Zhang Xiwen
On July 12, 2021, the academic workshop "Knowledge, Belief and Identity: Reading History and the Ming and Qing Dynasties" hosted by the International Research Center for Chinese Civilization at Fudan University was held at Dongya College (6th Floor, No. 381-1, South Suzhou Road). The workshop was convened by Professor Ye Ye of the School of Humanities of Zhejiang University and Wang Qiyuan, Associate Researcher of the Institute of Chinese Ancient Books Conservation of Fudan University.
Group photo of the participants
The first seminar was themed "The Modern Dimensions of 'Knowledge'".
Gong Zongjie, a young associate researcher at the Institute of Ancient Books Collation of Fudan University, made a report entitled "Ming Dynasty Epitaphs and Writing of Literati's Life History". The report is based on the study of the modernity of Ming Dynasty literature, and examines the tendency of epitaphs as practical styles to show a tendency to write in the Ming Dynasty. Starting from the hierarchical system of historical inscriptions and the stylistic examples of epitaphs, taking Han Yu's "Nu Jiao Ming" collected in the "Epitaph Examples" as a reference, comparing with the Ming Dynasty Gui Youguang's "Female Er Er Yuanzhi" and Ye Xianggao's "Records of the Dead Daughters", it is seen that the Ming people's epitaphs have become more and more in-depth than the descriptions and emotional expressions of life details in previous generations, which is in line with the new literary factors that have emerged since the middle of the Ming Dynasty that focus on fragmentation and life-oriented writing. It can be seen from this that the narrative tradition of "remembrance" in Classical Chinese Literature, in the recent era into the epitaph style that was originally different from the "historical transmission", the content that reflects the details of life and expresses emotional moments is very different from the major historical events that traditional historiography pays attention to, which not only constitutes a level of the modernity of Chinese classical literature, but also a window for us to peek into the life history of ancient literati.
Zheng Xiong, a postdoctoral fellow in the Department of Chinese of Beijing Normal University, reported that the "Differentiation and Integration of the Allusions of the "North Window" and the "South Window" - The Path of Allusion to Tao Yuanming's Poetry and Its Multidimensionality" The report is based on Yuan Hao's question "On Thirty Poems" and its four links of "The South Window is the Emperor of the White Sun, and The Emperor of the North Window has not harmed Yuanming is a Jin", which has triggered the study of tao Yuanming's poems "North Window" and "South Window" allusions, respectively, from the poetry of the past to find examples of allusions, and derived the allusion path of "South Window" and "North Window", believing that Tao Yuanming "South Window" Allusions and their meanings were also mainly generated in the Tang and Song dynasties. Compared with the single meaning of the "North Window" allusion, in the process of allusion to the "South Window", there are paths to take meanings from "leaning on the South Window to be proud" and "The Ease of Judgment of the Knee", and thus generate two sub-canons with slightly different meanings. Subsequently, the report explores the phenomenon of mixing allusions between the "North Window" and the "South Window" and its causes: "The North Window" and the "South Window" allusions are from Tao Yuanming's poetry, and behind the two are rich connotations including Tao Yuanming's personality, temperament, and interests, while the harmonious use of the two allusions by scholars since the Tang and Song Dynasties concentrates on their admiration and yearning for the image and personality of Tao Yuanming-style scholars and doctors created by the above connotations. Finally, Zheng Xiong pointed out that the fourth theory of Yuan Haoqing's "On Thirty Poems" continues the tao poetry model since the Southern Dynasty, and following this model, the last two sentences must be implanted with words that can reflect Tao Yuanming's character and disposition. In this way, the previous practice of mixing the "north window" and "south window" allusions to present Tao Yuanming's image as a whole is of great reference significance.
The second seminar was themed "'Faith' and Local Society".
Wang Qiyuan, an associate researcher at the Institute of Chinese Ancient Books Conservation of Fudan University, put forward three key words in the late Ming society: "between politics and religion", "monastic and secular interaction" and "pluralistic religion" in the late Ming society. In the Ming Dynasty, the relationship between Buddhism and politics was very close, and Wang Qiyuan first cited the activities of the two monks and literati, Shan Deqing and Zibai Zhenke, as examples to illustrate how the field of religion, the causes, and the life of faith had an impact on the appearance of literary production. Secondly, take Feng Mengzhen (1548-1606) as an example to discuss his various dharma protection activities such as frequent worship of the monks and Buddhas, Xingfu Temple, and the engraving of the Great Treasure. These complicated religious lives cannot be simply regarded as similar births or spiritual aspirations, and that is where the late Ming Masters really settled down. The Buddhist and multi-religious factors in late Ming literature were an important driving force for the prosperity of many literary forms at that time, the most typical of which was reflected in the drama of rewarding gods.
