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Zhang Dinghuang 张定璜 [1][2] (1895-1986), also known as Zhang Fengju 张凤举. Born Jiangxi Nanchang. Author, literati, critic, translator, personified modern “身边小说” (personal novel) style. Preserved and recovered major collections of antique cultural manuscripts from Japan.
Brief Biography
Zhang Dinghuang[1][3] enrolled in the Nanchang Army Survey Academy 南昌陆军测绘学堂 when 15 years old, following in the footsteps of his elder brother Zhang Dingfan 张定璠 ("Dare to Die" regiment of the 1911 Revolution). He then went to Kyoto Imperial University and after returning, began his literary career, active in the development of vernacular Chinese literature[4]. Thus began his busy 1920-30s early years career. The later 1940-50s years were devoted to preservation and recovery of Chinese manuscripts and artifacts, and otherwise working with the Education Ministry.[5][6]
He was a humble man unassuming in appearance, generous with ideas, but very persistent and resilient. He was always helpful and encouraging to young talent.[7]
(Photo: 1920s Beijing University Chinese Literature Dept. Zhang Fengju 张凤举 is 2nd from left.)[8][9]
He was a gifted multi linguist fluent in Japanese, French and English. He studied in Japan and also taught in France. He mastered English early by himself. Fluency in these languages served him well 20 years later in 1946. At 26 years old, he returned from Kyoto in 1921 and began teaching at Beijing Women's Normal University 女子师范大学and other higher institutions. May 1922 Beijing University 北京大學 recruited as a professor in the Chinese Literature Department. In 1932 he was a professor in Paris at the L'Institute des Hautes Etudes Chinoises of the Sorbonne. He returned from France in 1935 as professor at the Sino French University 中法大學. In 1937 he married Zhang Weijun 张蕙君. He was a working member of the Rare Book Preservation Society in 1940-41. In 1946 the Ministry of Education appointed him to the Occupation Mission in Japan to recover the looted antiquities. Within 2 months over 35,000 volumes were retrieved. By year end they were back in the hands of the National Central Library. Many other university and museum collections were retrieved. See discussions below.
创造季刊第一卷第四期1924
He was an author and translator of many French, Japanese and English works. Examples are his "Shelley" and "Baudelaire". [11][12][13][14]
He worked closely with the key literary figures who shaped the modern Chinese language today.[15] These included Guo Morou郭沫若 (1892 Nov 16—1978 June 12), Cheng Fanwu 成仿吾 (1897 Aug 24—1984 May 17), zhang ziping 张资平(1893 May 24?—1959 Dec 2), Zheng Boqi 郑伯奇(1895 June 11—1979 Jan 25), 徐祖正(1894?—1978), Shen Yinmo 沈尹默, Lu Xun 鲁讯 . All of them were active in the vibrant literary journals of the time "Creation Quarterly"《创造季刊》[16], "Tattler" «语丝»[17], "Contemporary Review" «现代评论», "New Youth" «新青年» ... . These journals and many others provided forums for lively and heated discourse on the path to the written modern vernacular Chinese language. The weeklies were good for short insights or responses while the quarterlies were for more considered and well developed ideas or answers. The goal was to bring the written language closer to the daily spoken one, as well as to use subject matter closer to every day life. The wiki on "Tattler" has a summary on this.[18][19][20] The following book discusses Creation Quarterly 《创造季刊》 https://catalog.princeton.edu/catalog?q=oclc_s%3A71775354
Vignettes
. .Following the May 4th mass disturbances there was both verbal and physical violence which he deplored. The reverberations continued for years due to the ineffective "Beiyan" 北洋 government. In the 21st issue of "Tattler", 1925, he commented with a poem titled "Q&A"〈答問〉. It illustrates the Tatler style, fresh, direct and vivid far from the classical poem. The substance shows his slightly sarcastic but objective approach to issues. Poem was quoted in the 1984 book "From student movements to mobilizing students in China, 1919-1929" 《從學生運動到運動學生[21]》 ISBN: 9789576712258 .
. . 新潮流來的忒快， New styles quickly grow the dogmas,
. . 平空地把冬烘害， From nowhere they kill the winter warmth..
. . 夜裏偷來晝裏賣， Steal at night to sell in day light,
. .還不清這冤家債。 This unjust debt cannot be repaid.
. . 新文化要講得快， The new culture speaks fast,
. .不懂他倒也沒害。 Understand or not never mind.
. .掛羊頭將狗肉賣， Show a lamb head to sell dog meat,
. .教青年背滿身債 . Burden the youth with a lifetime debt.
File:1923 Introduction for 冯至 1355366509878.jpg1923 Introduction for 冯至 poemsZhang Dinghuang wrote an introduction for Feng Zhi 冯至 for his first group of poems in the journal «创造季刊» "Creation Quarterly" April 6, 1925.[22] A dozen years later in 1935 he was the witness for the marriage of Feng Zhi 冯至 and Yao Kekun 姚可昆 in Paris.[23][24] (The Chinese text citation notes both Feng events.)
