Qian Qianyi Research Articles

試論梁佩蘭“自成面目”詩論體系之價值及其與嶺南文化傳統之關係

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 明末清初嶺南三大家之一梁佩蘭詩論最突出之處乃在於擺脱當時宗唐與宗宋之二元對立，提出“自成面目”之論。此詩論自成體系，經歷多年醖釀而成，是佩蘭詩學思想之核心。其論與創作實踐相結合，並體現在其一生創作之各個階段，在清初詩壇甚爲少見。此論以“自成面目”説爲總綱，下分“天地真聲”説、“殖學務本”説、“大筆大墨”説三主軸。其主張寫詩以自成面目爲終極；首先須自道其真情；還須有先天後天之才，而先天不可强，故須殖學；才情兼備後，乃極其思以求化，寫出變化莫測之境界；最後以大筆大墨之題材範圍之。此詩論乃針對明代以來復古摹擬、幽深僻冷、淺率俚俗等詩風及流弊而發，其論首重性情之真，强調殖學，從學問中化出性情，先天後天之才並舉；客觀上正可去除公安派俚俗、過於率真之失，以及竟陵派幽僻之弊，同時有挽救復古派摹古而乏真情之病。佩蘭欲超脱宗唐宗宋之對立、調和各家之用意彰彰甚明。而此理論承繼唐順之“真精神”、公安派“真則我面不能同君面”之説以及錢謙益“學殖以深其根”的見解；並較好地吸取公安派重真之説，以殖學、温厚去其淺率俚俗。其同時又接續嶺南禪宗、心學、《易》學、文學等自成面目之學術文化傳統，尤其是上接嶺南文學傳統中多重革新之一面。其論儘管受前人論見及嶺南傳統影響，但在嶺南以至清初詩壇，正式將“自成面目”楬櫫成詩論，並形成完備體系，在多篇文章中發表，有“自成面目”之思維覺醒，且視之爲嶺南獨異於中原之詩歌特色，則當以梁佩蘭爲代表。
 The most prominent feature of the poetics of Liang Peilan (1630- 1705), one of the “Three Great Masters of Lingnan,” is his innovation in promoting the theory of “self-fashioned idiosyncrasy.” This theory features a self-contained system, which had undergone developments for many years before it became the core of Liang's poetic thought. Liang's poetics are closely connected with his creative output and reflected in all stages of his artistic life. This was not a common phenomenon in that period.
 The theory of “self-fashioned idiosyncrasy” as its general outline consists of three main principles, namely：1 ) writing in the true voice of heaven and earth, 2) strengthening one's learning of the basics, and 3) writing in a carefree manner on significant themes. Liang advocated “self-fashioned idiosyncrasy' as an ultimate goal. First of all, one must tell one's genuine feelings. One must have innate and acquired talents, the former of which varies from one to another and cannot be acquired through effort； so learning is essential. When one has both talents and feelings, one needs to give full play to imagination and write about the realm of unpredictable changes. Finally，one should write in a carefree manner on significant themes.
 This kind of poetics has been directed against the poetic styles of archaism, mimicking, uncommon diction and vulgarity since the Ming Dynasty. Their foremost emphases include: the expression of genuine feelings, the need to cultivate temperament from knowledge, and the simultaneous development of innate and nurtured talents. Objectively speaking, it would remove the vulgarity and flaws of excessive straightforwardness of the Gong'an School and the uncommon diction of the Jingling School. At the same time it would correct the lack of true feelings in the works of the archaists. Liang Peilan had a noble goal to achieve. He aimed at transcending the demarcation of the worship of Tang and Song poetics in order to reconcile various schools.
 Liang's poetics were built on the basis of his predecessors. They include: the “true spirit” advocated by Tang Shunzhi (1507-1560) , the theory on udistinct idiosyncrasyn by the Gong'an School and Qian Qianyi's (1582 -1664) insights of ulearning to cultivate one's foundation.n They also adopt the u self-fashioned idiosyncrasy” and emphasis of the truth advocated by the Gong'an School， while discarding its drawbacks of simplicity and vulgarity. At the same time， they are an extension of the academic and cultural traditions of Lingnan Chan Buddhism, Study of the Heart-mind, scholarship of the Book of Changes, and literature, laying special emphases on innovation in the literary tradition of Lingnan. Although Liang's poetics were influenced by some predecessors as well as the Lingnan tradition， he formally proposed the theory of “self-fashioned idiosyncrasy，” published his views in many articles and consummated a complete form of poetics. He often consciously expressed the ideas of “self-fashioned idiosyncrasyn and regarded them as the unique features of Lingnan poetry, differentiated from the poetry of central China. Therefore ， Liang Peilan should be seen as the main representative of this campaign.