Feng Mengzhen statue
Du Huan, a lecturer at the College of Literature of Anhui University, gave a report entitled "Welcoming The Gods and Calming the Soul: The Function and Historical Context of Kang Hai's "Wang Lanqing" Miscellaneous Drama". "Wang Lanqing" miscellaneous drama is based on the real deeds of Wang Lanqing of Shaanxi in the middle of the Ming Dynasty, and its creation originated when Kang Hai was inspired by Wang Lanqing's deeds and because Wang Shi did not get the "jing table" of the official government, with the purpose of comforting and soothing his soul. Based on the plot of the "Wang Lanqing" miscellaneous drama, the report combines a series of historical, literary, Fangzhi documents, and anthropological activities such as sacrificial drama performances in the modern Shaanxi region, and explores the function and historical context of Ming miscellaneous opera from three aspects. In the early Ming Dynasty, the taibai mountain god was removed from the national ceremony, and the gods and immortals were deposed, but the folk belief was as good as ever, and Kang Hai played the deposed taibai mountain god in the miscellaneous drama, reflecting the psychological identity of the degraded scholar doctor. Inspired by the folk activities to greet the gods, he came down as a god and participated in Wang Lanqing's funeral to administer justice for him. This kind of ritually rigorous activity of welcoming and sending gods to god has been recorded in the literature of Shaanxi Local History, Kang Hai, and Wang Jiusi's literary creation. In the acrobatic drama performed at the village sacrifice event, different gods play different roles in the village funeral, which is related to the Ming Dynasty's altar sacrifice and the city god sacrifice system, and the relevant gods inform the city god of human affairs, and they make a judgment to determine the belonging of the dead soul. Finally, the ghost of the martyr represented by Wang Lanqing, as a new lone soul of the Ming Dynasty, began to occupy an important position in the Ming Dynasty zhen soul drama, and the performance of the miscellaneous drama was closely related to the sacrifice activities, and its main purpose was to soothe and comfort the ghost of the martyr.
The third session was themed "Writing and Constructing 'Identity'".
The report of Associate Professor Tang Zhibo of the Department of Chinese of East China Normal University is entitled "Communicative Identity and Poetics Zongshang: On the Poetic Turn of Shen Zhou from Tang to Song", discussing the poetic Zong Shang of Shen Zhou, a representative poet of Wu Chinese in the Ming Dynasty. Tang Zhibo pointed out that Shen Zhou's early study of the poetry Zong Tang was not only affected by the environment of the times, but also an inevitable choice for the younger generations of the poetry world in poetry communication. After Shen Zhou was 40 years old, his identity as a painter was gradually established, and painting replaced poetry as his main communication tool, so he no longer paid attention to poetry, and created a large number of improvised painting poems, with a language that was close to Song poetry, resulting in a turn from Tang to Song. Shen Zhou did not live in his life, and in his later years, he wrote idyllic poems and leisure poems describing daily life and personal feelings, and eventually "died in the Song Dynasty". The investigation of Shen Zhou's communicative identity and poetic practice will help to better understand the poetic zongshang problem of Wu Chinese altar in the Ming Dynasty.
Xu Jianye, lecturer of the Department of Chinese Chinese Literature at Shu Yan University in Hong Kong, made a report entitled "Luo Binwang in the Compilation of Xiangxian in jinhua region of the Ming Dynasty", which reported that from the biography of Xiangxian in ming dynasty biography literature, Fang Zhizhi biography, Juxian Zazi, supplementary biography and collection order, through various compilation considerations and presentations, so as to examine the relationship between local mechanisms, academic culture, literati mentality, etc. and the compilation of Luo Binwang's image. In addition, through the transformation of the image of King Bin here, we can see the atmosphere of discussion on the value of literati after Jiajing and Wanli. The report begins the discussion with the late Ming Dynasty Jinhua Lanxi scholar Hu Yinglin (1551-1602) writing the "Supplementary Tang Book of Luo Shu Yu Biography" for Luo Bin wang, and the two incidents of Luo Bin Wang's entry into the Xiangxian Ancestral Hall as the starting point. Thus, it was sorted out the process of Luo Binwang's reputation and rehabilitation from "rebellion" to "righteousness". In addition, Xu Jianye's treatment of Luo Binwang's biography from the biography of Xiangxian and the biography of Fang Zhi reflects the bias of his focus or purpose, and completes the positioning of "literature" and "loyalty". Finally, in the relevant literature compiled by the xiangxian, the debate between "instrumental knowledge" and "literature and art" has led to a deeper and more complex understanding of the value of literati. Luo Binwang, compiled by Xiang Xian, links the topics of biographical style, academic ethos and literati value of the Ming Dynasty, which is the value of this report.
