86
CHUANG SHEN
Beginning from the Northern Sung period, speaking in general, editing principles applied to writings of either individual works or history of painting or calligraphy were two-fold. According to the first principle, records or descriptions of either painting or calligraphy were separated as two unrelated sections. But according to the second principle, they were combined together into one chronicle.
During the Sung periods, there were two kinds of writings completed in accordance with the first principle; namely, official compilations in contrast to private compilations. In regard to the former, for instance, the Hsüan-ho shu-p'u and the Hsüan-ho hua-p'u are both typical works edited under the imperial order of Emperor Hui Tsung (re. 1082-1135); whereas the Hai-yüeh shu-shih and Hua-shih, both written by Mi Fei (1051-1107) are the best examples of writing on the history of calligraphy and painting among private compilations. Apparently, however, after the Sung periods, official writings on history of either painting and calligraphy were scarcely compiled. The reflourishing of such a tradition was not brought back until the Ch'ing period during the late 17th century.
Nevertheless, the editing principle of separating records of painting and calligraphy into two unrelated sections had already become an influential tradition. After the Sung periods, a number of books dealing with either painting or calligraphy were edited in this way.
During the Ming period, the most distinguished works on painting and calligraphy were probably the following three: firstly, the Shu-yüan 12 chuan and the Hua-yüan 4 chuan, both edited by Wang Shih-chen (1526-1590); secondly, the San-hu-wang hua-lu and San-hu-wang shu-lu (each of which has 24 chuan) both edited in 1643 by Wang Ko-yü; thirdly, the Tieh-wang san-hu edited in 1597 by Chu Ts'un-li (The first edition has 8 chuan altogether; 4 chuan are dedicated to painting and the other 4 to calligraphy. Yet, in its second edition amended in 1610, this record was expanded to 16 chuan, with 10 chüan for calligraphy and 6 for painting.) In these three works, the records of painting and calligraphy were all divided into two unrelated sections.
During the Ch'ing period, many works that dealt with the history of either painting or calligraphy were compiled according to the
86
CHUANG SHEN
Beginning from the Northern Sung period, speaking in general, editing principles applied to writings of either individual works or history of painting or calligraphy were two-fold. According to the first principle, records or descriptions of either painting or calli- graphy were separated as two unrelated sections. But according to the second principle, they were combined together into one chronicle.
During the Sung periods, there were two kinds of writings com- pleted in accordance with the first principle; namely, official com- pilations in contrast to private compilations. In regard to the for- mer, for instance, the Hsüan-ho shu-p'u ✩✩ and the Hsüan-
:
ho hua-p'u are both typical works edited under the imperial order of emperor Hui Tsung (re. 1082-1135); whereas the Hai-yüeh shu-shih ✯✯✯✯ and Hua-shih £, both written by Mi Fei (1051-1107) are the best examples of writing on the history of calligraphy and painting among private compilations. Apparently however, after the Sung periods, official writings on history of either painting and calligraphy were scarcely compiled. The reflourishing of such a tradition was not brought back until the Ch'ing period during the late 17th century.
Nevertheless, the editing principle of separating records of pain- ting and calligraphy into two unrelated sections had already become an influential tradition. After the Sung periods, a number of books dealing with either painting or calligraphy were edited in this way.
During the Ming period, the most distinguished works on pain- ting and calligraphy were probably the following three: firstly, the Shu-yüan ✯ ✯ 12 chuan and the Hua-yüan # 4 chuan, both edited by Wang Shih-chen E (1526-1590); secondly, the San- hu-wang hua-lu and San-hu-wang shu-lu ✶✶ (each of which has 24 chuan) both edited in 1643 by Wang Ko-yü ££; thirdly, the Tieh-wang san-hu
edited in 1597
by Chu Ts'un-li (The first edition has 8 chuan altogether; 4 chuan are dedicated to painting and the other 4 to calligraphy. Yet, in its second edition amended in 1610, this record was expand- ed to 16 chuan, with 10 chüan for calligraphy and 6 for painting.) In these three works, the records of painting and calligraphy were all divided into two unrelated sections,
During the Ch'ing period, many works that dealt with the history of either painting or calligraphy were compiled according to the
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