You can still access the UC Berkeley Library's services and resources. Here's how.
Annotated by Wei Chao (204-273). Hsien-ning: I ching Shu T'ang, 1525. 8 vols double leaves in case. The work is an early collection of historical dialogues, discourses and commentaries of eight feudal states between the Western Chou and the Warring States periods (967-453 B.C.). Comparable to Tso ch'uan which is a formal commentary to the canon, Ch'un Ch'iu, the first Chinese chronological history of Lu, as revised by Confucius, Kuo yu is said to be an outside (informal) commentary on Ch'un ch'iu. It is also called Ch'un ch'iu wai ch'uan, a supplement to the Tso ch'uan. The earliest extant commentary on Kuo yu was written by Wei Chao of the Three Kingdoms (220-265), in which he combined the commentaries by scholars of the Eastern Han with his own. The volume shown here is the commemorative seven millionth volume acquired by the Library, University of California, Berkeley, donated by Shun Chan, the founder of Crocodile Garments Ltd.
By Tung, Tso-pin, 1895-1963. Sichuan, 1954. 4 vols. Tung Tso-pin's magnum opus, Yin li pu, is the classic study of the Late Shang (1751-1112 B.C.) calendar. An attempt to establish on modern, scientific grounds the absolute and relative chronology of events in the Shang dynasty and of numerous individual inscriptions, this work is monumental: it absorbed Tung's energies for a twelve-year period; it is 700,000 characters long; the handcopying of the text for reproduction took twenty months. The work -- pioneering, learned, imaginative -- is an indispensable introduction not simply to Shang chronology but also to Tung's contribution to oracle-bone studies in general and to a variety of analytical techniques with which all scholars of the field must be familiar.
In this discussion of a lunar eclipse inscription recorded on a turtle plastron from the reign of king Wu Ting, Tung addresses the relative date of the inscriptions, and (1) the engraved cracks, (2) the crack numbers, (3) the direction of writing, (4) cases (unusual) in which graphs were cut over the cracks, (5) boundary lines, (6) graphs cut into the back of a plastron, and (7) marginal notations. He then discusses the criteria, including ancestral titles and diviners' names, by which he would date a particular inscription to his Period I. Tung pursues this by considering that king Wu Ting was on the throne for 59 years and that he had over twenty sons. Tung eventually dated the eclipse to 27 March 1373 B.C.
The inscription may be translated as: Crack-making on chou Pin divined: "On the next yi [wei] (we will) perform the cutting sacrifice and mullet-raising ritual to Ancestor Yi. The king read the cracks and said: 'There will be calamities, but it will not rain.' After six days, in the night of [chia] wu, the moon was eclipsed; on yi wei we performed the cutting sacrifice; the Tuo Kung all raised up the offerings (?)." -- Professor David Keightley
Album leaves, ink and color on silk. Hsi hsiang chi, a romance, is widely regarded as the best drama by Wang Shih-fu of Yuan dynasty (1206-1368). This album is made of 21 paintings with facing calligraphy transcribing paragraphs from the play. The attributed artist and calligrapher are Ch'iu Ying (d. 1494), and Wen Cheng-ming (1470-1559) of Ming dynasty (1368-1644).
A Tibetan translation. This sutra has played an important role in Tibetan and East Asian Buddhism. It is an anthology of Mahayana texts, and thus it has more than one source in India and Central Asia. By the sixth cenutry, popular practices in China began to center on the text and it was thought that the recitation of the sutra could give great power to those who chanted it. Because of its length lay people could not have time to recite it, but they revered those monks who did so. Later attention moved from the monks to the text itself as a special object of veneration. Copying the sutra and bowing in front of it carried much of the same effect as being in the presence of the monks. The example exhibited shows the care with which ritual copies were made after it had been translated into Tibetan. In order to show its importance, this copy, which was probably made in China by Mongols or Tibetans, is printed in red. -- Professor Lewis Lancaster
4 vols. double leaves in cases. A rare hand-written copy of T'ang dynasty, with mounting and casing done in 1940s. The text was translated from Sanskrit into Chinese by Hsuan-chuang (596-664). This superb manuscript, contains the text of fascicle 254 of Mahaprajnaparamitasutra, which consits of 600 fascicles in all, making it the lengthiest of extant Buddhist scriptures.
