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quanshu. At the request of imperial order, the project included constructing three library
locations in southern cities of Hangzhou, Zhenjian and Yangzhou that housed the hand-
scribed copies of the Siku quanshu books. The four in the south were open to the public.
See also Wilkinson, Chinese History (2000), 275.

34
Work for the imperial library under Qianlong began under direction of chief editor Ji
Yun in 1773 and ended in 1798. Clunas has argued that the text of the book Tiangong
kaiwu was not transmitted during the Qing period in China. This statement neglects the
fact that the Tiangong kaiwu was collected and fully reprinted in the Siku quanshu project.

35 Lai Chong-ren ፠ࠠʠ, Jindai Jingdezhen ciqi chanye zhi yanjiuڐ˾౻ᅃᕄନኜପุ
ʘ޼Ӻ, 1853-1937 [Economic history of the modern porcelain industry of Jingdezhen]
unpublished MA thesis, Tsinghua University, 2003.

36 Meishu congshu’s publication history and centrality in establishing the canon is
discussed by Professor Ogawa Hiromitsu of Tokyo University, who gave an unpublished
paper at a conference in 2003, “Regarding the Publication of Meishu congshu.” I thank
Professor Hiromitsu for speaking to me during a research trip at the Sung Grand View
conference in February 2007.

37
Chen Zhenlian ௓ࣈዟ, “Jindai Zhongri meishu guannian de qianyi – guanyu “meishu”
yisi de yuyan de kaocha ji qi ta,” ڐ˾ʕ˚ߕஔᝈׂٙቋ୅—ᗫ׵ “ߕஔ” จܠٙႧԊ
ٙϽ࿀ʿՉ˼ [Changes in Chinese and Japanese concepts in art – concerning research
on the term “art” and others] in Jindai Zhongri de huihua jiaoliu shi bijiao yanjiu, ڐ˾
ʕ˚ᖭ೥ʹݴ̦ˢ༰硏Ӻ [Comparative history of exchanges in painting between
China and Japan] (Hefei: Anhui meishu chubanshe, 2000).

38
A copy of the 1925 edition was seen at the Shanghai Museum rare book library (Winter,
2006). Zhaoji bookstore printed other books on objects then categorized as national
cultural artifacts, and also published a year earlier Xu Zhiheng’s஢ʘፅtext on collecting
ceramics, Yinliuzhai shuo ciභݴᓈႭନ [Yinliuzhai on porcelain] (1924).

39
Ban chizi ̒ຎɿ, Cilun ନሞ [On Porcelain] in Shuo Tao Ⴍௗ [On Pottery] Guwan
wenhua congshu, eds., Sang Xingzhi ࣳБʘ et al. (Shanghai: Shanghai keji jiaoyu
chuban she, 1993). Ban Chizi̒ຎ ɿis a penname for the watercolor ink painter,
calligrapher, and printer Zhang Juyuan ੵ̶๕. He wrote a preface to a nineteenth
century edition of Dream of the Red Chamber (Hong loumeng), mentioned in the journal,
Wu Shichang, ю˰׹ “Hongloumeng houbanbu de yushenmiao,” Hongloumeng xuekan
ߎᅽྫྷኪ̊ [Journal of Hongloumeng studies] vol. 3 (1982), accessed on 11/11/06
<<http://www.literature.org.cn/Article.asp?ID=4364>>.
The exact dating of this piece of writing Ci lun is not clear. There are four collectors’
stamps at the beginning and end of the text, from which we know it was clearly a text