DOCSLIB.ORG

“Art of Swindlers”?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Art of Swindlers”? michael john paton FENGSHUI:ACONTINUATIONOF “ART OF SWINDLERS”? I. Introduction In 1999 on an international fengshui tour comprising more than fifty participants from around the world, one of the seminar presenters, a Taiwanese Guobao dilijia (specialist on national geographical treasures) and the sixtieth generation of fengshui practitioner, He Jinzong, was told by a number of participants that they did not wish to discuss burial because this was not fengshui, not realizing that the term fengshui was first defined in Guo Pu’s Gu Ben Zang Shu (The Book of Burial Rooted in Antiquity or The Book of Burial).1 This is a typical case of people in one culture taking only those parts of other cultures that fit within their cultural norms, and thus creating new theoretical structures to make it easier to consume the specific knowl- edge. There are, however, precedents to such a commodification of fengshui within Chinese history. The author of the late Song Dynasty to early Ming Dynasty text, Nan Jie Ershisi Pian (Twenty-four Difficult Problems), deplores the “present day” practitioners who “absurdly match longevity, the receiving of favours, becoming an offi- cial and imperial prosperity with good and evil spirits and good and ill fortune, consequently causing the luck not to be buried and those buried not to have good fortune” and who “conduct the art of swindlers.”2 This article considers the original concepts of fengshui as garnered from major fengshui writings in relation to some of the claims made by modern Western practitioners of the art. It concludes with some musings on the relationship between culture, knowledge, and philosophy. II. Definition Fengshui with the meaning of placement is first defined in the Gu Ben Zang Shu, which is accredited to the “father” of fengshui, Guo Pu, a famous scholar in Jin Dynasty (265–420 AD): MICHAEL JOHN PATON, Ph.D., teaching quality fellow, Faculty of Economics and Business, University of Sydney. Specialties: Chinese history and philosophy of science, critical thinking and discourse. E-mail: [email protected] © 2007 Journal of Chinese Philosophy 428 michael john paton The Classic says that if qi rides the wind it is scattered; if it is bounded by water it is held. Ancient men gathered it, causing it not to be scattered and curtailed its area of circulation. Hence this is referred to as fengshui. The method of fengshui is, first of all, to obtain water and secondly to store from the wind.3 The basic mechanism of the original concept of fengshui is also out- lined in the Gu Ben Zang Shu: Qi circulates through the earth according to the geodetic force of the earth. It gathers where the geodetic force stops. The qi follows the trunk of a hill and branches along its ridges. The Classic says that if the qi rides the wind it is scattered, if it is bounded by water it is held.4 Thus, the consideration is that qi courses through the land in lines or veins as found in acupuncture. In fact, the same character xue is used for both an acupuncture and fengshui point. Such a similarity is also apparent in the relationship between vitality and qi. Again this is perhaps best described in the Gu Ben Zang Shu: The Classic says that when qi circulates through landforms, entities are thereby given life. The geodetic forces of the earth are the basic veins. The geodetic forces of the mountains are the basic bones. They snake either west to east or north to south, curling back on them- selves as if crouching and waiting, as if with something in their grasp. Qi desires to proceed but it is cut off. It desires to halt and becomes deep. Where it approaches and accumulates, stops and gathers, there will be a clashing of yang with a harmonising of yin, the earth will be rich and the water deep, the grasses lush and the forests luxuriant.5 Therefore, in this cosmology fertility is synonymous with the accumu- lation of qi and the correct association of the male and female prin- ciples. However, it should be noted that this fertility is used within the context of the nourishment of the spirit of one’s ancestors. Thus, it seems that the original context for dwelling sites in terms of fengshui was in relation to burial and nourishment of spirit. Seemingly later, this concept of dwelling sites was transferred to the abodes of the living. The Huangdi Zhai Jing (Yellow Emperor’s Classic of Dwelling Sites), attributed to Wang Wei in the Liu Song Dynasty (420–479 AD), states that: The site is the focal point of yin and yang and the standard for human relationships. In general, there is no place where Man resides which is not a site. Even though there may be only a difference in size, there