Qian Qianyi

, who like Qian himself, showed a concern for poorer scholars. Mao used money from his printing for charitable work and needy scholars. Mao also was the printer and producer of Qian's "Liechao shiji". Like Qian Qianyi himself, others of his circle were closely involved in education and the revival of the study of antiquity as the basis of learning.

Qian knew many independent women from entertainment and artistic circles who he treated as equals. One was a Ma Ruyu from Nanking, a consummate actress. She had had a good formal education. In addition she could paint and produce calligraphy in the square style. In her time she intimidated the male literati around her. Like many others of her kind, she abandoned her stage life and took up religion, building a Buddhist retreat. Another was, Liu Rushi (1618-1684), who became his consort after he was impressed by her accomplishments. He treated her as his intellectual equal and companion on travels and social gatherings. Her poetry was preserved by Qian. Qian had important ties to the local writers and artists in the Jiading and Kunshan area outside modern Shanghai.

Preceding this generation of individuals was the prose master Gui Youguang (1507-1571) who opposed the classicists headed by Wang Shizhen (1526-1590). The antagonism to the classicist school would continue throughout the life and writings of Qian Qianyi himself.

References

* Goodrich and Yang in Hummel, Arthur W., "Eminent Chinese of the Ch'ing Period", Washington, 1943, pp. 148-150.
* Carpenter, Bruce E., 'Ch'ien Ch'ien-i and Social History', "Tezukayama University Review" (Tezukayama daigaku ronshū, Nara, Japan, 1987, no. 58, pp. 101-113. ISSN 0385-7743