The acceptance about Qian Qianyi(錢謙益) by historians of Joseon Dynasty: Based on Haedongyeoksa(『海東繹史』)

『해동역사(海東繹史)』는 조선 후기 사학자 한치윤(韓致奫)이 편찬한 역사서이다. 본고에서는 『해동역사(海東繹史)』의 전겸익(錢謙益) 저서 집록(輯錄) 양상을 살펴봄으로써 조선 후기 지식인들의 전겸익 수용 방식에 대해 고찰하고자 한다. 그간 전겸익이 조선 후기 문단에 미친 영향에 대해서는 주로 문학창작과 비평, 명․청 교체 과정에서 보였던 실절(失節)문제 등 측면에서 논의 되어 왔다. 그러나 사실 조선후기 지식인들은 전겸익이 이룩한 역사학 성과에도 많은 관심을 보였다. 한치윤이 편찬한 『해동역사』에 체현된 수록 양상들은 조선 후기 지식인들이 전겸익의 사학적 성과를 적극적으로 수용했다는 사실을 증빙해주고 있다. 전겸익의 문집과 작품들은 조선에 유입된 후 널리 읽혀진 것으로 보인다. 전겸익의 문집 『초학집(初學集)』과 『유학집(有學集)』의 여러 판본과 필사본, 그리고 그의 시 혹은 문장을 뽑아 다시 묶은 자료들도 한국의 관련 장서 기관에서 쉽게 확인할 수 있고 『열조시집(列朝詩集)󰡕과 『두시전주(杜詩箋注)󰡕도 조선에서 유통되었으며 그가 편찬한 『간식유편(簡式類編)󰡕과 척독을 수록한 『귀전척독(歸錢尺牘)』 역시 조선에 유입되었다. 한치윤은 『해동역사』 편찬 시 『초학집』, 『유학집』, 『열조시집』 뿐만 아니라 『두시전주』에 수록된 조선 관련 기록들까지 채록하여 역사 서술에 활용하였다. 그는 전겸익의 시사관(詩史觀)을 받아들여 『열조시집』의 한시 작품과 인물 소전(小傳)의 사료적 가치성을 인정하였고 시선집 속의 소전과 한시작품을 분리하여 역사서에 수록했다. 그리고 분명한 취사선택의 기준을 지키면서도 조선의 입장에서 받아들이기 어려운 서술이나 사실과 맞지 않는 기록에 대해서는 상황에 따라 부분적으로 선택하거나 아예 배제시켰다. 『해동역사』에는 한치윤이 자신만의 기준과 융통성을 발휘한 흔적이 남아 있어 실로 조선후기 한 역사학자의 고뇌를 잘 보여준다고 할 수 있다. 사학적 시각에서 학구적으로 접근했다는 것이 한치윤의 전겸익 수용의 가장 큰 특징이다. 시사관을 수용하고 또 자기화, 체계화했다는 점에서 한치윤의 역사가로서의 식견과 역량이 잘 드러난다. 그는 기타 조선 문인들과는 달리 전겸익의 행적에 대해서는 어떠한 논의도 하지 않았다. 이는 조선후기 전겸익에 대한 다양한 평가가 있었던 상황에서 객관적이고 철저한 학문적 수용만을 견지하려고 했던 한치윤의 원칙과 노력을 반영한 것이 아닌가 생각된다. 따라서 한치윤의 전겸익 수용 양상을 살펴보는 것은 조선후기 문학과 학술의 다양성을 입증하고 조선후기 지성사 연구를 더욱 풍부하게 하는 데 도움이 될 것이다.

The Study of Hou Qiu Xing writen by Qian Qianyi from the Perspective of the Literature Therapy

In the late Ming and early Qing dynasties, Qian Qianyi was a master in literature. During the Ming Dynasty, because of the partisan wrangling and the bribery in the imperial examinations, he was convicted several times. After surrendering to the Qing Dynasty, he was sent to prison a couple of times due to getting involved in the rebellion. In his later years, his soul suffered a lot because of the surrender to the Qing dynasty. To heal it，he took an active part in the struggle to rebel the Qing dynasty and rebuild the Ming dynasty. In his literature, he annotated Du Fu’s poetry at a high level and imitated Du Fu’s Qiu Xing Ba Shou in a large number. Qian Qianyi made every effort to establish a transcendent connection with Du Fu in the hope that later generations could evaluate him like how they evaluate Du fu so as to heal the wounds in his old age and to redeem myself.