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Literary Entertainment - Fish and Wine Poetry Feast 鱼酒唱和会 1937[25]
Fish and Wine Poetry Feast 鱼酒唱和会 1937 Shanghai:. Guo Moruo 郭沫若 , Shen Yinmo 沈尹默, 褚保权, Shen Mai Shi 沈迈士, Zhang Fengju 张凤举 and bride Zhang Weijun 张蕙君,.
Fish and Wine Poetry Feast 鱼酒唱和会 1937. Guo Moruo 郭沫若, Shen Yinmo 沈尹默, 褚保权, Zhang Fengju 张凤举 and his new bride Zhang Weijun 张蕙君, Shen Mai Shi 沈迈士.
They were friends about a dozen years ago in Beijing and Tokyo collaborating closely on literary journals. Guo Moruo 郭沫若 just came back from his exile in Japan. These friends just arranged his Shanghai accommodations. Guo, Shen, his constant companion Zhubaoquan, Zhang Fengju 张凤举 with his new bride and Shen Wangsi 沈迈士 enjoyed a fish and wine fest to produce this joint handscroll. The celebration was in the Jingjiang Hotel. Not long after this, Guo departed to join the Red Army just outside of Shanghai confronting the Japanese invasion.
The first two are by Guo and Zhang summarized below.
麵條要板板，冷水再沖沖。玉箸拈之碧，椒油拌以紅。命長增口福，運大足心雄。省得聰明誤，聾盲備一躬，地同人同。...
郭沫若 (Guo Moruo) --- (Verse about long firm noodles dressed with jade chopsticks and red sauce bring long life and achieve ambitions. Also lists each person there. )
廿六年十一月八日於錦江 沫若兄此詩句句皆有本事，惟地同人同一語與事實略有出入。因今日座中另有邁士先生在，特拈出之以備後日史家之索考。 舉 (Ju) (Moruo shows talent except his missed Wangsi who is here today, for the record... Signed Ju for Zhang Fengju.)
The third paragraph is a joint poem by Shen and Zhang. They would say the impromptu verse alternately. Shen begins the first line. Signed by both
Only drank my own wine, already heady with drink, the jade chopsticks so green, rouge is extra red, fish abundance for today, Where is the rhyme, Moru steals a look, Clever to bend and bow."
It was likely done at a similar occasion and presented to one of the guests.
Later Years
Azabu Garden Tokyo 1960s, Mr. and Mrs. Zhang Fengju, 张风举与妇人.
In the 1940s he worked primarily for the Chinese Ministry of Education and National Central Library in the areas of antiquities[1], education and publications. A lasting achievement was to recover the work of the Rare Book Preservation Society which were looted during World War II. [[ https://en.m.wikipedia.org/wiki/Rare_Book_Preservation_Society]]. This began with the Yuyuan Road Conferences 愚园路会议 1945-1946 to identify and reclaim the wartime booty looted to Japan. The key members included Jiang Fucong 蒋复璁、Ma Xulun 马叙伦、Zheng Zhenduo 郑振铎、Zhang Fengju 张凤举、... Each meeting included signed attendance. (See excerpts of minutes below). On March 23, 1946, the Ministry assigned Zhang Fengju 张凤举 as a representative to the Chinese Occupation Mission in Japan as head of the 4th Section (Education and Culture).[27] He left for Tokyo on April 1 and began discussions with the U.S. Command General Headquarters the next day. He participated in the original preservation effort and had the language proficiency for informal meetings with all parties without translators. In 2 weeks the collections were in the Chinese Mission in Tokyo. Within 2 months over 135,000 volumes were retrieved. By year end they were back in the hands of the National Central Library where they form the core of the rare books collection today. Many other university and museum collections were retrieved. See diary discussions below.[28]
The following excerpt from the official Yuyuan Road 愚园路会议 Ministry conference minutes shows signatures of the conference attendees. Zhang Fengju 张凤举 is the lower signature of the 1st line counting from the right. Immediately above his is Ma Xulun 马叙伦.
After 1949 and with the excesses which followed the Chinese Civil War, his closest friends and associates from the early years were on the mainland. His closest recent associates were in Taiwan. He himself did not favor either side and preferred non-violence. He didn't participate in any government activities following 1960 and only kept in touch with an extensive network of old friends in Taiwan and U;S. including Zhu Jiahua 朱家骅, Gu Mengyu 顾孟余, Gu Yiqiao ( Gu Yuxiu) 顾一撨 (顾毓琇), Zhu Shiming 朱世明, Shang Zheng 商震.. . Moved to the US with his wife in 1965 to join his children. Died February 2, 1986 in Atlanta.
! Title Page of Antique Chinese manuscript - 14716IMG 0079首页
Introduction page of above Antique Chinese manuscript 樂府古题.
