shang is matched, there are golden children and jade girls in the township, and the two are heavy, and there are no concubines." Gong HuaiShari, the wife was only forty years old and had two, and taught her two sons Li Sun and Ban Sun, the three daughters Deqiong, Deyuan, Ande, and the sons Anderson Zhang Dehui and Zhu Derong. The tree of grapes, the flower of peony, the inscription several times. Those who pass through Meishi, look forward to the Twelve Yaotai Yan. Deng Hanyi's "First Collection of Poetry" volume 12 clouds: "(Shang Jinglan) has two daughters-in-law and four daughters, Xian Gong poems. Every time the day comes, the daughter-in-law is ordered to carry the bed box to follow, and the horn rhymes with the question, and it is a victory for a while. After her husband Qi Biaojia was martyred, Shang Jinglan took up the burden of the family and led to the formation of a flourishing group of boudoir creators. And Shang Jinglan's sister Jinghui, Jinghui's daughter Xu Zhaohua, and niece Shang Cai are also good at poetry, especially Xu Zhaohua's Mao Qiling disciples are all speaking, and they bear more weight.
Shang Jinglan statue (see "Yu Yue Xianxian Statue Praise")
This kind of pomp and circumstance of "embroidery cluster immortals" (Shang Jinghui "Rain Collection Wing Pond") was especially common after Qianjia. Yuan Ming was the leader of the Jin Dynasty, and his third sister Yuan Ji and the fourth sister Yuan Zhu were able to write poems from his sisters Yuan Tang and Yuan Jie, and Yuan Ming published the first three poems as "The Three Sisters of the Yuan Family", which was accompanied by the "Complete Collection of Suiyuan" and was circulated in the sea. Yuan Kun, Yuan Shu, Yuan Jia, Yuan Shuo, and Yuan Qing of Yuan Ming's granddaughters all have their own poetry collections, and Guo Lu's "Title Yuan Daihua Qingyan's Return of Xuan Poetry Manuscript" Yun: "The third sister Yuan family has a substitute, and the five Qiong trees are new for a while." Therefore, it should still occupy cangshan and live in the spring with plum blossoms. The flourishing of the Yuan family's boudoir literature can also be seen. Bi Yuan's maternal grandmother Gu Ying, together with Lin Yining and Gu Jiao, a talented daughter of the banana garden, was known as the "Ten Sons of Xiling", and there was the "Collection of Rucui"; Bi Yuan's mother Zhang Zao had "Peiyuantang Poetry Collection", which Yuan Ming wrote for the preface; concubines Zhang Xuanxiao and Zhou Yuezun were both rewarded by Yuan Ming; and the sister Bi Fen and female Bi Hui also had a collection. Tang Yaoqing, wife of Zhang Qi in Yanghu, Changzhou, has a volume of "Peng room even yin", appended to Zhang Qi's "Wanlin Collection". The four daughters of the Zhang clan are all able to write poems, each with a special collection to pass on: the eldest daughter Qiying, the character Meng Ti, there are four volumes of the "First Draft of the Poetry of Shuju Xuan", one volume of words; the second daughter Ying, the character Weiqing, there is a volume of "Weiqing Testament"; the three daughters of Lunying, zi Wan, there are three volumes of "Green Locust Bookhouse Poems"; the four daughters of Lunying, the character Ruoqi, there are two volumes of the "Food Wind Pavilion Anthology", and the four volumes of "Linyun Youyue's Juju Poems". Zhang Yiyingfu had four daughters, each of whom had a collection: Wang Caiping's "Reading the Selected Building's Poetry Draft", Wang Caixuan's "Mufu Shiban's Room Poetry Collection", Wang Caizao's "Yi Song Zhai Poetry Cun", and Wang Cailan's "Chunhui Caotang Poems". Zhang Qiying's eldest daughter, Sun Wu Lanqi, had "Poetry Manuscript of GuanXiangcaotang" and "Yuanlan Ci", and the second daughter Wu Lanze had "Zhi siju Gu Cuncao". Yanghu Zhang's literary creation can be described as a flourishing moment. In addition, Shanghai Lu Fengchi and Cao Xijue, Cao Xishu, Cao Xikun mother and daughter, Jingjiang Chen Ruizhu and Bao Zhilan, Bao Zhihui, Bao Zhifen mother and daughter, Yanghu Zhuang clan, Wujin Zhi Yun clan, etc., are all elegant and elegant, and are famous talented female families. Gao Yanyi believes: "Although almost every dynasty in history has boasted of having a number of erudite and outstanding women, such as Li Qingzhao in the Song Dynasty and Guan Sheng in the Yuan Dynasty. But the more famous they became, the more they showed their loneliness—their talents were unique in our time. On the contrary, in every city and generation in Jiangnan in the late Ming and early Qing dynasties, there were women who wrote, published, and discussed works with each other. "And the Ming and Qing Dynasties Jiangnan appeared so many boudoir literary families, since the song and yuan of the lone star alone can be compared, they are like a piece of shining constellation, but also set off the brilliance of the boudoir literature night sky.
