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Zheng Xuan's Shangshuzhu: Compilation for the Lost Work and the Textual Research.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Zheng Xuan's Shangshuzhu: Compilation for the Lost Work and the Textual Research./
Author:	Wang, Li.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	510 p.
Notes:	Source: Dissertations Abstracts International, Volume: 79-03, Section: A.
Contained By:	Dissertations Abstracts International79-03A.
Subject:	Classical studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10632446
ISBN:	9780355026276

Zheng Xuan's Shangshuzhu: Compilation for the Lost Work and the Textual Research.
Wang, Li.

Zheng Xuan's Shangshuzhu: Compilation for the Lost Work and the Textual Research. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 510 p.

Source: Dissertations Abstracts International, Volume: 79-03, Section: A.

Thesis (Ph.D.)--The Chinese University of Hong Kong (Hong Kong), 2016.

This item must not be sold to any third party vendors.

An expert in the studies of both jinwen 'New Text' and guwen 'Old Text' classics, Zheng Xuan has provided annotations of over a million Chinese characters on a variety of classics. Later generations revered him for his integration of the classical studies of the Han Dynasty and his studies later turned into an area of study in its own right. His prominent status in the classical studies is best illustrated when Huang Kan stated that "those who pursue the classical studies should begin with Zheng's works". Among his voluminous works, his annotations on the classical canons had the greatest influence on later scholars. Shangshuzhu 'Annotation of Shangshu' is one of these works. It is, however, noted that there are still a number of shortcomings in the studies of Zheng's Shangshuzhu undertaken by the scholars of our time. In the history of classical studies, the discussions of Zheng's work on Shangshu have revolved around two foci, namely the nature of the texts and the controversy between Zheng Xuan and Wang Su. Doubt has often been cast on the origin and circulation of the old-text version of Shangshu of the Western and Eastern Han Dynasties. A common argument based on the chapter of Rulin 'Scholars' of Houhanshu 'The Book of the Later Han Dynasty' claims that Jia Kui, Ma Rong and Zheng Xuan all based their work on Du Lin's "lacquer" version. However, according to the ontological argument, the copy used by Zheng Xuan is in fact the version that was found inside the wall of the Confucius Mansion and later kept as part of the imperial collection. Since the last days of the Western Han Dynasty, simplicity has become more and more valued in the practice of annotating the classics. Zheng Xuan's already unadorned style in diction and commentary has nonetheless been made a subject of ridicule by the Jingzhou school. Wang Su, possibly under the influence of the Jingzhou school, expressed contempt for Zheng's work, even though his knowledge owes its origin to Zheng Xuan. He went so far into annotating the classics on his own to contend against Zheng. Nowadays, the controversy between Zheng Xuan and Wang Su is noteworthy more from the historical perspective of the classical studies than it is associated with the judgment of whose annotation it is that outperforms the other. Zheng Xuan's Shangshuzhu was lost around the Northern Song Dynasty. Legends have it that Wang Yinglin had the recovered texts of this work - a claim more apparent than real. This recovered edition was a product arisen from remodelling on Wang's texts by Hui Dong's grandfather and father. When Hui's version has become in circulation, people came to mistakenly believe that it was Wang's recovered work. Later in the Qing Dynasty, the studies of his works were held in high regard; therefore, about a dozen individuals were involved in the recovery of this book and their contributions serve as the base of the research as we see nowadays. However, the recovered texts exhibit varying degrees of verity and lots of errors. For example, Yuan Jun's recovered edition, arguably the most representative of all, still abounds with errors and oversights in such areas as collation and textual analysis. As said by Duan Yucai, one must confirm the verity of the master copy before judging the verity of the statements within. In this regard, it is necessary to study the annotation methods adopted by Zheng Xuan after the recovered lost works attributed to him are first placed under scrutiny for their authenticity - only after this can we go on to judge his rights and wrongs. In Shangshu, the first line reads "Yue ruo ji gu". Different interpretations exist throughout a prolonged period covering the Han, Tang, Song and Qing Dynasties. Zheng's interpretation distinguishes itself among others in having the following features: 1) less emphasis on the commonplace interpretation for the original, borrowed or extended meanings; 2) use of Confucian apocryphal texts; and 3) interpretation highly dependent on the context. As for the line "Guang pi sibiao", it is related to the scholarship of the Qing Dynasty when Dai Zhen's new interpretation, in comparison with Zheng's version, reveals the ideology of Zheng's studies, which is said to "reiterate the original intended meaning of the sages of the past and iron out the discrepancies between statements by various scholars".