Qing Literati’s Quiet Resistance against Qianlong’s Condemnation of Qian Qianyi

The deeds and words of the well-known Ming–Qing historical figure Qian Qianyi (1582–1664), as well as his name, suddenly turned into taboos in local histories during the high Qing due to the Qianlong emperor’s condemnation of Qian for serving two dynasties. Nevertheless, the sources in the gazetteers reveal that the imperial measures could hardly achieve the emperor’s goal, neither eradicating the non-censored publications during the Qianlong literary inquisition nor prohibiting the use of Qian’s works in the gazetteers compiled after the edict. This phenomenon discloses how everyday resistance was practiced by some local Chinese literati during and after the Qianlong reign in their struggle against the cultural hegemony of the imperial court.

钱谦益与明末清初思潮的转变

钱谦益与明末清初思潮的转变

A Consideration of the Relationship between Feeling⋅Scenary and Art Thesis⋅Antithesis⋅Synthesis ― Focusing on Qian Qianyi’s Poetics

A Consideration of the Relationship between Feeling⋅Scenary and Art Thesis⋅Antithesis⋅Synthesis ― Focusing on Qian Qianyi’s Poetics

Voices from the Crimson Clouds Library: Reading Liu Rushi's (1618–1664)Misty Willows by Moonlit Dike

Misty Willows by Moonlit Dike , painted in 1643 by the celebrated courtesan-turned-gentry-lady Liu Yin (1618–1664, better known as Liu Rushi), and documented by the literary talent Qian Qianyi (1582–1664), serves as the definitive statement on the romantic and artistic union of this eminent pair of cultural figures precisely a year before the fall of the Ming dynasty. It also reflects upon a complex gender dimension in the expression of reclusion entangled with the trauma of dynastic transition. This is revealed, in part, by two additions to the scroll: a small landscape painting of eight years later dedicated to Liu by her close female associate, Huang Jieling (ca. 1620-ca. 1669), and a long commemorative preface that Qian Qianyi wrote for Huang in 1651 reminiscing on bygone glory through the topos of their beloved Jianyun Library that tragically burnt down in 1650. Through a close reading of Liu’s and Huang’s paintings and Qian’s inscriptions on the scroll, this article aims to explore the macrocultural milieu of the time by examining, on the one hand, these two female paradigms of reclusion, and on the other the collective sentiment and memory of the catastrophe of the Ming-Qing dynastic transition as voiced through words and images in their paintings, calligraphy, and the iconography of the willow.

Study on "The chronological listof the Qian Qianyi's life" of Yu Manju's

Study on "The chronological listof the Qian Qianyi's life" of Yu Manju's

The acceptance and aspect of Qian Qianyi(錢謙益)in late Joseon

The acceptance and aspect of Qian Qianyi(錢謙益)in late Joseon

Zhao Kaimei, a outstanding bibliographer

Zhao Kaimei is a famous bibliographer in Ming Dynasty, who preserved and sorted Gu Jin Za Ju, carved a new plate for Song Ban Shang Han Lun. Scholars in Ming-Qing Dynasties set a value on his contributions to preserve and inherit traditional culture of China. Qian Qianyi in Ming Dynasty drafted Zhao Kaimei's memorial tablet of gravestone, which open a window to know about Zhao Kaimei thoroughly. At the end of Qing Dynasty, Sun Yuxiu wrote Mai Wang Guan Shu Mu Ba that provided important information about the procedure of writing Zhao Kaimei's bibliography, the figures of the content, as well as the copiers. Mori Tachiyuki found that Qimei is Zhao Kaimei's first name in his old age.

Qian Qianyi's Reflections on Yellow Mountain: Traces of a Late-Ming Hatchet and Chisel

Qian Qianyi's Reflections on Yellow Mountain: Traces of a Late-Ming Hatchet and Chisel

Qian Qianyi’s Reflections on Yellow Mountain: Traces of a Late-Ming Hatchet and Chisel by Stephen McDowall (review)

Qian Qianyi’s Reflections on Yellow Mountain: Traces of a Late-Ming Hatchet and Chisel by Stephen McDowall (review)

Trauma and Transcendence in Early Qing Literature (review)

