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The Culture of Marginalia in Mid-Song Dynasty China (1050-1200)

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The Culture of Marginalia in Mid-Song Dynasty China (1050-1200) Lasting Ephemera: The Culture of Marginalia in Mid-Song Dynasty China (1050-1200) The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Liu, Chen. 2018. Lasting Ephemera: The Culture of Marginalia in Mid-Song Dynasty China (1050-1200). Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42015442 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Lasting Ephemera: The Culture of Marginalia in Mid-Song Dynasty China (1050–1200) A dissertation presented by Chen Liu to The Department of East Asian Languages and Civilizations in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of East Asian Languages and Civilizations Harvard University Cambridge, Massachusetts September 2017 © 2017 – Chen Liu All rights reserved. Dissertation Advisor: Professor Stephen Owen Chen Liu Lasting Ephemera: The Culture of Marginalia in Mid-Song Dynasty China (1050–1200) Abstract This dissertation explores the transformations in the boundaries of Chinese literary landscape during the Song dynasty (960–1279) by examining the emergence of a group of new genres such as letterets 簡, tiba colophons 題跋, remarks on poetry 詩話, and biji 筆記. These marginalia texts, casual in style, diverse in content, and rarely circulated widely in public before the Song, gained remarkable popularity from mid-eleventh century onwards and were compiled and published in large quantities. By tracing the textual history of these writings within the socio-political, intellectual and cultural contexts of the time, I argue that these genres flourished because they provided an alternative, non-public discursive space that was largely unpenetrated by the literary censorship that stormed traditional genres such as poetry. Given their restricted circulation without the expectation of publication, literati could dispense with certain moral judgments when writing in these genres and freely articulate their thoughts on subjects that were considered inappropriate for the more formal genres. In addition, following the cataclysmic Northern-Southern Song transition, people increasingly appreciated these writings as unembellished representations of literati life from the past era. Such nostalgia, coupled with the proliferation of printing during the Southern Song, stimulated a fervor among authors, compilers and publishers to amass these writings and set them to print, thus securing their establishment as new genres. iii Drawing sources from original manuscripts, inscriptions on objects and artworks, as well as transmitted collections, my inquiry weaves together three interlocking themes: first, the contents, styles, and aesthetics that came to define these miscellaneous writings; second, the impact of the transition from manuscript culture to print culture on the production, transmission and reception of these texts; lastly, the changing political and intellectual milieu from late Northern to early Southern Song. To that end, Chapter 1 begins by looking at letterets, and argues that a hierarchical circulation network for these texts made possible an exclusive community of writers and readers, as well as the formation of unique aesthetic tastes in Song epistolary culture. Chapter 2 examines tiba, a type of short notes akin to the colophon in Western manuscripts but with a much wider range of target subjects, both tangible and intangible. By probing tiba’s functions of framing and replacing its subjects, I reveal the material basis of its transformation from a type of inscriptive writings on specific objects to a more general genre about objects and personal experiences. Chapter 3 examines “remark on poetry,” and argues that it flourished in the hands of the transitional generation of writers who attempted to redefine the values of poetry against the draconian intellectual environment of the day. Chapter 4 looks at anecdotal writings or biji, particularly those that focus on representing the fall of the Northern Song. In contrast to other formal genres such as poetry and official history, biji constituted an indispensable venue for the transitional generation to make sense of and offer personal reflections on the traumatic dislocations of their time. Overall, this dissertation paints a dynamic picture of how a group of marginalia texts originally meant to be ephemeral adopted add-on cultural values and became lasting mementos of a lost era, and how generic categories, aesthetic yardsticks, and the very meaning of “literature” evolved as a result of emerging modes of textual transmission. iv Table of Contents Abstract ……………………………………………………………………………………….. iii Table of Contents ……………………………………………………………………………. v List of Figures and Tables …………………………………………………………………... vii Acknowledgements …………………………………………………………………………. viii Prologue: Centering the Marginalia ……………………………………………………… 1 Introduction ……………………………………………………………………………. 