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Eulogy for Burying a Crane and the Art of Chinese Calligraphy
This chapter is in the book Eulogy for Burying a Crane and the Art of Chinese Calligraphy
163NotesINTRODUCTION1 See Zhenjiang Shi Minjian Wenyi Yanjiuhui, Zhenjiang minjian gushi, 13–15. 2 For a description of the environment of the island and inscription, see Lu Jiugao, “Jiaoshan fang Yi he ming keshi,” 26–33; and Yuan Daojun, Jiaoshan shike yanjiu. 3 Zhenjiang Bowuguan, “Zhenjiang Jiaoshan Yi he ming beike fajue jianbao.” 4 Mizuno Seiichi’s short but informative essay still serves as the best introduction to the inscription and its reception history (Mizuno, “Egakumei ni tsuite”). 5 The pre-modern scholarship was compiled in Wang Shihong’s (1658–1723) book Yi he ming kao and Wu Dongfa (1747–1803), Yi he ming kao. For a recent collection of docu-mented materials, see Luo, Yi he ming yanjiu. 6 As far back as the late eleventh century, only six extant works of calligraphy by Tao Hongjing were known in the Northern Song imperial collection catalog (see Xuanhe shupu, 8.2b–3a). Three other works, all in small script, were reportedly found in private collections in Zhou Mi, Yunyan guoyan lu, 2.1b. Among the very few works that show a certain connection to Tao is Letter of Entering Mountains (Ru shan tie), also known as Letter of Emperor Yuan (Yuandi tie), that appears in Model Letters of the Halting Cloud Hall (Tingyunguan tie; published 1537–1560). Its calligraphy, however, bears little resem-blance to any sixth-century works and thus has long been dismissed. For a collection of comments on the alleged Tao Hongjing piece, see Zhou Daozhen, Tingyunguan tie huikao, 54–56. For a survey of these recorded and extant works, see Lu Renlong, “Tao Hongjing.” See also Kōzen Hiroshi’s discussion of Tao’s calligraphy in relation to his Daoist practice (Kōzen, “Shoga no rekishi”). 7 For the two stone well fences, see SDZS 5:142–43 and Chen Shihua, “Heming, Tianjian jinglan yu Tao Hongjing shufa.” In 1986, bricks said to be from the tomb of Tao were found near Maoshan. The style of the carvings on the bricks, according to the author of the archaeological report, is close to that of Eulogy for Burying a Crane. See Chen Shihua, “Tao Hongjing shu muzhuan.” For a further study of the bricks, see Mugitani Kunio, “Ryō tenkan juhachi nen kinenmei bosen.” 8 Shen Dacheng (1700–1771) attributed the Eulogy to Pi Rixiu (ca. 834–ca. 902), a late Tang poet who lived not far away from Maoshan and did write other poems on a dead crane (Shen, Xuefuzhai ji, 29a–30b). His theory is echoed in a recent study by Wang Jiakui (Wang, Tao Hongjing congkao, 294–312). Some scholars agree on a late Tang date but not the above authorship (Bian Xiaoxuan, Dongqing shuwu biji, 352–64; Chen Yaodong, “Yi he ming de shidai,” 16–23). The attribution to Wang Xizhi, though dis-missed by most premodern and modern scholars, continues to be embraced today (Liu Jianguo and Pan Meiyun, Yi he ming).XUE_EuologyCrane_Fifth.indd 16310/28/19 1:26 PM
© 2019, University of Washington Press