Reviewed by: Trauma and Transcendence in Early Qing Literature Zhu Mei (bio) Wilt L. Idema, Wai-yee Li, and Ellen Widmer, editors. Trauma and Transcendence in Early Qing Literature. Cambridge, MA: Harvard University Asia Center, Harvard University Press, 2006. xi, 533 pp. Hardcover $60.00, ISBN 0-674-01775-7. The early Qing was an extraordinarily creative and vibrant period in Chinese literary history. Among the studies that center on the traumatic experiences of Chinese intellectuals caused by the collapse of the Ming dynasty and the Manchu conquest of China, this volume is a pioneering one in the West. It is the fruit of two separate conferences sponsored by the Harvard-Yenching Institute in June 2000 and June 2001. Before this volume, the study of early Qing literature in China focuses on how early Qing scholars and officials adjust their lives under a foreign regime. Moral evaluation and political attitudes toward the Qing government have been the fundamental standards to judge the literati's place in the history of literature. The contributors to this volume, the leading Western scholars in this field, quite convincingly have called for a comprehensive rethinking of the aesthetic and literary significance of the Manchu conquest reflected in the works of the most famous remnant subjects. Although the Ming-Qing transition as a historical event was almost an apocalyptic experience, characterized by unspeakable rupture, violence, and devastation, contributors to this volume see it as a period of cultural innovation and rupture of literary traditions, the birth of a new literary mode. With this new perspective and theoretical framework, I find it quite enlightening for the editors to chose "trauma and transcendence" as a theoretical sounding title. Idema, Li, and Widmer situate the literature of this period in trauma theory, at the intersection of poststructuralist, deconstructionist, and psychoanalytic theoretical approaches. At the same time, they pull it away from the moral-political interpretations that are commonly associated with it in China. Moreover, the capacity of language to articulate the experience of historical trauma is viewed as transcendence, which not only refers to a specific existential status but also relates to the cognitive faculty. Specifically, the transcendence examined in artistic and literary merits in literary works selected in this collection can be better termed "aesthetic transcendence." The twelve chapters in this volume and the introductory chapters on early Qing poetry, prose, and drama understand the writings of this era wholly or in part as attempts to recover from or transcend the trauma of the transitional years. Therefore, transcendence here can be understood as this volume's defining feature at two different levels: transcending traditional moral and political evaluation to aesthetic evaluation, a first layer; and a second [End Page 210] layer, exploring the way of transcending traumatic experience of dynastic transition from latter Ming to early Qing through literary works. The twelve chapters cover a range of literary genres that deal with "historical trauma and aesthetic transcendence." They are divided into three different sections: poetry, prose, and drama. Each part is preceded by a general introduction to the part as well as a more detailed introduction for each genre by an editor. Part 1 examines early Qing poets represented by Qian Qianyi, Wu Weiye, and Hanke. By investigating the depth of the poets' lyrical engagement with the historical crisis, the contributors to this volume attempt to reassess their place in the canon. Part 2 contains five chapters on fiction, memoirs, and other kinds of prose that offer as many approaches to modern readers' understanding of the transition between 1644 and 1700. Oki Yasushi focuses on the lives of Mao Xiang (1611-1693) and Yu Huai (1616-1696). Robert Hegel's "Dreaming the Past" is similarly concerned with the individual, focusing on Chu Renhuo (1630-1705). Ellen Widmer's study is also organized biographically, but it offers yet another perspective on Ming loyalist experience and can be taken as an exemplary study in this field. Widmer's chapter on Huang Zhouxing's prose is titled "Between Worlds: Huang Zhouxing's Imaginary Garden." Widmer points out that utopia in spirit, Jiangjiu yuan, is the imaginary subject of Huang's prose piece Jiangjiu yuan ji and other pieces such as his...

WANG SHIZHEN AND THE MYTH OF GUI YOUGUANG

The best-known anecdote linking Wang Shizhen <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in1.tif"/> to the essayist Gui Youguang <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in2.tif"/> (1507–1571) is the exchange made famous by Qian Qianyi <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in3.tif"/> (1582–1664), in the brief biography of Gui Youguang that he included in his anthology Lie chao shi ji <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in4.tif"/>, <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in5.tif"/>. In this exchange, Gui implies that Wang is “impetuous” (wang <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in6.tif"/>) and “mediocre” (yong <inline-graphic xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="splitsection3_in7.tif"/>). Gui mentions no men of letters by name, but as Qian reports the story, Wang Shizhen was immediately recognized as the object of the criticism. Wang is said to have laughed and replied that he might be impetuous, but never mediocre.