Yue fu gu ti 樂府古题 is a Tang Dynasty compendium of the earlier Han and Jin 汉晋 dynasty court music for the Imperial Music Department. This is a Ming dynasty edition original proof from carved plates. It is in the National Central Library in Taipei, part of the collections recovered from Tokyo in 1946. Originally in 群碧搂 collection. [[ https://en.m.wikipedia.org/wiki/Rare_Book_Preservation_Society]]
These contain details of the recovery effort for the looted library manuscript and books in Tokyo. The diary begins on April 1. He goes to Tokyo as part of the Chinese Occupation Mission headed by General Zhu Shiming on April 1, 1946. He knew many of the Japanese experts from his student days at Kyoto Imperial University. His direct personal meetings from April 2, 1946 without need for interpreters, with the U.S. and Japanese authorities bore fruit. A major portion was located and viewed in the Ueno Imperial Library on April 8. On April 11, he requests an official directive from the U.S. Supreme Command for the return of the manuscript collectionns. File:Issue Order to Return Manuscripts. Ret-xIMG 0006.jpg . The collections from the Preservation Society were in the Chinese Mission in Tokyo by June, and shipped to Shanghai by December. There were other collections as well as donations from Japanese institutions. Two months later, this is his official June 5 report to the Education Ministry and the National Central Library. (picture below).
Zhang 张凤举 June 1946 Report to National Central Library
...
Partial quote:
"After 2 months of negotiations, we got 40 crates on June 1. Planned to ship 18,000 volumes (about 255,000 books) on General Zhu's trip. But the airplane was too small. Humble apologies. Beyond this first batch, I have required the Japanese to complete the detailed inventory list, the packaging and return all by the end of this month. Probably can be achieved." [30]
Zhang Fengju 张凤举 Diary Pu Yi Meeting, Aug. 29, 1946.
The USSR captured PuYi溥仪 at the end of WWII. He was a defendant at the War Crimes Tribunal. Zhang Frengju was asked to verify the Pu Yi calligraphy evidence on a fan and a document. This page records the meeting.
"August 29, 1946.
Afternoon near the USSR Embassy under their supervision met Pu YI. who wore a blue suit. Shook hands with every visitor. Showed great warmth when meeting us. After arriving Tokyo, he apparently went all around the city and beyond. Very ordinary appearance. Physically healthy. Did not talk much. Said "The Japanese went to our Nanjing. Did not expect us to be in Tokyo today.." When departing said "We shall meet again". Did not seem feminine (reputed). Witnessed him write each word (brush and ink) while copying the text from the documents. Can conclude that the writing on the fan and the document in question were not written by him. "
Background note In 1934 hte Japanese installed PuYi溥仪 as emperor of the puppet state Manchuko in northeastern provinces of China. He was charged in 1946 for betraying China but was later acquitted. The edicts issued in his name and the fan were written by others.
Important Contributions
Active participant in the movement to modernize the Chinese language For which see discussion in "Tattler" 语丝, a literary journal to which he was a contributor. This wiki article has a fine summary on the course of this development and some of the participants. [35][36]
A founder of "Creation Quarterly" in Tokyo 1921. This journal was a key vehicle for the movement. Zhang went to Tokyo from Kyoto to meet 郭沫若 for the occasion.
He recognized the importance of Lu Xun early and published a long paper titled "Mr Lu Xun"[2] in the journal «现代评论» "Contemporary Review", January 1925, still a standard about the author. [30]. The paper coined the phrase "Mr. Lu Xun" 鲁迅先生. He also established the concept "乡土文学" (peasant dirt literature).[37]
Personified the style "Personal Novel" (“身边小说”).
Encouraged and helped many younger writers including the modern poet Feng Zhi 冯至 publish his work. Wrote introduction for his first group of poems《归乡》"Return" in the journal «创造季刊» "Creation Quarterly", 1925. [38]
Preserved and reclaimed huge collections of antique manuscripts during and after WWII. Personal diary about this activity is in the National Central Library, Taipei. See section about diary and 6. below.
Recovered large quantities of collections and antiquities including over 130,000 volumes of the above. Others were from universities and museums across China. He also persuaded many Japanese institutions to donate journals and books to institutions in China. (See diary notes above.)
NCL Bound Volume from Antique Manuscript Collection
Mr. Lu Xun" 鲁迅先生 is a two part review of all Lu's writings. . ... Zhang Mengyang 张梦阳 of the Chinese Academy of Social Sciences published an essay "A Century of the Study of Lu Xun" 2012-11-21 in which he says about "Mr. Lu Xun", "This review is without doubt the first substantial essay about Lu Xun. It shaped the initial impression of his writings. The most important and the deepest contribution is the accurate description of the general spiritual and cultural transition represented by Lu Xun. For example upon reading 'A Madman's Diary' 狂人日记 we move from the shadows of candlelight into the bright summer sun. We go from the middle ages to today's world. Zhang Dinghuang accurately sensed Lu Xun's implicit meaning and vividly, accurately conveys it. Zhang thus established a historic place for Lu Xun's anthology 'Scream' 呐喊. Zhang was the first to recognize Lu Xun writings as the literary instruments of change from a medieval world to a contemporary one. He was a pioneering critic to establish the significance of this epochal transition. "[41]
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