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Additional resources for Mapping Meanings: The Field of New Learning in Late Qing China (Sinica Leidensia)
125, for discussion of Wang Yangming’s critique of Zhu Xi’s elucidation of the Great Learning, which created a textual crisis in the sixteenth century. 27 See Wang Fan-shen. 1995. “The ‘Daring Fool’ Feng Fang (1500–1570) and His Ink Rubbing of the Stone-inscribed Great Learning”, Ming Studies 35 (August 1995), . 1973. “Chuanxi lu” (Instrucpp. 74–91. See also Wang Yangming tions for practical living), in: Wang Yangming quanji (Complete works of Wang Yangming). Taibei: Kaozheng Press, p. 129. 28 See Zhu Zhenheng .
Developed purposefully as part of the nationbuilding project, namely in order to produce new songs that would imbue audiences with a sense of citizenship, new musicology was nevertheless accompanied by two conflicting views on whether it ought to be based on ancient tradition or lead to the overall abolishment of old notation systems. Comparable to the realm of literature, it was the rhetorical replacement of the ‘classical, old Chinese’ with the ‘new and modern West’ mainly by returned students from Japan that lead to the creation of ‘new music’ (xin yinyue ) as the dominant form of a national music, whereas the classical forms were no longer considered to be true art.
19 Moreover, examiners used policy questions on natural events and anomalies to gainsay the widespread penetration of popular religion and the mantic 17 China in the Sixteenth Century: The Journals of Matteo Ricci: 1583–1610, p. 41. See also George H. J. 1962. Generation of Giants: The Story of the Jesuits in China in the Last Decades of the Ming Dynasty. Notre Dame: University of Notre Dame Press, pp. 129–30; Kiyosi Yabuuti. 1973. ). Chinese Science: Explorations of an Ancient Tradition. : MIT Press, pp.