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譜錄類

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Overview — KR3i 譜錄類 Pǔlù lèi

Scope and scholarly tradition

KR3i corresponds to the Sìkù quánshū category 譜錄類 pǔlù lèi, the eighth division of the Zǐbù 子部 (Masters Branch), reserved for monographs that take a single physical object — an implement, a foodstuff, a plant, an animal, a mineral — as their subject and exhaust it from every angle: origin, manufacture, geography, taxonomy, anecdote, and poetry. As Wilkinson notes (§36.1, §36.20), the Sìkù editors created the category to gather the heterogeneous “miscellaneous handbooks” (his phrase) that had accumulated since the Tang and did not fit neatly into the older zájiā 雜家 or nóngjiā 農家 rubrics — works on tea, ink, inkstones, incense, flowers, fish, and crabs whose only common feature is the single-object-monograph form. The model is Lù Yǔ’s 陸羽 Chájīng 茶經 (c. 760, KR3i0019), whose audacious claim to jīng (classic) status — a title-form reserved in the Han–Tang tradition for canonical scripture — was accepted by later writers and made the X-jīng / X-pǔ / X-lù / X-shǐ monograph a legitimate Chinese literary kind.

The chronological centre of gravity of KR3i sits firmly in the Sòng (especially Northern Sòng to mid-Southern Sòng, c. 980–1250), the period in which literati connoisseurship of the studio-objects, of tea, wine, and flowers, and of regional specialties such as lychee and citrus crystallised into a self-conscious genre. Sū Yìjiǎn’s Wénfáng sìpǔ 文房四譜 of 986 (KR3i0002) is the foundational systematic pǔ, and Ōuyáng Xiū’s Luòyáng mǔdān jì 洛陽牡丹記 of c. 1031–34 (KR3i0029) initiates the flower-treatise sub-tradition; the form is then taken up by Cài Xiāng, Mǐ Fú, Fàn Chéngdà, Hán Yànzhí, and many others. The division also collects a late-imperial layer of imperially-commissioned, court-printed compendia (Qīndìng Xīqīng yànpǔ of 1778 KR3i0009; Qiánlù of 1750 KR3i0014; Yùdìng Pèiwénzhāi guǎng qúnfāng pǔ of 1708 KR3i0044), in which the private literati genre is reabsorbed into Qīng imperial cultural policy. A handful of pre-Sòng works (Dài Kǎizhī’s Zhúpǔ of c. 400–490 KR3i0040, Biàn Bīn’s Qínshòu juélù of c. 483–500 KR3i0051, Lù Yǔ’s Chájīng, and Zhāng Yòuxīn’s Jiānchá shuǐjì KR3i0025) furnish the genre’s prehistory, while the early-Qīng Xù chájīng 續茶經 (KR3i0024) and the polymathic Yìyú túzàn cluster (KR3i0048–KR3i0050) show its late afterlife. One conspicuous outlier — the Qíqì túshuō 奇器圖說 (KR3i0001) of 1627, the Jesuit Johann Schreck’s collaboration with Wáng Zhēng on European mechanical engineering — sits within KR3i only by Sìkù default, lacking any other obvious home; it should be read as Jesuit-Chinese collaboration literature, not as pǔlù properly.

Important texts and text clusters

The principal texts and recognised clusters within KR3i, in rough thematic order:

  • The foundational monographs. Chájīng 茶經 by Lù Yǔ (KR3i0019) — the genre’s seed and the model from which most later pǔlù derive. Wénfáng sìpǔ 文房四譜 by Sū Yìjiǎn (KR3i0002) — the first systematic monograph on the wénfáng sìbǎo 文房四寶 (brush, inkstone, paper, ink) and the structural template for later studio-object treatises.

  • The inkstone (硯) cluster. Yànshǐ 硯史 by Mǐ Fú (KR3i0003) — the most influential single-author treatise on inkstones; Shèzhōu yànpǔ 歙州硯譜 (KR3i0004), Shèyàn shuō 歙硯說 (KR3i0005), Duānxī yànpǔ 端溪硯譜 (KR3i0006), Yànpǔ 硯譜 (KR3i0007), and Yànjiān 硯箋 by Gāo Sìsūn (KR3i0008) — a tight Sòng sub-tradition on the regional inkstones of Shèzhōu and Duānxī; Qīndìng Xīqīng yànpǔ 欽定西清硯譜 (KR3i0009) — the Qiānlóng court’s lavish catalogue of the imperial inkstone collection, which closes the cluster from above.

