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Paolo Zanon
mserv17@bib.psico.unipd.it
Qijing Shisanpian
(The Classic of
Weiqi
in Thirteen Chapters)
Its History and Translation
·
The most important text on the game of
weiqi
is certainly
Qijing
Shisanpian
(The Classic of
Weiqi
in Thirteen Chapters). Its precise style and
fulness of information place it far above all the other texts devoted to w
eiqi
in
Chinese literature. The present paper discusses the transmission of this text until
modern times and gives its full translation
1
.
The date of composition of
Qijing Shisanpian
is given right at the
beginning of the work. It goes back to the Huangyou period, during the reign of
the emperor Renzong of Northern Song (1049 to 1054 AD). A certain Zhang Ni
is also quoted as author.
·
© 1996 Paolo Zanon. No part of this article may be reproduced in any form without written
permission from the author.
1
The author would like to thank Gabriel Walton for her translation of this work from the
original Italian into English. Chinese encoding: BIG5.
2
Nothing is known about Zhang Ni; his name does not appear in any
biographical work. In a Ming text,
Wenjianlu
(Report of Things Heard and
Seen), written by Shao Bowen, the scholar Yu Jiaxi did find a reference to
Zhang Ni, son of Zhang Wang, who lived south of Yangzi, was a member of the
imperial burocracy, and was distinguished for his profound knowledge of
Confucian culture
2
. Yu Jiaxi believed that a mistake had been made in the name
of Zhang Ni, because in the Song text
Jilebian
(Compilation of Small Trifles),
son of Zhang Wang, was called Zhang Jing and not Zhang Ni.
It was in fact noted that Zhang Wang explicitly wished to call his son by
a name containing the radical
li
, his grandson by one containing the radical
men
, his great-grandson with a
jin
, and so on, with
shi
and
xin
. In this way, in
six generations, it would have been possible to read the sentence: “the sovreign
is at the door, the heart is golden”.
All these facts led Yu Jiaxi to the conclusion that the correct name of the
author of
Qijing Shisanpian
was Jing, not Ni. He assumed that the mistake
could be explained by the similarity between the characters
jing
and
ni
, if
written in
caoshu
style
3
. In any case, there is no further informations about the
author, who remains shrouded in mystery.
2
Y
U
J
IAXI,
Siku Tiyao Bianzheng
, Beijing, Zhonghua Shuju, 1937,
juan
40, p.800.
3
Ibidem
.
3
What we know about the text itself is clearer: already from Song dynasty
some of its quotations indicate that the date mentioned in the introductions is
credible.
Tongzhi
(Universal Annals), written between 1104 and 1162, reports a
work entitled
Yiqi
(
Weiqi
)
4
.
Chongwen Zongmu
(General Index of Noble
Literature), edited by Wang Yaochen (1001-1056
circa
), reports a “
Yiqijing
(Classic of
Weiqi
) in a
juan,
unknown author”
5
. An undated and unidentified
fragment in
Siku Quanshu
(Complete Library in Four Branches of Literature)
states that, from the times of Liu Zhongfu
6
(
fl
.:1086-1100) onwards, all the
qidaizhao
7
have read “these thirteen chapters”
8
.
So already in Song times there was a text, one
juan
long, devoted to the
game of
weiqi
and set out in thirteen chapters. The slightly different title does
not really present any problem, because even in Qing times
Qijing Shisanpian
was sometimes called
Qijing
9
.
4
Z
HENG
Q
IAO (ed.),
Tongzhi
(Universal Annals),
s.l., s.n., s.d.,
n°TC-496 of Venice Univ.
Chinese Dept. Library,
ju
.69.
5
W
ANG
Y
AOCHEN (I ed., 1001-1056 A.D.),
Q
IAN
T
ONG (II ed., 1142 A:D.),
et al
. (III
ed., 1799 A.D.),
Chongwen Zongmu
(General Index of Noble Literature), in
Chongwen Zongmu
Jishi
,
s.l.
, Huangwen Shuju, 1968, p.438.
6
L
I
S
ONGFU, “Beisong Guoshou Liu Zhongfu”,
Weiqi
, Sept. 1979, p.32.
7
Title introduced in Tang times to designate the members of the Hanlin Academy, selected for
their skill at
weiqi
.
8
Siku Quanshu
(Complete Library in Four Branches of Literature), in
W
ANG
T
AIYUE (ed.),
Qiding Siku Quanshu
, Taibei, Shangwu Yinshuguan, 1983, vol. 839, p.1001.