ISBN: 9780355026276Subjects--Topical Terms:

2122826
Classical studies.

Zheng Xuan's Shangshuzhu: Compilation for the Lost Work and the Textual Research.
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500 $a Advisor: Shen, Pei;Ho, CheWah.
502 $a Thesis (Ph.D.)--The Chinese University of Hong Kong (Hong Kong), 2016.
506 $a This item must not be sold to any third party vendors.
520 $a An expert in the studies of both jinwen 'New Text' and guwen 'Old Text' classics, Zheng Xuan has provided annotations of over a million Chinese characters on a variety of classics. Later generations revered him for his integration of the classical studies of the Han Dynasty and his studies later turned into an area of study in its own right. His prominent status in the classical studies is best illustrated when Huang Kan stated that "those who pursue the classical studies should begin with Zheng's works". Among his voluminous works, his annotations on the classical canons had the greatest influence on later scholars. Shangshuzhu 'Annotation of Shangshu' is one of these works. It is, however, noted that there are still a number of shortcomings in the studies of Zheng's Shangshuzhu undertaken by the scholars of our time. In the history of classical studies, the discussions of Zheng's work on Shangshu have revolved around two foci, namely the nature of the texts and the controversy between Zheng Xuan and Wang Su. Doubt has often been cast on the origin and circulation of the old-text version of Shangshu of the Western and Eastern Han Dynasties. A common argument based on the chapter of Rulin 'Scholars' of Houhanshu 'The Book of the Later Han Dynasty' claims that Jia Kui, Ma Rong and Zheng Xuan all based their work on Du Lin's "lacquer" version. However, according to the ontological argument, the copy used by Zheng Xuan is in fact the version that was found inside the wall of the Confucius Mansion and later kept as part of the imperial collection. Since the last days of the Western Han Dynasty, simplicity has become more and more valued in the practice of annotating the classics. Zheng Xuan's already unadorned style in diction and commentary has nonetheless been made a subject of ridicule by the Jingzhou school. Wang Su, possibly under the influence of the Jingzhou school, expressed contempt for Zheng's work, even though his knowledge owes its origin to Zheng Xuan. He went so far into annotating the classics on his own to contend against Zheng. Nowadays, the controversy between Zheng Xuan and Wang Su is noteworthy more from the historical perspective of the classical studies than it is associated with the judgment of whose annotation it is that outperforms the other. Zheng Xuan's Shangshuzhu was lost around the Northern Song Dynasty. Legends have it that Wang Yinglin had the recovered texts of this work - a claim more apparent than real. This recovered edition was a product arisen from remodelling on Wang's texts by Hui Dong's grandfather and father. When Hui's version has become in circulation, people came to mistakenly believe that it was Wang's recovered work. Later in the Qing Dynasty, the studies of his works were held in high regard; therefore, about a dozen individuals were involved in the recovery of this book and their contributions serve as the base of the research as we see nowadays. However, the recovered texts exhibit varying degrees of verity and lots of errors. For example, Yuan Jun's recovered edition, arguably the most representative of all, still abounds with errors and oversights in such areas as collation and textual analysis. As said by Duan Yucai, one must confirm the verity of the master copy before judging the verity of the statements within. In this regard, it is necessary to study the annotation methods adopted by Zheng Xuan after the recovered lost works attributed to him are first placed under scrutiny for their authenticity - only after this can we go on to judge his rights and wrongs. In Shangshu, the first line reads "Yue ruo ji gu". Different interpretations exist throughout a prolonged period covering the Han, Tang, Song and Qing Dynasties. Zheng's interpretation distinguishes itself among others in having the following features: 1) less emphasis on the commonplace interpretation for the original, borrowed or extended meanings; 2) use of Confucian apocryphal texts; and 3) interpretation highly dependent on the context. As for the line "Guang pi sibiao", it is related to the scholarship of the Qing Dynasty when Dai Zhen's new interpretation, in comparison with Zheng's version, reveals the ideology of Zheng's studies, which is said to "reiterate the original intended meaning of the sages of the past and iron out the discrepancies between statements by various scholars".
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