Ts'ao, Hsueh-ch'in, ca. 1717-1767. Shanghai, 1985.Shih t'ou chi (the Story of the Stone), better known as Hung lou meng (the Dream of the Red Chamber), is generally considered to be the greatest masterpiece of traditional Chinese fiction written by Ts'ao Hsueh-ch'in during the reign of Emperor Chien-lung (1736-1796) of the Ch'ing dynasty. The novel is filled with information on almost every aspect of traditional Chinese culture and social institutions of the time. It is also considered the purest repository of the traditional Peking dialect. Hung Hsueh (Red Studies) has since been a branch of scholarship comparable to Shakespeare Studies. Shown here is a facsimile edition based on the Ch'ing Chien-lung manuscript with commentaries by Chih yen chai (Red Inkstone), originally published in 1791.
Fascimile reproduction by Jung pao chai Fine Art Studio, Pei-ching, 1956. Handscroll painting, 57 cm. This handscroll reproduces the original work, in the collection of (Liaoning Provincial Museum). The work shows six women posed with a crane and a small dog in garden setting that is indicated by a magonolia bush in bloom at the end, i.e. by the left border. The aristocratic status of five of the depicted women is described by their postures and the appearances of their gowns and outer coverings. The delicate but sensual tactile feeling of the clothing has been pointed out by critics as the telling sign of the painter, or an attributed painter from Chou Fang, one of the best known figure-painters of T'ang dynasty.
A recent article has pointed out that the key to the pictorial subject is the feature that is foregrounded in the painting's title, the floral headdresses shown by the elite women. Made up of real and artifical flowers, both shown here, the floral sprays in the women's hair join with the motifs of butterfly and the prominent fan to illustrate "Flower Morning". Usually celebrated in the second month of the lunar calendar, the spring observance thematizes concerns of fecundity, feminine beauty, and desire in the treatment accorded to it in poetry and pictorial images from the eighth century forward. -- Marion Lee
Ch'ang-sha, 1992. Ma-wang-tui is the Chinese archaelogical site uncovered in 1973 and located near Ch'ang-sha, Hunan province, China. More than 3,000 invaluable treasures, among them many lost ancient books, were unearthed. Pictured is part of one of two manuscripts of the Chinese Taoist classic, the Lao-tzu or Tao te ching, found in the mid-2nd century B.C. tomb of a scion of a noble family of the southern of Chang-sha of Han Dynasty (210 B.C.- A.D. 220). The manuscript, written on a silk scroll, is followed by a number of other ancient Chinese philosophical works. Scholars speculate that works such as these were buried in tombs because they were among the treasured objects that the dead were believed to need in the afterlife. The nobleman buried at Ma-wang-tui took with him to the netherworld a large number of books. Some were written in ink on silk while others were written on bamboo and wooden strips. Most of the texts discovered were lost early in Chinese history and hence had not been transmitted to other known versions. The excavation of the Ma-wang-tui tombs has presented modern scholars with important new sources for understanding early Chinese intellectual history. -- Professor Jeffrey Riegel
4 vols. double leaves in case. A woodblock printing of the highest standard, this work is a handbook on Chinese pictorial art that was produced in the sophisticated tradition of polychrome printing, done in imitation of painting. The prints from a complete edition number about 185, and they depict such subjects as bamboo, stones, birds, and different floral species. The work was originally created by Hu Cheng-yen, a versatile artist skilled in all calligraphy, painting, and seal carving, between 1619 and 1633 in the Ming Dynasty. The popularity of the manual led to a considerable number of printing made from recut blocks. This is a fine example. -- Marion Lee
Stone relief. 1629 or earlier. 110 x 61 cm. Bodhidharma (6th C.) is the first patriarch of Ch'an (Zen) Buddhism in China. Arriving from India sometime around 520 and finding a welcome in the small empire of the Northern Wei (386-584), the patriarch spent the next nine years in contemplation, seated facing a wall. This portrait of Bodhidharma "wall gazing," the short panegyric attached to it, and the calligraphy are all the work of a Ming dynasty monk whose name in religion was Feng-tien. The stone is now housed in the Pei-lin (Forest of Steles) in Sian, Shensi.
