Thesis (M.A.)--Guo li Taiwan da xue / Caption title. Reproduced from ms. copy, on double leaves. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2009. / Includes bibliographical references (p. 94-100).

Thesis (M.A.)--Guo li zheng zhi da xue. / Reproduced from typescript. Bibliography: p. 283-295.

Thesis (M.A.)--Taiwan da xue. / Summary in English, with added title: Textual criticism of Lun heng. Bibliography: p. 250-255.

Thesis (M.A.) -- Si li Zhongguo wen hua xue yuan, 1966. / Cover title. On double leaves. Reproduced from typescript. Bibliography: p. 147-150.

陳柏嘉. / "2011年5月". / "2011 nian 5 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 299-338). / Abstracts in Chinese and English. / Chen Bojia. / Chapter 1 --- 緒論 --- p.1 / Chapter 2 --- 東漢以前《詩經》傳授歷史概述 --- p.4 / Chapter 3 --- 清人整理四家《詩》學派方法探究 --- p.12 / Chapter 3.1 --- 清人整理四家《詩》學派之總則 --- p.12 / Chapter 3.2 --- 清人整理四家《詩》學派之理論 --- p.14 / Chapter 3.3 --- 近人關於清人理論之補正 --- p.19 / Chapter 4 --- 據清人理論整理王充《論衡》所屬《詩經》學派 --- p.24 / Chapter 4.1 --- 師承法 --- p.24 / Chapter 4.2 --- 推臆法 --- p.26 / Chapter 5 --- 王充《論衡》引《詩》特色探究 --- p.30 / Chapter 5.1 --- 可確考為某家者 --- p.32 / Chapter 5.1.1 --- 《魯詩》說 --- p.32 / Chapter 5.1.2 --- 《齊詩》說 --- p.33 / Chapter 5.1.3 --- 《韓詩》說 --- p.35 / Chapter 5.1.4 --- 《毛詩》說 --- p.48 / Chapter 5.2 --- 文獻傳承/漢代通說 --- p.64 / Chapter 5.2.1 --- 與《毛詩》及其他先秦兩漢文獻記載類同 --- p.64 / Chapter 5.2.2 --- 與《韓詩外傳》及其他先秦兩漢文獻記載類同 --- p.99 / Chapter 5.2.3 --- 與《毛詩》、《韓詩外傳》及其他先秦兩漢文獻記載類同 --- p.138 / Chapter 5.2.4 --- 與先秦兩漢文獻記載類同 --- p.142 / Chapter 5.3 --- 自成一說 --- p.180 / Chapter 6 --- 清人整理四家《詩》學派方法獻疑 --- p.196 / Chapter 6.1 --- 師承法獻疑 --- p.196 / Chapter 6.2 --- 推臆法獻疑 --- p.215 / Chapter 7 --- 兩漢《詩經》學史探論:政治與學術之糾結 --- p.216 / Chapter 8 --- 整理四家《詩》學派方法新論 --- p.228 / Chapter 8.1 --- 揚棄師承法 --- p.228 / Chapter 8.2 --- 揚棄排除法 --- p.237 / Chapter 8.3 --- 善用直引法、慎用推臆法 --- p.238 / Chapter 8.4 --- 回歸原點一整理四家《詩》學派方法探究 --- p.239 / Chapter 9 --- 結論 --- p.243 / 附錄 --- p.246 / Chapter 1 --- 《論衡》、《詩經》互見篇目表 --- p.246 / Chapter 1.1 --- 按《論衡》篇目排序 --- p.246 / Chapter 1.2 --- 按《毛詩》篇自排序 --- p.270 / Chapter 1.3 --- 按《韓詩外傳》卷目排序 --- p.295 / 參考書目 --- p.299 / Chapter 1 --- 專書 --- p.299 / Chapter 2 --- 學位論文 --- p.316 / Chapter 3 --- 單篇論文 --- p.319 / Chapter 4 --- 外文資料 --- p.328 / Chapter 4.1 --- 專書 --- p.328 / Chapter 4.2 --- 論文 --- p.331 / Chapter 5 --- 電子資料 --- p.333 / 後記 --- p.334

