畫墁集

Huàmàn jí 畫墁集

The Huà-màn Collection (of Zhāng Shùn-mín) by 張舜民 (撰)

About the work

Huàmàn jí 畫墁集 in 8 juǎn is the Sìkù-reconstituted fragmentary collection of Zhāng Shùnmín 張舜民 張舜民 (zì Yúnsǒu 芸叟, hào Fúxiū jūshì 浮休居士). The Wénxiàn tōngkǎo records the original Huàmàn jí in 100 juǎn + Zòuyì in 10 juǎn; Zhōu Zǐzhī 周紫芝’s Tàicāng tímǐ jí records the Zhènghé 7–8 / 1117–1118 Jīngshī booksellers’ brief print-run (“filled the streets”) which was promptly suppressed by imperial decree. Post-Nándù a Línchuān recension of the Fúxiū quánjí survived. Mid-Míng onward both lost. The present recension — reconstituted by the Sìkù editors from the Yǒnglè dàdiǎn — recovers less than one-tenth of the original; the appended Chēnxíng lù 郴行錄 (Zhāng’s diary of his journey to Chēnzhōu exile, modeled on Ōuyáng Xiū’s Yúyì zhì) is preserved at the back as one of the more substantial Northern-Sòng yóujì (travel-record) genre pieces.

Tiyao

The Sìkù tíyào: Huàmàn jí in 8 juǎn by Zhāng Shùnmín of the Sòng. Shùnmín, zì Yúnsǒu, self-styled Fúxiū jūshì, of Bīnzhōu. Jìnshì; by Sīmǎ Guāng’s recommendation became jiānchá yùshǐ; under Huīzōng advanced as Lǐbù shìláng; soon as Lóngtúgé xuéshì zhī Dìngzhōu, transferred to Tóngzhōu; on Yuányòu proscription demoted to Chǔzhōu tuánliàn fùshǐ, Shāngzhōu internment; restored as Jíxiándiàn xiūzhuàn; died. Deeds in his Sòngshǐ běnzhuàn. Shùnmín for character was zhōnghòu zhìzhí (loyal-substantial, upright), kāngkǎi xǐ lùnshì (vigorous-easy, fond of discussing affairs); Yè Mèngdé’s Yánxià fàngyán praises his shàng qìjié ér bù wèi míng (esteems integrity but does not seek fame); among Northern-Sòng characters, hard to find many like him. He initially attended Gāo Zūnyù 高遵裕’s Xīzhēng LíngXià expedition — wúgōng ér huán (without merit, returned); Shùnmín composed a poem with phrases Língzhōu chéngxià qiānzhī liǔ, zǒng bèi guānjūn zhuó zuò xīn (the willows below Língzhōu walls, all chopped by the army for firewood) and báigǔ sì shā shā sì xuě, jiāngjūn xiū shàng wàngxiāngtái (white bones like sand, sand like snow; general, do not climb the homeward-gazing terrace) — was impeached by zhuǎnyùn pànguān Lǐ Cài and demoted to monitor Bīnzhōu wine-tax; later started as táiguān (censor) — gradually reaching tōngxiǎn (high prominence) — but his yìlùn xióngmài, qì bù shǎo shuāi (discussions vigorous-flowing, spirit not at all weakening); in early Chóngníng further by his xièbiǎo (thanks-memorial) of being-blamed offended Cài Jīng — was demoted. Cháo Gōngwǔ praises his prose as háozòng yǒu lǐzhì (vigorous-flowing with reason); particularly kèyì (deliberate-attention) on poetry — late composing yuèfǔ over 100 piān; zìxù says: “nián yú èrshùn fāng gǎn yán shī (age over the èrshùn / 60+ I dare to speak about poetry); bǎishì zhī hòu bì yǒu zhīyīn zhě (a hundred ages later there must be one who knows the sound)” — his self-pride-and-weight is like this. Zhōu Zǐzhī’s Tàicāng tímǐ jí has a piece “Shū Shùnmín jí hòu” — calls “the world-sung Dōngpō nánqiān cí’s huíshǒu xīyáng hóng jǐnchù, yīngshì Chángān — these two phrases — were in fact composed by Shùnmín passing the Yuèyánglóu. Further: Shùnmín’s tí Yúlóu shī has wànlǐ qiūfēng chuībìnfà, bǎinián rénshì yǐ lángān (ten-thousand-li autumn wind blows the temple-hair; a hundred-year human-affair leans on the railing) — these phrases — the world sometimes loads them in Dōngpō jí. Generally because his bǐyì háojiàn yǔ Sū Shì xiāngjìn (brush-meaning vigorous-firm close to Sū Shì) — hence later persons cannot distinguish — often mistakenly enter into Shì’s collection.” The Wénxiàn tōngkǎo records Shùnmín Huàmàn jí in 100 juǎn, zòuyì in 10 juǎn. Zhōu Zǐzhī says: “during Zhènghé 7–8 / 1117–1118 Jīngshī booksellers suddenly printed this collection — sellers reaching to fill the streets and alleys; the affair was reported and again forbidden as before” — but after the Nándù there was further the Línchuān cut Fúxiū quánjí. Clearly his compositions in those days were greatly esteemed by the world. Yet from Míng-onwards long out-of-circulation. Only the Yǒnglè dàdiǎn still occasionally loads it. Counting his pieces — even not reaching one or two-tenths — but língjī duànbì (single-pearl, broken-jade) — twice as treasurable. We respectfully searched-and-arranged in order, restructuring into 8 juǎn — used to preserve the cliff outline. His Chēnxíng lù — composed during demotion to Chēnzhōu wine-tax monitor — jìxíng (record-of-journey) book; the tǐlì rather resembles Ōuyáng Xiū’s Yúyì zhì; on shānchuān gǔjì (rivers, mountains, ancient-traces) often suffices for kǎozhèng (verification); now together appended at the collection’s end. Qiánlóng 46 (1781) 3rd month, respectfully collated.