A translation in the Hsi-hsia langugage. A Buddhist text in the obsolete Hsi-hsia (Tangut) language probably printed in the Ming dynasty. The Hsi-hsia system, developed in the 11th-13th centuries in Northwestern China, was based on the Chinese model pictographic writing system. This volume contains only the chapter 27, section 2 of Shih ting p'ing in volume 41, acquired in Peking in 1935.
Shanghai, 1929. 8 vols. in case. This illustrated work deals in encyclopedic fashion with all branches of architecture: layout, construction, stonework, carpentry, bracketing, decoration, materials, and labor, from the first to the 11th centuries in China. It became a standard text and was influential in spreading the most advanced techniques of the time of its first publication in the Sung Dynasty in 1103. Since its publication, the work has had great impact on the palace construction of later times in China. Shown here is also a ceiling vault from a Ch'ing Palace constructed based Li's building standards in the Forbidden City in Beijing in the book, Tzu chin ch'eng kung tien. Hong Kong, 1982.
Zoho Edo oezu : saru sangatsu aratame gomon eiri. [Kyoto] : Hayashi-shi Yoshinaga, Enpo 8 . 1 map : hand col. ; 123 x 150 cm., folded in cover 26 x 19 cm. In 1952, East Asian Library acquired 2,300 maps from Edo and Meiji eras. Shown here is an example of Edo (Tokyo) map.
Manuscript of Ryunosuke Akutagawa's (1892-1927) short novel, Haha. Akutagawa Ryunosuke, a star short story writer of contemporary Japan wrote this story "Haha (Mother)" for a leading literary journal "Chuo koron."
Publisher and date unknown. "Eiga monogatari (A tale of flowering fortunes)" is a historical tale of the 11th century. The first 30 chapters are often attributed to Akazome Emon, and the last 10 to Idewa no Ben. It is the first historical work written in the Kana syllabary. It is also the first of the rekishi monogatari genre, which are fictionalized or embellished accounts of historical events and figures. Eiga was translated into English by Berkeley's professors, William H. and Helen Craig McCullough.
Artist: Fushunken, Senkei. Rikka hiden sho. Koto: Gyokuchisai, 1684. Rikka style Ikebana these days are rather small, but in old days, they were as large as 2m tall. There were full of freedom and imagination in creating these arrangements. Very modern, if the word means anything. Woodblock printing with hand colors.
Tokyo: Kaneo Bun'endo, 1918. Japan's noted poet and feminist writer, Yosano Akiko (1878-1942), published her first volume of poems "Midaregami (Tangled hair)" in 1901. It contained nearly 400 poems of passion and sensuality and was enthusiastically received. Shown here is another of her bestseller "Myojo sho," her handwritings were copied on to the beautifully produced papers.
1 map : mounted on linen ; 39 x 57 cm. A view of Edo (Tokyo) from the east. Until Meiji Restoration, and long after that, the center of activities was on the east side of the Shogun's Castle (now the Emperor's Palace.)
Tokyo: Shun'yodo, 1898-1903. Ozaki Koyo's last and best work, "Konjiki yasha (tr. The golden demon)," perhaps the most popular Meiji novel, which generated plays, movies, and songs. Shown here is the original illustration of the most famous scene which the western clothed hero (Kan'ichi) is kicking away the heroin (Miya), somehow symbolizing Japan in transition at that time.
Manuscript. Selection of Korean songs of early 19th century. This is one of three extant copies.
Manuscript. A manuscript album as the momento of an initiation ceremony performed by the ten judges of High Court.
Seoul, Korea. Collected paintings of Yi dynasty, includes almost all of worthy paintings of the period.
Compiled by Institute of East Asian Studies, University of California, Berkeley. Berkeley, CA : University of California Press, 1954. An early compilation of study guide to Korea.
