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Wu Qiuyan - Wikipedia
Wikipedia

Wu Qiuyan

Wu Qiuyan (Chinese: 吾われ丘おか衍; 1268–1311),[1][2] also known as Wuyan, courtesy name Zixing, art name Zhenbai, Zhufang and Zhusu,[3] using the alternative names Buyi Daoist and Zhenbai Hermit,[4] and with the scholar name Shenghua Fang. In the early Qing dynasty, he avoided using the given name of Confucius (孔あな丘おか), so he adopted the name Wu Qiuyan, and he was commonly referred to as Mr. Zhenbai.[3] He was a great master of epigraphy during the Yuan dynasty, proficient in poetry and lyrics, well-versed in music theory, and with a rich collection. He was born in Kongbu, Huabu town,[5] Kaihua,[6] and some sources state that he was from Quzhou in Zhejiang.[7] He lived in Qiantang[8][9] and excelled particularly in seal carving.

Wu Qiuyan
吾われ丘おか衍
Scholar
Born
Zixing

1268
Kaihua 開化かいか (Now known as Zhejiang, Longyou),
also known as Quzhou, Zhejiang Province
Died1311
Other namesPlain clothes Daoist (布衣ふい道士どうし)
White Hermit (真白まっしろ居士こじ)
貞さだ白しろ (Zhenbai)
竹房たけぶさ (Zhufang)
竹たけ素もと (Zhusu)
EraYuan dynasty
Known forFounder of the seals
Notable work
  • Writings：
    《學がく古いにしえ編へん》(Learning from the Ancients - Compilation)
    《竹たけ素山そやま房ぼう詩集ししゅう》(Poetry collection from the Cottage of Bamboo on the Mountains
    《印しるし式しき》Seal style（two volumes）
    《閒あいだ居きょ錄ろく》(Diary of a Leisurely Life)
  • Music：
    《九きゅう歌うた》(Nine songs)
    《农历十じゅう二に月がつ樂譜がくふ》Music of the Twelfth Month
  • Commentaries：
    《周しゅう代だい秦しん代だい刻こく石せき釋しゃく音おと》Interpretation of the Inscriptions on Zhou and Qin Stone Tablets
    《晉すすむ文ぶん春秋しゅんじゅう》The Chronicle of Jin Literature
    《尚なお书要略りゃく》Summary of the Shangshu

Life

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Birth

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Wu Qiuyan was born with congenital blindness in his left eye and a limp in his right leg. His friends liked his natural humor and felt that his conduct still displayed grace despite his disabilities.[10]

Life of seclusion

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Wu Qiuyan's "Explanations of Zhou-Qin Stone Carvings" (reprint)

Wu Qiuyan never held any official position. He lived in seclusion in Qiantang, Shenghua Fang. He spent years sitting and reading in his small home tower without any idleness.[11] He often had around a hundred students coming to study with him, lecturing on scriptures and discussing philosophy tirelessly.[12] Xu Yan, the commissioner for political integrity in southern Jiangnan and western Zhejiang, once came to visit him out of admiration. Wu Qiuyan refused to meet him and shouted from the study tower, "Is this tower suitable for a nobleman to ascend? I would be willing to meet you tomorrow." The next day, Wu Qiuyan did not visit in person to express his gratitude, showing his straightforward nature.[11][13]

Marriage

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Due to his physical disabilities, Wu Qiuyan could not live like an ordinary person and only got married when he was nearly forty years old. After marrying a young girl from the Zhao family, who sold liquor, he faced an even greater misfortune: the girl was originally a married woman but had returned to her mother's home to escape a bad year. Her father concealed the truth and married her off to Wu Qiuyan.[14] Four years later, the original husband of Zhao's daughter discovered the situation and reported Wu Qiuyan.[15] Additionally, Zhao's family was involved in counterfeiting money, which also implicated Wu Qiuyan. As a result, he was arrested and subjected to humiliation.[16][17]

Suicide

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Wu Qiuyan later visited Chou Yuan but didn't meet him. He left behind a poem:

"Liu Ling's efforts were in vain, Butterflies fly westward, to another realm they go. To inquire about the Taiyuan era, where to ask and know? By the broken bridge, on the western shore, below".[18] Someone found Wu Qiuyan's shoes at the broken bridge, leading to suspicions that he had drowned by suicide. Wu Qiuyan's disciples held a memorial service for him by the West Lake in Hangzhou, and his old friend Hu Changru[19] wrote his epitaph.[16]

However, there are also historical records suggesting that Wu Qiuyan created a false image by leaving behind his poem, faked his own death, and lived in seclusion in his hometown of Kaihua to spend his remaining years in peace. The accounts vary, making this a popular historical mystery.[20][21]

Personality and aspirations

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The formation of Wu Qiuyan's personality was closely related to his physical disabilities. Due to these limitations, he couldn't pursue a career through scholarly pursuits like others. This heavy blow left a deep-seated trauma in his heart, resulting in a conflicting personality marked by solitude, arrogance, a lack of ambition for fame and fortune, and a sense of regret for unfulfilled ambitions.[22] Wu Qiuyan expressed his appreciation for time and lamented its fleeting nature in many of his poems, such as 'During the day, I sleep and sigh; beautiful moments slip away easily',[23] 'The path, not played like a zither, and when the road ends, why bend one's waist?' and 'Time passes swiftly, and it's a pity; my youthful aspirations have often been in vain'.[24]

Wu Qiuyan was renowned for his high moral standards, a free-spirited disposition, and a conversational style rich in humor. He was skilled in playing musical instruments like the bamboo flute, and when friends gathered, he often played the dongxiao (a type of vertical bamboo flute) on the spot to lighten the mood.[10]

In his poem 'Sending Someone into Seclusion,' Wu Qiuyan depicted scenes of Taoist cultivation and alchemical practices: 'Guo Taixian dreams of distant gold; exceptional talents eventually disappear. Decaying bonds are like horses roaming a thousand miles; it's hard to confine them in cages. In the clouds and skies, I maintain lofty aspirations, while Zhu Su's lord understands my lifelong ambitions. As I depart in a flat-bottomed boat, I suddenly look back; in the future, we may reunite while wearing rustic clothing'. These verses reveal Wu Qiuyan's desire to renounce worldly ambitions and seek reclusion.[25]

Academic contributions

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Wu Qiuyan's '學がく古いにしえ編へん' (Learning from the Ancients - Compilation) (Ming Engraved Edition)

Epigraphy

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Wu Qiuyan had a strong passion for classical studies and was well-versed in the writings of various schools of thought found in classical literature. He authored works such as 'Learning from the Ancients - Compilation', '閒あいだ居きょ錄ろく' (Diary of a Leisurely Life), '竹たけ素山そやま房ぼう詩集ししゅう' (Poetry collection from the Cottage of Bamboo on the Mountains), and '周しゅう秦しん石刻せっこく釋しゃく音おと' (Interpretation of Inscriptions from the Zhou and Qin Dynasties).[16]

'Learning from the Ancients - Compilation' was completed in the year of Da De Geng Zi (1300), and its first volume is known as '三さん十じゅう五ご舉' (Thirty-Five Entries). This work is one of the earliest Chinese treatises on the theory of seal carving. 'Thirty-Five Entries' constitutes the core of this book, elucidating the evolution and development of seal script and clerical script, as well as the art of seal carving. It contains many of Wu Qiuyan's innovative insights and concepts. Lu Xun, in his work '蛻もぬけ龕がん印しるし存そん' (Reminiscences of Tui Kan), stated, 'The use of seals began in the Zhou and Qin periods,' and later generations 'engraved inscriptions on walls using ancient methods... Wuqiu Zi Xing vigorously advocated Han Dynasty methods... thus, the wind of Er Ya was seen again.'"[26]

