Zheng Qiao's 鄭樵 encylopedia Tongzhi 通志 in 200 chapters (juan 卷) is in first place a compendium of administrative regulations of the Song period 宋. But unlike Du You's 杜佑 statecraft encyclopedia Tongdian 通典 and Ma Duanlin's 馬端臨 book Wenxian tongkao 文獻通考 the Tongzhi comprises many treatises (lüe 略) that are not directly related to state administration or governmental regulations but are of general interest, like literature, fauna and flora, or the many biographies of eminent people. Because the biographies constitute the largest part of the Tongzhi it is counted as a historiographical book rather than an encyclopedia. Many of the treatises can be compared with the treatises that are incorporated in the official dynastic histories. Zheng Qiao followed to proposals of the Tang period 唐 scholar Liu Zhiji 劉知幾 who in his historic critique Shitong 史通 described how to compile objective histories and renounced earnestly discussing the belief in omina (zaixiang 災祥). Zheng Qiao added the treatises of noble families (shizu 氏族), capitals and cities (duyi 都邑), and of flora and fauna (kunchong caomu 昆蟲草木). The treatises on the Confucian classics and on music theory are a new creation by Zheng Qiao himself. The part of literature was divided into general literature (yiwen 藝文), collations (jiaochou 校讐), atlases or illustrated books (tupu 圖譜), and bronze and stone inscriptions (jinshi 金石). The Qing government 清 had compiled two sequels to Zheng Qiao's book: Xu tongzhi 續通志, and Qingchao tongzhi 清朝通志 (Huangchao tongzhi 皇朝通志). The latter wholly omits the biographical part. The term tongzhi became common for the literary type of regional descriptions compiled during the Qing period. In these regional descriptions the treatises of Zheng Qiao's book are incorporated, each giving an account on the various aspects of administration, history, literature etc. in the different provinces of Qing China. Another book using this term is the Baqi tongzhi 八旗通志 "Comprehensive treatises on the Eight Banners." Source: Zhongguo da baike quanshu, Zhongguo lishi 通志類 通志 Tongzhi by 鄭樵 Zheng Quan 續通志 Xu tongzhi 清朝通志 Qingchao tongzhi 略 lüe treatises size (卷 juan) position (no. of juan) size position size position 1.本紀 Benji Imperial biographies 18 1.-18. 70 1.-70. 2.后妃傳 Houfei Imperial consorts 2 19.-20. 10 71.-80. 3.年譜 Nianpu Annual tables 4 21.-24. -- -- 4.氏族略 Shizu Noble families 6 25.-30. 8 81.-88. 10 1.-10. 5.六書略 Liushu Confucian Classics 5 31.-35. 4 89.-92. 3 11.-13. 6.七音略 Qiyin Music theory 2 36.-37. 4 93.-96. 4 14.-17. 7.天文略 Tianwen Calendar 2 38.-39. 6 97.-102. 6 18.-23. 8.地理略 Dili Administrative geography 1 40. 7 103.-109. 8 24.-31. 9.都邑略 Duyi Capitals and cities 1 41. 1 110. 4 32.-35. 10.禮略 Li Rites 4 42.-45. 8 111.-118. 12 36.-47. 11.謚法略 Yifa Posthumous titles 1 46. 3 119.-121. 8 48.-55. 12.器服略 Qifu Tools and robes 2 47.-48. 5 122.-126. 6 56.-61. 13.樂略 Yue Music 2 49.-50. 3 127.-129. 2 62.-63. 14.職官略 Zhiguan State offices 7 51.-57. 10 130.-139. 8 64.-71. 15.選舉略 Xuanju Selection of state officials 2 58.-59. 4 140.-143. 3 72.-74. 16.刑法略 Xingfa Penal law 1 60. 8 144.-151. 6 75.-80. 17.食貨略 Shihuo Economy 2 61.-62. 4 151.-155. 16 81.-96. 18.藝文略 Yiwen Literature 8 63.-70. 8 156.-163. 8 97.-104. 19.校讐略 Jiaochou Collations 1 71. 1 164. 8 105.-112. 20.圖譜略 Tupu Atlases 1 72. 2 165-166. 2 113.-114. 21.金石略 Jinshi Bronze and stone inscriptions 1 73. 4 167.-170. 7 115.-121. 22.災祥略 Zaixiang Ominous portents 1 74. 3 171.-173. 3 122.-124. 23.昆蟲草木略 Kunchong caomu Fauna and flora 2 75.-76. 7 174.-180 2 125.-126. 23.列傳 Liezhuan Biographies 124 77.-200. 460 181.-640. total size (juan) 200 640 126

Exemplarious translation: ＜樂＞50.＜八音＞5.＜絲＞ 《琵琶傳》云：《琵琶賦》曰：漢遣烏孫公主嫁昆彌，念其行道，思慕，故使工人栽箏筑為馬上之樂。今觀其器，中虛，外實天地象也。盤圓，柄直，陰陽也。柱 十有二配，律呂也。四弦法四時也。以方俗語之，曰「琵琶」，取其易傳於外國也。《風俗通》曰：手「琵琶」，因以為名。《釋名》曰：推手前曰「批」，引手卻 曰「把」。《杜摯》曰：秦苦長城之役，百姓弦而鼓之。并未詳孰實其器。今清樂奏琵琶，俗謂之「秦」。 50. Music, 2, The eight types of music instruments, 5. Silk (String) Origin of the Pipa: The Rhapsody of the Pipa says, during the Han Dynasty, a princess of the Wusun people was married to the Kunmi tribe. She missed her way of life and was thinking (of her home) everytime. Therefore she had some craftsman made a zither with that she could make music while riding a horse. If one has a look at the appearance of the instrument, we see that its corpus is hallow, while the shape symbolized Heaven and Earth. The resonance body is round, while the neck is straight, just arranged like the male and female influences. The finger-board has twelve [today 30] bridges to produce different sounds and melodies. The four strings are modeled after the four seasons. In a common language, this instrument - without doubt being a foreing music instrument - is called "Pipa". Comprehensive Meanings of Customs and Habits: The name of this instrument is onomatopoetic, describing the movement of the hand, making "pi" and "pa". Shiming Dictionary: Moving the hand forewards, is called "pi", drawing it back, is called "pa". Du Zhi says, during the Qin Dynasty, when people were forced to build the Great Wall, their friends and relatives used to make music for them with strings and drums. But it is not clear if these instruments were really Pipas. (Following this legend), when "clear" music is made with accompanying Pipas, the instruments (or the music?) is usually called "Qin". Translated by Ulrich Theobald.