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On the fifth anniversary of the establishment of the Kyoko Selden Memorial Translation Prize through the generosity of her colleagues, students, and friends, the Department of Asian Studies at Cornell University is pleased to announce the winners of the 2018 Prize.
This article summarizes relevant historical developments involving Taiwan and Okinawa in Asia-Pacific multilateral relations over the longue durée, and suggests future prospects.
1. Both Taiwan and the Ryukyus are within the Kuroshio (Black Tide) Current Civilization Zone (from approximately the beginning of the 3rd Century): At that time, crops such as cassava and yams traveled northbound with the Kuroshio Currents, which ran from the Philippines to Taiwan and the Ryukyus to Kyushu, while crops such as millet in northern parts of South East Asia traveled to Taiwan via the South Sea and further traveled to the Ryukyus and Kyushu. Together with the path of rice from south of China's Yangtze River via Korea to Kyushu, Japan these were two important sea-borne cultural exchange paths in the Asia-Pacific. However, by the 3rd Century, the direct route from south of the Yangzi to central Japan, as well as the Silk Road from Chang'an in Northwest China to Central Asia, and the shipping route from Guangzhou to India superseded the aforesaid routes. As a result, Taiwan and the Ryukyu Islands became isolated on the international stage for about one thousand years (Ts'ao, 1988).
The archeological discoveries of the past several decades have radically expanded our knowledge of the Laozi and its context. Thus far, most research has focused on the various manuscript versions of the text itself, but there is another way in which archeological evidence has changed our knowledge of the Laozi: the discovery of several other cosmogonic texts, all dated to around the same time as the Guodian materials. While these texts share some concerns and assumptions, they also disagree and offer conflicting positions. Thus rather than assuming that anything sounding vaguely like the Laozi is saying the same thing in different words, we should be attuned to subtle differences on issues ranging from cosmogony to conceptions of action. We should also allow for the possibility that the Laozi itself incorporates diverse positions. This article analyzes one particular example, the role of “the one” (yi 一) in the Laozi. It argues that the five chapters discussing the one represent an attempt to incorporate what was originally a distinct position that took the one as the ultimate and had no concern with the interdependence of opposites. That position is expressed in the recently discovered Fanwu liuxing.
Wang Zongyu’s chapter is a philological analysis of different recensions of medical recipes in the seminal Daoist text Array of the Five Talismans, found in Daoist and medical collectanea. Beyond reminding us of the common discourse and practice among Daoists and physicians, Wang’s essay alerts us to the materiality of manuscripts that is occluded not only by modern print editions but by traditional woodblock prints as well.
Keywords: medieval medicine, medical recipe collections, manuscript history, Array of the Five Talismans
The second juan of the Array of the Five Talismans (Taishang lingbao wufuxu 太上靈寶五符序 DZ 388; hereafter Array), consisting of dozens of medicinal recipes, presents us with numerous textual problems. This chapter will only be able to touch upon a few issues. In her 2011 study of the second juan of the Array, Ikehira Noriko 池平紀子 primarily used Dunhuang manuscript S.2438, the Yunji qiqian 雲笈七籤 DZ 1032 (hereafter YJQQ), and Methods for Abstaining from Grains from the Scripture of Great Purity (Taiqingjing duangu fa 太清經斷穀法 DZ 846) to compare textual variants of recipes. While she examines multiple sources and variants, Ikehira’s stimulating discussion centers on Buddho-Daoist interaction. This essay builds upon her work.
The discussion of textual variants is not merely a philological exercise to determine the correct, or best, reading of a text. The very existence of different textual recensions forces us to recognize the materiality of texts in medieval China as hand copied manuscripts circulated among initiates and within lineages of practitioners, and only sometimes available to more public view. Single recipes, or collections of recipes, circulated independently of the texts in which we find them today, and were often copied and reformulated within different compilations.
A. The Basic Textual Sources
I begin my examination with textual criticism in order to obtain a definitive version of the Array. The first step in this process is to ascertain the correct words of the text. These two tasks are very difficult. While the Zhonghua daozang edition has only one instance of emended textual criticism of the Array, I believe there are several tens of instances where textual criticism is needed, but I am currently unable to fully emend the entire text. While I still have doubts about certain passages, I have no evidentiary basis for emending them.