Seoul, Korea. Han'guk Chongsin Munhwa Yon'guwon, 1991.
The most authoritative compilation on Korean culture.
6 volumes. Manuscript. Personal anecdotes by Hong Ssi about her life in the palace and about tragic happenings to her husband, Prince Changhon (1752-1800).
26 volumes. Manuscript. The author's collected works. This is the most complete copy of all extant manuscripts.
San Mao Liu Lang Chi (The Story of Orphan San Mao), 1949
Tang Ti Nu Erh (Daughter of the Party), 1958
Lao Ching (Old Well), 1989
The Center for Chinese Studies Library houses over 1,500 video tapes in VHS and PAL formats including feature films, documentaries, and videotapes of China's CCTV broadcasts. Feature films in the library's circulating collection span five decades of Chinese filmmaking.
This "Worker-Peasant" brand alarm clock from the Cultural Revolution lends new meaning to the concept of "awakening the masses." When wound, the Red Guard at the bottom left waves her Little Red Book in time with the second hand.
Nung Ts'un Fu Nu P'u Chan Ko (Battle Cry of the Village Women), 1969
Wu Ch'an Chieh Chi Hsien Feng Chan Shih Huang Miao-Lang (Proletarian Vanguard Soldier Huang Miao-lang), 1970
Yung Yuan Chin Wo Shou Chung Ch'iang (Always Firmly Grasp the Gun in Your Hand), 1971
These revolutionary comic books from the Cultural Revolution provided politically correct entertainiment for young and old alike.
This colorful print depicting a People's Liberation Army soldier giving guidance to Chinese peasants is typical of the kind of print which adorned many Chinese homes during the Cultural Revolution.
Ching-k'ou Ch'u Chin (Jingkou District History), 1992
An-fu Hsien Chih (Anfu County History), 1995
P'eng-lai Hsien Chuh (Penglai County History), 1995
A publishing project initiated in the mid-1980's and modeled after similar projects in Imperial China, the New Local Histories provide invaluable source material on regional history, economy, geography, and local customs at the provincial and county levels. With holdings already covering nearly half the 2,400 counties in China, the Center for Chinese Studies Library aspires to collect a complete set of New Local Histories after publication is completed in the year 2,000.
Ch'ing Ch'un Ch'ao (Wave of Spring), 1996:5
Chia T'ing (Family), 1997:1
Jen Min Ching Ch'a (People's Police), 1997:1
CCSL currently subscribes to over 200 popular and academic periodical titles, as well as social science titles from the People's University Reprint series. Additionally, CCSL houses over 3,000 reels of microfilmed periodical titles, including the major newspapers from provinces south of the Yangtze River.
Chung T'ung T'e Kung Mi Lu: Chiang-su Wen Shih Tzu Liao Ti Ssu Su Chi, (KMT Central Investigative and Statistical Bureau Secret Service; Jiangsu Literary and Historical Materials no. 45), 1991.
Min kuo k'ung chung ti hang chi; chiang-su wen shih tzu liao ti ssu shih ch'i chi (Flightpath of the Nationalist Air Force: Jiangsu Literary and Historical Materials no. 47), 1992
I yen-an: hsi-an wen shih tzu liao ti shih ch'i chi (Remembering Yan'an: Xi'an Literary and Historical Materials no. 17), 1991
Beginning publication on the national level in 1960 and expanding to the provincial and county level in the 1970's and 1980's, the Wen Shih Tzu Liao Literary and Historical Materials project is a continuing series of oral histories, biographies, and eyewitness accounts of twenthieth-century events. The Wen Shih Tzu Liao volumes are quite rare outside of China and are highly useful as primary source materials for historians and other researchers. CCSL has initiated a three stage acquisition of 15,000 volumes to be completed over the next several years, making U.C. Berkeley's collection one of the only two complete collections in the world.
Chinese Communist Party Fujian Province Organizational History, 1992.
These classified organizational histories, published by the Chinese Communist Party, provide the "Kremlinologist" excellent source material on CCP history and affairs. CCSL owns all provincial level volumes published to date.