  • The ink (墨) cluster. Mòpǔ fǎshì 墨譜法式 by Lǐ Xiàoměi (KR3i0010), Mòjīng 墨經 by Cháo Guànyī (KR3i0011), Mòshǐ 墨史 by Lù Yǒu (KR3i0012), Mòfǎ jíyào 墨法集要 by Shěn Jìsūn (KR3i0013) — Sòng–Yuán–Míng treatises on ink-making (composition, soot-grading, glue, moulding) and on the canon of celebrated ink-makers.

  • The incense (香) cluster. Xiāngpǔ 香譜 by Hóng Chú (KR3i0015), Chénshì xiāngpǔ 陳氏香譜 (KR3i0016), Xiāngshèng 香乘 by Zhōu Jiāzhòu (KR3i0017) — Sòng-to-Míng monographs on aromatic materials, blends, and burning customs.

  • The tea (茶) cluster. Chájīng (KR3i0019), Chálù 茶錄 by Cài Xiāng (KR3i0020), Pǐnchá yàolù 品茶要錄 by Huáng Rú (KR3i0021), Xuānhé Beìyuàn gòngchá lù 宣和北苑貢茶錄 (KR3i0022), Dōngxī shìchá lù 東溪試茶錄 (KR3i0023), Xù chájīng 續茶經 by Lù Tíngcàn (KR3i0024), Jiānchá shuǐjì 煎茶水記 (KR3i0025) — together the densest sub-corpus of the division, covering tea-cultivation, manufacture, tribute geography (especially the Beìyuàn 北苑 plantations in Fújiàn), brewing-method, and water-evaluation.

  • The wine and sugar texts. Beìshān jiǔjīng 北山酒經 by Zhū Yìzhōng (KR3i0026) — the most technically detailed Sòng treatise on rice-wine brewing; Jiǔpǔ 酒譜 by Dòu Píng (KR3i0027); Tángshuāng pǔ 糖霜譜 by Wáng Zhuó (KR3i0028) — the first systematic monograph on crystallised sugar manufacture.

  • The flower treatises. Luòyáng mǔdān jì 洛陽牡丹記 by Ōuyáng Xiū (KR3i0029) — the genre-founding flower-treatise; Yángzhōu sháoyào pǔ 揚州芍藥譜 (KR3i0030); the chrysanthemum sequence Liúshì júpǔ (KR3i0031), Shǐshì júpǔ (KR3i0032), Fàncūn júpǔ (KR3i0034), Bǎijú jípǔ (KR3i0035); Fàncūn méipǔ 范村梅譜 (KR3i0033) on plums; Jīnzhāng lánpǔ 金漳蘭譜 (KR3i0036) on the Zhāngzhōu orchids; Hǎitáng pǔ 海棠譜 (KR3i0037) on crab-apple — a tightly-knit Sòng connoisseurship literature on garden flowers, mostly tied to specific regional cultivars.

  • The fruit and plant monographs. Lìzhī pǔ 荔枝譜 by Cài Xiāng (KR3i0038) — the foundational lychee monograph; Júlù 橘錄 by Hán Yànzhí (KR3i0039) — the foundational citrus monograph (Yǒngjiā citrus varieties); Zhúpǔ 竹譜 by Dài Kǎizhī (KR3i0040) — the oldest text in the division, a Six-Dynasties verse-treatise on bamboo; Sǔnpǔ 筍譜 by the monk Zànníng (KR3i0041); Jūnpǔ 菌譜 (KR3i0042) on mushrooms.

  • The dietetic and imperial-flora compendia. Yǐnshàn zhèngyào 飲膳正要 (KR3i0043) — Hū Sīhuì’s 忽思慧 Yuán imperial dietetic manual, distinctive among KR3i for its Inner-Asian (Mongol/Uyghur/Islamic) culinary stratum, treated at length in Wilkinson §36.20 #9; Yùdìng Pèiwénzhāi guǎng qúnfāng pǔ 御定佩文齋廣羣芳譜 (KR3i0044) — the Kāngxī-era 100-juàn imperial flora-and-agriculture compendium, the most encyclopaedic single work in the division.