Dr. Zhang Xiwen of the Institute of Ancient Books Collation of Fudan University gave a report entitled "The Reshaping of Chen Jiru's Identity by the Compilation of the Four Libraries", and Chen Jiru was an object of emulation by the middle and late Ming scholars, but his influence gradually weakened after entering the Qing Dynasty. Although there were personal critical voices at that time, the official act of compiling the Siku Quanshu undoubtedly played a key role in the great transformation of its image and status. None of Chen's works have entered the Siku Quanshu bibliography, and his works are only included in the catalogue, and the works of the History Department and the Collection Department are even more forbidden. Through the comparison with the existing Weng Fanggang sub-compilation draft and the comparison of the "Four Libraries into the Present Catalogue", it can be found that the objective evaluation of the sub-compilers has become the overall negative evaluation in the outline of the "General Catalogue" before the submission, and the image of the Later Mei Gong has been "denied" and "castrated" by the editors who hold the right to choose Chen's works, clearly showing the reconstruction of the image of the Ming people by the political and academic antagonisms after the Ming and Qing Dynasties, and the study of Ming Dynasty literature has to attach importance to the degree to which the Qing people reshape and cover the image of the Ming people.
The fourth seminar was devoted to the theme of "Text and Criticism in the History of Reading".
Professor Ye Ye of the School of Humanities of Zhejiang University gave a report entitled "The Early Texts and Forms of the Hundred Poems of Sheng Ming and the Ming Dynasty". The "ShengMing Hundred Poems" compiled by Yu Xian in the Ming Dynasty is one of the earliest surviving large-scale Ming poetry collections, and was engraved in the last years of Jiajing and Longqing. The reason why I pay attention to the "Sheng Ming Hundred Poems" is because it preserves many contemporary (Jiajing years) literati's poetic works. Most of the relatively complete anthologies of these literati were only printed during the Wanli calendar. From the perspective of physical books, although the number of works of a single poet included in the "Hundred Poems of Sheng Ming" is not very large, it provides us with a unique philological perspective for examining the vivid text patterns in the circulation of Jiajing poetry. Professor Ye Ye pointed out that the self-edited anthology of ancient writers generally exists in a process from small collections to complete collections, from time to split arrangement. Whether it is consciously compiled and printed, or copied by others, the circulation of small collections is still one of the most important ways of collecting and disseminating works of Ming Dynasty writers before their deaths. Especially before the Ming Dynasty, the circulation of copies among contemporary poets was still large. Because Yu Xian clearly states in the book that "poetry has a physical order, a class order, and a time and earth order." The editor did not disturb the order of the works in the base book in the process of selecting poems because of his subjective preferences, then we can not only sort out the relationship between the base book and the existing writer's anthology according to the number of poems recorded in the "Shengming Hundred Poems"; and if the number of works in the existing anthologies is quite different from the "Shengming Hundred Poems", then we can also rely on the information retained in the "Shengming Hundred Poems". Restore the text form of its old manuscripts and even small engravings. In addition to the difference in the number of poems, because the publication time of the "Shengming Hundred Poems" is earlier than the earliest version of the collection of poets of the Jiajing Dynasty, once there is a difference (text difference) between the two types of classics, whether it is the editor Yu Xian's change or the writer's change in his later years has become another complex issue. In view of this, Professor Ye Ye took Wang Shizhen's "Collection of Wang Fengzhou", Xie Hao's "Collection of Xie Maoqin" and Wu Weiyue's "Collection of Wu Jihuan" as examples to examine the relationship between them and the textual changes of the poems seen in the writer's anthologies and their literary historical significance, and pointed out the unique role played by the instant anthologies represented by the "Hundred Poems of Sheng Ming" in preserving the early creative texts of Ming poets.
