Hu Zhengyan

Hu Zhengyan (Chinese: 胡正言 ; c. 1584 – 1674) was a Chinese

Hu Zhengyan
artist, printmaker and publisher. He worked in calligraphy,
traditional Chinese painting, and seal-carving, but was primarily a
publisher, producing academic texts as well as records of his own
work.

Hu lived in Nanjing during the transition from the Ming dynasty to

the Qing dynasty. A Ming loyalist, he was offered a position at the
rump court of the Hongguang Emperor, but declined the post, and
never held anything more than minor political office. He did,
however, design the Hongguang Emperor's personal seal, and his One of Hu Zhengyan's personal
loyalty to the dynasty was such that he largely retired from society seals
after the emperor's capture and death in 1645. He owned and
Born c. 1584
operated an academic publishing house called the Ten Bamboo
Studio, in which he practised various multi-colour printing and Xiuning, China
embossing techniques, and he employed several members of his Died c. 1674
family in this enterprise. Hu's work at the Ten Bamboo Studio (aged 89–90)
pioneered new techniques in colour printmaking, leading to Nanjing, China
delicate gradations of colour which were not previously achievable
Other names Hu Yuecong,
in this art form.
Hu Cheng-yen
Hu is best known for his manual of painting entitled The Ten Occupation(s) Publisher,
Bamboo Studio Manual of Painting and Calligraphy, an artist's artist, seal-
primer which remained in print for around 200 years. His studio carver
also published seal catalogues, academic and medical texts, books
on poetry, and decorative writing papers. Many of these were Known for Colour
edited and prefaced by Hu and his brothers. woodblock
printing

Biography Notable work Ten Bamboo

Studio Manual
Hu was born in Xiuning County, Anhui Province in 1584 or early
1585.[1] Both his father and elder brother Zhengxin ( 正心 , art
Chinese name
胡正言
name Wusuo, 無所 ) were physicians, and after he turned 30 he Chinese
travelled with them while they practised medicine in the areas
around Lu'an and Huoshan.[2] It is commonly stated that
Zhengyan himself was also a doctor,[2] though the earliest sources
attesting to this occur only in the second half of the 19th century.[1]

By 1619, Hu had moved to Nanjing[1] where he lived with his

wife Wu.[3] Their home on Jilongshan ( 雞籠山 , now also known
as Beiji Ge), a hill located just within the northern city wall,[1]
served as a meeting-house for like-minded artists. Hu named it the
Ten Bamboo Studio (Shizhuzhai, 十竹齋 ), after the ten bamboo
[3][4]
Transcriptions
plants that grew in front of the property. It functioned as the Standard Mandarin
headquarters for his printing business, where he employed ten
artisans including his two brothers Zhengxin and Zhengxing ( 正 Hanyu Pinyin Hú Zhèngyán
行 , art name Zizhu,子著 ) and his sons Qipu ( 其樸 其
) and Qiyi ( Gwoyeu Hwu Jenq-yan
毅 , courtesy name 致果 ). [1]
Romatzyh
Wade–Giles Hu2 Cheng4-
During Hu's lifetime, the Ming dynasty, which had ruled China for
yen2
over 250 years, was overthrown and replaced by China's last
imperial dynasty, the Qing. Following the fall of the capital Beijing IPA [xǔ ʈʂə̂ŋ.jɛ̌n]
in 1644, remnants of the imperial family and a few ministers set up Wu
a Ming loyalist regime in Nanjing with Zhu Yousong on the throne
Romanization ɦou tsen-nyĩ
as the Hongguang Emperor.[5] Hu, who was noted for his seal-
carving and facility with seal script, created a seal for the new Yue: Cantonese
Emperor. The court offered him the position of Drafter for the Yale Wùh Jing-yìhn
Secretariat (zhongshu sheren, 中書舍人 ) as a reward, but he did Romanization
not accept the role (although he did accord himself the title of
Jyutping Wu4 Zing3-jin4
zhongshu sheren in some of his subsequent personal seals).[1]
Southern Min
According to Wen Ruilin's Lost History of the South (Nanjiang
Yishi,南疆繹史 ), prior to the Qing invasion of Nanjing Hu studied
Tâi-lô Ôo Tsiànn-giân
Courtesy name
at the National University there, and whilst a student was
employed by the Ministry of Rites to record official proclamations; Traditional Chinese 曰從
he produced the Imperial Promotion of Minor Learning (Qin Ban
Xiaoxue, 御頒小學 ) and the Record of Displayed Loyalty
Simplified Chinese 曰从
表忠記
(Biaozhong Ji, ) as part of this work. As a result, he was Transcriptions
promoted to the Ministry of Personnel and gained admittance to Standard Mandarin
the Hanlin Academy, but before he could take up this appointment, Hanyu Pinyin Yuēcóng
Beijing had fallen to the Manchu rebellion.[6] Since
Wade–Giles Yüeh1-ts'ung2
contemporaneous biographies (Wen's work was not published until
1830) make no mention of these events, it has been suggested that
they were fabricated after Hu's death.[1]

