The Shan Hai Jing - Domain of Deities, Spirits, Monsters, and Beasts

 

The Shan Hai Jing (The Classic of Mountains and Seas) is the earliest cultural and geographical record in China. A wondrous book of ancient myths and legends, it serves as a record of geography, regional products and produce, ethnography, and folk customs. With a total of over thirty thousand words in eighteen chapters, Shan Hai Jing is divided into five Mountain chapters (Shan Jing) and thirteen Sea chapters (Hai Jing). The Hai Jing is further split into different sections, with four chapters detailing ‘Regions Beyond the Seas,’ four on ‘Regions within the Seas,’ four covering ‘The Great Wilderness,’ and a short chapter on ‘Regions within Seas.’ With limited transportation and little communication between regions, in ancient times the average person still harbored fantastic visions of exotic countries and distant lands.  Fusing fantasy of worlds apart with true-to-life descriptions of the near-at-home, the Shan Hai Jing is a marvelous mixture of dream and reality. 

 
Rumor credits authorship of the Shan Hai Jing to Xia-Yu and Buo-Yi. However, it’s more likely that this authorship was an homage paid to the grand masters in the old days. It is generally believed that Shan Hai Jing originated from geographical files as documented by Zhou Dynasty officials. The earliest existing edition of Shan Hai Jing was revised and edited by father and son Liu Xiang and Liu during the Western Han Dynasty. People have made further annotations or researches in every dynasty since, and the most popular version now is the Shan Hai Jing Jiao Zhu by Yuan Ke from the age of the Republic. The original Shan Hai Jing was illustrated, and accordingly known as the Shan Hai Tu Jing (The Illustrated Classic of the Mountains and Seas). Thus the Jin Dynasty poet Tao Yuan-Ming wrote of “browsing through the Shan Hai illustrations,” while Guo Pu from the Jin Dynasty had occasion to pen the Shan Hai Jing Tu Zan (Illustrated Shan Hai Jing with Eulogies). Unfortunately, the illustrations they saw did not survive. What we see today are illustrations created much later on. 

 

 
 
The Shan Jing mainly documents mountains and treasures, first by describing the topography of significant mountains and rivers. Next it catalogues types of wood, animals, and minerals, explaining their practical uses, especially in terms of medicinal and supernatural value. The Hai Jing and the Huan Jing (The Classic of Wilderness) first recount myths of ancient emperors, then describe distant foreign countries, and eventually depict mythology and folk religions. Rare creatures,  their appearances and functions, receive much attention. For example, the Shu fish resembles a red-feathered chicken with three tails, six feet and four heads. The Classics claim that consuming such a fish guarantees mental stability. The conditions under which such creatures will show themselves are also explained. When a snake-like animal with one head and two bodies known as Fei Yi appears at a certain place, a drought will definitely occur. Though today such superstitions have long since lost their significance, the romance of the Shan Hai Jing continues to inspire the our imaginations as we look out into a vast and diverse world. 
 

Domain of Deities, Spirits, Monsters, and Beasts –Related Collections of Images from the Shan Hai Jing (The Classic of Mountains and Seas)

Gu Shu 000165N000000000 
Data Type:Calligraphy 
Author: Cao Shan 
Format: Main Leaf 22.1x16.6cm 
        Front Sub-Leaf32x47.2cm 
        Full Leaf 31.7x47.4cm 
Language: Han 
Relevance:  
ShiQu Bao Ji First Edition (Yang Xin Dian), Volume 1, P. 474 
National Palace Museum Calligraphy and Painting Catalogue (Book 3), Volume 1, P. 52 
Ts’ao Shan (Cao Shan), whose style name was Shih-liang and who also went by the sobriquet Shu-san-sheng), was a native of Hua-t'ing, Kiangsu (Jiangsu). Famed for his poetry, he had a reputation for being stubborn and unwilling to compromise in carrying out his affairs. With such an inflexible attitude, he found it difficult to fit in with the politics of Chinese society. During the reign of Ming T'ai-tsu (Ming Tai-zu r.1368-1398), Sung Lien (Song Lian) advocated for Ts'ao Shan many times. However, instead of agreeing to serve at court, he remained steadfastly independent and focused on practicing calligraphy. His first influence in calligraphy was the work of Chung Yu (Zhong Yao). For running and cursive scripts, however, he followed the styles of the two Wangs. His brother, Tsao Shih-ch'ang, and his brother's son, Tsao Kung (Cao Gong), are also famous for their calligraphy, and they were collectively called the "Three Tsaos of Wu." According to biographies, however, Tsao Chih-po’s son Yung (style name Shi-ch'ang) did not have any brothers, so Tsao Shan must have been one of his cousins. Tsao Shan used small, standard script to write out this classic in 1365. His calligraphy is pure, simple, and elegant, and the structure of his characters is somewhat disorderly. A slight awkwardness in Tsao Shan's brushwork also reveals Chung Yu’s influence.
Management Rights: 
National Palace Museum
 
