Tun-huang Popular Narratives presents authoritative translations of four vernacular Chinese stories, taken from fragmentary texts usually referred to as pien-wen or 'transformation texts'. Dating from the late T'ang (618-907) and Five Dynasties (907-959) periods, the texts were discovered early last century in a cave at Tun-huang, in Chinese Central Asia. However, written down in an early colloquial language by semi-literate individuals and posing formidable philological problems, the texts have not been studied critically before. Nevertheless they represent the only surviving primary evidence of a widespread and flourishing world of popular entertainment during these centuries. The tales deal with both religious (mostly Buddhist) and secular themes, and make exciting and vivid reading.

First published in 1960. Over a century ago the Chinese discovered in a sealed-up cave in the west of China a collection of manuscripts dating from the fifth century to the end of the tenth. These included many specimens of popular literature of a kind that was not previously known to exist. Although the find was made long ago, only two or three of these pieces had been translated before. Arthur Waley here translates, whole or as extracts, twenty-six pieces, making an invaluable addition to world literature.

This is the most comprehensive study of pien-wen (“transformation texts” i.e., tales of metamorphosis) in any language since the manuscripts were discovered at the beginning of the 20th century in a remote cave complex in northwest China. They are the earliest written vernacular narratives in China and are thus extremely important in the history of Chinese language and literature. Numerous scholarly controversies have surrounded the study of the texts in the last three quarters of a century; this volume seeks to resolve some of them—the extent, origins, and formal characteristics of the texts, the meaning of pien wen, the identity of the authors who composed these popular narratives and the scribes who copied them, the relationship of the texts to oral performance, and the reasons for the apparently sudden demise of the genre around the beginning of the Sung dynasty. This is a multi-disciplinary study that integrates findings from religious, literary, linguistic, sociological, and historical materials, carried out with intellectual rigor. It includes an extensive bibliography of relevant sources in many languages.

In The Five-Colored Clouds of Mount Wutai: Poems from Dunhuang, Mary Anne Cartelli introduces a significant corpus of Chinese Buddhist poems from the Dunhuang manuscripts celebrating Mount Wutai. They offer important literary evidence for the transformation of the mountain into the earthly paradise of the bodhisattva Mañju?r? by the Tang dynasty.????

In The Columbia Anthology of Chinese Folk and Popular Literature, two of the world's leading sinologists, Victor H. Mair and Mark Bender, capture the breadth of China's oral-based literary heritage. This collection presents works drawn from the large body of oral literature of many of China's recognized ethnic groups--including the Han, Yi, Miao, Tu, Daur, Tibetan, Uyghur, and Kazak--and the selections include a variety of genres. Chapters cover folk stories, songs, rituals, and drama, as well as epic traditions and professional storytelling, and feature both familiar and little-known texts, from the story of the woman warrior Hua Mulan to the love stories of urban storytellers in the Yangtze delta, the shaman rituals of the Manchu, and a trickster tale of the Daur people from the forests of the northeast. The Cannibal Grandmother of the Yi and other strange creatures and characters unsettle accepted notions of Chinese fable and literary form. Readers are introduced to antiphonal songs of the Zhuang and the Dong, who live among the fantastic limestone hills of the Guangxi Zhuang Autonomous Region; work and matchmaking songs of the mountain-dwelling She of Fujian province; and saltwater songs of the Cantonese-speaking boat people of Hong Kong. The editors feature the Mongolian epic poems of Geser Khan and Jangar; the sad tale of the Qeo family girl, from the Tu people of Gansu and Qinghai provinces; and local plays known as "rice sprouts" from Hebei province. These fascinating juxtapositions invite comparisons among cultures, styles, and genres, and expert translations preserve the individual character of each thrillingly imaginative work.