163NotesINTRODUCTION1 See Zhenjiang Shi Minjian Wenyi Yanjiuhui, Zhenjiang minjian gushi, 13–15. 2 For a description of the environment of the island and inscription, see Lu Jiugao, “Jiaoshan fang Yi he ming keshi,” 26–33; and Yuan Daojun, Jiaoshan shike yanjiu. 3 Zhenjiang Bowuguan, “Zhenjiang Jiaoshan Yi he ming beike fajue jianbao.” 4 Mizuno Seiichi’s short but informative essay still serves as the best introduction to the inscription and its reception history (Mizuno, “Egakumei ni tsuite”). 5 The pre-modern scholarship was compiled in Wang Shihong’s (1658–1723) book Yi he ming kao and Wu Dongfa (1747–1803), Yi he ming kao. For a recent collection of docu-mented materials, see Luo, Yi he ming yanjiu. 6 As far back as the late eleventh century, only six extant works of calligraphy by Tao Hongjing were known in the Northern Song imperial collection catalog (see Xuanhe shupu, 8.2b–3a). Three other works, all in small script, were reportedly found in private collections in Zhou Mi, Yunyan guoyan lu, 2.1b. Among the very few works that show a certain connection to Tao is Letter of Entering Mountains (Ru shan tie), also known as Letter of Emperor Yuan (Yuandi tie), that appears in Model Letters of the Halting Cloud Hall (Tingyunguan tie; published 1537–1560). Its calligraphy, however, bears little resem-blance to any sixth-century works and thus has long been dismissed. For a collection of comments on the alleged Tao Hongjing piece, see Zhou Daozhen, Tingyunguan tie huikao, 54–56. For a survey of these recorded and extant works, see Lu Renlong, “Tao Hongjing.” See also Kōzen Hiroshi’s discussion of Tao’s calligraphy in relation to his Daoist practice (Kōzen, “Shoga no rekishi”). 7 For the two stone well fences, see SDZS 5:142–43 and Chen Shihua, “Heming, Tianjian jinglan yu Tao Hongjing shufa.” In 1986, bricks said to be from the tomb of Tao were found near Maoshan. The style of the carvings on the bricks, according to the author of the archaeological report, is close to that of Eulogy for Burying a Crane. See Chen Shihua, “Tao Hongjing shu muzhuan.” For a further study of the bricks, see Mugitani Kunio, “Ryō tenkan juhachi nen kinenmei bosen.” 8 Shen Dacheng (1700–1771) attributed the Eulogy to Pi Rixiu (ca. 834–ca. 902), a late Tang poet who lived not far away from Maoshan and did write other poems on a dead crane (Shen, Xuefuzhai ji, 29a–30b). His theory is echoed in a recent study by Wang Jiakui (Wang, Tao Hongjing congkao, 294–312). Some scholars agree on a late Tang date but not the above authorship (Bian Xiaoxuan, Dongqing shuwu biji, 352–64; Chen Yaodong, “Yi he ming de shidai,” 16–23). The attribution to Wang Xizhi, though dis-missed by most premodern and modern scholars, continues to be embraced today (Liu Jianguo and Pan Meiyun, Yi he ming).XUE_EuologyCrane_Fifth.indd 16310/28/19 1:26 PM
© 2019, University of Washington Press

Chapters in this book

  1. Frontmatter i
  2. Contents v
  3. Acknowledgments vii
  4. Chronology of Chinese Dynasties ix
  5. Maps xi
  6. Introduction 1
  7. 1. Inscribing the Island 17
  8. 2. Discovering the Past 45
  9. 3. Remaking the Model 77
  10. Conclusion 107
  11. Appendix 1: Dated Moya Inscriptions at Jiaoshan 139
  12. Appendix 2: Major Extant Early Rubbings of Eulogy for Burying a Crane 142
  13. Appendix 3: Chinese Texts 147
  14. Glossary of Chinese Characters 155
  15. Notes 163
  16. Bibliography 187
  17. Index 209
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https://doi.org/10.1515/9780295746357-013

Chapters in this book

  1. Frontmatter i
  2. Contents v
  3. Acknowledgments vii
  4. Chronology of Chinese Dynasties ix
  5. Maps xi
  6. Introduction 1
  7. 1. Inscribing the Island 17
  8. 2. Discovering the Past 45
  9. 3. Remaking the Model 77
  10. Conclusion 107
  11. Appendix 1: Dated Moya Inscriptions at Jiaoshan 139
  12. Appendix 2: Major Extant Early Rubbings of Eulogy for Burying a Crane 142
  13. Appendix 3: Chinese Texts 147
  14. Glossary of Chinese Characters 155
  15. Notes 163
  16. Bibliography 187
  17. Index 209
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