This paper raises the question about the meaning of 'keeping a draft manuscripts' in literary production, taking a famous calligraphy from Tang dynasty (8th cent.) as an early Chinese hand-writing that bears clear marks of intervention in a creative process. Taking four modern manuscripts as samples, it explores the blurred limits between calligraphy and manuscripts, and proposes to merge the millennium-old scholarly tradition of ‘collation' (jiaokan) in with methodological tools.
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