Проблемы литератур Дальнего Востока

2. New Tasks in the Study of Classical Chinese Literature in the Age of Globalization and Informatization Issues of Far Eastern Literatures: Materials of the 11th International Scientific Cconference. June 27–29, 2024 36 Vinogrodskaya Veronika (Institute of China and Contemporary Asia RAS), banbanpo@gmail.com Book Lists, Epithets, and Revision of Literary Classics from Tu Long 屠隆 (1543–1605) to Zhang Chao 張潮 (1650–1709?) The literati of the late Ming (1368–1644) and early Qing (1644–1911) period were actively engaged in developing their own literary canon, which included works of contemporary popular literature (novels and drama in baihua, leisure prose, and poetry in wenyan). This resulted in discussions of new textual unities (such as what is now considered as “four great famous works” 四大名著 ); in publishing practices (the publication of thematic anthologies of contemporary authors or positioning books in the market, for example,“The first surprising book Jin, Ping, Mei 第一奇書金瓶梅 ); in the reevaluation and search for precise definitions of beloved works (“surprising book” 奇書 , “pleasant book” 快書 , “book of anger” 怒書 , “book of stabilizing nature” 定性書 , etc.); and in creating book lists compiled by new principles, with the most notable example being the list of the “Books of six talents” 六才子書 by Jin Shengtan 金聖歎 (1608–1661), anticipating the now thriving format of the author's book recommendation list. Within the outlined period, the specific body of the new classics had not yet solidified and varied from author to author and from edition to edition; however, common evaluation principles and particular terms were established. A distinct conceptual framework also emerged, where popular genres (drama 曲 , novels 小說 ) were considered on par with classical ones, as seen in sayings and “critical remarks” 評點 from the aphoristic collection Indistinct DreamShadows 幽夢影 by Zhang Chao 張潮 (1650–1709?), or in his humorous pharmacological catalog Roots and Herbs of Books 書本草 . Keywords: literary classics, genres, book lists, Zhang Chao. Voytishek Elena (Novosibirsk State University, IOS RAS), elenavoyt@academ.org Entertainment in Literary Circles: Chinese “Treasure Bookshelves” in East Asian Culture Chinese artistic thought in the Song era (X–XIII centuries) developed the aesthetic concept of a writer and a “person of culture” ( 文人 wenren), mastering various types of intellectual leisure — music, check- ers and chess, calligraphy and painting, poetry ( 琴棋書畫 qin-qi-shu-hua ), as well as having the ability to properly brew tea, burn incense, make flower arrangements, and wield a brush. The study rooms of the “noble man” were decorated with decorative characters and shelves with books, which were supposed to form personality traits and basic norms of behavior in society in accordance with Confucian ideas. On such shelves were displayed scrolls, vases and incense burners, brushes and ink boxes, musical instru- ments, chessboards and other items accompanying the writer’s environment. Gradually, a system of genres developed in Chinese art, including both the production of multi-level shelves, cabinets and screens, and their pictorial design. They were called “shelves with treasures”, “cabinets of ancient curiosities” ( 多寶 閣 dobaoge , 百宝格 baibaoge ) and were extremely valued in literary societies. Along with the revival of cultural and trade contacts in the countries of East Asia in the 18th–19th centuries, these genres received great development in the art of Korea and Japan. We are talking, first of all, about the Korean painting genre 冊架圖 cheekkado (“images of shelves with books”), or 冊巨里 chaekkori (“books and objects”), which was initially cultivated in the court environment, and then transferred classified as “folk painting” ( 民畫 minhwa ). Outstanding examples of Korean art have been preserved both in paintings and on screens. Also of great interest is the Japanese painting genre 誰袖 tagasode (lit. “whose sleeves?”) s the image of shelves and frames with rich clothes hung on them and luxury items arranged. This type of genre painting was especially popular in the 16th–17th centuries, reflecting the main trends in the then fashion and serving as a demonstration of high social status.