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Guocui Xuebao and China’S Path to Modernity, 1905–1911

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Guocui Xuebao and China’S Path to Modernity, 1905–1911 Revolution as Restoration Leiden Series in Comparative Historiography Editors Axel Schneider Susanne Weigelin-Schwiedrzik VOLUME 6 The titles published in this series are listed at brill.com/lsch Revolution as Restoration Guocui xuebao and China’s Path to Modernity, 1905–1911 By Tze-ki Hon LEIDEN • BOSTON 2013 Library of Congress Cataloging-in-Publication Data Hon, Tze-Ki, 1958– Revolution as restoration : Guocui xuebao and China’s path to modernity, 1905-1911 / by Hon Tze-ki. pages cm. — (Leiden series in comparative historiography ; 6) Includes bibliographical references. ISBN 978-90-04-24780-2 (hardback : alk. paper) — ISBN 978-90-04-24877-9 (e-book) 1. Guo cui xue bao. 2. China—Intellectual life—20th century. I. Title. II. Title: Guocui xuebao and China’s path to modernity, 1905–1911. DS761.2.H66 2013 951’.035—dc23 2012047914 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1574-4493 ISBN 978-90-04-24780-2 (hardback) ISBN 978-90-04-24877-9 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper. To Wan-Chiung 婉瓊, my life’s companion CONTENTS List of Figures .................................................................................................. ix Acknowledgements ....................................................................................... xi List of Guocui xuebao Writers .................................................................... xiii Introduction: The Allure of the Nation ................................................... 1 1. The Paradox of Global Competition ................................................... 17 2. New Roles of the Educated Elite ......................................................... 35 3. The Law of Social Evolution ................................................................. 47 4. The Public Realm ..................................................................................... 69 5. Local Self-Government ........................................................................... 83 6. Memories of Resistance ......................................................................... 97 Conclusion: Lost in Transition ................................................................... 113 References Cited ............................................................................................ 121 Indexes .............................................................................................................. 133 LIST OF FIGURES 1.1. The cover of the 1907 Zhengyi tongbao .............................................. 22 1.2. The advertisement page in the 1903 Zhengyi congshu .................. 24 2.1. The cover page of the first issue of the Cathay Art Book (Shenzhou guoguang ji) ........................................................................... 44 2.2. The title page (left) and the back cover page (right) of Guocui xuebao 11 (1908) ........................................................................... 45 2.3. A work of art in Guocui xuebao ............................................................ 46 3.1. A painting of the Yellow Emperor in Guocui xuebao 3 (1905) .... 59 3.2. A painting of the Divine Farmer in Guocui xuebao 3 (1905) ....... 63 ACKNOWLEDGEMENTS Most of the research for this book was conducted during the 2006–2007 academic year when I was a research fellow at the Modern East Asia Research Centre (MEARC) of Leiden University in the Netherlands. I was grateful to Professor Axel Schneider (then MEARC director) for his invita- tion to spend a year in Leiden. During that year, I had the opportunity to learn from the brilliant schol- ars at MEARC, especially Chiara Brivio, Hosen Chan, Els van Dongen, Cur- tis A. Gayle, Chris Goto-Jones, Ya-pei Kuo, Marc Matten, Viren Murthy, Tak-wing Ngo, Kiri Paramore, Chritian Uhl, and Torsen Weber. The daily debates at MEARC over Asian modernity and global capitalism had stimu- lated me to rethink my approach to late Qing China. Chapters 3 of this book is based on my article “From a Hierarchy in Time to a Hierarchy in Space: The Meanings of Sino-Babylonianism in Early Twentieth Century China,” published in Modern China 36.2 (2010). Chapter 4 is drawn from my article, “National Essence, National Learn- ing, and Culture: Historical