Hu retired from public life and went into seclusion in 1646, after the end of the
Ming dynasty.[7] Xiao Yuncong and Lü Liuliang recorded visiting him during
his later years, in 1667 and 1673 respectively.[2] He died in poverty at the age
of 90, sometime around late 1673 or early 1674.[1]

Seal-carving
Hu Zhengyan was a noted seal-carver, producing personal seals for numerous
dignitaries. His style was rooted in the classical seal script of the Han dynasty,
and he followed the Huizhou school of carving founded by his contemporary Hu's former residence in
He Zhen. Hu's calligraphy, although balanced and with a clear compositional Xiuning
structure, is somewhat more angular and rigid than the classical models he
followed. Huizhou seals attempt to impart an ancient, weathered impression,
although unlike other Huizhou artists Hu did not make a regular practice of artificially aging his seals.[1]

Hu's work was known outside his local area. Zhou Lianggong, a poet who lived in Nanjing around the
same time as Hu and was a noted art connoisseur, stated in his Biography of Seal-Carvers (Yinren Zhuan,
印人傳 ) that Hu "creates miniature stone carvings with ancient seal inscriptions for travellers to fight over
 and treasure",[8] implying that his carvings were popular with visitors and
travellers passing through Nanjing.[1][9]

In 1644, Hu took it upon himself to create a new Imperial seal for the
Hongguang Emperor, which he carved after a period of fasting and prayer. He
presented his creation with an essay, the Great Exhortation of the Seal (Dabao
Zhen, 大寶箴 ), in which he bemoaned the loss of the Chongzhen Emperor's
seal and begged Heaven's favour in restoring it. Hu was concerned that his
essay would be overlooked because he had not written it in the form of
rhyming, equally-footed couplets (pianti, 駢體 ) used in the Imperial
examinations, but his submission and the seal itself were nevertheless both
accepted by the Southern Ming court.[7]
Examples of Hu
Zhengyan's seal carving Ten Bamboo Studio
Despite his reputation as an artist and
seal-carver, Hu was primarily a publisher. His publishing house, the
Ten Bamboo Studio, produced reference works on calligraphy,
poetry and art; medical textbooks; books on etymology and
phonetics; and copies of as well as commentaries on the Confucian
Classics. Unlike other publishers in the area, the Ten Bamboo
Studio did not publish works of narrative fiction such as plays or
novels.[10] This bias towards academia was likely a consequence of
the studio's location: the mountain on which Hu took up residence
was just to the north of the Nanjing Guozijian (National Academy),
which provided a captive market for academic texts.[11] Between
Fruit (Persimmon and Three Yellow
1627 and 1644, the Ten Bamboo Studio produced over twenty
Tangerines) from the Ten Bamboo
printed books of this kind, aimed at a wealthy, literary audience.[12] Studio Manual of Painting and
The studio's earliest publications were medical textbooks, the first Calligraphy, showing the colour
of which, Tested Prescriptions for Myriad Illnesses (Wanbing
Yanfang, 萬病驗方 ) was published in 1631 and proved popular
gradation achieved through Hu
Zhengyan's printing methods.
enough to be reissued ten years later. Hu's brother Zhengxin was a
medical practitioner and appears to have been the author of these
books.[1]