 
Data Identification: Gu Shu 000166N000000000 
Data Type: Calligraphy 
Author: Cao Shan 
Format: Main Leaf 21.8x17cm 
   Full Leaf 31.8x47cm 
Language: Han 
Relevance:  
Shi Qu Bao Ji First Edition (Yang Xin Dian), Volume 1, P. 474
National Palace Museum Calligraphy and Painting Catalogue (Book 3), Volume 1, P. 52
Ts’ao Shan (Cao Shan), whose style name was Shih-liang and who also went by the sobriquet Shu-san-sheng), was a native of Hua-t'ing, Kiangsu (Jiangsu). Famed for his poetry, he had a reputation for being stubborn and unwilling to compromise in carrying out his affairs. With such an inflexible attitude, he found it difficult to fit in with the politics of Chinese society. During the reign of Ming T'ai-tsu (Ming Tai-zu r.1368-1398), Sung Lien (Song Lian) advocated for Ts'ao Shan many times. However, instead of agreeing to serve at court, he remained steadfastly independent and focused on practicing calligraphy. His first influence in calligraphy was the work of Chung Yu (Zhong Yao). For running and cursive scripts, however, he followed the styles of the two Wangs. His brother, Tsao Shih-ch'ang, and his brother's son, Tsao Kung (Cao Gong), are also famous for their calligraphy, and they were collectively called the "Three Tsaos of Wu." According to biographies, however, Tsao Chih-po’s son Yung (style name Shi-ch'ang) did not have any brothers, so Tsao Shan must have been one of his cousins. Tsao Shan used small, standard script to write out this classic in 1365. His calligraphy is pure, simple, and elegant, and the structure of his characters is somewhat disorderly. A slight awkwardness in Tsao Shan's brushwork also reveals Chung Yu’s influence.
 
Management Rights: 
National Palace Museum
 
 
 
Data Identification: Gu Shu000167N000000000 
Data Type: Calligraphy 
Author: Ts’ao Shan 
Format: Main Leaf 21.8x16.8cm 
Language: Han 
Relevance:  
Shi Qu Bao Ji First Edition (Yang Xin Dian), Volume 1, P. 474
National Palace Museum Calligraphy and Painting Catalogue (Book 3), Volume 1, P. 52
Ts’ao Shan (Cao Shan), whose style name was Shih-liang and who also went by the sobriquet Shu-san-sheng), was a native of Hua-t'ing, Kiangsu (Jiangsu). Famed for his poetry, he had a reputation for being stubborn and unwilling to compromise in carrying out his affairs. With such an inflexible attitude, he found it difficult to fit in with the politics of Chinese society. During the reign of Ming T'ai-tsu (Ming Tai-zu r.1368-1398), Sung Lien (Song Lian) advocated for Ts'ao Shan many times. However, instead of agreeing to serve at court, he remained steadfastly independent and focused on practicing calligraphy. His first influence in calligraphy was the work of Chung Yu (Zhong Yao). For running and cursive scripts, however, he followed the styles of the two Wangs. His brother, Tsao Shih-ch'ang, and his brother's son, Tsao Kung (Cao Gong), are also famous for their calligraphy, and they were collectively called the "Three Tsaos of Wu." According to biographies, however, Tsao Chih-po’s son Yung (style name Shi-ch'ang) did not have any brothers, so Tsao Shan must have been one of his cousins. Tsao Shan used small, standard script to write out this classic in 1365. His calligraphy is pure, simple, and elegant, and the structure of his characters is somewhat disorderly. A slight awkwardness in Tsao Shan's brushwork also reveals Chung Yu’s influence.
Management Rights: National Palace Museum
 
 
Data Identification: Gu Shu 000168N000000000 
Data Type: Calligraphy 
Author: Ts’ao Shan 
Format: 
Main Leaf 21.9x17cm 
Back Sub-Leaf I, II 21.8x17.2cm 
Back Sub-Leaf III, IV 22.3x17.3cm 
Back Sub-Leaf V 31.7x47cm 
Language: Han 
Relevance:  
Dan Qu Bao Ji First Edition (Yang Xin Dian), Volume 1, P. 474
National Palace Museum Calligraphy and Painting Catalogue (Book 3), Volume 1, P. 52
Ts’ao Shan (Cao Shan), whose style name was Shih-liang and who also went by the sobriquet Shu-san-sheng), was a native of Hua-t'ing, Kiangsu (Jiangsu). Famed for his poetry, he had a reputation for being stubborn and unwilling to compromise in carrying out his affairs. With such an inflexible attitude, he found it difficult to fit in with the politics of Chinese society. During the reign of Ming T'ai-tsu (Ming Tai-zu r.1368-1398), Sung Lien (Song Lian) advocated for Ts'ao Shan many times. However, instead of agreeing to serve at court, he remained steadfastly independent and focused on practicing calligraphy. His first influence in calligraphy was the work of Chung Yu (Zhong Yao). For running and cursive scripts, however, he followed the styles of the two Wangs. His brother, Tsao Shih-ch'ang, and his brother's son, Tsao Kung (Cao Gong), are also famous for their calligraphy, and they were collectively called the "Three Tsaos of Wu." According to biographies, however, Tsao Chih-po’s son Yung (style name Shi-ch'ang) did not have any brothers, so Tsao Shan must have been one of his cousins. Tsao Shan used small, standard script to write out this classic in 1365. His calligraphy is pure, simple, and elegant, and the structure of his characters is somewhat disorderly. A slight awkwardness in Tsao Shan's brushwork also reveals Chung Yu’s influence.
Management Rights: National Palace Museum
 
