Lin Yining
From Wikipedia the free encyclopedia
Lin Yining (simplified Chinese: 林以宁; traditional Chinese: 林以寧; pinyin: Lín Yǐníng; 1655 – c. 1730), courtesy name Yaqing,[1] was a Chinese poet active during the Qing dynasty. A founding member of the Banana Garden Poetry Club, Lin Yining was also an avid painter and composer.
Life and career[edit]
Lin Yining was born in 1655, near the Zhejiang section of the Zhe River.[2] Her father Lin Lun was a jinshi,[2] and her mother introduced her to classical Chinese literature.[3] She was "very talented and could write poetry and prose"; additionally, Lin dabbled in calligraphy[3] and was "especially well-versed in drawing bamboo in ink and wash".[2] She married Qian Zhaoxi, who worked at the local censorate and was also acquainted with traditional Chinese opera.[2] While they were based in Luoyang,[2] the couple would write each other love poems that were later compiled into an anthology titled Collected Works of Fengxiao Tower.[4] Qian's mother, Gu Zhiqiong,[1] was instrumental in bringing together talented female poets, and at her behest, the "Banana Garden Five" (蕉园五子), comprising Lin, Zhu Rouze, Chai Jingyi, Qian Yunyi, and Xu Can, was formed.[2] The group later became the Banana Garden Seven (蕉园七子) and its roster was changed to include Lin, Qian, Mao Anfang, Feng Youling, Gu Jiji, Zhang Chayun, and Chai Jingyi.[2] Lin penned the preface to Hangzhou poet Liang Ying's Every Fragrant Word that collects Liang's poems on plum blossoms.[4] A lost play titled Wisteria Pass was allegedly written by Lin.[3]
Lin and Qian had two children – a son, Qing, and a daughter, Tao, neither of whom, according to Lin herself, "dared" to take up Chinese literature.[3] It is not known for certain when Lin Yining died, but the Biographical Dictionary of Chinese Women, citing an unspecified source, gives her death year as 1730.[4] According to an entry on Lin Yining in Women Writers of Traditional China, "Lin's poetry is distinguished by its direct and fluent diction, and vivid visual imagery".[5] She is also praised for presenting her "personal interests" in her poetry, and not adhering to the "conventional themes and scenarios derived from literati construction of feminine voices".[5]
References[edit]
Citations[edit]
- ^ a b Saussy 1999, p. 405.
- ^ a b c d e f g Stefanowska, Lee & Lau 2015, p. 135.
- ^ a b c d Saussy 1999, p. 406.
- ^ a b c Stefanowska, Lee & Lau 2015, p. 136.
- ^ a b Saussy 1999, p. 407.
Bibliography[edit]
- Saussy, Haun (1999). Women Writers of Traditional China: An Anthology of Poetry and Criticism. Stanford University Press. ISBN 9780804732314.
- Stefanowska, A. D.; Lau, Clara; Lee, Lily Xiao Hong (2015). Biographical Dictionary of Chinese Women: V. 1: The Qing Period, 1644-1911. Hong Kong: Routledge. ISBN 9781317475880.