School, which used the technical skills of tradition to set the stage for modern painting. Traditional learning and literature Traditional learning flourished, especially among Ming loyalists such as Dai Zhen and Gu Yanwu, but scholars in the school of evidential learning made innovations in skeptical textual scholarship. Scholar-bureaucrats, including Lin Zexu and Wei Yuan, developed a school of practical statecraft which rooted bureaucratic reform and restructuring in classical philosophy. Philosophy and literature grew to new heights in the Qing period. Poetry continued as a mark of the cultivated gentleman, but women wrote in larger and larger numbers and poets came from all walks of life. The poetry of the Qing dynasty is a lively field of research, being studied (along with the poetry of the Ming dynasty) for its association with Chinese opera, developmental trends of Classical Chinese poetry, the transition to a greater role for vernacular language, and for poetry by women. The Qing dynasty was a period of literary editing and criticism, and many of the modern popular versions of Classical Chinese poems were transmitted through Qing dynasty anthologies, such as the Quan Tangshi and the Three Hundred Tang Poems. Although fiction did not have the prestige of poetry, novels flourished. Pu Songling brought the short story to a new level in his Strange Tales from a Chinese Studio, published in the mid-18th century, and Shen Fu demonstrated the charm of the informal memoir in Six Chapters of a Floating Life, written in the early 19th century but published only in 1877. The art of the novel reached a pinnacle in Cao Xueqin's Dream of the Red Chamber, but its combination of social commentary and psychological insight were echoed in highly skilled novels such as Wu Jingzi's The Scholars (1750) and Li Ruzhen's Flowers in the Mirror (1827). Cuisine Cuisine aroused a cultural pride in the richness of a long and varied past. The gentleman gourmet, such as Yuan Mei, applied aesthetic standards to the art of cooking, eating, and appreciation of tea at a time when New World crops and products entered everyday life. Yuan's Suiyuan Shidan expounded culinary aesthetics and theory, along with a range of recipes. The Manchu–Han Imperial Feast originated at the court. Although this banquet was probably never common, it reflected an appreciation of Manchu culinary customs. Nevertheless, culinary traditionalists such as Yuan Mei lambasted the opulence of the Manchu Han Feast. Yuan