  • The zoological treatises. Qínjīng 禽經 (KR3i0045) — bird monograph pseudonymously attributed to Shī Kuàng 師曠 with a Zhāng Huá 張華 commentary, in fact a Sòng compilation; Xièpǔ 蟹譜 by Fù Gōng (KR3i0046) and Xièlüè 蟹略 by Gāo Sìsūn (KR3i0047) — the two crab monographs; the Yìyú túzàn cluster — Yáng Shèn’s Yìyú túzàn 異魚圖贊 (KR3i0048), Hú Shìān’s 胡世安 Yìyú túzàn jiān (KR3i0049) and Yìyú túzàn bǔ (KR3i0050) — MíngQīng illustrated encomia on strange fishes, in verse form; and the outlier Qínshòu juélù 禽獸決錄 by Biàn Bīn (KR3i0051), a Southern-Qí allegorical-satirical jué on the moral natures of beasts, surviving in fragments.

  • The numismatic, lithological, and Jesuit outliers. Qiánlù 錢錄 (KR3i0014) — Liáng Shīzhèng’s 1750 Qiānlóng imperial catalogue of coinage; Yúnlín shípǔ 雲林石譜 by Dù Wǎn (KR3i0018) — the foundational monograph on ornamental scholar-stones; Qíqì túshuō 奇器圖說 (KR3i0001) — the Schreck-Wáng Jesuit treatise on European mechanical devices, classified as pǔlù by the Sìkù for want of a better category.

Important persons

  • 陸羽 (Lù Yǔ, 733–805) — author of the Chájīng (KR3i0019); the cháshèng 茶聖 (Sage of Tea), genre-founder of Chinese pǔlù literature.
  • 蘇易簡 (Sū Yìjiǎn, 957–995) — Sòng Hànlín scholar; author of the Wénfáng sìpǔ (KR3i0002) and the immediate genre-founder for the Sòng object-treatise tradition.
  • 米芾 (Mǐ Fú, 1051–1107) — Northern Sòng calligrapher, painter, and connoisseur; his Yànshǐ (KR3i0003) is the most influential single-author inkstone monograph.
  • 歐陽修 (Ōuyáng Xiū, 1007–1072) — the dominant Northern Sòng literatus; his Luòyáng mǔdān jì (KR3i0029) inaugurates the flower-treatise sub-genre.
  • 蔡襄 (Cài Xiāng, 1012–1067) — Northern Sòng calligrapher and Fújiàn official; double presence in the division as author of Chálù (KR3i0020) and Lìzhī pǔ (KR3i0038).
  • 范成大 (Fàn Chéngdà, 1126–1193) — Southern Sòng poet and Sūzhōu-gardener; author of two flower-treatises on his own Fàncūn 范村 garden, Fàncūn méipǔ (KR3i0033) and Fàncūn júpǔ (KR3i0034).
  • 高似孫 (Gāo Sìsūn, fl. 1184) — Southern Sòng polymath; author of Yànjiān (KR3i0008) and Xièlüè (KR3i0047), both representing the more philologically-erudite jiān/lüè sub-style of the genre.
  • 周嘉胄 (Zhōu Jiāzhòu, d. c. 1660) — late-Míng compiler of Xiāngshèng (KR3i0017), the most comprehensive single Chinese treatise on incense.
  • 釋贊寧 (Shì Zànníng, 918–999) — the eminent Sòng-Buddhist historian; author of Sǔnpǔ (KR3i0041), an unusual case of a Buddhist monk producing a secular pǔlù.
  • 戴凱之 (Dài Kǎizhī, fl. 5th c.) — earliest pǔlù author preserved in the division; his Zhúpǔ (KR3i0040) is a Six-Dynasties verse-treatise antedating the rest of the corpus.
  • 忽思慧 (Hū Sīhuì / Hoshoi, fl. 1314–1330) — Yuán court dietitian of probable Uyghur/Inner-Asian extraction; the Yǐnshàn zhèngyào (KR3i0043) introduces a substantial Mongol-Islamic dietetic stratum into the division.
  • 楊愼 (Yáng Shèn, 1488–1559) — Míng polymath in Yúnnán exile; author of the Yìyú túzàn (KR3i0048), basis for the strange-fish cluster.
  • 胡世安 (Hú Shìān, 1593–1663) — MíngQīng transition official; annotator and supplementer of Yáng Shèn’s strange-fish encomia (KR3i0049, KR3i0050).
  • 鄧玉函 (Dèng Yùhán / Johann Schreck, 1576–1630) and 王徵 (Wáng Zhēng, 1571–1644) — co-authors of the Qíqì túshuō (KR3i0001); the only European author represented in the division.
  • 于敏中 (Yú Mǐnzhōng, 1714–1779), 梁詩正 (Liáng Shīzhèng, 1697–1763), 汪灝 (Wāng Hào) — chief Qīng compilers of the three great court-sponsored compendia (Xīqīng yànpǔ, Qiánlù, Pèiwénzhāi guǎng qúnfāng pǔ) that close the division.

