2. The Revival of Learning

The growth of scholarship—Paper and ink in China—Steps in the invention of printing—The oldest book—Paper money—Movable type—Anthologies, dictionaries, encyclopedias

Meanwhile, through all wars and revolutions, through all administrations and experiments, the life of the Chinese people flowed evenly on, not much disturbed by events too distant to be heard of until long since past. The Sung rule was overthrown in the north, but reestablished itself in the south; the capital was moved from Pien Liang (now K’aifeng) to Lin-an (now Hangchow); in the new capital, as in the old, luxury and refinement grew, and traders came from many parts of the world to buy the unmatched products of Chinese industry and art. Emperor Hui Tsung (1101-25) set the fashion at Pien Liang by being an artist first and a ruler afterward: he painted pictures while the barbarians marched upon his capital, and founded an art academy that stimulated with exhibitions and prizes the arts that were to be the chief claim of the Sung era to the remembrance of mankind. Inspiring collections were made of Chinese bronzes, paintings, manuscripts and jades; great libraries were collected, and some of them survived the glories of war. Scholars and artists crowded the northern and southern capitals.

It was in this dynasty that printing entered like an imperceptibly completed revolution into the literary life of the Chinese. It had grown step by step through many centuries; now it was ready in both its phases-blocks to print whale pages, and movable type cast of metal in matrices—as a thoroughly Chinese invention,⁴ the greatest, after writing, in the history of our race.

The first step in the development had to be the discovery of some more convenient writing material than the silk or bamboo that had contented the ancient Chinese. Silk was expensive, and bamboo was heavy; Mo Ti needed three carts to carry with him, in his travels, the bamboo books that were his chief possession; and Shih Huang-ti had to go over one hundred and twenty pounds of state documents every day.⁵ About 105 A.D. one Ts’ai Lun informed the Emperor that he had invented a cheaper and lighter writing material, made of tree bark, hemp, rags and fish-nets. Ts’ai was given a high title and office by the Emperor, was involved in an intrigue with the Empress, was detected, “went home, took a bath, combed his hair, put on his best robes, and drank poison.”⁶ The new art spread rapidly and far, for the oldest existing paper, found by Sir Aurel Stein in a spur of the Great Wall, is in the form of state documents pertaining to occurrences in the years 21-137 A.D., and apparently contemporary with the latest of those events; it is dated, therefore, about 150 A.D., only half a century after Ts’ai Lun’s report of his invention.⁷ These early papers were of pure rag, essentially like the paper used in our own day when durability is desired. The Chinese developed paper almost to perfection by using a “sizing” of glue or gelatin, and a base of starchy paste, to strengthen the fibres and accelerate their absorption of ink. When the art was taught by the Chinese to the Arabs in the eighth century, and by the Arabs to Europe in the thirteenth, it was already complete.

Ink, too, came from the East; for though the Egyptian had made both ink and paper in what might be called the most ancient antiquity, it was from China that Europe learned the trick of mixing it out of lamp black; “India ink” was originally Chinese.⁸ Red ink, made of sulphide of mercury, had been used in China as far back as the Han Dynasty; black ink appeared there in the fourth century, and henceforth the use of red ink was made an imperial privilege. Black ink encouraged printing, for it was especially adapted for use on wooden blocks, and enjoyed almost complete indelibility. Blocks of paper have been found, in Central Asia, which had lain under water so long as to become petrified; but the writing, in ink, could still be clearly read.⁹

The use of seals in signatures was the unconscious origin of print; the Chinese word for print is still the same as the word for seal. At first these seals, as in the Near East, were impressed upon clay; about the fifth century they were moistened with ink. Meanwhile, in the second century, the text of the Classics had been cut in stone; and soon thereafter the custom arose of making inked rubbings from these inscriptions. In the sixth century we find large wooden seals used by the Taoists to print charms; a century later the Buddhist missionaries experimented with various methods of duplication, through seals, rubbings, stencils, and textile prints—the last an art of Indian derivation. The earliest extant block prints are a million charms printed in Japan about 770 A.D., in the Sanskrit language and the Chinese character—an excellent instance of cultural interaction in Asia. Many block prints were made during the T’ang Dynasty, but they were apparently destroyed or lost in the chaos of revolution that followed Ming Huang.¹⁰

In 1907 Sir Aurel Stein persuaded the Taoist priests of Chinese Turkestan to let him examine the “Caves of the Thousand Buddhas” at Tun-huang. In one of these chambers, which had apparently been walled up about the year 1035 A.D. and not opened again until 1900, lay 1130 bundles, each containing a dozen or more manuscript rolls; the whole formed a library of 15,000 books, written on paper, and as well preserved as if they had been inscribed the day before their modern discovery. It was among these manuscripts that the world’s oldest printed book was found—the “Diamond Sutra”—a roll ending with these words: “Printed on (the equivalent of) May 11, 868, by Wang Chieh, for free general distribution, in order in deep reverence to perpetuate the memory of his parents.”¹¹ Three other printed books were found in the mass of manuscripts; one of them marked a new development, for it was not a roll, like the “Diamond Sutra,” but a tiny folded book, the first known of its now multitudinous kind. As in late medieval Europe and among primitive peoples in recent times, the first stimulus to printing came from religion, which sought to spread its doctrines by sight as well as sound, and to put its charms and prayers and legends into every hand. Almost as old as these pious forms of print, however, are playing cards—which appeared in China in 969 or sooner, and were introduced from China into Europe near the end of the fourteenth century¹²