Wu Qiuyan's '三さん十じゅう五ご舉' (Thirty-Five Entries) presented a series of rules for creating seal carvings inspired by Han Dynasty seals, covering aspects such as seal shape, character forms, seal script, and composition. These rules provided a foundation for those in the early stages of seal carving art development who lacked precedents to follow. As Yuan Dynasty scholar Wei Su remarked: 'The publication of this compilation can wash away the common bad habits.'[27] Most Yuan Dynasty designs for imitating Han Dynasty seals adhered to the rules established in '三さん十じゅう五ご舉.' Many subsequent works on seal studies directly followed the format of '三さん十じゅう五ご舉,' such as '續ぞく學がく古いにしえ編へん' (Sequel to Learning from the Ancients),[28] '續ぞく三さん十じゅう五ご舉' (Sequel to Thirty-Five Entries),[29] '再さい續ぞく三さん十じゅう五ご舉' (Another Sequel to Thirty-Five Entries),[30] and more, underscoring the profound influence of Wu Qiuyan's '學がく古いにしえ編へん'.[31] Hence, later generations often referred to '學がく古いにしえ編へん' as '三さん十じゅう五ご舉' and regarded it as a classic in the fields of seal studies and seal carving theory. It is celebrated in the world of seal studies as a 'pillar of the seal carvers,' reviving the art after a period of decline.[32]

Art practice of seal engraving

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Wu Qiuyan's seal engraving work.

In contrast to the previous practice of following specific concepts and theories of seal engraving when creating imitations of Han Dynasty seals, Wu Qiuyan developed a methodological approach that relied on a foundational understanding of ancient seal principles and used "antiquity" as the guiding criterion for creating imitations of Han Dynasty seals. This methodology reflects the Confucian perspective of "fulfillment as beauty," which is a prevalent aesthetic feature of Han Dynasty seals. In Han Dynasty seals, Chinese characters typically cover the entire surface of the seal, presenting an art form characterized by fullness, simplicity, substance, and dignity.[26]

Han Dynasty seals represent the pinnacle of Chinese seal engraving art in its developmental history, establishing an aesthetic paradigm for seal engraving.[26] Wu Qiuyan, proficient in the Six Scripts of calligraphy, excelled in the clerical and seal scripts. His seal engraving art did not adhere rigidly to established conventions; he used jade chopsticks to engrave characters, resulting in round, smooth, and elegant seal impressions, both in vermilion and white scripts. Concerning the seal script technique for imitating Han Dynasty seals, Wu Qiuyan proposed specific technical guidelines in his "Thirty-Five Principles," emphasizing that "seal script techniques are akin to clerical script" and encouraging "squareness, straightness, avoiding circular shapes, and even when using slanting strokes, one should cleverly write beyond them" as practical techniques in seal engraving art.[33]

When comparing the imitations of Han Dynasty seals by Zhao Mengfu and Wu Qiuyan, it is evident that Zhao seal and his clan seal were significantly influenced by Wu Qiuyan's personal vermilion script seal, showing a tendency towards the characteristics of small seal script.[33]

Wu Qiuyan emphasized the integration of seal engraving theory and practice, with a particular focus on the arrangement of the seal's composition. As a result, his seal engraving art exemplified the simplicity and purity of Han Dynasty seal script techniques. In his work "Thirty-Five Principles", Wu Qiuyan provided specific characteristics of seal engraving art imitating Han Dynasty seals, stating: "In white script seals, the characters must abut the edges; there should be no gaps, as gaps are not in accordance with antiquity... When there are one or two characters in the seal inscription with a natural gap, it should not be filled; many ancient seals have such gaps".[34] He established the fundamental principles for seal engraving practice by studying Han Dynasty seals. His methodology has continued to benefit seal engraving art from his time to the present day, earning him the title of a master in the field of seal studies for generations.[26][33]

Poetry and music

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Poetry collection from the Cottage of Bamboo on the Mountains, part of the Complete Library of the Four Treasuries《欽定きんてい四よん庫こ全書ぜんしょ·竹ちく素山そやま房ぼう詩集ししゅう》

In ancient texts, Wu Qiuyan is described as follows: "On moonlit nights, he would hold his bamboo flute, ride on the rooftop, and play. The sound was mournful yet robust".[35] His profound love for music and his creative endeavors in poetry and lyrics were intertwined, accompanying him throughout his life's journey. For example, in one of his poems, he wrote: "Alone, I carry my phoenix flute to the mountain's entrance, the trees brushing against the spring breeze, the grass brushing against my clothes. I dare not play heavenly melodies any longer, for fear of startling the stones into dispersing like drifting clouds".[36] Another poem expresses his admiration for Wang Zijin, depicting scenes of carefree wandering in nature: "I love Wang Zijin, drifting freely through the heavens, dancing with green peaches and playing the flute. As the flowers fall, the city enters autumn".[37] Wu Qiuyan incorporated the story of the Taoist immortal Fugui Gong receiving Wang Zijin as a disciple from "Biographies of Immortals," hinting at his own longing for Daoist cultivation and reflecting his independent and reclusive character.[27][38][39]

