Cover Page

The handle http://hdl.handle.net/1887/138671 holds various files of this Leiden University dissertation. Author: Klasing Chen, M. Title: Memorable arts: The mnemonics of painting and calligraphy in Late Imperial China Issue Date: 2020-12-16

MemorableArts:

TheMnemonicsofPaintingandCalligraphyinLateImperialChina

Proefschrift

terverkrijgingvan

degraadvanDoctoraandeUniversiteitLeiden,

opgezagvanRectorMagnificusprof.mr.C.J.J.M.Stolker,

volgensbesluitvanhetCollegevoorPromoties

teverdedigenopdonderdag16december2020

klokke15.00uur

door

MonicaKlasingChen

geborenteSãoPaulo,Brazilië

in1988

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Promotor Prof.dr.H.G.D.G.DeWeerdtCo-promotor Dr.F.LinPromotiecommissie Prof.dr.K.Chemla(UniversitéParisDiderot)

Prof.dr.C.Clunas(UniversityofOxford)Prof.dr.A.GerritsenProf.dr.I.Smits

Coverandendpaperdesign:MonicaKlasingChenThisprojectwasfinancedbytheDutchResearchCouncil(NWO)witha“PhDintheHumanities”grant(projectnumber322-63-004).TheRomboutsFonds,theMingStudiesSocietyandtheGetty-HeidelbergDissertationWorkshopprovidedadditionaltravelfunds.

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Acknowledgments

I would like to express my sincere gratitude to all who helped me

duringmyPhDjourney.Iowemuchtotheextremelypatientstaffworkingatlibraries and collections in Japan, Taiwan, Europe and Canada, who put upwith my numerous questions and requests. I met many researchers atconferences and symposiawhose feedback greatly improvedmywork and Iam grateful for their honesty and encouragement.During these few years Ihad the opportunity to work with several scholars whose boundlessgenerosity has made me comprehend the true value of mentorship andcollaboration in academia. Iwant to thankMaghiel vanCrevel and Sarah E.Fraser, whose lessons I will cherish forever. The continuous support andinsightful comments from my supervisors Hilde De Weerdt and Lin Faninspiredmeandkeptmyresearchontherighttrack.Itwouldnothavebeenpossibletodevelopthisprojectwithouttheirguidanceandfriendship.

SherryFöhr,myfairygodmotherwitharedmarkerasawand,cheeredme on during the final stages of editing. Her straightforward yet positiveattitudemotivatedmeuntil theveryendand Icannotthankherenoughforthat. I alsowant to thankmy painting teacher, Li Zhongxin, whose unusualideas and creative enthusiasm have continuously inspired me for over adecade.Hiswisdomkeptmegroundedthroughoutmyproject. Iowespecialthankstomydear friendXiongHuei-lanandmyfamily,whoprovidedmoralsupportwhenitwasmostneededandneversaidnowhenaskedtoreadmydrafts.Finally,IcannotputintowordshowmuchItreasurethesupportofmylovelyhusbandDaniel,whoencouragesmenomatterwhatpeculiarprojectsIpursue.MonicaKlasingChenLeiden,October2020

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TableofContentsListofFigures.................................................................................................viIntroduction....................................................................................................1PARTI-RememberinginImperialChinaLocatingMemory.............................................................................................18PARTII-TheCalligrapher'sMemoryForgettingtoRemember..................................................................................62

FromAnonymitytoImperialStandard...........................................................101

LookingThroughaGrid..................................................................................134PARTIII-ThePainter'sMemoryThe“PaintingSection”ofMingDaily-UseEncyclopedias..............................176

TranslatingPracticalKnowledge....................................................................233

MemoryinHistoricalPerspective..................................................................276Conclusion...................................................................................................308Bibliography................................................................................................322

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ListofFigures

Fig.1.1 The“Goosesoaringdownfromanautumnalsky”moveinMingdynastychessmanual.

Fig.1.2 PalmmnemonicsintheFingerandPalmFormulaChartforRhymes(Qieyunzhizhangtu切韻指掌圖).

Fig.1.3 The“harmonichand”:ReproductionofChinesepalmmnemonicschartformusicalscaleinMémoiresurlamusiquedesChinois.

Fig.1.4 PalmmnemonicsformusicalscaleintheEssentialPrinciplesofthePitchPipes(Lülüjingyi律呂精義).

Fig.1.5 Palmwithearthlybranchesasreferenceformultiplicationanddivision.Equivalenceofunitsaccordingtodecimalplace.

Fig.2.1 ReproductionofGaoSong’sinstructionsoncharactercompositioninthelowerlayeroftheencyclopediaCompleteBookoftheCombined

TenThousandTreasuresoftheFiveCarts(Wuchehebingwanbao

quanshu五車合併萬寶全書)from1614;ReproductionofGaoSong’sseventy-twostrokesinthe1597encyclopediaPluckedBrocadefromthe

FiveCarts(Wuchebajin五車拔錦).Fig.2.2 FirstpageofGaoSong’scalligraphymanualreproducedintheMing

compilationCentralDraftingOffice’sSecretlyTransmittedCharacter

Treasury(Neigemichuanzifu內閣秘傳字府).Fig.2.3 IntroductiontoGaoSong’sseventy-twostrokesinthe1727

reproductionoftheOriginsofBrushMethods(Bifayuanliu筆法源流).Fig.2.4 Characteryue樂fromGaoSong’scalligraphymanualreproducedinthe