 
 
Data Identification: 
Serial Number: Gou Shan 002866-002868 
Data Type:  
Rare Books 
Author: 
Type of Contributor:  Other Contributors 
Name Contributor: Guo Pu 
Dynasty of Contribution: Jin Contribution Type: Annotattion 
Type of Contributor:  Other Contributors
Name of Contributor: Bi Yuan 
Dynasty of Contribution: Qing 
Contribution Type: Revising 
Type of Contributor:  Other Contributors
Name of Contributor: Wang Yishou 
Dynasty of Contribution: Qing 
Contribution Type: Proofreading 
Type of Contribution:  Other Contributors
Name of Contributor: Shen Cong Bao 
Dynasty of Contribution: Qing 
Contribution Type: Proofreading 
Type of Contributor:  Other Contributors
Name of Contributor: Sun Ying 
Dynasty of Contribution: Qing 
Contribution Type: Proofreading 
Type of Contribution:  Other Contributors
Name of Contributor: Yao Lang 
Dynasty of Contribution: Qing 
Contribution Type: Proofreading 
Type of Contributor:  Other Contributors
Name of Contributor: Zhang Yu 
Dynasty of Contribution: Qing 
Contribution Type: Proofreading 
Type of Contributor:  Other Contributors
Name of Contributor: Wang Xiao Han 
Dynasty of Contribution: Qing 
Contribution Type: Proofread 
Type of Contributor:  Other Contributors
Name of Contributor: Zhu Chang shou 
Dynasty of Contribution: Qing 
Contribution Type: Proofread 
Type of Contributor :  Other Contributors
Name of Contribitor: Cai Ji-qin 
Dynasty of Contribution: Qing 
Contribution Type: Proofreading 
Themes and Keywords:  
Subject: Rare and Ancient Books
Four-Category Classification: Zi (Masters) – Novels – Strange tales
Description: 
Version: The 14th year of the Emperor Guang Xu in the Qing Dynasty (1888), Red & Black Printing by Sao Yee Shan Fang 
Binding: thread-bound  
Lines Per Page: Nine lines, Twenty-one words per line, small font with double lines, also twenty-one words per line. 
Publication Notes: “Revised Carving by Sao She Shan Fang in the 14th year of Guang Xu based on Bi’s Ling Yan Shan Guan Version”
Collected Seal: “Wang Xun’s Instruction Seal” Zhu-fang (red & square), “Sao Yee Shan Fang Books Publishing Supervision” Zhu-chang  (red & long), “Xiaomin” Zhu-fang (red & square). 
Current Condition: Volume 1, Shan Hai Jing Di Yi, lacking Leaf 11, Volume 3, Illustrated Shan Hai Jing Book Five contains an extra leaf (Hua fish), Ranwei fish). 
Notes: Cover Leaf Inscription “Shan Hai Jing Illustration, Treasured by Jing Shan”, Ending Inscription “Shan Hai Jing Illustration”. 
Publisher: 
Sao Yee Shan Fang 
Date: 
Year Published: The 14th year of the Emperor Guang Xu in the Qing Dynasty (1888)
Format: 
Total Volumes: 3 Volumes 
Height & Width: 17.8×12.2 cm
Source: 
>National Palace Museum Rare Books and Historical Documents Database  
Language: 
Chinese
Management Rights: 
National Palace Museum 
 
 
Data Identification: 
Serial Number: Ping Tu 013063-013065 
Data Type:  
Rare Books 
Author: 
Type of Contributor:  Other Contributors
Name of Contributor: Guo Pu 
Dynasty of Contribution: Jin 
Contribution Type: Annotatation 
Themes and Keywords:  
Subject: Rare and Ancient Books
Four-Category Classification: Zi (Masters) – Novels – Strange tales
Description: 
Version: Published by Huang Sheng-zeng of Chang-zhou during the reign of the Jia Jing Emperor in the Ming dynasty   
Format: 
Total Volumes: 3 Volumes 
Source: 
>National Palace MuseumRare Books and Hisotrical Documents Database 
Language: 
Chinese
Management Rights: 
National Palace Museum