During the 1630s the Ten Bamboo Studio also produced political works extolling the rule of the Ming;
these included the Imperial Ming Record of Loyalty (Huang Ming Biaozhong Ji, 皇明表忠紀 ), a biography
of loyal Ming officials, and the Edicts of the Imperial Ming (Huang Ming Zhaozhi, 皇明詔制 ), a list of
Imperial proclamations. After the fall of the Ming Dynasty, Hu renamed the studio the Hall Rooted in the
Past (Digutang, 迪古堂 ) as a sign of his affiliation with the previous dynasty, although the Ten Bamboo
imprint continued to be used. Despite Hu's withdrawal from society after 1646, the studio continued to
publish well into the Qing dynasty, for the most part focussing on seal impression catalogues showcasing
Hu's carving work.[1]

The Ming dynasty had seen considerable advancement in the process of colour printing in China.[13][14] At
his studio, Hu Zhengyan experimented with various forms of woodblock printing, creating processes for
producing multi-coloured prints and embossed printed designs.[15] As a result, he was able to produce some
of China's first printed publications in colour, using a block printing technique known as "assorted block
printing" (douban yinshua, 饾板印刷 ).[16][17][18] This system made use of multiple blocks, each carved
with a different part of the final image and each bearing a different colour.[19] It was a lengthy, painstaking
process, requiring thirty to fifty engraved printing blocks and up to seventy inkings and impressions to
 create a single image.[3] Hu also employed a related form of multiple-block
printing called "set-block printing" (taoban yinshua, 套板印刷 ), which had
existed since the Yuan period some 200 years earlier but had only recently
come into fashion again.[4][20][21] He refined these block printing
techniques by developing a process for wiping some of the ink off the
blocks before printing; this enabled him to achieve gradation and
modulation of shades which were not previously possible.[22]

In some images, Hu employed a blind embossing technique (known as

"embossed designs" (gonghua, 拱花 ) or "embossed blocks" (gongban, 拱
板 ), using an uninked, imprinted block to stamp designs onto paper. He
used this to create white relief effects for clouds and for highlights on water
or plants.[3] This was a relatively new process, having been invented by
Hu's contemporary Wu Faxiang, who was also a Nanjing-based publisher.
Wu had used this technique for the first time in his book Wisteria Studio
Letter Paper (Luoxuan Biangu Jianpu,
[23][24]
蘿軒變古箋譜 ), published in
1626. Both Hu and Wu used embossing to create decorative writing
papers, the sale of which provided a sideline income for the Ten Bamboo
Studio.[25]
Letter from Hu's
contemporary and Ming Major works
loyalist Zou Zhilin, on
decorative paper from the Hu's most notable work is the Ten
Ten Bamboo Studio Bamboo Studio Manual of Painting
and Calligraphy (Shizhuzhai
Shuhuapu, 十竹齋書畫譜 ), an
anthology of around 320 prints by around thirty different artists
(including Hu himself), published in 1633. It consists of eight
sections, covering calligraphy, bamboo, flowers, rocks, birds and
animals, plums, orchids and fruit. Some of these sections had been
released previously as single volumes.[24] As well as a collection of
artworks, it was also intended as an artistic primer, with instructions
on correct brush position and technique and several pictures
designed for beginners to copy. Although these instructions only
Bamboo in snow from the 'Ten
appear in the sections on orchids and bamboo, the book still
Bamboo Studio Manual of Painting
remains the first example of a categorical and analytical approach to
and Calligraphy
Chinese painting.[1][26] In this book, Hu used his multiple-block
printing methods to obtain gradations of colour in the images, rather
than obvious outlines or overlaps.[21] The manual is bound in the
"butterfly binding" (hudie zhuang, 蝴蝶裝 ) style, whereby whole-folio illustrations are folded so that each
occupies a double-page spread. This binding style allows the reader to lay the book flat in order to look at a
particular image.[4] Cambridge University Library released a complete digital scan of the manual, including
all writings and illustrations in August, 2015.[27] Said Charles Aylmer, Head of the Cambridge University
Chinese Department, "The binding is so fragile, and the manual so delicate, that until it was digitized, we
have never been able to let anyone look through it or study it – despite its undoubted importance to
scholars."[28]