MingcompilationCentralDraftingOffice’sSecretlyTransmitted

CharacterTreasury(Neigemichuanzifu內閣秘傳字府).Fig.2.5 Charactergui龜fromGaoSong’scalligraphymanualreproducedinthe

MingcompilationCentralDraftingOffice’sSecretlyTransmitted

CharacterTreasury(Neigemichuanzifu內閣秘傳字府).Fig.2.6 GaoSong’s“buildingahouse”methodforcharactercomposition.Fig.3.1 ManuscriptoftheThousandCharacterEssayincursiveandregular

scriptfoundintheDunhuanglibrarycave.Fig.3.2 ManuscriptsoftheThousandCharacterEssayinsealandregularscript

foundintheDunhuanglibrarycave.Fig.3.3 Instructionsonhowtocomposethecharactersang顙intheYuan

editionoftheHundred-RhymeSong.Fig.3.4 IntroductorynotetotheHundred-RhymeSongintheYuaneditionof

theExtensiveRecordsfromtheForestofMatters(Shilinguangji事林廣記).

Fig.3.5 FirstpageofashortversionoftheHundred-RhymeSongfromthe1531CollectedMethodsforCursiveScript(Caoshujifa草書集法)byHuTingyu.

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Fig.3.6 FirstpageofthefirstofthreeversionsoftheHundred-RhymeSongwritteninthehandoftheWanliEmperor.

Fig.3.7 DetailfromrubbingoftheHundred-RhymeSonginthehandoftheMingimperialclansmanZhuJinghe.

Fig.4.1 Smallgraphofagridandexplanationonhowtocreateanine-by-ninesquaregridinthecompositionsectionofShengXiming’sStudyofCalligraphyModels(Fashukao法書考).

Fig.4.2 SmallgraphsoftheninepalacesandcompositionmodesinaMingeditionoftheEssentialFormulaoftheHanlinAcademy(Hanlinyaojue翰林要訣).

Fig.4.3 ModelforastampingtoolprovidedbyWangXihouinhisrenderingofChenYizeng’sinstructionsontheninepalaces.

Fig.4.4 DongQichangcommentsontheuseoftheninepalacesinhiscollectionofrubbings,theModelCalligraphyfromtheHalloftheFrolickingGoose

(Xihongtangfatie戲鴻堂法帖).Fig.4.5 JiangJi’sadaptedgridsfornarrowandflatcharacters.Fig.4.6 JiangHe’sgridforcharactersthathaveatriangulartop,suchashe合.Fig.4.7 JiangHe’snarrowgridforthecharactercomponent“water.”Fig.4.8 GridinQingpracticebookletforchildren.Fig.4.9 DetailfromZhuWei’seightbrokens(bapo八破)paintingdepictinga

practicesheetwithaprintedninepalacesgridinred.Table1 HeadingsofthepaintingsectiontextsandpossibleearliersourcesFig.5.1(a-c)

Instructionsonhowtopaintbirdsfromthepaintingsectionofthe1596editionoftheAssembledTreasuresfromtheTenThousandBooks.

Fig.5.2(a-n)

ThepaintingsectionofthePearlsfromtheSeaofLearning(Xuehaiqunyu學海群玉,publishedin1607.)

Fig.5.3 WengAng’sinstructionsonhowtomeasurethewidthandheightofthefacewiththefiveeyesandthreeplanes.

Fig.5.4 Cutsmadebyencyclopediaeditorstotherhymeonpaintingplumblossoms.

Fig.6.1 FiveMountains(wuyue五岳)andFourRivers(sidu四瀆)inthephysiognomymanualCompendiumfortheExpertPhysiognomist(Shenxiangquanbian神相全編).

Fig.6.2 WengAng’sgraphforplacingtheelementsoftheface.Fig.6.3 Threeillustrationsofhowcharactersareusedtodescribetheshapeof

facesfromthephysiognomymanualSelectedTruthsfromthePrinciple

ofPhysiognomy(Xianglihengzhen相理衡真).Fig.6.4 ExamplesfromthetypologyofeyesandeyebrowsfromWengAng’s

manual.Fig.6.5 DingGao’sgraphofthemaindivisionsofthefaceinfrontalview.Fig.6.6 DingGao’sgraphofthe“CircleofPrimordialChaos”(hunyuanjuan渾

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元圈).Fig.6.7 Graphofthedivisionoftheprimordialchaosintothetwobasic

elementsatthetopandthe“ThreeBrights”(sanguang三光)atthebottom.

Fig.6.8 Graphofthedivisionoftheprimordialchaosthroughshading.Fig.6.9 TwoexamplesfromGaoSong’sOriginsofBrushMethodsforbalancing

thespacebetweenhorizontalandverticalstrokesincharacters.Fig.6.10

PeriodicalfromtheRepublicanPeriodintroducingtheninepalacesmethodfordrawingfacestochildren.

Fig.7.1 AlbumofLandscapesbyDaiXi,LeafC.1848.Fig.7.2 TheTowerofEightOdesbyDaiYiheng.1871.Fig.7.3 SetoftwohangingscrollsofLandscapesafterAncientMastersbyDai

Yiheng,dated1866.Fig.7.4 ImprintandsideofDaiYiheng’s“Blametheempire”(qiaoguo譙國)

seal.