1 Marginal texts and evolving boundaries of the Chinese literary landscape …….. 3 Political, cultural and intellectual milieu of Song China …………………………... 6 The rise of literati and literati culture …………………………………………... 6 Politics, literature, and the demarcation of textual spaces …………………… 12 The Northern-Southern Song transition and the “transitional generation” ... 15 The flourishing of printing and shifting modes of textual transmission …… 18 Conceptualization of “genre” and the writing of Song literary history …………. 22 Outline of dissertation ………………………………………………………………… 27 1. “Unburnt” Epistles: The Emergence of Letteret 簡 in Song Dynasty China ………... 31 Introduction ……………………………………………………………………………. 31 1.1. The hybrid network of letteret transmission ………………………………………... 39 1.2. The “unburnt” letterets and a textual space of privacy ……………………………. 47 1.3. “Just for a laugh:” The playfulness of everyday mundanity ……………………… 54 1.4. Collecting and printing letterets: A case study of Ouyang Xiu’s shujian ……....... 68 Conclusion …………………………………………………………………………....... 78 2. “Colophons” Inscribed on Tombstones: The Rise of Tiba 題跋 as a Literary Genre .. 80 Introduction ……………………………………………………………………………. 80 2.1. From ti and ba to tiba …………………………………………………………………... 85 2.2. Redefining human-object relationships ……………………………………………... 90 2.2.1. Tiba as frame ………………………………………………………………........ 92 2.2.2. Tiba as replacement ………………………………………………………........ 101 2.2.3. Obsession and ownership …………………………………………………….. 107 2.3. Negotiating self and community …………………………………………………….. 110 2.3.1. Encountering oneself from the past ………………………………………….. 111 2.3.2. Losing the spontaneous self …………………………………………………... 115 v 2.3.3. Vignettes of friendship ………………………………………………………... 118 2.4. Setting tiba to tombstone ……………………………………………………………… 124 Conclusion …………………………………………………………………………....... 134 3. “Leisure Talks” for Posterity: Remarks on Poetry 詩話 and the Song Articulations of the Poetic Past ……………………………………………………………………… 137 Introduction ……………………………………………………………………………. 137 3.1. Textual conditions of Song dynasty shihua…………………………………………... 142 3.2. The (in)visible “I” and the subjectivity of the narrator in early shihua……………. 147 3.3. Situating oneself within the poetic tradition ………………………..………………. 158 3.3.1. Preserving and interpreting poetry …………………………..……………… 159 3.3.2. Defining the Song poetic canon: Masters, schools, and lineages ..………... 167 3.3.3. A case study: Ye Mengde and Shilin shihua …………………………………. 172 3.4. Shihua and the birth of the “Jiangxi Poetry School”………………………………… 181 Conclusion ……………………………………………………………………………… 195 4. No “Minor Talks:” Biji 筆記 as Personal History of the Northern-Southern Song Transition …………………………………………..….….……………………………. 198 Introduction …………………………………………..……………………………....... 198 4.1. Portraying the transition: A case study of Li Gang …………...……………………. 207 4.1.1. Contextualizing the past in poetry and biji …………………………………. 208 4.1.2. Notes for posterity versus notes for the court ………………………………. 221 4.1.3. Transmitting the truth with personalized history ….………………………. 230 4.2. Making the generic choice among the transitional generation ……….…………... 235 4.3. The making and remaking of biji collections ...……………………………………... 242 Conclusion ……………………………………………………………………………… 249 Epilogue: Marginalia, Genre, and the Boundaries of “Literature” Revisited ………. 253 Mechanisms of genre formation ……………………………………………………... 255 Revisiting the meaning of “literature” and Song literary history ………………… 257 Limitations and outlook ………………………………………………………………. 260 Bibliography ………………………………………………………………………………… 262 vi List of Figures and Tables Figure 1.1. Pages from the Tenri edition of Ouyang Wenzhong gong ji, showing a previously unknown shujian of Ouyang Xiu, “Yu Du langzhong” 與杜郎 中 …………………………………………………………………………………... 73 Figure 2.1. Han Gan’s Night-Shining White (digitally modified to show its original form) ………………………………………………………………………………. 81 Figure 2.2. Han Gan’s Night-Shining White (digitally modified to show its state by the end of the thirteenth century, with Zhang Yanyuan and Mi Fu’s signatures and other inscriptions) …………………………………………………………... 81 Figure 2.3. Han Gan’s Night-Shining White (current state), handscroll, ink on paper, 30.8 × 34 cm. (The Metropolitan Museum of Art, Purchase, The Dillon Fund Gift, 1977 [197.78])
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