Haircut Chronicle Golden Ball Chronicle

Author: Li Kaixian of the Ming Dynasty, edited by Bu Jian
Publisher:
Publishing Date: 2000-11-01
Features: The legend of "Record of Shorn Hair," the author's name is not recorded. Lu Tiancheng's "Treatise on Qu Opera" cites it as "[Written by Li Kaixian of Zhangqiu]." Qing Gao Yi's "New Catalogue of Legend Operas" includes "General Catalogue of Ancient Legend Operas," "Revised Catalogue of Quhai Opera," "Catalogue of Legend Opera Examinations," "Table of Opera Titles," "Research on Modern Music," and "Catalogue of Qu Opera," all attributed to Li Kaixian. Professor Tatsuo Hara of Japan, through a comparison of the rhyme features between this play and Li Kaiguang's "Record of the Sword," also believed the two operas should be by "[the same author]" ("Commentary on Three Fine Ancient Qu Opera Manuscripts").
Li Kaixian, styled Bohua, styled Zhonglu, also known as Zhongqiu Sheng, Zhongjiang Fangke, Zhonglu Yeren, and Zhonglu Bingfu. Born in Zhangqiu, Shandong, with ancestral roots in Longxi, Gansu. He was born in the 15th year of the Hongzhi era of the Ming Dynasty (1502). In the 7th year of the Jiajing era, he ranked second in the Shandong provincial examination and passed the imperial examination in the following year, serving as an assistant in the Ministry of Revenue. He later held positions such as assistant in the Examination of Merits Department, acting assistant in the Department of Meritorious Officials, and assistant in the Department of Rewards. He was formally appointed as an assistant director in the Department of Verification of Seals, promoted to director in the Department of Verification of Seals, transferred to director in the Examination of Merits Department, promoted to director in the Department of Personnel Selection, and ultimately served as Vice Minister of the Imperial Academy.
Li Kaixian held a high-ranking position in the "Quanbu" (Ministry of Personnel), "refused to accept bribes," and "did not seek favor with the newly promoted officials," which led to his conflict with powerful ministers. In the spring of the 20th year of the Jiajing era, during the "disaster at the Nine Temples," he was dismissed on false pretenses. He then retired to his hometown in Zhangqiu for 17 years, passing away on the 15th day of the second month of the 2nd year of the Longqing era (1568) due to liver disease, at the age of 67.
Li Kaixian was skilled in writing, and during his time in court, he engaged in literary exchanges with Luo Hongxian, Tang Shunzhi, Wang Shenzhong, and others, collectively known as the "Eight Masters of the Jiajing Era." He was particularly adept at composing qu opera. During his mission to Ningxia, his qu poetry won the praise of Kang Hai and Wang Jiushi, forging a lifelong friendship. He had a passion for books, and his collection was considered the finest in Shandong and renowned throughout the nation, containing many rare qu opera manuscripts, earning him the title of "[Mountain of Qu Poetry and Ocean of Qu Opera]." He compiled and published collections such as "Zhang Xiaoshan's Qu Opera," "Qiao Mengfu's Qu Opera," "Revised Qu Opera of Ancient Masters," "Fleeting Love Lyrics," and over a dozen collections of friends' qu opera.
Li Kaixian's qu opera works are abundant, including six stage plays: "Dream in the Garden," "Silencing the Silent," "Disturbing the Temple," "Qiao Sitting in the Courthouse," "Confused and Bewildered," and "The Three-branch Flower's Chaos in the Earth Temple," collectively titled "A Smile Apart," with only the first two still extant. He also wrote three qu opera: "Record of the Sword," "Record of Shorn Hair," and "Record of Ascending the Platform," with the first two having been published in Ming-era editions. His qu lyrics include "Zhonglu's Little Orders," "Qu Rhyme in the South," "Lying Ill by the River," "Gift to Doushan," and "Lamenting My Wife Through the Four Seasons."
Li Kaixian's works are characterized by sincere emotions, vivid language, and a lack of rhyme constraints, embodying a strong sense of the era. His "Record of the Sword" is often regarded as a milestone marking the revival of Ming Dynasty opera from decline, holding an important place in the history of Chinese opera. Li Kaixian also left behind works such as "Collection of Leisure," "Qu Jokes," "Poetry Zen," "Painting Critiques," and "Zhonglu Mountain Man's Simple and Continued Rhymes."