This volume went on to influence colour printing across China, where it paved the way for the later but
better-known Manual of the Mustard Seed Garden (Jieziyuan Huazhuan 芥子園畫傳), and also in Japan,
where it was reprinted and foreshadowed the development in ukiyo-e of the colour woodblock printing
process known as nishiki-e ( 錦絵 ).[29][30][31] The popularity of the Ten Bamboo Studio Manual was such
that print runs continued to be produced all the way through to the late Qing dynasty.[1]

Hu also produced the work Ten Bamboo Studio Letter Paper (Shizhuzhai Jianpu, 十竹齋箋譜 ), a
collection of paper samples, which made use of the gonghua stamped embossing technique to make the
illustrations stand out in relief.[4][16][32][33] Whilst primarily a catalogue of decorative writing papers, it also
contained paintings of rocks, people, ritual vessels and other subjects.[24] The book was bound in the
"wrapped back" (baobei zhuang,
[9]
包背裝 ) style, in which the folio pages are folded, stacked, and sewn
along the open edges. Originally published in 1644, it was reissued in four volumes between 1934 and
1941 by Zheng Zhenduo and Lu Xun, and revised and republished again in 1952.[34]

Other publications

Other works produced by Hu's studio included a reprint of Zhou Boqi's manual of seal-script calligraphy,
The Six Styles of Calligraphy, Correct and Erroneous (Liushu Zheng'e, 六書正譌 ) and the related
Necessary Investigations into Calligraphy (Shufa Bi Ji, 書法必稽 ), which discussed common errors in the
formation of characters. With his brother Zhengxin, Hu edited a new introductory edition of the Confucian
classics, entitled The Standardised Text of the Four Books, Identified and Corrected (Sishu Dingben
Bianzheng, 四書定本辨正 ) (1640), giving the correct formation and pronunciation of the text. A similar
approach was taken with the Essentials of the Thousand Character Classic in Six Scripts (Qianwen Liushu
Tongyao, 千文六書統要 ) (1663), which Hu compiled with the aid of his calligraphy teacher, Li Deng. It
was published after Li's death, partly in homage to him.[1]

The three Hu brothers worked together to collate a student primer on poetry by their contemporary Ye
Tingxiu, which was called simply the Discussion of Poetry (Shi Tan, 詩譚
) (1635). Other works on poetry
from the studio included Helpful Principles to the Subtle Workings of Selected Tang Poems (Leixuan Tang
Shi Zhudao Weiji, 類選唐詩助道微機 [1]
), which was a compilation of several works on poetry and included
colophons by Hu Zhengyan himself.

Among the studio's more obscure publications was a text on Chinese dominoes entitled Paitong Fuyu ( 牌
統浮玉 ), written under a pseudonym but with a preface by Hu Zhengyan.[1]

Gallery
Images from the Ten Bamboo Studio Manual of Painting and Calligraphy
 Orchid Chrysanthemum Apple Blossom

Cherry Blossom and Bird on a Flowering Three Oranges on a

Bamboo Branch Knotted Stand

Bird on a Branch Toadstools Chestnuts

Tangerines Plum Blossoms and Diagram of correct

Pine brush position

References
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External links
Shi zhu zhai shu hua pu (Ten Bamboo Studio collection of calligraphy and painting) (http://c
udl.lib.cam.ac.uk/view/PR-FH-00910-00083-00098/1), fully digitised 1633 edition in
Cambridge Digital Library

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