are differences, so that, even if one lodges in a single room, there is both good and evil. For the large site there are many points to speak of. For the small site there are few points to discuss.There is disaster for those who violate this. When bad siting is corrected, misfortune will cease with the effect of medicine for illness.6 However, there is some evidence to show the theory on the impor- tance on how the graves or houses are sited, according to the FENGSHUI AND “ART OF SWINDLERS” 429 principles of fengshui occurred much earlier in Chinese culture. For example, the Mengtian section of the Shi Ji7 mentions local villagers complaining about the excavation of the surround- ing land for the building of the Great Wall because of their fear of the disturbance of the veins of qi in the land in this process. This indicates that even though the term fengshui was not used at that time as a word synonymous to dwelling sites, its theoretical con- struct was in place some five hundred years before the Gu Ben Zang Shu. III. The Art of Swindlers Subsequently, from Tang Dynasty to Song Dynasty there was a theo- retical schism among the practitioners of fengshui into Xingshi Pai (the Form School) and Fangzhi Pai (the Compass School). The Compass School was founded by Wang Ji in Fujian in Song Dynasty. It used astrology and the trigrams of the Yi Jing as well as the compass to determine the indications of the topography. In contrast, the Form School held more to the older principles, which are found in the earlier texts outlined above. The founder was supposedly somewhat mythical personage of Tang Dynasty, Yang Yunsong in Jiangxi Prov- ince. His texts, such as the Han Long Jing (Shaking Dragon Classic), do contain an element of astrology, but there is no consideration of the compass.8 One text that gives us insight into the acrimony of this schism is the Nan Jie Ershisi Pian.This is an extended treatise on the theories of the Form School of dwelling sites and dwellings for both the living and the dead in relation to the energy of mountains and rivers written in the form of a problem-answer dialogue. It is particularly interesting because of its denigration of the Compass School and the use of fengshui in the pursuit of good fortune. Its quasi-scientific and strongly empirical tone is a precursor to the ecological stance that pervades many modern popular treatises on fengshui.9 The authorship of this text is stated to be “anonymous” and there is no indication of the era from which it may come although it is found in the late Ming Dynasty (1628–44) collection, Jin Dai Bi Shu (Writings Fording the Mysteries) compiled by Mao Jin, and this with other textual evidence, particularly the place names used, point toward it probably being written between the late Song Dynasty and the early Ming Dynasty. The poverty of style in the writing of this text and the consequent difficulty of translation suggest that the author is not a scholar merely commentating on the concepts of fengshui but a practitioner––that is, a fengshui xiansheng––of the Form School, who had a stake in deni- 430 michael john paton grating the practices of the then comparatively much newer and perhaps more popular Compass School. Of particular interest is the distress of the author of the Nan Jie Ershisi Pian at the use of the principles of fengshui to ensure good fortune. This attack on the use of bearing associated with the search for auspiciousness occurs first in Problem 4: The whole of this work discusses the form, force, feeling and nature of water. It is never ignorant of the important principles as are the practitioners of the theories of direction who absurdly match longev- ity, the receiving of favours, becoming an official and imperial pros- perity with good and evil spirits and good and ill fortune, consequently causing the lucky not to be buried and those buried not to have good fortune. In deluding the world and misleading the people, nothing is worse than this.10 Another example of the negative stance of this author toward the practitioners of that time occurs in Problem 8: The above 4 points are rejected by the present practitioners of the art, who indeed conduct the art of swindlers. Therefore generations guard their theories without change not knowing that their words are distant from the classics and go against the Way. Oh, the sorrow of it! How can there be an affair not modelled on the ancients or a righ- teousness that does not venerate the classics and yet still not be defiance against the correct?11 Thus, the skeptical distrust that many display around the world today toward “New Age” proponents of fengshui is reflected some seven hundred years earlier in Chinese culture, and seemingly by an actual practitioner himself.