Writings in Guocui xuebao, Xueheng, and Guoxue jikan,” published in Historiography East and West 1.2 (2003). I thank the editors of Modern China and Historiography East and West for allowing me to use previously published materials. I would like to thank the copy-editor, Kristin Roth, for making the man- uscript stylistically pleasing. LIST OF GUOCUI XUEBAO WRITERS Editors Deng Shi (鄧實, 1877–1951) Huang Jie (黃節, 1873–1935) Article Writers Chen Qubing (陳去病, 1874–1933) Huang Binhong (黃賓虹, 1865–1955) Liu Shipei (劉師培, 1884–1919) Lu Shaoming (陸紹明, dates unknown) Ma Xulun (馬敍倫, 1885–1970) Zhang Taiyan (章太炎, 1869–1936) INTRODUCTION THE ALLURE OF THE NATION What I mean by revolution is not just a change of gov- ernment, but also a restoration—restoring [the rule] of the Chinese race, restoring [the ancient system] of county and district, restoring the Chinese government. Thus I use the term revolution to refer to the acts of restoration. —Zhang Taiyan1 Since 1949, the history of modern China has been understood as a series of revolutions: the 1911 Revolution, the May Fourth New Culture Movement (1915–1925), the Nationalist Revolution of the Guomindang (1927–1949), the Communist Revolution (1949), and the Great Proletarian Cultural Revolution (1966–1976). Distinct in their own right, these historical events are linked together to form a teleology of revolution that promises to cre- ate a strong and powerful China. As a victor’s narrative, the teleology jus- tifies a series of drastic measures in twentieth-century China: a political revolution to transform the Chinese empire into a nation-state, a cultural revolution to replace Confucianism with Western science and democracy, and a socialist revolution that drastically restructured the country’s econ- omy and society. What drives this teleology of revolution is the dichotomy between tra- dition and modernity. Understood as the totality of the Chinese impe- rial system, tradition must make way for modernity because it is not only a remnant of the past but also a stumbling block for modernization. Derivatives of this tradition-modernity dichotomy are the binary distinc- tions between autocracy and democracy, classical language and vernacu- lar language, elitism and populism, empire and nation, literati and the uneducated, morality and science, patriarchy and gender equality, and so on. At its root, the teleology of revolution is a form of modernization the- ory that upholds the West as the model of global progress and measures the developments of non-Western countries by how closely they resemble 1 Zhang Taiyan 1906a: 13. The original is “吾所謂革命者, 非革命也, 曰光復也。光 復中國之種族也; 光復中國之州郡也; 光復中國之政權也。 以此光復之實而被以 革命之名。” 2 introduction the Western experience. Embedded in the teleology is the concept of lin- ear progression, which assumes that the present must supersede the past and the best is yet to come. Preoccupied by the dichotomy between tradition and modernity, his- torians have not been kind to a group of Chinese scholars who supported the anti-Manchu revolution by contributing articles to Guocui xuebao (國粹學報 Journal of national essence, 1905–1911). Collectively known as the “National Essence Group” (Guocui Pai 國粹派), this group of scholars includes Chen Qubing (陳去病, 1874–1933), Deng Shi (鄧實, 1877–1951), Huang Binhong (黃賓虹, 1865–1955), Huang Jie (黃節, 1873–1935), Liu Shipei (劉師培, 1884−1919), Ma Xulun (馬敍倫, 1884–1970), and Zhang Taiyan (章太炎, 1869–1936). Individually, these scholars are recognized as radical thinkers (Zhang Taiyan and Liu Shipei), accomplished historians (Chen Qubing and Huang Jie), inspiring columnists (Deng Shi and Huang Jie), skillful translators (Ma Xulun and Liu Shipei), and masterful art con- noisseurs (Huang Binhong and Deng Shi). But as a group, they are con- sidered die-hard conservatives who opposed modernization by harboring outdated views toward China’s fate in the modern age. Much of the discussion of the conservatism of Guocui xuebao is centered on the notion of “national essence” (guocui 國粹), usually understood as a timeless spirit or quality that defines China. In their attempts to identify a national essence to highlight Chinese cultural uniqueness, the Guocui xue- bao writers are accused of turning back the clock when the country was modernizing its political, social, and economic systems. In their efforts to promote “a revival of ancient learning” (guxue fuxing
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