Topics

The principal subjects and interpretive problems running through KR3i:

  • The pǔlù as a literati genre. The single-object monograph is one of the most distinctive Chinese contributions to non-fictional prose, and the Sòng explosion of pǔlù writing (c. 980–1250) is bound up with the formation of the Sòng literatus’s material-cultural identity (Bol, Egan). The genre is unintelligible apart from the practice of literati connoisseurship — the assertion that ordinary objects, properly attended to, are worthy of jīng (classic) treatment.

  • The jīng / pǔ / lù / shǐ / jiān / lüè terminological hierarchy. Authors choose the title-form (X-jīng = the most ambitious, claiming classic status; X-shǐ = a history of an object; X-pǔ = a treatise / catalogue; X-lù = a record; X-jiān = annotated notes; X-lüè = a concise survey) as a deliberate generic positioning. The interplay of these terms across the division — Chájīng vs. Sǔnpǔ, Yànshǐ vs. Yànjiān, Mòjīng vs. Mòpǔ vs. Mòshǐ — is a major topic in its own right.

  • Tribute geography and regional specialisation. A large proportion of the division concerns objects associated with specific regional production sites: Beìyuàn 北苑 tribute tea (Fújiàn), Duānxī 端溪 inkstones (Guǎngdōng), Shèzhōu 歙州 inkstones (Ānhuī), Fújiàn lychee, Wēnzhōu / Yǒngjiā citrus, Luòyáng peonies, Yángzhōu herbaceous peonies, Sìchuān crystallised sugar, Zhāngzhōu orchids. The pǔlù genre is in part the literary face of the Sòng-and-later tribute economy.

  • Manufacturing technique and kējì literature. Several texts contain detailed technical descriptions: ink-making procedure (Mòfǎ jíyào), wine-brewing (Beìshān jiǔjīng), tea-cake processing (Chájīng, Beìyuàn gòngchá lù), sugar-frost crystallisation (Tángshuāng pǔ). They are primary sources for Chinese science-and-technology history of considerable importance (Needham SCC draws on them extensively).

  • The literatus garden. The flower-treatise cluster (peony, chrysanthemum, plum, orchid, crab-apple) is bound up with the Sòng-and-later cultural form of the named literatus garden — Ōuyáng Xiū’s Luòyáng, Fàn Chéngdà’s Fàncūn (Stone-Lake), etc. — and with the practice of cultivar-naming and rank-ordering as a connoisseurship activity.

  • Imperial appropriation of literati genres. The late-imperial layer of the division (Pèiwénzhāi guǎng qúnfāng pǔ, Xīqīng yànpǔ, Qiánlù) shows the Qīng court systematically taking over the previously-private literati object-treatise form for ideological / display purposes. The Kāngxī and Qiānlóng emperors are visible patrons of this absorption.

  • The Buddhist and the Inner-Asian voice. Two anomalous texts — Zànníng’s Sǔnpǔ (a Buddhist monk’s secular pǔ) and Hū Sīhuì’s Yǐnshàn zhèngyào (a Mongol-court dietitian’s Inner-Asian-inflected cookbook) — show that the genre was capable of accommodating non-literati voices, with consequences for the cultural-historical interpretation of the genre.

  • Pseudepigraphy and recompilation. The Qínjīng (KR3i0045) is a pseudonymous Sòng compilation falsely attributed to the Spring-and-Autumn musician Shī Kuàng with a falsely-attributed Zhāng Huá commentary; the Qínshòu juélù (KR3i0051) is a Qīng jíyì reconstruction of a Southern-Qí satirical work from quoted fragments. Both raise the standard textual-critical problems of the pǔlù corpus and of Sìkù recensions generally.

Timeline

Works are listed at the date bracket of their composition / recension as given in each per-text note’s frontmatter.