Load more

Recommended publications
  • Due to the Special Circumstances of China Nancy L
    Bridgewater Review Volume 5 | Issue 2 Article 6 Nov-1987 Due to the Special Circumstances of China Nancy L. Street Bridgewater State College, [email protected] Recommended Citation Street, Nancy L. (1987). Due to the Special Circumstances of China. Bridgewater Review, 5(2), 7-10. Available at: http://vc.bridgew.edu/br_rev/vol5/iss2/6 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. --------------ES SAY-------------- Due To The Special Circumstances ofCHIN1\... BY NANCY LYNCH STREET ,~d Ifim 'h, ,boY< 'id, in 'h, <xch'nge pmgrnm 'On"''' "'''",n Shanxi Teacher's University and Bridgewater State College. I pondered it for awhile, then dropped it. I would find out soon enough the "special circumstances of China." First, I had to get ready to go to China. Ultimately, the context of the phrase would enlighten me. During the academic year 1985-1986 I taught at Shanxi Teacher's University which is located in Linfen, Shanxi Province, People's Republic of China. Like the Chinese, I would soon learn the virtues of quietness and patience. I would listen and look and remember. Perhaps most important of all, I would make friends whom I shall never forget. FROM BE]ING TO LINFEN Cultural Revolution. Seventeen hours by from personal observations here and The Setting train north to Beijing, eight hours south abroad; and finally, from days and weeks The express train arrives in Linfen to Xi'an (home of the clay warriors found of talk and gathering oral history from from Beijing in the early morning, around in the tomb of the Emperor Ching Shi students, colleagues and friends.
    [Show full text]
  • Revisiting the Scene of the Party: a Study of the Lanting Collection
    Revisiting the Scene of the Party: A Study of the Lanting Collection WENDY SWARTZ RUTGERS UNIVERSITY The Lanting (sometimes rendered as "Orchid Pavilion") gathering in 353 is one of the most famous literati parties in Chinese history. ' This gathering inspired the celebrated preface written by the great calligrapher Wang Xizhi ï^è. (303-361), another preface by the poet Sun Chuo i^s^ (314-371), and forty-one poems composed by some of the most intellectu- ally active men of the day.^ The poems are not often studied since they have long been over- shadowed by Wang's preface as a work of calligraphic art and have been treated as examples oí xuanyan ("discourse on the mysterious [Dao]") poetry,^ whose fate in literary history suffered after influential Six Dynasties writers decried its damage to the classical tradition. '^ Historian Tan Daoluan tliË;^ (fl. 459) traced the trend to its full-blown development in Sun Chuo and Xu Xun l^gt] (fl. ca. 358), who were said to have continued the work of inserting Daoist terms into poetry that was started by Guo Pu MM (276-324); they moreover "added the [Buddhist] language of the three worlds [past, present, and future], and the normative style of the Shi W and Sao M came to an end."^ Critic Zhong Rong M^ (ca. 469-518) then faulted their works for lacking appeal. His critique was nothing short of scathing: he argued Earlier versions of this article were presented at the annual meeting of the Association for Asian Studies in Phil- adelphia in March 2012 and at a lecture delivered at Tel Aviv University in May, 2011, and I am grateful to have had the chance to present my work at both venues.