The "竹ちく素山そやま房ぼう詩集ししゅう" (Poetry collection from the Cottage of Bamboo on the Mountains) written by Wu Qiuyan is rich in content and profound in meaning.[40] One of his poems, titled "丁未ていみ歲とし哀あい越えつ民みん," vividly depicts the famine in Jiangsu and Zhejiang provinces during the 11th year of the Yuan Dynasty (1307). The poem describes the suffering of the people, the desolation of the land, and the horrifying scenes of corpses lying in the fields, unburied. It even alludes to the desperate act of cannibalism as people struggled to survive. This poem reflects Wu Qiuyan's deep sympathy for the common people.[27]

In another poem titled "凍こお解かい" (Thawing), written in the form of a five-character regulated poem, Wu Qiuyan describes the arrival of spring as the east wind melts the ice. Despite his illness, he expresses his anticipation and love for the beautiful springtime, saying: "The thaw awakens all living beings, and everything in the world becomes new. Longing for clear skies and the morning sun, even in sickness, I cherish this auspicious time. Yao's elegant writings endure, and Zhou's fields and trees welcome spring. My heart is already like this; I need not write like a deity".[41]

In the Qing Dynasty's "四庫全書總目提要" (Annotated Bibliography of the Four Treasuries), the evaluation of Wu Qiuyan's poetry is as follows: "His poetry does not adhere strictly to rules, but his free spirit flows with freshness, cleansing away the dust and dirt of the mundane world, revealing a unique and untamed quality".[42]

Collections and works

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Wu Qiuyan was a highly learned scholar with a deep appreciation for ancient texts and the Hundred Schools of Thought. He was well-versed in various fields, including classics, history, philosophy, and literature, and had a collection of books that reflected his broad knowledge. He lived in seclusion in a small house in Shenghua Lane, where he had a small library on the upper floor. The walls of this library were adorned with various books related to classics, history, and philosophy, all neatly organized.[43]

Wu Qiuyan authored several notable works, including "學がく古いにしえ編へん" (A Compilation of Ancient Learning),[44] "印しるし式しき" (Seal style, in two volumes), and "閒あいだ居きょ錄ろく" (Diary of a Leisurely Life). He also left behind collections of poetry, such as "周しゅう秦山じんざん房ぼう詩集ししゅう" (Poems from the Cottage in the Zhou and Qin Mountains) and "竹ちく素山そやま房ぼう詩集ししゅう" (Poetry collection from the Cottage of Bamboo on the Mountains). Additionally, he made contributions to musical notation with works like "九きゅう歌うた譜ふ" (Nine Songs) and "十じゅう二に月がつ樂譜がくふ" (Music of the Twelfth Month). Furthermore, he engaged in commentaries and annotations, including "周しゅう秦しん刻こく石せき釋しゃく音おと" (Interpretation of the Inscriptions on Zhou and Qin Stone Tablets), "晉すすむ文ぶん春秋しゅんじゅう" (Annals of the Spring and Autumn), and "尚書しょうしょ要略ようりゃく" (Summary of the Shangshu), among others.[45]