Abstract

Huàmàn jí preserves the surviving Northern-Sòng Yuányòu-coalition figure Zhāng Shùnmín — fellow Bīnzhōu origin and Sīmǎ Guāng-recommendation pedigree — across his three career phases: the LíngXià expedition demotion (early-1080s); the Yuányòu coalition rise (mid-1080s through Yuánfú 1100s); the Chóngníng re-proscription. Methodologically distinguished by the Chēnxíng lù — Zhāng’s diary of his demotion-journey, in the yóujì / rìjì genre established by Ōuyáng Xiū’s Yúyì zhì and continued by Lù Yóu’s RùShǔ jì. The Sòngshǐ lièzhuàn’s anecdote of the Língzhōu chéngxià qiānzhī liǔ poem causing his demotion is canonical. Zhōu Zǐzhī’s identification of the Dōngpō nánqiān attribution-error — that Sū Shì’s “huíshǒu xīyáng hóngjǐnchù” couplet is in fact Zhāng Shùnmín’s Yuèyánglóu poem — is one of the more famous Sòng biéjí-misattribution corrections. Dating bracket: end of Zhāng’s career (c. 1115) to the Sìkù re-collation (1781).

Translations and research

• Levine, Ari Daniel. 2008. Divided by a Common Language. Hawai’i. Treats Zhāng among the Yuán-yòu coalition.
• Smith, Paul J. 1991. Taxing Heaven’s Storehouse. Harvard. Background on the Líng-Xià expedition.
• Egan, Ronald C. 1994. Word, Image, and Deed in the Life of Su Shi. Harvard. Treats the Sū-Zhāng attribution-confusions.

Other points of interest

The Chēnxíng lù — appended at the end of the collection — is a key Northern-Sòng yóujì, modeled on Ōuyáng Xiū’s Yúyì zhì. The SūZhāng attribution-confusion (the huíshǒu xīyáng couplet) is one of the more famous bibliographical conflations of Northern-Sòng poetry, useful for understanding how biéjí-fluidity could lead to mass-circulation misattribution. The Zhènghé 7–8 booksellers’ suppression — Zhōu Zǐzhī’s anecdote of Zhāng’s collection being briefly mass-printed and then forbidden — is one of the more vivid recorded Sòng-period book-suppression incidents.

Links

• Zhang Shunmin (Wikidata)
• Wilkinson, Chinese History: A New Manual, §28.1 (Sòng biéjí); §29.4 (Sòng yóujì).