    [Show full text]
  • Mythical Image of “Queen Mother of the West” and Metaphysical Concept of Chinese Jade Worship in Classic of Mountains and Seas
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 21, Issue11, Ver. 6 (Nov. 2016) PP 39-46 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Mythical Image of “Queen Mother of the West” and Metaphysical Concept of Chinese Jade Worship in Classic of Mountains and Seas Juan Wu1 (School of Foreign Language，Beijing Institute of Technology, China) Abstract: This paper focuses on the mythological image, the Queen Mother of the West in Classic of Mountains and Seas, to explore the hiding history and mental reality behind the fantastic literary images, to unveil the origin of jade worship, which plays an significant role in the 8000-year-old history of Eastern Asian jade culture, to elucidate the genetic mechanism of the jade worship budded in the Shang and Zhou dynasties, so that we can have an overview of the tremendous influence it has on Chinese civilization, and illustrate its psychological role in molding the national jade worship and promoting the economic value of jade business. Key words: Mythical Image, Mythological Concept, Jade Worship, Classic of Mountains and Seas I. WHITE JADE RING AND QUEEN MOTHER OF THE WEST As for the foundation and succession myths of early Chinese dynasties, Allan holds that “Ancient Chinese literature contains few myths in the traditional sense of stories of the supernatural but much history” (Allan, 1981: ix) and “history, as it appears in the major texts from the classical period of early China (fifth-first centuries B.C.)，has come to function like myth” (Allan, 1981: 10). While “the problem of myth for Western philosophers is a problem of interpreting the meaning of myths and the phenomenon of myth-making” as Allan remarks, “the problem of myth for the sinologist is one of finding any myths to interpret and of explaining why there are so few.” (Allen, 1991: 19) To decode why white jade enjoys a prominent position in the Chinese culture, the underlying conceptual structure and unique culture genes should be investigated.
    [Show full text]
  • Analysis of the Mythological Interpretation Characteristics of Guo Pu's Shanhai Jing Notes Shuyan Yi1, a and Jilin Yang1, B*
    Advances in Intelligent Systems Research, volume 163 8th International Conference on Management, Education and Information (MEICI 2018) Analysis of the mythological Interpretation characteristics of Guo Pu's Shanhai Jing Notes Shuyan Yi1, a and Jilin Yang1, b* 1College of Humanities &Sciences of Northeast Normal University, Changchun, Jilin, China, 130117 [email protected], [email protected] * The corresponding author Keywords: GuoPu, Shanhai Jing Notes, Myth, Interpretation Characteristics Abstract. Through the analysis of Guo Pu's annotation of mythical characters in Shanhai Jing, interpreting of the mythological interpretation of Guo Pu's Shanhai Jing Notes. In his annotation of God, Guo Pu had carried on the conscious enrichment to the god person image according to the annotated person's identity,so that made many of the original blurred image of God could be clear. To the vague mythological stories, Guo Pu interpretted them by compiling new mythological stories.[1] Through this literary interpretation, Guo Pu not only enriched the images and fairy tales of the gods and figures in Shanhai Jing, but also highlighted the color of the Shanhai Jing, and achieved the unity of the dual identity of the annotator and the litterateur. Introduction Nowadays, most researchers study GuoPu’s Shan Hai Jing Notes from the perspective of linguistics and philology, but rarely from the perspective of mythology. Although some scholars have also noticed the value of Guo Pu's Shan Hai Jing Notes in the study of mythology and made some studies, but most of the related studies are on the surface and lack of systematic summary and theoretical explanation.