References

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  1. ^ 蔡耀慶けい (2007). 國立こくりつ歷史れきし博物館はくぶつかん編輯へんしゅう委員いいん會かい (ed.). 明あかり代印だいいん學がく發展はってん因いん素もと及表現ひょうげん之の研究けんきゅう (in Chinese). 臺北たいぺい: 秀しゅう威い資し訊科技わざ股また份有限げん公司こうし. p. 149. ISBN 978-9860124118.
  2. ^ 黄き尝铭 (2001). 篆刻てんこく年ねん历 1051-1911 (in Chinese). Taipei: 真ま微ほろ书屋. ISBN 9578971052. Archived from the original on 2021-05-14. Retrieved 2020-05-01.
  3. ^ a b 馬うま俊しゅん玲れい (2016-01-01). 草書そうしょ探さがせ微ほろ (in Chinese (China)). 新しん華はな出版しゅっぱん社しゃ. p. 229. ISBN 978-7-5166-2564-4. Archived from the original on 2020-11-14. Retrieved 2020-05-03. Wuyan (1272-1311), whose original surname was Wuyu, is also known as Wuyan. His courtesy name was Zixing, and he had the alternate names of Zhenbai, Zhufang, and Zhusu. He was commonly referred to as 'Mr. Zhenbai.
  4. ^ 刘江 (1992). 印しるし人じん轶事 (in Chinese (China)). 浙江せっこう美び术学院いん出版しゅっぱん社しゃ. p. 7. Archived from the original on 2020-11-14. Retrieved 2020-05-03. Wu Qiuyan, whose given name is Yan, courtesy name Zixing, had the aliases Zhufang and Zhusu. He was also known as 'Zhenbai Hermit' and 'Plainclothes Daoist.'
  5. ^ 书法硏究けんきゅう (in Chinese). 上海しゃんはい書畫しょが出版しゅっぱん社しゃ. 1989. pp. 3：78. Archived from the original on 2020-11-14. Retrieved 2020-05-03.
  6. ^ Now in Longyou, Zhejiang.
  7. ^ 北京ぺきん图书馆 (1996). 文献ぶんけん (in Chinese). 书目文献ぶんけん出版しゅっぱん社しゃ. p. 219. Archived from the original on 2020-11-14. Retrieved 2020-05-03.
  8. ^ Now known as Hangzhou, Zhejiang
  9. ^ 杨镰 (2005). 元もと代だい文学ぶんがく编年史し (in Chinese (China)). 山西さんせい教育きょういく出版しゅっぱん社しゃ. p. 250. ISBN 978-7-5440-2928-5. Archived from the original on 2020-11-14. Retrieved 2020-05-03. Wu Yan (Wu Qiuyan), a prominent figure in Qiantang, disappeared after suffering humiliation.
  10. ^ a b 王おう禕. 吾われ丘おか子こ行ぎょう傳でん (in Chinese). Yan had a free-spirited nature, was not inclined to be restrained, had a tiny left eye, and a limping right leg. Despite this, he had a unique grace about him, and his every word and smile brought joy. When entertaining guests, he would often play the bamboo flute, toy with an iron wish-granting staff, or wield a brush to create characters as if no one else were present.
  11. ^ a b 李り玉たま安やす (1989). 中国ちゅうごく藏ぞう书家辞典じてん (in Chinese (China)). 湖北こほく教育きょういく出版しゅっぱん社しゃ. p. 104. Archived from the original on 2021-05-14. Retrieved 2020-05-04. He lived in seclusion at Shenghua Fang, known for his noble conduct. He had a small tower at home, with walls adorned with books, where he would sit and read all day without growing weary. His nature was straightforward. One day, the Commissioner for Political Integrity came to visit him, and he shouted from his study tower, "is this tower worthy of hosting a noble guest? I am willing to meet you tomorrow." However, the next day, he did not extend his thanks. Later, he was unjustly arrested, but he refused to endure humiliation and chose to die by drowning.