These early volumes had been printed with wooden blocks. In a Chinese letter written about 870 A.D. we find the oldest known mention of such work: “Once when I was in Szechuan I examined in a bookshop a school-book printed from wood.”¹³ Already, it seems, the art of printing had been developed; and it is interesting to observe that this development seems to have come first in western provinces like Szechuan and Turkestan, which had been prodded on to civilization by Buddhist missionaries from India, and had for a time enjoyed a culture independent of the eastern capitals. Block-printing was introduced to eastern China early in the tenth century when a prime minister, Feng Tao, persuaded the Emperor to provide funds for the printing of the Chinese Classics. The work took twenty years and filled one hundred and thirty volumes, for it included not only the texts but the most famous commentaries. When it was completed it gave the Classics a circulation that contributed vigorously to the revival of learning and the strengthening of Confucianism under the Sung kings.

One of the earliest forms of block printing was the manufacture of paper money. Appearing first in Szechuan in the tenth century, it became a favorite occupation of Chinese governments, and led within a century to experiments in inflation. In 1294 Persia imitated this new mode of creating wealth; in 1297 Marco Polo described with wonder the respect which the Chinese showed for these curious scraps of paper. It was not till 1656 that Europe learned the trick, and issued its first paper currency.¹⁴

Movable type was also a Chinese invention, but the absence of an alphabet, and the presence of 40,000 characters in written Chinese, made its use an impossible luxury in the Far East. Pi Sheng formed movable type of earthenware as early as 1041 A.D., but little use was found for the invention. In 1403 the Koreans produced the first metal type known to history: models were engraved in hard wood, moulds of porcelain paste were made from these models, and from these moulds, baked in an oven, the metal type was cast. The greatest of Korean emperors, T’ai Tsung, at once adopted the invention as an aid to government and the preservation of civilization. “Whoever is desirous of governing,” said that enlightened monarch, “must have a wide acquaintance with the laws and the Classics. Then he will be able to act righteously without, and to maintain an upright character within, and thus to bring peace and order to the land. Our eastern country lies beyond the seas, and the number of books reaching us from China is small. The books printed from blocks are often imperfect, and moreover it is difficult to print in their entirety all the books that exist. I ordain therefore that characters be formed of bronze, and that everything without exception upon which I can lay my hands be printed, in order to pass on the tradition of what these works contain. That will be a blessing to us to all eternity. However, the costs shall not be taken from the people in taxes. I and my family, and those ministers who so wish, will privately bear the expense.”¹⁵

From Korea the casting of movable type spread to Japan and back again to China, but not, apparently, until after Gutenberg’s belated discovery in Europe. In Korea the use of movable type continued for two centuries and then decayed; in China its use was only occasional until merchants and missionaries from the West, as if returning an ancient gift, brought to the East the methods of European typography. From the days of Feng Tao to those of Li Hung-chang the Chinese clung to block-printing as the most feasible form for their language. Despite this limitation Chinese printers poured out a great mass of books upon the people. Dynastic histories in hundreds of volumes were issued between 994 and 1063; the entire Buddhist canon, in five thousand volumes, was completed by 972.¹⁶ Writers found themselves armed with a weapon which they had never had before; their audience was widened from the aristocracy to the middle, even to part of the lower, classes; literature took on a more democratic tinge, and a more varied form. The art of block-printing was one of the sources of the Sung Renaissance.

Stimulated with this liberating invention, Chinese literature now became an unprecedented flood. All the glory of the Humanist revival in Italy was anticipated by two hundred years. The ancient classics were honored with a hundred editions and a thousand commentaries; the life of the past was captured by scholarly historians, and put down for millions of readers in the new marvel of type; vast anthologies of literature were collected, great dictionaries were compiled, and encyclopedias like mastodons made their way through the land. The first of any moment was that of Wu Shu (947-1002); for lack of an alphabet it was arranged under categories, covering chiefly the physical world. In 977 A.D. the Sung Emperor T’ai Tsung ordered the compilation of a larger encyclopedia; it ran to thirty-two volumes, and consisted for the most part of selections from 1,690 preexisting books. Later, under the Ming Emperor Yung Lo (1403-25), an encyclopedia was written in ten thousand volumes, and proved too expensive to be printed; of the one copy handed down to posterity all but one hundred and sixty volumes were consumed by fire in the Boxer riots of 1900.¹⁷ Never before had scholars so dominated a civilization.