    [Show full text]
  • A History of Chinese Letters and Epistolary Culture
    A History of Chinese Letters and Epistolary Culture Edited by Antje Richter LEIDEN | BOSTON For use by the Author only | © 2015 Koninklijke Brill NV Contents Acknowledgements ix List of Illustrations xi Abbreviations xiii About the Contributors xiv Introduction: The Study of Chinese Letters and Epistolary Culture 1 Antje Richter PART 1 Material Aspects of Chinese Letter Writing Culture 1 Reconstructing the Postal Relay System of the Han Period 17 Y. Edmund Lien 2 Letters as Calligraphy Exemplars: The Long and Eventful Life of Yan Zhenqing’s (709–785) Imperial Commissioner Liu Letter 53 Amy McNair 3 Chinese Decorated Letter Papers 97 Suzanne E. Wright 4 Material and Symbolic Economies: Letters and Gifts in Early Medieval China 135 Xiaofei Tian PART 2 Contemplating the Genre 5 Letters in the Wen xuan 189 David R. Knechtges 6 Between Letter and Testament: Letters of Familial Admonition in Han and Six Dynasties China 239 Antje Richter For use by the Author only | © 2015 Koninklijke Brill NV vi Contents 7 The Space of Separation: The Early Medieval Tradition of Four-Syllable “Presentation and Response” Poetry 276 Zeb Raft 8 Letters and Memorials in the Early Third Century: The Case of Cao Zhi 307 Robert Joe Cutter 9 Liu Xie’s Institutional Mind: Letters, Administrative Documents, and Political Imagination in Fifth- and Sixth-Century China 331 Pablo Ariel Blitstein 10 Bureaucratic Influences on Letters in Middle Period China: Observations from Manuscript Letters and Literati Discourse 363 Lik Hang Tsui PART 3 Diversity of Content and Style section 1 Informal Letters 11 Private Letter Manuscripts from Early Imperial China 403 Enno Giele 12 Su Shi’s Informal Letters in Literature and Life 475 Ronald Egan 13 The Letter as Artifact of Sentiment and Legal Evidence 508 Janet Theiss 14 Infijinite Variations of Writing and Desire: Love Letters in China and Europe 546 Bonnie S.
    [Show full text]
  • Study on the Mythological Philosophy of Guo Pu's Shanhai Jing Notes
    2019 3rd International Conference on Art Design, Language, and Humanities (ADLH 2019) Study on the Mythological Philosophy of Guo Pu's Shanhai Jing Notes Shuyan Yia College of Humanities &Sciences of Northeast Normal University, Changchun, Jilin, China, 130117 [email protected] Keywords: Guo Pu, Shanhai Jing notes; mythology philosophy; mythology. Abstract: Influenced by the social trend of thought of "metaphysics" in Wei and Jin dynasties, Guo Pu likes to explore the philosophical implication behind things. Under the influence of this mode of thinking, Guo Pu also used the thought of mythological philosophy in the process of interpreting the Book of Shan Hai Jing. Through the comparative analysis of the notes and the original text, it can be found that Guo Pu mainly explained the composition and development of God, Man and God from the philosophical perspective of "viewing things by Tao" and the thought of "Gasification" 1. Introduction In the spread of the original ecological myth in later generations, it was mainly preserved by "three kinds of scholars: one is the ancient Chinese philosopher, the other is the writer, and the third is the historian."[1] In the warring States period, philosophers made great contributions to the preservation of ancient myths. Mao Dun once pointed out that "Zhuangzi" and "Han Feizi" have mythological fragments, especially Zhuangzi. [2] Zhuangzi not only seeks the material from the original ecological myth story, deduces the abstract philosophy, but also inherits some philosophical ideas in the myth and gives full play to it. It can be said that the trend of thought of mythology philosophy in ancient China began with Zhuangzi.
    [Show full text]
  • Depicting Cassowaries in the Qing Court
    Transcultural Studies 2013.1 7 Images, Knowledge and Empire: Depicting Cassowaries in the Qing Court Lai Yu-chih, Academia Sinica, Taiwan Translated by Philip Hand Originally published in Chinese under the title “Tuxiang, zhishi yu diguo: Qinggong de shihuoji tuhui 圖像, 知識與帝國：清宮的食火雞圖繪,” The National Palace Museum Research Quarterly, 29:2 (2011). Introduction: Where the new Qing history meets art history The new Qing history studies have been one of the most widely noticed and fruitful developments in the last decade or so of Chinese historical research.1 The Qing was previously seen as an extension of Chinese dynastic rule, but the new Qing history studies stress that despite being the ruling house of China, the dynasty was established and led by the Manchus. The importance of research into “Sinicisation” is greatly deemphasised; in its place is a focus on the difference of Manchu rule.2 Examples include the martial culture of the Qing and their policies toward the border regions of Tibet, Mongolia, and Central Asia. Of particular interest is the fast expansion of the Qing Empire, which nearly tripled its territory in one short century (1660-1760). On this basis, the writers of the new Qing history have raised a challenge to the description of the Qing in traditional historical writing as a closed, stagnant victim of western imperialism. From the perspective of comparative and global history, they have drawn comparisons between the Qing and other modern empires such as the Russian, the British, and the Ottoman. They have attempted to argue that the dynasty, particularly the high Qing, was an expansionist colonial empire in the modern sense.3 In other words, the expansion and rule of the 1 For more on this historiographical movement, see Evelyn S.