  12. ^ 文献ぶんけん学がく辞典じてん (in Chinese). 江西えにし教育きょういく出版しゅっぱん社しゃ. 1991. p. 350. Archived from the original on 2020-11-14. Retrieved 2020-05-04. Residing in Hangzhou, in a small tower known as "Zhusu Mountain Residence" within Shenghua Fang, the walls of the tower were adorned with books, and he had dozens, even hundreds of students.
  13. ^ 章あきら用よう秀しゅう (2007-12-01). 名家めいか印章いんしょう趣おもむき谈 (in Chinese (China)). Nanchang: 江西えにし美び术出版しゅっぱん社しゃ. p. 135. ISBN 978-7-80749-220-7. Archived from the original on 2021-05-14. Retrieved 2020-05-04.
  14. ^ 张哲俊しゅん (2004). "吉川よしかわ幸次郎こうじろう研究けんきゅう". 北京ぺきん大学だいがく 20 世せい纪国际中国学こくがく研究けんきゅう文ぶん库 (in Literary Chinese). 中ちゅう华书局きょく. ISBN 978-7-101-04251-1. Archived from the original on 2020-11-14. Retrieved 2020-05-04. Hu Changru's "Inscription on the Tomb of My Master" says that Zhao Tianxi's purchased concubine died during childbirth: At first, my master was forty years old and unmarried. He was acquainted with Zhao Tianxi from Wanqiu, who had bought an orphan girl from a wine-selling family to be his concubine. This girl had previously been married but, in times of famine, had returned to her mother and secretly lived with her later husband without uttering a word, often disappearing for a while.
  15. ^ 人物じんぶつ志こころざし (2005). 浙江せっこう省しょう志こころざし丛书 (in Literary Chinese). 中国ちゅうごく书籍出版しゅっぱん社しゃ. p. 846. Archived from the original on 2020-11-14. Retrieved 2020-05-04. Later, due to the exposure of the stepfather of the concubine's counterfeit money scheme, Wuqiu Yan was implicated, and, humiliated, so he decided to die.
  16. ^ a b c 钱仲联, 傅でん璇琮, 王おう运熙等とう总主编 (1997). 中国ちゅうごく文学ぶんがく大だい辞典じてん (in Chinese). Shanghai: 上海しゃんはい辞じ书出版しゅっぱん社しゃ.{{cite book}}: CS1 maint: multiple names: authors list (link)
  17. ^ 杨镰 (2005). 元もと代だい文学ぶんがく编年史し (in Chinese (China)). 山西さんせい教育きょういく出版しゅっぱん社しゃ. p. 250. ISBN 978-7-5440-2928-5. Archived from the original on 2020-11-14. Retrieved 2020-05-03. Wu Qiuyan's home became entangled in a counterfeit money case, with these two individuals trying to shift the blame onto Wu Qiuyan. In reality, Wu Qiuyan was unaware of the matter.
  18. ^ 周しゅう仁ひとし (1995). 傳つて世よ藏書ぞうしょ: 史し库. 四よん库全书总目め (in Literary Chinese). 海南かいなん国こく际新闻出版しゅっぱん中心ちゅうしん. p. 1651. Archived from the original on 2020-11-14. Retrieved 2020-05-04. 劉りゅう伶一鍤事徒然つれづれ，蝴蝶こちょう西にし飛ひ別べつ有ゆう天てん。欲よく語ご太ふとし元もと何處どこ問もん，西にし泠西畔ほとり斷橋だんきょう邊べ。
  19. ^ Hu Changru (1249-1323), served in both the late Song and early Yuan dynasties.
  20. ^ In Wang Xing's biography of Wu Qiuyan, he raises doubts and questions, saying: "People often say that Wu Qiuyan is too proud to endure humiliation, and perhaps his narrow-mindedness led to his own downfall. Refusing to make baseless judgments about people and observing his long songs of deep sorrow were both manifestations of their mutual pride."
  21. ^ "滌襟樓ろう筆記ひっき"，as recorded in "衢縣誌し" . Refer to "浙江せっこう省しょう志こころざし：衢州市し志しむら" (Zhejiang Provincial Gazetteer: Quzhou City Gazetteer), published by the Zhejiang Provincial Local History Compilation Committee, June 2016: p.365.
  22. ^ Wang Qian's "Biography of Wu Qiuzi", vol. 16