Dr. Li Kaisheng of Tianyi Pavilion Museum's report is entitled "Tianyi Pavilion and Ruan Yuan's "Book Collection" Theory and the Public Transformation of Modern Library Buildings". The report contains three main contents: "from 'Confucianism' to 'Book Collection'", "Tianyi Pavilion and Confucianism, Book Collection", and "Tianyi Pavilion's Public Transformation". After the concept of Confucianism and Tibet was proposed by the Moyuan, the supplementary content of Sun Yuhou, the improvement of the system by Cao Xueyu, and the transformation of Zhou Yongnian from compilation to book collection, Ruan Yuan proposed the concept of book collection through the practice of Lingyin Book Collection and Jiaoshan Book Collection. The collection is the noun form of the book collection, the purpose of which is to be passed down for a long time for people to read. Tianyi Pavilion and Confucianism appeared in the middle and late Ming Dynasty, Fan Qin (1506-1585) probably began to collect books during the Jiajing period, and built Tianyi Pavilion at the time of Longwan, which is similar to the era of Cheng Yu (1541-1610), when the term "Confucianism" was first proposed. The prosperity of book publishing in the middle of the Ming Dynasty was the common background for the emergence of Tianyi Ge and Confucianism. When Ruan Yuan was in Zhejiang, he ascended to Tianyi Pavilion several times, instructed the publication of the first "Tianyi Pavilion Bibliography", and summarized the experience of Tianyi Pavilion's collection for the first time in the bibliographic preface. Ruan Yuanming said that jiaoshan books were taken from the management method of Tianyi Pavilion, which was consistent with the content of Tianyi Pavilion Fan's prohibition. Finally, the development of various types of books is introduced, such as Hangzhou Lingyin Collection, Zhenjiang Jiaoshan Collection, Shanghai Anting Collection, Guangzhou Wanmu Caotang Collection, Yuechi Puyuan Collection... Li Kaisheng believes that the collection is actually a library developed by the Chinese tradition itself.
Xu Longyao, postdoctoral fellow in the Department of History of Fudan University, reported entitled "Textual Domination of the Ming Empire and the Rebellion of Local Scholars: Taking the Tang Poetry "Knowledge Warehouse" and Its "Reader Community" as an Example", from the beginning of the Ming Dynasty to the late Ming Dynasty, the "downward shift of knowledge" was used by scholars, but the internal tension and twists of this process have not been fully historically presented as the interconnection between "knowledge warehouse" and "reader community", the former is used to describe the knowledge resources publicly acquired by scholars, and the latter refers to the interpretation of knowledge resources by specific historical subjects. From the official perspective of the early Ming Dynasty, the system contains a dual-track mechanism of "Hanlin non-Hanlin", and it is planned to shape the two into a knowledge community with different resource conditions, so as to achieve the goal of establishing the central cultural authority. However, institutions are not pervasive, and local intellectual communities have their own initiative. Jianyang has been a commercial publishing center since the Song and Yuan dynasties, and its cheap printing technology has enabled the Gan and Minshi people to continue and expand their tradition of discerning poetics in the folk, which is the "South China model" for bottom-up change. In addition, Yang Yiqing went to Shaanxi to preside over the study of politics, so that the Guanlongshi people quickly communicated with the retro tendencies of the upper echelons of the central literary circle, thus breaking the ideological closed state, which was a "Guanlong model" for top-down reform.
Yang Yishi, a doctoral student at the School of Humanities of Zhejiang University, made a report entitled "Late Ming Shu Lin Bei Ji Commentary Examination". The report first introduces the number of existing late Ming Shu Lin Bei collection commentaries, and then reports the late Ming Shu Lin Bie collection of appraisals and the determination of the situation, after research, most of the appraisal books are mainly eyebrow reviews, and their layouts are divided into two columns, the upper column comments, and the lower column text. There are also two reasons for the phenomenon of "one book and many books" in the appraisal of physical objects, the first is that "from the collection gradually evolved into a collection of each episode circulated by a single book", the second is "the square engraving replaces the private engraving, which is widely circulated in society", and the "Three Different Humanities Collection" and "Mr. Zhuo Wu Criticizes mr. Longxi Wang's Quotations" as examples for analysis. The report then introduces the background, selection, selling points, content, and deletion of comments in the compilation of the FangkeBie Collection Review. Finally, Yang Yishi also explained the expectations of editors and readers in the reading world of the late Ming Dynasty cloth scribes, and showed the concerns in the history of reading in the late Ming Dynasty.
As an important key point in the history of Chinese publishing and reading, the Social Landscape it shows has a unique charm compared with other periods, and the conference finally conducted a special discussion, discussing the current and future methods of reading history research, hoping that in the future, it can produce more comprehensive and profound results in the social history, publishing history, reading history or other research at that time.
Editor-in-Charge: Yu Shujuan
Proofreader: Shi Gong