    [Show full text]
  • Remaking History: the Shu and Wu Perspectives in the Three Kingdoms Period
    Remaking History: The Shu and Wu Perspectives in the Three Kingdoms Period XIAOFEI TIAN HARVARD UNIVERSITY Of the three powers—Wei, Shu, and Wu—that divided China for the better part of the third century, Wei has received the most attention in the standard literary historical accounts. In a typical book of Chinese literary history in any language, little, if anything, is said about Wu and Shu. This article argues that the consider- ation of the literary production of Shu and Wu is crucial to a fuller picture of the cultural dynamics of the Three Kingdoms period. The three states competed with one another for the claim to political legitimacy and cultural supremacy, and Wu in particular was in a position to contend with Wei in its cultural undertakings, notably in the areas of history writing and ritual music. This article begins with an overview of Shu and Wu literary production, and moves on to a more detailed discussion of Wu’s cultural projects, both of which were intended to assert Wu’s legitimacy and cultural power vis-à-vis Wei and Shu’s claims to cultural and polit- ical orthodoxy. Ultimately, this article implicitly asks the question of how to write literary history when there is scant material from the period under question, and suggests that we perform textual excavations and make use of what we have to try and reconstruct, as best as we can, what once was. A good literary history of the Chinese medieval period, the age of manuscript culture and that of heavy textual losses and transfigurations, should be written with the awareness of the incomplete and imperfect nature of the data we do have, and incorporate the phenomenon of textual losses and transfigurations as well as some reflections on the underlying reasons into its narrative and critical inquiry.
    [Show full text]
  • Fengshui in China Fengshui-Title-TOC Page Ii 29 August 2011 1:47 PM
    B ‘Required reading for scholars of Chinese religion’ R Unlike popular manuals, this book approaches fengshui from an uun academic angle, focusing on its significance in China, but also Fengshui depicting the recent history of its reinterpretation in the West. It includes a historical account of fengshui over the last 150 years with anthropological fieldwork on contemporary practices in two Fengshui in China in China Chinese rural areas. The author argues that fengshui serves as an alternative tradition of cosmological knowledge to explain a range geomantic Divination between state of everyday occurrences in rural areas such as disease, mental Orthodoxy and Popular Religion disorders, accidents and common mischief. Although Chinese authorities have opposed the tradition for centuries, it has been used by almost everyone as an aspect of popular cosmology. This paperback edition of the 2003 hardback introduces new material, responding to the evolving scholarly debate and reflecting changes in Chinese society, culture and beliefs. ‘This valuable study will be required reading for scholars of Chinese religion, and makes a valuable contribution to the anthropology of religion.’ – Joseph Bosco, ‘East Asia’ ‘[This book] offers significant insights into the working of diverse coexisting traditions ... [and will] undoubtedly remain an important work in the studies of contemporary China’s transformation as well as postcolonial cultural development.’ – Yinong Xu, ‘China Review International’ ‘Ole Bruun’s direct observations of fengshui … are the
    [Show full text]
  • 2015-09-A030.Pdf
    Tea Sutra By Lu Yu 陸 (733-804 CE) 羽 茶 經 The Origin of Tea CHAPTER I CHAPTER ea is a magnificent tree growing in the South. processed well, or tea adulterated with other plants or Tea trees range from one or two feet to tens of herbs can eventually lead to illness.11 T 巴山 1 Similar to ginseng, the potency of tea grown in dif- feet tall. In Bashan ( ) and the river gorges of Sichuan there are tea trees growing to such a size that ferent regions is different. The best ginseng is grown in it would take two people hand in hand to embrace their Shangdang,12 the second grade is grown in Baekje and circumference. Because these trees are so very tall, the Silla,13 while the lowest grade is grown in Goguryeo.14 branches need to be cut down to harvest the leaves.2 Ginseng grown in the Zezhou,15 Yizhou,16 Youzhou17 The shape of tea trees resembles those of other and Tanzhou18 areas of China has no medicinal potency camellia. The leaves look like those of a gardenia and at all, not to mention other ginseng. If one unfortu- the little white flowers are so many lovely rosettes. Tea nately takes ladybell,19 which bears a strong resemblance seeds are like those of palms with stems like clover, to ginseng, it could even cause an incurable disease! while the root system is similar to walnut trees. Understanding how different kinds of ginseng have dif- There are three different ways to interpret the char- ferent effects, you can appreciate how diverse the affects acter tea, “cha (茶)” in Chinese.