  23. ^ Wu Qiuyan. "竹ちく素山そやま房ぼう詩集ししゅう". 新しん歲とし (in Chinese (China)). Archived from the original on 2020-11-14. Retrieved 2020-05-04.
  24. ^ 《欽定きんてい四よん庫こ全書ぜんしょ·竹ちく素山そやま房ぼう詩集ししゅう》vol. 15
  25. ^ Wang Xing described Wu Qiuyan in "The Biography of Wu Qiuyan" as follows: "Wu Qiuyan often roamed alone, seeking no companions. On clear days, he would wander through the mountains and lakes without a set destination, buying wine wherever he went. When slightly intoxicated, he would sit cross-legged, singing ancient folk songs with great enthusiasm. Afterward, he would burst into tears before returning home... On moonlit nights, he would play the dongxiao (a vertical bamboo flute) while riding on the roof ridge, creating a mournful and robust melody, full of sorrow and strength."
  26. ^ a b c d 张目达, 中國ちゅうごく知ち網もう (2020-11-14). 吾われ丘おか衍《三さん十じゅう五ご举》"古こ"与あずか"新しん"（中国ちゅうごく艺术研究けんきゅう院いん硕士论文）.
  27. ^ a b c 野田のだ悟さとる. "吾われ衍与其《学まなぶ古こ编》之の研究けんきゅう（中国ちゅうごく美び术学院いん博士はかせ学位がくい论文）". 中國ちゅうごく知ち網もう (in Chinese). Archived from the original on 2019-05-04. Retrieved 2020-05-01.
  28. ^ He Zhen (何なに震ふるえ)
  29. ^ Guifu (桂かつら馥)
  30. ^ Yaoyan (姚晏)
  31. ^ "Shared Literature Catalog", see appendix.
  32. ^ 刘清扬 (1998). "吾われ丘おか衍《三さん十じゅう五ご举》略りゃく论". 四川师范学院学报(哲学てつがく社会しゃかい科学かがく版ばん) (in Chinese) (5). doi:10.16246/j.cnki.51-1674/c.1998.05.017. ISSN 1005-1465. Archived from the original on 2021-05-14. Retrieved 2020-05-01.
  33. ^ a b c 王おう培つちかえ (2019). "吾われ丘おか衍《三さん十じゅう五ご举》对仿汉印章いんしょう创作的てき启示". 江こう苏教育きょういく (in Chinese) (5). ISSN 1005-6009. Archived from the original on 2021-05-14. Retrieved 2020-05-01.
  34. ^ "吾われ丘おか衍《三さん十じゅう五ご舉》". 中國ちゅうごく哲學てつがく書しょ電子でんし化か計けい劃官網もう (in Chinese). Archived from the original on 2020-11-14. Retrieved 2020-05-01.
  35. ^ "Biography of Wu Yan", vol. 6, by Wangxing.
  36. ^ Playing the Flute in the Cave of the Yang Temple,《楊寺洞ほら中ちゅう吹簫》
  37. ^ "There is accomplishment in making feathers and clothes",《制せい羽はね服ふく成なり有作ゆうさく》
  38. ^ Biography of Wu Qiu Zixing, vol. 39, by Wangyi.
  39. ^ 聂国强きょう（湖みずうみ北美きたみ术学院いん中国ちゅうごく画が系けい）. "《三さん十じゅう五ご举》之の"十じゅう七なな举"的てき断だん句く校勘こうかん与あずか认识". 中國ちゅうごく知ち網もう (in Chinese). Archived from the original on 2020-11-14. Retrieved 2020-05-02.
  40. ^ 總そう纂官：（臣しん）紀きの昀，（臣しん）陸りく錫すず熊ぐま，（臣しん）孫まご士し毅あつし. "《欽定きんてい四よん庫こ全書ぜんしょ·竹ちく素山そやま房ぼう詩集ししゅう·提要ていよう》". 中國ちゅうごく哲學てつがく書しょ電子でんし化か計けい劃官網もう (in Chinese). Archived from the original on 2020-11-14. Retrieved 2020-05-04.
  41. ^ Wu Qiuyan: Poetry collection from the Cottage of Bamboo on the Mountains
  42. ^ Summary of the Catalog of the Four Treasuries, compiled by Yongrong and Jiyun. Commercial Press. 1933
  43. ^ 章あきら用よう秀しゅう (2007). 名家めいか印章いんしょう趣おもむき谈 (in Chinese). Nanchang: 江西えにし美び术出版しゅっぱん社しゃ. ISBN 9787807492207.
  44. ^ Includes the volume one, titled "Thirty-Five Entries".
  45. ^ 周しゅう秦しん刻こく石せき釋しゃく音おと" (Interpretation of the Inscriptions on Zhou and Qin Stone Tablets), by Wu Qiuyan, annotated by Yang Shen. Commercial Press, as part of the initial compilation of the Collectanea of the Republic of China.
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