9
W
ANG
T
AIYUE,
ibidem
.
4
The first compilation in which
Qijing Shisanpian
appears is
Wangyou
Qingle Ji
(Collection of Pure Joys, in Order to Forget Adversity), edited by Li
Yimin
10
, about whom we only know that he was a
qidaizhao
in the Song
dynasty. However, his name supplies us with more information: Yimin means
“retired from society” and is a typical example of the
hao
adopted by the
literati
when the dynasty to which they were loyal to was overthrown by a new one. In
this way they indicated their disinclination to serve the new rulers.
So Li Yimin should have lived after the fall of the Song dynasty (1278)
and the establishment of the Yuan dynasty. The above quoted
Siku Quanshu
’s
fragment states that Li Baiyang as the sixth
qidaizhao
after Liu Zhongfu: he
could well be the same Li Yimin. Therefore
Wangyou Qingle Ji
must have
been edited in the beginning of Yuan dynasty.
A copy of this text, edited by Li Yimin, still exists in the Peking Library.
Wangyou Qingle Ji
is divided into four parts: the first presents Liu Zhongfu’s
Qijue
(The Secrete Art of
Weiqi
), Zhang Ni’s
Qijing
and a
Lunqijueyao
Zashuo
(Miscellaneous: Discourses on the Main Stratagems of
Weiqi
) by
Zhang Jing. The latter is simply the last chapter of
Qijing Shisanpian
published as an autonomous text and ascribed correctly to Zhang Jing, while
Qijing Shisanpian
has already been wrongly ascribed to Zhang Ni.
The second part of the work illustrates examples of eighteen games,
some by Liu Zhongfu, the third shows example of corner fights with
variations; and the fourth thirty-four “life and death” problems
11
.
10
L
IU
S
HANCHENG,
Zhongguo Weiqi
(Chinese
Weiqi
), Chengdu, Sichuan Kexue Jishu
Chubanshe, 1988, p.607;
L
I
S
ONGFU,
Weiqi Shihua
(History of
Weiqi
), Beijing, Renmin Tiyu
Chubanshe, 1990, pp.160
ff
.
11
L
I
S
ONGFU,
op. cit.
, p.161.
5
However, the collection in which
Qijing Shisanpian
was published and
which became the most famous and widely printed is entitled
Xuanxuan Qijing
(The Very Mysterious Classic of
Weqi
). It contains three introductions which
allow its history to be reconstructed.
The oldest of these is dated “autumn 1348” and was written by Yu Ji
(1272-1348), about whom we know that in 1341 he wrote a preface to the
Buddhist text
Fozu Lidai Tongzai
(General Report on Buddha and His
Patriarchs) by the monk Nian Chang
12
.
Yu Ji’s text
13
begins with a series of classic parallels referring to
weiqi
:
Yin
and
Yang
, the circle and the square, active and passive, and so on. He goes
on to recount an autobiographical event which occurred in 1330 at the court of
the Mongol emperor Wendi. The sovreign asked the author, as a member of the
imperial Hanlin Academy, if it was dignified for the Son of Heaven to play
weiqi
. Yu Ji answered:
When the ancients invented an object, they allowed themselves to be
perfectly absorbed by its spirit, and from each object they extracted its
usefulness. And indeed, there is no object which does not have its
particular use.
Regarding the game, Confucius long ago saied that playing
weiqi
was
better than doing nothing, and Mencius even believed that it was an art.
One may understand it therefore only by concentrating on it with a will of
iron. Moreover, the methods of organization and preparation, the
Dao
of
conquest and preservation, reasoning and decision, all recall the logic
12
W
ILLIAM
H
.
N
IENHAUSER,
J
R.,
The Indiana Companion to Traditional Chinese
Literature
, Bloomington, Indiana University Press, 1986, p.351.
Z
ANG
L
IHE,
Zhongguo
Renming Dacidian
(Great Dictionary of the Names of Illustrious Chinese), Shanghai, Shangwu
Yinshuguan, 1940, p.1322.
13
Y
U
J
I, “Xuanxuan Qijing Xu” (Introduction to The Very Mysterious Classic of
Weiqi
), in
W
ANG
R
UNAN (
et al
.),
Xuanxuan Qijing Xinjie
, Beijing, Renmin Tiyu Chubanshe, 1988, p.1.
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