    [Show full text]
  • 5 Bees in China a Brief Cultural History
    5 Bees in China A Brief Cultural History David Pattinson Although we know that honey was being consumed in China by the seventh millennium BCE, and that honey hunting and beekeeping were common throughout China during the imperial period, bees are not as prominent in Chinese history and culture as they were in some other parts of the world.1 Bees do not begin to emerge clearly from the broader category of feng 蜂, which includes wasps, until the second century CE, and the first literary meditation upon them is a rhapsody composed in the early fourth century CE. While numerous texts mention bees, few elaborate on them, either descriptively or imaginatively. The pictorial record of bees is poor, and there are hardly any images in which bees or their hives are used symbolically. No ‘royal bee- keeper’ is mentioned in the Western Han (206 BCE–25 CE) Zhouli 周禮 (Rites of Zhou) or other texts relating to governance, and there seems to have been little government interest in beekeeping; it was not until the Yuan dynasty that beekeeping was added to agricultural manuals, and its place in such manuals was not assured even after that.2 Despite their marginal place in cultural representations of animals in China, a lore about them did emerge during the pre-Qin period, which became more elaborate over time. This chapter traces the broad contours of this process, which has, as yet, not been systematically described in existing scholarship.3 It will first examine some early descriptions of feng and the negative character- istics normally associated with them.
    [Show full text]
  • Roel Sterckx
    Reviews 129 Roderich Ptak (ed.), Tiere im alten China: Studien zur Kulturgeschichte, Wiesbaden: Harrassowitz Verlag (Maritime Asia; 20), 2009, 192 pp. Roel Sterckx [Roel Sterckx FBA is Joseph Needham Professor of Chinese History, Science, and Civilization at the University of Cambridge and a Fellow of Clare College. His publications include The Animal and the Daemon in Early China (Albany: State University of New York Press, 2002), Food, Sacrifice, and Sagehood in Early China (New York: Cambridge University Press, 2011), and articles and chapters dealing with the cultural history of pre-imperial and early imperial China. Contact: [email protected]] This volume brings together nine essays that originated in a workshop held at the University of Munich in 2008. All papers deal with aspects of the cultural history of a particular animal species across a wide source base ranging from antiquity through to the Qing period. The focus, its editor notes in the introduction, is not so much on human-animal relationships but the animal “of itself” (an sich). The result is a series of essays rich in detail, annotation and description, illustrated with sixteen plates. Thomas Kaiser (‘Unsterblich problematisch: Grus japonensis’) examines the morphology, taxonomy, and ecology of the bird referred to today as the dandinghe 丹頂鶴, also known as the Manchurian, Japanese or red-crowned crane, and one among four other crane species present in China. His survey reviews a number of names for the crane that appear in historical sources and that, each in their own way, associate the crane with the themes of longevity and immortality.
    [Show full text]