The Xia-Shang Zhou Chronology Project was a five-year state-sponsored project, carried out between 1995–2000, to determine an absolute chronology of the Western Zhou dynasty and approximate chronologies of the Xia and Shang dynasties. At the end of the five years, the Project issued a provisional report entitled Report on the 1996–2000 Provisional Results of the Xia-Shang Zhou Chronology Project: Brief Edition detailing its results. A promised full report was finally published in 2022: Report on the Xia-Shang Zhou Chronology Project. Although numerous discoveries in the more than twenty years between the publications of the Brief Edition and the Report have revealed that the Project's absolute chronology of the Western Zhou is fundamentally flawed, and some of the problems are acknowledged by the Report, still the Report maintains the Project's chronology without any correction. In the review, I present four of these discoveries, from four different periods of the Western Zhou, discussing their implications for the Project's chronology. I conclude with a call for some sort of authoritative statement acknowledging the errors in the report.
Cai Zhengren 蔡正仁 (b. 1941) of the Shanghai Troupe [Appendix I] is arguably the best-known active sheng 生, famed especially for his portrayal of daguansheng 大官 生 roles, such as the emperor in The Palace of Lasting Life (Changsheng dian 長生殿) as well as for qiongsheng 窮生 parts. A student of Yu Zhenfei 俞振飛 [Appendix H], and former leader of the Shanghai Troupe, he was awarded the Plum Blossom Prize (Meihua jiang 梅花獎) in 1986.
Synopsis
For the general background to The Palace of Lasting Life see Lecture 5. In this scene, the emperor, still in exile in Sichuan, continues to be tortured by grief and regret following the death of Precious Consort Yang Guifei 楊貴妃. He has commissioned a sculpture of her likeness which is now ready to be instated.
Role Types
The role of the emperor, Tang Minghuang 唐明皇, belongs to the broad category of sheng 生 or xiaosheng 小生, the narrower category of guansheng 官生 and, most narrowly, daguansheng 大官生, which is reserved for high officials as well as the emperor. Although bearded and in this case elderly, the singing register remains partially falsetto like that of most sheng rather than the purely modal voice used by other bearded roles. In the lecture, Cai Zhengren specifically warns against the risk of giving the appearance of low status when adopting a more elderly gait, since the gravitas of the role means that movements must have a certain amplitude, which he also contrasts with the smaller movements of the comic xiaohualian 小花臉 or chou 丑, who features in this scene in the person of the palace eunuch Gao Lishi 高力士. Given the emperor's miserable frame of mind, however, he does borrow some movements from the qiongsheng 窮生 role type, which is used to depict sheng fallen on hard times.
Performance
Cai Zhengren's performance is available in a 1992 recording, collected in the first volume of Kunju Collection (Kunju xuanji 崑劇選輯), published in Taiwan.
A recent study of David W. Pankenier has held that the twenty-two cyclical signs emerged at an early, perhaps pre-Shang, stage in intimate association with a nascent calendrical astronomy. I attempt a systematic elaboration of this conjecture, with critical recourse to the conviction that observed connections between the signs and the larger Old Chinese lexicon and graphicon are material and not incidental, as has been universally assumed. Following a brief introduction, presented first is a series of etymological and epigraphical analyses of the Di Zhi offering the view that the Branches originated as a set of lunar phase names. The subsequent and more cursory treatment of the Tian Gan, built around Pankenier's specific claims regarding the original stellar status of traditional fourth member ding 丁, provides support for an interpretation of the Stems as first naming a cycle of ten asterisms proximate to the ecliptic. It is proposed finally that employment of these two astronomical series in concert, as in composition of unitary records of phase and position of the moon, might sensibly account for the distinctive parallel-cycling operation of the sexagenary series of Shang and later eras.
The Jesuit Joachim Bouvet established an analogy between the binary arithmetic developed by Leibniz and the diagram Fuxi liushisi gua fangwei (or FX64), attributed to Shao Yong, which organizes the sixty-four hexagrams according to the Fuxi/Xiantian order. Consequently, this diagram could be considered as binary. Some scholars argue that the diagram is not binary because of the different construction of the two systems and the “wrong” reading direction used by Bouvet and Leibniz—opposite to the one used in China. Nevertheless, by a superimposition of Leibniz’s binary table and of the derivation table used to construct the diagram, this article shows that the diagram is binary, since it is constituted of two elements and the binary system can use other symbols than 0 and 1. The reverse methodology used in constructing the two systems because of their different purpose—division for the FX64 diagram and multiplication for Leibniz’s dyad—allows their reading from either one direction or the reverse. This does not affect the fact that they are both binary, since it leads to the same form and structure.