Haircut Chronicle -- Jin Wan Chronicle

Author: Li Kaixian of the Ming Dynasty, edited by Bu Jian
Publisher:
Publishing Date: 2000-11-01
Features: "The Tale of Shorn Hair" is a legendary work, with the author's name not recorded. Lu Tiancheng's "Qupin" lists it as "[Written by Li Kaixian of Zhangqiu]." Qing Gao Yi's "New Legend Rankings" includes "General Catalog of Ancient Legends," "Revised Catalog of the Quhai," "Catalog of Legend Examinations," "Catalog of Plays," and "Research on Modern Music," all attributed to Li Kaixian. Professor Tatsuo Hara of Japan, through a comparison of this play with Li Kaiguang's "The Sword Record" in terms of rhyme features, also believed the two plays should be by "[the same person]" ("Commentary on Three Fine Chinese Opera Manuscripts").
Li Kaixian, styled Bohua, styled Zhonglu, also known as Zhongqiu Sheng, Zhongjiang Fangke, Zhonglu Yeren, and Zhonglu Bingfu. Born in Zhangqiu, Shandong, originally from Longxi, Gansu. 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 the following year, serving as an acting official in the Ministry of Revenue. He successively held positions such as chief clerk in the Yunnan division of the Ministry of Revenue, chief clerk in the Examinations Bureau, acting assistant director of the Merit Bureau, and was formally appointed as assistant director of the Verification Bureau. He was promoted to director of the Verification Bureau, transferred to director of the Examinations Bureau, promoted to director of the Personnel Selection Bureau, and ultimately became the Vice Minister of the Imperial Academy.
Li Kaixian held a high-ranking position in the "Selection Department" and "refused to accept bribes," "maintained integrity and did not curry favor with new officials," which led to his conflict with powerful ministers. In the spring of the 20th year of the Jiajing era, after the "disaster at the Nine Temples," he was dismissed on false pretenses. He then retired to his hometown in Zhangqiu for 17 years and passed away on the 15th day of the 2nd month in the 2nd year of the Longqing era (1568) due to stomach 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 Shenzhi, and others, collectively known as the "Eight Masters of the Jiajing Era." He was particularly adept at composing musical dramas. During his mission to Ningxia, his lyrics and quci 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 country, containing many fine copies of quci and ci poetry, earning him the title of "[Mountain of Ci and Sea of Qu]." He compiled and published collections such as "Zhang Xiaoshan's Yuefu," "Qiao Mengfu's Yuefu," "Revised Collection of Yuan Dynasty Legends," "Vulgar Love Lyrics," and over a dozen collections of friends' quci.
Li Kaixian wrote extensively, including six libretti: "Dream in the Garden," "Silencing the Silent," "Disturbing the Temple," "Qiao Sitting in the Court," "Confused and Bewildered," and "The Three-branch Flower's Chaos in the Earth Hall," collectively titled "A Smile Apart," of which only the first two survive. He also wrote three legends: "The Sword Record," "The Tale of Shorn Hair," and "The Legend of Ascending the Altar," with the first two having been published in Ming-era editions. His quci works include "Zhonglu Xiling," "Southern Qu in Rhyme," "Ill in Jiangao," "To Dongshan," and "Lamenting My Wife Through the Four Seasons."
Li Kaixian's works are deeply emotional, vivid in language, unbound by rhyme constraints, and strongly embody the spirit of his era. His "The Sword Record" is often regarded as a landmark in 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 "Collected Poems of Solitary Living," "Wordplay," "Poetry and Zen," "Painting Critiques," and "Zhonglu Mountainman's Simple and Continued Pairs."