Integrated with the study of Chinese Classics, the Ch¡¦en-wei thoughts posed as the mainstream of East Han¡¦s philosophy studies but the thoughts also aroused different opinions. As early as in the beginning of West Han Dynasty, Liu Shin tried to oppose the studies of Modern Scripts with the studies of Ancient Scripts. Yang Xiong, a great thinker in late West Han Dynasty, tried to suppress the popularity of superstition with the concept of Dao Fa Zi Ran (meaning that Daoism lies in the Nature). In the beginning of East Han Dynasty, Heng Tan is the first thinker who openly criticized the official philosophy. He wrote ¡§Xing Lun¡¨ to declare his opposition against the dominant Ch¡¦en-wei thoughts and also offered suggestions about contemporary politics in the hope of attracting attention from the Emperor and serving the country. However, his suggestions irritated the Emperor instead and he was never promoted to an important position. After Heng Tan, Wang Chong, a thinker not in any official post, carried forward Heng¡¦s thoughts and, based on the principle of Ji Xu Wang (meaning to criticize the untrue), lashed even more strongly against the Ch¡¦en-wei thoughts. This thesis is an attempt to analyze Heng¡¦s and Wang¡¦s thoughts based on their books, ¡§Xing Lun¡¨ and ¡§Lun Heng.¡¨ It is found that both of them, enlightened by rationalism and spurred by the sense of mission as orthodox scholars, tried to fight against the contemporary Boshi system on the basis of Bo Tong (meaning comprehensive studies), to criticize the ridiculousness of the Ch¡¦en-wei thoughts by manifesting the principle of Ji Xu Wang and finally to achieve the ideal of Xing Zhi (meaning to criticize the untrue and to serve the country with one¡¦s thoughts). Both Heng and Wang cast a deep influence on the Ming-Fa thoughts at the end of East Han Dynasty and gave birth to the following Naturalism. Their importance to the development of Chinese philosophy can be clearly seen hereby.

Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch-like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. Government service, as a Confucian ideal, and as a recurring theme in literati painting, transforms in appearance over time, reflecting political, economic, and philosophical shifts. In the Ming dynasty, the ideal of service is manifest and demonstrated in the continued pursuit to serve in office, and the garden, reminiscent of the locations depicted in literati painting, becomes a suitable setting for this enactment. I argue that this parting scene of Wen Zhengming and Wang Chong came to implicitly represent the commitment to serve in government. The cogent Confucian ideal demonstrated by teacher and student is the unyielding determination to serve, and it is this very sentiment or quality in the copies of the farewell painting – the tenacious endeavour to be of service – that is at once consoling and persuasive.

Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch-like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. Government service, as a Confucian ideal, and as a recurring theme in literati painting, transforms in appearance over time, reflecting political, economic, and philosophical shifts. In the Ming dynasty, the ideal of service is manifest and demonstrated in the continued pursuit to serve in office, and the garden, reminiscent of the locations depicted in literati painting, becomes a suitable setting for this enactment. I argue that this parting scene of Wen Zhengming and Wang Chong came to implicitly represent the commitment to serve in government. The cogent Confucian ideal demonstrated by teacher and student is the unyielding determination to serve, and it is this very sentiment or quality in the copies of the farewell painting – the tenacious endeavour to be of service – that is at once consoling and persuasive.

Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch-like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. Government service, as a Confucian ideal, and as a recurring theme in literati painting, transforms in appearance over time, reflecting political, economic, and philosophical shifts. In the Ming dynasty, the ideal of service is manifest and demonstrated in the continued pursuit to serve in office, and the garden, reminiscent of the locations depicted in literati painting, becomes a suitable setting for this enactment. I argue that this parting scene of Wen Zhengming and Wang Chong came to implicitly represent the commitment to serve in government. The cogent Confucian ideal demonstrated by teacher and student is the unyielding determination to serve, and it is this very sentiment or quality in the copies of the farewell painting – the tenacious endeavour to be of service – that is at once consoling and persuasive. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate