East Side Story. Papers on Chinese Storytelling by Věnceslava Hrdličková
East Side Story. Papers on Chinese Storytelling by Věnceslava Hrdličková
Contributor(s): Tereza Slaměníková (Editor), Markéta Koklarová (Editor)
Subject(s): Social Sciences, Language studies, Language and Literature Studies, Sociology, Sociology of the arts, business, education, Philology
Published by: Univerzita Palackého v Olomouci
Keywords: Oriental Studies; Sinology; Věnceslava Hrdličková; Chinese literature; Chinese storytelling
Summary/Abstract: This volume offers a comprehensive examination of Chinese verbal art, highlighting its dynamic and evolving character. Drawing on a curated selection of English-language studies by the distinguished sinologist and Japanologist Věnceslava Hrdličková, the book traces the evolution of Chinese storytelling from Buddhist sutra recitations in temple halls to the emergence of written popular booklets. The analysis explores the cultural transformations shaping this art form, its structural features, narrative techniques, the training of storytellers, and the relationship between established tradition and individual creativity. Together, these perspectives position Chinese storytelling as a dynamic expressive form situated at the intersection of religious practice, community performance, and literary culture.
- E-ISBN-13: 978-80-244-6703-0
- Page Count: 186
- Publication Year: 2025
- Language: English
Editorial
Editorial
(Editorial)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language studies, Language and Literature Studies, Sociology of the arts, business, education
- Page Range:7-10
- No. of Pages:4
Věnceslava Hrdličková: A Devoted Pioneer of Chinese and Japanese Oral Storytelling (Field) Research
Věnceslava Hrdličková: A Devoted Pioneer of Chinese and Japanese Oral Storytelling (Field) Research
(Věnceslava Hrdličková: A Devoted Pioneer of Chinese and Japanese Oral Storytelling (Field) Research)
- Author(s):Zdeněk Hrdlička
- Language:English
- Subject(s):Language and Literature Studies, Philosophy of Language, Sociology of the arts, business, education
- Page Range:11-16
- No. of Pages:6
- Summary/Abstract:The life journey of Věnceslava Hrdličková (1924–2016), who is described by many encyclopaedia entries as a global pioneer of the idea that oral folk storytelling plays an irreplaceable and vital role in the literary tradition of China and Japan, was shaped in her early youth.
The First Translations of Buddhist Sūtras in Chinese Literature and Their Place in the Development of Storytelling
The First Translations of Buddhist Sūtras in Chinese Literature and Their Place in the Development of Storytelling
(The First Translations of Buddhist Sūtras in Chinese Literature and Their Place in the Development of Storytelling)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language studies, Language and Literature Studies, Sociology of the arts, business, education
- Page Range:17-50
- No. of Pages:34
- Keywords:Buddhist sutra; Chinese translation; Chinese storytelling; narrative style; prosimetric form;
- Summary/Abstract:This study explores the early translations of Buddhist sutras into Chinese literature and their significant role in the evolution of Chinese storytelling. It emphasizes the introduction of the prosimetric form, i.e., an alternation of prose and verse, into Chinese literature. The text is divided into two parts. Part one traces back the translations of Buddhist sutras into Chinese in two time periods: a) from the Han dynasty to the end of the Western Jin and b) from the Eastern Jin to the end of the Sui dynasty. It provides an overview of the early translators of Buddhist sutras and examines the challenges they faced and the methods they used. Among others, this part of the paper demonstrates how the prosimetric form was introduced and adapted and how the blending of Indian and Chinese literary traditions eventually led to a creation of a new narrative style. Part two investigates the manner in which sutras were recited. It points out how the originally simple and strict format of Buddhist sermons was enriched by national elements and unique storytelling techniques.
Some Questions Connected with Dunhuang Bianwen
Some Questions Connected with Dunhuang Bianwen
(Some Questions Connected with Dunhuang Bianwen)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language and Literature Studies, Studies of Literature, Sociology of the arts, business, education
- Page Range:51-72
- No. of Pages:22
- Keywords:Chinese Buddhist literature; Dunhuang texts; bianwen; narrative; prosimetrical form;
- Summary/Abstract:The paper discusses the challenges in defining Dunhuang bianwen as a literary genre. First, it reviews the history of the existing bianwen collections, highlighting their contributions to the field. The disputable content of these collections opens a discussion about which Dunhuang texts are supposed to be designated bianwen. Unfortunately, only a limited number of rolls have maintained the original designation. Considering this, the paper identifies content as an additional classification criterion. Moreover, it points out the significance of the prosimetrical form. Consequently, it emphasizes that some other literary forms must be considered while investigating bianwen. In light of this, the article provides a list of texts that can be categorized as either bianwen or other Dunhuang texts that are closely related to them. The second part of the article introduces the plurality of approaches used by different scholars while defining the literary genre of bianwen and provides a new insight into the issue.
Some Observations on the Chinese Art of Storytelling
Some Observations on the Chinese Art of Storytelling
(Some Observations on the Chinese Art of Storytelling)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language and Literature Studies, Studies of Literature, Sociology of the arts, business, education
- Page Range:73-103
- No. of Pages:31
- Keywords:Chinese storytelling; professional training; forms of Chinese storytelling; prompt book; improvisation;
- Summary/Abstract:Chinese storytelling is a representation of an extraordinarily rich creation. In its overall assessment, it is not enough to confine ourselves to studying written texts alone. It is necessary to extend the research to ethnographic methods, enabling us to grasp the range of significant circumstances that accompanied the emergence and practice of storytelling. Only then can we reach positive conclusions about the extent to which storytelling was indeed folk art and to what extent it was dependent on texts written, so to speak, “for the people” by representatives of the educated strata of society. However, it must also be considered that the art of storytelling is rooted in the people and gradually spread to other sections of the population. In evaluating texts, thus, we must always ask ourselves for whom they were intended. To shed light on the extent to which folk storytellers depended on written texts, research into living storytelling traditions provides a great deal of material. Based on this, we can observe that the folk storyteller was a genuinely creative artist within the framework defined by the tradition and was not a mere mechanical reciter of the written text. These texts, conversely, drew inspiration from the oral tradition and were usually intended for reading rather than recitation.
The Professional Training of Chinese Storytellers and the Storytellers’ Guilds
The Professional Training of Chinese Storytellers and the Storytellers’ Guilds
(The Professional Training of Chinese Storytellers and the Storytellers’ Guilds)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language and Literature Studies, Sociology of the arts, business, education, Sociology of Literature
- Page Range:104-130
- No. of Pages:27
- Keywords:Oral tradition; Chinese storytelling; apprenticeship; professional training; guild; tea room;
- Summary/Abstract:The paper provides a comprehensive look at Chinese storytellers’ professional training and guild organization, emphasizing the importance of oral tradition in Chinese literature and culture. It describes the strenuous path to mastery of storytelling, including accepting a pupil into the apprenticeship, the slow process of initiation into the mysteries of the storytelling art, the rigorous training system, and the nature of first performances in public. Moreover, the paper mentions several artistic techniques. Storytellers used various aids, such as secret handbooks and orally transmitted “magic formulae” to guide their performances. Despite this, an essential skill for storytellers was the ability to improvise, adding new elements to stories and responding to audience reactions. The second part of the text analyzes the role of storytellers’ guilds, which not only regulated their activities and protected their interests but also played a crucial role in maintaining high artistic standards. Furthermore, it describes the characteristic features of the tea rooms, where the storytellers, based on their artistic proficiency, hold their performances.
The Chinese Storytellers and Singers of Ballads: Their Performances and Storytelling Techniques
The Chinese Storytellers and Singers of Ballads: Their Performances and Storytelling Techniques
(The Chinese Storytellers and Singers of Ballads: Their Performances and Storytelling Techniques)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language and Literature Studies, Sociology of the arts, business, education, Sociology of Literature
- Page Range:131-147
- No. of Pages:17
- Keywords:Oral tradition; Chinese storytelling; storytellers’ performances; dramatic techniques; composition of tales;
- Summary/Abstract:The art of storytelling represents an integral part of the Chinese cultural heritage. Over the centuries, it has developed many forms, mostly covered by the Chinese broad term shuoshu. This paper explores the rich tradition of Chinese storytellers and singers of ballads, highlighting their performances, storytelling techniques, and the cultural significance of their art. The observations presented in the first section are based on extensive fieldwork. The author and her husband observed storytellers and singers in several cities and towns in northern China from 1950 to 1954. The section describes the characteristic features of performances in various settings, including street corners, marketplaces, teahouses, and small theatres. The second section discusses the form of pingshu, which refers to narrating prose tales without musical accompaniment. It highlights the simplicity of pingshu performances, the importance of voice modulation and minimal props, and the rigorous training required to master this art form. The third section focuses on the structure and composition of the storyteller’s tale. It emphasizes the importance of well-known themes, the storyteller’s specialization in specific genres, and the use of literary devices to enhance the narrative.
The Motif of the God of the Hearth and the Division of the Joint Family in Chinese Chap-Books
The Motif of the God of the Hearth and the Division of the Joint Family in Chinese Chap-Books
(The Motif of the God of the Hearth and the Division of the Joint Family in Chinese Chap-Books)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language and Literature Studies, Sociology of the arts, business, education, Sociology of Literature
- Page Range:148-168
- No. of Pages:21
- Keywords:Oral tradition; Chinese storytelling; chap-books; god of the hearth; family;
- Summary/Abstract:The art of storytelling in China was one of the primary sources of entertainment for the broad masses. It is significant that this practice extended beyond oral storytelling and entered the sphere of written literature. The most popular ballads and stories were transcribed, printed, and gradually adapted to resemble tales meant primarily for reading. Despite this shift, the oral conventions persisted strongly, even though these written works were no longer directly tied to the oral tradition. The stories collected in the printed chap-books covered many themes, including traditional tales, episodes from celebrated novels, or real-life stories. The paper examines the circumstances under which the stories were published and describes how the printed copies were used. In order to illustrate certain features of the storytellers’ books, the central part of the paper compares several variants of the famous tale about the god of the hearth, a popular deity in Chinese households, that elaborates the motif of the division of the joint family.
Tradition and Individual Creativity in the Chinese and Japanese Storytelling
Tradition and Individual Creativity in the Chinese and Japanese Storytelling
(Tradition and Individual Creativity in the Chinese and Japanese Storytelling)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language and Literature Studies, Sociology of the arts, business, education, Sociology of Literature
- Page Range:169-174
- No. of Pages:6
- Keywords:Oral tradition; Chinese storytelling; Japanese storytelling; apprenticeship; performance techniques; creativity;
- Summary/Abstract:A delicate balance between tradition and individual creativity characterizes storytelling in China and Japan. This balance ensures that while the structure, themes, and performance techniques are deeply rooted in tradition, each storyteller brings a unique personal touch to his art, making each performance distinct and engaging. The “know-how” of storytelling is typically transmitted orally from master to apprentice, making it appear straightforward and spontaneous to casual observers. In reality, the art of storytelling results from systematic training, discipline, and the artist’s maturity. Apprentices in both China and Japan learn through imitation, absorbing the master’s art before developing their own style. Eventually, it is, however, the storyteller’s unique personality and creativity that brings the stories to life. Moreover, the stories are treated as living entities, constantly adapted to suit different audiences and contexts. The quality of performance often improves with the storyteller’s age and experience.
The Significance of the Dunhuang Jiangjing Wen for Chinese Literary History
The Significance of the Dunhuang Jiangjing Wen for Chinese Literary History
(The Significance of the Dunhuang Jiangjing Wen for Chinese Literary History)
- Author(s):Věnceslava Hrdličková
- Language:English
- Subject(s):Language and Literature Studies, Sociology of the arts, business, education, Sociology of Literature
- Page Range:175-184
- No. of Pages:10
- Keywords:Chinese Buddhist literature; Dunhuang texts; jiangjing wen; Weimojie jiangjing wen; Vimalakirti Sutra;
- Summary/Abstract:The jiangjing wen, i.e., explanations of the sutras, are considered transitional texts that, within Chinese literary history, represent the link between the religious and the secular spheres on the one hand and the oral storytelling with written prose and verse on the other. They are closely connected with the Tang dynasty’s sujiang, i.e. popular preaching, which evolved from religious sermons to more secular, entertaining forms, especially after the persecution of Buddhists in 845. This transition is evident in the lively and colorful descriptions within the jiangjing wen, which is rich in narrative detail and poetic metaphors. Moreover, these texts incorporate elements of everyday life and typical Chinese cultural features into the religious narrative and, thus, create an atmosphere that makes the story more relatable to the audience. This paper illustrates the transformation of Indian religious texts into epic narratives by analyzing fragments from the Weimojie jiangjing wen, whose skeleton is formed by quotations from Vimalakirti Sutra.