  • c. 400–490 — Zhúpǔ 竹譜 KR3i0040 — the oldest text in the division; a Six-Dynasties bamboo-monograph in four-character verse, antedating the Tang–Sòng efflorescence.
  • c. 483–500 — Qínshòu juélù 禽獸決錄 KR3i0051 — Southern-Qí satirical-allegorical jué by Biàn Bīn; survives only in fragments.
  • c. 760–780 — Chájīng 茶經 KR3i0019 — Lù Yǔ’s foundational tea-classic; the genre’s seed.
  • c. 814–825 — Jiānchá shuǐjì 煎茶水記 KR3i0025 — Zhāng Yòuxīn’s late-Tang treatise on water for tea-brewing; bridge from Lù Yǔ to Sòng.
  • 980–1001 — Sǔnpǔ 筍譜 KR3i0041 — Zànníng’s bamboo-shoot monograph; the genre’s first Sòng appearance, by a Buddhist monk.
  • 986 — Wénfáng sìpǔ 文房四譜 KR3i0002 — Sū Yìjiǎn’s foundational treatise on the studio’s Four Treasures; structural template for later object-monographs.
  • c. 1031–1034 — Luòyáng mǔdān jì 洛陽牡丹記 KR3i0029 — Ōuyáng Xiū’s peony record; initiates the flower-treatise sub-genre.
  • 1049–1064 — Chálù 茶錄 KR3i0020 — Cài Xiāng’s tea record, the first major Sòng tea-treatise.
  • 1059 — Lìzhī pǔ 荔枝譜 KR3i0038 — Cài Xiāng’s foundational lychee monograph.
  • c. 1059–1089 — Xièpǔ 蟹譜 KR3i0046 — Fù Gōng’s crab monograph.
  • 1064–1066 — Dōngxī shìchá lù 東溪試茶錄 KR3i0023 — Sòng Zǐān’s tea-testing notes from Dōngxī (Fújiàn).
  • 1066 — Shèzhōu yànpǔ 歙州硯譜 KR3i0004 — Táng Jī’s monograph on the Shèzhōu inkstones.
  • c. 1050–1075 — Jiǔpǔ 酒譜 KR3i0027 — Dòu Píng’s wine-treatise.
  • 1073–1075 — Pǐnchá yàolù 品茶要錄 KR3i0021 — Huáng Rú’s notes on tea-judging.
  • 1073–1077 — Yángzhōu sháoyào pǔ 揚州芍藥譜 KR3i0030 — Wáng Guān’s herbaceous-peony treatise.
  • c. 1080–1110 — Mòjīng 墨經 KR3i0011 — Cháo Guànyī’s ink-classic.
  • 1085–1107 — Yànshǐ 硯史 KR3i0003 — Mǐ Fú’s history of inkstones, the most influential single-author inkstone monograph.
  • c. 1080–1273 — Qínjīng 禽經 KR3i0045 — pseudonymous Sòng bird-classic falsely ascribed to Shī Kuàng with a falsely-ascribed Zhāng Huá commentary.
  • 1088–1117 — Beìshān jiǔjīng 北山酒經 KR3i0026 — Zhū Yìzhōng’s wine-brewing classic, the technical apex of Sòng wine-literature.
  • c. 1094–1127 — Xiāngpǔ 香譜 KR3i0015 — Hóng Chú’s foundational incense-treatise.
  • c. 1095–1100 — Mòpǔ fǎshì 墨譜法式 KR3i0010 — Lǐ Xiàoměi’s ink-making manual.
  • 1104–1110 — Liúshì júpǔ 劉氏菊譜 KR3i0031 — first surviving chrysanthemum monograph.
  • c. 1121–1186 — Xuānhé Beìyuàn gòngchá lù 宣和北苑貢茶錄 KR3i0022 — the late-Northern-Sòng / early-Southern-Sòng record of the Beìyuàn tribute tea, with the Beìyuàn biélù appended.
  • 1126–1133 — Yúnlín shípǔ 雲林石譜 KR3i0018 — Dù Wǎn’s foundational treatise on ornamental stones, spanning the Northern–Southern Sòng transition.
  • c. 1127–1200 — Yànpǔ 硯譜 KR3i0007 — anonymous Sòng inkstone-treatise.
  • c. 1130–1160 — Shèyàn shuō 歙硯說 KR3i0005 — anonymous discourse on Shè inkstones.
