The funeral procession of Sheng Xuanhuai – the renowned Qing scholar-official, financier, and “father of Chinese industrialism” – meandered through the streets of Shanghai on 18 November 1917. The funeral was a grand event, one that was purportedly documented in film, later to be distributed as the first “news short-film” in China. TheNorth China Heraldreported on the event in some detail, at times in rather florid language, and suggested that “the cortege was splendid and impressive, bringing back the days of (...) the Manchu emperors. The ceremonial costumes, the musical instruments and much more of the accoutrements dated back to the days of the Empire”. And indeed, the procession included a variety of ritual customs and insignia from Qing times: imperial banners, ancestral tablets, Buddhist and Daoist priests, paper artifacts, and much more. Simultaneously, nonetheless, other kinds of participants and objects – new and not of imperial pedigree – were part of and intermixed with the older materials: certificates of rank were carried on cars; boy scouts and college students marched alongside the priests; many of the participants arrived by train ; and as the Shanghai portion of the procession ended, it continued by steamer to Suzhou. The conclusion of theNorth China Heraldaccount, however, seems to have emphasized a dichotomy of old and new rather than a joyful mix of the two:Hundreds of men, dressed in the ancient costume of the old dynasties, bore a strong contrast to the eight behind them, sons of intimate friends of the deceased. They were on horseback and wore high silk hats, frock coats and white breeches tucked in riding boots.Truly the passing of the old and the entering of the new. This view – the old giving way to the new – was not just an off-hand journalistic analysis; it was part of a larger discourse about the nature of modernity, about progress, and about the relationship between East and West. By the early twentieth century, China was often perceived by most Westerners and Chinese alike as traditional, backward, and weak. It was, thus, commonly stated that the old was giving way to the new, should be giving way to the new, or was bound to give way to the new, if China was to survive. This kind of discourse was put forward by both Western and Chinese writers, who embraced this linear, progressive, view of the relationship between the old and the new, well before Sheng's funeral or the Qing's demise. In the aftermath of that demise, the New Culture Movement began to grow and seek solutions for the old-new nation's crisis. The Movement's rhetoric in particular advanced the need for the triumph of the new, and journals, such as New People, New Tide, or New Youth served as media for extending such views. (shrink)

ArgumentIn recent decades a large body of scholarship on the first half of twentieth-century China has successfully shown the ways in which history and historiography had been constructed at the time, as well as the links between history, national identity, education, and politics that was forged during this period. In this paper, I examine Qing intellectual history, in particular that of the mid or “High Qing.” I discuss the development of the historiography of this field in the early twentieth century (...) by drawing on the larger developments in historiography; by demonstrating how these developments had shaped Qing intellectual history for later times; by focusing on the historical actors’ sense of the importance of “science,” being “scientific,” and “modernization”; and, by unraveling the intimate connections to older historiographical narratives going back all the way to the eighteenth and nineteenth centuries. (shrink)