Jiang Shuze's "Duqingge Poetry Banknote" inscription (Zhang Lunying book)
The above is just a flashy choice of three levels to discuss the heyday of Ming and Qing Jiangnan boudoir literature, and the actual situation is far more prosperous than what we see today. Yi Shunding's "Qing Dynasty Boudoir Poets' Sketch Sequence" Yun: "The Han, Tang, Song and Ming dynasties have been more cultured for thousands of years, and there are many famous women. As for the poets, there are Qing, Sui Zhen Pole Track, Qiong Yu No Yan, Xiu Ge Shu, Ren Holding Sui Zhu, Jia Zang and Bi. "People hold Sui pearls, family treasures and bi", this is from the side of prosperity. On the other hand, due to various reasons, the boudoir does not know how many people are scattered as barren smoke and vines, and Huang Chuanji's "Order of the Collection of The National Dynasty Boudoir Liu Shu" Yun: "Only the talents of the boudoir, although there are many people, and those who are buried as precious, decaying and decaying with grass and trees, do not know how many of them are also." Why? Cover women do not see talent, and encounter many special, or can not concentrate on the book, the town day to deliberate, the reason why this boudoir special episode is difficult to succeed. It has not been carved, no one has passed it on, and it has drifted to zero for a long time, and it has been placed as waste paper. "Hu Wenkai has written more than 3,600 Ming and Qing poets, and now there are only more than 870 people who have about 900 kinds of various works, and the number of scattered works is amazing. All we can see is the tip of the iceberg, but it's enough to take our breath away!
——The above excerpt is from the introduction of Zhao Houjun's new book "Research on the Literature of the Southern Ming and Qing Dynasties"
A Study of the Literature of the Southern Ming and Qing Dynasties
Zhao Houjun
Shanghai Ancient Books Publishing House, May 2020, 1 edition
About author:Zhao Houjun, born in 1974, a native of Yongchuan, Chongqing. He received his Ph.D. in Literature from Fudan University in 2003, and later engaged in postdoctoral research at East China Normal University, and is now an associate professor in the Department of Chinese of East China Normal University. In 2015, he was sent to the Department of East Asian Studies at McGill University in Canada for one year. He published the monograph "Research on the Two Jin Dynasties", collated and annotated the "Garden Synthesis", and edited the "Selected Gardens and Texts of Chinese Dynasties" (Ming Dynasty Volume), participated in the compilation of "Jiangnan Women's Collection" (1-5), "Jiangnan Family Literature Series" (Shanghai Volume), and served as the deputy editor of "Appreciation Dictionary of Women's Poetry in Past Dynasties". He presided over the completion of the National Social Science Fund project "Narrative and Literature Collation of Women in Past Dynasties" and the Ministry of Education Social Science Fund Project "Women's Culture and Literature in the Ming and Qing Dynasties".
Catalogue of Studies on the Literature of the Southern Ming and Qing Dynasties
(Swipe down to preview)
Introduction The Development of Jiangnan in the Ming and Qing Dynasties and the Prosperity of Women's Culture
Chapter 1: Boudoir Associations and Literary Activities
Section 1 The Development of the Poetry Society and the Jiangnan Poetry Society
Section 2 Examination of the Activities of the Qiantang Banana Garden Poetry Society in the Early Qing Dynasty
Section 3 Examination of the Qing Dynasty Wuzhong Qingxi Yinshe Society
Section 4: From the "Poetry of Famous Ladies", we can see the literary activities of the Qianjia Dao period
Chapter Two: An Analysis of the Culture of the Jiangnan Boudoir Family- Centered on the Yanghu Zhang Family Boudoir
Section 1 The Family Tradition of the Yanghu Zhang Clan
Section 2 Flying around and flying around, the end of the world to melt the snow and frost cold - Tang Yaoqing and "Peng Room Even Yin"
Section 3: A Discipline of Elegance and Elegance, And Confucianism: Zhang Qiying and the First Draft of the Poetry of Juju Xuan
Section 4 Poor Case laughing at the East Wind, not understanding the red face is the loess - Zhang Ying and the "Weiqing Testament"
Section 5 Wing Chun Cai Is Afraid of Pen Strength, Everyone's Style Vibrating Yin Altar- Zhang Lunying and "Green Locust Bookhouse Poetry Manuscript"
Section 6 Gao Huai is like a plum blossom moon, leaving Si Du sheng yan zi tian - Zhang Yiying's life and works
Section 7: The other daughters of the Zhang clan
Chapter Three: The Literary Starry Sky of the Boudoir: The Ming and Qing Dynasties Qiantang Boudoir Treatise
Section 1 Tong Guan and Zhen Guan and Chen - Qiantang Boudo xiu Gu Ruopu and his creation in the Ming and Qing dynasties
Section 2 Self-written leisurely yi cuizhu, love to see the shadow Huan Chunsha - Qian Fenglun and "Ancient XiangLou Words"
Section 3 Full of toothpicks to sell the sun and the moon, half a life of xu Yanxia - Xu Deyin and his works analysis
Section 4 Pearls falling on paper probe a thousand, Lan Qisheng Xiangxiu a branch - Fang Fangpei's life and poetry
Chapter Four: A Cultural Perspective on the Literature of the Southern Ming and Qing Dynasties
Section 1 The image of Zhaojun in the pen of the Ming and Qing dynasties
Section 2: The Tradition of Mourning and Gu Ruopu's Mourning Poems
Section 3: The Poetics of Disease and the Poetic Writing of Jin Yi
Section 4: An Analysis of Gui Maoyi's Life and the Career of a Boudoir Teacher
Section 5 Luo Qilan's Talent Awareness and Cultural Transformation
Conclusion
Major citations and references
Appendix I Addendum to the collection of poems by the female poet Xu Deyin in the early Qing Dynasty
Appendix II: Addendum to the Words of The Qing Shun Kangjian Bridesmaids
Appendix III Introductions of writers from this book and the Ming and Qing dynasties
Postscript