  • c. 1131–1183 — Duānxī yànpǔ 端溪硯譜 KR3i0006 — anonymous treatise on the Duānxī inkstones.
  • 1151–1175 — Shǐshì júpǔ 史氏菊譜 KR3i0032 — Shǐ Zhèngzhì’s chrysanthemum-treatise.
  • 1154–1175 — Tángshuāng pǔ 糖霜譜 KR3i0028 — Wáng Zhuó’s monograph on crystallised sugar, the first systematic Chinese treatment of cane-sugar manufacture.
  • 1178 — Júlù 橘錄 KR3i0039 — Hán Yànzhí’s foundational citrus monograph, on the Wēnzhōu / Yǒngjiā varieties.
  • c. 1184–1230 — Yànjiān 硯箋 KR3i0008 — Gāo Sìsūn’s philologically-erudite inkstone-notes.
  • c. 1184–1230 — Xièlüè 蟹略 KR3i0047 — Gāo Sìsūn’s concise crab-treatise; together with KR3i0008 showing his jiān/lüè sub-style.
  • 1186–1193 — Fàncūn méipǔ 范村梅譜 KR3i0033 and Fàncūn júpǔ 范村菊譜 KR3i0034 — Fàn Chéngdà’s twin garden-treatises on his own Fàncūn estate.
  • c. 1233 — Jīnzhāng lánpǔ 金漳蘭譜 KR3i0036 — Zhào Shíyú’s foundational orchid-treatise on the Zhāngzhōu varieties.
  • c. 1234–1250 — Bǎijú jípǔ 百菊集譜 KR3i0035 — Shǐ Zhù’s massive compendium of one hundred chrysanthemum-treatises.
  • c. 1245 — Jūnpǔ 菌譜 KR3i0042 — Chén Rényù’s mushroom monograph.
  • c. 1250–1322 — Chénshì xiāngpǔ 陳氏香譜 KR3i0016 — Chén Jìng’s incense-treatise (recension partly Yuán).
  • c. 1259 — Hǎitáng pǔ 海棠譜 KR3i0037 — Chén Sī’s crab-apple monograph.
  • 1330 — Yǐnshàn zhèngyào 飲膳正要 KR3i0043 — Hū Sīhuì’s Yuán imperial dietetic compendium, presented to Wénzōng; the principal Inner-Asian voice in the division.
  • c. 1330–1338 — Mòshǐ 墨史 KR3i0012 — Lù Yǒu’s history of ink-making and ink-makers.
  • 1398 — Mòfǎ jíyào 墨法集要 KR3i0013 — Shěn Jìsūn’s essentials of ink-making; transition to the Míng technical tradition.
  • 1544 — Yìyú túzàn 異魚圖贊 KR3i0048 — Yáng Shèn’s illustrated encomia on strange fishes, composed in Yúnnán exile.
  • c. 1618–1641 — Xiāngshèng 香乘 KR3i0017 — Zhōu Jiāzhòu’s late-Míng comprehensive incense-treatise, the largest single Chinese work on incense.
  • c. 1620–1625 — Yìyú túzàn bǔ 異魚圖贊補 KR3i0050 — Hú Shìān’s late-Míng supplement to Yáng Shèn.
  • 1627 — Qíqì túshuō 奇器圖說 KR3i0001 — Schreck and Wáng Zhēng’s Jesuit-Chinese treatise on European mechanical engineering; categorial outlier.
  • 1630 — Yìyú túzàn jiān 異魚圖贊箋 KR3i0049 — Hú Shìān’s annotated edition of Yáng Shèn.
  • 1708 — Yùdìng Pèiwénzhāi guǎng qúnfāng pǔ 御定佩文齋廣羣芳譜 KR3i0044 — Wāng Hào & Zhāng Yìshào’s 100-juàn Kāngxī imperial flora; the largest single work in the division.
  • 1717–1734 — Xù chájīng 續茶經 KR3i0024 — Lù Tíngcàn’s continuation of Lù Yǔ; integrates a millennium of post-Tang tea-literature.
  • 1750–1751 — Qiánlù 錢錄 KR3i0014 — Liáng Shīzhèng’s Qiānlóng imperial coinage catalogue.
  • 1778 — Qīndìng Xīqīng yànpǔ 欽定西清硯譜 KR3i0009 — Yú Mǐnzhōng’s Qiānlóng imperial inkstone catalogue; the latest work in the division.

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